Forecast of a Remarkable Composition.

New Zealand Graphic, Volume XLV, Issue 21, 23 November 1910, Page 16

Forecast of a Remarkable Composition.

ELGAR’S VIOLIN CONCERTO.

By

“MUSICAL”

in the “London Daily Telegraph.”

L 7 |T SHORT two years ago the Bri? / I tish musical world was stirred into a condition of ferment by the news that Sir Edward Elgar, acting on Hans Richter’s advice or suggestion, had composed a symphony. We all know now what that implied—* Elgar, “composer to his majesty the people,” had applied the ability which the gods had given him to the creation of a work in the largest and moot important form of purely orchestral music. We all know now the result, how Elgar’s first symphony created furore in the Free Trade Hall at Manchester in December two years ago, how three days later its effect was no leas great when Richter introduced it to as many enthusiasts as Queen’s Hall could hold, and how- for a- twelvemonth the English master’s latest work went the round of the chief concert-roonus of England and of Europe in genera], and was even taken on tour, as it were, by one of the most brilliant native conductors England has ever produced. For some time the admirers of “The Dream of Gerontius” had looked forward to the fulfilment of their desire that Elgar would devote, his gifts to another purely orchestral work. Neither “The Apostles” nor “The Kingdom” had caused a wavering in their faith, but all wanted a successor to the “Enigma Variations.” Rumour was busy that a new orchestral work was on the stocks, and in the making. And for once Tumour was right, as all knew it was who were a little behind the scenes. The symphony came, and its success was greater than that achieved, I imagine, by any work in the same form in any country. Has any British symphony previously been publicly performed a hundred times in a t wel vemonth ? The triumph of the Symphony led, many of us to hope for a successor, and though this is not the moment to speak of Elgar’s second Symphony—l may, perhaps, be permitted to state that it is to be produced, let us say. within the .memory of living man! —it is the. place to say something of Elgar’s new “Violin ' Concerto.” Elgar occupies a position in the wider musical world now that of necessity lends an importance to hit compositions as they issue from his pen. It is therefore a matter of first-rate interest that his “Violin Concerto,” now printed by Messrs. Novello. is to be played by Fritz Kreisler at the first two —mark the two—concerts of our nonageranian Philharmonic Society, the com-, poser himself conducting at least on the occasion of the production. An Interesting Rehearsal. In course of my recent travels to the provincial music festivals, I was privileged to hear a particularly thorough rehearsal of the concerto, with pianoforte accompaniment only. This, however, occurred after a prolonged and most enthusiastic description of the work, its main points, its many beauties, and the rest, had been given to me by the eminent violinist who is to introduce the concerto to the world. Frankly, I have never seen a keener -enthusiasm in one musician for the music of another than Kreisler showed for Elgar’s concerto;

but this by the way. The concerto is in what are described usually as the orthodox three movements, two in more or less quick tempo, the middle movement being an Andante of surpassing loveliness. The key is, I suppose, B minor, but, to the best of my recollection, the opening Allegro is in D, the Andante in B flat, and the finale in B minor—more or less. The orchestra is small—small, that is, for these exuberant days—such extraneous instruments as the doublebassoon and the ituba being marked ad lib. The strings are as usual; of the wood wind there are two of each instrument of the quartet, four horns, two trumpets, and three trombones, with drums. Writing from recollection, I can recall the splendid vigour and nobility of the first movement—to my mind, and after a first hearing only, a very remarkable and truly great piece of music—the eharm and grace of the Andante, which has a peculiarly fascinating and simple introduction; and, again, the manly vigour and the rich solidity of th# Finale. In this last movement, by the bye, is a cadenza which has characteristics entirely its own. Two-thirds or so of it are accompanied, if my memory has not deceived me, by muted strings, which are, as it were, thrummed, horns, and a drum-roll. At the moment of hearing this I recollect imagining that, as on a very hot summer day one may see the heat rising over a meadow, the very air glowing, so in the mind’s eye one" can see a similar atmospheric glow in the accompaniment to this cadenza. There was nothing definite in the accompaniment, merely a shimmer, as it were, of light. To attempt to criticise a work of such importance from the hearing vouchsafed me would be an impertinence. But, frankly, I believe that Elgar has succeeded in a very high degree in revivifying the once moribund concerto form, and I believe that that will be the universal verdict when it is performed. The music is thoroughly characteristic of the composer of the first symphony; it is permeated -with his individuality, and, indeed, it reflects now and then, if only idiomatically, the spirit of the symphony. Melodically’ it has many a moment of sheer loveliness —my mind goes back to an exquisite little episode in the first movement, and I have been haunted for a month by the song-like theme of the Andante. Of the scoring lam not com- . petent to speak, since I have neither seen nor heard the score otherwise than in its pianoforte guise. But since Elgar is a past-master in the art of orchestration there need be no doubt in the matter. The day of its production is likely to prove to be a date of rare 'historic - importance in modem British music, for we shall obtain then the reply to the question so often asked-—ls this the ■long-awaited master-work, |the (fourth violin Concerto in the literature of music?