The text of the work is the 1874 poem Ode by Arthur O'Shaughnessy, which Elgar set in its entirety. He had been working on the music intermittently since 1903,[1] without a specific commission. He completed it after receiving a commission from the Birmingham Triennial Music Festival. It was dedicated to "my friend Nicholas Kilburn".
The words of the poem no doubt appealed to Elgar's nature, as it celebrates the dreaming artist — by 1912, he was established as part of British artistic society, but was ambivalent at best about that society. The mood of the Ode is clear in the first lines, which depict the isolation of the creative artist:[2]
We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams...
Later verses celebrate the importance of the artist to his society.
Performances are now rare, particularly outside England.
Criticism
Early criticism of the work was directed more at the words than at the music, but it was also dismissed as tawdry and self-centred.[1]
Analysis
The music is for the most part reserved and personal, and Elgar quotes his own music several times. Sometimes there is a specific verbal cue: for example, the word "dreams" is accompanied by a theme from The Dream of Gerontius, and "sea-breakers" by the opening of Sea Pictures.[2] The music also quotes the first and second symphonies, the Violin Concerto, "Nimrod" (from the Enigma Variations), Rule, Britannia and La Marseillaise. Most of the music however is original.
Hallé Orchestra and Choir with Jane Irwin, conducted by Mark Elder, coupled with Froissart, Dream Children and J.S. Bach's Fantasia and Fugue in C minor (Hallé HLL 7509, 2005)