Edward Elgar and his world

426 Pages·2007·1.92 MB·English

by  Elgar

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EDWARD ELGAR AND HIS WORLD
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OTHER PRINCETON UNIVERSITY PRESS VOLUMES PUBLISHED
IN CONJUNCTION WITH THE BARD MUSIC FESTIVAL
Brahms and His World
edited by Walter Frisch (1990)
Mendelssohn and His World
edited by R. Larry Todd (1991)
Richard Strauss and His World
edited by Bryan Gilliam (1992)
Dvoˇrák and His World
edited by Michael Beckerman (1993)
Schumann and His World
edited by R. Larry Todd (1994)
Bartók and His World
edited by Peter Laki (1995)
Charles Ives and His World
edited by J. Peter Burkholder (1996)
Haydn and His World
edited by Elaine R. Sisman (1997)
Tchaikovsky and His World
edited by Leslie Kearney (1998)
Schoenberg and His World
edited by Walter Frisch (1999)
Beethoven and His World
edited by Scott Burnham and Michael P. Steinberg (2000)
Debussy and His World
edited by Jane F. Fulcher (2001)
Mahler and His World
edited by Karen Painter (2002)
Janáˇcek and His World
edited by Michael Beckerman (2003)
Shostakovich and His World
edited by Laurel E. Fay (2004)
Aaron Copland and His World
edited by Carol J.Oja and Judith Tick (2005)
Franz Liszt and His World
edited by Christopher H. Gibbs and Dana Gooley (2006)
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Edward Elgar
and His World
EDITED BY BYRON ADAMS
PRINCETON UNIVERSITY PRESS
PRINCETON AND OXFORD
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Copyright © 2007 by Princeton University Press
Published by Princeton University Press, 41 William Street,
Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press,
3 Market Place, Woodstock, Oxfordshire OX20 1SY
All Rights Reserved
For permissions information, see page xi.
Library of Congress Control Number 2007924749
ISBN-13: 978-0-691-13445-1 (cloth)
ISBN-13: 978-0-691-13446-8 (paperback)
British Library Cataloging-in-Publication Data is available
This publication has been produced by the Bard College Publications Office:
Ginger Shore, Director
Mary Smith, Cover design
Natalie Kelly, Design
Text edited by Paul De Angelis and Erin Clermont
Music typeset by Don Giller
This publication has been underwritten in part by a grant from
Furthermore: a program of the J. M. Kaplan Fund.
Printed on acid-free paper. ∞
press.princeton.edu
Printed in the United States of America
1 3 5 7 9 10 8 6 4 2
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To the memory of William W. Austin
Scholar, Musician, and Teacher
This, then, is the message, which, knowing no more as I unfolded
the scroll of it, what next would be written there, than a blade of
grass knows what the form of its fruit shall be, I have been led on
year by year to speak, even to this its end.
—John Ruskin, Fors Clavigera, June 1877
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Contents
Acknowledgments ix
Permissions xi
Of Worcester and London: An Introduction xiii
BYRON ADAMS
PART I
WORCESTER
Measure of a Man: Catechizing Elgar’s Catholic Avatars 3
CHARLES EDWARD MCGUIRE
Elgar the Escapist? 39
MATTHEW RILEY
Elgar and the Persistence of Memory 59
BYRON ADAMS
“The Spirit-Stirring Drum”: Elgar and Populism 97
DANIEL M. GRIMLEY
PART II
DOCUMENTS
Early Reviews of The Apostles in British Periodicals 127
SELECTED, INTRODUCED, ANDANNOTATEDBYAIDANJ.THOMSON
Charles Sanford Terry and Elgar’s Violin Concerto 173
TRANSCRIBEDANDINTRODUCEDBYALISONI. SHIEL
PART III
LONDON
Elgar’s Critical Critics 193
AIDAN J.THOMSON
Elgar and the Salons: The Significance of a Private Musical World 223
SOPHIE FULLER
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CONTENTS
Elgar and the British Raj: Can the Mughals March? 249
NALINI GHUMAN
Working the Crowd: Elgar, Class, and Reformulations
of Popular Culture at the Turn of the Twentieth Century 287
DEBORAH HECKERT
Elgar’s War Requiem 317
RACHEL COWGILL
PART IV
SUMMATION
Transcending the Enigmas of Biography:
The Cultural Context of Sir Edward Elgar’s Career 365
LEON BOTSTEIN
Index 409
Notes on the Contributors 423
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Acknowledgments
First and foremost, I must thank Leon Botstein, whose leadership of the
Bard Music Festival is masterful; indeed, this series is the direct result of
his vision. I am grateful for the support of Irene Zedlacher and indebted
to the encouragement proffered by Christopher H. Gibbs. As with all the
volumes in this series, the production schedule for Edward Elgar and His
Worldcame with inviolable deadlines, and so I must express my gratitude
to the fine scholars who have contributed to this volume. All the con-
tributors have been cooperative, alert, erudite, and much to my relief,
good-humored. I commend my editorial assistant, Eric N. Peterson, for
his alacrity, meticulousness, and willingness to work through the night if
necessary. I offer thanks to my student Brennon Bortz, who patiently ini-
tiated me into the mysteries of editing at the computer. I am grateful to
Lauren Cowdery for her tactful but expert advice. I owe a debt of grati-
tude to Gary Mick, Brett Banducci, and, especially, Marcus Desmond
Harmon, all of whom helped me to correct the proofs. It has been a privi-
lege to work with Paul De Angelis and Natalie Kelly, and with Ginger
Shore of the Bard Publications Office, as well as with that paragon of
copy editors, Erin Clermont.
Among the many archives consulted by the contributors to this vol-
ume, I want especially to acknowledge the British Library, the Bodleian
Library at Oxford, The Worcester County Records Office, the Faculty of
Music Library at Oxford, and the Elgar Birthplace Museum; thanks to
other such institutions are scattered throughout. I thank the Academic
Senate of the University of California, Riverside, for their practical
support of this project, as well as my colleagues and students in the
Department of Music who have assisted me in innumerable ways.
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