Edward Elgar completed the orchestral work Variations on an Original Theme in 1899. The first performance was on 19 June 1899. After the first performance Elgar made some revisions and added 100 bars to the finale following a suggestion from August Jaeger, his friend and music editor at publisher Novello & Co. The revised work is now the standard and was first performed on 13 September 1899.
The structure comprises a theme followed by 14 variations. Each variation depicts an aspect of a friend. They are not intended as portraits. The impetus for the music variously takes its inspiration from aspects of their personality, their home or their pet.
The work has become known as the Enigma Variations due to a cryptic explanation Elgar provided. He stated on numerous occasions that there was another theme, never heard, but well known, which was part of the work. There are some inconsistencies in the information Elgar provided when subsequently asked about the enigma that might suggest that the theme was notional rather than actual. Elgar never revealed the solution. Various writers and musicologists have published theories and provided possible solutions. None is completely satisfactory and it seems likely it will always remain a mystery.
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The theme is a simple three-part form of ABA as follows
Section A - Theme A
Section B - Theme B
In the second half of theme B the theme is passed to mid-range instruments like violas and clarinets while flute and oboe play a seemingly innocuous descending line, labelled here as motive C, which assumes greater significance as the work unfolds.
Section A return - Theme A return
On the return of the theme Elgar adds a counter melody, something that happens throughout this work. Elgar consistently marks the main theme to be played softly and the counter theme to be played loudly. In modern performances the theme is usually not audible because the contrast of dynamics is so great. Did Elgar intend it to be this way or was he exaggerating the dynamics but expecting the theme to be audible? Motive C continues to be heard as part of the counter melody.
Caroline Alice Elgar, the composer's wife.
Ex. 1.1 Section A - Theme A
Theme A is presented softly by high strings and flutes while oboes and bassoons play a counter theme loudly. This new theme is said to be based upon something Elgar whistled to announce his arrival home each evening.
Ex 1.2 Section B - Theme B
Theme B is first presented in E flat major and then G major. Instead of ending softly as it did before it builds to a climax which is carried into the restatement of Theme A. Motive C continues to proliferate.
Ex. 1.3 Section A return - Theme A return
The return of Theme A extends the falling line of motive C in the upper strings while Theme A returns in the horns and cellos.
Hew David Steuart-Powell and Elgar played chamber music together. When he first sat at the piano Steuart-Powell played an unusual chromatic figure to warm up.
Ex. 2.1 Section A - New Theme
The opening theme of this variation is Elgar's playful tribute to his friend with a similarly chromatic figure.
Ex. 2.2 Section B - Variation of Theme A
Theme A appears at bar 17 rhythmically altered in the bass while the chromatic figures continue in counterpoint. This represents the middle section of the three-part form, replacing any statement of Theme B.
The return of Section A returns to the opening chromatic figure
Richard Baxter Townshend was an eccentric author, scholar and friend of the composer. The form is extended from the basic ABA of the Theme and first two variations to ABABA.
Ex. 3.1 Section A - Variation of Theme A
Theme A is transformed into G major and into a charming waltz or scherzo.
Ex. 3.2 Section B - New Theme
This section continues the spirit of the first. It presents a new theme derived from Theme B which alternates between woodwind and strings.
Then follows a modified version of Section A - Theme A. Section B and the return of Section A are then repeated to complete the ABABA form.
This variation is dedicated to William Meath Baker who had recently acquired Hasfield Court. The boisterous and energetic movement reflects Elgar's memory of a visit to Hasfield Court in which the host ran around charging in and out of various rooms, issuing instructions and banging doors with little regard for guests.
Ex. 4.1 Section A - Theme A
Ex. 4.2 Section B - Theme B
This is extended from the original 4 bars to 8 bars and contrasts an energetic version of Theme B against running scales in the strings.
A short interlude based on Theme A is then inserted before the boisterous version of Theme A is reprised.
