Lockdown Listening #8: Elgar - Enigma Variations
Hello again. This week is Elgar’s Enigma Variations. Here we have a theme and variations but with a difference, as the composer himself stated that there is a secret theme around which we hear variations, but which we never actually hear itself. People have theorised about what this could be - another theme by him, or another well-known piece of music, perhaps? What we do know, though, is that each variation is a representation either for or about somebody that he knew or was close to, which I think is a lovely idea.
BRONZE
As each variation is about a person, pick 5 variations (sections of the music) and write a few sentences about the characteristics of the person each section is about (what the people might have been like).
Do you think this piece of music is completely serious all the way through?
See if you can spot the variation that is about a dog. What gives it away?
If you could choose one of your friends or somebody that you know to write some music about, what would the music sound like?
How might you describe the style of the final variation?
SILVER
What era of composition would you say this music belonged to in terms of its feel/spirit? Would this be what you expect from its year of composition?
‘The audience should not clap between variations/movements’ - to what extent do you agree?
Find out which piece by Mendelssohn is quoted in movement XIII - why do you think Elgar uses it here?
Pick 3 variations and write a paragraph about each detailing the ways the composer has altered the theme.
What about the ‘Nimrod’ variation feels significant? List some musical features.
GOLD
‘Nimrod’ - named after a mighty biblical character - is in Eb major. Which other famous pieces about ‘mighty’ characters written before these variations are also in Eb major, and why do you think this connection might have been made?
Write your own variation on Elgar’s original theme to depict somebody you know - either personally or somebody famous that you think might suit it.
To what extent do you think that the titular ‘Enigma’ needs to be solved by the listener?
Write a detailed structure map of the final movement - considering the different sections and the versions of different themes that they use.
How does Elgar use dynamics throughout the piece as a means of creating variation?