The title is taken from Act III, Scene iii of Shakespeare's Othello:
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, the ear-piercing fife,
The Royal banner, and all quality,
Pride, Pomp, and Circumstance of glorious war!".
but also, on the score of the first march, Elgar set as a motto for the whole set of marches a verse from Lord de Tabley's poem 'The March of Glory' which begins
Like a proud music that draws men on to die
Madly upon the spears in martial ecstasy,
A measure that sets heaven in all their veins
And iron in their hands.
I hear the Nation march
Beneath her ensign as an eagle's wing;
O'er shield and sheeted targe
The banners of my faith most gaily swing;
Moving to victory with solemn noise,
With worship and with conquest, and the voice of myriads.
proclaiming the "shows of things": the naïve assumption that the splendid show of military pageantry - "Pomp" - has no connection with the drabness and terror - "Circumstance" - of actual warfare. The first four marches were all written before the events of World War I shattered that belief, and the styles wars were written about spurned the false romance of the battle-song. Elgar understood this.
The Pomp and Circumstance marches are
The first five were all published by Boosey & Co. as Elgar's Op. 39, and each of the marches is dedicated to a particular musical friend of Elgar's.
March No. 1 was composed in 1901 and dedicated "To my friend Alfred E. Rodewald and the members of the Liverpool Orchestral Society".
The instrumentation is: 2 Piccolos (2nd ad. lib.), 2 Flutes, 2 Oboes, 2 Clarinets in A, Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones, Tuba, Timpani (3), percussion (Bass Drum & cymbals, Triangle, Side Drum, Jingles), 2 Harps, Organ, and Strings.
The best known of the set, it had its premiere, along with the more reserved second March, played by the Liverpool Orchestral Society conducted by Alfred Rodewald, in Liverpool on October 19th 1901. Both marches were played two days later at a London Promenade Concert in the Queen's Hall London, conducted by Henry Wood, with March No. 1 played second, and the audience "... rose and yelled .. the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore.
The Trio contains the tune known as Land of Hope and Glory. In 1902 the tune was re-used, in modified form, for the Land of hope and glory section of his Coronation Ode for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem.
In the United States, March No. 1 is sometimes known simply as "Pomp and Circumstance", and as "The Graduation Song," when associated with graduation ceremonies. It was first played at such a ceremony on June 28, 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary Doctorate of Music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, Pomp and Circumstance March No. 1. The tune soon became de rigueur at American graduations.
March No. 1 opens with an introduction marked Allegro, con molto fuoco which is astonishingly innovative, bursting upon the listener like a window suddenly opened to view a passing ceremonial troop of trotting cavalry. This leads to a theme which is the expected march: strong pairs of beats alternating with short notes, and a bass which persistently clashes with the tune. The bass tuba and full brass is held back until the section is repeated by the full orchestra. A little rhythmic pattern is played by the strings, then repeated high and low in the orchestra before the section is concluded by a chromatic upward scale from the woodwind. The whole of this lively march section is repeated. The bridging section between this and the well-known Trio has rhythmic chords from the brass punctuating high held notes from the wind and strings, before a call to attention from trumpets and trombones leads into the 'cavalry' theme with which the march started. There are a few single notes that quieten, ending with a single quiet tap from side drum and cymbal accompanied by all the bassoons. The famous lyrical Land of Hope and Glory Trio follows (in the sub-dominant key of G), played softly (by violins, four horns and two clarinets) before its strong repetition by the full orchestra including two harps. What follows is a repetition of what has been heard before, including an even grander statement of the Trio (in the 'home' key of D) where the orchestra is joined by organ as well as the two harps. The march ends, not with the big tune, but with a short section which has another brief reminder of the brisk opening march, sweeping the piece to a resounding end.
March No. 2 was composed in 1901 and dedicated "To my friend Granville Bantock".
It was first performed at the same concert as March No. 1.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in A, Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones, Tuba, Timpani (3), Percussion (2 Side Drums, Triangle, Glockenspiel & Jingles, Bass Drum & Cymbals), and Strings.
The second is the shortest and most simply constructed of the marches. The composer Charles Villiers Stanford is said to have preferred this march to the first, and thought this the finest of all the marches. After a loud call to attention from the brass, a simple staccato theme, tense and repetitive, is played staccato by the strings, which is gradually joined by other instruments and builds up to a decisive climax. This section is repeated. The second theme, confidently played by horns and clarinets, is one which was sketched by Elgar a few years before: this is developed and ends with flourishes from the strings and brass joined by the glockenspiel. The opening staccato theme returns, concluded by a quiet swirling bass passage, which leads into the Trio section (in the tonic major key of C) which consists of a delightfully simple tune in thirds played by the woodwind (flutes, oboes, clarinets and bassoons), answered conclusively by the strings and brass. This Trio section is repeated, and the march concluded with a brilliant little coda.
March No. 3 was completed in November 1904 and published in 1905. It was dedicated "To my friend Ivor Atkins".
It was first performed on March 8th 1905, in the Queen's Hall, London, conducted by the composer.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 3 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in B, 2 Cornets in B, 3 Trombones, Tuba, Timpani (3), Percussion (Tenor Drum, Side Drum, Bass Drum & Cymbals), and Strings.
March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the horns (with drum-beats inserted between the notes of the tune), before a vigorous theme (with brass alone at the first beats), erupts from the full orchestra. The dark theme re-appears, is then re-started boldly, then ended abruptly. There is beautiful central section which commences with perky tune played by a solo clarinet with simple string accompaniment, which is followed by another of Elgar's noble tunes played by the strings of the orchestra. All the themes re-appear and there is a wild final section which ends abruptly.
March No. 4 was completed on 7th June 1907, and dedicated "To my friend Dr. G. Robertson Sinclair, Hereford".
It was first performed on August 24th 1907, in the Queen's Hall, London, conducted by the composer.
The instrumentation is: Piccolo (with 3rd Flute), 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in A, 3 Trombones, Tuba, Timpani (3), Percussion (Side Drum, Bass Drum & Cymbals), 2 Harps, and Strings.
March No. 4 is as upbeat and ceremonial as No. 1, containing another big tune in the central Trio section.
The Trio was used by Elgar in a song called "The King's Way" which he wrote, to his wife's words, in celebration of the opening of an important new London street called Kingsway.
In World War II, No. 4 also acquired words: a patriotic poem by A. P. Herbert beginning "All men shall be free" was used as Song of Liberty.
March No. 4 has as material a martial opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1.
The first eight bars of the march is played by the full orchestra with the melody played by the violas and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune. There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the Trio. The Trio follows the pattern of March No. 1, with the melody (in the sub-dominant key of C) played by clarinet, horn and violins. The violins start the Trio tune on the lowest note they can play, an "open" G-string, which gives a recognisable "twang" to this one note, and they are directed to play the passage "sul G" on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons. The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated again in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas and cellos ending on their resonant "open" G.
March No. 5 was composed in 1930, much later than the others, and dedicated "To my friend Dr. Percy C. Hull, Hereford".
It was first performed on September 20th 1930, in the Queen's Hall, London, conducted by Sir Henry Wood.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in B, 3 Trombones, Tuba, Timpani (3), Percussion (Side Drum, Bass Drum & Cymbals), and Strings.
March No. 5 is brilliantly orchestrated and extrovert in mood. Without introduction, its opening episode is extended with enormous confidence and proceeds directly into the Trio section, which if it had words set to it, could have been one of Elgar's most memorable tunes. The Trio starts quietly in a similar way to the introduction of his First Symphony: just a moving bass line and a tune, also in the same key (A). The tune is re-stated strongly, as we expect, then developed. The re-statement of the opening employs the same instruments of the orchestra, but is this time started as soft as possible for just four bars before a quick crescendo restores its spirit to as it was in the beginning. There is more development before a big return of the Trio theme and a triumphant ending which might bring to mind the conclusion of Grieg's In the Hall of the Mountain King.
Elgar left sketches for a sixth Pomp and Circumstance march, and these sketches were turned into a performing version by the English composer Anthony Payne in 2006.
For Piano Solo: The first four marches were arranged by Adolf Schmid and March No. 5 by Victor Hely-Hutchinson.
For Piano duet: March No. 1 was arranged by Adolf Schmid.
For Organ: March No. 1 was arranged by Edwin H. Lemare and March No. 4 was arranged by G. R. Sinclair.
For Military Band: The first four marches were arranged by M. Retford and March No. 5 by T. Conway Brown.
For Brass Band: March No. 1 was arranged (transposed to B) by J. Ord Hume.
The title is taken from Act III, Scene iii of Shakespeare's Othello:
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, the ear-piercing fife,
The Royal banner, and all quality,
Pride, Pomp, and Circumstance of glorious war!".
but also, on the score of the first march, Elgar set as a motto for the whole set of marches a verse from Lord de Tabley's poem 'The March of Glory' which begins
Like a proud music that draws men on to die
Madly upon the spears in martial ecstasy,
A measure that sets heaven in all their veins
And iron in their hands.
I hear the Nation march
Beneath her ensign as an eagle's wing;
O'er shield and sheeted targe
The banners of my faith most gaily swing;
Moving to victory with solemn noise,
With worship and with conquest, and the voice of myriads.
proclaiming the "shows of things": the naïve assumption that the splendid show of military pageantry - "Pomp" - has no connection with the drabness and terror - "Circumstance" - of actual warfare. The first four marches were all written before the events of World War I shattered that belief, and the styles wars were written about spurned the false romance of the battle-song. Elgar understood this.
The Pomp and Circumstance marches are
The first five were all published by Boosey & Co. as Elgar's Op. 39, and each of the marches is dedicated to a particular musical friend of Elgar's.
March No. 1 was composed in 1901 and dedicated "To my friend Alfred E. Rodewald and the members of the Liverpool Orchestral Society".
The instrumentation is: 2 Piccolos (2nd ad. lib.), 2 Flutes, 2 Oboes, 2 Clarinets in A, Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones, Tuba, Timpani (3), percussion (Bass Drum & cymbals, Triangle, Side Drum, Jingles), 2 Harps, Organ, and Strings.
The best known of the set, it had its premiere, along with the more reserved second March, played by the Liverpool Orchestral Society conducted by Alfred Rodewald, in Liverpool on October 19th 1901. Both marches were played two days later at a London Promenade Concert in the Queen's Hall London, conducted by Henry Wood, with March No. 1 played second, and the audience "... rose and yelled .. the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore.
The Trio contains the tune known as Land of Hope and Glory. In 1902 the tune was re-used, in modified form, for the Land of hope and glory section of his Coronation Ode for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem.
In the United States, March No. 1 is sometimes known simply as "Pomp and Circumstance", and as "The Graduation Song," when associated with graduation ceremonies. It was first played at such a ceremony on June 28, 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary Doctorate of Music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, Pomp and Circumstance March No. 1. The tune soon became de rigueur at American graduations.
March No. 1 opens with an introduction marked Allegro, con molto fuoco which is astonishingly innovative, bursting upon the listener like a window suddenly opened to view a passing ceremonial troop of trotting cavalry. This leads to a theme which is the expected march: strong pairs of beats alternating with short notes, and a bass which persistently clashes with the tune. The bass tuba and full brass is held back until the section is repeated by the full orchestra. A little rhythmic pattern is played by the strings, then repeated high and low in the orchestra before the section is concluded by a chromatic upward scale from the woodwind. The whole of this lively march section is repeated. The bridging section between this and the well-known Trio has rhythmic chords from the brass punctuating high held notes from the wind and strings, before a call to attention from trumpets and trombones leads into the 'cavalry' theme with which the march started. There are a few single notes that quieten, ending with a single quiet tap from side drum and cymbal accompanied by all the bassoons. The famous lyrical Land of Hope and Glory Trio follows (in the sub-dominant key of G), played softly (by violins, four horns and two clarinets) before its strong repetition by the full orchestra including two harps. What follows is a repetition of what has been heard before, including an even grander statement of the Trio (in the 'home' key of D) where the orchestra is joined by organ as well as the two harps. The march ends, not with the big tune, but with a short section which has another brief reminder of the brisk opening march, sweeping the piece to a resounding end.
March No. 2 was composed in 1901 and dedicated "To my friend Granville Bantock".
It was first performed at the same concert as March No. 1.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in A, Bass Clarinet in A, 2 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in F, 2 Cornets in A, 3 Trombones, Tuba, Timpani (3), Percussion (2 Side Drums, Triangle, Glockenspiel & Jingles, Bass Drum & Cymbals), and Strings.
The second is the shortest and most simply constructed of the marches. The composer Charles Villiers Stanford is said to have preferred this march to the first, and thought this the finest of all the marches. After a loud call to attention from the brass, a simple staccato theme, tense and repetitive, is played staccato by the strings, which is gradually joined by other instruments and builds up to a decisive climax. This section is repeated. The second theme, confidently played by horns and clarinets, is one which was sketched by Elgar a few years before: this is developed and ends with flourishes from the strings and brass joined by the glockenspiel. The opening staccato theme returns, concluded by a quiet swirling bass passage, which leads into the Trio section (in the tonic major key of C) which consists of a delightfully simple tune in thirds played by the woodwind (flutes, oboes, clarinets and bassoons), answered conclusively by the strings and brass. This Trio section is repeated, and the march concluded with a brilliant little coda.
March No. 3 was completed in November 1904 and published in 1905. It was dedicated "To my friend Ivor Atkins".
It was first performed on March 8th 1905, in the Queen's Hall, London, conducted by the composer.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 3 Bassoons, Contrabassoon, 4 Horns in F, 2 Trumpets in B, 2 Cornets in B, 3 Trombones, Tuba, Timpani (3), Percussion (Tenor Drum, Side Drum, Bass Drum & Cymbals), and Strings.
March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the horns (with drum-beats inserted between the notes of the tune), before a vigorous theme (with brass alone at the first beats), erupts from the full orchestra. The dark theme re-appears, is then re-started boldly, then ended abruptly. There is beautiful central section which commences with perky tune played by a solo clarinet with simple string accompaniment, which is followed by another of Elgar's noble tunes played by the strings of the orchestra. All the themes re-appear and there is a wild final section which ends abruptly.
March No. 4 was completed on 7th June 1907, and dedicated "To my friend Dr. G. Robertson Sinclair, Hereford".
It was first performed on August 24th 1907, in the Queen's Hall, London, conducted by the composer.
The instrumentation is: Piccolo (with 3rd Flute), 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in A, 3 Trombones, Tuba, Timpani (3), Percussion (Side Drum, Bass Drum & Cymbals), 2 Harps, and Strings.
March No. 4 is as upbeat and ceremonial as No. 1, containing another big tune in the central Trio section.
The Trio was used by Elgar in a song called "The King's Way" which he wrote, to his wife's words, in celebration of the opening of an important new London street called Kingsway.
In World War II, No. 4 also acquired words: a patriotic poem by A. P. Herbert beginning "All men shall be free" was used as Song of Liberty.
March No. 4 has as material a martial opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1.
The first eight bars of the march is played by the full orchestra with the melody played by the violas and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune. There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the Trio. The Trio follows the pattern of March No. 1, with the melody (in the sub-dominant key of C) played by clarinet, horn and violins. The violins start the Trio tune on the lowest note they can play, an "open" G-string, which gives a recognisable "twang" to this one note, and they are directed to play the passage "sul G" on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons. The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated again in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas and cellos ending on their resonant "open" G.
March No. 5 was composed in 1930, much later than the others, and dedicated "To my friend Dr. Percy C. Hull, Hereford".
It was first performed on September 20th 1930, in the Queen's Hall, London, conducted by Sir Henry Wood.
The instrumentation is: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets in B, Bass Clarinet in B, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in B, 3 Trombones, Tuba, Timpani (3), Percussion (Side Drum, Bass Drum & Cymbals), and Strings.
March No. 5 is brilliantly orchestrated and extrovert in mood. Without introduction, its opening episode is extended with enormous confidence and proceeds directly into the Trio section, which if it had words set to it, could have been one of Elgar's most memorable tunes. The Trio starts quietly in a similar way to the introduction of his First Symphony: just a moving bass line and a tune, also in the same key (A). The tune is re-stated strongly, as we expect, then developed. The re-statement of the opening employs the same instruments of the orchestra, but is this time started as soft as possible for just four bars before a quick crescendo restores its spirit to as it was in the beginning. There is more development before a big return of the Trio theme and a triumphant ending which might bring to mind the conclusion of Grieg's In the Hall of the Mountain King.
Elgar left sketches for a sixth Pomp and Circumstance march, and these sketches were turned into a performing version by the English composer Anthony Payne in 2006.
For Piano Solo: The first four marches were arranged by Adolf Schmid and March No. 5 by Victor Hely-Hutchinson.
For Piano duet: March No. 1 was arranged by Adolf Schmid.
For Organ: March No. 1 was arranged by Edwin H. Lemare and March No. 4 was arranged by G. R. Sinclair.
For Military Band: The first four marches were arranged by M. Retford and March No. 5 by T. Conway Brown.
For Brass Band: March No. 1 was arranged (transposed to B) by J. Ord Hume.
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