Christopher’s Urtext edition of Elgar’s Enigma Variations has attracted attention from an unexpected source, Early Music Review, in which Clifford Bartlett both reviews the edition (‘Rather more modern than we usually review!’ he admits) and features it in his editorial on performance practice.
The reason for this special notice is the edition’s unusually rich pool of evidence relating to the performance of the work, evidence (such as contemporaneous annotations and recordings) that is as pertinent — and, arguably, more useful — to performers as the composer’s markings in the score.
