Classical Music on the Web

Elgars Symphony No 3.

WHOSE SYMPHONY IS IT? asks David Wright

© David Wright Ph.D
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Some readers may remember an article, The Appreciation of Elgar, in a BMS Newsletter . There was subsequent correspondence in the next issue in which I was censured. What was missed by these correspondents was that my article was merely a selection of quotes from professional musicians, all of which are documented, with which I do not necessarily agree or disagree. My own contribution was to suggest that the over-exposure of his music coupled with the fact that he is idolised as a quasi-god, unfairly eclipses other British composers, some of whom are arguably greater than he is.

This leads me to pose a question about ‘Elgar’s’ Third Symphony. Is it Elgar’s Symphony no. 3? According to an excellent article in Musical Opinion, all the sketches that Elgar left only make up 130 pages. Whatever contribution Elgar left, it is incontrovertible that almost all the work is by Anthony Payne and what he has done - and so very well - is to compile a piece from sketches into a work that is highly polished and, often, hugely enjoyable. Mr Payne has shown us what a faultless orchestrator he is and how skilfully he uses Elgar’s scant material. And yet another strength is the Elgarian features missing from the completed score - little or no pomposity, no nobilmentes, no ‘stops and starts’ that Elgar so enjoyed. Mr Payne’s music flows logically and is coherent and never self-indulgent. There is wonderful clarity in his orchestration; there is no crudeness, exaggeration, self-important gesturing, no vulgar trombone writing and the piece is almost sheer delight. Elgar would not have written like this if he had adhered to the style of his previous works.

But the question remains, whose symphony is it? Should Elgar receive the top-billing? In view of the facts, is it not the Symphony on Elgarian Sketches by Anthony Payne? Let me make a comparison. The Symphonic Metamorphoses on themes of Carl Maria von Weber elaborated by Hindemith. Hindemith’s orchestration is different from that by Weber as is Mr Payne’s from Elgar’s. Furthermore, Weber’s contribution to Hindemith’s exhilarating score is comparatively small as is Elgar’s contribution to Anthony Payne’s symphony.

The point is important but it is not intended to belittle Elgar who is revered by some music-lovers. But Mr Payne is head-and-shoulders the senior partner in this venture.

If I may, I will now add a personal observation. I hope people will investigate more of Mr Payne’s work. Surely a composer who can take a few jottings and turn them into a successful symphony is no slouch. Far from it. Among his many interesting scores is a fascinating Concerto for Orchestra. I trust his dedication to the ‘Elgar’ project will bring him the personal recognition he deserves.

June 1998

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