The Enigma Variations was Elgar’s first major success, establishing him as a nationally important composer. It is also the first work he wrote not to commission, nor for any occasion, but just because he wanted to. Perhaps the inspiration was so much greater?

Elgar had tried to make a living in London but failed, and had to return to Malvern in order to get work. And a mixed bag it was: composing, teaching, and playing violin in the Three Choirs Festival orchestra. It is said that on returning home one evening in 1898, relaxing at the piano, he picked out a tune that caught his wife’s ear. “What’s that?” she asked. “Nothing, but something might be made of it …” replied Edward, and he played with it in different styles, as several of their friends might play it. Thus was born the idea of a set of variations for orchestra, based on an original tune, with each variation depicting in some way characteristics of a different person. The Variations were first performed in June 1899, by the conductor Hans Richter, to great acclaim.

The title “Enigma” was given by Elgar after he had finished writing it, and has caused much bafflement over the years. In fact, there may be several enigmas here. Elgar wrote in the programme notes for the first performance – “The Enigma I will not explain – its ‘dark saying’ must be left un-guessed … further, through and over the whole set another and larger theme ‘goes’, but is not played.” What did he mean? And is he saying there are two puzzles here, not just one? And when he says “theme” what does he mean – some other well-known tune, or a theme such as friendship? Elgar was always very keen on word games and puzzles, and was good at acrostics and crossword puzzles well into his old age. His letters are full of word play, and he loved teasing people. So he could have meant either – or even both. He took the answer with him to the grave, but that has not prevented endless speculation over the years!

The theme itself is interesting and unusual. It is short, in G minor, with a central section in G major. The outer sections are characterised by their pairs of notes in mirror image, two short and two long, followed by two long and two short. This pattern permeates the entire work, and is present in almost every variation. The middle section has a simpler rhythm, a rising line in thirds, while the last section repeats the first, but with the addition of a counter-melody in cellos and clarinet.

The variations that follow are:

C.A.E. – Alice, Elgar’s wife, gently depicted with a caressing accompaniment.

H.D.S-P. – Hew Steuart-Powell, a pianist with whom Elgar played chamber music. After a spiky opening, the theme is clear in the cellos and basses.

R.B.T. – Richard Townshend, a real Edwardian “eccentric” who took part in amateur dramatics. The theme is quirky in flutes and oboes.

W.M.B. – William Baker, a country squire, and clearly a man who never stopped to listen to anyone else – or even breathe!

R.P.A. – Richard Arnold, son of the poet Matthew Arnold, and mostly a thoughtful, serious man to judge by this variation.

“Ysobel” – the first of the other women pictured (Elgar always enjoyed female company). This is Isabel Fitton, a viola pupil of Elgar’s, some 10 years his junior.

Troyte – Arthur Griffith, a very good friend and a very bad piano player. The rhythm of the theme (two short, two long) rattles along at high speed in bass and drums.

W.N. – Winifred Norbury, who with Elgar was joint secretary of the local orchestra. She was calm and serene, but with a delightful chuckling laugh.

Nimrod – Elgar’s publisher, German born August Jaeger. The emotional heart of the work, this derives from a conversation about Beethoven’s slow movements.

Dorabella – another of Elgar’s lady friends, Dora Penny, who had a slight stammer and loved dancing: both depicted clearly in this affectionate variation. The title “Dorabella” is a character in Mozart’s Cosi fan Tutte, and “bella” means beautiful.

G.R.S. – George Sinclair, organist of Hereford Cathedral. This fast and short variation refers to his bulldog falling in the river, paddling his way out, and barking.

B.G.N. – Basil Nevinson, a cellist who played piano trios with Elgar and H.D.S-P. This and the next variation are both full of deep feeling.

* * * - A woman, but one whose identity Elgar was reluctant even to imply. It quotes from Mendelssohn’s “Calm Sea and Prosperous Voyage”, which coupled with the rocking patterns suggest someone who was on a ship. The timpanist is asked to play with side-drum sticks to imitate the ship’s engines. Usually reckoned to be Lady Mary Lygon, who organised and conducted choirs locally, and was travelling to Australia, but there may be a memory of Elgar’s first fiancée Helen Weaver, who emigrated to New Zealand.

E.D.U. – Elgar himself (“Edoo” was his wife’s pet name for him). This is more than just another variation, it is a substantial finale. Quotes from two earlier variations appear – his wife Alice and Nimrod – before the blaze of triumph that ends the piece.