Reading Elgar’s The Music Makers

Elgar�s The Music Makers, for contralto solo, choir and large orchestra, has experienced a chequered reputation since its 1912 premiere at the Birmingham Festival. The work faced significant adverse criticism which re-emerged over time. Criticism targeted the poem Elgar chose for his setting � Arthur O�Shaughnessy�s ode, whose reputation was later tarnished by T.S. Eliot�s infamous critique �What is Minor Poetry?�. Misunderstanding of Elgar�s innovatory compositional procedure was another main reason behind the negative responses. Elgar integrated the poetic language with musical self-borrowings, transforming the words and offering perceptive listeners enhanced emotion at the highest artistic level. All aspects of Elgar�s musical language combine to produce one of his greatest, yet least understood, masterworks. Reading Elgar�s The Music Makers brings to the fore a prime example of how first musical performances can be misunderstood and reception can shift over time. The work remains as relevant today as ever. The book�s multi-faceted approach will be invaluable not only for conductors, singers and music students, but for concert goers and music lovers generally.