Edward Elgar Marcha n.° 1 en re, Op. 39 n.° 1, « Land of Hope and Glory » Vídeos
- Publicado en 1902 (Marcha n.° 1 en re, « Land of Hope and Glory », Elgar)
- textos de A. C. Benson
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2024-04-17
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Edward Elgar Royal Philharmonic Orchestra 1976
Provided to YouTube by Universal Music Group Elgar: "Pomp And Circumstance," Op.39: March, No.1 In D · Royal Philharmonic Orchestra · Norman Del Mar · Edward Elgar Elgar: Enigma Variations; Pomp and Circumstance ℗ 1976 Deutsche Grammophon GmbH, Berlin Released on: 1976-01-01 Producer: Brian B. Culverhouse Composer: Edward Elgar Auto-generated by YouTube.
Sir Edward Elgar Sir Charles Groves Royal Liverpool Philharmonic Orchestra 1857 1934 1976
Sir Edward Elgar, Bt, OM, GCVO +••.••(...)) POMP AND CIRCUMSTANCE MARCH NO. 1 in D major, Op. 39 Royal Liverpool Philharmonic Orchestra SIR CHARLES GROVES, CBE, cond. Recording: Philharmonic Hall, Liverpool, December 16-18, 1976
Sir Edward Elgar Mould Staple Schumann Proms 1890 1892 1918 1920 1931 2020
These charming pieces are less often heard now than much of Elgar's other work, not least since fewer folk go to church where they originally belong. The published set, probably written during Elgar's tenure of St George's, Worcester in the later 1880s, consists of nine pieces (one, a brief actual 'interlude'), of which we here offer three, each in triple-time, on a 'fast(ish)-slow-fast' model as a reconstituted suite-within-a-suite. Other more expansive Elgar works in this tripartite mould include the Organ Sonata in G (whose first movement was, for decades, a RCO exam staple) and various transcriptions of the Serenade for Strings; there are also arrangements of the Pomp & Circumstance Marches, but from the 2020 perspective we might fairly claim those have had their day ~ even no.4, which to Ian's mind is at least as fine a piece as no.1. Elgar himself later abjured the 'Land of Hope and Glory' lyrics, and in this 'woke' season of curtailed Proms there has been as much heat as light about whether, and/or how, those might yet be sung to maintain the Last Night tradition as 'Britain prepares to leave the EU' [*see footnote, below]. Much such commentary appears to emanate from nostalgic sentimentalists who would barely (as they almost say) know their Arne from their Elgar anyway, as to the British Isles' undoubtedly robust musical heritage. Regular Interludes viewers will know Ian had aimed to spend the back decan of August exploring the wild southwest of Ireland and in particular, the Ring of Kerry, of which he first became aware through Peter Hope's enchantingly atmospheric orchestral suite. Covid-19 and associated strictures having stymied that trip, the Malverns (with its own Elgar Route, in the heart of England) seemed a fair and pragmatic substitute. It bears observing that in 1920, Elgar was working mainly from Brinkwells, a fine secluded house near Fittleworth in Sussex ~ far nearer Ian's own newer stamping-ground, and with views towards the South Downs as an inspirational creative backdrop in place of Elgar's beloved Malverns. If such a swap was good enough for him, a reciprocal pilgrimage seems eminently reasonable! The three re-ordered Vesper Voluntaries were originally published in Book 26 of a clearly popular series aimed at jobbing parish organists, almost inevitably alongside less well-crafted, run-of-the-mill Victoriana that have not withstood subsequent changes in time and taste. Those whose first thought of Elgar is of the later, grey, walrus-moustached figure conducting 'Land of Hope ... ' at the 1931 opening of Abbey Road Studios, should delve further back into his youth: his active involvement in cycling (more or less all over the Malverns, except perhaps along the very hilltops); he was also a keen amateur chemist, and indeed a football fan. The 'Enigma Variations' are perhaps the most popular examples of him as a miniaturist, but there are abundant salon pieces, partsongs and the like, and, for string players that do eventually tire of 'Chanson de Matin', or indeed the Serenade, a wonderfully brooding Piano Quintet; not to mention the sublime Cello Concerto. Consciously avoiding the 4/4 time-signature with its potentially bombastic connotations, for present purposes we have a wistfully lilting 9/8 Allegro (surely anticipating the Serenade's [1892] opening movement); a seemingly maudlin, yet never treacly sentimental, Allegretto Pensoso ~ which works equally well as a Larghetto, not least with the intimate and contemplative original Vespers context in mind; and the insouciant Andantino, which Ian found, both playing it and while assembling bucolic scenery for the video, put him in mind of Schumann ('The Merry Peasant', beginning with the same rising fourth in the same key, plus several reminiscently folksy figures later within the piece). Ian would have loved proper summer weather in which to savour most fully Elgar's formative surroundings, but the cusp of autumn under typically ambivalent English skies, perhaps, helps 'underscore' that sense of melancholy that is usually there even in such seemingly smaller and gentler Elgar works. All the images were taken in and around the excellent Elgar Route in the final week of August 2020, and a return visit to paternal roots in Ledbury has helped renew Ian's own valued bond with another such undeniably beautiful part of the world. And now back over to Sir Edward, to express his love of that landscape in his unique, distinctive yet readily savourable idiom ... * From Elgar's diary, 11 November 1918: 'The war is over, thank God. What a terrible, cruel waste of life there has been. Alice and I went to the Coliseum tonight and they played Land Of Hope And Glory not once, but twice; the whole audience joined in. I could not. I regret very profoundly how this song has become an anthem to war. There's been so much sorrow and sacrifice over the past four years; nothing glorious about it. The world is a changed place and I am awfully tired of it.'
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