Elgar - Enigma Variations (piano solo)

Edward Elgar - Enigma Variations (piano solo) with score
Arranged and performed by Elgar/Iain Farrington
Published by Aria Editions: www.ariaeditio...
www.iainfarring...
Edward Elgar's Variations for Orchestra, Op 36, were composed in late 1898 and early 1899, and have become known as the 'Enigma Variations'. Hans Richter conducted the first performance in June 1899, which propelled Elgar to fame. The work began as a piano improvisation at a time of frustration for the composer. Elgar was 42 and had achieved relatively modest success as a composer, but was still relying on teaching young students to earn a living. On October 21st 1898 after a tiring day teaching, he improvised a tune on the piano while his wife listened. He then reworked the tune into different characters, representing friends and their various humorous traits. Full of inspiration, he set about composing an orchestral work in this manner, featuring a wistful Theme followed by 14 variations that are based on friends of the composer. Elgar originally stated that 'the theme is a counterpoint on some well-known melody which is never heard’ and ‘through and over the whole set another and larger theme ‘goes’, but is not played’. This has led to speculation and an ever-increasing number of solutions, although no definitive answer. It may be that the 'larger theme' is not a musical one at all.
Elgar composed the piece in his usual fashion, writing it on two staves as a piano score. This was quickly published and remained the only piano version. In the process of orchestrating the piece, Elgar made copious alterations, improvements and additions to the score. These were never incorporated into the piano version, so this new version combines much of Elgar's original with an updated and fully pianistic arrangement.

[@oliverkubiak6310]

I love the piano playing here a lot.

[@user_igorhoffman]

I've been waiting for this since the symphonies. Thanks

[@musikarama]

love this! :)

[@fiandrhi]

I like arrangement because it helps you hear things you didn't before. For example, hearing the variations on solo piano makes me realize how Brahmsian Elgar's writing is.

[@lucamadeus]

Wonderful transcription of a masterpiece, bravissimo!

[@majorcproductions]

So wonderful. I just am reminded of how Brahms is so important. No Brahms. No Elgar, Dvorak or Schoenberg.

[@alexandrebeauharnais6849]

You have accomplished a great job.

[@Basal89]

Nimrod: listened, listened, at least 8 times! 💯

[@thejokingwizard]

yet another banger!

[@PianoScoreVids]

Very nice

[@JingtingGao-r7w]

Great arrangement Iain! I always admire the British spirit this work shows. By the way, do you have any plan to arrange Cockaigne Overture when you have time?

[@iainfarrington]

Thanks! I'm not planning to arrange Cockaigne.

[@JingtingGao-r7w]

@@iainfarrington ❤️

[@andreiter]

Now in my Favourites 🙂

[@andreiter]

One day, will you also be doing all the five Elgar marches?

[@iainfarrington]

@@andreiter I'm not planning to arrange the Marches.

[@andreiter]

Ah okay, no problem. What are some future works you want to do?

[@iainfarrington]

@@andreiter I'm not sure, it's tricky finding the time!

[@Lircking]

nice

[@dwdei8815]

A real gem to start the year. I have already (hand-) copied your Nimrod - I've a plan to set it for violin and piano for a pair (myself being one) with far less talent than you - but a real zest to broaden an eclectic portfolio. I hope you consider that a fair use of your fantastic work.
Have you ever been tempted to transcribe the delightful (and I'm sure sufficiently taxing) Lieutenant Kijé Suite? That'd be a blast! If not, allow me to waft that scent your way.