|
|
Title |
Dur |
Strings |
Winds |
Brass |
Percussion |
Comments |
|
|
Theme |
1:33 |
Tutti |
2 1 2 2 |
4 0 0 0 |
|
Lightly scored - Elgar is keeping his forces in reserve. |
|
I |
C.A.E. |
1:58 |
Tutti |
2 2 2 2+1 |
4 3 3 1 |
T |
Interesting texture - several different "strands" of
activity are presented simultaneously. |
|
II |
H.D.S.-P. |
0:58 |
Tutti |
2 2 2 2 |
0 0 0 0 |
T |
Unusual start - unaccompanied solos are a special effect in
orchestral music. |
|
III |
R.B.T. |
1:35 |
Tutti |
2 2 2 2+1 |
4 3 0 0 |
T |
Melodically dominated throughout by the winds. |
|
IV |
W.M.B. |
0:35 |
Tutti |
2 2 2 2+1 |
4 3 3 1 |
T |
Loud and busy - the first real "tutti".
|
|
V |
R.P.A. |
2:41 |
Tutti |
2 2 2 2+1 |
4 3 3 0 |
T |
Two main textures, one dominated by strings alternates with
winds. |
|
VI |
Ysobel |
1:25 |
Tutti |
2 2 2 2 |
3 0 0 0 |
T |
A classic example of a simple musical lines broken-up
between different instruments. Note viola solo and last note with
only solo viola and horn playing. |
|
VII |
Troyte |
0:58 |
Tutti |
2/1 2 2 2+1 |
4 3 3 1 |
T, BD, Cym, SD |
The only variation other than last to use all the
players. The timpani have a prominent role and other percussion
instruments get their first use. |
|
VIII |
W.N. |
2:32 |
Tutti |
2/1 2 2 2 |
4 0 0 0 |
|
Simple alternation of themes between wind and strings. |
|
IX |
Nimrod |
4:26 |
Tutti |
2 2 2 2+1 |
4 3 3 1 |
T |
Building a texture by adding more and more instruments ech
time the tune reappears. |
|
X |
Dorabella |
2:46 |
Tutti |
2 2 2 2 |
1 0 0 0 |
T |
A beautiful, silken texture, at first almost without
melody. Note prominent violas, both solo (1player) & soli (the whole
section). |
|
XI |
G.R.S. |
1:02 |
Tutti |
1+1 2 2 2+1 |
4 3 3 1 |
T, Tri |
Another boisterous and more heavily scored variation.
the distinctive sound of the triangle is heard for the first time amid the
chaos. |
|
XII |
B.G.N. |
3:03 |
Tutti |
2 2 2 2 |
3 0 0 0 |
T |
Starting with a solo and dominated by cellos. the
soul of the whole piece. |
|
XIII |
*** |
3:14 |
Tutti |
2 2 2 2 |
4 3 3 0 |
T, BD |
Another mostly lightly scored movement with exposed solos
for clarinet. The timpani are played with wooden sticks to
create a special effect* |
|
XIV |
E.D.U. |
5:53 |
Tutti |
2/1 2 2 2+1 |
4 3 3 1 |
T, BD, Cym, SD/Tri |
The only variation to use all the players and all the
instruments. Towards the end there is also an additional
(optional) part for organ. |
| |
|
|
* |
In Variation XIII Elgar specifies that the
timpani should be played with side drum sticks but timpanists adopt a
variety of solutions for this place. the need to play with "normal"
sticks immediately makes this passage problematically since a player
cannot switch sticks instantly. There is a tradition of playing the
passage written for wooden sticks using two old (i.e. pre-decimalisation)
pennies |