Elgar: Recitations; Fringes of the Fleet
Complete Edition Volume 20
Expected to ship in 1-2 weeks.
- Composer: Edward Elgar (1857-1934)
- Editor: Sarah Thompson
- Format: Full Score – Hardcover
- Binding: Hardcover
- ISBN:
Description
Elgar's First World War compositions were of variable subtlety, ranging from the sublime The Spirit of England to works intended solely to capture the mood of the moment. The works in this volume, all written to support wartime morale and fundraising initiatives, clearly fall into the latter category and yet that same variability is to be found here. The three war recitations, settings of poems by the Belgian patriotic poet Émile Cammaerts, are perhaps best known through the first of the set, Carillon , an extended rousing work envisaging the victory still some years ahead, while the final work, Le drapeau Belge , is a bombastic trifle, not composed until the focus of the war had moved south from Belgium to Verdun. and yet between the two Elgar provided the sensitive and deeply moving Une voix dans le désert , an emotional world removed from its compatriots and yet still conveying the Elgarian fingerprint of a hope for the future.
Perhaps more surprisingly, the same contrast is to be found in Fringes of the Fleet , Elgar's four sea shanties setting poems by Rudyard Kipling. While most will be familiar with one particular image of the four singers in their maritime outfits, and may know the opening and closing songs from the set (‘The Lowestoft Boat' and ‘Sweepers') and even the theme from ‘Fate's Discourtesy' in one of its various incarnations, fewer will claim familiarity with ‘Submarines', the third song of the set. It is stark contrast to the jaunty simplicity of the other songs, capturing the eerie brooding darkness of the primitive submersibles of the day, something which Elgar could only have envisaged.
Sarah Thompson's editing of this volume has stumbled across other little known facts: that Elgar conceived an orchestral accompaniment to Une voix dans le désert for strings and percussion alone until he added ad lib. parts for woodwind and brass, intended for use when insufficient string players could be found, no doubt a direct consequence of the war; and Elgar's own recording of the Fringes of the Fleet songs uses a more complex vocal arrangement than that of the published vocal score, with additional harmonisations and a sharing of the vocal lead, an arrangement seemingly worked out by the singers themselves.
These peculiarities and the nature of the recitations themselves have presented challenges in providing clarity without overriding the intended ambiguities in the scores. But we believe we have produced a volume which will bring a clarity to future performances, and these works to a wider audience. The volume comes complete with the customary apparatus of detailed source descriptions, commentaries and an introductory foreword.
- Carillon , Une voix dans le désert , Le drapeau Belge : Elgar's three wartime settings for reciter and orchestra of poems by the Belgian poet Emile Cammaerts;
- Fringes of the Fleet : Elgar's four completed wartime settings for baritone soloist and chorus of poems by Rudyard Kipling, taken from articles commissioned by the Daily Telegraph;
- Inside the Bar : Elgar's setting of the poem by Gilbert Parker, intended to serve as an encore to performances of Fringes of the Fleet.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Elgar: Recitations; Fringes of the Fleet
