Exploring Elgar's Enigma Variations
One of his most-beloved of works that has become a musical shorthand for national identity
Sir Edward Elgar © Getty ImagesLast updated 3rd Sep 2020
Sir Edward Elgar may be behind some of the most beautiful music to have ever graced the earth, but one stand-out in particular must be his Variations on an Original Theme. Known as the Enigma Variations, Elgar chose to write pieces of music portraying different people in his life - from his wife, Alice, to his close friend and critic, Augustus J. Jaeger.
We will be playing Elgar's Enigma Variations on Sunday 26th July from 8pm, played by the City of Birmingham Symphony Orchestra and conducted by Sir Simon Rattle, hosted by Darren Redick. To accompany your listening pleasure, here are some interesting facts and interpretations of the piece.
When did Elgar write the Enigma Variations?
Elgar wrote his Variations on an Original Theme between October 1898 and February 1899. Apparently, Elgar sat down at the piano on 21st October 1898 after a tiring day of teaching, and simply began to play, inventing new melodies as he went. One particular melody caught the ear of his wife, Alice, leading Elgar to improvise variations on the melody in ways that reflected the personalities of his close friends.
The piece was finished in its entirety on 18th February 1899, and the first performance occurred at St James's Hall. Following this, Elgar revised the final variation, adding a further 96 bars - and this is the version usually played today.
Who was the work dedicated to?
One of the main points of the work is that each variation was written to reflect a different person with whom Elgar had a close relationship. Each dedication is described below.
Elgar's Enigma Variations: The story behind the music
Theme (Andante)
The original theme 'Enigma: Andante' is not dedicated to anyone, and has an incredibly melancholy opening - almost as if it's grieving. However, mere seconds later, a beautifully joyous motif sounds in the strings and brass, like a flower opening. The transition between mournful and hopeful is so quick and clever that you barely remember the piece ever started in a minor key. It's back to minor shortly thereafter, but Elgar switches back to major in the few seconds before it ends.
The theme features small moments from each variation, serving to introduce us not only to the piece as a whole, but also to the people represented within the variations. Elgar once wrote of the theme in a programme note, "It expressed when written my sense of the loneliness of the artist as described in the first six lines of the Ode, and to me, it still embodies that sense."
Variation I: 'C.A.E.'
The first variation was written for his wife, Caroline Alice Elgar, and bears her initials. Although the piece starts off minor, it does not feel as melancholy as the Theme. As the tempo is slightly faster, it feels more upbeat - and this is also reflected in the staccato bass line, feeling more like a dance than contemplative.
Again, there's a sudden, seamless switch to major - and although it starts off very gracefully, there's a sudden swell in volume which may encourage the arm hairs to stand on end, reflecting the great love Elgar had for his wife. This variation is both stately and respectful, but also has a sense of youthful wonder, and the last few seconds of this variation are simply stunning.
Following the death of his wife, Elgar said, "The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration."
Variation II: 'H.D.S-P.'
This variation was written for Hew David Steuart-Powell, who Elgar described as "a well-known amateur pianist and a great player of chamber music." This variation is made up of a frantic sequence in the strings, which slowly crescendos up to the middle of the piece and then diminuendos. It's not what you'd normally expect from Elgar.
He said of the variation, "His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H.D.S-P.'s liking."
Variation III: 'R.B.T.'
The third variation was written for author Richard Baxter Townshend. The uplifting major key gives the impression that this was a well-liked man, and the chromatic scales in the brass imply a slightly comedic shade - was he funny? Did he make jokes? Or did people laugh at him in a loving way? Either way, this variation implies a friendly person.
Towards the middle, there are some slightly menacing, low chromatic scales in the strings which may incur the image of a crocodile hunting its prey, but this soon turns back to jollity. Apparently, this variation represents R.B.T.'s portrayal of an old man in amateur theatricals, and the plucked violin moments along with woodwind are reminiscent of a bicycle bell, as he was known for cycling through Oxford.
Variation IV: 'W.M.B.'
Written for William Meath Baker, the fourth variation takes no prisoners, bursting in with the whole orchestra in a forte fashion. It's relentless - although the volume dips slightly in the middle, the strings showcase a busy moment and so the piece never eases up. The volume is brought back up to the top for the end, which happens very quickly and suddenly.
The piece gives the sense that Mr. Baker may have been a very busy man, and perhaps a bit of a whirlwind, especially as it is the shortest variation of all - he simply may not have had time to dilly dally. Elgar described him as someone who "expressed himself somewhat energetically." We get that now.
Variation V: 'R.P.A.'
The fifth variation is dedicated to Richard Penrose Arnold, son of a poet and amateur pianist. This variation starts off very slow and stately, and evokes a sense that perhaps Mr. Arnold was a rather sensible and unemotional character. However, we're then taken to a light, staccato string section - so maybe he had a cheeky or more light-hearted side to him.
The piece returns to severity, but is once again brought back to the light as it goes on. Although it ends more sombrely, it flows straight into the sixth variation, which appears to resolve the confusion over Mr. Arnold's personality. Elgar said of him, "His serious conversation was continually broken up by whimsical and witty remarks."
Variation VI: 'Ysobel'
Written for Elgar's violin student Isabel Fitton, the piece starts off somewhat trudgingly, perhaps implying that she was not particularly talented when Elgar first took her on as a student - however, there's a beautiful moment in the strings just over halfway through, which could be Isabel coming out of her shell and becoming a better musician.
Elgar did write about this variation, but did not mention its subject, "It may be noticed that the opening bar, a phrase made use of throughout the variation, is an 'exercise' for crossing the strings – a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement."
Variation VII: 'Troyte'
This piece was written for Arthur Troyte Griffith, one of Elgar's closest friends. It starts with boisterous percussion, and that energy continues throughout the piece. There's always a rumbling of percussion throughout, and this - paired with the frantic scales in the strings - makes for a very stormy variation. It comes to a head shortly after that, and finishes in a most satisfying way.
Apparently, Elgar used this piece to good-naturedly mock his friend's enthusiastic but talentless piano playing, and could also refer to a time where the pair got caught in a thunderstorm whilst out walking in Malvern.
Variation VIII: 'W.N.'
The next variation was written for Winifred Norbury, a secretary for Worcester Philharmonic Society. The piece begins very softly and gently, with pretty, legato sequences in the strings, evoking a sense that Winifred was a kind person. A quicker, staccato string sequence then appears, so perhaps she had a cheeky side to her.
There's a rather beautiful moment between two woodwind instruments, which could imply humility, and a rallentando towards the end feels like a private moment between Elgar and Winifred that we've been privileged enough to listen in on. It's a respectful friendship and there was clearly a musical understanding between the two of them.
Elgar said of Winifred, "The gracious personalities of the ladies are sedately shown. W.N. was more connected with the music than others of the family, and her initials head the movement; to justify this position a little suggestion of a characteristic laugh is given."
Variation IX: 'Nimrod'
The most well-known variation, and indeed most well-known of Elgar's pieces, 'Nimrod' is one of the most beautiful pieces of classical music ever written. It's easy to see why this piece is played each year at the Cenotaph in London on Remembrance Sunday, as the mournful yet hopeful strings acknowledge the grief that has passed, but also looks to the future. It's difficult to listen to this piece without shedding a tear. A masterpiece.
The piece was written for Augustus J. Jaeger, a music editor who worked for publisher Novello & Co. He was a close friend of Elgar's, and throughout their friendship offered him both advice and criticism - but this was something Elgar cherished, and his encouragement of Elgar to continue composing throughout setbacks and depression was something that stuck with him his entire life, even after Jaeger's death at a young age.
Elgar recounted to Dora Penny (subject of the following variation) that the piece was less of a portrait of the man, and more about one occasion when Elgar had been about to give up his career. Jaeger had told him about Beethoven, who was also troubled but kept writing despite his problems, telling Elgar, "And that is what you must do," before singing the theme of Beethoven's Piano Sonata No. 8 'Pathétique'. Elgar then paid homage to the piece in the opening bars of Nimrod, telling Dora ,"Can't you hear it at the beginning? Only a hint, not a quotation."
Twenty years after Jaeger's death, Elgar said of his friend, "His place has been occupied but never filled." An adaptation of Nimrod was written by Hans Zimmer for the ending for 2017 film Dunkirk, which depicted the evacuation in World War II.
Variation X: 'Dorabella'
Dora Penny, known to Elgar as 'Dorabella', is the subject of the 10th variation. She apparently had a stutter, and this is reflected in the quivering, staccato woodwind throughout. The softness of this piece is the perfect antithesis to the greatness of 'Nimrod', and despite the beauty of the previous variation, it's refreshing to listen to something so light and breezy.
There are deeper moments throughout the piece, which could possibly suggest there was more to Dora and Elgar's platonic relationship at one time, but the slight and easy nature of this piece represents a pure friendship between the two. The final chord is sudden and loud compared to the rest of the piece - a surprise, almost.
Dorabella also helped to uncover the dedication to Elgar's Violin Concerto, which was written as five dots. She asked Elgar's wife Alice, who confirmed it to be another close friend of Elgar's, and thus closed the mysterious case.
Variation XI: 'G.R.S.'
Number 11 was written for George Robertson Sinclair, the organist at Hereford Cathedral. Although the piece bears his name, Elgar actually wrote it with Sinclair's pet dog in mind, a bulldog named Dan. It depicts a particular time when Dan, a well-known pooch around town, fell into the River Wye - he paddled for a while to find a place to get out and then thankfully landed safely.
This is perfectly depicted in Elgar's variation; the turbulence of the pup falling into the water is easily imaginable thanks to the comedic brass glissando, and the major chords could be his splashing. The music rumbles down to a rhythmic string section, as the dog tries to swim to shore, and his achievement of making it out is heard in the final chord. Elgar wrote, 'G.R.S. said, "Set that to music." I did; here it is.'
Variation XII: 'B.G.N.'
This variation depicts Basil George Nevinson, an amateur but consummate cellist - thus, this piece is topped and tailed by a cello solo. Much slower, this variation has echoes of Nimrod throughout, and is slightly melancholy. Although it becomes major later on, it remains slow and the mournful melody is quite heartbreaking.
Elgar said of Mr. Nevinson, "The Variation is a tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer."
Variation XIII: Romanza '__ *'
It wouldn't be Elgar without a bit of mystery, would it? Although Elgar said that the piece was about a lady on a sea voyage, he never confirmed who the piece was actually about. Some say it was written for Lady Mary Lygon, and that Elgar felt unsure about attributing her name to such an intense piece of music. Others say it's a 'covert tribute' to former fiancée Helen Weaver, who had broken off her engagement to Elgar and sailed away to New Zealand.
Although the piece begins very cheerily and romantically, there's soon a lonely clarinet solo that evokes a deep sense of loss, and the miniscule drums do give a seafaring atmosphere. The music swells and ebbs, also like the sea - and although there is a more uplifting section, we're met again by the forlorn clarinet solo, which sees us through to the end of the piece and seamlessly moves into the Finale.
Variation XIV: Finale 'E.D.U.'
The final variation is for Elgar himself. The title of the piece is taken from a nickname given to him by his wife: Edu, from the Germanic version of his name, Eduard. The piece begins very spiritedly, with a driving bass section in the strings as the piece becomes more and more excited. The following sequences sound each time as though they're signalling the end, but there's more still to be heard.
We suddenly move into an incredibly upbeat version of the Nimrod theme - a nod to the influence that Jaeger had on Elgar's life, that he included this theme in his own dedication. The tempo goes a bit to pot after this as everything slowly speeds up. Loudly. It then regulates, but there's a struggle between soft and loud - possibly reflecting Elgar's struggle to believe in himself and his potential.
We also hear Elgar work his wife's variation into this piece too, again showing what a big part of his life she was, and Elgar called both of their inclusions "entirely fitting to the intention of the piece." The final part of the variation rallentandos to a glorious chord, and you can almost see the light shining down from the heavens onto the devoutly Catholic Elgar as he finishes his masterpiece, and his ode to himself.
What key is Elgar's Enigma Variations in?
The main theme is in G minor.
The City of Birmingham Symphony Orchestra's performance of Elgar's Enigma Variations conducted by Simon Rattle featured on Sunday 26th July.