Edward Elgar and His World

Edward Elgar and His World by Byron Adams

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Authors: Byron Adams
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the other singers, but over his former ones. Time was when I would scarcely have considered him equal to such a task. It is a pleasure to place on record that he rose fully to the occasion.
    I was so unfortunately placed that I hesitate to speak of the orchestra and chorus, but I gained somehow the impression that there was rather less enthusiasm than on the previous evening. The strings particularly played over-rigidly with the result of making the prevailing four-beat rhythm more obvious than was entirely desirable. Once more there was a brilliant gathering, honoured by the presence of the King and Queen, to record.
    â€”E. E.
    The Elgar Festival
    Monthly Musical Record 34 (April 1904): 62
    This article is not attributed to any author, but its style and views—and its presence in the Monthly Musical Record —indicate that it is the work of E. A. Baughan.
    T HE “Elgar Festival”—to dignify by this somewhat grandiose appellation the three concerts of Dr. Elgar’s music which were given in Covent Garden Theatre on March 14th, 15th, and 16th—from whatever point of view it was regarded, was an occasion of much significance. It was valuable as a proof of Dr. Elgar’s popularity—a popularity acquired by sheer force of talent, unaided by any adventitious circumstances—it was perhaps more valuable still as an indication that Englishmen have at last realized that English music may be listened to without any loss of self-respect. Hitherto the English amateur who has wished to pose as an authority upon music has considered it his duty to praise nothing but the productions of foreign musicians. Dr. Elgar, aided by the ungrudging applause of German critics, has taught his countrymen that the music of an English composer is as well worthy of attention as that of any other man, and whatever his subsequent career may bring forth, this must be counted to him for righteousness. Fashion has much to answer for in matters of this kind. So long as it was fashionable to sneer at English music, it was useless for critics to complain of the neglect that our native composers had to endure. Dr. Elgar has been strong enough to turn the stream of fashion into a new channel; let us hope that his success in this respect will herald a new era of prosperity for English music. The “Elgar Festival” comprised performances of “The Dream of Gerontius,” “The Apostles,” and a miscellaneous selection, chiefly of orchestral music. Dr. Richter was at the head of affairs, supported by his Manchester orchestra, and the Manchester chorus took part in the two oratorios. Covent Garden is very far from being an ideal place for oratorio. The chorus has necessarily to be thrust to the back of the stage, and the result is that the main volume of sound goes straight up into the roof, and never reaches the auditorium at all. At the side of the stalls the softer choral passages were entirely inaudible, and a good deal of the orchestral work was lost into the bargain. Nevertheless, both oratorios were so well performed that, in spite of the disadvantages of the locale , they appeared to make a deep impression upon the audience; but there is no doubt that anywhere else the performances would have been twice as effective. Of the two, “Gerontius” is unquestionably the more popular, and, at the same time, the better work of art. It is more homogeneous in style than “The Apostles,” and the composer’s touch appears to be firmer in handling his material. Of its musical ability there can be no question; it is an extraordinarily vivid and sincere piece of work, marvellously truthful in interpreting the spirit of Cardinal Newman’s poem. With regard to the poem itself, however, and its suitability for musical setting, there is room for considerable divergence of opinion. By reason of its subject, or rather the treatment of that subject—which, it need scarcely be said, represents

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