If I were ever to publish a book about Elgar’s Enigma Variations, it
would go something like this…
Since the greatest minds over the past 112 years have failed to penetrate the mysteries of Elgar’s Enigma Variations, why would I risk broaching this venerable yet controversial subject? What are
my qualifications? Why do I write, and what do I have to say?
Getting the question right is the answer. The covert Principal Theme is a famous melody, not some abstract
concept, symbol or number. Those who deny the existence of a hidden melodic
Principal Theme directly contradict the recorded words of the composer by
multiple, unimpeachable sources.
The Enigma Variations were not some random
afterthought or capricious constellation of notes scattered haphazardly across
an orchestral score. Elgar meticulously composed the Variations, and one
obvious implication is that the enigmas contained within were methodically and melodically planned and
premeditated.
In the original 1899 program note Elgar explains the Enigma contains a ‘dark saying,' one that must remain ‘unguessed’.
What else could be unguessed except a cipher? Elgar was an expert in secret messages and codes, and a cipher solution is not guessed – it's decoded.
Variation XIII is cryptically dedicated to a
hidden friend represented by three mysterious asterisks (***). Standard
solutions to this enigma – Lady Lygon and Helen Weaver – are easily disproven,
leaving the question open and unresolved.
Evidence is presented proving that the covert
Principal Theme to the Enigma Variations is Ein feste Burg (A
Mighty Fortress) by Martin Luther. This historic hymn satisfies
five criteria prescribed by Elgar to aid in unmasking the correct melodic
solution:
- The Enigma theme is a counterpoint to the Principal theme.
- The Principal theme is not heard.
- The Principal Theme is a melody that can play ‘through and
over’ the whole set of Variations including the Enigma theme.
- The Principal Theme is famous.
- Dora Penny was very familiar with Ein feste Burg as she was
the daughter of an Anglican missionary and Rector.
The presumption Elgar never left a written record
confirming the melodic solution to the Enigma Variations is refuted by the
discovery of an ingenious musical checkerboard cipher embedded in the first six measures
of the Enigma Theme. This 'Enigma' Cipher confirms the name of the Covert Principal Theme and the hidden friend's identity for Variation XIII. A second cipher in Variation XIII produces E.F.B., the initials for Ein feste Burg.
Elgar’s secret dedicatee for
Variation XIII is not a lady, but a lord – the Lord. His initials are represented by
the Roman numerals for this movement (X = J, III = C). A cipher contained within
the Mendelssohn fragments makes reference to the Turin Shroud, the burial cloth
of Christ. The timing of this shroud reference is remarkable because
a very famous photograph of the Turin Shroud was taken just five months
before Elgar began work on the Variations. The photographic negative reveals a miraculous image of a crucified man that many Roman Catholics like Elgar
believe to be Jesus Christ.
Ein feste Burg plays ‘through and over’ Variation
I C.A.E., producing 28 melodic conjunctions spread over 13 out
of 21 measures, and 140 chordal conjunctions spanning 21 measures. C.A.E. is 21
measures in length excluding a two bar bridge in measures 18 and 19. It was
determined the Covert Theme is dormant in those two transitional measures,
hence the absence of any note matches. Excluding these transitional measures,
the Covert Theme plays in all 21 measures or 100% of this movement.
Ein feste Burg plays ‘through and over’ Variation
II H.D.S-P., generating 45 melodic conjunctions in 31 out of 55
measures, and 65 chordal conjunctions covering 32 measures. It was determined
the Covert Theme is dormant in the first ten measures (41-50), and the last
fourteen (83-96). Theses inactive sections are essentially symmetrical because
both consist of ten measure segments at the beginning and end of Ein
feste Burg with the last dormant section followed by a four bar
codetta. Elgar uses this sandwich technique more than once in the Variations as
a sort of camouflage to obscure the start and end points of the Covert Theme.
Since it is dormant in 24 out of 56 measures, the Covert Theme plays over
almost 43% of the movement.
Ein feste Burg plays ‘through and over’ Variation
III R.B.T., producing 34 melodic conjunctions spread over 24 out of 34
measures, and 72 chordal conjunctions spanning 27 measures. As it is dormant in
7 out of 34 measures (97, 105, 121-123, and 131-132), the Covert Theme plays
over approximately 79% of the movement.
Ein feste Burg plays ‘through and over’ Variation
IV W.M.B., generating 26 melodic conjunctions dispersed over 28 of 32
measures, and 113 chordal conjunctions covering 28 measures. Since it is
dormant in 4 out of 32 measures (178 through 181), the Covert Theme plays over
almost 88% of the movement.
Ein feste Burg plays ‘through and over’ Variation
V R.P.A., producing 68 melodic conjunctions spread over 20 out of 24
measures, and 166 chordal conjunctions dispersed over 22 measures. Since it is
dormant in 2 out of 24 measures (172 and 173), the Covert Theme plays over
almost 92% of the movement.
Ein feste Burg plays ‘through and over’ Variation
VI Ysobel, generating 39 melodic conjunctions in 17 and 105 chordal
conjunctions spanning 21 measures. The Covert Theme plays over all
measures or 100% of this movement. It is remarkable the cover theme plays over
the entire variation without any dormant measures in the first two movements
dedicated to women (I and VI).
Ein feste Burg plays ‘through and over’ Variation
VII Troyte, producing 75 melodic conjunctions over 39 measures, and 236
total note conjunctions spread over 64 measures. Since it is dormant in 8 out
of 72 measures (210 through 213, 223 through 225, and 252), the Covert Theme
plays over almost 89% of the movement.
Ein feste Burg plays ‘through and over’ Variation
VIII W.N., generating 60 melodic conjunctions and 159 chordal conjunctions
in 26 out of 27 measures. Since it is dormant in the final measure (307), the
Covert Theme plays in just over 96% of the movement. If the final G of Ein
feste Burg in measure 307 is tied over to the G major chord in measure
308, the case could be made the Covert Theme plays ‘through and over’ the
entire movement without any dormant measures. This would present a third
instance in which the covert Principal Theme plays over the entire length of a
movement dedicated to a woman (I, VI and VIII).
Ein feste Burg plays ‘through and over’ Variation
IX Nimrod, generating 27 melodic conjunctions spread over 20
measures and 150 chordal conjunctions over 36 measures out of a total of 43.
Since it is dormant in 13 measures (341, 349-350, 356, 361-364, 368-372), the
Covert Theme plays over virtually 70% of the movement.
Ein feste Burg plays ‘through and over’ Variation
X Dorabella, producing 104 melodic conjunctions
spread over 35 measures, and 172 chordal conjunctions over 41 measures out of a
total of 74 measures. Since it is dormant in 33 measures (385, 397-404,
415-424, 437-450), the Covert Theme plays just under 58% of the movement. It
is remarkable that in both instances when the Covert Theme concludes one
complete cycle it is immediately followed by a carefully placed double bar in
the score (measures 414 and 436). The odds of such a coincidence are
astronomically low, reinforcing the conclusion Ein feste Burg must
be Elgar’s missing melody. More importantly, this phenomenon is not isolated to
only one movement.
Ein feste Burg plays ‘through and over’ Variation
XI G.R.S., generating 62 melodic conjunctions spread over 28
measures, and 241 chordal conjunctions over 33 out of a total of 41 measures.
The Covert Theme is dormant in 5 measures (457, 490 – 493) with four of these
five inactive measures consisting of a codetta at the end of the movement.
Consequently there are shared melody notes in 28 out of 35 active measures, or
80% of the movement when Ein feste Burg plays. There are
matching notes dispersed over 33 of 35 active measures, or 92% of the movement
when Ein feste Burg plays. When factoring in all measures,
matching notes occur in 80 % of the movement.
Ein feste Burg plays ‘through and over’ Variation
XII B.G.N., producing 23 melodic conjunctions spread over 23 measures, and
100 chordal conjunctions over 23 out of a total of 28 measures. Since it is
dormant in five measures (494-495, 515, 520-521), the Covert Theme plays in
just over 82% of the movement. Inactive sections are symmetrical insofar as
two consist of two measure segments at the beginning and end of Ein
feste Burg, and the third near the middle at measure 515. This
sandwich technique serves to camouflage the start and end points of the covert
Principal Theme, and is also found in Variation II.
Ein feste Burg plays ‘through and over’ Variation
XIII Romanza, generating 46 melodic conjunctions in 85
measures, and 173 chordal conjunctions over 46 out of a total of 51 measures.
The Covert Theme is dormant over 21 quarter note beats dispersed over 8 bars
(532-534, 548, 564-566, and 572). Consequently there are matching notes in 46
out of 51 active measures or 90% of the movement when Ein feste Burg plays.
When factoring all measures, the Covert Theme plays over almost 83 % of this
section. Melodic conjunctions begin in measure 522 and continue through the
double bar at measure 553 where Ein feste Burg finishes one
complete cycle. The conclusion of Ein feste Burg precisely at
the double bar is not an isolated coincidence as this pattern also appears in
other variations containing double bars such as X.
Ein feste Burg plays ‘through and over’ Variation
XIV E.D.U., generating 204 melodic conjunctions over 85 measures, and 464
chordal conjunctions over 148 out of a total of 236 measures. Since it is
dormant in 77 bars (598-603, 626-634, 647-652, 671-674, 685-687, 702-703,
732-739, and 767-809), the Covert Theme plays in slightly over 67% of the
final movement. It is significant 55% of dormant measures (41) are found in
the extended ending Elgar added shortly after the 1899 premiere. This suggests
Elgar tapered his sophisticated counterpoint to permit greater flexibility in
the treatment and elaboration of the closing material.
There are an astonishing number of parallels
between the Enigma Variations and Dante’s Divine Comedy. These connections involve poetry,
numerology, symbolism, theology, and even music.
The evidence for Ein feste Burg as
the missing
Principle Theme to the ‘Enigma’ Variations is
multifaceted, multivalent, and entirely consistent with Elgar’s character and
Christian faith. From early youth well into adulthood, Elgar was drawn to
creating counterpoints to famous melodies, and his 'Enigma’ Variations are no
exception. Multiple streams of data converge into a mighty river proving
Elgar’s elusive melody is the same quoted by Buxtehude, Pachelbel, Bach,
Mendelssohn, Meyerbeer, Wagner, Liszt, and Raff. The preponderance of the
evidence makes – not breaks – the case for Ein feste Burg as
Elgar’s covert Principal Theme.
My ability to penetrate the mysteries of Elgar's 'Enigma' Variations was granted by divine providence. Secular academics failed to solve the Variations because they proudly gaze inward for
answers when they should be humbly looking upwards. They have long forgotten
the words of the Psalmist:
"I will lift up mine eyes unto the hills, from whence
cometh my help! My help cometh from the LORD, who made heaven and earth."
There are a number of astonishing links between Jesus and
the violin that undoubtedly fueled Elgar’s identification with the 'king of the
orchestra.' A survey of these uncanny parallels helped unmask the the identity of the hidden dedicatee to Elgar’s violin concerto.
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