“Coronation Ode” by Edward Elgar: periodizations intertwined

Abstract

The article is devoted to studying Edward Elgar’s “Coronation Ode” in a threefold way: as a self-sufficient work, as a representation of the composer’s style of early 1900s (time, defined by the author of this article as a “stage of success”), and as a work linking his creative development and career to the history of the British Empire. Brief outline of history of composition is given, as well as cultural and historical context. The purpose of the study is to show that Elgar’s already high stance as a composer after the success of “Enigma” variations and oratorio “The Dream of Gerontius” among other works allowed him to be chosen as the author of “Coronation Ode” for coronation of Edward VII, ushering a new era in history of the British Empire, as well as that his mastership and expertise allowed him to combine his recently established unique style with the expectations placed on him as the author of such “Royal” composition. A conclusion is made that Elgar was able to produce the work of high artistic quality, perfectly suitable for the Coronation, and that resulted in him receiving even a higher stance as a “national” composer in Edwardian Era.