Introduction

Summary

1880 is usually given as the date of the ‘modern Renaissance’ in English music. For me it began about 20 years later when I first knew Elgar's Enigma Variations. I felt that here was music the like of which had not appeared in this country since Purcell's death.

(Gustav Holst)

The title of the work which is my subject corresponds only informally to the title of this handbook. Undoubtedly we shall go on calling Elgar's Op. 36 ‘Enigma’ Variations, as does the cover of the Elgar Complete Edition. But the autograph title-page reads only ‘Variations for Orchestra composed by Edward Elgar Op. 36’. Above the theme itself the word ‘Enigma’ appears, in the hand of A. J. Jaeger (‘Nimrod’), added presumably at Elgar's request when publication was under way at Novello's. This was not only Elgar's first international success, but also his first work to be published in full score; then it was entitled ‘Variations on an Original Theme’.

On this reading ‘Enigma’ is not the title of the composition, but an emblem for the theme – perhaps only for its first few bars; in 1899 Elgar referred to the appearance of ‘the principal motive (Enigma)’ at a point in the finale, marked grandioso (cue 68) where the melody is derived only from bars 1–4. On publication, however, ‘Enigma’ appears centred beneath VARIATIONS, implying a stronger connection between the word and the whole work. There is no reason why an autograph score should be privileged over a published score acknowledged by the composer.