"</poem> V ""Peace, gentle peace"" – ""Soli (S.A.T.B.) and Chorus unaccompanied"" <poem> Peace, gentle Peace, who, smiling through thy tears, Returnest, when the sounds of war are dumb ... Our earth is fain for thee! Return and come. </poem> VI – ""Land of hope and glory"" – Finale ""(Contralto Solo and Tutti)"" <poem> ""Solo"" ""Chorus"" ""Soloists and Chorus"" </poem> Coronation Ode Coronation Ode, Op. 44 is a work composed by Edward Elgar for soprano, contralto, tenor and bass soloists, chorus and orchestra, with words by A. C. Benson. It was written for the Coronation of King Edward VII and Queen"
"Coronation Ode Coronation Ode, Op. 44 is a work composed by Edward Elgar for soprano, contralto, tenor and bass soloists, chorus and orchestra, with words by A. C. Benson. It was written for the Coronation of King Edward VII and Queen Alexandra in 1902, and dedicated ""by Special Permission, to His Most Gracious Majesty King Edward VII"". But the Coronation was postponed due to the King being ill, so the first performance was not until 2 October 1902 at the Sheffield Festival, by the Sheffield Choir, soloists Agnes Nicholls, Muriel Foster, John Coates and David Ffrangcon Davies, with Elgar conducting."
"the suggestion into his ""Coronation Ode"", for which he asked the poet and essayist A. C. Benson to write the words. The last section of the ""Ode"" uses the march's melody. Due to the King's illness, the coronation was postponed. Elgar created a separate song, which was first performed by Madame Clara Butt in June 1902. In fact, only the first of the seven stanzas of the Ode's final section was re-used, as the first four lines of the second stanza below. This stanza is the part which is popularly sung today. <poem> ""Solo"" ""Chorus"" ""Solo"" ""Chorus"" </poem> The writing"
"and the movement ends in what Reed calls ""the astounding effect of the muted trombones in the last five bars ... like a voice from another world."" The finale begins in D minor with a slow repeat of one of the subsidiary themes of the first movement, showing Elgar in ""one of his most dreamy and mysterious moods."" After the introduction there is a restless allegro, with a succession of themes including an ""impulsive march-rhythm"". In a manner recalling the motivic transformation between the second and third movement, this material is later heard at half speed accompanied by harp arpeggios"
"The Dream of Gerontius The Dream of Gerontius, Op. 38, is a work for voices and orchestra in two parts composed by Edward Elgar in 1900, to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term ""oratorio"" for the work (and the term occurs nowhere in the score), though his wishes are not always followed. The piece is widely regarded as Elgar's finest choral work, and some consider it his masterpiece. The"
"Symphony No. 2 (Elgar) Sir Edward Elgar's Symphony No. 2 in E major, Op. 63, was completed on 28 February 1911 and was premiered at the London Musical Festival at the Queen's Hall by the Queen's Hall Orchestra on 24 May 1911 with the composer conducting. The work, which Elgar called ""the passionate pilgrimage of the soul"", was his last completed symphony; the composition of his Symphony No. 3, begun in 1933, was cut short by his death in 1934. The dedication reads: The more personal nature of this work, however, is clear in a letter to friend and close"
"Salut d'Amour Salut d'Amour (""Liebesgruß""), Op. 12, is a musical work composed by Edward Elgar in 1888, originally written for violin and piano. Elgar finished the piece in July 1888, when he was romantically involved with Caroline Alice Roberts, and he called it """"Liebesgruss"""" ('Love's Greeting') because of Miss Roberts' fluency in German. On their engagement she had already presented him with a poem """"The Wind at Dawn"""" which he set to music and, when he returned home to London on 22 September from a holiday at the house of his friend Dr. Charles Buck in Settle, he gave her"
"Land of Hope and Glory ""Land of Hope and Glory"" is a British patriotic song, with music by Edward Elgar and lyrics by A. C. Benson, written in 1902. The music to which the words of the refrain ""Land of Hope and Glory, &c"" below are set is the ""trio"" theme from Edward Elgar's ""Pomp and Circumstance March No. 1"". The words were fitted to the melody on the suggestion of King Edward VII who told Elgar he thought the melody would make a great song. When Elgar was requested to write a work for the King's coronation, he worked"
"adopted the name humorously for London. The work presents various aspects of turn-of-the-century London and Londoners. It begins with a quiet but bustling theme which leads into an unbroken sequence of snapshots: the cockneys, the church bells, the romantic couples, a slightly ragged brass band (perhaps the Salvation Army) and a contrastingly grand and imperious military band. The broad theme representing Londoners is, Michael Kennedy states, the first occurrence of Elgar’s trademark direction, ""'nobilmente"".'. The work ends in a characteristically Elgarian blaze of orchestral sound, including a full organ. Mindful, perhaps, of the way Elgar brings his themes together at"
"Immortal Legions"", and Laurence Binyon's ""With Proud Thanksgiving"" both set to music by Elgar. For ""The Empire's Thanksgiving"", an ""Anthem of the Sister Nations"" by Laurence Binyon was set to music by Nicholas Gatty, and there was a recitation of ""Recessional"" by Rudyard Kipling set to music by Herbert Bunning. Three movements from Elgar's ""The Crown of India"" were included in the pageant representing ""The Early Days of India"": the Introduction, the March of the Mogul Emperors and the Crown of India March. Pageant of Empire is also the title given to the set of songs, to words by Alfred"
"of the festival, conducted by Elgar, was primarily orchestral, apart for an excerpt from ""Caractacus"" and the complete ""Sea Pictures"" (sung by Clara Butt). The orchestral items were ""Froissart"", the ""Enigma Variations"", ""Cockaigne"", the first two (at that time the only two) ""Pomp and Circumstance"" marches, and the premiere of a new orchestral work, ""In the South"", inspired by a holiday in Italy. Elgar was knighted at Buckingham Palace on 5 July 1904. The following month, he and his family moved to Plâs Gwyn, a large house on the outskirts of Hereford, overlooking the River Wye, where they lived until"
"The Coronation Triumph The Coronation Triumph is a Jacobean era literary work, usually classed as an ""entertainment,"" written by Ben Jonson for the coronation of King James I and performed on 15 March 1604. Jonson's work was half of a total performance, the other half written by Thomas Dekker. The work was especially significant in the developing literary career of Jonson, in that it marked the commencement of his role as a writer of masques and entertainments for the Stuart Court, a role he would fill for the next three decades. The entertainment ""confusingly goes by several names"" – including"
"The Kingdom (Elgar) The Kingdom, Op. 51, is an English-language oratorio composed in 1906 by Edward Elgar. It was first performed at the Birmingham Music Festival on 3 October 1906, with the orchestra conducted by the composer, and soloists Agnes Nicholls, Muriel Foster, John Coates and William Higley. The dedication is """"A. M. D. G."""" Elgar wrote ""The Kingdom"" for choral and instrumental forces. Following ""The Dream of Gerontius"" and ""The Apostles"", the Birmingham Triennial Music Festival commissioned Elgar to produce another large oratorio for the 1906 festival. This was ""The Kingdom"", which continues the narrative of the lives of"
"Pageant of Empire (Elgar) Pageant of Empire is the title given to a set of songs, to words by Alfred Noyes, written by the English composer Sir Edward Elgar and given important positions in the Pageant of Empire at the British Empire Exhibition at Wembley Park. The songs were first performed at the Pageant on 21 July 1924, when they were conducted by the composer. The songs were published by Enoch & Sons. They are: Nos. 1 - 7 are for solo singer with accompaniment. No. 2 """"The Islands"""", No. 5 """"Sailing Westward"""", and three other poems by Noyes: """"Indian"
"Cockaigne (In London Town) Cockaigne (In London Town), Op. 40, also known as the Cockaigne Overture, is a concert overture for full orchestra written by the British composer Edward Elgar in 1900-01. The success of the ""Enigma Variations"" in 1899 was followed by the initial failure of ""The Dream of Gerontius"", which caused Elgar to become dispirited and declare that God was against art. Nevertheless, he received a commission from the Royal Philharmonic Society and began work on a new piece and soon reported that it was ""cheerful and Londony, 'stout and steaky'...honest, healthy, humorous and strong, but not vulgar."""
"final verse, his wish that the sinners (חטא) and wicked (רשע) be ""consumed out of the earth""). In the Masoretic text, the phrase Hallelujah is placed at the end of the final verse. This is lacking in the Septuagint and the Vulgate, but it is rendered by the KJV as ""Praise ye the LORD"". Its main liturgical usage in the Eastern Orthodox Church is at the beginning of vespers (evening prayers) and the all-night vigil. While it is technically one of the elements of the vespers service prescribed for the senior reader (that is, the elder or abbot of a"
"the tone of ""The Spirit of England"" and that of other imperialist Elgar works: ""The conception is grandiose, but not as the ""Pomp and Circumstance"" Marches are. It moves along with no less splendour, but with a more austere deliberation."" The Spirit of England The Spirit of England, Op. 80, is a work for chorus, orchestra, and soprano/tenor soloist in three movements composed by Edward Elgar between 1915 and 1917, setting text from Laurence Binyon's 1914 anthology of poems ""The Winnowing Fan"". The work acts as a requiem for the dead of World War I and is dedicated ""to the"
"The Crown of India The Crown of India, was a masque, an elaborate theatrical presentation, staged in 1912 to celebrate the visit the preceding December of King George V and Queen Mary to Delhi for their coronation as Emperor and Empress of India. For this masque, the English composer Sir Edward Elgar wrote the music as his Op. 66, with a libretto by Henry Hamilton. The masque consisted of two tableaux: 'The Cities of Ind' and 'Ave Imperator!'. The masque was first performed at the Coliseum Theatre in London on 11 March 1912. Elgar composed twelve pieces for contralto, bass,"
"was also performed at the coronation of Queen Elizabeth II in 1953, along with another Coronation March written by Walton, ""Orb and Sceptre"". ""Crown Imperial"" was performed more recently as a recessional piece to the wedding of Prince William and Catherine Middleton on 29 April 2011. The march was criticized as ""unrepresentative of the composer"" and ""frankly a pastiche"" of the ""pomp and circumstance"" style upon its premiere. The association with Sir Edward Elgar's ""Pomp and Circumstance Marches"" has continued, although the work has become popular. Adams, for example, describes it as an homage to Elgar and ""the finest and"
"than ""The Dream of Gerontius"". Some of Elgar's more percipient supporters, including Adrian Boult, consider it his greatest choral work, of more consistent quality than even ""Gerontius"". As Elgar was an amateur chemist, the original manuscript of the work is stained with chemicals from his home laboratory. The Kingdom (Elgar) The Kingdom, Op. 51, is an English-language oratorio composed in 1906 by Edward Elgar. It was first performed at the Birmingham Music Festival on 3 October 1906, with the orchestra conducted by the composer, and soloists Agnes Nicholls, Muriel Foster, John Coates and William Higley. The dedication is """"A. M."
"modified form, for the ""Land of hope and glory"" section of his ""Coronation Ode"" for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem. In the United States, the ""Trio"" section ""Land of Hope and Glory"" of March No. 1 is often known simply as ""Pomp and Circumstance"" or as ""The Graduation March"" and is played as the at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony"
"work for ""too frequent reliance on sequences"" and an over-idealised depiction of the female characters. Reed thought that the principal themes show less distinction than some of Elgar's earlier works. Elgar himself thought ""Falstaff"" the highest point of his purely orchestral work. The major works for voices and orchestra of the twenty-one years of Elgar's middle period are three large-scale works for soloists, chorus and orchestra: ""The Dream of Gerontius"" (1900), and the oratorios ""The Apostles"" (1903) and ""The Kingdom"" (1906); and two shorter odes, the ""Coronation Ode"" (1902) and ""The Music Makers"" (1912). The first of the odes, as"
"turns to Malcolm, hailing him as King. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women (""Salve, o re!""/ ""Hail, oh King!). Malcolm as King, and Macduff as hero, together swear to restore the realm to greatness. Baldini's analysis of the structure of the score in relation to the drama (and the comparison between the two versions) is highly detailed and worthy of examination. He notes that it is not always the 1865 material which is better or more suited than that from 1847. Writing in the ""Grove Dictionary"", musicologist Roger Parker sees the"
"a single work: ""The Kingdom"" was first conceived as the last part of ""The Apostles"", but later Elgar considered them as the first two parts of a trilogy. In any case, the projected third part, ""The Last Judgement"", never got further than a few sketches which Elgar produced sporadically until 1920. The German translation and the German premiere were both the work of the conductor Julius Buths. ""The Apostles"" is written for a large orchestra, of typical late Romantic proportions, with the addition of a shofar (usually substituted by a more conventional instrument, such as a flugelhorn), which announces the"
"published in a piano-vocal version by Elgar's friend Hugh Blair. The remaining orchestral parts were destroyed in the 1960s. In 2007 the Elgar Society commissioned the composer Anthony Payne to complete the orchestration of the music for ""The Crown of India"". Payne is to ""complete the scoring of the piano-vocal version and combining this, where appropriate, with the orchestral suite and march."" A fine recording exists as part of The Great British Collection. Douglas Bostock conducts The Munich Symphony Orchestra. The Crown of India The Crown of India, was a masque, an elaborate theatrical presentation, staged in 1912 to celebrate"
"and Glory"", already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune. Elgar's other compositions during the war included incidental music for a children's play, ""The Starlight Express"" (1915); a ballet, ""The Sanguine Fan"" (1917); and ""The Spirit of England"" (1915–17, to poems by Laurence Binyon), three choral settings very different in character from the romantic patriotism of his earlier years. His last large-scale composition of the war years was ""The Fringes of the Fleet"", settings of verses by Rudyard Kipling, performed with great popular success around the country,"
"they dance, the little flowers in her hair mysteriously die. Later, noticing the paleness of the king's two children, the guest offers 'healing' wine to them, who collapse and die soon after drinking the poison. The old king begs the knight to kill him as he has nothing left to live for, but he refuses. Music writer Diana McVeagh observes that there seems to be no moral cause or explanation for the gratuitous evil of the stranger. Elgar described the work as a 'symphony for chorus and orchestra', though the publishers, Novello, described it as a cantata. The four scenes"
"a ""pièce d'occasion"", has rarely been revived after its initial success, with the culminating ""Land of Hope and Glory"". The second is, for Elgar, unusual in that it contains several quotations from his earlier works, as Richard Strauss quoted himself in ""Ein Heldenleben"". The choral works were all successful, although the first, ""Gerontius"", was and remains the best-loved and most performed. On the manuscript Elgar wrote, quoting John Ruskin, ""This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another. My life was as the vapour, and is not; but this"
"conducted by Henry J. Wood, who later wrote that the audience ""rose and yelled ... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore."" To mark the coronation of Edward VII, Elgar was commissioned to set A. C. Benson's ""Coronation Ode"" for a gala concert at the Royal Opera House in June 1901. The approval of the king was confirmed, and Elgar began work. The contralto Clara Butt had persuaded him that the trio of the first ""Pomp and Circumstance"" march could have words fitted to it, and"
"graduation ceremonies. It is played as a processional or recessional. During ceremonies for larger schools this piece is played repeatedly. It may be played for as long as the graduates are walking, which can be longer than some symphonies. Professional wrestler, ""Macho Man"" Randy Savage was famed for using ""Land of Hope and Glory"" as his entrance music. Land of Hope and Glory ""Land of Hope and Glory"" is a British patriotic song, with music by Edward Elgar and lyrics by A. C. Benson, written in 1902. The music to which the words of the refrain ""Land of Hope and"
"Pomp and Circumstance Marches The Pomp and Circumstance Marches (full title ""Pomp and Circumstance Military Marches""), Op. 39, are a series of marches for orchestra composed by Sir Edward Elgar. They include some of Elgar's best-known compositions. The title is taken from Act III, Scene 3 of Shakespeare's ""Othello"": <poem>Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th'ear-piercing fife, The royal banner, and all quality, Pride, ""pomp, and circumstance"" of glorious war!</poem> But also, on the score of the first march, Elgar set as a motto for the whole set of marches a verse from Lord de"
"the climax of the piece, both Bernard Shaw and W. H. ""Billy"" Reed compared the work to Richard Wagner's ""Die Meistersinger von Nürnberg"" Prelude, which culminates in the combination of several themes. Shaw, in a long article on Elgar in 1920, wrote: Reed wrote: ""Cockaigne"" is well represented on record. Elgar himself recorded it twice (in 1926 and 1933). Recordings available or recently available in January 2007 included: Cockaigne (In London Town) Cockaigne (In London Town), Op. 40, also known as the Cockaigne Overture, is a concert overture for full orchestra written by the British composer Edward Elgar in 1900-01."
"escorted by him. They leave. Don Pedro, who plans, together with his accomplices, to usurp Elvira's throne, now appears. Their trio turns into a bacchanal (""Wine, wine, the magician thou art""). Elvira, still in disguise, reappears, and the conspirators, noticing that she closely resembles the Queen, persuade her to impersonate her real self. Knowing that ""Manuel"" will follow her, she agrees to leave with them, and her rondo (""Oh, were I the Queen of Spain"") leads into a concerted finale. ""The throne-room in Elvira's palace"" Don Pedro's followers sing the chorus ""The Queen in the palace"". Pedro plans to capture"