View source for Pomp and Circumstance Marches

{{Short description|Series of marches for orchestra composed by Sir Edward Elgar}}
{{redirect|Pomp and Circumstance|the novel by Noël Coward|Pomp and Circumstance (novel)}}
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{{Listen|type=music
| filename     = Pomp and Circumstance, Op. 39 - No. 1 - United States Army Band.mp3
| title        = March No. 1
| alt          =
| description  =
| filename2    = Pomp and Circumstance, Op. 39 - No. 2 - United States Army Band.mp3
| title2       = March No. 2
| alt2         =
| description2 =
| filename3    = Pomp and Circumstance, Op. 39 - No. 4 - United States Army Band.mp3
| title3       = March No. 4
| alt3         =
| description3 = All performed by the [[United States Army Band]]
}}

'''The Pomp and Circumstance Marches''' are a series of five [[march (music)|marches]] for [[orchestra]] composed by [[Edward Elgar]] (1857 – 1934), together with a sixth march created from sketches. The marches were dedicated to his friends including composer [[Granville Bantock]] and organists [[George Robertson Sinclair]], [[Ivor Atkins]] and [[Percy Hull]].

{{TOC limit|3}}

==Origin of the name==
Elgar took the phrase "Pomp and Circumstance" from Act 3, Scene 3 of [[William Shakespeare|Shakespeare]]'s ''[[Othello]]'':

<blockquote>
<poem>Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear-piercing [[Fife (instrument)|fife]],
The royal [[banner]], and all quality,
Pride, ''pomp, and circumstance'' of glorious war!<ref>{{Folger inline|Othello|3|3|403–406}}</ref></poem></blockquote>

Additionally, on the score of the first march, Elgar set as a motto for the whole set of marches a verse from [[John Warren, 3rd Baron de Tabley|Lord de Tabley's]] poem "The March of Glory",<ref name=Maine197>{{harvnb|Maine|1933|pp=196–197}}</ref> which (as quoted by Elgar's biographer [[Basil Maine]]) begins with:<!-- <ref>''The March of Glory''. This appears to be an effort (by whom unknown) to paraphrase De Tabley's poem, but it arguably lacks the strength of the original</ref> -->

<blockquote><poem>Like a proud music that draws men on to die
Madly upon the spears in martial ecstasy,
A measure that sets heaven in all their veins
&nbsp;&nbsp;&nbsp;And iron in their hands.
I hear the Nation march
Beneath her [[Ensign (flag)|ensign]] as an eagle's wing;
O'er shield and sheeted [[targe]]
The banners of my faith most gaily swing;
Moving to victory with solemn noise,
With worship and with conquest, and the voice of [[myriad]]s.</poem></blockquote>

Shakespeare's words proclaim the "shows of things" (Maine's quotation marks):<ref>This phrase occurs in a [[q:Francis Bacon|famous quote]] from [[Francis Bacon]]'s ''[[The Advancement of Learning]]'' (1605): "submitting the shows of things to the desires of the mind"</ref> the naïve assumption that the splendid show of military pageantry—"Pomp"—has no connection with the drabness and terror—"Circumstance"—of actual warfare.<ref name=Maine197 /> The first four marches were all written before the events of [[World War I]] shattered that belief, and the styles in which wars were written about spurned the false romance of the battle-song.<ref name=Maine197 />

==Marches==
The ''Pomp and Circumstance'' marches are
*March No. 1 in [[D major]] (1901)
*March No. 2 in [[A minor]] (1901)
*March No. 3 in [[C minor]] (1904)
*March No. 4 in [[G major]] (1907)
*March No. 5 in [[C major]] (1930)
*March No. 6 in [[G minor]] (written as sketches, elaborated by [[Anthony Payne]] in 2005–06)

The first five were all published by [[Boosey & Hawkes|Boosey & Co.]] as Elgar's Opus 39, and each of the marches is dedicated to a particular musical friend of Elgar's.

Each march takes about five minutes to play.<ref>Boosey & Hawkes full score</ref>

===March No. 1 in D===
====Dedication====
March No. 1, was composed in 1901 and dedicated "to my friend [[Alfred Edward Rodewald|Alfred E. Rodewald]] and the members of the Liverpool Orchestral Society".

====Instrumentation====
The instrumentation is: two [[piccolo]]s (2nd ''[[Ad libitum|ad lib.]]''), two [[Western concert flute|flute]]s, two [[oboe]]s, two [[clarinet]]s in A, [[bass clarinet]] in A, two [[bassoon]]s, [[contrabassoon]], four [[French horn|horn]]s in F, two [[trumpet]]s in F, two [[cornet]]s in A, three [[trombone]]s, [[tuba]], three [[timpani]], percussion ([[bass drum]], [[cymbal]]s, [[Triangle (musical instrument)|triangle]], [[Snare drum|side drum]], [[Jingle bell|jingle]]s, [[glockenspiel]] (ad. lib.) and [[tambourine]] (ad lib.)), two [[harp]]s, [[Organ (music)|organ]], and [[String section|strings]].

====History====
The best-known of the six marches, ''Pomp and Circumstance March No. 1 in D'' had its premiere, along with March No. 2, in [[Liverpool]] on 19 October 1901, with Alfred Rodewald<ref>The Elgar Society website [http://www.elgar.org/3pomp-a.htm] mentions new research (August 2015) suggesting that Elgar conducted on that occasion, but is unclear whether Elgar conducted both marches or just No. 1.</ref> conducting the Liverpool Orchestral Society.{{sfn|Kennedy|1987|p=285}} Elgar and his wife attended, and it was a "frantic" success.<ref>{{harvnb|Moore|1984|p=357}}: "He and Alice went to Liverpool for Rodewald's première of the two ''Pomp and Circumstance'' Marches. The success of the first March especially was frantic.</ref> Both marches were played two days later at a London Promenade Concert (which the Elgars unintentionally missed) in the [[Queen's Hall]] London, conducted by [[Henry Wood]], with March No. 1 played second. Wood remembered that the audience "...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore."{{sfn|Wood|1938|p=203-204}}

The ''[[Ternary form#Compound ternary or trio form|Trio]]'' contains the tune known as "[[Land of Hope and Glory]]". In 1902 the tune was re-used, in modified form, for the "Land of Hope and Glory" section of his ''[[Coronation Ode]]'' for King [[Edward VII]].<ref>{{harvnb|Moore|1984|p=365}}: "[Working on the ''Coronation Ode'', Elgar] wrote to Arthur Benson to ask whether words might be written to fit the ''Pomp and Circumstance'' Trio tune ... [Benson] sent verses for a Finale beginning 'Land of hope and glory ...'"</ref> The words were further modified to fit the original tune. The result has since become a fixture at the [[BBC Proms|Last Night of the Proms]], and an English sporting anthem and general patriotic song.

March No. 1 was the first piece in the recessional music for the coronations of [[George VI]]<ref>{{Cite web |date=March 11, 2024 |title=Elgar's Pomp and Circumstance Marches: what they are, when he composed them and their place in history |url=https://www.classical-music.com/features/works/elgars-pomp-circumstance-marches-guide}}</ref> and [[Elizabeth II]], followed in both cases by March No. 4.<ref>{{cite web
 | title = George VI Coronation Music
 | publisher = Westminster Abbey
 | url = https://www.westminster-abbey.org/media/5355/george-vi-coronation-music.pdf
 | access-date = 30 August 2023
 | archive-date = 14 January 2024
 | archive-url = https://web.archive.org/web/20240114061239/https://www.westminster-abbey.org/media/5355/george-vi-coronation-music.pdf
 | url-status = dead
 }}</ref><ref>{{cite web
 | title = Music Played at the Coronation of Her Majesty Queen Elizabeth II in Westminster Abbey
 | publisher = Westminster Abbey
 | url = https://www.westminster-abbey.org/media/5250/elizabeth-ii-coronation-1953-music-full-list.pdf
 | access-date = 30 August 2023
 | archive-date = 30 August 2023
 | archive-url = https://web.archive.org/web/20230830102307/https://www.westminster-abbey.org/media/5250/elizabeth-ii-coronation-1953-music-full-list.pdf
 | url-status = dead
 }}</ref>

[[File:Pomp and circumstances No. 1.ogg|thumb|Instrumental version commonly used in [[graduation ceremonies]], recorded in 1931]]
In Canada, the Philippines, and the United States, the ''Trio'' section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the [[Wikt:processional|processional tune]] at virtually all high school and most college graduation ceremonies.<ref name=Hoffman>{{cite web
 | last = Hoffman
 | first = Miles
 | title = Pomp and Circumstance; familiar standard marches ahead of competitors
 | work = Morning Edition
 | publisher = National Public Radio
 | date = 27 May 2003
 | url = https://www.npr.org/templates/story/story.php?storyId=1273081
 | access-date = 21 January 2009}}</ref> It was first played at such a ceremony on 28 June 1905, at [[Yale University]], where the Professor of Music [[Samuel Sanford]] had invited his friend Elgar to attend commencement and receive an honorary [[Doctor of Music|doctorate of music]]. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the [[New Haven Symphony Orchestra]], the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio ''The Light of Life'' and, as the graduates and officials marched out, "Pomp and Circumstance" March No. 1. Elgar repaid the compliment by dedicating his ''[[Introduction and Allegro (Elgar)|Introduction and Allegro]]'' to Sanford later that year.<ref>{{citation |url=http://www.btinternet.com/~j.b.w/elg2.htm |first=James |last=Beswick Whitehead |title=Elgar's English Twilight, an Idyll |archive-url=https://archive.today/20120630225105/http://www.btinternet.com/~j.b.w/elg2.htm |archive-date=30 June 2012 |url-status=dead |df=dmy }}.</ref>

====Description====
March No. 1 opens with an introduction marked ''Allegro, con molto fuoco.''<ref>''Allegro, con molto fuoco''; "Lively, with much fire"</ref><ref>This is played by the full orchestra. Unconventionally, the music starts on the second half of the second [[Beat (music)|beat]] of each [[Bar (music)|bar]], accented, in a [[Key (music)|key]] (remote from the march's 'home' [[D major|key of D]]) which resembles a favourite [[military band]] [[B-flat major|key of B{{music|flat}}]] but found to be in the [[Lydian mode]] on E{{music|flat}}, the same little motif proceeding down in the bass and up in the treble voices half a bar later, all punctuated by chords on the second beats.</ref> The introduction leads to a new theme: strong pairs of beats alternating with short notes, and a bass which persistently clashes with the tune. The bass [[tuba]] and full brass is held back until the section is repeated by the full orchestra. A little rhythmic pattern is played by the strings, then repeated high and low in the orchestra before the section is concluded by a chromatic upward scale from the woodwind. The whole of this lively march section is repeated. The bridging section between this and the well-known ''Trio'' has rhythmic chords from the brass punctuating high held notes from the wind and strings, before a fanfare from trumpets and trombones leads into the theme with which the march started. There are a few single notes that quieten, ending with a single quiet tap from [[snare drum|side drum]] and [[cymbal]] accompanied by all the [[bassoon]]s.<ref>This single note from side drum and cymbal, off the beat, accompanied by bassoons and contrabassoon is perhaps Elgar's tribute to [[Ludwig van Beethoven|Beethoven]], resembling the [[Turkish music (style)|Turkish music]] in the finale of his ''[[Symphony No. 9 (Beethoven)|Choral Symphony]]''</ref> The famous, lyrical "Land of Hope and Glory" ''trio'' follows (in the [[subdominant]] [[G major|key of G]]), played softly (by the first violins, four horns and two clarinets) and repeated by the full orchestra including two harps. What follows is a repetition of what has been heard before, including a fuller statement of the ''Trio'' (this time in the 'home' key of D) in which the orchestra is joined by [[organ (music)|organ]] as well as the two [[harp]]s. The march ends, not with the big tune, but with a short section containing a brief reminder of the brisk opening march.

===March No. 2 in A minor===
====Dedication====
March No. 2 was composed in 1901 and dedicated "To my friend [[Granville Bantock]]".

====Instrumentation====
The instrumentation is: piccolo, 2 [[western concert flute|flute]]s, 2 [[oboe]]s, 2 [[clarinet]]s in A, [[bass clarinet]] in A, 2 [[bassoon]]s, [[contrabassoon]], 4 [[French horn|horn]]s in F, 2 [[trumpet]]s in F, 2 [[cornet]]s in A, 3 [[trombone]]s, [[tuba]], [[timpani]] (3), percussion (2 [[snare drum|side drum]]s,<ref>The second side drum is ''[[Ad libitum|ad. lib.]]''</ref> [[triangle (musical instrument)|triangle]], [[glockenspiel]] & [[jingle bell|jingles]], [[bass drum]] & [[cymbal]]s), and [[string section|strings]].

====History====
It was first performed, as was March No. 1, by the Liverpool Orchestral Society conducted by Alfred Rodewald, in [[Liverpool]] on 19 October 1901.<ref>There is doubt over whether it was Rodewald or Elgar who conducted the premiere: see remarks in the History of No. 1 above regarding this performance.</ref> Both marches were played two days later at a London Promenade Concert.

====Description====
The second is the shortest and most simply constructed of the marches. The composer [[Charles Villiers Stanford]] is said to have preferred this march to the first, and thought this the finest of all the marches. After a loud call to attention from the brass, a simple ''staccato'' theme, tense and repetitive, is played quietly by the strings, being gradually joined by other instruments before building up to an abrupt climax. This section is repeated. The second theme, confidently played by [[French horn|horns]] and [[clarinet]]s, with contrasting triple and duple rhythms, is one which was sketched by Elgar a few years before: this is developed and ends with flourishes from the strings and brass joined by the [[glockenspiel]]. The opening ''staccato'' theme returns, concluded by a quiet swirling bass passage, which leads into the ''Trio'' section (in the [[Tonic (music)|tonic]] major [[A major|key of A]]) which consists of a delightfully simple tune in thirds played by the woodwind ([[Western concert flute|flute]]s, [[oboe]]s, [[clarinet]]s and [[bassoon]]s), answered conclusively by the strings and brass. This ''Trio'' section is repeated, and the march concluded with a brilliant little [[Coda (music)|coda]], which includes a drum roll on the snare drum, a shattering chord in A Minor, briefly played by horns, and followed by a final cadence.

===March No. 3 in C minor===
====Dedication====
March No. 3 was completed in November 1904 and published in 1905. It was dedicated "To my friend [[Ivor Atkins]]". It was first performed on 8 March 1905, in the [[Queen's Hall]], London, conducted by the composer.

====Instrumentation====
The instrumentation is: [[piccolo]], 2 [[western concert flute|flutes]], 2 [[oboe]]s, [[cor anglais]], 2 [[soprano clarinet|clarinets in B{{music|flat}}]], [[bass clarinet]] in B{{music |flat}}, 3 [[bassoon]]s,<ref>The instrumentation is unusual in having three bassoons instead of the usual two, and Elgar directs in the full score that "the tone of the [[Bassoon|fagotti]] must be allowed to preponderate..."</ref> [[contrabassoon]], 4 [[French horn|horns]] in F, 2 [[trumpet]]s in B{{music|flat}}, 2 [[cornet]]s in B{{music|flat}}, 3 [[trombone]]s, [[tuba]], [[timpani]] (3), percussion ([[tenor drum]], [[snare drum|side drum]], [[bass drum]] & [[cymbal]]s), and [[string section|strings]].

====Description====
March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the horns (with drum-beats inserted between the notes of the tune), before a vigorous theme (with brass alone at the first beats), erupts from the full orchestra. The dark theme re-appears, is then restarted boldly, then ended abruptly. The central section commences with a perky tune played by a solo clarinet with simple string accompaniment, which is followed by another of Elgar's noble tunes played by the strings of the orchestra. All the themes re-appear and there is the final section which ends abruptly.

===March No. 4 in G===
March No. 4 is as upbeat and ceremonial as No. 1, containing another big tune in the central ''Trio'' section.

====Dedication====
March No. 4 was completed on 7 June 1907, and dedicated "To my friend [[George Robertson Sinclair|Dr. G. Robertson Sinclair]], Hereford".<ref name="GRS">Dr. George Robertson Sinclair was then the energetic organist of [[Hereford Cathedral]] and "G.R.S." of the [[Enigma Variations#Variation XI (Allegro di molto) "G.R.S."|''Enigma Variations'', Variation XI]]</ref> It was first performed on 24 August 1907, in the [[Queen's Hall]], London, conducted by the composer.

====Instrumentation====
The instrumentation is: [[piccolo]] (with 3rd [[Western concert flute|flute]]), 2 flutes, 2 [[oboe]]s, [[cor anglais]], 2 [[clarinet]]s in [[soprano clarinet|B{{music |flat}}]], [[bass clarinet]] in B{{music|flat}}, 2 [[bassoon]]s, [[contrabassoon]], 4 [[French horn|horn]]s in F, 3 [[trumpet]]s in A, 3 [[trombone]]s, [[tuba]], [[timpani]] (3), [[percussion]] ([[snare drum|side drum]], [[bass drum]] & [[cymbal]]s), 2 [[harp]]s, and [[string section|strings]].

====History====
The ''Trio'' was used by Elgar in a song called "[[The King's Way (song)|The King's Way]]" which he wrote, to [[Alice Elgar|his wife's]] words, in celebration of the opening of an important new London street called [[Kingsway, London|Kingsway]] in 1909.<ref>{{harvnb|McVeagh|2007|p=156}}: "In 'The King's Way' Elgar set Alice's words to the trio theme of ''Pomp and Circumstance'' No. 4, to celebrate the thoroughfare recently opened in London."</ref>

During [[World War II]], No. 4 also acquired words: a patriotic poem by [[A. P. Herbert]] with the refrain beginning "All men must be free" was used as "[[Song of Liberty]]".<ref>{{Cite web | url= http://www.elgar.org/3pomp.htm | work= Elgar – His Music | access-date = 20 May 2007| title = Pomp and Circumstance Marches nos.&nbsp;1–5, Op.&nbsp;39 | author = Elgar Foundation}}</ref>

During the [[wedding of Prince Charles and Lady Diana Spencer]] on 29 July 1981, ''Pomp and Circumstance'' No. 4 served as the [[Recessional hymn|recessional]]. As Diana's veil was lifted and the couple bowed and curtsied to Queen [[Elizabeth II]], the opening notes sounded and continued as they walked down the aisle of [[St Paul's Cathedral]] out to the portico and the waiting crowds.<ref>Deborah McCoy, ''The World's Most Unforgettable Weddings: Love, Lust, Money, and Madness'' (London: Kensington, 2001), 62. {{ISBN|0806521856}}</ref>

March No. 4 was the first piece in the recessional music for the [[coronation of Charles III and Camilla|coronation of Charles III]] on 6 May 2023.
<ref>{{cite web
 | title = Order of Service the Coronation of Their Majesties King Charles III and Queen Camilla
 | publisher = Westminster Abbey
 | url = https://www.westminster-abbey.org/media/15941/order-of-service-the-coronation-of-their-majesties-king-charles-iii-and-queen-camilla.pdf
 | access-date = 30 August 2023
 | archive-date = 4 August 2023
 | archive-url = https://web.archive.org/web/20230804133600/http://www.westminster-abbey.org/media/15941/order-of-service-the-coronation-of-their-majesties-king-charles-iii-and-queen-camilla.pdf
 | url-status = dead
 }}</ref>

====Description====
The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical ''Trio'' constructed like the famous "Land of Hope and Glory" trio of March No. 1.

The first eight bars of the march is played by the full orchestra with the melody played by the violas<ref>One might expect the tune from the violins, with the violas playing a lower part</ref> and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune. There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the ''Trio''. The ''Trio'' follows the pattern of March No. 1, with the melody (in the [[subdominant]] key of C) played by clarinet, horn and violins. The violins start the ''Trio'' tune on the lowest note they can play, an open G-string, which gives a recognisable "twang" to this one note, and they are directed to play the passage ''sul G'' on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons. The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated once more, in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas, and cellos ending on their resonant open G.

===March No. 5 in C===
====Dedication====
March No. 5 was composed in 1930, much later than the others, and dedicated "To my friend [[Percy Hull|Dr. Percy C. Hull]], Hereford".<ref>{{harvnb|Moore|1984|p=785}}: "In early May [1930] he sent it to [[Boosey & Hawkes|Booseys]] to add to Op. 39."</ref><ref>{{harvnb|McVeagh|2007|p=199}}: "To Hull he dedicated a fifth ''Pomp and Circumstance'' march."</ref> Its first public performance was on 20 September 1930 in a [[Queen's Hall]] concert conducted by Sir [[Henry Wood]], though it had been recorded two days earlier in the [[Kingsway Hall]], London, conducted by Elgar himself in spite of his poor health.<ref>{{harvnb|Moore|1984|p=786}}: "[Despite his ill health, Elgar] was able to get to London for gramophone sessions which included the new ''Pomp and Circumstance'' No. 5 – rehearsed and recorded two days before Henry Wood conducted the first public performance in a sold-out Queen's Hall."</ref>

====Instrumentation====
The instrumentation is: [[piccolo]], 2 [[Western concert flute|flutes]], 2 [[oboe]]s, [[cor anglais]], 2 [[soprano clarinet|clarinets in B{{music|flat}}]], [[bass clarinet]] in B{{music |flat}}, 2 [[bassoon]]s, [[contrabassoon]], 4 [[French horn|horns]] in F, 3 [[trumpet]]s in B{{music |flat}}, 3 [[trombone]]s, [[tuba]], [[timpani]] (3), [[percussion]] ([[snare drum|side drum]], [[bass drum]] & [[cymbal]]s), and [[string section|strings]].

====Description====
Without introduction, its opening episode is extended with enormous confidence and proceeds directly into the ''Trio'' section. The ''Trio'' starts quietly in a similar way to the introduction of his [[Symphony No. 1 (Elgar)|First Symphony]]: just a moving bass line and a tune, also in the same key ([[A-flat major|A{{music|flat}}]]). The tune is re-stated strongly, as we expect, then developed. The re-statement of the opening employs the same instruments of the orchestra, but is this time started as soft as possible for just four bars before a quick ''crescendo'' restores its spirit to as it was in the beginning. There is more development before a big return of the ''Trio'' theme, in the home key of C, and a triumphant ending which might bring to mind the conclusion of [[Edvard Grieg|Grieg]]'s ''[[In the Hall of the Mountain King]]''.

===March No. 6 in G minor===
====History====
Elgar left sketches for a sixth ''Pomp and Circumstance'' march, to be the final work in the set.

====Version orchestrated by Percy M. Young====
In 1956, [[Boosey & Hawkes|Boosey & Co.]] published a ''Military March No. 6'' in the key of B{{music|flat}} major, arranged and orchestrated by [[Percy M. Young]]. According to the introduction<ref>Full score: Boosey & Co. Ltd., London, Edward Elgar, Military March No. 6 in B{{music|flat}}, arranged and orchestrated by Percy M. Young</ref> Young indicates that certain manuscripts were made available to him from the estate of the Grafton family (of Elgar's niece May Grafton), including a short score dated March 1924 and separate violin and cello parts. Elgar indicated details of orchestration and expression. From these sources Young orchestrated 117 bars for full orchestra including harp (but not organ). However it appears to be substantially ''The Empire March'' composed for the [[British Empire Exhibition]] of 1924, including the Trio section ''[[A Song of Union]]''.

====Version completed by Anthony Payne====
In 2005, Elgar's sketches were sent by the lawyer for the Elgar Will Trust in a bundle to the English composer [[Anthony Payne]]. Also included was an article titled "Circumstantial Evidence" by the Elgar authority Christopher Kent from the August 1997 ''Musical Times'' explaining the sketches. One idea in the sketches was marked by the composer "jolly good". Kent believed that Elgar's compositional thoughts and time were by then engaged with the Third Symphony and ''The Spanish Lady'', and that the main theme for the march was "unpromising". Payne felt there was not enough in the sketches to complete the march, but three pages of score in Elgar's handwriting were discovered at the [[Royal School of Church Music]] Colles Library marked "P&C 6". In 2006, the score and sketches were turned into a performing version. Payne observed in the programme notes that "Nowhere else in the Pomp and Circumstance marches does Elgar combine compound and duple metres in this way". Payne concluded the piece with a brief allusion to the first Pomp and Circumstance March. The world premiere of Payne's version was on 2 August 2006 with [[Andrew Davis (conductor)|Andrew Davis]] conducting the [[BBC Symphony Orchestra]] at the [[BBC Proms]] at [[Royal Albert Hall]]. The first recording was by the [[BBC National Orchestra of Wales]] under [[Richard Hickox]].

====Instrumentation====
The instrumentation is: [[piccolo]], 2 [[Western concert flute|flutes]], 2 [[oboe]]s, [[cor anglais]], 2 [[soprano clarinet|clarinets in B{{music|flat}}]], [[bass clarinet]] in B{{music |flat}}, 2 [[bassoon]]s, [[contrabassoon]], 4 [[French horn|horns]] in F, 3 [[trumpet]]s in B{{music |flat}}, 3 [[trombone]]s, [[tuba]], [[timpani]] (4), percussion ([[snare drum|side drum]], [[cymbal]]s, [[bass drum]], [[jingle bell|jingles]], [[glockenspiel]]), and [[string section|strings]].

==Arrangements==
For piano solo: The first four marches were arranged by Adolf Schmid and March No. 5 by [[Victor Hely-Hutchinson]].

For piano duo: Marches Nos. 1 & 2 were arranged by Adolf Schmid.<ref>Adolf Schmid (1868–1958)</ref>

For [[Organ (music)|organ]]: March No. 1 was arranged by [[Edwin Lemare|Edwin H. Lemare]] and March No. 4 was arranged by G. R. Sinclair.<ref name="GRS" /> Marches 1–5 have been arranged in simplified and abbreviated form by William McVicker; concert transcriptions of Marches 2, 3, and 5, matching the Lemare and Sinclair arrangements, have been made by Michael Brough for use at [[Holy Trinity, Sloane Street]], but have not yet been published.

For [[military band]]: The first four marches were arranged by M. Retford and March No. 5 by Thomas Conway Brown.

For [[British brass band|brass band]]: March No. 1 was arranged (transposed to B{{music|flat}}) by [[J. Ord Hume]].<ref>{{Cite web |url=http://ernemusicsupplies.com/Ord_Hume.htm |title=Lieutenant J. Ord Hume L.F. |access-date=19 August 2008 |archive-date=22 January 2009 |archive-url=https://web.archive.org/web/20090122224951/http://ernemusicsupplies.com/Ord_Hume.htm |url-status=usurped }}</ref>

An arrangement by [[Peter Schickele]] featuring melodies from Marches 1 through 4 was used in [[Walt Disney Feature Animation|Disney]]'s ''[[Fantasia 2000]]'' to accompany a retelling of the story of [[Noah's Ark]] featuring [[Donald Duck|Donald]] and [[Daisy Duck]]. This version was performed by the [[Chicago Symphony Orchestra]] and features a choral accompaniment from the [[Chicago Symphony Chorus]] with soprano soloist [[Kathleen Battle]]. [[James Levine]], who conducts for this recording, introduces the segment, all the while [[Mickey Mouse|Mickey]], having just completed the [[The Sorcerer's Apprentice (Dukas)|previous segment]] from the [[Fantasia (1940 film)|original film]], searches for Donald to remind him that the segment is starting up.

==Recordings==
* The first recording with Elgar conducting (Marches 1 and 4 only) was weeks before the outbreak of World War I, in July 1914.<ref>{{Cite web | url= http://www.elgar.org/3pomp-d.htm | work= Pomp and Circumstance, Elgar's Recordings | access-date = 31 July 2014| title = Elgar – His Music: Pomp and Circumstance, Elgar's Recordings | author = Elgar Foundation}}</ref><ref>{{Cite web| url = http://blog.scena.org/2014/01/elgar-conducts-elgar-complete.html| access-date = 31 July 2014| website = La Scena Musicale| title = ''Elgar Conducts Elgar: The Complete Recordings 1914–1925''| author = Paul E. Robinson| archive-date = 11 August 2014| archive-url = https://web.archive.org/web/20140811163322/http://blog.scena.org/2014/01/elgar-conducts-elgar-complete.html| url-status = dead}}</ref><ref>{{AllMusic|class=album|id=mw0002275042|title=''Elgar Conducts Elgar: The Complete Recordings 1914–1925''}}</ref><ref>{{Cite web|url=https://www.bbc.co.uk/programmes/b03th9qk|title=1914: Day By Day, 27th June|access-date=22 July 2023|publisher=[[BBC Radio 4]]}}</ref> This acoustic recording was made for the [[Gramophone Company]] and appeared under the [[His Master's Voice (British record label)|His Master's Voice]] label on disc D179.{{sfn|Kennedy|1987|p=364}}

==Adapted versions==
* An adapted version of this piece was used as one of the ending themes in the anime version of the Japanese manga series ''[[Atashin'chi]]''.

==References==
'''Notes'''
{{Reflist|30em}}

'''Sources'''
*{{cite book|last=Kennedy|first=Michael|author-link=Michael Kennedy (music critic)|date=1987|title=Portrait of Elgar|edition=3rd|publisher=Oxford University Press|isbn=0-19-284017-7}}
*{{cite book|last=Maine|first=Basil|author-link=Basil Maine|title=Edward Elgar: His Life and Works|volume=2: Works|location=London|publisher=[[George Bell & Sons]]|year=1933}}
*{{cite book |last=McVeagh |first=Diana M. |author-link=Diana McVeagh|title=Elgar the Music Maker |location=Woodbridge, Suffolk |publisher=Boydell Press |year=2007 |isbn=978-1-84383-295-9 |url-access=registration |url=https://archive.org/details/elgarmusicmaker0000mcve }}
*{{cite book |last=Moore |first=Jerrold N. |author-link=Jerrold Northrop Moore |title=Edward Elgar: A Creative Life |location=Oxford |publisher=Oxford University Press |year=1984 |isbn=0-19-315447-1}}
*{{cite book|last=Wood|first=Henry|author-link=Henry Wood|title=My Life of Music|location=London|publisher=[[Victor Gollancz Ltd]]|oclc=2600343|year=1938}}

==External links==
{{Commons category}}
* [http://legio-victrix.blogspot.co.uk/2011/05/march-of-glory.html "The March of Glory"], by [[John Warren, 3rd Baron de Tabley]]{{dead link|date=July 2023}}
* {{YouTube|UrzApHZUUF0|Elgar conducting the Trio section of ''Pomp and Circumstance No.1'' in 1931}}
* {{IMSLP|work=Pomp and Circumstance, Op.39 (Elgar, Edward)|cname=''Pomp and Circumstance Marches''}}
* [http://cantorion.org/piecesearch/title/Pomp%20and%20Circumstance Free sheet music] of the marches on ''Cantorion.org''

{{Edward Elgar}}
{{Disney's Fantasia}}
{{Portal bar|Classical music}}
{{Authority control}}

[[Category:Pomp and Circumstance Marches| ]]
[[Category:Compositions by Edward Elgar]]
[[Category:British marches]]
[[Category:Graduation]]
[[Category:Music for orchestra and organ]]
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[[Category:1901 compositions]]
[[Category:1904 compositions]]
[[Category:1907 compositions]]
[[Category:1930 compositions]]
[[Category:Graduation songs]]
[[Category:Concert band pieces]]
[[Category:Orchestral marches]]
[[Category:Compositions in D major]]
[[Category:Compositions in A minor]]
[[Category:Compositions in C minor]]
[[Category:Compositions in G major]]
[[Category:Compositions in C major]]