Elgar: From the Archives Vol. 3

The third installment in the "Elgar from the Archives" series features two historical recordings conducted by Sir Adrian Boult: the oratorio "The Kingdom", Op. 51, and the beloved "Variations on an Original Theme 'Enigma'", Op. 36. These variations provide an interesting comparison to the two acoustic versions from the highly acclaimed Vol. 1 of this series, one conducted by the composer in 1920 and the other by Sir Henry Wood in 1924. These recordings, available commercially for the first time, have been remastered by sound engineer Lani Spahr, whose work on "Elgar from the Archives" Vol. 1 was once again highly praised by the press. Inspired by a remark from one of his schoolteachers that the apostles were poor, young men, perhaps 'not cleverer than some of you here', Elgar conceived the idea for a work that portrays the apostles as ordinary men responding to extraordinary events. He envisaged an oratorio trilogy consisting of "The Apostles", Op. 49, "The Kingdom", and an unrealized work, "The Last Judgement". He made the first sketches for "The Kingdom" as early as 1882, while still working as an organist at St. George's Catholic Church in Worcester. Following an orchestral prelude that introduces the main musical themes and sets the mood of the work, the oratorio consists of five parts: I. In the Upper Room, II. At the Beautiful Gate, III. Pentecost, IV. The Sign of Healing, and V. The Upper Room. "The Kingdom" is scored for four soloists, chorus, and large orchestra - in this recording featuring Heather Harper, soprano (The Blessed Virgin), Helen Watts, alto (Mary Magdalene), William Herbert, tenor (St. John), and Gordon Clinton, baritone (St. Peter), with the Croydon Philharmonic Society and the BBC Symphony Orchestra conducted by Sir Adrian Boult. This program, performed on May 29, 1957, at the Royal Festival Hall, was part of the centenary celebrations of Elgar's birth. Boult admired "The Kingdom" more than any of Elgar's other major choral works, and his comprehensive understanding and identification with the piece are evident in his skillful choice of tempo and attention to dynamics.