Edward Elgar Coronation March, Op. 65 Video
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2024-03-28
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Sir Andrew Davis Sir Edward Elgar Anthony Payne Bbc Philharmonic Orchestra 2009
Provided to YouTube by PIAS The Crown of India, Op. 66, Tableau I, The Cities of Ind: IVb. March of the Mogul Emperors · Sir Andrew Davis · BBC Philharmonic Orchestra Elgar: The Crown of India, Imperial March, Empire March & Coronation March ℗ Chandos Records Released on: 2009-11-01 Arranger: Anthony Payne Conductor: Sir Andrew Davis Orchestra: BBC Philharmonic Orchestra Composer: Sir Edward Elgar Auto-generated by YouTube.
Elgar Frederick Bridge Novello 1911 1969
O hearken Thou (Op. 64) was written, for chorus and orchestra, for the Coronation of King George V and Queen Mary and was completed in March 1911 and first performed at the Coronation service in Westminster Abbey on 22 June 1911, when the conductor was Sir Frederick Bridge. It was immediately issued by Novello in this version for chorus and organ in Novello’s series of church anthems. Elgar had also written a Coronation March and a Coronation Hymn, but here he is not looking to make a big public statement. Elgar takes verses 2 and 3 from Psalm 5 for his setting which was sung while the King took communion. This was not the time for his ceremonial manner and Elgar’s intense mood encompassing a rich choral sound took advantage of the huge acoustic to underline the fervent but essentially private dedication of the moment. Recorded in Worcester Cathedral, 6-8 March 1969. Directed by Christopher Robinson. Organ: Harry Bramma.
Edward Elgar Andrew Frank Davis Bbc Philharmonic Orchestra 1911
Edward Elgar: Coronation March, Op. 65 (with Score) Composed: 1911 Conductor: Sir Andrew Frank Davis Orchestra: BBC Philharmonic Orchestra This is the Cinderella among Elgar's marches. The main reason for its neglect seems to be that it does not follow the standard Pomp and Circumstance model. It was written for the coronation of King George V in June 1911. Contemporary of the Second Symphony, its musical substance eludes the predictable jubilating noise of similar works. It opens with a percussion roll, but contrary to what could be expected, what follows is not an extroverted fanfare but a somber proclamation in the low brass with an organ pedal, of noble character and in minor mode. Without break, the material develops in what would could be believed to be a section of the Symphony. The music turns to major and reaches a certain celebratory intensity in a fanfare section ornamented by a fast string swirl, followed by a brief typically Elgarian "nobilmente" passage before being precipitated into the darkness again by the return of the opening theme. A varied restatement of the second section is next. After the fanfare, the noble theme offers a serene resting point before the coda recapitulates the main themes.
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