Tactile Score

Elgar’s Violin Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute (and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing the work to death.

In his seminal book on the composer’s life and music, Debussy, His Life and Mind (London, Dent & Sons Ltd, 1980 revision) Edward Lockspeiser, who spoke with many of Debussy’s own friends and colleagues and thus knew his subject particularly well, called his hero “ a unique artistic phenomenon in the history of music” (Lockspeiser 162). His analysis has clearly stood the test of time.