Symphony No. 2 (Elgar)

The Symphony No. 2 in E-Flat Major of Edward Elgar is the second of only two symphonies that he composed. He wrote it in 1909–1911, though a few sketches date from 1903. On the title page he included the following dedication:

Related Topics:
Edward Elgar - Symphonies - 1909 - 1911 - 1903

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:Dedicated to the Memory of His late Majesty King Edward VII.

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:This Symphony designed early in 1910 to be a loyal tribute, bears its present dedication with the gracious approval of His Majesty the King.

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:March 16th, l911.

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The score of the symphony is prefaced by a quotation from Shelley, from his poem Invocation:

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:Rarely, rarely comest thou,

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:Spirit of delight!

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The symphony is scored for thirteen woodwinds (three flutes, one doubling piccolo; two oboes and English horn; Eb clarinet, two Bb clarinets, and bass clarinet; two bassoons and contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (including snare drum, bass drum, tambourine, and cymbals), two harps, and strings.

Related Topics:
Flute - Piccolo - Oboe - English horn - Clarinet - Bass clarinet - Bassoon - Contrabassoon - Horn - Trumpet - Trombone - Tuba - Timpani - Snare drum - Bass drum - Tambourine - Cymbal - Harp

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It is in four movements:

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:I. Allegro vivace e nobilmente

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:II. Larghetto

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:III. Rondo: Presto

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:IV. Moderato e maestoso

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Just as in his first symphony, there is no explicit programme. Elgar wrote afterwards about the work: "It ... represents the 'passionate pilgrimage' of a soul; ... the last movement represents the final issue of his 'passion' in noble action, and ... the last two pages the apotheosis and the eternal issue of the soul's pilgrimage." Parts of the symphony he sketched in Venice, during a visit in 1910, and originally he characterized the second and third movements as representing the contrast between the dark interior of the Cathedral of San Marco di Venezia, and the sunlit piazza outside: however by the time of its completion he had crafted the second movement into a funereal elegy for King Edward VII, who had just died. Los Angeles music critic Jim Svejda described it as "the tender Götterdämmerung of the entire Edwardian era," and indeed the entire symphony has an elegiac quality, exceeded perhaps only by his later Cello Concerto (1919).

Related Topics:
Venice - 1910 - San Marco di Venezia - Jim Svejda - Götterdämmerung - Cello Concerto

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