"It is the glory of God to conceal a matter; to search out a matter is the glory of kings."
On numerous occasions Elgar explained his Enigma Variations are based on an unstated Principal theme. In a letter quoted in the original program note for the 1899 premiere, he said:
It is true that I have sketched for their amusement and mine, the idiosyncrasies of fourteen of my friends, not necessarily musicians; but this is a personal matter, and need not have been mentioned publicly. The Variations should stand simply as a ‘piece’ of music. The Enigma I will not explain – it’s ‘dark saying’ must be left unguessed, and I warn you that the connexion between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes’, but is not played…So the principal Theme never appears, even as in some later dramas – e.g., Maeterlinck’s ‘L’Intruse’ and ‘Les sept Princesses’ – the chief character is never on the stage.[1]
The language is unambiguous, specifying “through and over the whole set another and larger theme ‘goes’ but is not played”, and “the principal Theme never appears.” The context could not be more straightforward as the word Theme is capitalized and refers to a musical rather than symbolic or metaphorical subject. This was after all a program note for a symphonic performance, not a poetry reading or sedate college lecture on literary symbolism. Instead of calling the opening melody the Theme, Elgar deliberately labels it Enigma to capture the mystery of the missing Principal theme. Any alleged vagueness on this point is quashed by interviews Elgar granted following the 1899 premiere. The following year he was questioned by the editor of The Musical Times, F.G. Edwards, for a biographical article that appeared in the October 1900 issue. Concerning the Enigma Variations Edwards reported:
In connection with these much discussed Variations, Mr. Elgar tells us that the heading ‘Enigma’ is justified by the fact that it is possible to add another phrase, which is quite familiar, above the original theme that he has written. What that theme is no one knows except the composer. Thereby hangs the ‘Enigma.’[2]
In this context the terms phrase and theme are used interchangeably, again both referring to a melody that may be added above the original Enigma theme. This observation dovetails precisely with the original program note stating “through and over the whole set another and larger theme ‘goes’, but is not played…” Only a musical theme can be played, something inconceivable with a symbolic or metaphorical one. The article was closely vetted by Elgar and his wife prior to publication, so the language could not be more direct or deliberate.
There is even further evidence verifying the existence of the melodic enigma from no less of a source than Elgar’s first biographer. Robert J. Buckley closely collaborated with the composer to produce an intriguing biography in 1905. As the music critic for The Birmingham News, he first met Elgar in 1896 and knew him for almost a decade prior to publication.[3] In the introduction he confidently declares:
Whatever this book states as fact may be accepted as such. The sayings of Elgar are recorded in the actual words addressed directly to the writer, and upon these I rely to give to the book an interest it would not otherwise possess.[4]
On the subject of the Enigma Variations he writes:
The ‘Enigma’ orchestral-piece is Op. 36. What the solution of the ‘Enigma’ may be, nobody but the composer knows. The theme is a counterpoint on some well-known melody which is never heard, the variations are the theme seen through the personalities of friends, with an intermezzo and a coda, the last added at the request of friends aided and abetted by Dr. Richter, who accepted the work on its merits, having received the score in Vienna from his agent in London, and who at the time had not met with the composer.”[5]
Based on three primary sources – the 1899 program note, the 1900 interview in The Musical Times, and the 1905 biography – four facts concerning the Enigma Variations are known with absolute certainty:
1. The Enigma theme is a counterpoint to the Principal theme.
2. The Principal theme is not heard.
3. The Principal Theme is a melody that can be played “through and over” the whole set of Variations including the Enigma theme.
4. The Principal Theme is famous.
Any claims contrary to these conditions must ultimately be made in direct conflict with the recorded words of the composer by multiple, independent, unimpeachable sources.
One surprising implication is the Enigma theme is essentially the first variation as it is a counterpoint to the missing Principal theme and not the foundational theme. This conclusion is bolstered by a letter to August Jaeger dated April 28, 1899 where Elgar expressed his preference for the title:
If you really think it wd. be better pray add Finale to the title – I of course should prefer simply
Variations
Op36
Edward Elgar[6]
The only reason to call it “Variations” is precisely because the Principal theme is missing. Further evidence is found in the autograph title page that reads simply as “Variations for Orchestra composed by Edward Elgar Op. 36”.[7] The austerity of the title substantiates that the Principal theme is not only missing from the score, but also the title. Through common usage the word “Enigma” was added to the original title to compensate for this omission, resulting in the popular title Enigma Variations.
[2] The Musical Times (October 1, 1900), p. 647
[3Turner, Patrick. Elgar's 'Enigma' Variations - a Centenary Celebration. London : Thames Publishing, 1999, p. 51
[4] Buckley, Robert J. Sir Edward Elgar (1905). New York
[5] Buckley, Robert J. Sir Edward Elgar (1905). New York
[6] Elgar, Edward. Edward Elgar: Letters of a Lifetime. New York : Oxford University Press , USA
[7] Rushton, Julian. Elgar: Enigma Variations (Cambridge New York : Cambridge University
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