S N O I l V S I A O C I d W I O N V I d 3 A I : I

PREFACE
Although apparently professing a dislike for the
instrument, Elgar used the piano extensively when
composing, and would expand and elaborate his
ideas through improvisation at the keyb()ard. The must
notable instance of this was the genesis of the Elligllhl
I:mJlIOIIS, when Elgar improvbed several of the \'arimions
in one ewning to his wife Alice. He was no \'irtuoso;
he played in an idiosyncratic, orchestral manner, ljuitl'
unlike 'acceptable' pianism, but nonetheless effectlW
enough for the thorough exploration (Ifnew ideas,
.\lore than any of his contemporaries, Elgar
embraced the new possibilities in recorded sound, and
from 1 q 14 he enthusiastically cond ucted mam' of his
own works for record, The nineteen-twenties sav,' n:ry
little compositional activity from and it may be
that the recorded piano improvisations \\'ere an
attempt to use the recording process to stimulate
progress on ncw wnrk. In a recording session in the
Small Queen's Hall, London, on 6th Kovember 1929,
Elgar improvised five pieces at the piano, each around
.f'. minutes in length (restricted by the typical length
of one side of a if) r.p,m, record). These recordings lay
unheard for manv years, until their first n::lease in
1qi"); they offer fascinating insights into Elgar's
working process and pianism,
Elgar opens his first impnwisation with a melody
fWl11 the ballet in the first act of Rossini's H"iflicl!ll 1al.
\X'hile remaining faithful to the melody, he drastically
"lc,\\,s the original tempo, and 're-orchestrates' with
rich harmony in spread chords. After an extemporised
opening, the second improvisation incnrporates a
noble melody derived from Fa{l' 's D/sc'(lllrtl';,Y, a song
fwm Elgar's 1917 wartime Kipling setting, The' Fringe'S
i't {IIC Fle'd. Perhaps Elgar's subseljuent disillusion-
ment \\'ith that era and its empty optimism is felt \\'ith
the sombre minor key ending, The most technically
demanding and brilliant impwvisation is the third,
Out of the opening four chords, Elgar presents a
theme, with busih' \vea\'ing CilnllnatlC
"calcs. This is repeated in numerous keys and
\\'ith ease, suggesting the material was well kno\\'n to
Elgar. Similarly, the bulk of the fourth imprm'isation
was probably well established in ad\-;mcc, as Elgar
wrote this out as the slow movement ttlr his neYer-
completed Piano Concerto. It is Elgar's lighter-music
\'(:111 at its very best, with an attractive lilting
ljuality, I The fifth improvisation is the most profound
of the set, with wistful falling melodies and tender
harmonie" Itis unclear how much of the material is
completely imprm'ised, but the piece is by far the most
poignant and nostalgic of the tl\'e, Its closing A? major
melody is possibly a distant echo of the opening of the
First Symphony, written over twenty years earlier.
In transcribing these imprmisatinns I needed tn
"trIke a balance between an 'accurate', detailed
transcription and an accessible score from which to
play. Se\'eral difficulties were encnuntered when
transcribing thc works, The poor sound ljualitv of the
recordings, along with Elgar\ extensive usc of the
pedal, often made the pinpointing of exact detail
difficult. Both in terms of rhythm and tempo, Elgar's
planng IS exceptionally free, causing uncertainty over
a preCISl' rhythmic layout, and his exuberant
performance contains '.ome obvious inaccuracies. The
improvisations do not bear the structural perfectiun of
Elgar's \\Titten works, and the question arose of whether
to adjust the material t() build more rigorous forms,
A score that attempted to document exactly all of
Elgar's tigurarions, pedalling and rubato \vl1uld be
c(}nfusing and dogmatic. Thus, my priority in notation
\\'as to create a clear text that is akin to any other
\vork, In nrdcr to overcome the difficulties presented
by the recording and to obtain the most accurate
representation of Elgar's performancc, I listened to the
improvisations many times, notating the music at the
piam) as I heard it, and playing simultaneously with
the recording once it was \\'ritten down. Despite the
lack of clarity and Elgar's occasional inaccuracies, the
harmonic and melodic outlines of each could be
easily established, as Elgar repeats much of hIS
thematic material. These rcpetitions allowed an 'ideal'
\'ersion of each themc to be notated and used for anal-
ogous places in each piece. For example, the principal
theme of the third improvisation is rarely played in a
'correct' manner, as Elgar prefers to blur the sound
and smudge the detail. Rather than attempting to
reproduce Elgar's more approximate rendering, I
decided to notate precise chromatic scales for each
appearance ofthe theme, in keeping with the rondo
and Elgar's style.
\X'here Elgar uses inner arpeggios to 'fill in' the
suund, I ha\'e notated these in a precise but
straightforward manner. Rhythms \vith the potential
for written complexity, I tidied to an extent, \\'hile
retaining some of the capriciousness of the original to
avoid stiffness. An example of this approach can be
found in bar 4 of the first improvisation, where Elgar
consistently appears to play the theme in the following
manncr:

<Y2lJ
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j B"Dli
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After some consideration, I decided to rctain Rossini's
original rhythm, taking the rhythmic distortiun to be
Elgar's uniljue use of rubato. Tn highlight thi ...
rhythmic elasticity, there is a judicious use of tcnut(l
markings and tempo indications throughout the score.
The ... light subtleties of rubato are not specified,
the performer free tll produce an individual
interpretation, .'v1etronnme marks give a basic tempo
guide, but these rarely hold for more than a bar's
kngth as tempos constantly fluctuate,
..
Elgar U'>l'O the ped31 generomly, clothing the .,(lund
m warmth and Gi\'en that I.Ten piano
ell'mand" an indi\'idual apprtl<lch, and Elgar\;
pedalling i., often erratic, I have nnt ilntated hi, pedal
dlange-.;, allowing the performer cnmpkte tkxibilit\,
Although often self-evident, mme pedal is better than
k-.;,,_ and Elgar\.. recording is the ideal guidl.',
Finallv, rather than making alw 'impw\-cmenh' to
thl.' work, I ha\'e retained Elgar's own harmonic and
"tructural ;.,olutions, true to the im].1fm'j;.,atnry nature
of rIll' original. Obvious bkmishes ha\'\.' been
deliberately polished, all within the Eigarian "tde.
without :-,acrificing the occasional moment of
harmonic SpICe, The inaccuracies and ambiguities an:
extel1"i\'e, and to annotate each would kad to an
owr-complex score with abundant footnotes, Thus,
the "core i" my own realisatitm of Elgar\ performance.
acting as the basis for a much freer readmg than the
tixed notation might suggest. \X'Ith the luxun' of
fore<.;ight that the completed "core oilers, it is
possible to give different interprcration;., of
impl\l\'isations, perhaps highlighting negkcted themes
or \'arying the pace of the "verall "tructure;."
Elgar composed only around a dozen work;., for
plano, mosth' miniature;., (except tfll.' suh"tantial
Concert Allegro). and thesl' five tran;.,crihed
improvisations arc therdtlre a con"iderable addition ttl
"lender repertoire, They ean he performed as a
group, individually or in different comhmations, and
arc easy to programme in any piano recital. \X'hile the
performer i" certainly urged to im'estigate the original
recordings, and \\hat they might re\'eal through
repealed hearings, it is hoped that these rranscriptium
will inspire pianisb to find their own 111
interpreting and recreating Elgar\ impru\'isations,
/,1111 hIlTlll!.;IOIl' ]()()5
l-:l[\\\'I1IL'nt III ,I hrn:\d
:n1i'f'( l\'h<Hlnn,
FURTHER
recorded improvisations arc a\'ailabk on E'\H
7243 '5 R5153 2 4,
Robert \Valker's realisation of the Elgar Piano
Concerto is available from Dutton Laboratories
(CDLX 71JR1, performed Da\'id Owen
(piano) and the BBC Concert Orchestra conducted
by David Lloyd-Jones,
David Owen .\forris has aiso recorded the Elgar
improvisations, playing by car rather than set nutation,
This is available on Elgar Editilll1S EECD002,
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ISBN 1-84609-604-'
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9 781846
1 978-1-84 6J9-604-