Elgar: "In the South (Alassio)" Overture, Op. 50 (with Score)

Edward Elgar:
"In the South (Alassio)" Overture, Op. 50 (with Score)
Composed: 1904
Conductor: Sir Georg Solti
Orchestra: London Philharmonic Orchestra
In the South (Alassio), Op. 50, is a concert overture composed by Edward Elgar during a family holiday in Italy in the winter of 1903 to 1904. The subtitle "Alassio" refers to the town on the Italian Riviera where Elgar and his family stayed. He strolled around during the visit, and his general location within the Province of Savona came to provide him with sources of inspiration. He later recalled:
Then in a flash, it all came to me - the conflict of the armies on that very spot long ago, where I now stood - the contrast of the ruin and the shepherd - and then, all of a sudden, I came back to reality. In that time I had composed the overture - the rest was merely writing it down.
The première of the work was given by the Hallé Orchestra on 16 March 1904, the third day of an "Elgar Festival" at the Royal Opera House in Covent Garden. It was to have been conducted by Hans Richter, but as Elgar did not have the score ready in time for Richter to study it before the performance, Elgar conducted the orchestra himself. Frank Schuster was with the Elgars at the première.
In the piece, the central serenade is played by a solo viola (10:25). However, in July of the same year, Elgar took this section from the piece and fitted it to a poem by Shelley as a song under the title In Moonlight. Later he made several instrumental versions titled "Canto Popolare", including an arrangement for violin and piano made in collaboration with violinist Isabella Jaeger, wife of Elgar's friend August Jaeger.
The piece is about 20 minutes long. The main descending theme is echoed throughout the sections of the orchestra all through the piece. The viola solo is of particular note due partly to its length, being on such an underused instrument, but also because of the contrast it creates with the rest of the piece which is very bold. There are large legato passages between the strings and horns, and the rest of the brass add tremendous excitement in the middle of the piece with loud chords separated by large intervals.

[@Musicrafter12]

I had the pleasure of playing this in a regional high school orchestra festival. It's a great piece.

[@ZJStrudwick]

I seem to find comments of yours on everything I love!

[@joshscores3360]

Strauss Don Juan vibes much?

[@lubiskat]

I imagine that the viola solo is played by Rusen Gunes........should be given a mention here.....

[@rubenmolino1480]

excelent !

[@vaclavmiller8032]

6:48ff This bit is so cool

[@joysnipes1796]

It is my favorite part. I wish there were more of those outstanding three minutes of music. I wonder why Elgar only included that part for about 3 minutes?

[@vaclavmiller8032]

@@joysnipes1796 20 minutes of that would not have been structurally effective in the slightest. What we have is a masterpiece.

[@Quotenwagnerianer]

@@joysnipes1796 Aside from obvious structural reasons, there is also a narrative reason. This is a reminisence to the glory of the Roman Empire.

[@breyannalewis9522]

At 6:27 it reminds me of a soundtrack music from a movie

[@breyannalewis9522]

The timpani at 8:28 sounds so nice

[@maxgregorycompositions6216]

That's because film composers a few decades after this era borrowed heavily from this type of soundworld.

[@pnocella]

Korngold?

[@maxgregorycompositions6216]

Elgar at his most Straussian.

[@geoffthedonkey2295]

The English Wagner

[@derekputnam3439]

could use more trombone blasting in the beginning

[@TheTrueAltoClef]

Even as a European, I instantly thought this was about the US South

[@sarkablahnik9922]

I didn't know this piece when I recently received it as excerpts for my next orchestral audition. I was instantly afraid Elgar tried to pull a pre-Copland Hoedown. Very pleasantly relieved to find he meant Italy!

[@judechandler5102]

0:23