Music Theory Analysis: Elgar's Enigma - Term Paper Example

Introduction The Enigma Variations by Edward Elgar, uses specific techniques that were common for the 1800s in ical music. The thematic materials and the presentation of the orchestration are able to work together to create a specific effect. The term “enigma” is referred to as a metaphorical or symbolic thought that is given to another in a riddle and which has to be thought of for a solution. Each of the variations was dedicated to the close friends of Elgar, which were defined as being “pictured within” the variations. To further this, each of the variations has one of the friend’s initials and is known to reflect the personality of the individuals that were close to Elgar. While each is able to show a different personality, the variations also provide similarities in the thematic material and the structure that is used. The similarities and differences that range in the variations are able to create a deeper meaning to the piece that relate to the characteristics of Elgar. The beginning theme and Variation IV are examples of how Elgar worked with the thematic material to create specific types of personalities that are intertwined into the entire piece (Nice, 1996). Opening Theme Analysis of Enigma The opening theme of Enigma starts with a melancholy melody and harmony. It begins at an andante and counts in the key of 4/4. The key signature is in the key of d minor to create the melancholy mood. The opening only has the violin, viola and cello playing. The violins are carrying the melody and the viola and cello hold a rhythmic and slow pace underneath this to create a movement with the piece. The first six bars carry the theme that is intertwined throughout the rest of the piece, heard in the first violin. Theme B begins in measure 7 and is heard by the change in instrumentation. The violin quartet in the symphony continues to carry the rhythmic pace heard by a quarter note and quarter rest in the background. The melody moves to the oboe and is echoed through the flute and woodwind section. A countermelody is also heard in the violins as the piece moves through the first movement. The same six bar melody that was heard at the beginning of the piece is also echoed in the relative major key at this point. At measure 7, the minor key also changes to the relative of F major to create a happier sound toward the music. The first movement then goes back to Theme A and back to the minor key. The same six bar theme heard at the beginning of the piece is repeated in the violins. However, the coda at the end of Theme A includes oboe and clarinet to keep the deeper sound that is heard in Theme B. The end of this variation moves back to the borrowed chord in the major key to lead into the next variation. Variation IV Analysis Variation IV moves at a quicker pace than the opening theme. It is an allegro di molto and is in the time signature of 3 / 4. The opening theme includes all instrumentation of the orchestra to bring in a louder and faster pace. The harmony of variation IV also begins in the key of d minor and remains in the minor key throughout the variation. Theme A begins in measure 11 with the same 6 bar melody heard in the first theme. The melody is heard in the woodwind and brass section as well as the violin section. In measure 7, Theme B begins with a melody that is recognized by the half note followed by two eighth notes. At this point, the violins begin to move into the rhythmic structure, which includes a series of eighth notes while the woodwind and brass section continue with the main melody. Both themes A and B are able to carry a louder tone with dynamic markings. Theme B breaks at measure 16 and goes back to Theme A. At this point, a melody and countermelody are heard. Both have the same thematic material as the opening section. However, this moves at a faster pace, has a louder dynamic and is supported by the string section, which is playing the rhythm with one quarter note at the beginning of each measure. For Variation IV, this section is known to be softer and crescendos to move into the end section of the piece. Measure 26 finishes with the coda. All of the instrumentation is brought back into this section and moves to a loud dynamic. Theme A is again used with each of the instruments keeping the same rhythmic structure and tone of the theme. The difference between the instruments is in the harmony that is played as it moves through the main melody. The coda ends by going from the minor key of d to the borrowed chord in the key of F major. Comparison of Both Variations The two variations that are used have several similarities and differences, both which are used to create a sense of tension while continuing to unify the piece. The first similarity and difference between the two is from the form that is used in both pieces. Similar to other variations written during this time, Elgar keeps the basic structure that is used through the variations. Both of the variations have the form A, B, A as the main component. In both, the theme of B moves to a slightly different sound or melody which is used to contrast with theme A. The only difference in structure between the two themes is based on the ending. In variation IV, Elgar uses a coda at the end to repeat theme A. However, in the opening theme, there is no ending coda and only an ending after theme A is repeated for the second time. The second part that has several similarities and differences between these two variations is the rhythmic structure. The rhythm of both is one of the areas that creates a greater contrast and sets the mood for both of the pieces. In the opening theme, the rhythm is at andante and is at 4 / 4. The piece stays at a slow rhythm with the movement of the violins playing quarter notes on 1 and 3 being the only identified rhythm. However, in variation IV, the rhythm is opposite from the first theme. This particular part of the variation is known to move faster than any other. It is in 3 / 4 instead of 4 / 4 which instantly makes the movement faster in the piece. At the same time, the piece moves at allegro which is opposite to the opening piece. The rhythm that is used in the instrumentation is minimal and is heard as a part of the melody. Since it is moving in 3 / 4, the instruments are able to easily create a rhythmic pace that is heard at the beginning of each measure through the accent of the melody. The combination of rhythm is then defined further by the orchestration in both pieces. The orchestration in the opening theme is quite and doesn’t have as many dynamics. Elgar uses a minimal amount of orchestration, specifically in the opening theme and through the use of the string section. In Variation IV; however, the entire orchestration is used at the opening and has a loud dynamic to mix with the pace of the variation. The dynamics and the orchestration through the first theme remain quiet and are interactive only with slight coloring to accent the melody. When the entire orchestration is used, it will either play whole notes or rhythmic patterns. In variation IV, the entire orchestration is used throughout the piece to layer the melody and to create a thicker and louder sounding part of the melody. The only part where this differs is in Theme B where the woodwinds interchange a melody and countermelody and the rest of the orchestration drops for a quieter sound. In these two variations, it can be heard that the theme B creates an alternative in orchestration; however, the mood of the song depicts what instruments are used. The mood of the first song is more melancholy, with the change in theme B. The mood of the fourth variation is brighter with a change into more melancholy at theme B. The orchestration used compliments the way that Elgar places this together. Another component to both variations is through the harmony that is used in both. The two variations are in the key of d minor and remain in this key through the duration of the piece. However, the first theme sets the tone differently in theme B by moving into the relative major of F major. Variation IV doesn’t modulate into an alternative key through the piece and remains in d minor. Both of the pieces use a borrowed chord in the key of F major at the end to change the tone of the piece. Even though both have a minor harmony that is used through the piece, both have a different mood and tone. Since the first theme is moving at a slower pace and has the quieter tone, it also sounds melancholy. Even though variation IV is in the same key signature, the fast pace and the layered instruments that follow the same melody create a brighter and more uplifting tone. The techniques that Elgar uses outside of the harmony become more important than the key signature and are able to create a difference in the tones that are created. The last comparison of both of the variations is through the melody that is used in both pieces. Elgar uses the melody as the one point where all of the variations are able to unify together and to create a specific sound. The melody begins with the six bars that are heard in the first theme. This is heard in both A sections of the first theme. The same melody is also heard in the variation IV through theme A. The difference in melody between these two is based on the orchestration and pace that it moves at, which makes it sound different from the other. However, both have the same interval spacing and movement with the rhythm that is used throughout the piece. The melody is important in defining the character of the piece and becoming the unifying element between each section. In theme B of both the opening section and in variation IV, there is an alternative melody that is heard. Both of these differ into a unique melody that is not heard in the other variations. However, Elgar places different counterpoint techniques with the melody. It is sometimes heard in the countermelody, as fragments in the rhythm or as a quicker moving part in a different section. For instance, in theme B of Variation IV, fragments of the melody can be heard in the violin section as they place rhythmic eighth notes. Elgar does this to unify the pieces that are used in both sections. The use of rhythm, fragments and countermelody for the melody that is at the beginning theme is able to create different layers to the piece with the melody as the unifying element through the variations. Conclusion The concepts that Elgar uses through his Enigma Variations are able to create a specific effect. The unifying point of Elgar’s piece is from the melody and the form that is able to identify the way that the melody is played. The other elements, such as rhythm, harmony, dynamic and orchestration vary in both the opening themes and in Variation IV. This is done to create a characteristic that is outside of the variations and which allows the listener to understand a unique point of the variations. Combining the unique aspects with the unification of the melody through these variations is then able to create a specific effect that relates to the enigma that Elgar named this piece after. References 1. Nice, David. (1996). Edward Elgar: an Essential Guide to His Life and Works. London: Pavillion. 2. Elgar, Edward. Enigma Variations. Opus 36. Ernst Eulenberg LTD. Read More