The following notes (albeit somewhat condensed here for this program) were provided by Elgar for publication (1929) with the set of pianola rolls of the Variations released by the Aeolian Company. In this revised version of the notes, Elgar chose to refer to himself in the third person, i.e. “the composer” instead of “my” and he only provided the full names of the “friends” who were dead at the time. In those instances I have provided the full names in brackets.
The alternation of the two quavers and two crotchets in the first bar and their reversal in the second bar will be noticed; references to this grouping are almost continuous, either melodically or in the accompanying figures. The drop of a seventh in bar 3 and 4 should be remembered. At bar 7 (G major) appears the rising and falling passage in thirds which is much used later.
There is no break between the theme and this movement. The Variation is really a prolongation of the theme with (what I wished to be) romantic and delicate additions; those who knew C. A. E. [Elgar's wife] will understand this reference to one whose life was a romantic & delicate inspiration.
Hew David Steuart-Powell was a well-known amateur pianist and a great player of chamber music. (He was associated with B. G. N. (in Variation XII as a cellist and the Composer, as a violinist, for many years). His characteristic (diatonic) run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H. D. S.-P's liking.
Richard Baxter Townshend, whose Tenderfoot books are now so well known and appreciated. The Variation has a reference to R. B. T's presentation of an old man in some amateur theatricals - the low voice flying off occasionally into 'soprano' timbre. The presentation by the oboe is somewhat pert, and the growling (growing) grumpiness of the bassoons are (is) important.
A country squire, gentleman & scholar. In the days of horses & carriages it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. This variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day & hurriedly left the music-room with an inadvertent bang of the door. (In bars 15-24 are some suggestions of the teasing attitude of the guests.)
Richard P. Arnold, son of Matthew Arnold. A great lover of music which he played (on the pianoforte) in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks. The Theme is given by the basses (with solemnity) and (in the ensuing major portion) there is much (light-hearted) badinage among the wind instruments.
A Malvern lady, who was learning the viola (an amateur viola player). It may be noticed that the opening bar, a phrase made use of throughout the variation, is an 'exercise' for crossing the strings - a difficulty for beginners; on this is built a pensive and, for a moment, romantic movement.
A well-known architect in Malvern. The boisterous mood is mere banter. The uncouth rhythm of the drums (and lower strings) was really suggested by some maladroit essays to play the pianoforte (later the strong rhythm suggests the attempts of the instructor (E. E.) to make something like order out of chaos & the final despairing ‘slam’ as the effort proved to be vain.
Really suggested by an eighteenth-century household. The gracious personalities of the ladies is (are) sedately shown. W. N. (Winifred Norbury] was more connected with music than any others othe family, her initials head the movement; to justify this position little suggestion of a characteristic laugh is given.
The name is my substitute for Jaeger who was well known as a critic & friend of musicians. (The Variations are not all "portraits"; some represent only mood, while others recall an incident known only to two persons. Something ardent and mercurial, in addition to the slow movement (No. IX), would have been needful to portray the character and temperament of A. J. Jaeger). During an evening walk my friend discoursed eloquently on the slow movements of Beethoven & said that no one could approach Beethoven at his best in this field. A view in which I cordially concurred. It will be noticed that the opening bars are made to suggest the slow movement of the eighth Sonata (Pathétique). Jaeger was for years the dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.
INTERMEZZO: the pseudonym is adopted from Mozart's "Cosi fan tutte". The movement suggests a dance of fairy-like lightness (dance-like lightness). The inner sustained phrases (violas first, - later flutes) should be noted.
Mus. D., late organist of Hereford Cathedral. The Variation, however, has nothing to do with organs or cathedrals, or, except remotely, with G. R. S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the river, his paddling up stream to find land.
An amateur cello player of some distinction and (the associate with H. D. S-P. and the writer (violin) in performances of many trios -) a serious & devoted friend. The Variation is simply a tribute to a very dear friend whose scientific & artistic attainments & the whole-hearted way they were put at the disposal of his friends, particularly endeared him to the writer.
The asterisks have been identified as replacing the name of a lady who was, at the time of the composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner, over which the clarinet quotes a phrase from Mendelssohn's "Calm Sea & a Prosperous Voyage". [Elgar claimed the Variation represented Lady Mary Lygon, but the use of asterisks rather than initials has invited speculation. Since Mary Lygon had visited Elgar the very day he completed the full score and did not leave for Australia until April, some suggest that the asterisks conceal the identity of Helen Weaver, who had been engaged to Elgar for eighteen months in 1883-4 before she emigrated to New Zealand. Elgar's rather evasive "have been identified as replacing"his draft of these notes might be taken as corroborative evidence of some cover-up. Most commentators avoid noting the proximity of this Romanza to the final variation, the composer himself]
FINALE: bold and vigorous in general style. Written at a time when my friends were dubious and generally discouraging as to my musical future, this Variation' is merely to show what 'E. D. U' (a "paraphrase" of a fond name for the writer) intended to do. References made to Var. I (C. A. E.) & to Var. IX (Nimrod), two great influences on the life and art of the composer, are entirely fitting to the intention of the piece. The whole of the work is summed up in the triumphant broad presentation of the theme in the major.