Elgar and academicism 2: practice beyond theory

Musical Times, Autumn 2005 by Newbould, Brian

We can well imagine him applying such findings to his own scoring. Take his approval of the 'effective' writing for the strings in two and three parts for the second subject of the first movement. Elgar was as capable of eloquent lean textures as of opulent fat ones. The use of few 'voices' can bring untold clarity, so long as the harmonic implications are clear, and nowhere is this better illustrated than in the slow movement of the second Symphony at cue 71, where it is proved that textural fullness is not a pre-requisite for emotional weight (ex.i).

If, then, the absorbed lessons from mentors like Mozart inform Elgar's orchestral thinking, where does that thinking leave behind the mentors and tend to sound new-minted? One instance of 'the Elgarian way' would have to be his characteristic 'chameleon' scoring, which allows a line of music to change its colour as it proceeds. The procedure is well illustrated at the opening of The dream of Gerontius. Fig.1 shows how, over 17 bars of music (represented in strict proportion horizontally in the diagram), seven wind instruments and three string voices come and go to vary the colour of a single melodic line. It should be noted that the diagram displays only the melodic line. When chordal support is added from the fifth bar onwards, the scoring of those chords is not shown in the diagram. It is also to be noted that all the doublings provide their colour-mix at a single pitch: there is no doubling at the octave, for example. Some 15 different timbrai conglomerates result, in succession (these are numbered below the diagram).

Elgar's purpose in this method is sometimes to compensate for differences in the timbre of an instrument in different parts of its compass: that instrument drops out, to be replaced by another. But the purpose is often more wholly aesthetic than practical - to apply expressive inflections as a phrase unfolds, engaging the ear with sonic fascination. The ear does not count, nor necessarily identify, the successive colour-changes. Rather, these changes enhance a general impression of 'living' sound and subtly shifting colour.

The chameleon method is not used solely for leading melodic lines. Middle and lower strands may also undergo these colour mutations. The passage which follows ex.i in the second Symphony, from cue 72 to cue 73, gives the chameleon treatment to all three principal lines, while other freer supporting notes are added (mainly in flutes and horns) to thicken the texture as the dynamic level rises.

Clearly the composer creates an extra problem for himself in this situation, as he must reconsider the balance of strands whenever the instrumental make-up of a line changes. Elgar's judgement of balance in this respect is fine, and he will if necessary give himself extra flexibility by dividing a string cohort (such as the first violins) so that a half-weight may be added rather than a whole-weight. It is a complex process but one which adds endless distinction to the Elgarian orchestral sound.