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Greeting of love
- A salut d'amor [a] (Occitan: [saˈlyd daˈmuɾ], Catalan: [səˈlud dəˈmoɾ, saˈlud daˈmoɾ]; "love letter", lit. "greeting of love") or (e) pistola ("epistle") was an Occitan lyric poem of the troubadours, written as a letter from one lover to another in the tradition of courtly love.
en.wikipedia.org/wiki/Salut_d'amor
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Salut d’Amour is a testament to the power of music, reminding us that sometimes, words alone are not enough to convey the depth of our emotions. Through Elgar’s composition, we are taken on a journey of love, filled with passion, tenderness, and timeless beauty.
A salut d'amor (Occitan: [saˈlyd daˈmuɾ], Catalan: [səˈlud dəˈmoɾ, saˈlud daˈmoɾ]; "love letter", lit. "greeting of love") or (e)pistola ("epistle") was an Occitan lyric poem of the troubadours, written as a letter from one lover to another in the tradition of courtly love.
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In return, Elgar gave Alice a musical love token, entitled Liebesgruss – written in Settle, in Yorkshire. Never one to look a gift piece in the mouth, Elgar sent a few versions to Schott’s publishers, who gave him just two guineas for it and promptly published it as Salut d’Amour, calling him mysteriously ‘Ed. Elgar’ – the hope ...
- Context
- Arrangement
- Melody
- Harmony
- Close: Broader Lessons
Salut D’amouris a composition for solo violin and piano, and it was composed in 1888. A piece of the late-19th century and composed in his early-30s, opus numbered 12, it is an earlier published composition of Elgar’s. Dedicated to his fiancèe, Caroline Alice Roberts, the dedicatee name on the score, “Carice”, is her first and middle name, Caroline...
The composition, Salut D’amour, is in a ternary structure, where the outer sections use similar melodic material. These outer sections also, usually, share the same key. Particularly in the music of this period and earlier. Looking at the table (see below), we can see this is true of Elgar’s Salut D’amour: 1. The outer sections are in E-major, whil...
Theme 1 – Melodic Construction
I am always amazed by Elgar’s concision when it comes to melody. He was remarkably economical in his control of melody and motif, and Salut D’amour demonstrates this in a shorter form composition. (Below) I have extracted Theme 1 from Salut D’amour. I have also laid each of the phrases of Theme 1 out vertically. Similar to John Williams’ melodic construction in Fawkes the Phoenix (and Chopin in Nocturne No. 20!), we can see the first two bars of each of the first three phrases are alike. The...
Theme 1 & 2 – Melodic Link
Looking at the melody of the B-section, which is in G-Major, we can immediately see Elgar’s economy at play again. Most of the bars contain the crotchet, quaver and quaver rhythmic cell mentioned in our analysis of the first theme. And more importantly, it appears in the form introduced at the close of theme 1. Accentuating the link between the themes beyond the rhythm, Elgar introduces the stepwise motif at the end of theme 1. The stepwise, crotchet, quaver and quaver rhythm becomes a fundam...
Diatonic and Functional Harmony
The harmony Elgar uses for Salut D’amour is largely diatonic, with some chromatic inflexions. The harmony is also very functional, with the application and explanation via Roman Numerals being straightforward. Looking more closely at the first theme of Salut D’amour, again, we can see the opening phrase utilises the stablest of stable progressions a homely I – I6 – ii7 – V7 – I. Nothing says home like an ii – V – I. The opening section of the music establishes E-major, and the use of diatonic...
Secondary Dominants
One way in which Elgar inflects and brings chromatic harmonic colours into Salut D’amouris by using secondary dominants. Extending our analysis of this section further, Elgar uses some secondary dominants in bars 7, 9 and 13. In bar 7, Elgar uses a V of vi. In other words, a major mediant chord in E-major, G#-major. This G#-major chord also happens to be the dominant of E-major’s relative minor, C#-minor, the chord used in bar 8. Similarly, in bars 9 and 13, Elgar uses major chords for what w...
Leading-tone Diminished-7ths and Pedal-point
Another chromatic device that Elgar uses is the diminished-7th chord, which can be a functional acrobat. Limited in transposition, the same diminished chords appear similarly and enharmonically in several keys. Therefore, they can be the key link into a great many keys of varying distances. Elgar, in this composition, Salut D’amour, uses them like secondary dominants. For example, in the 1st repeat section, at the end of section A, Elgar uses an A#° leading onto a B-major chord, which sets up...
Lest we get bogged down into harmonic theory, let’s think about broader lessons we can take from today’s analysis of Salut D’amour. For instance, the use of secondary dominant chords, diminished chords and how Elgar constructs and links melodies.What can we learn from Salut D’amour as composers?
At first, the work sold slowly. Apparently with Elgar's approval, Schott's retitled the work Salut d'Amour and gave the composer's name as Ed. Elgar, believing that the French title and a less obviously English composer would help the work gain wider international approval.
Find answers to frequently asked questions about the song and explore its deeper meaning Ask a question When did Edward Elgar release “Salut d'Amour, Op. 12”?
