Edward Elgar arr. Lawson
ADIEU & SERENADE
Goodmusic Concert Classics GMCL248
Catalogue Number: GMCL248
Difficulty level: D What's this?
ISMN: 9790222340305
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Orchestration: 2 Flutes, 2 Oboes, 2 Clarinets in A or Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (2 players: Triangle, Tambourine), Harp
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Adieu and Serenade were published as piano pieces in 1933, a year before Elgar’s death and are officially registered as being written in 1932, although they are thought to have originated in whole, or in part, from a much earlier period. They both have some stylistic similarities to Salut d’Amour, which dates from 1888. Whether they were originally untitled or not appears unclear - it could be that Elgar improved on the originals for publication. In their own different ways, they are both charming miniatures and I have orchestrated them for standard orchestral resources to bring them to a wider audience as short Novelty numbers.
Adieu is suitably poignant - in the key of B minor, the same as the Violin Concerto. Joseph Tzigeti made an arrangement of it for Violin and Piano which incorporates short references to the Concerto. It does not have a dedication and whether the title is general, or if Elgar had someone in mind that he was saying farewell to at the time, or later, can only be a matter for conjecture. It could just as well be the composer bidding adieu to an era, to a house, a beloved pet dog, or even to himself - it has a slight Eastern European feel, which could be a clue or a red herring - the speculation around this piece’s intent only adds to its flavour of intriguing mystery. The outer sections of the piece both end in the dominant minor, unusually and rather strangely - even more strange, though, this seems completely natural!
Serenade is dedicated to John Austin, "Friend and Editor for forty years" - he was a local violinist and leader of the Worcester Philharmonic Orchestra, who had helped Elgar with many pieces, in particular with the Violin Concerto. It is likely that Elgar, near the end of his life, was rewarding Austin with the dedication. The piece has a wistful charm and is immediately recognisable as being Elgarian through and through. It is in simple ABA form with the middle section being a variant in the tonic minor. Peter Lawson
Duration 2½ and 3 minutes
A PACK includes a full score plus all wind, brass and percussion parts and strings 4/4/3/4/2.
Strings (Violin 1, Violin 2, Viola, Cello, Bass)
Adieu and Serenade were published as piano pieces in 1933, a year before Elgar’s death and are officially registered as being written in 1932, although they are thought to have originated in whole, or in part, from a much earlier period. They both have some stylistic similarities to Salut d’Amour, which dates from 1888. Whether they were originally untitled or not appears unclear - it could be that Elgar improved on the originals for publication. In their own different ways, they are both charming miniatures and I have orchestrated them for standard orchestral resources to bring them to a wider audience as short Novelty numbers.
Adieu is suitably poignant - in the key of B minor, the same as the Violin Concerto. Joseph Tzigeti made an arrangement of it for Violin and Piano which incorporates short references to the Concerto. It does not have a dedication and whether the title is general, or if Elgar had someone in mind that he was saying farewell to at the time, or later, can only be a matter for conjecture. It could just as well be the composer bidding adieu to an era, to a house, a beloved pet dog, or even to himself - it has a slight Eastern European feel, which could be a clue or a red herring - the speculation around this piece’s intent only adds to its flavour of intriguing mystery. The outer sections of the piece both end in the dominant minor, unusually and rather strangely - even more strange, though, this seems completely natural!
Serenade is dedicated to John Austin, "Friend and Editor for forty years" - he was a local violinist and leader of the Worcester Philharmonic Orchestra, who had helped Elgar with many pieces, in particular with the Violin Concerto. It is likely that Elgar, near the end of his life, was rewarding Austin with the dedication. The piece has a wistful charm and is immediately recognisable as being Elgarian through and through. It is in simple ABA form with the middle section being a variant in the tonic minor. Peter Lawson
Duration 2½ and 3 minutes
A PACK includes a full score plus all wind, brass and percussion parts and strings 4/4/3/4/2.
