C. A. E., ✡ ✡ ✡, and F. A. E.

Jesus heals the blind beggar

They have mouths, but cannot speak,
    eyes, but cannot see.
They have ears, but cannot hear,
    noses, but cannot smell.

Psalm 115:5-6

Elgar dedicates Variation I of the Enigma Variations to his wife (Caroline Alice Elgar) by assigning her initials (C. A. E.) to the title of this poignant movement. It is remarkable two of her initials are exact sequential matches for those secretly enciphered in Variation XIII: F. A. E. More intriguing still is these hidden initials (✡ ✡ ✡) are encoded by musical fragments that sonically portray the sea, the phonetic equivalent of Alice’s first and remaining initial, “C.” In this context, it appears Elgar hinted at a connection between the letters “A” and “E” in the sea fragments of Variation XIII by means of his wife’s initials. The Enigma Theme's time signature is in common time, and that meter may be represented by a capital “C”. This suggests a link between XIII and the Enigma Theme. The Mendelssohn fragments are drawn from the symphonic overture Calm Sea and Prosperous Voyage (Meeresstille und glückliche Fahrt). These melodic incipits are quoted in the keys of A-flat major, F minor, and E-flat major.

In the orchestral score, three of the four Mendelssohn fragments are enclosed by quotation marks and are performed by a solo clarinet. Two of these quotations are in A-flat major and begin on the major third of that key (C) the phonetic equivalent of sea.

Could this all be just a coincidence? The answer is most emphatically no. Elgar is portraying the sea, deliberately beginning the symbolic quotation with the note C to subtly reinforce this imagery. It is deeply symbolic that the circular bell of the clarinet closely resembles the letter “C”. It is hardly coincidental Elgar would use an instrument whose name begins with the letter C to capture the ocean’s deathly stillness so ominously conveyed by Goethe's poetry that inspired Mendelssohn's concert overture.

Clarinet Bell

The connection to the letter C ventures beyond Elgar’s symbolic use of the clarinet to begin two of the Mendelssohn fragments on the note C, the major third of the A-flat major scale. The two A-flat major quotations are buoyed by an accompaniment figure played by the violas and cellos. In an interesting twist, both instruments have C-bouts and C strings. As part of the accompaniment figure, the violas play the open C-string, musically suggesting the very place where land is not visible, the open sea.

C bouts

The sound of a passing steamship's engine is deftly portrayed by a timpani roll on C with coins placed near the edge of the rim. Notice that coin begins with the letter c, and the secret friend of Variation XIII was betrayed for 30 pieces of silver or coins. The sea picture is intimately linked to Jesus as he compared his death to the plight of Jonah who spent three days in the belly of a whale. What happened when Jonah was cast into the raging sea and swallowed by the great fish? The storm subsided, and the waters became calm. In Variation XIII, Elgar makes this theological allusion by quoting the Mendelssohn fragments that symbolize a calm sea. Elgar was also fond of quoting scripture, particularly in his many sacred oratorios.

The accompaniment figure mimics the palindromic rhythm of the Enigma Theme, alluding to the presence of a cipher. Unlike a Music Box Cipher marked off by double bar lines, this one is identified by double apostrophes in the form of quotation marks. The solution to the Romanza Cipher in Variation XIII points to the famous burial cloth of Elgar's hidden friend, the Turin Shroud. The combination of the unique letters from “CAE” and “FAE” permits the spelling of “FACE”, a subtle reference to the Catholic devotion to the Holy Face of Jesus. These devotions were first approved by Pope Leo XIII in 1895. It is not inconceivable the number thirteen and the capital letter “L” to identify Variation XIII may allude to this pope and these devotions. Elgar did not begin work on the Variations until 1898, five months after Secondo Pia took his famous photographic negative of the Turin Shroud. That picture became an international sensation in both the secular and Catholic press, so Elgar was aware of this incredible discovery in the months immediately preceding the Variations. The subtitle for Variation XIII, Romanza, is easily identified with Elgar's Roman Catholic faith.

The notes forming the marine accompaniment for the A-flat major Mendelssohn quotations are A-flat, C, and E-flat. Sound familiar? They should be, for they are the initials for Elgar’s wife: C.A.E. This observation should decisively extinguish any speculative claims regarding Elgar’s alleged longing for Helen Weaver or some other long-forgotten love interest. Among the Mendelssohn fragments, Elgar only quotes the A-flat major fragment twice. This is revealing on one level because C. A. E. is the second movement of the Enigma Variations. Why would Elgar allude to his wife in a Variation secretly dedicated to Jesus? One likely explanation involves his Christian concept of marriage which views the union between a husband and wife as ordained by God, symbolizing the union of Christ and the Church. On another level, Elgar’s use of the A-flat major key for the Mendelssohn fragments places extra emphasis on A-flat or A tone. Could this be a musical reference to the word atone, as in atonement, one of the few theological terms coined in the English language? It would certainly be a fitting gesture in a movement dedicated to Jesus. Remarkably the Christian symbol for marriage somewhat resembles a treble clef, the same used for the clarinet.

 
Christian Symbol for Marriage 

Treble Clef

Jesus began his ministry at the Wedding Feast at Cana by miraculously turning water into wine. The word Cana starts with the letter C, just like the terms Christian, Catholic, Christ, Church, crucified, Calvary, and cipher. In another miracle involving water, Jesus calmed a raging sea, prompting his disciples to exclaim, “What kind of man is this? Even the winds and the waves obey him!” In yet another miracle involving water, Jesus walked on the sea of Galilee. Other notable connections to the letter C within the Enigma Variations are discussed in the following posts:

1. Elgar's Enigma Theme, Pi and C 
2. Elgar's Enigma Fish: Pi ~ C

Jesus calms the sea

 

To learn more about the secrets of 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

Elgar’s Program Anagram: Maeterlinck

Maurice Maeterlinck

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.

Edward Elgar from the 1899 program note for the Enigma Variations

 

Elgar routinely entertained himself with ciphers and anagrams, so it is remarkable his reference to Maeterlinck in the original program for the Enigma Variations presents some intriguing parallels with the name Martin Luther. First, the letters in the first, second, fourth, and seventh letters of each are exact matches (M, A, T, and L). Second, there are three equidistant letter matches (R, I, and N). Finally, when including the possessive s with Maeterlinck as it appears in the program note, the number of letters is identical.

Do these intriguing parallels suggest the presence of something more, a cipher? Elgar was an acknowledged expert in cryptography, so it is not unreasonable to suspect he deliberately inserted the Maeterlinck reference as a subtle link to the covert Principal Theme and its composer. Is there some plausible connection between Maeterlinck and Martin Luther? The answer is a resounding yes.

One possible anagram of “Maeterlinck” is “Ceek Martin L”. Elgar is known to have used c as a substitute for the letter s. For example, he spelled “score” as ckor and csquorr, and ssczowoughohr. [1] In light of this insight, the anagram “Ceek Martin L” may be read as “Seek Martin L.” By means of such an anagram, Elgar cleverly invites the audience to seek out Martin Luther, a composer whose most renowned musical work is Ein feste Burg.

Another anagram derived from “Maeterlinck” is a slight variant of the first: “C EE K Martin L”. Before providing an interpretation, let us review some relevant information. The letter C is the phonetic equivalent of the word see. Edward Elgar routinely signed his letters with the initials EE and used the letter K to indicate that a copy of a score had been made. Based on this information, “C EE K Martin L” may be read as “See Edward Elgar Copy Martin Luther.” This rendering alludes to Elgar's use of Ein feste Burg as the covert principal Theme to the Enigma Variations, a form of musical borrowing in which he essentially copies Martin Luther's most famous hymn by means of counterpoint.

Some may object that too much is being read into Elgar’s literary reference to Maeterlinck in the 1899 program note for the Enigma Variations. On the contrary, far too little has been gleaned from Elgar's carefully worded program note beyond the ordinary surface impressions. The 1899 program note contains numerous ciphers that divulge the identity of the covert Theme. Elgar reveled in wordplay, and this example is no exception. It is revealing that the word program rhymes with anagram. The name Maeterlinck sounds like the words meter and link paired together. Meter is a musical term, and the combination with the word link may be viewed as a cryptic hint about some musical link to the covert principal Theme. Terms like program, anagram, Maeterlinck, meter, link — these present just the sort of wordplay that would fire Elgar's inventive imagination. To understand and appreciate Elgar and his music (particularly the Enigma Variations), it is essential to venture beyond shallow superficiality to perceive a deeper, hidden meaning. To do so is the essence of cryptography. To learn more about the secrets behind one of Elgar’s most celebrated symphonic achievements, read my free eBook Elgar’s Enigmas Exposed. Please support my original research by becoming a sponsor on Patreon.

Soli Yah Gloria

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Footnote

[1] Cited from an unpublished paper by Eric Sams entitled Elgar’s Cipher Table (1970-71).