Elgar 3 Bravarian Dances op27 Sheet Music, Program Notes and recordings

Three Bavarian Dances, Op. 27

Postcards from a Bavarian Holiday

In the autumn of 1894, a still-emerging composer named Edward Elgar and his wife Alice decided upon a holiday destination that would prove unexpectedly fruitful. They traveled to Garmisch in Bavaria, staying in a small village in the shadow of the mountains. Far from the formalities of English society, they immersed themselves in the local culture. Elgar, with his notebook in hand, jotted down snippets of folk melodies and rhythmic ideas heard in the inns and village squares. Alice, meanwhile, collected volumes of local folk poetry, which she began loosely translating and adapting into English verse. This happy collaboration, born from a simple vacation, became the raw material for a six-movement choral suite, From the Bavarian Highlands. A year after its successful premiere, Elgar, recognizing the appeal of his creations, chose three of the movements and reworked them for orchestra alone. This became the Three Bavarian Dances, a work that distills the joy of that holiday into a potent and charming musical souvenir.

From Voices to Orchestra

The original choral suite, From the Bavarian Highlands, consisted of six scenes: "The Dance," "False Love," "Lullaby," "Aspiration," "On the Alm," and "The Marksmen". For his orchestral suite, Elgar judiciously selected the first, third, and sixth of these movements. His choices were strategic, creating a perfectly balanced triptych. He begins with a scene of communal dancing, follows it with a moment of quiet introspection, and concludes with a display of rowdy, masculine energy. By removing the text, Elgar universalized the music’s appeal, transforming it from a specific depiction of Bavarian life into a more generalized expression of rustic joy, tenderness, and festive celebration. The orchestration is not merely a transcription but a complete reimagining of the material, showcasing his burgeoning confidence and genius for instrumental color.

Movement I: The Dance (Sonnenbichl)

The suite opens with a movement full of grace and cheerful energy. Subtitled "Sonnenbichl," a sunny hill near Garmisch, "The Dance" is not a sophisticated Viennese waltz but its more robust country cousin, the Ländler. The music begins with a hearty, good-natured theme in the strings, full of dotted rhythms and a pleasant, swaying momentum. Elgar’s orchestration is bright and clear, with woodwinds adding playful commentary and horns providing a warm, rustic glow. The structure is a simple ternary form (A-B-A), with a central section that offers a slightly more lyrical and reflective contrast before the exuberant opening dance returns. Throughout the movement, there is a feeling of effortless motion and communal fun, as if one is observing a village festival on a perfect summer afternoon. It is utterly charming and immediately engaging.

Movement II: Lullaby (In Hammersbach)

The second dance is the emotional heart of the work, a moment of sublime tranquility and tenderness. The setting shifts to "Hammersbach," a nearby hamlet known for its peaceful stream. Elgar marks the movement Moderato, and the tempo relaxes into a gentle, rocking rhythm. The melody, first presented by a solo clarinet over the gentle pulse of muted strings, is exquisitely beautiful—simple, sincere, and imbued with a deep sense of peace. This is Elgar at his most lyrical, crafting a tune that feels both deeply personal and timeless. The orchestration is delicate and transparent, a masterclass in subtlety. The strings, often playing with mutes (con sordini), create a soft, hazy backdrop, while gentle woodwind solos emerge like points of light. The music swells to a brief, heartfelt climax before receding back into the quiet serenity of the opening, ending on a whisper.

Movement III: The Marksmen (Bei Murnau)

After the peaceful interlude of the "Lullaby," the finale erupts with boisterous energy. "The Marksmen" depicts a shooting festival near the town of Murnau, and the music is fittingly rambunctious and celebratory. Marked Allegro vivace, the movement kicks off with a vigorous, fanfare-like theme, driven forward by the full force of the brass and percussion. Elgar brilliantly evokes the atmosphere of a village band, with a slightly rough-hewn, swaggering quality to the main tune. The rhythm is infectious and relentless, propelling the music towards a thrilling coda. This is the most overtly "Germanic" of the three dances, filled with the sounds of hunting horns and festive clamor. It is a portrait of uninhibited, masculine joy, bringing the suite to a rousing and thoroughly satisfying conclusion.

A Counterpoint to Pomp

The Three Bavarian Dances occupy a crucial place in Elgar’s output, showcasing a side of his musical personality that is often overlooked. While he would become famous for the stately, ceremonial music of the Pomp and Circumstance marches and the profound introspection of his symphonies, this early work reveals his gift for writing light, picturesque music of the highest quality. In this, he joins a fine tradition of Romantic composers who drew inspiration from folk idioms, such as Antonín Dvořák with his Slavonic Dances or Johannes Brahms with his Hungarian Dances. Like them, Elgar does not simply quote folk tunes; instead, he absorbs their spirit—their rhythms, melodic contours, and harmonies—and integrates them into his own sophisticated style. This suite proves that his musical language was as suited to capturing the simple pleasures of a country dance as it was to expressing the grandeur of an empire.

A Stepping Stone to Mastery

Though a relatively minor work in his vast catalogue, the Three Bavarian Dances was an important step in Elgar’s artistic development. In it, one can already hear the hallmarks of his mature style: the soaring, broad melodies (especially in the "Lullaby"), the masterful and colorful orchestration, and the confident handling of musical structure. The success of both the choral and orchestral versions helped to solidify his reputation in the years immediately preceding the premiere of his breakthrough work, the Enigma Variations (1899). The dances have remained a beloved staple of the light classical repertoire, a testament to their enduring charm, superb craftsmanship, and the happy holiday that started it all.