Rehearsal and Performance Guide: Elgar'S Serenade For Strings
Rehearsal and Performance Guide: Elgar'S Serenade For Strings
Rehearsal and Performance Guide: Elgar'S Serenade For Strings
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Fe at u r e
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Origins of the Serenade for Strings
The creation of the Serenade for Strings (1892) spans a
significant period in the life of the emerging composer. Many
historians cite a link to a three-movement suite for strings
dating from 1888 (now lost), the year in which he became
engaged to his former piano pupil Alice; marriage and the birth In the simplest terms, the Serenade undertakes a journey
of their daughter Carice followed in 1889 and 1890, respectively from E minor to E major. The opening movement features
(Grimley and Rushton 2004, xii). In 1892, Elgar conducted both tonalities: the ternary structure corresponds with
the premiere performance of the Serenade with the Worcester modulation from the minor to the major mode, then back
Ladies’ Orchestral Class (McVeagh 2007, 15). London Publisher again. The choice of C major for the Larghetto is indicative
Novello refused the Serenade, acknowledging its quality but of Elgar’s predilection for nineteenth-century techniques—
questioning public demand for the genre; the German firm chords and keys related by a third were frequently employed
Breitkopf & Härtel became the distributor (Moore 1984, 160). by Romantic composers. A similar relationship occurs
Elgar credited Alice with assistance in crafting some of the within the finale, in which G major gives way to E major.
melodies (Anderson 1993, 371). Elgar conducted the Serenade Elgar’s harmonic language is rooted in the same style period.
in an August 1933 recording session; together with the Elegy, Occasional chromaticism colors individual chords yet never
recorded the same day, it became the final work so preserved obscures the tonal center. Delayed resolutions and brief
(Kennedy 2004, 197). tonicizations heighten the aspirational quality of the music:
while the tonal goal is never in question, Elgar often takes
the listener on a circuitous path to the eventual destination.
The Work as a Whole Elgar’s meticulous approach to the notation of dynamics
Comprising three movements, the Serenade is cyclical in may have arisen from his extensive work with amateur
structure: thematic material from the first movement later and student musicians; the vast majority of phrases in the
serves as the second half of the finale. Elgar’s gesture was Serenade are subject to some degree of nuance. The overall
likely inspired by similar restatements in the esteemed string scope of volume is extensive, traversing a span of ppp to
serenades of his predecessors Tchaikovsky and Dvorak. The ff; Elgar reserves these extreme dynamic indications for
first two movements of Elgar’s Serenade bear the greatest moments of structural importance. Significantly, fortissimo
weight in terms of duration and dramatic substance, while the is employed only once in the entire Serenade: in the first
finale emerges as a more succinct summation (see Table 1). movement, it abets a culmination of dramatic tension prior to
Though Elgar distinguishes the three movements with unique the recapitulation of the primary material. The dynamic nadir
expressive labels (Allegro piacevole, Larghetto, and Allegretto, of the first movement distinguishes the final four measures,
respectively), the given metronome indications fall within a bringing the Allegro piacevole to a tranquil close. In the
relatively narrow compass (dotted quarter note = 96, eighth second movement, the lone tutti forte serves as the apex of
note = 80, and dotted quarter note = 92, respectively). the second statement of the second subject (measure 58);
Consequently, contrast between movements relies to a great it occurs mid-measure and quickly subsides to piano. More
extent on character and style, while care must be taken to prolonged, the ppp passage in the Larghetto prepares, then
establish and preserve the subtle tempo relationships. In his initiates, the restatement of the secondary material (rehearsal L)
own recording, Elgar expanded considerably the range of with uniquely hushed intimacy. The dynamic extremes of the
tempi by means of a slow, yet fluid, pace in the Larghetto finale are close in succession: the forte in measure 28 marks
(eighth note = circa 58) (goodmanmusica 2013). the short-lived climax of the opening section, while ppp, just
Measures 137 79 76
Tempo Dotted quarter note = 96 Eighth note = 80 Dotted quarter note = 92, dotted quarter note = 96
six measures later, serves as preparation for the reappearance of British reserve (and the composer’s trademark emotional
of the initial motive of the first movement. restraint) in what might otherwise be a typically bustling and
Given its modest dimensions, the Serenade contains a energetic opening. The lucid ternary form (ABA) comprises
remarkable array of articulation markings. Elgar modifies two subjects: a sweeping theme in E minor heralded by a viola
note attacks and durations with sforzando, rinforzando, ostinato (see Figure 1) and an expressive, yearning melody in
accent, circumflex, forte-piano, sforzando-piano, staccato, E major (see Figure 2).
tenuto, staccato-tenuto, and accent-tenuto. Moreover, The movement begins with violas in the low register, an
several of these markings—accent, circumflex, staccato, appropriately warm and dark timbre (see Figure 1). While
tenuto, and sforzando-piano—are to be realized within a Elgar substitutes sforzando for an actual dynamic level, the
slur. In determining the best technical approach to each subsequent two-measure diminuendo suggests an opening
articulation, the primary consideration must be context: volume in the range of mezzo piano to mezzo forte; anything
the optimal execution to enhance the prevailing expressive louder would compromise the subtlety central to Elgar’s
environment. Consequently, articulations in the Larghetto musical language. The first pitch is notated staccato—
may be rounded and lyrical to a greater extent than those in separated—but will lose the intensity of the sforzando if
the outer movements, where a more rapid attack and decay played too short; instead, approach with a pointed attack.
corresponds with the livelier mood. Regardless, common The accent mark posited mid-diminuendo reveals its
practice dictates that sforzando would require the greatest subservient relationship to the earlier sforzando. In measure
intensity of all the markings employed in the piece. 5, another accent, within pianissimo, requires judicious
execution; a surge of left hand color with perhaps a slight
I. Allegro Piacevole increase in bow speed is all that is required. The pianissimo
marking in the first violins should extend to the seconds as
In the first movement, Elgar modifies the Allegro marking well: this is how the parallel passage in the recapitulation is
with piacevole (“agreeable, pleasant”), instilling a measure notated.
Careful observation of the dynamics in the opening in increased intensity. The tutti diminuendo in measure 22
phrases will underscore the horizontal development of the must not deter the violas from renewed strength—accented
music. The two statements are hardly identical: the second and mezzo forte—in the next bar. A final outburst, combining
crescendo escalates to a sforzando, requiring greater weight both accent and sforzando in low register violins, requires
and intensity. The subsequent violin pronouncement, now significant energy.
marked piano, is interrupted by a bold metrical device: Elgar’s Rehearsal B, uniquely posited in the middle of measure 32,
surprising half-bar, featuring the viola ostinato, answered by marks the mid-bar return of the viola ostinato and heralds the
accents is all of the other parts (though without the expected closing paragraph of the opening A section. Here, the printed
crescendo) (see Figure 3). dynamics require adjustment. While the previous section
At rehearsal A (this and subsequent rehearsal letters refer ended with a diminuendo from pianissimo, Elgar indicates
to the Breitkopf & Härtel edition), a related idea begins with no new dynamic at B. However, additional volume—at least
paired eighth notes. The dynamic contour in the first violins mezzo piano—is required ahead of two diminuendos in the
could well apply to all of the upper strings: less intensity on subsequent measures.
the second note reinforces the natural hierarchy of the meter. Elgar distinguishes the exquisite B section by means
Sequential repetition an octave higher will naturally result of several techniques, including modulation to E major,
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phrase ends will further abet expression. Finally, slightly more The succeeding B section (rehearsal I) is decidedly
connection among staccato notes should aid in preserving the less volatile: accents and phrasal attenuations only
overall character. occasionally modify the prevailing dynamic level of
Elgar’s idiosyncratic combination of longing and pathos pianissimo (see Figure 7). Elgar denotes the melodic line with
is manifest almost immediately: the forte-piano in measure the distinction “dolce”; an effective approach is to minimize
2 must be realized without accent and with rapid, yet vibrato in the previous bar—the end of the A section—only
nuanced, decay (see Figure 6). In contrast, the sforzando- to add color to the G as it becomes the initial pitch of the
piano in the first violins may be initiated with slightly more ensuing theme. Phrase shaping must remain within the
weight and intensity. The subsequent sequential extension is domain of the indicated dynamic level.
marked by changes in volume and tempo; of the two, Elgar More overt Romanticism returns in the C section
specifically requests greater emphasis on the crescendo. In (rehearsal K): nearly every measure is influenced by a
measure 12, the violas execute a series of three accented dynamic or articulation gesture (see Figure 8). The music
notes within a slur (see Figure 7). A combination of portato grows organically as an antiphonal dialogue in the upper
and corresponding waves of vibrato should result in an ideal strings is developed sequentially; a late outburst in the second
balance between definition and legato. violins (measure 40) quickly subsides. The consequent group
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builds to a more vivid climax, aided by the presence of the staccato for the previous tenuto, notes must be of sufficient
cellos. While the tenuto marking is situated at both apexes length to maintain melodic unity; strive for a balance between
and indicated only for Violin I, a slight lengthening of the separation and connection.
first beat could be justifiable, particularly the second time.
The denouement is significant both for its extended length The brief reprise of the A section is much more subdued.
and its more dramatic diminuendo (to ppp). The sforzandos and forte-pianos have been reduced to
accents, while the molto crescendo has been tempered to
This hushed dynamic level, the softest in the Serenade, poco; the earlier stringendo is absent. Muted sonorities—in
persists into the return of the B section (rehearsal L); all sections except basses—contribute a further element of
transparency is a real challenge given the thick texture (see timbral restraint.
Figure 9). Perhaps the most important voice in the first eight
measures is the bottom first violin part: the lower octave As the sole slow movement, the Larghetto is the best candidate
of the melody should form the sturdy foundation over for rubato. Subtle variations in tempo, particularly stretched
which the upper voice is placed. The final two bars, a rare phrase endings, may be appropriate if incorporated judiciously.
homorhythmic passage, echo the close of the initial statement The structural importance of the cadence in measure 32, for
of the B section (see Figure 10). While Elgar substitutes example, which serves as the transition to the C section, might
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indication was forte-piano in bar 20, should begin mezzo forte Elgar marks the reprise of the first movement opening
in order to match the prevailing dynamic. Players should also material Come prima; consequently, the pace will quicken
be aware of the contrary expressive gesture in measure 24: slightly (dotted quarter note = 96) compared with the first
as the second violins descend in pitch and volume, the first half of the finale (dotted quarter note = 92). One possible
violins build in strength. In measure 28, the circumflex on approach is to facilitate the transition by means of a subtle
the second beat applies only to the lower strings; the violins broadening in measure 36. From bar 42, Elgar brilliantly
may actually wish to reduce volume here prior to building a encapsulates the evolution of the same material in the
new phrase through the remainder of the bar. As the section first movement. As before, the section begins in a spirit of
concludes, two gestures require sensitivity and nuance. placid tranquility: a simple espressivo marks an otherwise
In measure 32, the upper string accent is situated within the unperturbed melodic line. However, progressively more
slur and pianissimo, while two bars later the turbulent dynamic shifts recall the developmental stage of
second beat circumflex emerges from the same dynamic the subject (cf. rehearsal D in the first movement). Still, the
(see Figure 15). Finally, the accented violin downbeat in climactic build to measure 58—marked forte—is expressly
measure 36 should be broad and warmed with vibrato; at the subordinate to the fortissimo climax in the parallel passage in
same time, violas must sing their top D without undue weight. the opening movement (see Figure 12).
A significant challenge in the coda (rehearsal Q) is pacing 71; the tie is present in the viola part.) The closing three
and balancing Elgar’s direction of sempre diminuendo chords, marked tenuto and reiterating the same harmony,
al fine, all while maintaining equanimity between the should be separated slightly.
simultaneous lyrical and rhythmic voices (see Figure 13).
The bass pedal tone fades as well, eventually reduced in
measure 68 to a solo player. The ascending syncopated Conclusion
line in the cello and viola should be continuous in weight Elgar’s Serenade for Strings stands as an exquisite gem crafted
and volume; the transition between sections must be by a composer who had recently reached artistic maturity;
as seamless as possible. Elgar nullifies the beat through it offers a rewarding and beneficial exploration for musicians
the imposition of ties, thus demanding utmost rhythmic prepared for its challenges. Its position in the canon is of
accuracy through precise subdivision. If needed, the great value to the discerning orchestra director: a substantive
passage may be rehearsed without the ties, then as a divisi miniature masterwork whose technical framework, well within
combination of tied and untied rhythm. (A misprint in the reach of moderately advanced orchestras, should permit
score omits the tie on the viola G between measures 70 and students to explore fully its expressive potential.
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With meticulous attention to the myriad details on the printed McVeagh, Diana. 2007. Elgar the Music Maker. Rochester:
page, together with interpretive imagination to go beyond the Boydell Press.
printed text, this timeless work will gratify both performer and Moore, Jerrold Northrop. 1984. Edward Elgar: A Creative Life.
listener alike. New York: Oxford University Press.
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