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This variation for Richard Penrose Arnold returns to ABABA form. The connection between the music and its dedicatee is less apparent. It has been suggested that its meandering string lines reflect Elgar's view that Richard Arnold had somewhat wasted his life. The contrast of gravity and lightness suggests the two sides to his personality. Elgar left us only with the commentary that it is "whimsical and witty".
Ex. 5.1 Section A - Theme A
A new theme is introduced in the upper strings while Theme A is heard in the cellos and basses.
Ex. 5.2 Section B - Variation of Theme B
Theme B is played by flute, followed by a chattering theme in the oboes, then upper strings ending with the clarinet playing Theme B in inversion.
The return of Theme A has the same new theme played by the full string section while Theme A is heard above this time in woodwinds and horns. Section B and the return of Section A are then repeated to complete the ABABA form.
Isabel Fitton was an amateur violist who assisted Elgar with the proof reading of a number of his scores. Elgar gently pokes fun at her inability to successfully and elegantly cross strings and perform large leaps. The form is ABABA with the final A section shortened.
Ex. 6.1 Section A - Variation of Theme A
Theme A stretched across an octave delicately on viola.
Ex. 6.2 Section B - Variation of Theme B
Starting with bassoons, then clarinets, then violas, Theme B stretched across an octave.
On its return Section A - Theme A acquires another counter melody played by solo viola.
The exuberance of this variation is for Arthur Troyte Griffith, an architect and life-long friend. Theme A is reduced to 2 notes in timpani, cello and basses while a variant of Theme B makes up the principal melodic idea. Rushing scales previously heard in Variation 4 add to its exuberance. The form is ABABA with the final A section shortened. While many theories have been advanced about the relationship of this variation to its dedicatee, Elgar's own explanation describes the reduction of Theme A to 2 notes on timpani as imitating Troyte's "maladroit attempts to play the piano".
Ex. 7.1 Themes A and B combined
Theme A is reduced to its bare minimum in the timpani while Theme B is given an expanded and energetic treatment.
Elgar stated that this elegant variation for Winifred Norbury was a picture of her peaceful and stately eighteenth century home. Both Theme A and Theme B are given new and elegant treatments.
Ex. 8.1 Section A - Variation of Theme A
Ex. 8.2 Section B - Variation of Theme B
August Johannes Jaeger was Elgar's trusted friend and music publisher at Novello & Co. Jaeger is the German word for hunter and Nimrod was a great hunter in the Bible, hence the title. This is the most famous section of the work, based entirely on Theme A with altered intervals to accommodate its grandiose style and key of E flat major. At each repetition the theme is expanded in length and orchestration until it grows to a climax. It reflects Elgar's great trust in his friend and publisher. A detailed analysis of this variation is available on YouTube.
Ex. 9.1 Theme A
Dora Penny was a friend whose stammer Elgar affectionately imitates in the woodwind figure that answers the short shimmer from the strings.
Ex. 10.1 Variation of Theme A
Theme B retains its characteristic shape of a rising scale, followed by a leap and then a falling scale but the mood is decidedly more introspective. It is presented first by solo viola and then by the string section before section A, section B and section A are repeated to complete the ABABA form.
This variation is not intended to depict George Robertson Sinclair but rather his British Bulldog named Dan. Themes A and B are freely combined throughout.
Ex. 11.1 Variation of Themes A and B
Basil Nevinson was an amateur cellist who played chamber music with Steuart-Powell (Variation 1) and Elgar. Accordingly this variation is based on a beautiful solo cello version of Theme A.
Ex. 12.1 Variation of Theme A
A variant of Theme B is hinted at in the accompanying rising figure in woodwinds and upper strings which is played on the repetition of the cello theme but the cello version of Theme A dominates throughout this variation.
Elgar did not reveal the name or initials of this person behind this variation. He named it Romanza followed by three asterisks. There have been several attempts to resolve the mystery. The fact that the section includes a quote from Mendelssohn's Calm Sea and Prosperous Voyage suggests a lost love who played clarinet and emigrated overseas.
Ex. 13.1 Quote from Mendelssohn
Edu was Alice Elgar's nickname for her husband. This movement is the most extensive and re-uses themes from the variations of the two people who had the greatest influence on Elgar and meant the most to him, his wife Alice (Variation 1) and August Jaeger (Variation 9). Their themes dominate this variation.
