Elgar, Edward.

1) two autograph music manuscripts prepared by Elgar for Buckley's book (and published there in facsimile), including the beginning of a symphony in G minor (1878), modelled on Mozart's K.550, annotated ("NB These are awful keys for Horns"), and, on the verso in pencil ("This is my imitation of Mozart ruled out for "form" study"), 2 leaves, 3 pages, folio (32.2 x 24cms), [c.1904], together with



2) a corrected list of his compositions with autograph additions and commentary, signed by the composer ("EE"), in which he records an early string quartet and violin sonata (both destroyed), and Falstaff; 7 pages, 4to, [c.1904] and



3) nineteen letters, in which Elgar tells Buckley about his early education, his lessons with Frederick Spray and Pollitzer, emphasizing that he had  "never had the advantage of any instruction whatever" in harmony and counterpoint, asks if Buckley has a list of his opus numbers, encloses and comments on the corrected list, "which looks too horrible for words", and on a portrait, discusses The Dream of Gerontius, asks Buckley to mention Salut d'amour, confesses his fear of setting Paradise Lost and of "knocking about" Milton, discusses the Brodsky string quartet, Buckley's newspaper articles, asking if he is the author of one, and arranges meetings in Birmingham



22 items in all; the music manuscripts written in black ink, 12-stave paper, marked up by Buckley for the printer; the typed list of Elgar's compositions annotated by the composer in ink, with two long autograph postscripts; the letters 42 pages, mainly 8vo, one letter typed (4to), one with a printed card laid down & inscribed by Elgar ("used in self-defence" to ward off autograph hunters), one postcard from Alassio (Italy), the letters from Craeg Lea (Malvern), and The Athenaeum (London), 28 February 1902-3 June 1904 where dated, some scorch-marks to folds and margins, slightly affecting text on one letter, and one of the music manuscripts

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Robert J. Buckley's book Sir Edward Elgar (John Lane, 1905), was the first biography of the composer.  In his preface, Buckley points out that his book is based on Elgar's own words. Those words are here in this collection.

This important collection includes Elgar's own partly-autograph list of his works up to 1905. Elgar expresses his regret that Buckley's "biographical skill is to be exercised on so incomplete a life". Nevertheless, Elgar provided essential information and even some autograph musical examples, including an excerpt from a Credo "written in 1872-3 performance in MS. 1877", with the words "Et vitam venturi &c" (which Buckley published as a photographic facsimile facing page 10 of the book), and the opening of his symphony composed in 1878, modelled on the G minor Symphony K.550 of Mozart, notated in full score (which Buckley published facing page 26). The original manuscripts are included in this lot.  In his letters, Elgar gives further details about his early education and career, discusses what is necessary for a good musician and comments on The Dream of Gerontius and Salut d'amour ("...I have no commercial interest in this little piece but it has been copied & now some people are accusing me of copying a song published years after my little tune..").

...Please add to the par[t] about early lessons that I worked at the violin for two or three terms in Worcester with the late Mr Frederick Spray whom I succeeded as leader of the concerts and as musical director at the Lunatic Asylum. I had, in 1877, five lessons from Pollitzer, but I continued to visit London during the holidays...Of course this does not touch the great point, which is true, that I have never had the advantage of any instruction whatever in Theory, Harmony, Counterpoint, Orchestration, etc.etc...

Of considerable interest are Elgar's annotations to the list of works that appears on pages 91-93 of Buckley's book; indeed he seems to have written most of it himself.  Elgar includes two works he destroyed and refers to two others as if they are already completed pieces, Falstaff (which was sketched in 1902-1903) and a sequel to the overture Cockaigne.

...Of the unpublished works with Opus number, the early ones are Quintet for Wind, String Quartet & Sonata for Pianoforte & Violin.  The later ones are a Concert overture "Falstaff", String Quartet and the pendant (unnamed) to "Cockaigne", shewing the reverse of the joyous picture therein drawn...Achtung! I have put merely the names & the list looks bald; --however it looks less like an advertisement (which I fear)...