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The Worlds of Gilbert and Sullivan

Edward William Elgar was born in Broadheath, Worcester, in 1857. He died in Worcester in1934. His father was a music shop proprietor, organist, piano tuner and teacher in Worcester, and his son took a great interest in all this. Edward learned the organ, violin and other instruments, and hoped to go to Leipzig on leaving school at 15. However, his father could not afford to send him.

One of his first compositions was for a children's play, written and produced by the Elgar children. After a brief spell in a solicitor's office, he helped his father in the shop. He became assistant organist at St George's church in Worcester, and played violin in several orchestras in the area. He formed a group with his brothers and friends, and composed several works for this wind quintet.

He tried unsuccessfully to become a solo violinist, but abandoned the idea when he realised he would not become a virtuoso. However he played second violin in the 1878 Three Choirs Festival in Worcester. He then became bandmaster at the county lunatic asylum at Powick. This played regularly for dances. And he joined the first violins in a Birmingham orchestra. He was in great demand locally as a musician and music teacher.

Meanwhile the largely self-taught composer, who combined nobility with gentleness, went on, through good times and bad, to become England's foremost composer. Sir Arthur Sullivan recognised the enormous potential of this young composer, and gave him a lot of help and encouragement during the music festivals. He composed great symphonies (his first being almost a best seller of its day) concertos, and major choral works, as well as delightfully crafted miniature pieces. 

As a practising catholic he was often drawn to religious themes. His Ave Verum Corpus¹ (a case in point) is a beautifully composed miniature choral piece, which has magically dramatic sections. It is still a favourite of choirs great and small, religious and secular.

Ave Verum Corpus²

Solo: Ave verum corpus, natum
Ex Maria Virgine,
Vere passum, immolatum
In cruce pro homine.

Chorus (SATB): Ave verum corpus, natum
Ex Maria Virgine,
Vere passum, immolatum
In cruce pro homine.

Solo: Cuius latus perforatum
Vero fluxit sanguine:
Esto nobis praegustatum,
Mortis in examine.

Chorus (SATB): Cuius latus perforatum
Vero fluxit sanguine:
Esto nobis praegustatum,
Mortis in examine.

Sops & Tenors: O clemens,
Altos & Basses: O pie,
Chorus (SATB): O dulcis Jesu,
Fili Mariae, Mariae.

Here's one beautiful English translation³, if you would like to sing one. But in our opinion one can't improve on the Latin!

Solo: Jesu, Word of God Incarnate,
Of the Virgin Mary born,
On the cross thy sacred body
For us men with nails was torn.

Chorus (SATB): Jesu, Word of God Incarnate,
Of the Virgin Mary born,
On the cross thy sacred body
For us men with nails was torn.

Solo: Cleanse us, by the blood and water
Streaming from thy piercéd side;
Feed us with thy body
Broken, now, and in death's agony!

Chorus (SATB): Cleanse us, by the blood and water
Streaming from thy piercéd side;
Feed us with thy body
Broken, now, and in death's agony!

Sops & Tenors: O Jesu,
Altos & Basses: O Jesu,
Chorus (SATB): O Jesu, hear us,
Son of Mary, of Mary.

"Rhubarb, rhubarb, rhubarb!" Why, what on earth's the matter, Scribe? Why are you chuntering on like that? "Well, you seem to be talking down Edward's achievements." That is certainly not our intention, Scribe. Where do you think we have understated his accomplishments? "Well, it all sounds so formal. Aren't you going to mention his tussles with the musical establishment, his bravery in facing the geographical, social and religious stumbling blocks?" Whoa! Wait a minute, we have mentioned these things. "Yes, I know, but only in passing. And then, you haven't mentioned his wife and daughter, and his lovely little dog, and when he rode his father's horse on his country rounds." Just hold on a minute, you're giving away all our trade secrets. "And you haven't talked about his love of the countryside, and his love of horse-racing and animals, and his love of football and . . ." Hey! give us a chance. We can't mention everything in an article this size. "Yes, but what about meeting the 16 year old Menhuin who played his violin concerto, and putting all his friends into music in a famous piece . . ." OK! Alright. We will keep in mind what you have said and try to make amends as we progress. "Thank you, but . . . well OK."

Footnote 1:  See also Mozart . . . Return to story.

Footnote 2:  For some thoughts on pronunciation see also Mozart . . . Return to story.

Footnote 3.    One of the sources of this tune and words may be found under Lionel Dakers, on our Bibliography page. Return to story.

I dedicate this tune to Liz. One of the clearest, bell-like, sopranos (and one of the most pleasant personalities) I have had the pleasure of working with. JEA

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