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The St. Olaf Orchestra (Steven Amundson, conductor) performs the "Enigma" Variations, Op. 36 by Edward Elgar (1857–1934) Notes: A theme and variations is one of the most familiar genres in the western musical repertoire, yet Edward Elgar’s Enigma Variations is unique in his more personalized approach. According to some sources, Elgar was simply improvising a tune on the piano when he and his wife began playfully suggesting how certain renditions of the theme portrayed their closest friends. It slowly evolved into fully developed variations with a woven subtext of mystery, which Elgar hinted at by changing the title from Orchestral Variations to Enigma Variations. The final product is an orchestral composition that journeys through a wide range of personalities and emotions. The first variation, which is lovingly devoted to Elgar’s wife Alice, flows seamlessly out of the initial statement of the theme with simple pizzicato in the cellos and syncopated melodies in the winds, slowly building into a passionate love song. After a short, lively variation dedicated to a family friend, Elgar continues with his third, and possibly most humorous, variation. Dedicated to Elgar’s friend and actor Richard Baxter Townshend, it portrays a caricature of an old man in an amateur theater production. The fourth, fifth, and sixth variations depict a squire, a poet, and a viola player, with each variation reflecting Elgar’s relationships to each of these individuals. The seventh variation begins with the timpani. Elgar dedicated this bombastic variation to Arthur Troyte Griffith, one of his dearest, lifelong friends. The simplistic nature of the rhythms and ideas may be a reference to Troyte’s rudimentary piano skills. After the eighth variation, which is a fanciful depiction of Winifred Norbury’s 18th-century home in Florence, the work slows down with the ninth and most iconic variation which combines lush chords with a sweeping theme in the violins to portray the true depth of emotion Elgar held for the man affectionately called “Nimrod." The next two variations provide relief from the almost overwhelming emotional display. The tenth portrays the youngest character, and is directly followed by the eleventh, which depicts George Sinclair’s bulldog falling into the River Wye. A solo cello begins the twelfth variation, which features the cello section as a tribute to Basil Nevinson, an amateur cellist who performed in a trio with Elgar. The only variation without a name is the thirteenth, which is ambiguously labeled with asterisks and the additional title of Romanza. Although the dedicatee of this variation remains unknown, the swelling accompaniment in the strings evokes a sea voyage and the music conveys a poignant sense of longing for someone far away. The fourteenth and final variation is meant to be autobiographical, but rather than simply portraying himself in the music, Elgar weaves aspects of the other variations into a five-minute-long finale embodying the enigma of himself and his life, a combination of all of those he consider most dear. Program notes by Anja Pruim ’17 Copyright © 2016 St. Olaf College. All rights reserved.