This is the last of five posts on English music by Steve Newman:

In the years after leaving school Elgar continued his musical self-education and started teaching violin and piano to the daughters of local worthies. He joined the Worcester Amateur Instrumental Society as first violin, organised a wind band at a local lunatic asylum and, in 1882, fell in love with Helen Weaver, a beautiful seventeen year old whose parents owned a shoe shop in Worcester.

Helen, then studying music at the Leipzig Conservatory, was back in Worcester for the summer vacation and was immediately swept off her feet by the tall, beautifully spoken, pipe smoking, and heavily moustachioed Elgar.

In the winter of 1883 Elgar, after much opposition, managed to visit Helen in Leipzig, where they spent a few magical days together. On Helen’s final return from Germany the deepening affair continued, but in December 1885 Helen was suddenly, and unceremoniously shipped off to relatives in New Zealand. The reason given at the time is that she had a lung condition, but I believe it possible that Helen may have been pregnant with Elgar’s child; but whatever the reason the young Elgar was heart-broken and never really got over his young lover’s banishment.

Heart broken or not this first passionate encounter was, for Elgar, a defining moment in the creation of his very personal musical voice. As with the Malvern Hills the memory of his love affair with Helen Weaver is constantly to be heard in his music.

Similarly, in the music of Delius, we hear the musical throb of sub-tropical Florida.

After leaving school Delius’s father fully expected his son to enter the wool business, and on that assumption, and to teach him basic administration skills, sent him to Florida to run a family owned orange plantation.

Delius loved Florida but ignored the business intricacies of running an orange plantation completely choosing instead to listen to the Negro field workers sing spirituals, and in the evenings visit the bars and brothels in nearby Jacksonville. And it was probably there that he first contracted syphilis and possibly fathered a child. But what also came out of his stay was the first draft of the extraordinary Florida Suite (1888) which overflows with the structure, and swing, of the Negro spiritual.

At last Delius had found his musical voice and insisted his father send him to Leipzig to study. At first Julius would not budge, but eventually, after the persuasive interjection of the Norwegian composer Edvard Greig (a mountaineering friend of the young Delius) Julius finally gave in and, in 1886, sent the 26 year old Fred Delius to The Leipzig Conservatory to start his formal musical education.

The young Delius studied hard, but in the vacations he travelled widely in Europe and Scandinavia, and after graduating from Leipzig moved to Paris to live the life of a wealthy playboy who also had some rather unusual ideas about the sort of music he wanted to write.

After many love affairs he eventually settled down with the German painter Jelka Rosen, whom he married in 1903, moving to her house in Grez-sur-Loing where they lived for the rest of their lives.

That same year also saw Elgar’s The Apostles first performed in Birmingham, and Holst (now married to singer Isobel Harrison, and the Head of Music at the James Allen School For Girls in Dulwich) use every spare moment to compose a handful of operas (including the Sanskrit based Savitri), plus several choral and orchestral works.

Gustav’s daughter, Imogene - who was born in 1907 - studied with her father’s old friend Ralph Vaughan Williams at the Royal College of Music in the 1920s, later becoming a freelance musician and conductor. During WWII she helped organise, for the Council for the Encouragement of Music and the Arts ( the forerunner of the Arts Council of Great Britain), hundreds of morale boosting musical events for the civilian population of Britain. After the war Benjamin Britten invited her to Aldeburgh in Suffolk to help him stage his opera, Gloriana. She immediately fell in love with the place (and if you’ve never been to Aldeburgh you are missing one of the delights of the Suffolk coast), bought a house and lived there for the rest of her life. She was the Artistic Director of the Aldeburgh Festival from 1956 to 1977 and helped to establish the festival as an international event. She died in 1984.

In many ways marriage was the making of Holst, Delius and Elgar. Holst was now secure in a loving relationship. Delius enjoyed a sophisticated existence with a vivacious and outspoken painter whose own private income ensured he could continue to compose without distraction. Elgar also married rather well.

Caroline Alice Roberts was nine years older than Elgar, the daughter of a retired Indian Army Major General, with her own private income. She was tall, highly educated, socially well connected, and from the day she and Elgar married (May 8th 1889) was determined to make sure her husband’s genius was acknowledged and rewarded. It was the wisest move Elgar ever made and in the ten years following their marriage saw him compose the overture Froissart, the oratorios King Olaf, and Caractacus, The Imperial March for Queen Victoria’s Diamond Jubilee, plus, and most importantly, the aforementioned, Enigma Variations. He also begin the troubled score of The Dream of Gerontius. In 1891 his daughter, Carice, was born, and in 1904 - with a symphony also in the bag, and aged only 47 - Elgar was knighted.

As with Delius and Holst, the First World War saw Elgar grieve bitterly for the loss of life in the trenches, and for him the almost unbearable lost innocence of his childhood. But out of these agonies he was finally able to create one his most personal musical statement, the Cello Concerto of 1918, which, apart from being, publicly at least, a paean for those lost lives, it may also have been a final outpouring of love for Helen Weaver.

Delius would make his own statement about The Great War in his heartbreaking Concerto For Violin and Cello, also written in 1918.

Holst - who served briefly in the Near East during the war - also poured out his musical heart in his 1917 Hymn of Jesus, written for voice and violin. This haunting piece of music was later recommended by Elgar (who never met Holst) for the Hull Festival of 1921.

1920 saw the death of Lady Elgar and a period thereafter that saw Sir Edward move house again and again, surround himself with dogs, become close friends with George Bernard Shaw, and suffer increasing amounts of back pain that was the onset of the cancer that eventually killed him.
The same year saw Delius confined to a wheelchair, become increasingly blind and angry, yet, over the next couple of years, write his own enigmatic and moving Cello Concerto. Delius was made a Companion of Honour in 1929.

Holst’s The Planets Suite was, by 1920, a concert hall favourite. The composer had also given up his teaching job to take up professorships at Reading University, and the Royal College of Music, with new works, such as the Choral Symphony and Egdon Heath, also spilling from his pen. He also had increasing amounts of severe stomach pain that was, in 1930, diagnosed as a duodenal ulcer.

In May 1933 Elgar flew to France to conduct the young Yehudi Menuhin in a performance of his Violin Concerto, which also gave him the chance to motor down to Grez-sur-Loing to met Delius again for only the third time in 30 years. They spent the afternoon in the garden talking about music, literature, and politics, and drinking Champagne. Elgar tried to explain what the flight from Croydon had felt like, in the end likening it to Delius’s music:

“Unexplainable, but always beautiful, like your music, Fred.”

By the winter of 1933, with his cancer now diagnosed, Elgar was confined to bed ( with his dogs) where he was able to listen to new HMV recordings of his music, and work on his 3rd Symphony, recently commissioned by the BBC. He died peacefully on the 23rd February 1934, aged 76.

In the spring of 1934 Holst was admitted to hospital in London for an operation to remove his duodenal ulcer. Although the operation was a success he died of a post-operative heart attack on May 25th, 1934, aged 59.

By the summer of 1934 Delius’s existence — and Jelka’s — was a misery, with local French doctors unable to do anything for the pain-stricken composer, who just screamed at them to get out and leave him alone. He would allow only his German male nurse, and Jelka, to touch him. Delius died on June 10th 1934, aged 72. Jelka died a year later.

Although Holst died at the height of his powers, and Elgar and Delius at the twilight of theirs, all three composers left powerfully defined musical paths that most British composers have, at sometime, and to their betterment, travelled.

Steve Newman

Sir Edward Elgar was something of a nomad, living at twenty four different addresses. Apart from seven in London, and one in Sussex, the rest were in Worcestershire and Herefordshire, with one in Warwickshire: Tiddington House.

The New Year’s Honours List of 1928 brought yet another title to add to Elgar’s roll call, that of Knight Commander of the Royal Victorian Order; it also brought another move for the 72 year old composer, this time from the 17th century Battenhall Manor in Worcestershire, to Tiddington, just outside Stratford-upon-Avon.

Tiddington House was late Georgian, built of brick, cement rendered, and painted white, with an impressive entrance porch in the style of The White House. To the left of the porch was a giant magnolia tree. The inside consisted, on the ground floor, and to the right, of a large dining room, morning room, and study, and a slightly smaller drawing room (which housed Elgar’s grand piano) on the left, all with large French windows opening onto the substantial gardens. A wide oak staircase led from a large panelled hallway to four bedrooms and two bathrooms on the first floor, with a second staircase leading to four large attic rooms. A large kitchen and scullery was situated in the basement.

It was a house that suited Elgar’s hard earned social status, and with a recent legacy of £7,000, a retainer of £500 a year from HMV, £200 a year from his late wife’s inheritance, as well as conducting fees - and at last some performance and recording royalties - he could now afford the rent of such an imposing house. It pleased Sir Edward hugely that he was now able to live in the kind of house his father - a piano tuner and music shop owner in Worcester - had only been able to visit via the tradesmans entrance.

The house belonged to Sir Gerard and Lady Muntz of Ullenhall, and it would seem Elgar only agreed to lease the property as a result of Lady Muntz personally inviting Sir Edward’s two dogs inside to view - if Elgar’s dogs were unhappy so was he. Mina, the Cairn Terrier, and Marco, the Spaniel, obviously approved, and Sir Edward, with the help of his daughter Carice, moved into the furnished property during the Easter holidays of 1928.

Four and a half acres of garden surrounded the house, with lawns, paddocks, and orchards meandering down to the large river frontage. On the north western side of the house was a large kitchen garden, and behind that a courtyard with stables, and a garage for Elgar’s 1924 Lea-Francis motor car. There was also a wooden boathouse.

Billy Reed, the leader of the London Symphony Orchestra, remembered the fishing rods always at the ready in the boathouse, with a very smart rowing boat used constantly to ferry guests into Stratford for dinner at The Swans Nest Hotel. There is a lovely photograph of a very relaxed - and bare footed - Sir Edward, wearing a white summer suit and straw hat, happily rowing himself along the Avon, looking every inch like Mr Toad.

Elgar, an accomplished Shakespearean scholar had, in 1927, written to William Bridges-Adams, the artistic director of the Memorial Theatre, suggesting he might write some incidental music. He repeated his request on his move to Tiddington, but sadly nothing seems to have come of Elgar’s suggestion. It is one of those tantalising “what ifs” of musical history.

Elgar entertained widely during his tenancy of the property, with many of Billy Reed’s fellow LSO musicians - an orchestra Elgar considered to be his own - among his many guests. The composer’s life long friend, architect Arthur Troyte Griffith ( the 7th Enigma Variation), often visited, as did the Worcester Cathedral organist Ivor Atkins. The young, and rather shy Adrian Boult made several visits, as did of course Elgar’s old friend and champion, George Bernard Shaw.

After a hectic day of fishing, boating, bonfire construction, music making, and either picnics at the river’s edge, or long lunches in front of a blazing log fire, Elgar would get his chauffer-cum-butler Dick Mountford to row his guests into town. Elgar would then march them to Greenhill Street, and the old Picture House - now doubling as a temporary Memorial Theatre since the fire of 1926 - to take in a play, or the latest silent film.

Sir Edward did write some music at Tiddington, most notably the incidental music for Bertram P. Mathews’s play Beau Brummel which premiered at the Theatre Royal Birmingham on November 5th 1928, with the pit orchestra conducted by Elgar. Another piece written during Elgar’s Tiddington period was a setting of some verses by Ben Johnson, for the Gloucester Festival.

Although the BBC didn’t commission Elgar to write a 3rd Symphony until 1933, it is possible some early sketches for a large scale work my have been written at Tiddington. And George Bernard Shaw did write to Elgar in early 1929, after the completion of his play The Apple Cart , saying how “… he had feared that he may never complete another play again, but that he had done so was proof there was life in the old dog yet, and that it is your turn now. Cap it with a symphony!”

It must have been quite a sight to have glimpsed Elgar and GBS together in the gardens of Tiddington House: the elegant, and ram-rod straight figure of Elgar instructing GBS on the finer points of constructing, and burning bonfires, with the tall, gesticulating GBS, lecturing England’s most famous composer on the merits of socialism. There is some conjecture that Elgar - a staunch Conservative - may even have voted Labour in the 1929 general election.

Another, rather more charming image of the two elder statesmen of the arts, must surely be that of Sir Edward and GBS sitting either end of the long dining table at Tiddington, napkins tucked into their shirt collars, with Marco and Mina - also bibbed and tuckered - sitting in chairs on either side of the table, with Dick serving Elgar’s favourite dish of bangers and mash from a silver platter. One can imagine the famous raised eyebrow of GBS as he observed this daily ritual.

Elgar often made the train journey from Stratford to London - easy and frequent in those days - to see West End shows, and in 1929 - with GBS - went to see Jerome Kern’s Show Boat, starring Paul Robeson. Elgar loved the show, and Robeson’s performance, and a few weeks later confided in Gracie Fields - at the HMV Abbey Road Studios - how he wished he could write “…such tinkling tunes.”

In December 1929 Elgar left Tiddington House and moved to what became his final home, Marl Bank, in Worcester.

Sir Edward Elgar died at 7:45am on the 23rd February 1934, aged 76, with Marco and Mina at his side.

Tiddington House remained empty for some time after Elgar’s departure, finally being sold by Lady Muntz to the Stratford estate agents Winter & Dawe. In the spring of 1931 it was bought by a Mr and Mrs Wedd, and remained in their family until 1964 when it was sold to developers. It was demolished the same year to make way for eight “Georgian” style detached houses which make up Beeches Walk, situated on the left as you leave the village. Part of the original roadside wall is still there, but alas no blue plack to commemorate Elgar.

Steve Newman

I’m delighted to announce that Steve Newman, actor, playwright and Commissioning Director at publisher, Humdrumming will be joining me here at Classy Classical to provide historical insights into the major English composers.

Steve describes his qualifications for the task thus: “I have a passion for English composers, and next year is the ‘Year of Elgar’. I’ll be writing some historical pieces on Elgar, Delius, Vaughan Williams, Holst and so on. And I once wrote a play about Elgar and Delius.”

Many readers will know of Steve’s writing on music from our sister site: Jazz Groove. He also authors A Publisher’s Diary about his work at Humdrumming.

We look forward eagerly to Steve’s contributions.

The Welsh opera superstar, Bryn Terfel, has triumphed in Covent Garden’s new Jonathan Kent production of Puccini’s Tosca. Critic David Mellor called the performance “the best Scarpia I have seen in the theatre.” He was more critical though of the other star of the night, Angela Gheorghiu.

“Bryn doesn’t see his talent as a reason to puff himself up like some artists. But I’ll come to Angela Gheorghiu later. Off-stage, he simply reverts to being the Welsh countryman who likes nothing more than to live the simple life with his family on his North Wales farm.”

And the “divine” Angela? “Even [she] mostly seemed to meet Kent’s requirements, although hers, after all the hype, was a disappointing evening. Tosca is a spoilt, wilful diva, which, on the face of it, shouldn’t have posed Miss Gheorghiu too many problems on the acting front. But hers is a sketchy assumption and, more fatally, her voice is too small for the part.”

Ouch! But a good Tosca overall.