Dvorak - Symphonic Variations [Jarvi-Scottish National Orchestra]

As you can see from the back insert, i've added a sticker with the individual variations within the track, as Chandos have only allotted this as 'track 5', i like to know where i'm at, and which variations is tugging at my heart and soul, these are not variations in the style of say Elgar / Enigma Variations, rather these are very short little vignettes of colour, in a work which lasts 21 minutes, there's 27 variations, considering the Theme and the Finale, it's roughly 37 seconds per variation!, you get the picture1, it chops and changes all over the place, but i like it this way, each variation is a lovely little gem in a kaleidoscope of others.

Neeme Jarvi is Estonian, he's now 74, he seems to have recorded a cycle of every Symphony for Chandos / BIS / DG, and his Dvorak / Chandos cycle is no exception, plus a great double disc of his Tone Poems also, the individual discs have a lovely theme on the front cover, wood cuts of different rustic scenes [by Clare Melinsky], all in a different monocolour, i love the way, it's boxed small on the booklet front, love the colour theme too.

However much i love Dvorak's 3rd Symphony [it's actually my second favourite after the Ninth], it was the Symphonic Variations that i was enamoured to, an ingenious set of variations, that instead of stop / start, they flow into one another as if they're one track, and of all of these variations, it was a bunch in the middle that really got me going, variations 14-18, here's a little synopsis,
Variation 14 [8:09-9:02] - Almost sounding if it's going to burst into his Ninth Symphony, a lovely serenade, great flute work at the beginning, and then in the second half a bassoon joins in. 
Variation 15 [9:03-9:39] - A very brassy variation, the woodwind have their little say, but it's the brass that have the final say.
Variation 16 [9:39-10:20] - And it bleeds straight into the next variation, where the brass build up into a frantic finale, the woodwinds come in again towards the end.
Variation 17 [10:21-11:05] - The flute seems to feature heavily in this section of variations, areal little pied piper tune.
Variation 18 [11:05-12:02] - Then the key changes, the whole of the work is in C Major, but changes in this variation to D Major, a pithy string tune in the high violins, but the flute again intrudes in the middle, low horns behind the strings give it a certain glow, a lovely little section.

Here's Neeme Jarvi on YouTube with the Symphonic Variations.

Elgar - Enigma Variations [Menuhin-Royal Philharmonic Orchestra] 

A nice little regular in my Blog [29th March 2012 & 12th January 2011], and each time i play it, there seems to be a new variation that bubbles to the surface, this time i found those 'forte' variations were the best, short and loud, lots of brass and timpani, many of the variations last only a minute, and it's easy to miss them if you don't pay attention, it's quite amazing how Elgar can create some of these variations that sound nothing like the original theme, very creative, there's a mood and style for everyone, an ingenious set of variations.

Yehudi Menuhin [1916-1999] was an American Violinist, but he spent much of his later years as a British citizen, he recorded this work in 1985, the front cover shows Menuhin and Lloyd Webber standing either side of a bust of Elgar [photo by Richard Holt], i love its symmetry, even the lettering adds to its centralness, also the oranges and browns create a lovely colour combination.

The variations that most inspired me were 1, 4, 7, 9, 11 & 13-14, that's roughly half of the work, and the variation that most moved me was probably 12, but i think i've talked about that one in the past quite a lot, so on this listen i was certainly affected by variation 11, it's one i don't normally mention, it's of course famous for the splashing bulldog, variation 11 is a musical depiction of GRS [George Robertson Sinclair],

Elgar - Enigma Variations [Previn-London Symphony Orchestra] 

Another first for my Blog, i saw this disc on Ebay, and i thought, what a lovely compilation of English works, it's also the first time i've ever listened to this disc, under Previn's hands this work sounds different, Previn has a way with individual voices, bringing out instruments that you don't normally hear, at one time i actually thought Previn was English!, he seemed to be on British Television a lot, plus he was the Principal Conductor of the London Symphony Orchestra [as on this disc], slowly i'm getting to know him and his style, it's a rewarding exercise.

Andre Previn is now 83, a native of Germany, but is more known for his American citizenship, he recorded this work in 1978, now the front cover is ingenious [photo by Richard Heeps], of a German Enigma machine, in the foreground the keys are sharp and in focus, while a lovely artistic blur happens in the background, it's a great visual for the music on the inside.

On this disc i must make a special mention of the Butterworth piece, it's a gem, 'The Banks Of Green Willow' is so perfectly English, and yet at under 6 minutes is so slight a piece, but what an unsuspecting heart punch he gives on so small a canvas, the Elgar work is filled with individual touches from Previn, he makes the orchestra sound as if it's a chamber unit, the woodwind especially come to the fore, and there's things that i've never heard before in this work, i'm very impressed with Previn, the variations i enjoyed the most were the Theme, and Variations 1, 4, 6-7 & 9, and here's a little synopsis of each
Theme - usually the Theme is just that, an introduction to the real work, and that's the Variations that grow out of it, of course it's a strange theme, not a famous piece chosen by Elgar, but rather something original, the tune doesn't show itself at it's very best as the theme, and some of the Variations upstage it, it's a solemn affair.
Variation 1 [CAE = Caroline Alice Elgar], the Composers Wife is probably given a more clearer idea of the theme in her Variation, much more noble, there's a lovely coda-esque ending to it [1:37-1:52]. 
Variation 4 [WMB = William Meath Baker], a loud and brusque Variation, i love the chattering woodwinds [0:12-1:20], Previn gets the jolty dance rhythm right.
Variation 6 [Ysobel = Isabel Fitton], an endearing Variation, cosy and sweet, again the woodwinds are lovely, and especially the clarinet [possibly bass clarinet], there's a infectious bubble at [0:32+], and carries on throughout the rest of the piece, a lovely little additive from Elgar.
Variation 7 [Troyte = Troyte Griffith], straight afterward we have a bouncy and galloping variation, superb use of the timpani, the music rises and falls, quicksilver string work soars all over the place, like dashes of lightening, and lots of thunder, and of course this Variation refers to a thunderstorm.
Variation 9 [Nimrod = AJ Jaeger], and of course the most famous of all the Variations, a piece that starts off quiet and serene, but grows in confidence to a supreme climax, it can take your breath away on a good day.

Here's a link to Emily Cheng Mei Kwan playing the timpani solo on Variation 7 [Troyte] on YouTube, you get a better feel for those solos.

Elgar - Enigma Variations [Menuhin-Royal Philharmonic Orchestra]

My favourite version of Elgar's Enigma Variations, and another disc i played early last year [12th January 2011], Elgar's short little vignettes of his friends really hits home with his ingenious theme, Elgar seems to visit every possibility of throwing this original theme around, and creates a delightful 14 visual pictures, it's easy to have your favourites [Nimrod for most people], but the trick of really listening to music is to find new things to hear in the most unexpected places.

Yehudi Menuhin is American i guess, but lived here for the last part of his life, it almost seems that he's British by birth, he was born in 1916, and dies in 1999, he made this recording in 1985, the front cover photograph is superb [by Richard Holt], a picture of a bust of Elgar himself, with Menuhin and Lloyd Webber either side, wood panelling in the background, with a lovely use of light to show the woodwork contours, i just love the symmetry of it all, a great pic.

One after another, i just loved these variations, especially the Theme, 1, 4, 7, 9-11 & 13-14, it'a hard to pick a winner, variations have a great tendency to build on each other, therefore the previous variation anticipates the next, and you're forever stuck in a wonderful present, while enjoying the glow of the variation before, and the next variation that is appearing on the horizon, i guess i just loved the opening variation, that of Elgar's Wife,

Elgar - Enigma Variations [Menuhin-Royal Philharmonic Orchestra] 

Here's a disc that i've had for 13 years, and every time i play it i think 'what a lovely coupling this is', probably Elgar's best two works on a single disc, this is now 135 in my all time favourite discs, and especially the Enigma Variations caught my ear, what wonderful little vignettes of Elgar's friends they really are, variations not only in device, but variations in variety too!, it's hard to believe you can wring so much good music out of one simple but profound tune.

Yehudi Menuhin was an American Violinist and Conductor, he died roughly 11 years ago, and made this recording in 1985, the cover is a stroke of genius, showing Menuhin and the Cellist Lloyd-Webber, with a bust of Elgar himself between them, and in the background some orange coloured wood panelling, nicely lit, and the bust of Elgar neatly has his name right at the bottom of the booklet, a lovely symmetrical shot [photo by Richard Holt].

In some way or another, virtually all the variations moved me to some degree, but it was the theme, variations 6-7 & 9 that really got my ears to prick up, here's a synopsis of these four pieces,
Theme, here's the original theme, an ingenious sad lament, starting for strings alone, but the woodwind bring in a slightly happier wistfulness [0:34], but the dour low strings come back [0:54], and certainly the cellos really sing themselves strong [1:05].
Variation 6, called 'Ysobel', refers to Isobel Fitton, a pupil of Elgar who played the viola, featuring of course the viola, it has a clarinet or bass clarinet rising 'bubble' starting at [0:33], based on the opening phrase of the variation, and keeps coming back a number of times, and it's a charming little effect.
Variation 7, by contrast the seventh variation is boisterous, depicting 'Troyte' who is Arthur Troyte Griffiths, lots of galloping timpani here throughout, and braying brass [0:18], and whizzing strings [0:29+], it supposedly depicts a thunderstorm that Elgar and this friend got caught up in.
Variation 9, the most celebrated variation, called 'Nimrod', based on Augustus J. Jeager, it's a gorgeous Adagio, his friend talked about Beethoven's Pathetique Piano Sonata, and Elgar starts off this variation 'hinting' at the slow movement of the Beethoven work, starts off quiet at first, with strings only, but wind instruments appear [0:49], and a nice oboe solo [1:47], the strings rise in power [2:29], and later the brass do the same [3:37], but it quickly dies into gentleness again.

In doing a little research, i find that there's quite a debate on what the hidden 'enigma' is in these variations, three of the best ideas are,
1 Pi / Sing A Song Of Sixpence,
2 Ein Feste Burg / A Mighty Fortress, and
3 Rule Britannia, 
some of the ideas go really deep!, but you don't need to solve any riddle to 'crack' the beauty of these variations, anyone can hear their treasures just by opening their ears.

Here's Menuhin conducting the Seventh Variation 'Troyte' on YouTube.