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Showing posts with label famous Theme. Show all posts
Showing posts with label famous Theme. Show all posts

Sunday, March 27, 2011

Elgar's character as a composer

A man can no more diminish God's glory by refusing to worship Him than a lunatic can put out the sun by scribbling the word “darkness” on the walls of his cell.

Two events from Elgar’s life reveal a tremendous amount about his character as a composer. The first occurred in 1869 when he was just twelve years old. He recalled this episode of contrapuntal mischief in these words:
I composed a little tune of which I was very proud. I thought the public should hear it, but my opportunities of publishing it were decidedly few. I took my opportunity when my father was engaged in preparing the Handel parts for the forthcoming festival. Very laboriously I introduced my little tune into the music. The thing was an astonishing success, and I heard that some people had never enjoyed Handel so much before! When my father learned of it, however, he was furious! [1]
It was the Three Choirs Festival, and the parts were for Handel’s sacred oratorio Messiah.
The next occurred in 1901 when Elgar was in his early 40s and completed the overture Cockaigne. His sketchbook (Figure 1) shows he conceived of the lover’s theme as a counterpoint to the “Wedding March” from Mendelssohn’s incidental music to A Midsummer Night’s Dream. [2] He invoked the counterpoint because Mendelssohn’s music is closely associated with marriage, and there were concerns by some that the lovemaking depicted in his music was not “strictly proper.”[3] This counterpoint is an example of Elgar’s practical jokes, or what he liked to call japes.


Although separated by a span of over 30 years, these two events from Elgar’s life share three commonalities:
  1. He composed a counterpoint to a famous melody. 
  2. The counterpoint is presented in an orchestral context. 
  3. The counterpoint contains elements of humor and seriousness.
Consistent with Elgar's character as a composer, all three of these elements are associated with my discovery of the unstated Principal Theme to Elgar’s Enigma Variations: Ein feste Burg (A Mighty Fortress). Concerning the Enigma Theme, those who insist Elgar did not compose a counterpoint to a famous melody betray a profound ignorance of the composer's known history and character. To learn more about the secrets of the Enigma Variations, read my eBook Elgar’s Enigmas Exposed. Like my heavenly Father’s gift of salvation, the price is free.

About Mr. Padgett

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Mr. Padgett studied violin with Michael Rosenker (a student of Leopold Auer), and Rosenker’s pupil, Owen Dunsford. Mr. Padgett studied piano with Sally Magee (a student of Emanuel Bay), and Blanca Uribe (a student of Rosina Lhévinne). He attended the Stevenson School in Pebble Beach, California, and Vassar College in Poughkeepsie, New York, where he graduated Phi Beta Kappa with a degree in psychology. At Vassar he studied music theory and composition with Richard Wilson. Mr. Padgett has performed for Joseph Silverstein, Van Cliburn, Arnold Schwarzenegger, Maria Shriver, Steve Jobs, Prince Charles, Lady Camilla, Marcia Davenport, William F. Buckley, Jr., and other prominent public figures. His original compositions have been performed by the Monterey Symphony, at the Bohemian Grove, the Bohemian Club, and other private and public venues. In 2008 Mr. Padgett won the Max Bragado-Darman Fanfare Competition with his entry "Fanfare for the Eagles." It was premiered by the Monterey Symphony under Maestro Bragado in May 2008. A member of the Elgar Society, Mr. Padgett is married with five children.