Nimrod From Enigma Variations. Preview Only. EDWARD ELGAR Arranged by ALFRED REED ( ) INSTRUMENTATION

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1 CLASSIC BAND Grade Conductor C iccolo (rd lute) st lute nd lute st Ooe nd Ooe st Bassoon nd Bassoon Contraassoon E Clarinet st B Clarinet nd B Clarinet rd B Clarinet E Alto Clarinet B Bass Clarinet Otional B Contraass Clarinet st E Alto Saxohone nd E Alto Saxohone B Tenor Saxohone E Baritone Saxohone Otional B Bass Saxohone Nimrod rom Enigma Variations EDWARD ELGAR Arranged y ALRED REED (9 005) INSTRMENTATION st B Trumet nd B Trumet rd B Trumet st B Cornet nd B Cornet st Horn nd Horn rd Horn th Horn st Tromone nd Tromone rd Tromone Euhonium Tua String Bass Timani (Crash Cymals) Sulemental and World arts Availale or download rom wwwalredcom/worldarts Baritone Trele Cle st Horn in E nd Horn in E rd Horn in E th Horn in E st Tromone in B Bass Cle nd Tromone in B Bass Cle rd Tromone in B Bass Cle st Tromone in B Trele Cle nd Tromone in B Trele Cle rd Tromone in B Trele Cle Baritone in B Bass Cle Tua in E Bass Cle Tua in E Trele Cle Tua in B Bass Cle Tua in B Trele Cle review Only Legal se Requires urchase lease note: Our and and orchestra music is now eing collated y an automatic highseed system The enclosed arts are now sorted y age count, rather than score order

2 ROGRAM NOTES Elgar was still relatively unknown to the musical world when, in 899, he comleted his Variations on an Original Theme (later to e called Enigma Variations) His anonymity existed in site o the act that he had devoted nearly eight years o his lie to writing works in the larger orms, including ulllength oratorios which had een successully erormed Thus, it was something o a minor miracle to him that the German conductor, Hans Richter (at the time the most admired orchestra conductor in London), agreed to erorm a new maor work y an unknown English comoser Within a ew short years ater the irst erormance o Enigma Variations in 899, Elgar ecame an internationally amous comoser The Enigma Variations consist o an original theme on which are uilt variations lus a inale The enigma arose ecause Elgar had laced on each variation a title which was either a crytic name (such as Nimrod ) or a set o initials He then let it e known that these reresented riends o his This gave rise to a lood o inquiries, discussions, arguments, and some detective work on the art o many eole Today, however, it is well known exactly which ersons are concerned The ninth variation, titled Nimrod, is generally agreed to e the emotional highlight o the Enigma Variations Nimrod, o course, is associated in the English minds with hunting The German word or hunter is ager, and the man whom Elgar descried in this variation was his nolest riend, August aeger, editor o the Musical Times aeger gave Elgar much sound, ractical advice and heled lace his earlier works or ulication And so, in this eautiul, swelling musical testimonial, Elgar has not only created a icture o a nole, uright, generous erson, ut has roduced a iece which has ound many uses in English ceremonials o a solemn nature NOTES TO THE CONDCTOR This music, among the most nole and stately in the entire literature, must e erormed with asolute smoothness throughout No note is to e shortened in any way Eighth notes must e given ull value, and most esecially notes with tenuto markings over them The temo must e as road as ossile, without dragging In the case o younger ands, reath control and sostenuto laying must e heavily emhasized In the orchestral setting, there is oten a slight roadening in the last third o the work, eginning at measure 8 I have indicated this with another temo marking, ut the choice must e let to the conductor s taste and eeling The trilet igure in measure 8 must e held ack, and the dottedeighth and sixteenth igure occurring in the other instruments at the same time as the trilet must e so layed that the sixteenth note comes together with the last note (also a sixteenth) o the trilet A road ritard must then e made on the second eat o measure 0, slowing the temo down even more, and the inal chord must e held very long, ading away into silence Attention is called to the relationshi etween the cornet and trumet arts in the score or correct alance, there should e one stand o B cornets to each three stands o B trumets that is, one stand each o st, nd, and rd The cornets are used largely as melodic instruments strengthening the woodwind, saxohone, and horn lines Where marked st only or nd only, there should e only one layer at these oints Although the contraassoon and B ass saxohone arts are otional, their resence along with the B contraass clarinets will increase the richness o the contraass line during the irst 9 measures so much so that the tuas could e omitted entirely at this oint On the other hand, should these instruments not e availale, and deending on the overall size o the and, the conductor may have to increase the numer o tuas laying at this oint review Only Elgar s original score has een aithully adhered to in this arrangement and nothing has een added excet the one cymal note at the climax, in measure 0 Care should e taken to see that the air o cymals lay only at the orte level here, as an aid in reaching the highest oint in the music This should not e the usual dramatic cymal crash When using this work as an accomaniment to any ceremonial occasion, such as graduation, accalaureate, memorial, convocation, or honor s awards services, the music may e reeated as many times as necessary y going rom the inal chord to the eginning, measure 9, or measure 8 Excellent recordings o Enigma Variations y Monteux, Steinerg, and Barirolli are recommended listening Legal se Requires urchase

3 LL SCORE Arox Duration :00 rom Enigma Variations Adagio ( = 5), semre sostenuto lute iccolo (rd lute) lutes Ooes n Bassoons n A oco Contraassoon (otional) oco E Clarinet # (Cl ) oco n oco B Clarinets n oco oco E Alto Clarinet # N oco B Bass Clarinet B Contraass oco Clarinet (otional) oco E Alto Saxohones # oco B Tenor Saxohone n A oco E Baritone Saxohone oco B Bass Saxohone (otional) oco Adagio ( = 5), semre sostenuto B Trumets B Cornets Horns Tromones Euhonium Tua String Bass Timani (Crash Cymals) 8505C (A Cl, Bsn ) (A Cl, Bsn ) (B Cl, Bsns) ( layer only) Tune:, B, E n n oco oco oco oco oco Nimrod A A (Renewed) BELWINMILLS BLISHING COR All Rights Controlled and Administered y ALRED MSIC BLISHING CO, INC All Rights Reserved including ulic erormance n n n # n n n # n # # n # n n n # n # n # n n n # n n # # n n n By Edward Elgar Arranged or Band y Alred Reed (9005) 7 n n # n n n n review Only Legal se Requires urchase 8 N A N

4 icc ls Os Csn E Cl B Cls A Cl B Cl B C Cl A Saxes T Sax Bar Sax Bass Sax B Tts Cors Hns Tns Euh Tua Str Bass Tim Bsns 8505C 9 9 (Cor ) () lay lay lay (Hn ) (Hn ) (Hn ) One layer only Two layers only 9 0 n # n n n n lay A N A (Cor ) l a + () 5 a 6 (Cor ) + () 7 review Only Legal se Requires urchase 8

5 icc ls Os Csn E Cl B Cls A Cl B Cl B C Cl A Saxes T Sax Bar Sax Bass Sax B Tts Cors Hns Tns Euh Tua Str Bass Tim Bsns 8505C 9 0 Change to C iccolo st only Soli esr esr esr st stand only 0 (Os, Cls) 0 semre a izz All, (Hns ) (Hns, ) One layer only One layer only æ semre a All All arco æ (Hns, ) (Hn ) (Hn ) semre semre semre 5 a 6 review Only a lay lay lay lay Legal se Requires urchase æ 7 5

6 6 icc ls Os Csn E Cl B Cls A Cl B Cl B C Cl A Saxes T Sax Bar Sax Bass Sax B Tts Cors Hns Tns Euh Tua Str Bass Tim Bsns 8505C 8 Grandioso e sostenuto C icc sonore sonore n sonore sonore sonore sonore sonore sonore sonore sonore (a) n sonore sonore 8 Grandioso e sostenuto st stand only st stand only n a sonore n n sonore sonore sonore æ æ A A A A A æ a a Soli Soli Soli Soli Soli Soli Soli (a) All review Only Legal se Requires urchase 5

7 icc ls Os Csn E Cl B Cls A Cl B Cl B C Cl A Saxes T Sax Bar Sax Bass Sax B Tts Cors Hns Tns Euh Tua Str Bass Tim Bsns 8505C oco a oco oco a oco oco a oco æ oco a oco oco a oco oco a oco st stand nd Tts 6 7 All nd Tts largamante (hold ack slightly) largamante (hold ack slightly) æ æ rit 0 rit a a Cr Cyms æ æ 0 long hold u long hold (Euh) (Euh) u u review Only Legal se Requires urchase 7

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