Pomp and Circumstance Marches, Op. 39: No. 4 in G [Schmid]: Full Orchestra Conductor Score & Parts

$70.00 USD

Pomp and Circumstance Marches, Op. 39: No. 4 in G [Schmid]: Full Orchestra Conductor Score & Parts

Name: Pomp and Circumstance Marches, Op. 39: No. 4 in G [Schmid]: Full Orchestra Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A813502
Price: 70.00 USD
Availability: OutOfStock

By Edward Elgar, ed./arr. by Adolf Schmid

Item: 36-A813502

$70.00

Shipped

One moment…

Edward Elgar's (1857-1934) POMP AND CIRCUMSTANCE MARCHES consist of five marches for orchestra all published under Op. 39. Named after a phrase found in Shakespeare's OTHELLO, they were meant to showcase that the splendidness of military pageantry ("Pomp") has little relation to the drabness and terror of actual warfare ("Circumstance"). Elgar completed Pomp and Circumstance March No. 4 in G major, Op. 39, No. 4 on June 7, 1907, five days after his fiftieth birthday, as the fourth of the five completed marches in the series. Dedicated to Elgar's friend George Robertson Sinclair, organist of Hereford Cathedral and the "G.R.S." associated with Variation XI of the Enigma Variations, the march juxtaposes a buoyant, rhythmically energetic Allegro marziale with one of Elgar's characteristically expansive trio melodies, notable as the first of his themes to bear the expressive marking nobilmente. The work received its premiere at Queen's Hall, London, on August 24, 1907, with Elgar conducting the London Symphony Orchestra, and was published the same year. Like the celebrated first Pomp and Circumstance March, No. 4 soon acquired patriotic associations: Elgar adapted its broad trio melody for The King's Way in 1910 to words by his wife Alice, while Alfred Noyes later supplied words for Song of Victory and A. P. Herbert transformed the melody into the wartime Song of Liberty in 1940. Today, Pomp and Circumstance March No. 4 in G major is generally the best known of the series after No. 1 and remains firmly established in the orchestral and ceremonial repertoire, admired for the combination of brilliant orchestration, rhythmic vitality, and noble lyricism that epitomizes Elgar's distinctive approach to the concert march. Instrumentation: 2(2nd dPicc).2.2.2: 4.2(Crnt).3.1: Timp.Perc(2-3): Str (9.8.7.6.5 in set): CS (Pno-Cond) in set. Reprint of the edition arranged by Adolf Schmid for smaller forces than Elgar's original orchestration.

Discover MakeMusic Cloud: thousands of interactive titles your students can play along with today.

New to MakeMusic Cloud:

Start Your Free Trial

Explore everything that's ready to play right now.

Want a specific title added?

Request It

Tell us what you want to see.

No sample pages found.

No sample audio found.

No sample videos found.

Series: Kalmus Orchestra Library

Publisher: Edwin F. Kalmus

UPC: 604634274310

SKU: 36-A813502

Instrumentation: 2(2nd dPicc).2.2.2: 4.2(Crnt).3.1: Timp.Perc(2-3): Str (9.8.7.6.5 in set): CS (Pno-Cond) in set

More about this title

About the Composer: Edward Elgar

Edward Elgar (1857-1934) stands as one of Britain's most significant orchestral composers, and his Pomp and Circumstance Marches represent a pinnacle of the march genre itself. Working in the late Romantic tradition, Elgar possessed an extraordinary gift for melody and orchestration that allowed him to craft works of genuine grandeur without sacrificing emotional depth. His marches, in particular, showcase his ability to balance ceremonial splendor with intimate lyricism, a quality that has secured their place in concert halls worldwide for over a century.

What makes Elgar especially valuable in the music education context is the sophistication of his compositional technique paired with the accessibility of his musical language. Teachers and conductors can use his works to demonstrate how effective orchestration, phrase structure, and harmonic progression create impact, while students encounter music that rewards both careful listening and committed performance. The Pomp and Circumstance series, in particular, offers excellent examples of the march form and the expressive possibilities within it.

Show moreShow less

Why we love this

This march captures Elgar at his most inventive within the genre. The Allegro marziale crackles with rhythmic drive and crisp articulation, but it's the trio section that reveals why conductors return to this work repeatedly; the nobilmente marking introduces a sweeping, almost hymn-like melody that gives every section of the orchestra something meaningful to play. Unlike some marches that rely on bombast alone, this score demands and rewards musical sensitivity from your ensemble.

What to expect

Ceremonial confidence meets genuine lyricism. The march section pulses with the kind of forward momentum that feels almost inevitable, while the trio unfolds like a majestic processional moment, offering both performers and listeners a space of quieter dignity within the larger structure. There's a nobility here that never tips into pretension.

Who it's for

Orchestras and concert bands seeking a dignified ceremonial work that audiences recognize and musicians enjoy performing. This arrangement by Schmid opens the piece to ensembles that may not have access to the full original orchestration, making it an excellent choice for school and college groups preparing for graduation ceremonies or concert performances.

How to get the most out of it

Establish the rhythmic precision of the march section early in rehearsals. The military character depends on crisp articulation from winds and clear, unwavering pulse from the rhythm section; this foundation makes the trio transition feel genuinely spacious rather than rushed.
Shape the nobilmente trio melody as you would any lyrical theme. Encourage the players carrying the tune to sing through the phrase with a sense of warmth and inevitability, resisting any tendency toward mechanical playing that can creep in during marches.
Attend carefully to the dynamic contrasts between sections and within phrases. Elgar's orchestration is detailed; letting those textural shifts breathe prevents the work from becoming one-dimensional.
Balance the accompaniment in the trio so that supporting voices remain transparent. The melody shines brightest when surrounding harmonies sit back slightly.

How to use it

Reserve this for occasions calling for genuine ceremonial weight. It works beautifully as a finale to a graduation concert or as the centerpiece of a program exploring the march genre across different periods. Placing it alongside lighter concert music creates effective programming contrast, allowing audiences to hear both the formality Elgar crafted and the emotional substance beneath it.

Skills your students will build

Precise ensemble rhythmic control in march idiom
Balancing lyrical melodic playing within an accompaniment texture
Listening to and maintaining consistent pulse across tempo and dynamic changes
Dynamic shaping within orchestral sections
Sustaining tone quality through longer phrases marked expressively

Pomp and Circumstance Marches, Op. 39: No. 4 in G [Schmid]: Full Orchestra Conductor Score & Parts