| Abstract: | It is generally believed that the reputation of Sir Edward Elgarexperienced a disastrous reversal of fortune after the GreatWar. This has conventionally been explained by the changingmusical tastes of the public and by a postwar reaction againstthe unappealingly ‘Edwardian’ character of Elgar'smusic. Both claims, I argue, have been exaggerated. Examiningevidence from concert programmes, gramophone record sales, andBBC broadcasts, this article demonstrates that Elgar continuedto enjoy estimable popularity after 1918. The article also considersthe way in which Elgar came to be seen as an archetype of ‘Englishness’and ‘Edwardianism’ in music. With a legacy of virulentattacks on the composer's ‘complacency’ and ‘jingoism’,critical attention by the 1930s had been refocused onto a perceivedrural nostalgia within Elgar's music. This atavism complementedinterwar visions of the Edwardian period as a prelapsarian ‘goldenage’. The implications of these changing perspectiveson Elgar are twofold. They can be seen to have laid the foundationsfor our ‘mature’ understanding of Elgar's life andwork; and they suggest that our views of the interwar reactionagainst the past might require profound and wide-ranging revision.
*I am grateful to Professor Hugh Cunningham, Dr Peter Martland,and Dr David Turley for their comments on an earlier versionof this article. |
