|Elgar: Cello Concerto in e minor, Op 85||Composer||1918-1919|
|Elgar: Pomp and Circumstance Marches, Op. 39||Composer||1901-1930|
|Elgar: Salut d'Amour (Liebesgruss), violin and piano, Op. 12||Composer||1888|
|Elgar: Variations on an Original Theme 'Enigma', Op.36||Composer||1899|
|Elgar: Cockaigne (In London Town) , Op.40||Composer||1901|
|Elgar: Serenade for String Orchestra, Op.20||Composer||1888-1892|
|Elgar: Symphony No. 2 in E-flat Major, Op. 63||Composer||1909-1911|
|Elgar: Violin concerto in B minor, Op.61||Composer||1905-1910|
|Elgar: The Dream of Gerontius, Op.38||Composer||899-1900|
|Elgar: Introduction and Allegro, Op.47||Composer||1905|
|Elgar: Symphony No.3, Op.88||Composer||1933-1934|
|Elgar: Symphony No.1 in A flat, Op.66||Composer||1907-1908|
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music remains more played in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the microphone in 1925 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.
One of the pre-eminent musical figures of his time, Edward William Elgar (1857-1934) bridged the nineteenth and twentieth centuries as the finest English composer since the days of Handel and Purcell. Elgar's father owned a music shop and was a church organist who taught his son piano, organ, and violin; apart from this instruction, Elgar was basically self-taught as a musician. At the age of 16, the composer became a freelance musician and for the remainder of his life never took a permanent job. He conducted locally, performed, taught, and composed, scraping by until his marriage to Caroline Alice Roberts, a published novelist of some wealth, in 1889.
Elgar had by this time achieved only limited recognition. He and his wife moved to London, where he scarcely fared better in advancing his career. They couple eventually retreated to Worcester, Elgar suffering from bitter self-doubt and depression. Alice stood by him the entire time, her unfailing confidence restoring his spirits. He was further buoyed by the success of his Imperial March, Op. 32, which earned him a publisher and a vital friendship with August Jaeger, his editor and confidant. In 1899, Elgar composed one of his best-known works, the "Enigma" Variations, Op. 36, which catapulted him to fame. The work is a cryptic tribute to Alice and to the many friends who stood behind the composer in the shaky early days of his career. German conductor Hans Richter proclaimed it a masterpiece, and his performances of the work in Britain and Germany established the composer's lasting success.
Elgar's most fruitful period was the first decade of the twentieth century, during which he wrote some of his noblest, most expressive music, including the Symphony No. 1 in A flat major, Op. 55 (1907-1908), and the Violin Concerto in B minor, Op. 61 (1909-1910). His best-known works from this period, however, are the first four of his Pomp and Circumstance Marches (1901-1907); the first of these, subtitled "Land of Hope and Glory," became an unofficial second national anthem for the British Empire.
Elgar suffered a blow when Jaeger (the "Nimrod" of the "Enigma" Variations) died in 1909. The composer's productivity dropped, and the horrors of World War I deepened his melancholy outlook. His music became more intimate, even anguished; still, he wrote some of his best chamber music during this period, as well as the masterly Cello Concerto in E minor, Op. 85 (1919), whose deep feeling of sadness and impending loss surely relates to the final illness of his faithful Alice, who died in 1920.
For some time after that, he wrote little of significance but made a historic foray into the recording studios when new electrical recording processes were developed; the fortunate result was a number of masterly interpretations of his own orchestral music that have survived for posterity. In the early '30s, Elgar set to work on a third symphony, left unfinished at his death in 1934. The work was brought to a generally well-received realization by Anthony Payne in the late '90s and was subsequently recorded.