Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2009 | 01 | 20090420 | Stephen Johnson joins Donald Macleod to explore the landscapes of Herefordshire and Worcestershire that inspired much of the music of Edward Elgar. They investigate the influence of the Malvern Hills on the composer, visiting his grave and one of his former homes on the steep hillside in Little Malvern, and climb right to the summit of the Herefordshire Beacon and its British Camp earthworks, the setting that inspired Elgar's Caractacus. Pomp and Circumstance March No 1 Royal Scottish National Orchestra Alexander Gibson (conductor) Chandos 241-4, CD1 Tr 16 Adagio - Moderato (Cello Concerto in E minor) Jacqueline du Pre (cello) London Symphony Orchestra John Barbirolli (conductor) EMI Classics 556 219, Tr 1 Three Bavarian Dances Bournemouth Sinfonietta Norman Del Mar (conductor) Chandos 241-4 CD2, Trs 12-14 Woodland Interlude (Caractacus) Richard Hickox (conductor) Chandos 9156 CD1, Tr 12 Cockaigne Overture (In London Town) BBC Symphony Orchestra Andrew Davis (conductor) Teldec 9031-73279-2, Tr 1. The influence of the Malvern Hills on Elgar, with a visit to his grave and a former home. | ||
| 2009 | 02 | 20090421 | Stephen Johnson and Donald Macleod explore the landscapes of Herefordshire and Worcestershire that inspired much of Elgar's music. They focus on the composer's relationship with the city of Worcester, including the cottage in which he was born, in the nearby village of Broadheath, the former county lunatic asylum where he gained his first conducting job and the city's magnificent cathedral, where Elgar is commemorated through a stained glass window celebrating his oratorio The Dream of Gerontius. Pomp and Circumstance March No 2 Royal Scottish National Orchestra Alexander Gibson (conductor) Chandos 241-4, CD1 Tr 17 Fairy Pipers; Slumber Scene; Fairies and Giants (The Wand of Youth Suite No 1) Royal Liverpool Philharmonic Orchestra Vernon Handley (conductor) EMI Eminence CD-EMX 2148, Trs 9-11 Presto (Organ Sonata No 1) Christopher Herrick (organ) Hyperion CDA 66778, Tr 5 The Valentine (Five Lancers) Rutland Sinfonia Barry Collett (conductor) British Music Label 028, Tr 29 Chorus (Praise to the Holiest) (The Dream of Gerontius, Part 2) The Angel of the Agony - Gwynne Howell (bass) The Angel - Felicity Palmer (mezzo-soprano) Roderick Elms (organ) London Symphony Chorus London Symphony Orchestra Richard Hickox (conductor) Chandos 8641/3 CD1, Tr 18. Elgar's relationship with Worcester, from his village birthplace to the city's cathedral. | ||
| 2009 | 03 | 20090422 | Stephen Johnson joins Donald Macleod to explore the landscapes of Herefordshire and Worcestershire that inspired much of the music of Edward Elgar. Donald asks Stephen, a keen cyclist, about the influence Elgar's hobby of cycling had on his music. They attempt to ride an authentic Edwardian bicycle and examine what the new hobby of the era meant to Elgar and his friends, particularly the female cyclists he knew, a number of whom turn up in the list of friends portrayed in the Enigma Variations. Pomp and Circumstance March No 3 Royal Scottish National Orchestra Alexander Gibson (conductor) Chandos CHAN 241-4, CD1 Tr 18 Introduction and Allegro for strings BBC Symphony Orchestra Andrew Davis (conductor) Teldec 9031-73279-2, Tr 2 Variations on an Original Theme (Enigma Variations) Baltimore Symphony Orchestra David Zinman (conductor) Telarc CD-80192, Tr 2. Exploring how Elgar's hobby of cycling affected his music, including the Enigma Variations | ||
| 2009 | 04 | 20090423 | Stephen Johnson joins Donald Macleod to explore the landscapes of Herefordshire and Worcestershire that inspired much of the music of Edward Elgar. Stephen and Donald visit the eerily desolate landscape of Longdon Marsh, a few miles west of Tewkesbury, where Elgar went to get away from it all and explore his well-developed sense of melancholy. Pomp and Circumstance March No 4 Royal Scottish National Orchestra Alexander Gibson (conductor) Chandos CHAN 241-4, CD1 Tr 19 Andante (Violin Sonata) Maxim Vengerov (violin) Revital Chachamov (piano) Teldec 4509-96300-2, Tr 5 Interlude: Gloucestershire; Shallow's Orchard (Falstaff) London Symphony Orchestra Edward Elgar (conductor) EMI Classics 545560, CD1 Tr 9 Moderato, Adagio (Piano Quintet) Nash Ensemble Hyperion CDA 66645, Tr 6 The Ascension (The Apostles) The Blessed Virgin/The Angel Gabriel - Alison Hargan (soprano) Mary Magdalene - Alfreda Hodgson (contralto) St John - David Rendall (tenor) St Peter - Bryn Terfel (bass) Jesus - Stephen Roberts (bass) Judas - Robert Lloyd (bass) London Symphony Chorus Richard Hickox (conductor) CHAN 8875/6, CD2 Trs 9-10. Elgar explored his melancholy in the eerie landscape of Longdon Marsh, west of Tewkesbury. | ||
| 2009 | 05 LAST | 20090424 | Stephen Johnson joins Donald Macleod to explore the landscapes of Herefordshire and Worcestershire that inspired much of the music of Edward Elgar. They visit the rivers Severn, Lugg and Wye, upon whose banks the composer dreamt up the music for his First Symphony and Nursery Suite. Pomp and Circumstance March No 5 Royal Scottish National Orchestra Alexander Gibson (conductor) Chandos CHAN 241-4, CD1 Tr 20 Symphony No 1 (2nd and 3rd mvts) London Symphony Orchestra Colin Davis (conductor) LSO Live LSO0017, Trs 2-3 Ulster Orchestra Bryden Thomson (conductor) Chandos CHAN 8318, Trs 14-20. A visit to the rivers Severn, Lugg and Wye, by which Elgar dreamt up his First Symphony. | ||
| 2011 | 01 | The Edwardian Golden Summer | 20111107 | 20120130 (R3) 20140623 (R3) | By the end of the Great War, Sir Edward Elgar couldn't compose any music to celebrate peace, disillusioned as he was by the whole period, which Donald Macleod explores in conversation with Terry Charman from the Imperial War Museum. At the outbreak of war, Elgar was noted for being more concerned about his beloved horses, than for any soldiers fighting. Little did anyone know how many horses or people would die in this conflict, which lasted more than the predicted three months. Elgar did do his bit though, joining the Special Reserve, conducting charity concerts to raise much needed funds, and composing the odd bit of jingoistic music to rally the people. It is the Great War period back at home in Great Britain, with Zeppelin raids, German cruisers shelling Whitby and Scarborough, to xenophobic riots in London, which Donald Macleod explores tracing how these events affected the life and music of Sir Edward Elgar. 1914, and in the age of Empire and British supremacy at sea, it was the Edwardian Golden Summer. Few people realised that war was looming, and commissions were coming in for Elgar, such as from the Sons of Clergy Festival at St. Paul's Cathedral, for which he composed his anthem Give unto the Lord. Soon, with motor vehicles requisitioned, and the unmistakable increase of men in khaki, the Great War had begun. Elgar soon received his first war commission in aid of the Belgian Fund, writing a work for narrator and orchestra, Carillon. But many of Elgar's most fierce supporters were German, including Hans Richter, to whom he dedicated his Three Bavarian Dances. Donald Macleod focuses on Elgar's work during the Edwardian Golden Summer in 1914. |
| 2011 | 02 | Elgar And The Zeppelin Raids On London | 20111108 | 20120131 (R3) 20140624 (R3) | By the end of the Great War, Sir Edward Elgar couldn't compose any music to celebrate peace, disillusioned as he was by the whole period, which Donald Macleod explores in conversation with Terry Charman from the Imperial War Museum. At the beginning of 1915 came the realisation that the Great War was not going to be over in three months. German cruisers had been shelling Whitby and Scarborough, and Zeppelin raids were happening over London. Keen to do his bit, Elgar joined the Hampstead Special Reserve, being called out when needed for air-raid duties. He also started to compose a work genuinely inspired by the pity of war and the inhumanity of warfare, The Spirit of England. But with the sinking of the Lusitania, riots took place in London, and xenophobia was on the rise. At this very same time, Elgar was writing his Polonia, a symphonic prelude in aid of the Polish Relief Fund. However, what the people needed more than anything, was escapism, and Elgar supplied it by returning to fairyland, with his Starlight Express. Donald Macleod focuses on the year 1915, when Elgar wrote music for The Starlight Express. |
| 2011 | 03 | Elgar And The Gramophone Company | 20111109 | 20120201 (R3) 20140625 (R3) | By the end of the Great War, Sir Edward Elgar couldn't compose any music to celebrate peace, disillusioned as he was by the whole period, which Donald Macleod explores in conversation with Terry Charman from the Imperial War Museum. The Great War dragged on, and by 1916 the government was forced to introduce compulsory national service. Elgar found himself touring the North of England and Scotland, with morale-raising concerts and music including To Women from The Spirit of England. But Elgar was unwell even before the war started, and war events combined with his exhausting work were dragging him down. His wife Alice refused to let Elgar accept the offer of a conducting tour of Russia, due to his ill health. He still managed though to keep working on a theme or two of his, such as his incomplete Piano Concerto, and a jingoistic work Fight for Right. Donald Macleod on how Elgar was moved by the war dead arriving at Charing Cross station. |
| 2011 | 04 | Elgar And The Fringes Of The Fleet | 20111110 | 20120202 (R3) 20140626 (R3) | By the end of the Great War, Sir Edward Elgar couldn't compose any music to celebrate peace, disillusioned as he was by the whole period, which Donald Macleod explores in conversation with Terry Charman from the Imperial War Museum. With no end in sight for the war, it continued on into 1917. This is when Elgar heard of the death of his friend and supporter Hans Richter, who had given the premiere of some of Elgar's best known works, including the Enigma Variations. Things however were starting to change in Britain, with a new government, and the introduction of convoys to protect cargo and hospital ships from the German u-boat campaign. But with the continued reports of atrocities on the front line, and increased deprivations at home, Elgar finally found the stimulus to finish his work The Spirit of England, with a setting of The Fourth of August. It wasn't only war music which Elgar concentrated on during this time, as he also composed his only ballet incorporating 18th century French costumes and classical mythology, in The Sanguine Fan. Donald Macleod explores Elgar's song cycle The Fringes of the Fleet. |
| 2011 | 05 LAST | Armistice Declared, But No Celebration For Elgar | 20111111 | 20120203 (R3) 20140627 (R3) | By the end of the Great War, Sir Edward Elgar couldn't compose any music to celebrate peace, disillusioned as he was by the whole period, which Donald Macleod explores in conversation with Terry Charman from the Imperial War Museum. By 1918, Elgar had stomach problems and was continually unwell, finally being operated on to remove his tonsils. Compared to what hundreds of thousands were enduring in the trench warfare of the first world war, this was no great thing, but Elgar was 61 and not in great shape. Once installed with his wife in a rustic thatched cottage in West Sussex to recuperate, his creativity started to flow again, in particular sketching out a germ of a theme on his piano entitled '?', which would later become part of his Cello Concerto. There were also more rustic pursuits, including gardening and fishing, but then came an official request from the Ministry of Food for a new war work, Big Steamers. When the Armistice was signed, with his Land of Hope and Glory proving ever popular, Elgar did not feel inclined to compose any work in celebration of peace. Many of his friends had died, and his life was dramatically changed for ever. Donald Macleod on the effect of the Armistice in Great Britain in 1918. |
| 2013 | 01 | The Roots Of An Enigma | 20130617 | Celebrating British Music: Donald Macleod explores the life and work of the 'quintessentially English' composer, Edward Elgar, whose musical roots lay firmly in Europe, and whose Catholicism and class background bequeathed him a lifelong sense of isolation from mainstream British society. Today's programme follows Elgar from birth to the brink of his first acknowledged masterpiece via unrequited love, wind quintets written for performance in the family shed, a spell as music director at a lunatic asylum, marriage, early recognition, the advent of 'Nimrod' (August Jaeger), and the first glimmerings of success beyond the confines of his native Worcestershire. Donald Macleod follows Elgar from birth to the brink of his first acknowledged masterpiece | |
| 2013 | 02 | Cracking The Enigma | 20130618 | Celebrating British Music: Donald Macleod explores the life and work of the 'quintessentially English' composer, Edward Elgar, whose musical roots lay firmly in Europe, and whose Catholicism and class background bequeathed him a lifelong sense of isolation from mainstream British society. Today's programme focuses on two works: the Enigma Variations and The Dream of Gerontius. The former grew out of Elgar's musical doodlings at the piano after a hard day's teaching; the latter from his childhood faith, which was soon to suffer a serious knockback. The Variations were a huge success from the outset, while The Dream had to rebuild its reputation after a disastrous first performance. Donald Macleod focuses on two works: the Enigma Variations and The Dream of Gerontius. | |
| 2013 | 03 | The Long-awaited Symphony | 20130619 | Celebrating British Music: Donald Macleod explores the life and work of the 'quintessentially English' composer, Edward Elgar, whose musical roots lay firmly in Europe, and whose Catholicism and class background bequeathed him a lifelong sense of isolation from mainstream British society. Today's programme explores two very different facets of Elgar's musical personality: on the one hand, the confident unflappability of the first Pomp and Circumstance march; and on the other, the nuanced, doubt-ridden progress of the First Symphony, whose conclusion is just as triumphant but much harder won. Both works were huge, instant and enduring successes. Donald Macleod focuses on two very different facets of Elgar's musical personality. | |
| 2013 | 04 | A Fat Knight And A New King | 20130620 | Celebrating British Music: Donald Macleod explores the life and work of the 'quintessentially English' composer, Edward Elgar, whose musical roots lay firmly in Europe, and whose Catholicism and class background bequeathed him a lifelong sense of isolation from mainstream British society. Today's programme has a royal thread running through it. In 1911, Elgar was commissioned to write music for the coronation of George V. He fulfilled his commission but a last-minute bout of depression kept him, and his bemused wife and child, away from the ceremony, where they were to have been honoured guests. Elgar's symphonic study of Shakespeare's Fat Knight has divided audiences. He considered it his orchestral masterpiece; others find its reputation enigmatic. Donald Macleod learns how Elgar shunned the coronation of King George V. | |
| 2013 | 05 LAST | War And Beyond | 20130621 | Celebrating British Music: Donald Macleod explores the life and work of the 'quintessentially English' composer, Edward Elgar, whose musical roots lay firmly in Europe, and whose Catholicism and class background bequeathed him a lifelong sense of isolation from mainstream British society. Today's programme charts Elgar's progress during and after World War I. The blithe bluster of Carillon, written at the beginning of the conflict, gives way to the deep melancholy of the Cello Concerto, written at the other end of the collective European nightmare. Within a year of the concerto, Elgar's wife Alice died of undiagnosed lung cancer and from that point on he completed no new works of substance. He did, however, throw himself into a major recording project, committing interpretations of much of his own orchestral output to disc - the first such undertaking by a composer. Donald Macleod focuses on Elgar's life during the First World War and beyond. | |
| 2015 | 01 | Dreamer | 20150907 | In his sixties, Elgar said: 'I am still at heart the dreamy child who used to be found in the reeds by Severn side with a sheet of paper, trying to fix the sounds and longing for something very great.' In this first programme, Donald Macleod recounts Elgar's early years, and explores how those childhood experiences never left him. Elgar emerged onto the scene at a time when Britain was still described as 'a land without music'. He played a central role in reviving this country's musical reputation and his success won him fame, honours and a place at the heart of the cultural establishment. Nevertheless, he cast himself as an outsider throughout his long career. Exploring Elgar's early years and how his childhood experiences never left him. | |
| 2015 | 02 | Alice | 20150908 | Elgar might never have reached his full potential but for the care and support of his wife, Alice. Donald Macleod explores some of the challenges they met together during their first years of marriage. Elgar emerged onto the scene at a time when Britain was still described as 'a land without music'. He played a central role in reviving this country's musical reputation, and his success won him fame, honours and a place at the heart of the cultural establishment. Nevertheless, he cast himself as an outsider throughout his long career. The challenges Elgar and his wife Alice met together during their first years of marriage. | |
| 2015 | 03 | Malvern | 20150909 | In 1891, Elgar and his wife returned from London to set up home in the shadow of the Malvern hills. Donald Macleod explores how Elgar's music was influenced by the landscape around him. Elgar emerged onto the scene at a time when Britain was still described as 'a land without music'. He played a central role in reviving this country's musical reputation, and his success won him fame, honours and a place at the heart of the cultural establishment. Nevertheless, he cast himself as an outsider throughout his long career. Donald Macleod on how Elgar's music was influenced by the landscape of the Malvern hills. | |
| 2015 | 04 | The Apostles | 20150910 | As Elgar headed towards his 50th birthday, he took up cycling and started work on a major new choral project. Presented by Donald Macleod. Elgar emerged onto the scene at a time when Britain was still described as 'a land without music'. He played a central role in reviving this country's musical reputation, and his success won him fame, honours and a place at the heart of the cultural establishment. Nevertheless, he cast himself as an outsider throughout his long career. Cockaigne (in London town), Op. 40 English Symphony Orchestra William Boughton, conductor The Apostles: (Excerpt from Part 2) Rebecca Evans, soprano Alice Coote, mezzo-soprano Paul Groves, tenor Jacques Imbrailo, baritone David Kempster, baritone Brindley Sherratt, bass The Halle Orchestra, Choir and Youth Choir Sir Mark Elder, conductor In the South 'Alassio BBC National Orchestra of Wales Richard Hickox, conductor Love, Op18, No 2 The Finzi Singers Paul Spicer, director. About to turn 50, Elgar took up cycling and started work on a major new choral project. | |
| 2015 | 05 LAST | 'my Beloved Country' | 20150911 | After 1914, Elgar and Alice through themselves into war work. In his music, Elgar's inclination to nostalgia became even more heightened as the world he knew was swept away by a conflict he could barely understand. Presented by Donald Macleod. Elgar emerged onto the scene at a time when Britain was still described as 'a land without music'. He played a central role in reviving this country's musical reputation, and his success won him fame, honours and a place at the heart of the cultural establishment. Nevertheless, he cast himself as an outsider throughout his long career. How after 1914, Elgar's inclination to nostalgia became even more heightened. | |
| 2017 | 01 | Family And An Early Love | 20171030 | Donald Macleod explores the life and career of Edward Elgar through the lens of his muses - his love interests, and some of his greatest friends. In today's episode, Donald explores the impact that Elgar's family, his family friends and Helen Weaver - an early love interest - had on his life and his work Reminiscences Marat Bisengaliev (violin) Benjamin Frith (piano) Wand of Youth - Suite No. 2 Academy of St Martin in the Fields Neville Marriner (conductor) Pastoral (Caractacus, Scene 3) Judith Howarth (soprano), Arthur Davies (tenor), London Symphony Orchestra and Chorus Richard Hickox (conductor) Polka Helcia Innovation Chamber Ensemble Barry Collett (conductor) Sabbath at Sea (Sea Pictures) Alice Coote (mezzo) Hall退 Orchestra Mark Elder (conductor) Une Idylle, Op. 4 No. 1 (for E.E. Inverness), solo piano arrangement Ashley Wass (piano) Producer: Sam Phillips. Donald Macleod explores the impact that Elgar's family and an early love had on his music. | |
| 2017 | 02 | Alice Passing Fair | 20171031 | Donald Macleod explores the life and career of Edward Elgar through the lens of his muses - his family, his love interests, and some of his greatest friends. Today, Donald explores the powerful influence that Elgar's relationship with Caroline Alice Roberts - the woman who would become his wife - had on his life and music. Salut d'amour Albert Sammons (violin) Gerald Moore (piano) The Tournament (The Black Knight) London Symphony Chorus London Symphony Orchestra Richard Hickox (conductor) 3 Bavarian Dances London Philharmonic Adrian Boult (conductor) Cello Concerto Steven Isserlis (cello) Philharmonia Orchestra Paavo J䀀rvi (conductor) Producer: Sam Phillips. Donald Macleod explores Elgar's relationship with his wife - Caroline Alice Roberts. | |
| 2017 | 03 | Enigma 'friends Pictured Within' | 20171101 | Donald Macleod explores the life and career of Edward Elgar through the lens of his muses - his family, his love interests, and some of his greatest friends. In today's programme, Donald focuses on some of Elgar's male companions and the friends pictured within his ever-popular Enigma Variations Pomp and Circumstance March No.1 BBC Philharmonic Sir Andrew Davis (conductor) Sospiri Vienna Philharmonic John Eliot Gardiner (conductor) Deep in my soul, Op.53 No.2 Tenebrae Nigel Short (director) Los Angeles Philharmonic Zubin Mehta (conductor) Producer: Sam Phillips. Donald Macleod focuses on the friends pictured within Elgar's Enigma Variations. | |
| 2017 | 04 | Windflower | 20171102 | Donald Macleod explores the life and career of Edward Elgar through the lens of his muses - his family, his love interests, and some of his greatest friends. Today, Donald explores the complex relationship between Elgar and the woman he nicknamed 'Windflower' - Alice Sophia Caroline Stuart-Wortley - the daughter of the painter Sir John Millais and wife to a Tory MP who was later elected to the peerage. The Shower City of Birmingham Symphony Chorus Simon Halsey (director) Violin Concerto Nicolaj Znaider (violin) Staatskapelle Dresden Sir Colin Davis (conductor) Producer: Sam Phillips. Donald Macleod explores the relationship between Elgar and Alice Stuart Wortley. | |
| 2017 | 05 LAST | Vera And The End | 20171103 | Donald Macleod explores the life and career of Edward Elgar through the lens of his muses - his family, his love interests, and some of his greatest friends. In this final programme of the week, Donald explores the final years of Elgar's life following the death of his wife and the relationship between Elgar and one final muse - a young violinist called Vera Hockman. Sonatina in G major May Grafton (piano) Mina Royal Liverpool Philharmonic Orchestra Vassily Petrenko (conductor) The Dream of Gerontius - end of Part I Richard Lewis (tenor) Kim Borg (bass) Hall退 Orchestra Sir John Barbirolli (conductor) Violin Sonata Lydia Mordkovitch (violin) Julian Milford (piano) Ave Verum Corpus Clare College Chapel Choir Timothy Brown (director) Producer: Sam Phillips. Donald MacLeod explores Elgar's final muse and the last years of his life. | |
| 2019 | 01 | London | 20190729 | 20200622 (R3) | Today, Donald Macleod focuses on Elgar's connection with London - the place he travelled to in his 20s for the occasional violin lesson, the place where he married his wife Alice and where his only child Carice was born, and the place they returned to many years later to live in their grandest residence 'Severn House', the first house they actually owned and the home where Alice later died. Worcester-born, with his roots in the beautiful English countryside around Hereford and the Malverns yet drawn to the bright lights of London, English composer Edward Elgar moved house a lot. He lived in over 25 residences in his lifetime, stayed with friends, travelled often for work and pleasure in the UK, Europe and further afield, and had a number of second homes he rented as retreats. This week, we're focusing on the locations that were important to Elgar, and the places that inspired his music. Pomp and Circumstance March Op 39 No 1 in D major Hall退 Orchestra Mark Elder, conductor Cockaigne (In London Town) London Philharmonic Orchestra Leonard Slatkin, conductor Salut d'amour, Op 12 Sarah Chang, violin Sandra Rivers, piano O Happy Eyes, Op 18 No 1 Quink Vocal Ensemble The Dream of Gerontius Op 38 (part two -from The Angel and the Soul' to the end) Arthur Davies, tenor (Gerontius) Gwynne Howell, bass (The Priest & The Angel of the Agony) Felicity Palmer, mezzo soprano (The Angel) London Symphony Orchestra & Chorus Richard Hickox, conductor Roderick Elms, organ Produced by Amy Wheel for BBC Cymru Wales. Donald Macleod focuses on Edward Elgar's connection with London. |
| 2019 | 02 | Hereford And The Malverns | 20190730 | 20200623 (R3) | Today Donald Macelod explores Elgar's homes in the Malverns and Herefordshire in the middle of his life, from his mid-30s to his mid-50s. We hear his Enigma' Variations and movements from his Second Symphony and his String Quartet. Worcester-born, with his roots in the beautiful English countryside around Hereford and the Malverns yet drawn to the bright lights of London, English composer Edward Elgar moved house a lot. He lived in over 25 residences in his lifetime, stayed with friends, travelled often for work and pleasure in the UK, Europe and further afield, and had a number of second homes he rented as retreats. This week we're focusing on the locations that were important to Elgar, and the places that inspired his music. Owls, an Epitaph Op 53 No 4 (Four Choral Songs) London Symphony Chorus Stephen Westrop, chorus master Vernon Handley, conductor Enigma Variations Op 36 The Royal Liverpool Philharmonic Orchestra Vasily Petrenko, conductor Symphony No 2 (3rd movt - Presto) London Philharmonic Orchestra Georg Solti, conductor String Quartet (2nd movt - Piacevole (poco andante) Goldner String Quartet Produced by Amy Wheel for BBC Cymru Wales. Donald Macleod explores Elgar's homes in the Malverns and Herefordshire. |
| 2019 | 03 | Retreats | 20190731 | 20200624 (R3) | Elgar composed best when he was close to nature, away from towns and cities. During his lifetime he often rented retreats or visited friends in idyllic locations to relax and write. In today's programme Donald Macleod introduces us to Elgar's two country cottages 'Birchwood', near Malvern, and 'Brinkwells', in the Sussex countryside, and one of his closest friend's riverside mansion 'The Hut' on the Thames at Bray, near Maidenhead. Music includes his Sea Pictures, and the first two movements of his Cello Concerto in the classic recording with Jacqueline du Pr退. Worcester-born, with his roots in the beautiful English countryside around Hereford and the Malverns yet drawn to the bright lights of London, English composer Edward Elgar moved house a lot. He lived in over 25 residences in his lifetime, stayed with friends, travelled often for work and pleasure in the UK, Europe and further afield, and had a number of second homes he rented as retreats. This week we're focusing on the locations that were important to Elgar, and the places that inspired his music. Introduction The woodland interlude' (Caractacus) Orchestra of Opera North Martyn Brabbins, conductor Sea Pictures Op 37 Bournemouth Symphony Orchestra & Chorus Simon Wright, conductor Sarah Connolly, mezzo-soprano Piano Quintet Op 84 (3rd movt - Andante - Allegro) Piers Lane, piano Goldner String Quartet Cello Concerto in E minor Op 85 (1st movt - Adagio - Moderato & 2nd movt - Lento - Allegro molto) London Symphony Orchestra Sir John Barbirolli, conductor Jacqueline du Pr退, cello Produced by Amy Wheel for BBC Cymru Wales Donald Macleod discovers Elgar's country cottage retreats. |
| 2019 | 04 | Abroad | 20190801 | 20200625 (R3) | Elgar's well known for his association with English landscapes, but he also travelled abroad often, and was inspired by his visits to many locations whilst holidaying, or conducting. In today's programme Donald Macleod explores Elgar's travels abroad, and we hear music inspired by a wild trip to Paris, his love of the Bavarian Highlands and a villa stay in Italy. We also learn of his mysterious cruise up the Amazon. Worcester-born, with his roots in the beautiful English countryside around Hereford and the Malverns yet drawn to the bright lights of London, English composer Edward Elgar moved house a lot. He lived in over 25 residences in his lifetime, stayed with friends, travelled often for work and pleasure in the UK, Europe and further afield, and had a number of second homes he rented as retreats. This week we're focusing on the locations that were important to Elgar, and the places that inspired his music. In Smyrna Stephen Hough, piano Paris - Five Quadrilles Innovation Chamber Ensemble Barry Collett, conductor From the Bavarian Highlands Op 27 - No. 3. Lullaby [In Hammersbach] No. 4. Aspiration [Bei Sankt Anton] No. 5. On the Alm [Hoch Alp] No. 6. The Marksmen [Bei Murnau] Worcester Cathedral Choir Christopher Robinson, conductor Frank Wibaut, piano In the South (Alassio) BBC Scottish Symphony Orchestra Martyn Brabbins, conductor Produced by Amy Wheel for BBC Cymru Wales Donald Macleod explores the music inspired by Elgar's travels abroad. |
| 2019 | 05 LAST | Worcester | 20190802 | 20200626 (R3) | Today Donald Macleod focusses on Worcester, where Elgar was born, and where he lived for the final five years of his life. We hear his last completed work in a recording his daughter played to him just a week before he died, and The Wand of Youth - music based on a play he put on at the age of eleven. Worcester-born, with his roots in the beautiful English countryside around Hereford and the Malverns yet drawn to the bright lights of London, English composer Edward Elgar moved house a lot. He lived in over 25 residences in his lifetime, stayed with friends, travelled often for work and pleasure in the UK, Europe and further afield, and had a number of second homes he rented as retreats. This week we're focusing on the locations that were important to Elgar, and the places that inspired his music. Mina New Light Symphony Orchestra J. Ainslie Murray, conductor The Wand of Youth Suite No 1, Op 1a Hall退 Orchestra Mark Elder, conductor Organ Sonata No 1 in G major Op 28 (2nd movt - Allegretto) Christopher Herrick, organ Severn Suite Op 87 John Foster Black Dyke Mills Band Lux Aeterna (choral arrangement of Enigma Variations Op 36 Nimrod by John Cameron) The Choir of New College Oxford Edward Higginbottom, director Produced by Amy Wheel for BBC Cymru Wales Worcester - where Elgar was born, and where he lived for the final five years of his life. |
| 2022 | 01 | Social Misfit | 20220131 | Donald Macleod explores the life and work of Edward Elgar, who, despite being thought of by many as quintessentially British, always felt himself to be an outsider. Elgar is the composer we turn to in times of national celebration, of pride (Pomp and Circumstance Marches) and of public grief (Nimrod). He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit. This week of programmes explores some of the reasons for that sense of unbelonging. In this first programme, Donald Macleod looks at Elgar's social background, how his humble beginnings as the son of a church organist, piano tuner and shopkeeper permeated through to his later life and affected his status as one of the nation's greatest composers. Chanson du matin Nigel Kennedy, violin Peter Pettinger, piano My love dwelt in a northern land London Symphony Chorus Vernon Handley, conductor Serenade for Strings I. Allegro piacevole BBC Symphony Orchestra Edward Gardner, conductor Sea Pictures I. Sea Slumber Song II. In Haven (Capri) III. Sabbath Morning at Sea Alice Coote, mezzo soprano Halle Orchestra Sir Mark Elder, conductor Variations on an Original Theme `Enigma` Var.7 (Troyte) - 14 (Finale - EDU) Royal Liverpool Philharmonic Orchestra Vassily Petrenko, conductor Producer: Graham Rogers Donald Macleod explores Elgar's own belief that he was an outsider in British society. | |
| 2022 | 01 | Social Misfit | 20220131 | 20240108 (R3) | Donald Macleod explores the life and work of Edward Elgar, who, despite being thought of by many as quintessentially British, always felt himself to be an outsider. Elgar is the composer we turn to in times of national celebration, of pride (Pomp and Circumstance Marches) and of public grief (Nimrod). He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit. This week of programmes explores some of the reasons for that sense of unbelonging. In this first programme, Donald Macleod looks at Elgar's social background, how his humble beginnings as the son of a church organist, piano tuner and shopkeeper permeated through to his later life and affected his status as one of the nation's greatest composers. Chanson du matin Nigel Kennedy, violin Peter Pettinger, piano My love dwelt in a northern land London Symphony Chorus Vernon Handley, conductor Serenade for Strings I. Allegro piacevole BBC Symphony Orchestra Edward Gardner, conductor Sea Pictures I. Sea Slumber Song II. In Haven (Capri) III. Sabbath Morning at Sea Alice Coote, mezzo soprano Halle Orchestra Sir Mark Elder, conductor Variations on an Original Theme “Enigma ? Var.7 (Troyte) – 14 (Finale - EDU) Royal Liverpool Philharmonic Orchestra Vassily Petrenko, conductor Producer: Graham Rogers Donald Macleod explores Elgar's own belief that he was an outsider in British society. |
| 2022 | 02 | A Catholic In An Anglican Country | 20220201 | 20240109 (R3) | Donald Macleod explores how Elgar's Catholicism set him apart from the British musical and social circles of his day. Elgar is the composer we turn to in times of national celebration, of pride (Pomp and Circumstance Marches) and of public grief (Nimrod). He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar was a Roman Catholic in an overwhelmingly Anglican country, at a time when much of British society was still suspicious of Catholicism and its influence. The composer always felt that his religion held back his career. Donald McLeod attempts to uncover the truth. Bavarian Dance No.1 Bournemouth Sinfonietta Norman Del Mar, conductor From the Bavarian Highlands V. On the Alm Max Hanft, piano Bavarian Radio Choir Howard Arman, conductor The Dream of Gerontius Part 2: “I see not those false spirits ? - “Praise to the holiest ? Dame Sarah Connolly, mezzo soprano Stuart Skelton, tenor BBC Symphony Orchestra and Chorus Sir Andrew Davis, conductor Pomp and Circumstance March No.1 in D Gabrieli Players Paul McCreesh, conductor The Apostles Part 2, Scene 4: The Betrayal, In Gethsemane Alice Coote, mezzo soprano Jacques Imbrailo, baritone David Kempster, baritone Brindley Sherrat, bass Halle Choir and Orchestra Sir Mark Elder, conductor Producer: Graham Rogers Donald Macleod explores how Elgar's Catholicism set him apart from other British artists. Part 2: `I see not those false spirits` - `Praise to the holiest` |
| 2022 | 03 | Self-made Man | 20220202 | Donald Macleod explores how Elgar's lack of formal training affected his confidence and his career, and how he felt snubbed by musical academics like Stanford and Parry. Elgar is the composer we turn to in times of national celebration, of pride (Pomp and Circumstance Marches) and of public grief (Nimrod). He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar had little formal training - he never went to university or music college - and was suspicious of academics such as Parry and Stanford who ruled the English musical establishment. Elgar felt his career suffered because of this, and yet his music become more widely known and loved than that of many of his contemporaries. There is Sweet Music Tenebrae Nigel Short, conductor Introduction and Allegro LSO String Ensemble Roman Simovic, conductor In Smyrna Stephen Hough, piano Symphony No.1 in A flat I. Andante (Nobilmente e semplice) - Allegro Berlin Staatskapelle Daniel Barenboim, conductor Pomp and Circumstance March No.4 in G Royal Philharmonic Orchestra Andre Previn, conductor Producer: Graham Rogers Donald Macleod explores how Elgar's lack of formal musical training affected his career. | |
| 2022 | 03 | Self-made Man | 20220202 | 20240110 (R3) | Donald Macleod explores how Elgar's lack of formal training affected his confidence and his career, and how he felt snubbed by musical academics like Stanford and Parry. Elgar is the composer we turn to in times of national celebration, of pride (Pomp and Circumstance Marches) and of public grief (Nimrod). He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar had little formal training - he never went to university or music college - and was suspicious of academics such as Parry and Stanford who ruled the English musical establishment. Elgar felt his career suffered because of this, and yet his music become more widely known and loved than that of many of his contemporaries. There is Sweet Music Tenebrae Nigel Short, conductor Introduction and Allegro LSO String Ensemble Roman Simovic, conductor In Smyrna Stephen Hough, piano Symphony No.1 in A flat I. Andante (Nobilmente e semplice) - Allegro Berlin Staatskapelle Daniel Barenboim, conductor Pomp and Circumstance March No.4 in G Royal Philharmonic Orchestra Andre Previn, conductor Producer: Graham Rogers Donald Macleod explores how Elgar's lack of formal musical training affected his career. |
| 2022 | 04 | Country Boy | 20220203 | Born and brought up in the English countryside, Elgar never felt comfortable in London, the heart of the nation's musical life. Presented by Donald Macleod. Elgar is the composer we turn to in times of national celebration, pride and public grief. He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar was born and brought up in the Worcestershire countryside, and remained a country boy at heart for his whole life. He was drawn periodically to London, the centre of British musical life, but never felt comfortable there. Yet one of his best-loved works is a joyous celebration of the capital city. The Wand of Youth Suite I. Fairies and Giants New Zealand Symphony Orchestra James Judd, conductor Violin Concerto in B minor I. Allegro Hilary Hahn, violin London Symphony Orchestra Sir Colin Davis, conductor Piano Quintet in A minor II. Adagio Piers Lane, piano Goldner Quartet Cockaigne (In London Town) - Overture Royal Stockholm Philharmonic Orchestra Sakari Oramo, conductor Producer: Graham Rogers Donald Macleod explores Elgar's relationship with the English countryside. | |
| 2022 | 04 | Country Boy | 20220203 | 20240111 (R3) | Born and brought up in the English countryside, Elgar never felt comfortable in London, the heart of the nation's musical life. Presented by Donald Macleod. Elgar is the composer we turn to in times of national celebration, pride and public grief. He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar was born and brought up in the Worcestershire countryside, and remained a country boy at heart for his whole life. He was drawn periodically to London, the centre of British musical life, but never felt comfortable there. Yet one of his best-loved works is a joyous celebration of the capital city. The Wand of Youth Suite I. Fairies and Giants New Zealand Symphony Orchestra James Judd, conductor Violin Concerto in B minor I. Allegro Hilary Hahn, violin London Symphony Orchestra Sir Colin Davis, conductor Piano Quintet in A minor II. Adagio Piers Lane, piano Goldner Quartet Cockaigne (In London Town) – Overture Royal Stockholm Philharmonic Orchestra Sakari Oramo, conductor Producer: Graham Rogers Donald Macleod explores Elgar's relationship with the English countryside. |
| 2022 | 05 LAST | A Man Out Of His Time | 20220204 | Although he's widely regarded today as one of Britain's greatest composers, Elgar struggled to attain popularity and then lived to see it dwindle. Donald Macleod finds out why. Elgar is the composer we turn to in times of national celebration, pride and public grief. He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar worked hard to overcome many adverse factors and achieve his great success. His reward was an Edwardian heyday as the nation's best-loved composer. But he lived to see interest in his music fade away, and his Edwardian values become outdated. Nursery Suite I. Aubade; VI. The Merry Doll English Chamber Orchestra Paul Goodwin, conductor Violin Sonata in E minor III. Allegro non troppo Renaud Capucon, violin Stephen Hough, piano Cello Concerto in E minor Steven Isserlis, cello Philharmonia Orchestra Paavo Jarvi, conductor Pomp and Circumstance March No.5 in C Royal Philharmonic Orchestra Norman Del Mar, conductor Producer: Graham Rogers Donald Macleod explores how Elgar outlived the Edwardian peak of his popularity. | |
| 2022 | 05 LAST | A Man Out Of His Time | 20220204 | 20240112 (R3) | Although he's widely regarded today as one of Britain's greatest composers, Elgar struggled to attain popularity and then lived to see it dwindle. Donald Macleod finds out why. Elgar is the composer we turn to in times of national celebration, pride and public grief. He mingled with royalty and was made a knight of the realm, seemingly a pillar of the Edwardian and early 20th-century British establishment. And yet, for most of his life he felt himself to be a misfit, an outsider. This week of programmes explores some of the reasons for that sense of unbelonging. Elgar worked hard to overcome many adverse factors and achieve his great success. His reward was an Edwardian heyday as the nation's best-loved composer. But he lived to see interest in his music fade away, and his Edwardian values become outdated. Nursery Suite I. Aubade; VI. The Merry Doll English Chamber Orchestra Paul Goodwin, conductor Violin Sonata in E minor III. Allegro non troppo Renaud Capucon, violin Stephen Hough, piano Cello Concerto in E minor Steven Isserlis, cello Philharmonia Orchestra Paavo Jarvi, conductor Pomp and Circumstance March No.5 in C Royal Philharmonic Orchestra Norman Del Mar, conductor Producer: Graham Rogers Donald Macleod explores how Elgar outlived the Edwardian peak of his popularity. |