Variation VIII (W. N.) with "Ein feste Burg"

The Moral Law tells us the tune we have to play: our instincts are merely the keys.

C.S. Lewis

Edward Elgar dedicated Variation VIII from his Enigma Variations to Winifred Norbury, a gentle and gracious friend who served as a secretary of the Worcestershire Philharmonic Society. In the 1890s she was a regular visitor at the Elgar residence, performing chamber music along with the Fitton sisters, Basil Nevinson, Hew Steuart Powell, and George Sinclair. Figure 17.1 shows how Ein feste Burg plays “through and over” Variation VIII, a requirement stipulated by Elgar in the original 1899 program note. An audiovisual demonstration of this melodic mapping supports the efficacy of this contrapuntal solution.

Figure 17.2 documents how Ein feste Burg was carefully mapped over Variation VIII based on melodic interval mirroring and the principles of counterpoint. Melodic interval mirroring occurs when note intervals from Ein feste Burg are reflected in the variation over comparable or identical distances between notes. These notes do not necessarily appear in the melody line of the variation. The contrapuntal devices of similar and contrary motion were also considered in this analysis. Similar motion is when both voices move in the same direction, but not necessarily by the same degree. Contrary motion takes place when Ein feste Burg moves in the opposite direction than the variation, again not necessarily by the same interval. Similar motion is indicated by SM, and contrary motion by CM. For the purposes of this analysis, similar motion includes any instances of parallel motion, and contrary motion any cases of oblique motion. An effective counterpoint typically uses a fairly balanced mix of contrary and similar motion, a feature evident in this melodic mapping.

In Figure 17.2 a melodic conjunction is represented by a diamond-shaped note head, and a harmonic conjunction by a triangle-shaped note head. A melodic conjunction is defined as any matching melody note between Ein feste Burg and the movement's melody line. A harmonic conjunction is defined as a match between a melody note from the covert principal Theme and any non-melodic note from the movement. Both melodic and harmonic conjunctions must sound together to be considered a match.

Table 17.1 identifies 60 melodic conjunctions between Ein feste Burg and Variation VIII A melodic conjunction is defined as a shared note between both melody lines. Share melody notes are dispersed over 26 out of 27 measures in Variation VIII, or slightly over 96% of the movement. It was determined that Ein feste Burg does not play in the final measure (307).  In measures where the missing principal Theme is deemed active, shared melody notes are present in 22 out of 26 measures, or almost 85% of all active measures. Such a high number of shared melody notes in the correct sequence bolsters the conclusion Ein feste Burg is the elusive principal Theme.

Table 17.2 breaks down melodic conjunctions between Ein feste Burg and Variation VIII by note type. There are seven shared melody note types with frequencies ranging from 3 through 16.

Table 17.3 gives a complete breakdown of shared notes between Ein feste Burg and the piano reduction of Variation VIII. The number of shared notes is shown according to each measure number. There are 159 shared notes dispersed over 26 out of a total of 27 measures. Of those conjunctions, 60 are melodic, and 99 are chordal. Ein feste Burg was found active in 26 measures, so 100% of active measures contain shared notes. There are 7 shared note types with frequencies ranging from 6 (B) to 42 (D).

Table 17.4 summarizes all note conjunctions between Ein feste Burg and Variation VIII, stating percentages for each note type in the melodic and chordal categories.

Conclusion

The preponderance of the evidence presented in the above Figures and Tables demonstrates Variation VIII is a clear and convincing counterpoint to Ein feste Burg. To learn more about the secrets behind the Enigma Variations, read my free eBook Elgar's Enigmas Exposed. Please support my original research by becoming a sponsor on Patreon.

Soli Yah Gloria

Variation VII (Troyte) with "Ein feste Burg"

Progress is impossible without change, and those who cannot change their minds cannot change anything.

George Bernard Shaw

Edward Elgar dedicated Variation VII to Arthur Troyte Griffith (1864 - 1942), a member of an architectural firm based in Malvern operated by a brother of Basil Nevison.  It is likely Elgar first met Arthur in 1897. Figure 16.1 documents how Ein feste Burg plays above Variation VII. This illustration is significant because Elgar claimed the covert Principal Theme must play “through and over” the set of Variations. To satisfy this critical condition, it must be shown precisely how Ein feste Burg fits over each movement.

Figure 16.2 illustrates how Ein feste Burg was carefully mapped over Variation VII based on melodic interval mirroring and the principles of counterpoint. Melodic interval mirroring occurs when note intervals from Ein feste Burg are reflected in the variation over comparable or identical distances between notes. These notes do not necessarily appear in the melody line of the variation. The contrapuntal devices of similar and contrary motion were also considered in this analysis. Similar motion is when both voices move in the same direction, but not necessarily by the same degree. Contrary motion takes place when Ein feste Burg moves in the opposite direction than the variation, again not necessarily by the same interval. Similar motion is indicated by SM and contrary motion by CM. For the purposes of this analysis, similar motion includes any instances of parallel motion, and contrary motion any instances of oblique motion. In some cases, the upper voice of the variation moves parallel with Ein feste Burg while the bass line moves in a contrary manner. An effective counterpoint typically employs a fairly balanced mix of contrary and similar motion, something clearly evident with this mapping.

In Figure 16.2 a melodic conjunction is represented by a diamond-shaped note head, and a harmonic conjunction by a triangle-shaped note head. A melodic conjunction is defined as any matching melody note between Ein feste Burg and the movement's melody line. A harmonic conjunction is defined as a match between a melody note from the covert principal Theme and any non-melodic note from the movement. Both melodic and harmonic conjunctions must sound together to be considered a match.

Table 16.1 summarizes 78 melodic conjunctions between Ein feste Burg and Variation VII. A melodic conjunction is defined as a shared note between the two melody lines. Share melody notes are dispersed over 42 of 72 measures in Variation VII or just over 58% of the time. Ein feste Burg does not play in 8 out of 72 measures, i.e., measures 210–213, 223–225, and 252. In bars where the covert Theme was deemed active, shared melody notes are present in 42 of those 64 measures or almost 66% of all active measures.

Table 16.2 breaks down melodic conjunctions between Ein feste Burg and Variation VII by note type. There are six shared melody note types (A, A flat, B, C, F, and G) with frequencies ranging from 2 through 35.

Table 16.3 gives a complete breakdown of shared notes between Ein feste Burg and the piano reduction of Variation VII. The number of shared notes is indicated by each measure number. There are 236 shared notes dispersed over 64 measures out of 72 measures. Of those conjunctions, 75 are melodic, and 161 are chordal. Ein feste Burg was deemed active in 64 measures, so 100% of active measures have shared notes. There are 8 shared note types (A, A-flat, B, C, D, E, F, and G) with frequencies ranging from 4 (D and E) to 105 (G).

Table 16.4 summarizes all matching notes between Ein feste Burg and Variation VII, giving totals and percentages for melodic and harmonic conjunctions.

Conclusion

The preponderance of the evidence presented in the above Figures and Tables demonstrates Variation VII is a clear and convincing counterpoint to Ein feste Burg. To learn more about the secrets behind the Enigma Variations, read my free eBook Elgar's Enigmas Exposed. Please support my original research by becoming a sponsor on Patreon.

Soli Yah Gloria

Variation VI (Ysobel) with "Ein feste Burg"

I am an unashamed champion of tonality . . . Tonality means line; line means melody; melody means song; and song, especially folk song, is the essence of music, because it is the natural, spontaneous and primordial expression of human emotion.

Miklós Rózsa

Edward Elgar dedicated Variation VI to his viola student, Isabel Fitton (1868-1936). Elgar knew the Fitton family from his youth. At the founding of the Worcestershire Philharmonic Society in 1897, Elgar was appointed conductor. Isabel served as one of its two secretaries. The other secretary was Winifred Norbury, the friend pictured within Variation VIII.

Elgar chose to acknowledge his friend using the Old Testament version of her name. In Hebrew Ysobel is derived from Elisheba, meaning “Oath of God” or “God is her oath.” Elizabeth is the more common spelling of this ancient Hebrew name. Elizabeth was the wife of Zachariah, the mother of John the Baptist, and a cousin to Mary, the mother of Jesus. Just as John the Baptist preceded Jesus, so does Variation VI precede Variation XIII. As I show in this essay, the secret friend portrayed in Variation XIII is none other than Jesus, Elgar’s Lord and Savior according to his Roman Catholic faith.

Ein feste Burg plays “through and over”  Variation VI as shown in Figure 15.1. The missing Principal Theme plays in the upper staff while the variation appears in the lower two staves as a piano reduction. The notes of the Principal theme are based on Bach’s rendering of Ein feste Burg from the final chorale of Cantata BWV 80.  An audiovisual file of this melodic mapping supports the efficacy of this contrapuntal solution.

Figure 15.2 illustrates precisely how Ein feste Burg was carefully mapped over Variation VI based on melodic interval mirroring and the principles of counterpoint. Melodic interval mirroring occurs when note intervals from Ein feste Burg are reflected in the variation over comparable or identical distances between notes. These notes do not necessarily appear in the melody line of the variation. The contrapuntal devices of similar and contrary motion were also considered in this analysis. Similar motion is when both voices move in the same direction, but not necessarily by the same degree. Contrary motion takes place when Ein feste Burg moves in the opposite direction than the variation, again not necessarily by the same interval. Similar motion is indicated by SM, and contrary motion by CM. For the purposes of this analysis, similar motion includes any instances of parallel motion, and contrary motion any instances of oblique motion. In some cases, the upper voice of the variation moves parallel with Ein feste Burg while the bass line moves in a contrary manner. An effective counterpoint typically employs a fairly balanced mix of contrary and similar motion, something clearly evident with this mapping.

In Figure 15.2 a melodic conjunction is represented by a diamond-shaped note head, and a harmonic conjunction by a triangle-shaped note head. A melodic conjunction is defined as any matching melody note between Ein feste Burg and the movement's melody line. A harmonic conjunction is defined as a match between a melody note from the covert principal Theme and any non-melodic note from the movement. Both melodic and harmonic conjunctions must sound together to be considered a match.

Table 15.1 summarizes 39 melodic conjunctions between Ein feste Burg and Variation VI. A melodic conjunction is defined as any shared note between both melody lines. Share melody notes are dispersed over 17 out of 22 measures of Variation VI, or 77% of the movement.

Table 15.2 breaks down melodic conjunctions between Ein feste Burg and Variation V by note type. There are 7 shared melody notes with frequencies ranging from 1 to 11.

Table 15.3 gives a complete breakdown of all shared notes between Ein feste Burg and a piano reduction of Variation V. There are 105 shared notes spread out over 21 of 22 measures.  Of these shared notes, 39 are melodic conjunctions, and 66 are harmonic conjunctions. There is a total of 9 shared note types with frequencies ranging from 1 to 27. There are 9 shared note types with frequencies ranging from 1 to 27. Of these shared notes, 7 are also shared by both melody lines, namely A, B, C, D, E, F, and G.

Conclusion

The preponderance of the evidence presented in the above Figures and Tables demonstrates that Variation VI is a clear and convincing counterpoint to Ein feste Burg. To learn more about the secrets behind the Enigma Variations, read my free eBook Elgar's Enigmas Exposed. Please support my original research by becoming a sponsor on Patreon.

Soli Yah Gloria

Variation V (R. P. A.) with "Ein feste Burg"

The riddles of God are more satisfying than the solutions of man. 

G. K. Chesterton

Variation V from Elgar's Enigma Variations is dedicated to Richard Penrose Arnold (1856 - 1908), the son of poet Matthew Arnold. His friendship with Elgar was driven chiefly by their mutual interest in golf. Ein feste Burg plays “through and over” Variation V as shown in Figure 14.1. The absent principal Theme plays in the upper staff while the variation appears in the lower two staves in the form of a piano reduction. The notes of the principal theme are based on Bach’s rendering of Ein feste Burg from the final chorale of Cantata BWV 80. An audiovisual file of this melodic mapping supports the efficacy of this contrapuntal solution.

Figure 14.2 illustrates precisely how Ein feste Burg was carefully mapped over Variation V based on melodic interval mirroring and the principles of counterpoint. Melodic interval mirroring occurs when note intervals from Ein feste Burg are reflected in the variation over comparable or identical distances between notes. These notes do not necessarily appear in the melody line of the variation. The contrapuntal devices of similar and contrary motion were also considered in this analysis. Similar motion is when both voices move in the same direction, but not necessarily by the same degree. Contrary motion takes place when Ein feste Burg moves in the opposite direction than the variation, again not necessarily by the same interval. Similar motion is indicated by SM, and contrary motion by CM. For the purposes of this analysis, similar motion includes any instances of parallel motion, and contrary motion any instances of oblique motion. In some cases, the upper voice of the variation moves parallel with Ein feste Burg while the bass line moves in a contrary manner. An effective counterpoint typically employs a fairly balanced mix of contrary and similar motion, something clearly evident with this mapping.

In Figure 14.2 a melodic conjunction is represented by a diamond-shaped note head, and a harmonic conjunction by a triangle-shaped note head. A melodic conjunction is defined as any matching melody note between Ein feste Burg and the movement's melody line. A harmonic conjunction is defined as a match between a melody note from the covert Principal Theme and any non-melodic note from the movement. Both melodic and harmonic conjunctions must sound together to be considered a match.

Table 14.1 summarizes 67 melodic conjunctions between Ein feste Burg and Variation V. A melodic conjunction is any shared note between both melodies. Share melody notes are dispersed over 20 out of 24 measures in Variation V. Ein feste Burg was deemed to be dormant in 2 of the 24 measures, namely measures 172 and 173. This means that Ein feste Burg plays in 22 out of 24 measures, or 91.7 % of the time. In measures where the covert principal Theme is active, shared melody notes are present in 20 of those 22 measures or almost 91% of all active measures. A total of 67 melodic conjunctions is truly remarkable because these note matches appear sequentially. The odds of such a feat occurring by chance are infinitesimally small.

Table 14.2 breaks down melodic conjunctions between Ein feste Burg and Variation V by note type. There are 8 shared melody notes with frequencies ranging from 1 to 21.

Table 14.3 gives a complete breakdown of all shared notes between Ein feste Burg and a piano reduction of Variation V. There are 165 shared notes spread out over 28 measures.  There are 10 shared note types with frequencies ranging from 1 to 65. Of these shared notes, 9 are shared by both melodies. These shared notes are A-flat, A, B-flat, B, C, D, E, F, and G.

Conclusion

The preponderance of the evidence presented in the above Figures and Tables demonstrates Variation V is a clear and convincing counterpoint to Ein feste Burg. To learn more about the secrets underlying the Enigma Variations, read my eBook Elgar's Enigmas Exposed. Please support my original research by becoming a sponsor on Patreon. 

Soli Yah Gloria