Program Notes

Johann Sebastian Bach (1685-1750), arr. by Edward Elgar (1857-1934)

Fugue from Fantasia and Fugue in C Minor

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass, clarinet, 2 bassoons, contra bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings

One of the greatest tributes one composer can give to another is to make an arrangement of one of his works. In the classical era, creating arrangements for winds of music from operas by leading composers of the day was a common practice. During the romantic era, Franz Liszt and Sigismund Thalberg made names for themselves by dazzling their audiences with brilliant showpieces for solo piano, also arranged from popular operas, songs or orchestral works. But it was just before the 20 th century that we started to see favorite keyboard pieces or chamber works by the great masters arranged for orchestra. Many composers were represented in these arrangements, but if we were to look them over, the name of one composer stands out above all others: One Johann Sebastian Bach.

In fact, the sheer volume of arrangements inspired by the Baroque genius is enough to boggle the mind. The list of early 20 th century masters who used a Bach composition as a starting point reads like a Who's Who of Modern Composers. Among them are interpretations by Schoenberg, Webern, Honegger, Vaughan Williams, Respighi, and, perhaps the most prominent example, by Edward Elgar.

Elgar and his good friend Richard Strauss had often talked of arranging Bach's keyboard works for full orchestra, but the important impetus came in 1921, while the composer was playing Bach on the piano. According to the diary of his daughter, Carice, dated 17 April, 1921, “Father playing Bach fugues.” A mere two days later she wrote, “Father busy orchestrating Bach Fugue in C minor.” The fugue was from the Fantasia and Fugue in C minor, BWV 537 for organ.

The bold and exciting transcription overflows with largesse bordering on excess, but is a sheer delight. Elgar doesn't merely transfer Bach's music, he transports it and translates it into the language of his time. It became not simply an expansion of Baroque ideals, but the personal expression of a progressive romantic. Elgar wrote to his friend Ivor Atkins, “I have orchestrated the Bach fugue in a modern way – largest orchestra – you may not approve. However, many arrangements have been made of Bach on the ‘pretty' scale and I wanted to show how gorgeous and great and brilliant he would have made himself sound if he had had our means.”

The first version of the score was completed on April 24, 1921, and was revised the following month. It was first performed on October 27, 1921 under the baton of Eugene Goosens. Carice's diary entry for that day states, “Great enthusiasm – had to be repeated and Father called down to platform to bow – Thrilling evening – sounded quite wonderful.”