0:00:04 > 0:00:09For many of us, the music of Edward Elgar is instantly recognisable,
0:00:09 > 0:00:13characteristic of the confident, Edwardian age he lived in
0:00:13 > 0:00:15and part of the national heritage,
0:00:15 > 0:00:17just like the man.
0:00:18 > 0:00:22But we are the victims of one of the wiliest image consultants of the last century -
0:00:22 > 0:00:25Elgar himself.
0:00:26 > 0:00:30He particularly enjoyed bamboozling posterity.
0:00:30 > 0:00:33As a contemporary of Puccini and Mahler,
0:00:33 > 0:00:37Elgar wrote music that even today challenges our preconceptions.
0:00:44 > 0:00:46There we go.
0:00:46 > 0:00:48And it doesn't feel, really, like Elgar's world.
0:00:48 > 0:00:52It's visceral and comes right out of the guts of the music.
0:00:55 > 0:00:58Although his home life seemed a model of decorum,
0:00:58 > 0:01:01this man of many moods was always falling in love.
0:01:01 > 0:01:06And unflinching new evidence from one of the women who knew him best
0:01:06 > 0:01:08reveals what sort of man he was.
0:01:08 > 0:01:11Gosh! Well, that is quite a letter
0:01:14 > 0:01:18In his lifetime, he was known for being complex and difficult.
0:01:18 > 0:01:24His friends realised he deliberately hid himself behind a mask of respectability.
0:01:25 > 0:01:27But they have now gone
0:01:27 > 0:01:32and as the years have passed, it's the mask that survived.
0:01:32 > 0:01:36The real Elgar is only now being recovered.
0:01:37 > 0:01:39'His eyes were restlessly moving all the time.'
0:01:39 > 0:01:44Up and down, left and right. That restless energy.
0:01:44 > 0:01:51And, for a moment, I had this uncanny feeling that, at last, I knew him and what he would have been like.
0:01:58 > 0:02:01APPLAUSE
0:02:15 > 0:02:21'Ages ago, when I was a kid, I remember an ad on the TV'
0:02:21 > 0:02:24that was for tomato sauce, ketchup.
0:02:24 > 0:02:27- < In Venezuela?- In Venezuela.
0:02:29 > 0:02:32Our headmaster would play records to us,
0:02:32 > 0:02:36so in three or four-minute chunks, he played us The Dream Of Gerontius
0:02:36 > 0:02:39on Saturday mornings, before our cornflakes.
0:02:39 > 0:02:41He really clicked with me
0:02:41 > 0:02:44when, I remember it distinctly,
0:02:44 > 0:02:49a specific performance of the Enigma Variations in the Albert Hall.
0:02:50 > 0:02:53I don't think I had a recording at home
0:02:53 > 0:02:55but there was a recording at school
0:02:55 > 0:02:57conducted by Toscanini.
0:02:57 > 0:03:01I tremble to think how many times I've heard it.
0:03:01 > 0:03:02It's always fresh.
0:03:05 > 0:03:10Absolutely remember getting to the climax, the Glimpse of God,
0:03:10 > 0:03:16and, of course, that is such an unusual moment in music
0:03:16 > 0:03:20that it left an indelible mark.
0:03:25 > 0:03:30The bottle like that and the sauce coming down, down, down
0:03:30 > 0:03:33and when it was reaching the food, whatever it was - chips, probably -
0:03:33 > 0:03:40- Pomp And Circumstance March No.1 was sounding. - SHE SINGS
0:03:40 > 0:03:46That was the heroic thing, finally the ketchup got onto the chip.
0:03:46 > 0:03:50MUSIC: "Pomp And Circumstance March No.1
0:03:50 > 0:03:53It may have become a rousing, patriotic tune
0:03:53 > 0:03:57but Land Of Hope And Glory began life without any words
0:03:57 > 0:04:01simply as the middle section of an orchestral march.
0:04:01 > 0:04:03Like much of Elgar's music,
0:04:03 > 0:04:07if you do what he wanted and imagine you have never heard it before,
0:04:07 > 0:04:10it's not quite what it seems.
0:04:10 > 0:04:13It's not pretentious, it's not pompous,
0:04:13 > 0:04:16it's just wonderfully open and sincere.
0:04:16 > 0:04:18And that's what, um...
0:04:20 > 0:04:24totally embraces me, and I'm not even British at all!
0:04:26 > 0:04:32He had a knack of expressing a national mood in a very personal way.
0:04:32 > 0:04:37When you hear Land Of Hope And Glory, you shouldn't think of it as a tub-thumping song
0:04:37 > 0:04:40but of the fact that it's really quite a sad tune.
0:04:40 > 0:04:44It has Elgar's trademark languishing sixth
0:04:44 > 0:04:48falling to a fifth. That's to say, this note...
0:04:52 > 0:04:55That's an interesting harmony Elgar uses a lot
0:04:55 > 0:04:56because that...
0:04:56 > 0:05:00is an inversion of a minor chord, so think sad, perhaps,
0:05:00 > 0:05:03and then that...is a major chord.
0:05:03 > 0:05:05So that's sad turning to happy.
0:05:05 > 0:05:09The other thing that Elgar was very good at was this sort of thing,
0:05:09 > 0:05:12same technique but the opposite way round...
0:05:12 > 0:05:13PLAYS SIXTH THEN FIFTH
0:05:13 > 0:05:19And there we have a sixth, a sort of an inversion of a major chord...
0:05:19 > 0:05:24And again there's this drooping, sort of sad thing. PLAYS FIFTH
0:05:24 > 0:05:27So Elgar uses a lot of these drooping sixths
0:05:27 > 0:05:32This tune... POMP AND CIRCUMSTANCE MARCH No.1
0:05:32 > 0:05:37..actually has it and as soon as you've realised that is the key aspect of that tune
0:05:37 > 0:05:39it can never be a triumphalist anthem again.
0:05:58 > 0:06:02The Pomp And Circumstance Marches are brilliant marches
0:06:02 > 0:06:07but they're just ringing the doorbell when it comes to learning about what's in the Elgar house.
0:06:18 > 0:06:23In old age, Elgar cherished the memory of this cottage
0:06:23 > 0:06:27a few miles outside Worcester, where he was born in 1857.
0:06:30 > 0:06:34But his parents moved back into the city before he was two.
0:06:34 > 0:06:38So this wasn't a real memory but an icon of his infancy
0:06:38 > 0:06:43and of the humble origins which made him both proud and ashamed all his life.
0:06:48 > 0:06:50He brought friends here.
0:06:50 > 0:06:53Some of them spotted that he was building his own legend,
0:06:53 > 0:06:57doing what he could to manipulate the verdict of posterity.
0:06:59 > 0:07:02"I know nothing about music," he would say.
0:07:02 > 0:07:06True, in one sense, because he never had a composition lesson in his life.
0:07:07 > 0:07:12Yet he lived and breathed it as he worked in his father's music shop
0:07:12 > 0:07:18and played the violin professionally, as well as the piano, organ, bassoon and trombone.
0:07:25 > 0:07:31As a composer, between the success of his Enigma Variations in 1899
0:07:31 > 0:07:34and the Cello Concerto 20 years later,
0:07:34 > 0:07:37he was the dominant force in British music,
0:07:37 > 0:07:40the greatest native composer since Purcell.
0:07:49 > 0:07:52But with the rise of Stravinsky and Schoenberg
0:07:52 > 0:07:55his music went into decline.
0:07:57 > 0:08:02He was written off as a relic of empire, jingoistic and out of date.
0:08:07 > 0:08:10Now free of imperial clutter,
0:08:10 > 0:08:15the range and complexity of his music is being rediscovered.
0:08:22 > 0:08:24It's the deeply personal voice
0:08:24 > 0:08:28of a man wrestling with the contradictions of his own life.
0:08:29 > 0:08:33The music seems, to me, to suggest the sort of fractured,
0:08:33 > 0:08:38troublesome visionary who was up one minute, down the next,
0:08:38 > 0:08:42found life very, very difficult and was extremely emotional.
0:08:42 > 0:08:47The appearance he presented to the world was very different.
0:08:48 > 0:08:52His passport lists his height as 5'10",
0:08:52 > 0:08:54his eyes, hazel,
0:08:54 > 0:08:56his nose large and aquiline,
0:08:56 > 0:08:59the right equipment for the gentleman he aspired to be.
0:09:00 > 0:09:04His knighthood, at the age of 47, sealed the deal.
0:09:04 > 0:09:08But it led both man and music to be misunderstood.
0:09:09 > 0:09:13That stiff upper lip had much to answer for.
0:09:13 > 0:09:15I think it was probably Elgar's moustache!
0:09:18 > 0:09:21There are two early pictures, one as a young man, without one,
0:09:21 > 0:09:23and he looks sort of incomplete.
0:09:25 > 0:09:28It covers almost the whole of the mouth.
0:09:29 > 0:09:31Bit macho.
0:09:34 > 0:09:36A retired colonel or general.
0:09:38 > 0:09:40He just looked like a country gentleman.
0:09:40 > 0:09:44Very often at the beginning and ends of pieces
0:09:44 > 0:09:46we feel this strength of character
0:09:46 > 0:09:52but buried in the core of the works, and perhaps more essential to their meaning,
0:09:52 > 0:09:53is an entirely clean-shaven
0:09:53 > 0:09:58vision, really, of a childlike,
0:09:58 > 0:10:02even feminine musical character that's lurking beneath.
0:10:02 > 0:10:06Because he looked so robustly English,
0:10:06 > 0:10:08people think his music is too.
0:10:08 > 0:10:14But in his own day, it was regarded as being more emotional than was proper for an Englishman.
0:10:15 > 0:10:17I find his music as dramatic and lyric as Puccini
0:10:17 > 0:10:20and as interestingly, harmonically, as Strauss.
0:10:20 > 0:10:25But it's that veneer in his music which...
0:10:25 > 0:10:28which I think people take as very English.
0:10:28 > 0:10:32I think of him, because they were contemporaries, strangely,
0:10:32 > 0:10:35as a sort of English Mahler.
0:10:35 > 0:10:38There could be the outside world and then the deep inside world.
0:10:38 > 0:10:41People are always talking about irony in Mahler
0:10:41 > 0:10:44and they don't seem to have seen it in Elgar, but his music is full of irony
0:10:44 > 0:10:48even when it's moving with terrific rhythmic vigour.
0:10:48 > 0:10:52Pomp And Circumstance, we always think, don't we...
0:10:52 > 0:10:55That sort of thing. Or we think...
0:10:58 > 0:11:02And so on. Marvellous, perky rhythms and strutting things.
0:11:02 > 0:11:04But, of course, it's also...
0:11:09 > 0:11:15Nothing very Pomp And Circumstance about that, that's immensely menacing.
0:11:15 > 0:11:18Those marches, the actual quick march sections,
0:11:18 > 0:11:21are sometimes very uneasy.
0:11:21 > 0:11:23The harmony is shifting all over the place
0:11:23 > 0:11:27and I think people will often see the rumbustious Elgar
0:11:27 > 0:11:31as being open and full of vigour and Edwardian swagger
0:11:31 > 0:11:35and they've missed the fact that it's actually melancholic,
0:11:35 > 0:11:38which is a deep irony which you see throughout his music.
0:11:38 > 0:11:42- And an ambivalence in his own character.- Absolutely so, yes.
0:11:42 > 0:11:44It's what makes him a great artist.
0:11:45 > 0:11:47I think he knew very well
0:11:47 > 0:11:50what a complicated being he was.
0:11:52 > 0:11:59# Deep in my soul
0:11:59 > 0:12:07# That tender secret dwells...
0:12:13 > 0:12:17Deep In My Soul, a tender secret dwells.
0:12:17 > 0:12:22It seems to suit Elgar's enigmatic character.
0:12:22 > 0:12:30# Lonely and lost to light for evermore
0:12:31 > 0:12:38# Save when to thine
0:12:38 > 0:12:46# My heart responsive swells
0:12:46 > 0:12:51# Then trembles
0:12:52 > 0:12:55# Into silence
0:12:55 > 0:13:03# Into silence as before
0:13:03 > 0:13:06# As before...
0:13:08 > 0:13:12He wanted to be accepted, he wanted to be praised and appreciated,
0:13:12 > 0:13:15but inside, there was a trembling heart,
0:13:15 > 0:13:17a nervous disposition.
0:13:17 > 0:13:24# There, in its centre
0:13:24 > 0:13:30# A sepulchral lamp
0:13:30 > 0:13:37# Burns the slow flame
0:13:37 > 0:13:44# Eternal but unseen... #
0:13:44 > 0:13:47So much of his music is quite intensely private.
0:13:47 > 0:13:53He's revealing things that he does not reveal in any other way.
0:13:53 > 0:14:06# Which not the darkness of Despair can damp
0:14:06 > 0:14:13# Though vain its ray
0:14:13 > 0:14:23# As it had never been
0:14:23 > 0:14:29# Through vain its ray as it had never been...
0:14:30 > 0:14:33The ambiguity of his musical persona
0:14:33 > 0:14:38is at the heart of what makes his music valuable and interesting.
0:14:39 > 0:14:44And this ambiguity is actually essential, I think, to understanding both the music and the man.
0:14:44 > 0:14:49Elgar was brought up in the shadow of Worcester Cathedral.
0:14:49 > 0:14:51But, for years, he was an outsider,
0:14:51 > 0:14:55more often seen in the new Roman Catholic church of St George's
0:14:55 > 0:14:59where his father was organist and his mother a devout worshipper.
0:14:59 > 0:15:04As the son of a shopkeeper, and a Catholic too,
0:15:04 > 0:15:06he never belonged to the musical establishment.
0:15:10 > 0:15:14He discovered what he was up against when he wrote his masterly setting
0:15:14 > 0:15:16of Cardinal Newman's poem the Dream of Gerontius,
0:15:16 > 0:15:20which is about a dying man and the journey of his soul after death.
0:15:26 > 0:15:29"It stank of incense," someone said,
0:15:29 > 0:15:34and Worcester Cathedral censored any mention of the Virgin Mary in performance,
0:15:34 > 0:15:38a ban that lasted almost half a century.
0:15:38 > 0:15:42They were very dubious, because this was a Catholic work
0:15:42 > 0:15:47and all the mariolatory, all the references to the Virgin,
0:15:47 > 0:15:50are just replaced with asterisks and dots.
0:16:07 > 0:16:12Apparently, the singers were just left to get over it and mumble away as best they could.
0:16:13 > 0:16:15Was that with Elgar's agreement?
0:16:15 > 0:16:17It was the only way to do it.
0:16:17 > 0:16:22Yes, certainly with Elgar's agreement, he conducted it.
0:16:23 > 0:16:28Gerontius scarred Elgar. "My heart," he said after the first performance,
0:16:28 > 0:16:33"is now shut against every religious feeling and every soft, gentle impulse forever."
0:16:33 > 0:16:38It had been a disaster. The choir was under-rehearsed and out of tune.
0:16:38 > 0:16:42"I really wish I were dead over and over again," he said,
0:16:42 > 0:16:47"but I dare not, for the sake of my relatives, do the job myself."
0:16:48 > 0:16:52Never again did he write what could be seen as a Catholic work.
0:16:52 > 0:16:56Instead, he turned to the Anglican Church for advice
0:16:56 > 0:16:58and used the Bible for his text.
0:16:58 > 0:17:01No-one could object to that.
0:17:01 > 0:17:04And no-one did.
0:17:07 > 0:17:10It brought him much more into the fold.
0:17:15 > 0:17:20As he conjured up the sunrise seen from the Temple roof in Jerusalem,
0:17:20 > 0:17:23he worked Jewish music into his score as well.
0:17:30 > 0:17:35He wrote a part for the shofar, the ceremonial ram's horn of the synagogue,
0:17:35 > 0:17:38a startling choice even a century later.
0:18:39 > 0:18:44As a conductor, standing in front of the Dawn scene of the Apostles is one of the great things
0:18:44 > 0:18:48because the orchestration is completely bizarre.
0:18:48 > 0:18:54The sound of this high tam-tam in the background, shimmering away,
0:18:54 > 0:18:59is completely extraordinary, and the shofar on one side, and this huge orchestral crescendo.
0:18:59 > 0:19:05It's visceral and comes right out of the guts of the music.
0:19:51 > 0:19:58Elgar had come a long way since succeeding his father as organist at St George's church.
0:19:58 > 0:20:01At that stage, he had few compositions to his name
0:20:01 > 0:20:03and fewer prospects.
0:20:03 > 0:20:08But a determined woman in her late 30s had turned up on his doorstep,
0:20:08 > 0:20:10the daughter of a major general.
0:20:10 > 0:20:14Her name was Alice Roberts and she wanted piano lessons.
0:20:14 > 0:20:17This prompted Elgar to write a new song.
0:20:19 > 0:20:23# Is she not passing fair
0:20:23 > 0:20:26# She who my love...
0:20:26 > 0:20:29There's a marvellous chord progression which I really love
0:20:29 > 0:20:35where Elgar is asking himself, "is she not passing fair? Passing fair..."
0:20:35 > 0:20:41And you can just see the furrowing of the brow as he has these chords.
0:20:41 > 0:20:46You have that She...is...passing...fair
0:20:46 > 0:20:48Good. And then it goes...
0:20:48 > 0:20:52Pa...ssing...fair?
0:20:52 > 0:20:58# Then she is passing fair
0:20:58 > 0:21:04# Pa-assing fair
0:21:04 > 0:21:07And that's one of the best expressed question marks in music that I know.
0:21:07 > 0:21:12# I love so well.
0:21:12 > 0:21:14And I think he wasn't sure.
0:21:15 > 0:21:18It took Elgar two years to pop the question.
0:21:18 > 0:21:21Frustrating for a woman nudging 40.
0:21:21 > 0:21:26But marriage was to bring him companionship, money - though never quite enough -
0:21:26 > 0:21:28and a daughter, Carice.
0:21:28 > 0:21:31And Alice had no doubts.
0:21:31 > 0:21:36She came from a completely different - more county, we would say - background.
0:21:36 > 0:21:40Her family were shocked that she was marrying so far beneath her.
0:21:40 > 0:21:43Perhaps that gave her the energy to want to make a success of him.
0:21:43 > 0:21:47Alice Roberts was a published novelist and poet
0:21:47 > 0:21:51but after her marriage she gave up her own creative ambitions
0:21:51 > 0:21:54and devoted herself to her husband.
0:21:54 > 0:21:59For some reason, she believed when she met Mr Elgar
0:21:59 > 0:22:01that this man was a genius.
0:22:01 > 0:22:04They spoke in a private baby language.
0:22:04 > 0:22:09He called her Chicky, she called him Eddoo.
0:22:09 > 0:22:14The parlou rmaid and their grand London house some years later, Louise Chapman,
0:22:14 > 0:22:16fleshed out the Elgar menage.
0:22:17 > 0:22:23Quite a big assortment for breakfast - cold ham, and he used to have kedgeree a lot.
0:22:23 > 0:22:25His newspaper used to be pressed,
0:22:25 > 0:22:30I used to have to press it, and also his shoelaces.
0:22:30 > 0:22:34After breakfast he'd go to his music room
0:22:34 > 0:22:38and I could see him sitting at the piano and composing.
0:22:38 > 0:22:43Not very smoothly. Very hesitant in a lot of the passages.
0:22:44 > 0:22:50And Lady Elgar used to do all his scoring for him.
0:22:50 > 0:22:55"Try so-and-so," she'd say. "We'll go through so-and-so."
0:22:56 > 0:23:01"Eddoo! Eddoo!" she used to go.
0:23:01 > 0:23:04He was essentially a lazy man
0:23:04 > 0:23:08but Elgar was easily diverted from work.
0:23:10 > 0:23:15Alice, his wife, she jolly well kept him to the grindstone,
0:23:15 > 0:23:18said, "Go and compose. That's your purpose in life."
0:23:18 > 0:23:22"My word, doesn't she keep him at it?" said one Malvern friend.
0:23:22 > 0:23:28Another, the young headmistress Rosa Burley, went on holiday with the Elgars to Germany.
0:23:28 > 0:23:33In her memoirs, she spoke of the Elgars' facade of married bliss.
0:23:33 > 0:23:40Alice, she noted, was not so much a wife as a doting mother of a gifted son.
0:23:40 > 0:23:45While Elgar enjoyed embarrassing Alice with his coarse remarks.
0:23:45 > 0:23:49He always had a man-size chip on his shoulder about being lower middle-class
0:23:49 > 0:23:52and wanting to mix with the slightly smarter set.
0:23:54 > 0:23:58I think he wasn't an entirely loveable character.
0:23:59 > 0:24:03He could be very prickly and rude. Actually rude.
0:24:05 > 0:24:09Terribly insecure. Reading his correspondence, it's unbelievable.
0:24:12 > 0:24:14Very gauche and offensive.
0:24:16 > 0:24:20I don't think he was a very sweet man,
0:24:20 > 0:24:22he was probably very angry.
0:24:22 > 0:24:26Elgar's mercurial portrait of Shakespeare's Falstaff
0:24:26 > 0:24:29encompasses his boorishness and his wit,
0:24:29 > 0:24:32unstable in both tonality and mood.
0:24:36 > 0:24:40Clearly Elgar saw himself in Falstaff.
0:24:41 > 0:24:45The opening uses almost all 12 notes of the chromatic scale
0:24:45 > 0:24:48and it's hard to say what key it's in.
0:24:49 > 0:24:51And he produces different themes,
0:24:51 > 0:24:54which show different aspects of Falstaff -
0:24:54 > 0:24:57his braggadocio, his thrustingness,
0:24:57 > 0:24:58his martial prowess.
0:25:08 > 0:25:12A man who got on with ladies, but also a boastful man.
0:25:12 > 0:25:14In connection with Falstaff's boasting,
0:25:14 > 0:25:17Elgar writes the most extraordinarily discordant piece...
0:25:17 > 0:25:20HE HUMS DISCORDANTLY
0:25:20 > 0:25:22..all over the orchestra.
0:25:25 > 0:25:29So that with these contrapuntal binding togethers
0:25:29 > 0:25:32of these different themes which are aspects of Falstaff's personality,
0:25:32 > 0:25:36Elgar is actually binding together different aspects of his own personality.
0:25:39 > 0:25:43The more disguises he could wear in his music, the better his music got.
0:25:45 > 0:25:49The piece that launched his career was supposed to be about his friends pictured within,
0:25:49 > 0:25:52but it was just as much about himself.
0:25:53 > 0:25:55The Enigma Variations is perfect.
0:25:55 > 0:25:57I don't think there's a note wrong with it.
0:26:01 > 0:26:04It shows you everything about him - the impatience,
0:26:04 > 0:26:07the romanticism, the exuberance.
0:26:07 > 0:26:12It's all there in tiny little snapshots, wonderfully wrought.
0:26:16 > 0:26:20From the first note to the last, there is nothing you can say.
0:26:20 > 0:26:22You are in his power.
0:26:25 > 0:26:29The best-known Variation is often played today as a solemn memorial -
0:26:29 > 0:26:32not at all what was in Elgar's heart.
0:26:32 > 0:26:36He wrote it for one of his closest male friends, his publisher August Jaeger...
0:26:36 > 0:26:39his Nimrod.
0:26:39 > 0:26:42He did have this long sequence of nicknames for him,
0:26:42 > 0:26:45of which the most famous is Nimrod, the biblical hunter.
0:26:45 > 0:26:47Jaeger is German for "hunter"
0:26:47 > 0:26:53and that's the name given to the most passionate of all of the Variations,
0:26:53 > 0:26:59far surpassing his wife's own Variation in intimacy and ecstasy of expression.
0:26:59 > 0:27:02NIMROD PLAYS
0:27:04 > 0:27:10I find it one of the most sublime and beautiful gifts
0:27:10 > 0:27:13that someone, a composer, can give to a friend.
0:27:13 > 0:27:17"I'm giving myself to you, whoever you are."
0:27:26 > 0:27:31And I'm sorry but I feel so happy when I listen to it, I can't cry.
0:27:39 > 0:27:41It is very noble, it's very generous,
0:27:41 > 0:27:48it's very warm, it's very grand, it's a great arc of melody.
0:27:50 > 0:27:52Without being...
0:27:53 > 0:27:55Without too much pageantry.
0:28:07 > 0:28:12Here I am. I'm going to say that for the third time
0:28:12 > 0:28:16and look to find this climax. It's very difficult.
0:28:23 > 0:28:28I cry but I don't cry for sadness, I cry for emotion.
0:28:28 > 0:28:30- NIMROD SWELLS - Here - look at that.
0:28:41 > 0:28:45The Enigma Variations propelled Elgar into national orbit.
0:28:45 > 0:28:51Within five years, the tradesman's son became a knight of the realm
0:28:51 > 0:28:55and his wife became Lady Elgar - vindication at last.
0:28:55 > 0:28:57She moaned, she complained.
0:28:57 > 0:29:02On the day that a tea party was held to celebrate the award of his knighthood,
0:29:02 > 0:29:05Carice was reported to say to the guests,
0:29:05 > 0:29:10"I'm so glad that Daddy's going to be knighted. It puts Mother back where she should be."
0:29:10 > 0:29:15I don't think that even a very precocious child would understand the social niceties that lie behind that
0:29:15 > 0:29:19without having been instructed by her mother, maybe over many years,
0:29:19 > 0:29:23that her mother is better than the station her father has landed her in.
0:29:24 > 0:29:26These things mattered to her father too.
0:29:26 > 0:29:30On a government form at the start of the First World War,
0:29:30 > 0:29:33the knight was asked for his occupation.
0:29:33 > 0:29:35Composing didn't seem to count.
0:29:36 > 0:29:41He was appointed one of the earliest members of the Order of Merit by the King
0:29:41 > 0:29:44and woe betide anyone who forgot it.
0:29:44 > 0:29:47He was invited to the Royal Academy banquet,
0:29:47 > 0:29:51which is one of the great social occasions of the year,
0:29:51 > 0:29:55and he was very upset because he didn't like the table he'd been put at
0:29:55 > 0:29:58and on the invitation card, they missed the OM off
0:29:58 > 0:30:02so he left it very early and he wrote to a friend of his
0:30:02 > 0:30:05and said, "I went to the Athenaeum Club and had a herring."
0:30:05 > 0:30:11He was now marking many of his scores with the instruction "nobilmente",
0:30:11 > 0:30:14his own musical term for the nobility he craved.
0:30:14 > 0:30:18It was part of his bamboozling technique.
0:30:18 > 0:30:25If a composer could write such undeniably noble music as the opening theme of his First Symphony,
0:30:25 > 0:30:29then surely he himself must be noble too.
0:30:29 > 0:30:34Elgar was a man who thought in terms of tunes
0:30:34 > 0:30:41and to make a symphony out of a tune is a devil of a difficult thing to do.
0:30:41 > 0:30:43And so you've got this...
0:30:43 > 0:30:46PLAYS GENTLY
0:30:58 > 0:31:02..and so on. "This great, beautiful tune," I think his wife called it.
0:31:02 > 0:31:07It's the most successful English symphony ever written,
0:31:07 > 0:31:11with 100 performances around the world in its first year alone.
0:31:11 > 0:31:16Other musicians - the younger composer Ralph Vaughan Williams, for instance - knew it broke the rules.
0:31:17 > 0:31:22As a violinist himself, Elgar would have been aware that his chosen key - A flat -
0:31:22 > 0:31:27was awkward for the strings and it's still the only A flat symphony in the repertoire.
0:31:27 > 0:31:31But he wanted a particular sound which he achieved
0:31:31 > 0:31:34through his choice of key and his strange orchestration.
0:31:34 > 0:31:38The melody is given to fairly heavy woodwind and viola.
0:31:38 > 0:31:43The violas, cellos and double basses play the bass detache.
0:31:50 > 0:31:53Two mysterious A flats.
0:31:53 > 0:31:59ORCHESTRA CONTINUES
0:32:09 > 0:32:13Just in two parts - the tune and the bass.
0:32:19 > 0:32:26The inner harmony is with two soft, muted horns.
0:32:38 > 0:32:41And Elgar puts in that muted horn counterpoint
0:32:41 > 0:32:45so that just for a moment, it's not in two parts.
0:32:53 > 0:32:56But he just wanted a thread of sound.
0:32:59 > 0:33:04When I think of a student who'd brought that scoring to any competition tutor,
0:33:04 > 0:33:08he would have put his pencil through it and said, "This will not be heard."
0:33:08 > 0:33:13To my mind, when I look at it still, it looks all wrong,
0:33:13 > 0:33:15but it sounds all right.
0:33:16 > 0:33:21Here indeed we have a mystery and a miracle.
0:33:22 > 0:33:25MUSIC SWELLS
0:33:31 > 0:33:33Fantastic drum crescendo there!
0:33:43 > 0:33:46There can be in his orchestral music a bit of bombast,
0:33:46 > 0:33:50which people feel is just Edwardian and part of a bygone era.
0:33:54 > 0:33:57I don't think it should come across as bombast,
0:33:57 > 0:34:02it should come across as very thrillingly, muscular passion.
0:34:04 > 0:34:09Everybody's image of him as being associated with the Edwardian period,
0:34:09 > 0:34:12supported by these photographs that he loved having taken.
0:34:19 > 0:34:20He was now a celebrity,
0:34:20 > 0:34:23with a keen eye for the opportunities that offered.
0:34:30 > 0:34:34He was always thinking of promoting his image.
0:34:34 > 0:34:38We would say nowadays in that respect, he's very much of our time.
0:34:51 > 0:34:55Many of them seem exquisitely planned in the tiniest detail.
0:34:55 > 0:34:58If he's caught, as it were, composing Gerontius,
0:34:58 > 0:35:01the composition of the picture is excellent.
0:35:01 > 0:35:07He fills the frame and he's leaning to display the Roman nose and the imperial moustache
0:35:07 > 0:35:11and effortlessly his pen is gliding across the page as he inscribes the score.
0:35:11 > 0:35:17Indeed, he claimed this picture caught him just as he'd written the final notes.
0:35:18 > 0:35:20I think Elgar was very self-aware.
0:35:20 > 0:35:24There are few people who have had themselves photographed on their death bed,
0:35:24 > 0:35:25pretending to be dead already.
0:35:25 > 0:35:32That is the act of somebody who knows exactly what his appearance is in life.
0:35:33 > 0:35:38This is one photograph never published in his lifetime.
0:35:38 > 0:35:40It was taken while he was away from home,
0:35:40 > 0:35:43a telling glimpse of the unvarnished Elgar -
0:35:43 > 0:35:47a romantic artist with a touch of the Bohemian.
0:35:51 > 0:35:55There were certain things that were a bit flash about him.
0:35:55 > 0:35:59I think there was a side to him that adored beautiful women.
0:36:01 > 0:36:03I don't think he was a promiscuous man.
0:36:03 > 0:36:06He as very attractive to women and he knew it.
0:36:09 > 0:36:15That he managed to have all these heroines and still be married to one woman
0:36:15 > 0:36:21is, er, sort of a tribute to his finesse, really, isn't it?
0:36:23 > 0:36:26One of Elgar's heroines outshone the rest.
0:36:26 > 0:36:29Their relationship, which began in 1910,
0:36:29 > 0:36:32remained a tender secret for decades.
0:36:32 > 0:36:35It was only uncovered by one of his biographers
0:36:35 > 0:36:38after a tip-off from a friend.
0:36:38 > 0:36:41He said, "Remember one name - Alice Stuart-Wortley."
0:36:41 > 0:36:45I went down to the birthplace and I said to the curator,
0:36:45 > 0:36:50"Have you any letters to and from Alice Stuart-Wortley?"
0:36:50 > 0:36:55And he gave me a very old fashioned look and he said, "Well, no-one's asked me that before."
0:36:55 > 0:36:59And he wandered off and came back with this pile.
0:36:59 > 0:37:03I sat at this table, started reading these letters and it's a treasure trove.
0:37:03 > 0:37:05I thought, "Here's the real Elgar."
0:37:05 > 0:37:12Alice Stuart-Wortley was the daughter of the Pre-Raphaelite John Everett Millais.
0:37:12 > 0:37:16She and her husband Charles, a Conservative MP,
0:37:16 > 0:37:22were both musical, had been married for more than 20 years and had a daughter, just like the Elgars.
0:37:22 > 0:37:26But whereas Alice Elgar was nine years older than Edward,
0:37:26 > 0:37:30Alice Stuart-Wortley was five years younger.
0:37:30 > 0:37:34The other Alice was everything she wasn't, in a way.
0:37:34 > 0:37:38Perhaps a bit more feminine, a bit more gentle,
0:37:38 > 0:37:40a bit more sensual, perhaps.
0:37:40 > 0:37:47But it was rather awkward, not to say dangerous, that she had the same name as his wife.
0:37:47 > 0:37:50So Elgar gave her the private nickname Windflower
0:37:50 > 0:37:54after the delicate wild anemones in his garden,
0:37:54 > 0:37:57which he watched being buffeted by the March wind.
0:37:57 > 0:38:02They reminded him of her, particularly of the time she came to tea,
0:38:02 > 0:38:05and inspired him to persevere with his Violin Concerto
0:38:05 > 0:38:08when he was on the point of abandoning it.
0:38:12 > 0:38:18It was February 7th 1910, which they kept as an anniversary for the rest of their lives,
0:38:18 > 0:38:23because that same evening, Elgar thought up the first of several new themes
0:38:23 > 0:38:26which opened the floodgates for the rest of the work.
0:38:26 > 0:38:29ORCHESTRA PLAYS
0:38:30 > 0:38:37'There is no set way in which you can play the opening of the Violin Concerto.'
0:38:41 > 0:38:43The music is so flexible,
0:38:43 > 0:38:46so wayward, so stormy...
0:38:46 > 0:38:49It's very difficult to cope with it.
0:38:54 > 0:39:00The tempo's not settled and tunes are taken up and abandoned and swept away
0:39:00 > 0:39:07and we're really longing for the violin to calm things down and say, "Just wait a minute now."
0:39:09 > 0:39:11It's a wonderful effect.
0:39:33 > 0:39:39From now on, Elgar was in almost daily contact with his Windflower by letter and telephone.
0:39:39 > 0:39:45He gave his tender feminine themes the botanical name "anemone nemorosa"
0:39:45 > 0:39:49and every spring for the rest of his life, he sent her windflowers.
0:40:00 > 0:40:05If he knew his letters would be seen by others, he addressed her as Alice.
0:40:05 > 0:40:11But when they were for her eyes only, he always called her Windflower or simply W.
0:40:11 > 0:40:14And she seems to have replied in the same way,
0:40:14 > 0:40:18though hardly any of her letters have survived.
0:40:18 > 0:40:21I suspect Elgar must have destroyed them when he got them,
0:40:21 > 0:40:26but she must have reacted well or he wouldn't have gone on writing as he did to her.
0:40:26 > 0:40:30- Did he keep many letters that he'd received from other people?- Oh yes.
0:40:30 > 0:40:35- So the fact that hers don't survive...- Is interesting.
0:40:35 > 0:40:39I think it was a very deep relationship. Whether it was physical or not, I don't know.
0:40:41 > 0:40:45This one was written on October 18th, 1910,
0:40:45 > 0:40:50and that would be about a month before the first performance of the Violin Concerto
0:40:50 > 0:40:54and he starts it with a quotation from the work,
0:40:54 > 0:40:56actually the Windflower theme...
0:40:56 > 0:40:58HE HUMS
0:41:03 > 0:41:05This is how he wanted it to be done.
0:41:05 > 0:41:11And this letter comes from 1926 and is rather precious,
0:41:11 > 0:41:15that's the dried up remains of some windflowers.
0:41:15 > 0:41:21And he says, "The little flowers are now appearing so here are two or three for you."
0:41:21 > 0:41:27But there they are - 1926, the year I was born - still there.
0:41:29 > 0:41:36And this letter was written in the first few months of the First World War, this is 1914.
0:41:36 > 0:41:41He says to her in it, "I can not buy you pearls of untold worth.
0:41:42 > 0:41:46"Although I wish them and many other lovely things for you,
0:41:46 > 0:41:53"no, I can not buy anything for you so I send you a little scrap of my old, old, lonely life
0:41:53 > 0:41:56"in which no-one shared," underlined.
0:41:56 > 0:41:58"I had my dreams and I suppose ambitions
0:41:58 > 0:42:04"so I send you one of the little schoolbooks which lightened my loneliness,"
0:42:04 > 0:42:08and what he went on to say after that, we shall never know
0:42:08 > 0:42:12because Windflower's daughter cut the rest of the letter away.
0:42:13 > 0:42:17It was obviously regarded as too intimate to survive.
0:42:19 > 0:42:24At their home in Chelsea, the Stuart-Wortleys sometimes had the Elgars round for dinner.
0:42:24 > 0:42:27But Elgar would often drop in by himself.
0:42:27 > 0:42:30He and Windflower carved out plenty of time together.
0:42:32 > 0:42:38In spring 1910, she went on holiday with her family to Tintagel in Cornwall.
0:42:41 > 0:42:47Elgar was soon in hot pursuit. He drove 250 miles and spent two days with her
0:42:47 > 0:42:50after her husband had conveniently returned home.
0:42:50 > 0:42:54Was that friendship, do you think, entirely innocent?
0:42:57 > 0:43:00What do you mean by innocent?
0:43:02 > 0:43:06In May, he spent 10 days at the Hut, a friend's house near Maidenhead,
0:43:06 > 0:43:09where he worked on the Concerto.
0:43:09 > 0:43:11His wife and daughter came to visit
0:43:11 > 0:43:15and as they left, Windflower arrived for a three-day stay.
0:43:15 > 0:43:17It was a regular pattern.
0:43:17 > 0:43:21Elgar needed a woman to inspire him.
0:43:21 > 0:43:24And Alice, although she inspired him a bit at first,
0:43:24 > 0:43:29I think quickly ceased to be that inspiration
0:43:29 > 0:43:32and became instead the person who made everything work,
0:43:32 > 0:43:34she was his sort of CEO.
0:43:35 > 0:43:39I remember Vaughan Williams telling me he sat next to her at Worcester Cathedral,
0:43:39 > 0:43:41listening to the Second Symphony.
0:43:41 > 0:43:45She kept nudging him and saying, "Isn't it wonderful?"
0:43:45 > 0:43:49He said of course it was but it wasn't her business to keep saying so.
0:43:51 > 0:43:55The Second Symphony was inspired once again by the other Alice.
0:43:55 > 0:43:59Elgar confided in Windflower that he'd "worked at fever heat"
0:43:59 > 0:44:01and "the thing is tremendous in energy".
0:44:01 > 0:44:03ORCHESTRA PLAYS
0:44:07 > 0:44:10Absolutely blown away by this fantastic activity
0:44:10 > 0:44:12and continual invention.
0:44:17 > 0:44:21The extraordinary energy, the lust for life
0:44:21 > 0:44:24those bracing walks on the Malvern Hills.
0:44:30 > 0:44:34There is not one bar that isn't of the highest achievement.
0:44:34 > 0:44:37It's the work of a naturally great symphonist.
0:44:43 > 0:44:46All of a sudden, it subsides, just collapses.
0:44:46 > 0:44:50That's the only emotional way I can describe it.
0:44:52 > 0:44:55Then the single note repeated quietly over and over.
0:44:55 > 0:44:59NOTE REPEATS
0:45:02 > 0:45:04It's as if a door or a window
0:45:04 > 0:45:06had opened onto a totally different landscape.
0:45:06 > 0:45:10Within about ten seconds he's moved right inside himself.
0:45:10 > 0:45:14ORCHESTRA PLAYS
0:45:33 > 0:45:37How quickly he wrote to her after he finished the First Movement of the symphony.
0:45:37 > 0:45:42The next day he said, "I have written last year into the First Movement." What does that mean?
0:45:46 > 0:45:49He told Windflower, "I have written the most extraordinary passage
0:45:49 > 0:45:52"I have ever heard. A sort of malign influence
0:45:52 > 0:45:55"wandering through the summer night in the garden."
0:45:55 > 0:46:01The elaborate textures are very, very sensual
0:46:01 > 0:46:03and very opulent and yet dark.
0:46:03 > 0:46:06There's something unsettling,
0:46:06 > 0:46:10whether it's the low underpinning of the rhythms in the drum
0:46:10 > 0:46:14or whether it's this very passionate melody in the cellos
0:46:14 > 0:46:16reaching up to the highest notes.
0:46:30 > 0:46:35That even might refer to a moment when they nearly
0:46:35 > 0:46:40took their relationship on to another plane, who knows?
0:46:40 > 0:46:43I imagine that they both realised...
0:46:43 > 0:46:46how disastrous that could be for four people...
0:46:46 > 0:46:48at least four peoples' lives.
0:46:52 > 0:46:57Elgar himself described this episode as a nocturnal love scene
0:46:57 > 0:47:00and significantly he wrote Tintagel on the score.
0:47:00 > 0:47:03His visit to Windflower in Cornwall a year before
0:47:03 > 0:47:06was still in his mind.
0:47:06 > 0:47:10The passion of this work captivated Latin-American musicians
0:47:10 > 0:47:14when it was recently given its first performance in Venezuela
0:47:14 > 0:47:16by the Simon Bolivar Orchestra.
0:47:16 > 0:47:17APPLAUSE
0:47:17 > 0:47:20I proposed, "Why don't we do Elgar's Second Symphony?"
0:47:20 > 0:47:24- And they said yes. INTERVIEWER:- Did they know what it was?- No.
0:47:29 > 0:47:31When I arrived to the very first rehearsal,
0:47:31 > 0:47:34I had some musicians coming to me saying,
0:47:34 > 0:47:41"Can we do some Tchaikovsky 1812? Something easy, there are too many notes."
0:48:01 > 0:48:08Then at the break, they all said, "Oh, my God, what a great piece of music it is! Wow!"
0:48:15 > 0:48:18For Elgar, writing music was often agony.
0:48:18 > 0:48:23He completed a new choral work in the miserable July of 1912.
0:48:23 > 0:48:26It should have been a moment of triumph,
0:48:26 > 0:48:30but he was in turmoil as he wandered out alone onto Hampstead Heath.
0:48:32 > 0:48:35"It was bitterly cold," he told Windflower.
0:48:35 > 0:48:37"I wrapped myself in a thick overcoat
0:48:37 > 0:48:41"tears streaming out of my cold eyes and loathed the world."
0:48:44 > 0:48:47The work is about the creative process of music.
0:48:47 > 0:48:50He represents this by quoting other pieces of his -
0:48:50 > 0:48:53Gerontius, the violin concerto and Enigma in particular,
0:48:53 > 0:48:57with Windflower an unspoken presence.
0:48:57 > 0:49:00As he shivered in self-pity on the heath,
0:49:00 > 0:49:03he was longing to tear the whole piece up.
0:49:03 > 0:49:05"All wasted," he said.
0:49:05 > 0:49:08"This Elgar terrain is not the Malvern Hills
0:49:08 > 0:49:10"but Wuthering Heights."
0:49:10 > 0:49:13There was a side to Elgar that was restless.
0:49:13 > 0:49:18And that, I'm not sure has ever been captured in music
0:49:18 > 0:49:21as brilliantly as the opening of this work.
0:49:41 > 0:49:44It is, at bottom, a piece about isolation.
0:49:44 > 0:49:46About loneliness.
0:49:46 > 0:49:50You go right into the vision of his neuroses.
0:49:54 > 0:49:57HE LISTENS TO MUSIC
0:49:57 > 0:50:02I must do this piece...soon.
0:50:51 > 0:50:54You can't help but be taken
0:50:54 > 0:50:55by the beauty of the music
0:50:55 > 0:50:59but it's to listen to this extraordinary, emotional underbelly
0:50:59 > 0:51:02because in my experience it's always there.
0:51:22 > 0:51:26No mistake.
0:51:26 > 0:51:28Oh...
0:51:35 > 0:51:38To me, this introduction is like time travelling.
0:51:38 > 0:51:41Going back in time and the creative process
0:51:41 > 0:51:43into a world of dreams.
0:52:21 > 0:52:26The Music Makers is based on a poem by Arthur O'Shaughnessy,
0:52:26 > 0:52:30but Elgar told Windflower, "I think of you in the music.
0:52:30 > 0:52:33"It's an outpouring of the soul."
0:52:36 > 0:52:40When the chorus sing about the need to sing and dream apart,
0:52:40 > 0:52:43there are just four bars where very, very quietly
0:52:43 > 0:52:46underneath the chorus the first violins recall
0:52:46 > 0:52:48one of the most passionate moments
0:52:48 > 0:52:51in the First Movement of the violin concerto.
0:52:57 > 0:53:00Here, they are repeated very quietly.
0:53:00 > 0:53:02As if it was from the back of his memory.
0:53:03 > 0:53:06MUSIC PLAYS
0:53:06 > 0:53:09He stays in the minor key here.
0:53:09 > 0:53:10"Oh, man it must ever be
0:53:10 > 0:53:13"That we dwell in our dreaming and singing
0:53:13 > 0:53:16"A little apart from ye..."
0:53:20 > 0:53:23SINGING
0:53:31 > 0:53:33On the word singing, he changes
0:53:33 > 0:53:36to the major chord.
0:53:42 > 0:53:47Then he quotes the violin concerto, very quietly.
0:54:12 > 0:54:15SINGING CONTINUES
0:54:20 > 0:54:22He can't forget the woman who inspired it all.
0:54:28 > 0:54:32At the time, he told no-one else about the source of his inspiration.
0:54:33 > 0:54:36But Elgar and Windflower were seen together.
0:54:36 > 0:54:39This newspaper picture of them going to a concert
0:54:39 > 0:54:42was captioned, Sir Edward and Lady Elgar,
0:54:42 > 0:54:45which must have been galling for his wife.
0:54:45 > 0:54:48I think she knew this woman was good for Elgar.
0:54:48 > 0:54:51And she was quite happy to let it go on.
0:54:51 > 0:54:57I think she'd have been happy to let it go on for whatever length it went, really.
0:54:57 > 0:55:00She knew that Elgar came home to her.
0:55:03 > 0:55:06The one-time provincial composer from the Malvern hills
0:55:06 > 0:55:09was now a national figure at the height of his powers.
0:55:11 > 0:55:13Yet, only four or five years later,
0:55:13 > 0:55:15he was virtually a spent force.
0:55:15 > 0:55:18After the tumult of the First World War,
0:55:18 > 0:55:20he seemed to lose his bearings
0:55:20 > 0:55:23with the sense that his musical age had passed.
0:55:25 > 0:55:28The piece he'd written shortly before the war
0:55:28 > 0:55:30now seems strangely prophetic.
0:55:31 > 0:55:36Perhaps, more and more, I think of this extraordinary, almost self-portrait, I would say,
0:55:36 > 0:55:42Sospiri, which is one of the most haunting miniatures in all music.
0:55:42 > 0:55:48The terrible longing that's expressed in that piece
0:55:48 > 0:55:50is something to behold.
0:55:58 > 0:56:00Sospiri, meaning sighing,
0:56:00 > 0:56:04was first heard in August 1914, 10 days into the war.
0:56:04 > 0:56:08The British were in the grip of patriotic fervour.
0:56:08 > 0:56:11It found no echo in Elgar.
0:56:12 > 0:56:16Can you imagine anything less appropriate at that time?
0:56:20 > 0:56:24I mean, it would be appropriate four years later.
0:56:32 > 0:56:34The melody laden with anguish.
0:56:37 > 0:56:40With more than sighs.
0:56:46 > 0:56:48For once, there is no ambiguity,
0:56:48 > 0:56:51no mask, no masculine swagger.
0:56:51 > 0:56:54His deepest feelings are exposed.
0:57:01 > 0:57:04There's this very English thing of withholding passion,
0:57:04 > 0:57:08but in this one piece, it's there, it's just...
0:57:08 > 0:57:10You know, it's naked in front of you.
0:57:15 > 0:57:19It's extraordinary, reaching out and not quite...getting there.
0:57:30 > 0:57:32Elgar almost disowned the piece later on.
0:57:34 > 0:57:37It's the shame of self-revelation, isn't it?
0:57:44 > 0:57:49At one stage, he called it "Soupir D'amour," Sigh Of Love,
0:57:49 > 0:57:52though we have no clue whom he had in mind.
0:57:52 > 0:57:56This time he told Windflower nothing about it.
0:58:09 > 0:58:13Elgar walks a rhythmic tightrope and the accompaniment does something
0:58:13 > 0:58:17and then the violin does something else and they never coincide.
0:58:19 > 0:58:21Finally, before the end, they go ah!
0:58:21 > 0:58:24And eventually it comes together.
0:58:33 > 0:58:37As a creative artist, Elgar knew all about separation and isolation.
0:58:40 > 0:58:45His own confused emotional life emphasised this loneliness.
0:58:48 > 0:58:52On one draft of this piece, he wrote the word "absence."
0:59:23 > 0:59:26At the end you're just left with this section of the first violin,
0:59:26 > 0:59:29one character against the rest of the world.
0:59:34 > 0:59:37Elgar himself, as a Roman-Catholic son of a shopkeeper,
0:59:37 > 0:59:39looked down on by his wife's family,
0:59:39 > 0:59:42never lost the feeling of being an outsider.
0:59:44 > 0:59:47When writing his oratorio, The Apostles,
0:59:47 > 0:59:50it was the human dilemma that motivated him.
0:59:50 > 0:59:54He'd been told as a boy that the apostles were poor young men,
0:59:54 > 0:59:56"Perhaps no cleverer than some of you here."
0:59:56 > 1:00:01The character he identified with most was the ultimate outsider,
1:00:01 > 1:00:02Judas Iscariot,
1:00:02 > 1:00:06who drew from him the most dramatic vocal music he ever wrote.
1:00:06 > 1:00:12Judas is torn. After betraying Christ, and ingratiating himself
1:00:12 > 1:00:15with the Jewish establishment, he is overcome with remorse
1:00:15 > 1:00:19and the priests in the chorus mock his weakness.
1:00:19 > 1:00:22# A voice of trembling, of fear
1:00:38 > 1:00:43# I have sinned
1:00:43 > 1:00:51# In that I have betray-ed innocent blood... #
1:00:53 > 1:00:56CHORUS SINGS
1:01:00 > 1:01:07# I have sinned I have betray-ed
1:01:07 > 1:01:09# The... #
1:01:09 > 1:01:10CHORUS SINGS
1:01:10 > 1:01:13WOMAN SINGS
1:01:18 > 1:01:21CHORUS SINGS
1:01:30 > 1:01:33It's terrifying, it's like religious fundamentalism, isn't it?
1:01:33 > 1:01:36CHORUS SINGS
1:01:54 > 1:01:58Judas, with huge faults, nevertheless human, against the institution.
1:02:11 > 1:02:17# Shall I go from thy spirit... #
1:02:17 > 1:02:21The gospels give Judas no more than a few lines
1:02:21 > 1:02:23and Elgar wanted many more.
1:02:23 > 1:02:26So he scoured both Old and New Testaments
1:02:26 > 1:02:28to find the extra words he needed
1:02:28 > 1:02:32to build the character of Judas as the fractured, troublesome visionary
1:02:32 > 1:02:35he knew so well, wrestling with despair.
1:02:37 > 1:02:39We can see the care which Elgar took
1:02:39 > 1:02:42from the biblical references noted in the margin.
1:02:42 > 1:02:46The whole Judas scene is an intricate character study.
1:02:46 > 1:02:51In the scene where he's at his depths of his soul
1:02:51 > 1:02:54and as low as any human being can ever be,
1:02:54 > 1:02:57the colouring Elgar gives to the orchestration,
1:02:57 > 1:03:01these hints of sunlight in it, the hint of optimism in it,
1:03:01 > 1:03:03are quite extraordinary.
1:03:09 > 1:03:13# Life is short and tedious... #
1:03:13 > 1:03:17"And life is short and tedious". So dark.
1:03:18 > 1:03:20# Neither was there any man known
1:03:20 > 1:03:27# To have return-ed from the grave
1:03:27 > 1:03:31# Though we are born of adventure
1:03:31 > 1:03:38# And we shall be here after as though we have never been... #
1:03:38 > 1:03:43It's just air and sunlight suddenly.
1:03:43 > 1:03:47It's a kind of muted happiness which is absolutely authentic.
1:03:47 > 1:03:51# A little spark... #
1:03:51 > 1:03:55The man has decided to commit suicide and now, emotionally,
1:03:55 > 1:03:57there's a release.
1:03:57 > 1:04:01# ..is being extinguish-ed
1:04:01 > 1:04:08# My body shall be turn-ed into ashes... #
1:04:08 > 1:04:11How ephemeral we are. Maybe that's what lightened his soul.
1:04:11 > 1:04:14It doesn't matter, actually, we're nothing.
1:04:14 > 1:04:16HE SINGS
1:04:28 > 1:04:32Elgar's sympathetic understanding of Judas's state of mind
1:04:32 > 1:04:35and impending suicide was rooted in his own experience.
1:04:35 > 1:04:38He had, after all, talked about taking his own life
1:04:38 > 1:04:41after the early failure of The Dream Of Gerontius.
1:04:42 > 1:04:48I played Elgar to the patients at Broadmoor.
1:04:48 > 1:04:53And the effect that this music had on them was amazing.
1:04:53 > 1:05:00They came to life under the influence of hearing the prelude to Gerontius.
1:05:00 > 1:05:04Elgar, of course, is one of those very few composers,
1:05:04 > 1:05:05with Brahms being another one,
1:05:05 > 1:05:10who knew the inside of an asylum, without being an inmate.
1:05:10 > 1:05:15Elgar was employed in the Worcestershire County Asylum at Powick,
1:05:15 > 1:05:17as a musician there.
1:05:17 > 1:05:22I thought, that day in Broadmoor, that the insight that Elgar got
1:05:22 > 1:05:27into the human psyche through seeing the human psyche broken down,
1:05:27 > 1:05:31must have been of terrific value to him, once he'd discovered
1:05:31 > 1:05:34that he could then take on other persona in his music.
1:05:36 > 1:05:38I think if he hadn't been a composer,
1:05:38 > 1:05:39he might have been heading for
1:05:39 > 1:05:42some kind of breakdown.
1:05:42 > 1:05:43I really feel amongst other things,
1:05:43 > 1:05:49composing was something of a therapy for him, emotional therapy.
1:05:49 > 1:05:53We know that he went through periods of deep depression
1:05:53 > 1:05:56and spoke of being suicidal,
1:05:56 > 1:06:00and then there would be an absolute explosion of creativity.
1:06:00 > 1:06:03There was one occasion at dinner when, under her breath,
1:06:03 > 1:06:06Alice Elgar interrupted a fellow guest,
1:06:06 > 1:06:09who'd raised the issue of suicide.
1:06:09 > 1:06:13So much for Lady Elgar being stiff upper-lip and correct.
1:06:13 > 1:06:16She actually said to someone she'd only just met,
1:06:16 > 1:06:20"The reason I stopped you saying that was Sir Edward talks about suicide so often
1:06:20 > 1:06:22"and I don't want him to be dwelling on it now."
1:06:22 > 1:06:25She actually gave that secret away.
1:06:25 > 1:06:30Elgar stays with Judas as he moves inexorably towards suicide.
1:06:30 > 1:06:33The distant cries of, "Crucify him!"
1:06:33 > 1:06:36from the chorus are his only reference to the trial of Jesus
1:06:36 > 1:06:38going on at the same time.
1:06:38 > 1:06:42Judas is tormented by the realisation that his betrayal
1:06:42 > 1:06:44will result in Christ's execution.
1:06:44 > 1:06:47THEY SING
1:06:48 > 1:06:52All the internal music of that marvellous Judas scene,
1:06:52 > 1:06:56it must have come from Elgar's darkest self, you know?
1:06:56 > 1:07:02# The Lord knoweth the thoughts of man
1:07:02 > 1:07:05# My hope is like dust
1:07:05 > 1:07:09# That is blown away with the wind
1:07:11 > 1:07:15# It is not possible to escape
1:07:15 > 1:07:18# Thine hand
1:07:18 > 1:07:22# A sudden feel... #
1:07:22 > 1:07:25People shouting, "Crucify him!" some way away.
1:07:25 > 1:07:29Almost in Judas's head you can hear the, "Crucify him!".
1:07:32 > 1:07:34# He covered himself together
1:07:36 > 1:07:39# And the innocent below... #
1:07:43 > 1:07:47CHORUS DROWNS OUT HIS SINGING
1:08:01 > 1:08:06# Mine end is come...
1:08:08 > 1:08:17# The measure of my covetous life. #
1:08:17 > 1:08:19That fantastic high viola line.
1:08:19 > 1:08:21Intensely poignant.
1:08:21 > 1:08:29HE SINGS
1:08:29 > 1:08:35You can hear that string slithering down.
1:08:35 > 1:08:38# And in it...
1:08:38 > 1:08:42# Of that darkness
1:08:47 > 1:08:51# He shall afterward receive me
1:08:51 > 1:08:55# Yet am I unto myself
1:08:55 > 1:09:01# More grievous, more grievous
1:09:01 > 1:09:11# Than...the darkness. #
1:09:28 > 1:09:30That bitterness in the horns.
1:09:30 > 1:09:32CHORUS SINGS
1:09:47 > 1:09:49The institution has the last word.
1:09:55 > 1:10:00After this extraordinary 15 minutes of Juda's inner workings,
1:10:00 > 1:10:03as a human being,
1:10:03 > 1:10:05Elgar gives about six bars to the crucifixion,
1:10:05 > 1:10:09where he writes the actual text of Jesus's last words,
1:10:09 > 1:10:10in the string parts.
1:10:10 > 1:10:13"Eloi, Eloi, lama sabachthani?"
1:10:14 > 1:10:16"My God, my God, why has thou forsaken me?"
1:10:16 > 1:10:18But no-one sings it.
1:10:38 > 1:10:39CRESCENDO
1:10:49 > 1:10:51Shortly after Elgar scored the Judas scene,
1:10:51 > 1:10:55his wife was also writing about betrayal.
1:10:55 > 1:10:59It was in a poem which she left among her private papers,
1:10:59 > 1:11:02for Elgar to find after her death many years later.
1:11:03 > 1:11:05It made sobering reading.
1:11:10 > 1:11:13They love doth fade Too like a winter sun
1:11:13 > 1:11:15I watch it grow as cold
1:11:15 > 1:11:20The summer joy is done although its radiant hours seem scarce begun
1:11:20 > 1:11:23Dark night must it enfold
1:11:25 > 1:11:26Deceive anew...
1:11:26 > 1:11:29She originally wrote "be happy" but changed it.
1:11:29 > 1:11:35..Deceive anew and smile as if no part where thine in my lost life
1:11:35 > 1:11:39Leave me my wasted heart
1:11:39 > 1:11:42And buy new joys from out the world's gay mart
1:11:42 > 1:11:46Leave me the bitter strife.
1:11:48 > 1:11:53Alice's death in 1920 after 30 years of marriage
1:11:53 > 1:11:58deprived Elgar of his driving force and his most devoted supporter.
1:11:58 > 1:12:02Their sharp-eyed friend, Rosa Burley, never saw Alice's poem.
1:12:02 > 1:12:07Yet she concluded that Elgar was distraught not by grief,
1:12:07 > 1:12:12but by an over-mastering sense of guilt at his disloyalty to his wife.
1:12:14 > 1:12:16He lapsed into virtual silence.
1:12:16 > 1:12:18# What is that? #
1:12:18 > 1:12:22A pray to the darkness always lurking deep in his soul.
1:12:22 > 1:12:27# Nothing
1:12:28 > 1:12:35# The leaves must fall, and falling, rustle
1:12:35 > 1:12:42# That is all They are dead as they fall
1:12:42 > 1:12:44# That is all
1:12:44 > 1:12:47# They are dead
1:12:47 > 1:12:55# At the foot of the tree
1:12:55 > 1:13:04# All that can be is said... #
1:13:04 > 1:13:07This strange texture, with everything in octaves.
1:13:07 > 1:13:11Little flashes of harmony. It's scarcely melodic at all.
1:13:12 > 1:13:16# Nothing... #
1:13:16 > 1:13:19Haunting.
1:13:19 > 1:13:26# What is that? Nothing
1:13:28 > 1:13:36# A wild thing hurt what mourns in the night
1:13:36 > 1:13:39# And it cries in its dread
1:13:39 > 1:13:44# Till it lies dead
1:13:44 > 1:13:55# Till it lies dead at the foot of the tree
1:13:56 > 1:14:05# All that can be is said... #
1:14:05 > 1:14:07The poem is about nothingness.
1:14:07 > 1:14:10It's trying to express the idea of nothing.
1:14:13 > 1:14:19# Nothing... #
1:14:19 > 1:14:23I'm beginning to think I'm the victim of a huge practical joke.
1:14:23 > 1:14:25I can't believe this music's by Elgar.
1:14:26 > 1:14:33# Ah...ah... #
1:14:33 > 1:14:35How bleak.
1:14:35 > 1:14:37If you told me it was written 30 years later,
1:14:37 > 1:14:39I wouldn't be surprised.
1:14:39 > 1:14:46# A marching slow of unseen feet
1:14:47 > 1:14:49# That is all
1:14:49 > 1:14:57# But a bier, spread with a pall
1:14:57 > 1:15:09# And a bier is now at the foot of the tree
1:15:11 > 1:15:20# All that could be is said
1:15:22 > 1:15:26# Is it?
1:15:26 > 1:15:31# What?
1:15:31 > 1:15:37# Nothing. #
1:15:40 > 1:15:43After Alice's death, Elgar hoped Windflower
1:15:43 > 1:15:47would use her political contacts to wangle him a peerage.
1:15:47 > 1:15:50He had to make do with an hereditary baronetcy
1:15:50 > 1:15:52and a Knighthood of the Victorian Order,
1:15:52 > 1:15:55"Which awful thing I must accept", he told her.
1:15:56 > 1:16:00Their relationship had now settled into a fond friendship,
1:16:00 > 1:16:02but nothing more.
1:16:02 > 1:16:05One would have thought even that he might have married her
1:16:05 > 1:16:07after 1926 when her husband died.
1:16:07 > 1:16:11But perhaps she didn't want...! She'd had enough of Elgar
1:16:11 > 1:16:13pouring out his woes in letters
1:16:13 > 1:16:16without having it at the breakfast table!
1:16:17 > 1:16:20But there was one more woman in Elgar's life.
1:16:20 > 1:16:24One more muse to rekindle his creative fire.
1:16:25 > 1:16:29She caught his ever-roving eye while he was conducting
1:16:29 > 1:16:32The Dream Of Gerontius in Croydon in 1931.
1:16:33 > 1:16:36He spotted this lady in the back desks of the violins,
1:16:36 > 1:16:41Vera Hockman - I think she was probably about 30 at the time -
1:16:41 > 1:16:43and absolutely fell for her.
1:16:43 > 1:16:48His skittish behaviour in female company was never better documented
1:16:48 > 1:16:50than in the case of Vera Hockman.
1:16:50 > 1:16:54He was a goner and started behaving like a young man,
1:16:54 > 1:16:58writing flirtatious and deeply felt notes to her
1:16:58 > 1:16:59and seeing her often.
1:16:59 > 1:17:02At only their second meeting, he said straight out
1:17:02 > 1:17:05that he hadn't been able to take his eyes off her.
1:17:05 > 1:17:08"You're not to leave me for one moment", he said,
1:17:08 > 1:17:09"or I shall scream."
1:17:09 > 1:17:12Some people just thought, oh, it was a little flutter
1:17:12 > 1:17:14at the end of his life.
1:17:14 > 1:17:18But I don't think she quite saw it like that.
1:17:18 > 1:17:22Vera kept mementos of her friendship with Elgar.
1:17:22 > 1:17:26At the time, she was married with two young children,
1:17:26 > 1:17:28but she and her husband were separated.
1:17:30 > 1:17:34This is a photograph of my mother with a friend,
1:17:34 > 1:17:38and in the background you can see George Bernard Shaw,
1:17:38 > 1:17:42and Elgar is sitting in a chair with his hat on
1:17:42 > 1:17:44just behind my mother.
1:17:47 > 1:17:50And this one of Elgar in a boat.
1:17:52 > 1:17:56Ha! He looks a bit, sort of, dishevelled,
1:17:56 > 1:17:58with his foot up in the air!
1:17:59 > 1:18:03The details of their friendship come from Vera's own memoir.
1:18:03 > 1:18:07"The Story Of November 7th, 1931", she called it.
1:18:07 > 1:18:09The day they met.
1:18:09 > 1:18:12The kept the seventh of every month
1:18:12 > 1:18:15as what Elgar called their mensiversary.
1:18:15 > 1:18:17At 74, he said he was too old
1:18:17 > 1:18:20to wait for anniversaries to come round.
1:18:20 > 1:18:24He took her to lunch somewhere and ordered two Manhattan cocktails
1:18:24 > 1:18:28and she just couldn't believe it. She didn't think he was
1:18:28 > 1:18:32the sort of person who would order newfangled American-type drinks.
1:18:32 > 1:18:37For years, the woman behind him in this short film clip
1:18:37 > 1:18:39was unidentified.
1:18:39 > 1:18:41But now it's clear it's Vera Hockman,
1:18:41 > 1:18:44followed by Elgar's daughter, Clarice.
1:18:45 > 1:18:51She was very warm, very cultured. She loved music, art,
1:18:51 > 1:18:55literature - she just loved poetry.
1:18:55 > 1:18:57She never walked, she always ran.
1:18:57 > 1:19:00Vera even kept this telephone message,
1:19:00 > 1:19:05in which he used a romantic but discreet codename, Hyperion,
1:19:05 > 1:19:07after Longfellow's novel.
1:19:07 > 1:19:10Indeed, he gave her his treasured copy of the book,
1:19:10 > 1:19:12which had belonged to his mother.
1:19:12 > 1:19:14"I want you to have it," he said,
1:19:14 > 1:19:18"because now you are my mother, my child, my lover and my friend."
1:19:20 > 1:19:24They met at her aunt's house in St John's Wood in northern London.
1:19:24 > 1:19:28Elgar had to pace up and down and round the block
1:19:28 > 1:19:30until her aunt had gone out.
1:19:31 > 1:19:36"What music I would write," he said, "If I could have you near to me always."
1:19:38 > 1:19:43As the sun rose in his Indian summer, Elgar embarked on his third symphony.
1:19:43 > 1:19:47He never finished it, but did leave numerous sketches,
1:19:47 > 1:19:50which Anthony Payne recently elaborated into a complete work.
1:19:50 > 1:19:55Elgar's restless spirit had not faded with the passing years.
1:19:55 > 1:19:57MUSIC: Elgar/Payne Symphony No 3
1:19:57 > 1:20:03This, of course, is all Elgar but the first 10, 12 bars are fully scored.
1:20:03 > 1:20:05MUSIC CONTINUES
1:20:19 > 1:20:24It's about this point that I had to start to work because the instruments drop out from the score.
1:20:24 > 1:20:28Some of it's kept going. He was obviously writing one of the parts
1:20:28 > 1:20:31and not filling the other ones in yet, as he went along.
1:20:33 > 1:20:38Then we get to this lovely second tune, which he called Vera's Own Tune on one sketch.
1:20:38 > 1:20:41MUSIC: Elgar/Payne Symphony No 3
1:20:50 > 1:20:54At this point, there's practically no instruments in the formal score, just the top line.
1:20:54 > 1:20:59And you realise that that's the point where he stopped writing and went off to the nursing home,
1:20:59 > 1:21:02where he learnt the awful truth about his cancer.
1:21:13 > 1:21:18It so speaks to you. I remember at the first run-through with the BBC Symphony Orchestra
1:21:18 > 1:21:23when they got to this moment, the string section all began to smile. It was wonderful.
1:21:28 > 1:21:32I think we owe the energy with which he attacked the task to Vera Hockman
1:21:32 > 1:21:37and if he'd only lived another six months, he would have completed it.
1:21:46 > 1:21:51In the nursing home, he supervised an orchestral recording by telephone
1:21:51 > 1:21:56and only a week before he died, he listened to a test pressing of his last completed piece,
1:21:56 > 1:21:59a portrait of his Cairn terrier, Mina.
1:21:59 > 1:22:02"The middle section is too fast," he said.
1:22:02 > 1:22:05And dogs were all important to him,
1:22:05 > 1:22:06as Vera well knew.
1:22:07 > 1:22:12The first time she went to see him, he said, "You can't sit there, that's Marco's chair."
1:22:12 > 1:22:18And then she tried to sit somewhere else and he said, "You can't sit there, that's Mina's chair."
1:22:18 > 1:22:21And she stood in the middle of the room, not knowing what to do.
1:22:29 > 1:22:31I would've loved to have met him.
1:22:33 > 1:22:36I always wonder, "Would I have liked him or not?"
1:22:37 > 1:22:41He would probably have been a bit too clubbish for me.
1:22:41 > 1:22:42But I would've loved to meet him.
1:22:47 > 1:22:51Clarice said to me, he'd have liked me, cos I'd have petted the dogs.
1:22:51 > 1:22:57She said if you'd seen Marco, the spaniel, made a fuss of it, then you'd be in for life.
1:23:08 > 1:23:11What, in a nutshell, does Elgar mean to you?
1:23:12 > 1:23:14Oh.
1:23:16 > 1:23:18A lifetime obsession.
1:23:20 > 1:23:24And many hours of wonderful pleasure, listening to the music
1:23:24 > 1:23:27and puzzling over its creator
1:23:27 > 1:23:31and imagining him laughing at us all as we puzzle over it.
1:23:34 > 1:23:37What do you expect to find in Elgar?
1:23:37 > 1:23:42Turbulence, idealism, conflicts of all kind.
1:23:43 > 1:23:46Naivete, simplicity. Everything.
1:23:46 > 1:23:51Everything. Every human quality you can think of is there in his music.
1:23:55 > 1:24:00People who have had a great bereavement get a comfort from Elgar
1:24:00 > 1:24:03you mightn't get from Mozart or Beethoven, or any of those composers
1:24:03 > 1:24:09and I think it's because there's sense in it of a kind of hurt that he's sharing with them.
1:24:09 > 1:24:13And Elgar is one of those who gave us so much
1:24:13 > 1:24:16and so substantial and so real
1:24:16 > 1:24:21and if you can't hear it, you are deaf and you have no feeling.
1:24:25 > 1:24:29Shortly before Elgar died, in February 1934,
1:24:29 > 1:24:33his favourite sister Polly wrote to warn Windflower.
1:24:33 > 1:24:37"I know you loved him," she said.
1:24:37 > 1:24:41In her turn, Alice Stuart-Wortley sent his daughter a letter of sympathy.
1:24:43 > 1:24:46"He is our Shakespeare of music," she said,
1:24:46 > 1:24:50"Born and died on the soil in the heart and soul of England,
1:24:50 > 1:24:56"with the love of his country, its music and its meaning in his own heart and soul."
1:25:02 > 1:25:07Whether there was any contact with Vera Hockman during his last illness, we don't know.
1:25:07 > 1:25:13But three months after his death, on what would have been his 77th birthday, she wrote him a letter,
1:25:13 > 1:25:16which has remained hidden until now.
1:25:17 > 1:25:23It offers Elgar experts fresh incite into her feelings for the man behind the mask.
1:25:24 > 1:25:26"My wondrous being," she addresses it.
1:25:26 > 1:25:32"Written at Robin Hill on June 2nd, 1934. Your birthday."
1:25:32 > 1:25:37"It would seem strange and unnatural that I, who have loved you best of all,
1:25:37 > 1:25:40"have been silent for all these tragic months.
1:25:40 > 1:25:43"The thoughts and memories I treasure of you
1:25:43 > 1:25:46"are far too intimate, too inexpressibly dear to me
1:25:46 > 1:25:50"to be told to any but our nearest and dearest.
1:25:50 > 1:25:54I'd not seen it before and it's very, very poignant,
1:25:54 > 1:25:58because she seems to have absolutely gauged his character.
1:25:58 > 1:26:01She recalled Elgar's visit a year before,
1:26:01 > 1:26:04the last time her Hyperion ever-glorious
1:26:04 > 1:26:08had stayed the night at Robin Hill, her home in Croydon.
1:26:08 > 1:26:13If someone asked her what made him so unique, she said, she would reply that,
1:26:13 > 1:26:19"He was the only person I have known who was absolutely natural in all his actions,"
1:26:19 > 1:26:23"spontaneous and grand and glorious, in his..."
1:26:23 > 1:26:26"..Supreme egoism.
1:26:26 > 1:26:29"You were the most self-engrossed, self-enamoured person imaginable
1:26:29 > 1:26:34"and yet you loved yourself in such a loveable way that instead of turning others away from you,
1:26:34 > 1:26:36"your love of yourself was contagious.
1:26:36 > 1:26:40"I was never afraid or over-awed of your greatness," she went on,
1:26:40 > 1:26:44"Because I was destined to know, understand and love you.
1:26:44 > 1:26:49"The 7th of November, foreshadowed through the numerous leaping 7ths in your melodies,
1:26:49 > 1:26:55"was that moment when two souls, after long ages of drifting towards each other,
1:26:55 > 1:27:01"meet and merge and melt into a vaster being, never again to be separated."
1:27:01 > 1:27:04Gosh! Well, that is quite a letter.
1:27:04 > 1:27:07We all have to rewrite our biographies now.
1:27:07 > 1:27:09Extraordinary letter.
1:27:09 > 1:27:12What do you feel in reading that?
1:27:15 > 1:27:19That the relationship was obviously very profound,
1:27:19 > 1:27:22very important for both of them, very meaningful,
1:27:22 > 1:27:26despite the enormous number of years that separated them.
1:27:26 > 1:27:31And that it implies to me that he felt able to be wholly himself with her.
1:27:32 > 1:27:35That any pretence had fallen away.
1:27:35 > 1:27:40Well, they must have been very close indeed, I should think.
1:27:40 > 1:27:43We don't know whether these were physical or not, do we?
1:27:43 > 1:27:48It's a very beautiful letter, because it's very surprising.
1:27:49 > 1:27:51How nice that they met.
1:27:53 > 1:27:58# Till a tempest came to wake Till a tempest came to wake
1:27:58 > 1:28:04# All its roaring, seething billows That upon earth's ramparts break
1:28:04 > 1:28:10# All its roaring, seething billows
1:28:10 > 1:28:16# That upon earth's ramparts break
1:28:16 > 1:28:20# That upon earth's ramparts break
1:28:20 > 1:28:30# That upon earth's ramparts break
1:28:34 > 1:28:47# Quiet
1:28:47 > 1:28:52# Was my heart
1:28:52 > 1:29:00# Within me
1:29:01 > 1:29:07# Till your image
1:29:07 > 1:29:12# Till your image suddenly
1:29:12 > 1:29:15# Rising there
1:29:15 > 1:29:22# Awoke a tumult Wilder than the storm
1:29:22 > 1:29:27# Awoke a tumult Wilder than the storm at sea
1:29:27 > 1:29:35# Wilder than the Wilder than the storm at sea
1:29:35 > 1:29:38# Awoke a tumult
1:29:38 > 1:29:40# Wilder
1:29:40 > 1:29:46# Wilder than the storm Wilder than the storm at sea
1:29:46 > 1:29:53# Wilder than the storm at sea. #