, Andrew Neill writes in his note: Edward Elgar became an early star of the gramophone and the recordings he made (and supervised) between 1914 and 1934 remain among the great contributions to the recorded repertoire. Some of the performances, such as the electrical recordings of his symphonies and Violin Concerto (with Yehudi Menuhin), remain unequalled. Elgar was absolutely sure of himself as a conductor of his own works, and in the recording studio he was in his element. He never tried to disguise the fact that his own music thrilled and delighted him. This set of acoustic recordings is, however, of equal importance to the renowned electrical recordings made after 1925, for they show how Elgar progressed as a recording artist, how he adapted his music to the limitations of the recording process and how that process developed over the ten years he made acoustic recordings. We can see, or rather hear, him in his element once he found his feet as a recording artist. These transfers let the listener enjoy the charm of Salut d amour, Elgar s obvious rapport with Marie Hall (1884-1956) in the abridged Violin Concerto and, ultimately, his revelling in the performance of his E flat Symphony. Particularly attractive are the excerpts from The Starlight Express in which two of Elgar s favourite singers, Agnes Nicholls (1877-1959) and Charles Mott (1875-1918), with their precise singing and diction, join with the composer in evident pleasure of music making. The recordings of Sea Pictures and The Fringes of the Fleet also have a special significance, for Elgar did not record these works again under the electrical process. -- New transfers from Elgar s personal record library & state of the art sound restorations by Lani Spahr. ...

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