After Alice's death, Elgar wrote, "The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C. In these notes Elgar's words are quoted from his posthumous publication My Friends Pictured Within which draws on the notes he provided for the Aeolian Company's pianola rolls edition of the Variations.
Hew David Steuart-Powell. Elgar wrote, "Hew David Steuart-Powell was a well-known amateur pianist and a great player of chamber music. He was associated with B. His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata , but chromatic beyond H. Richard Baxter Townshend, Oxford don and author of the Tenderfoot series of books; brother-in-law of the W.
This variation references R. William Meath Baker , squire of Hasfield , Gloucestershire and benefactor of several public buildings in Fenton , Stoke-on-Trent , brother-in-law of R. He "expressed himself somewhat energetically".
This is the shortest of the variations. Richard Penrose Arnold, the son of the poet Matthew Arnold , and an amateur pianist. This variation leads into the next without pause. Isabel Fitton, a viola pupil of Elgar. Elgar explained, "It may be noticed that the opening bar, a phrase made use of throughout the variation, is an 'exercise' for crossing the strings — a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement.
Arthur Troyte Griffith, a Malvern architect and one of Elgar's firmest friends. The variation, with a time signature of 1 1 , good-naturedly mimics his enthusiastic incompetence on the piano. It may also refer to an occasion when Griffith and Elgar were out walking and got caught in a thunderstorm. The pair took refuge in the house of Winifred and Florence Norbury Sherridge, Leigh Sinton, near Malvern , to which the next variation refers. Winifred Norbury, one of the secretaries of the Worcester Philharmonic Society. The gracious personalities of the ladies are sedately shown.
Augustus J. He was a close friend of Elgar's, giving him useful advice but also severe criticism, something Elgar greatly appreciated. Elgar later related how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. In Elgar told Dora Penny "Dorabella" that this variation is not really a portrait, but "the story of something that happened". He referred to Ludwig van Beethoven , who had a lot of worries, but wrote more and more beautiful music.
Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. Only a hint, not a quotation. This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. A version was also played during the Hong Kong handover ceremony in and at the opening ceremony of the London Olympic Games. An adaptation of the piece appears at the ending of the film Dunkirk as part of the score. Dora Penny, a friend whose stutter is gently parodied by the woodwinds.
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Dora, later Mrs. She was the recipient of another of Elgar's enigmas, the so-called Dorabella Cipher. This variation features a melody for solo viola. George Robertson Sinclair , the energetic organist of Hereford Cathedral.
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In the words of Elgar: "The variation, however, has nothing to do with organs or cathedrals, or, except remotely, with G. The first few bars were suggested by his great bulldog, Dan a well-known character falling down the steep bank into the River Wye bar 1 ; his paddling upstream to find a landing place bars 2 and 3 ; and his rejoicing bark on landing second half of bar 5.
I did; here it is. Basil George Nevinson, an accomplished amateur cellist who played chamber music with Elgar. The variation is introduced and concluded by a solo cello. The drums suggest the distant throb of the engines of a liner, over which the clarinet quotes a phrase from Mendelssohn's Calm Sea and Prosperous Voyage. Elgar may have withheld Lady Mary's initials because of superstition surrounding the number 13,  or he may have felt uneasy about publicly associating the name of a prominent local figure with music that had taken on a powerful emotional intensity.
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Elgar himself, nicknamed Edu by his wife, from the German Eduard. The themes from two variations are echoed: "Nimrod" and "C. Elgar called these references "entirely fitting to the intention of the piece". The original version of this variation is nearly bars shorter than the one now usually played. In July , one month after the original version was finished Jaeger urged Elgar to make the variation a little longer. After some cajoling Elgar agreed, and also added an organ part.
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The new version was played for the first time at the Worcester Three Choirs Festival , with Elgar himself conducting, on 13 September The word "Enigma", serving as a title for the theme of the Variations , was added to the score at a late stage, after the manuscript had been delivered to the publisher.
Despite a series of hints provided by Elgar, the precise nature of the implied puzzle remains unknown. Confirmation that Enigma is the name of the theme is provided by Elgar's programme note " Enigma, for so the theme is called"  and in a letter to Jaeger dated 30 June he associates this name specifically with what he calls the "principal motive" — the G minor theme heard in the work's opening bars, which perhaps significantly is terminated by a double bar. Elgar's first public pronouncement on the Enigma appeared in Charles A.
Barry's programme note for the first performance of the Variations :. The Enigma I will not explain — its "dark saying" must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme "goes", but is not played.
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There were thus two planning committees at work at any given time, as one was preparing the next conference and the other was concluding the preceding one. Materials relating to the planning, logistics, finances, etc. In the case of ITG annual conference, this series contains documents relating to events occurring during the actual dates of the conferences, such as conference programs, posters, recital programs, copies of lectures and other presentations, some photographs, artist bios, etc.
Materials relating to the planning and logistics of the annual conferences of the ITG are filed in Series 6 — Committees - Planning. Most photographs and slides are filed in Series 8 -- Photographs. Materials relating to non-ITG conferences and events are filed after the ITG annual conferences, and are filed alphabetically by name of event, and chronologically thereunder. International Trumpet Guild Annual Conferences. The ITG was formed during this meeting.