The
Severn Suite was written towards the
end of Sir Edward Elgar’s life in 1930. Other works from this period include
the Nursery Suite, and the Pomp & Circumstance March No.5. Except
for the unfinished opera The Spanish Lady,
it was to be the composer’s last major work. It is also the only composition by
Elgar to have been written specifically for brass band.
The
work was commissioned by Herbert Whitely as a test piece for the 1930 National
Brass Band Championship at Crystal Palace. According to Elgar’s daughter Carice,
most of the material was taken from the composer’s old sketchbooks. The
composer only produced a piano score for the work, and it was scored for brass
by Henry Geehl. Michael Kennedy notes that at the time this collaboration was a
well-kept secret; there was some debate over the quality of the scoring and
certainly some argument between Geehl and Elgar as to what was technically
possible and musically effective for a brass band. However, two years later
Elgar orchestrated the suite for a standard orchestra and finally in 1933 Ivor
Atkins arranged the piece for organ as the Organ
Sonata No.2.
The
work was dedicated to George Bernard Shaw who is quoted as saying that ‘it will
ensure my immortality when all my plays are damned and forgotten...’
The
winning performance was by Foden’s Motor Works conducted by Fred Mortimer.
The
Severn Suite is written in four short
movements and a Coda. In the orchestral
reworking, each of the movements was given a ‘picturesque’ title evoking some
aspect of Worcester. They can be helpful signposts when listening to this work
in the other versions. The work opens
with an imposing introduction, ‘Worcester Castle’. This is written to represent
a procession passing in a pageant. Elgar uses a few solo instruments to give
variety, but typically this a four-square piece for full ensemble in full
ceremonial style. The second movement,
'Tournament’ follows without a break and is effectively a brilliant Toccata
that showcases soloists. Next, the mood changes for a musical depiction of the
Cathedral, which is conceived as a Fugue.
However, Basil Maine has suggested that the opening of this movement is
like ‘the River [Severn] itself rather than... the cathedral which stands on
its bank, so gentle is its flowing.’ It is surely one of Elgar’ finest, if
unjustly neglected ‘slow movements.’
The
fourth movement is entitled ‘Commandery’. This is effectively a minuet which
may recall the King’s presence at Worcester during the Civil War. From the
players’ point of view this is a tricky piece that demands a lightness of touch
The
Coda, which opens rather darkly reprises material from the opening movement.
Soon the weight of brass is added to bring the work to an impressive conclusion.
Edward
Elgar’s Severn Suite can be heard on YouTube performed by The
Brighouse and Rastrick Brass Band.
With thanks to the English Music Festival, where
this programme note was first published. I have made a few minor editorial
changes.
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