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Enigma Variations: Variations on an Original Theme, Op. 36: Conductor Score & Parts

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Enigma Variations: Variations on an Original Theme, Op. 36 Cover Image

Enigma Variations: Variations on an Original Theme, Op. 36: Conductor Score & Parts

By Edward Elgar

Item: 36-A143502

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Description
In October of 1898, Edward Elgar returned home after a long day of teaching, ate dinner, then sat down at the piano to doodle on the keys. Elgar described what followed:

 

“In a little while, soothed and feeling rested, I began to play, and suddenly my wife interrupted by saying: ‘Edward, that's a good tune.' I awoke from the dream. ‘Eh! Tune, what tune!' And she said, ‘Play it again, I like that tune.' I played and strummed, and played, then she exclaimed: ‘That's the tune.' The voice of [my wife] asked with a sound of approval, ‘What is that?' I answered, ‘Nothing – but something might be made of it.'”

 

This tune is what became the theme to one of the greatest works in the orchestral repertoire, VARIATIONS ON AN ORIGINAL THEME or the ENIGMNA VARIATIONS. Elgar called the variations "Enigma," not to be thought of as a riddle so much as a "dark saying [that] must be left unguessed.," though he also hinted that a hidden melody is also embedded within the music. Each of the fourteen variations functions as a musical caricature of a specific friend, starting with his wife Alice ("C.A.E."), and ending with himself ("E.D.U."). The middle variations refer to: II. "H.D.SP." (Hew David Steuart-Powell), III. "R.B.T." (Richard Baxter Townshend), IV. "W.M.B." (William Meath Baker), V. "R.P.A." (Richard Penrose Arnold), VI. "Ysobel" (Isabel Fitton), VII. "Troyte" (Arthur Troyte Griffith), VIII. "W.N." (Winifred Norbury), IX. "Nimrod" (Augustus J. Jaeger), X. "Dorabella" (Dora Penny), XI. "G.R.S." (George Robertson Sinclair), XII. "B.G.N." (Basil George Nevinson), XIII. "***" (possibly Lady Mary Lygon of Madresfield). The work premiered in 1899 at St. James Hall in London, conducted by Hans Richter, and acheived immediate popularity, establishing Elgar's international reputation. Elgar did quickly revise the final variation, adding 96 new bars of music and an organ part, which is how the work is usually performed today. Istrumentation in set: 2(2dPicc).2.2.2+CBsn: 4.3.3.1: Timp.Perc(1): Org(opt): Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 660355015410
SKU: 36-A143502
Instrumentation: 2d1, 2, 2, 2+1 - 4, 3, 3, 1, timp, (org), str

More about this title

About the Composer: Edward Elgar

Edward Elgar (1857-1934) stands as one of Britain's most significant orchestral composers, creating works that moved English music into the international concert mainstream. His compositions are marked by sweeping melodic lines, sophisticated harmonic language, and a gift for instrumental color that made him a natural choice for both intimate chamber works and grand ceremonial pieces.

Why we love this

The Enigma Variations remains one of the most rewarding works to rehearse and perform at the chamber orchestra level. Each variation presents distinct musical character and orchestral writing that challenges players while remaining deeply expressive, and the narrative arc of musical portraits connected by a unifying theme gives your ensemble a story to tell rather than simply executing variations on a tune.

What to expect

The Enigma Variations unfolds as a series of intimate musical conversations, moving from the gentle affection of the opening variation through wit, melancholy, vigor, and tenderness before arriving at the composer's own self-portrait underscored by a patriotic march. There is both warmth and formality in the music, a reflection of Elgar's English sensibility paired with Continental sophistication.

Who it's for

This work suits chamber orchestras with sufficient instrumental strength to balance the full Elgar orchestration while maintaining the transparent textures that make each variation distinct. Conductors seeking a major orchestral work that combines pedagogical value with genuine artistic challenge will find the Enigma Variations an ideal choice for ensemble development and audience engagement.

How to get the most out of it

  • Establish the theme with absolute clarity and consistency across all rehearsals; every variation depends on the listener recognizing its transformation of this original melody, so secure it in your ensemble's memory before diving into the variations themselves.
  • Balance solo and tutti passages carefully within each variation, as several call for prominent instrumental soloists who need space to shine without overwhelming the harmonic foundation provided by strings and winds.
  • Shape the emotional trajectory across the fourteen variations rather than treating each as an isolated portrait; the work builds from intimate character sketches toward the triumphant self-portrait of the final variation and the theme's return.
  • Pay attention to the archaic harmonic language and chromatic coloring that gives many variations their distinctive flavor; resist the urge to over-sentimentalize, allowing Elgar's actual orchestration to create the emotional weight.

How to use it

Program the Enigma Variations as a centerpiece work that carries an entire concert; its length and scope, along with the narrative interest of the variations, give audiences reason to sit with a single major work rather than pairing it with multiple shorter pieces. Alternatively, if programming a themed concert around variations or transformations, this work serves as the cornerstone example that clarifies the concept for listeners.

Skills your students will build

  • Tracking thematic transformation and recognizing musical relationships across a large-scale form
  • Balancing solo color with ensemble texture in multi-movement works
  • Ensemble intonation and blend in passages with divided strings and chromatic harmony
  • Conducting sustained phrases and emotional arcs that span longer developmental sections

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