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Edward Elgar occupies a pivotal place in the British cultural imagination. His music has been heard as emblematic of Empire and the English landscape. The recent success of Anthony Payne's elaboration of the sketches for Elgar's Third Symphony has prompted a critical revaluation of his music. This Companion provides an accessible and vivid account of Elgar's work in its historical and cultural context. Established authorities on British music and scholars new in the field examine Elgar's music from a range of critical perspectives, including nationalism, post-colonialism, decadence, reception and musical influences. There are also chapters on interpretation, including his own (Elgar was the first major composer to commit a representative quantity of his own work to record), and on Elgar's relationships with the BBC and with his publishers. The book includes much new material, drawing on original research, as well as providing a comprehensive introduction to Elgar's major musical achievements.
Edward Elgar rose from obscurity to become the most popular English composer of his day. Elgar's music is known world-wide and works such as the 'Enigma Variations' and 'The Dream of Gerontius' together with the two symphonies and the two concertos have established him as one of the greatest British composers of all time. The Elgar Society was founded in 1951 to further the cause of Elgar's music and the present volume of essays has been compiled as an expression of gratitude for the work that it has done. These essays reflect the variety and richness of Elgar's music and the debate that this music continues to encourage. The book is not simply for academics however; lovers of music in general will find much to entertain them and it will add greatly to our appreciation of Elgar.
The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.
In this wide-ranging set of original essays, musicologist and organist Russell Stinson investigates Johann Sebastian Bach's compositions for the organ, opening up a wealth of perspectives on the stylistic orientation and historical context of these timeless masterpieces. With a sweeping hand, Stinson sheds light on the entire corpus of Bach's organ chorales, and considers the reception of particular pieces not only by various luminaries in the classical music world, but also those within such disparate contexts as film, literature, politics, and rock music. Stinson's investigations include a revealing focus on a previously unpublished fugue by Bach pupil J. G. Schübler, unexplored techniques found in over twenty of Bach's chorale preludes, and the diverse ways in which Bach's organ works have been received from the composer's own lifetime to the present day. Individual essays are also devoted to Felix Mendelssohn as a performer; to Robert Schumann as an editor and critic; to César Franck as a performer, pedagogue, and composer; and to Edward Elgar as a performer, critic, and transcriber. Rich in archival data and filled with fascinating anecdotes, J. S. Bach at His Royal Instrument is entirely up-to-date, meticulously annotated and indexed, and eminently readable. This book is essential reading for anyone at all interested in Bach and "the king of instruments."