Organ Sonata No. 1 in G Major

A surging adrenalin rush of “pomp and circumstance” fuels the opening of the sonata Elgar completed at high speed—just days ahead of its first performance on 8 July 1895. With inadequate preparation time, the premiere performance was untidy. And little wonder. Op. 28 is a supremely challenging work—symphonic in ambition and orchestrally conceived. Indeed, later orchestrated by Gordon Jacobs, the sonata would attract the unofficial title “Symphony No. 0” (Elgar having officially composed two). Aspects of the majestically hewn opening theme are omnipresent, not only across the first movement, but embedded in the textures of the work as a whole. And, en route to the lilting contrasting idea, the shadow of Widor briefly hovers. After a movement so densely argued—particularly in the incident-packed central section—the “Allegretto” second movement offers a will-o’-the-wisp intermezzo which likely draws on an earlier work for strings. The slow third movement is a potent example of that nobilmente (noble) quality so prized by Elgar. Its broad theme originated as a melody in a movement sketched earlier entitled Traumerei (Dreams); and dreamlike is the harmonic sleight of hand by which the tranquil middle section manoeuvres itself into unexpected tonal territory. The finale is an energetic study in contrasts and teasing cross-references—part triumphant march, part carefree romp. And having effortlessly combined its themes, Elgar brings back the heroic opening of the Sonata by way of stirring conclusion.