Falstaff, Op. 68, 1913
- Symphonic study in c minor, 2 interludes in a minor
- Leeds Festival 1913
- Analytical commentary
I. Falstaff and Prince Henry
II. Eastcheap – Gadshill, - The Boar’s Head, revelry and sleep;
III. Falstaff’s March, – The return through Gloucestershire, – The New King, – The hurried ride to London;
IV. King Henry V’s progress, - The repudiation of Falstaff, and his death
- Henry IV & Henry V
- The Merry Wives of Windsor
- Elgar remembers Falstaff in Henry IV & V plays
1) How does the notation relate to the 1932 musical performance?
Broadly sticks to notation markings
Tempo - open to interpretation - Dream Interlude
Falstaff in drunken sleep behind a curtain
Dreams of youth
Marked ♪=100 but approx. ♪=82
2) What is Elgar trying to communicate through a slower tempo in the Dream Interlude?
- Psychological musical commentary
- Empathy - innocence regained
- Sympathy for what is to come
- Personal affinity
- Human life as theme
- Changing public tastes
- Representation of fame
Allis, Michael, ‘Elgar and the Art of Retrospective Narrative’, Journal of Musicological Research, 19.4 (2000), pp. 289-328.
Elgar, Edward, ‘Falstaff’, The Musical Times, 54.847 (1913), pp. 575-579.
Harper-Scott, J.P.E., Elgar An Extraordinary Life (London: The Associated Board of the Royal Schools of Music Publishing Ltd., 2007).
Harper-Scott, J.P.E., ‘Elgar’s Invention of the Human: Falstaff, Opus 68’, 19th-Century Music, 28.3 (2005), pp. 230-253.
Kennedy, Michael, BBC Music Guides: Elgar Orchestral Music (London: British Broadcasting Corporation, 1970).
Kennedy, Michael, The Life of Elgar (Cambridge: Cambridge University Press, 2004).