Elgar - Piano Music

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Elgar - Piano Music



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Release date:

28th Aug 2006




66 minutes


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Elgar - Piano Music


Dream Children, Op. 43

Idyll, Op. 4, No. 1


May Song


Echo’s Dance

(adapted and transcribed from The Sanguine Fan, Op. 81, No. 7 Allegro)

Three Characteristic Pieces

Sérénade mauresque, Op. 10 No. 2

Enigma Variations, Op. 36



Ashley Wass (piano)



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Edward Elgar: Sonatina in G major

I. Andantino

II. Allegro

Edward Elgar: Enfants d'un reve (Dream Children), Op. 43

I. Andantino

II. Allegretto piacevole

Edward Elgar: 3 Pieces, Op. 4

3 Pieces, Op. 4: No. 1. Idylle

Edward Elgar: Carissima


Edward Elgar: May Song

May Song

Edward Elgar: Douce pensee, "Rosemary"

Douce pensee, "Rosemary"

Edward Elgar: The Sanguine Fan, Op. 81

The Sanguine Fan, Op. 81: No. 7: Allegro, "Echo's Dance" (piano adaptation)

Edward Elgar: 3 Characteristic Pieces, Op. 10 (arr. for piano)

3 Characteristic Pieces, Op. 10: No. 2. Serenade mauresque (arr. piano)

Edward Elgar: Variations on an Original Theme, Op. 36, "Enigma" (version for piano)


Var. 1: C. A. E. (The Composer's Wife)

Var. 2: H. D. S-P. (Hew David Steuart-Powell)

Var. 3: R. B. T. (Richard Baxter Townshend)

Var. 4: W. M. B. (William Meath Baker)

Var. 5: R. P. A. (Richard Penrose Arnold)

Var. 6: Ysobel (Isabel Fitton)

Var. 7: Troyte (Troyte Griffith)

Var. 8: W. N. (Winifred Norbury)

Var. 9: Nimrod (A. J. Jaeger)

Var. 10: Intermezzo: Dorabella (Dora Penny)

Var. 11: G. R. S. (George Robertson Sinclair)

Var. 12: B. G. N. (Basil G. Nevinson)

Var. 13: Romanza: *** (Lady Mary Lygon)

Var. 14: Finale: E. D. U. (The Composer)

BBC Music Magazine

October 2006


“…the principal focus of this disc is the composer's solo piano arrangement of the Enigma Variations, and unlikely as it might seem the music sound surprisingly effective in this form. …Wass characterises all the variations sharply… and brings out all the available keyboard colour on which Elgar must have been relying.”

Gramophone Magazine

Awards 2006

“…"Nimrod" is beautifully paced, as is the final "EDU" variation depicting the composer himself… Most obviously pianistic are the fast, brilliant variations, which come across splendidly… the salon pieces… make a charming sequence, particularly as Wass in his flexible use of rubato always sounds idiomatic and persuasive.”

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