Although he first earned widespread fame through his cantatas and oratorios, the goal of Elgar’s artistic life was symphonic composition. He once stated that «the Symphony without a programme is the highest development of art». In fact, Elgar’s career may be understood as a pilgrimage toward the achievement of this most traditionally respected form of musical expression.

Cockaigne, Op. 40, is a concert overture that anticipates four-movement symphonic expression. It was actually completed as an alternative to a symphonic project which did not mature. Cockaigne is descriptive, but not in too literal a sense; nor is there anything approaching a programme.

The overture is full of an inner feeling for the great city and makes its impact through the memorability and interplay of its themes, through its own sound-world and through the composer’s genius in creating a musical organism from so much tingling, human and varied city life with which we can readily identify.

Elgar’s first symphony in A-flat major, completed in 1908, quickly established itself as the first great English symphony. The composition employs variation technique to achieve a structure unique in symphonic writing; it is impressive in its nobility and breadth.

Conductor Stephen Somary earned widespread acclaim for his first recording for Claves with orchestral works by Ives, Barber and Cowell (Claves CD 50-9806). This recording features him leading the Thüringen Philharmonie Suhl.