Elgar wrote that on the score of Gerontius.
If other great composers could talk to us now, what would they [probably] choose to say that about with the benefit of hindsight ?
Elgar wrote that on the score of Gerontius.
If other great composers could talk to us now, what would they [probably] choose to say that about with the benefit of hindsight ?
Bruckner, yes him salymap, would possibly say that of the 9th and he would, hopefully, also say and here is the final movement.
"Eh?! Bah! Harumph! The Eroica!"
(Beethoven, reportedly, when asked which was his best symphony.)
Edit: Incidentally, seeing how Gerontius is such a comparitively "early" work (and it's so obviously better than anything he'd written thus far in his career - the Enigmas possibly excepted) I wonder if he kept that opinion at the end of his life?
"It makes a f**king noise" !!
a rather senior academic electroacoustic composer of my acquaintance![]()
No he didn't. Elgar was very much the 'romantic' artist and added the John Ruskin quote as a gesture (one that he meant at the time, of course), but it probably lasted no longer than his next major work. If anything, it sums up how he felt after several months of concentrated ecstasy as he composed the thing - a task that is minutely documented through his (almost) daily letters to Jaeger:
"This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another; my life was as the vapour and is not; but this I saw and knew: this, if anything of mine, is worth your memory."
Literally minutes after he had added the Ruskin quote (to the full score, on 3 August, 1900), William Eller, a friend, arrived unexpectedly, having cycled from Ledbury. He recalled: “In those days I seldom went abroad without my camera”, and so took the opportunity to capture the historic moment with two photographs, in one of which the composer is reading a vocal score upside down “to keep my eye from wandering”:
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Elgar surely meant - and could indeed have meant nothing other than -that he felt that Gerontius was the bes of him to date, which undoubtedly it was; he could have hardly have had more than the faintest of inklings what ideas might come to populate his symphonies, concertos, Alassio, Falstaff and the chamber works at that time. It therefore seems like a perfectly reasonable remark in the context of its time and in the circumstance that gave rise to it.