As Hereford celebrates the return of the Three Choirs Festival this week, Nigel Heins reflects upon the inspiration Sir Edward Elgar found in the county

IN the year 1908, a middle-aged man grouched about the noise in the Hampton Park neighbourhood where he lived and did his best to enjoy the peaceful interludes by birdwatching, riding his cycle and fussing over his daughter's pet rabbit.

He dabbled at his hobby as well and in his home-made laboratory he contentedly manufactured soap.

Work had to be done, too, and with eyes down at his Plas Gwyn home the 51-year-old set about earning his living.

But this was not a man past his prime and set in his ways - a soul generally at peace with life and simply going through the motions.

It was the composer Sir Edward Elgar nearing the completion of what was soon to be described as the greatest symphony of its time - a work that was to have an audience roaring approval and clambering on chairs to catch a glimpse of its creator.

Magnificent

The Symphony No 1 in A flat major was, in a matter of months, to be performed in the great concert halls of the world. What a magnificent export - and it was 'Made in Hereford'.

It was truly a product of this county. Despite the so-called noise, Elgar adored Herefordshire and the 'sweet borderland', as he called it, inspired him with its beauty.

Elgar's wife Alice had forecast of Plas Gwyn that "great music could be written here" and she was right.

The Elgar in Hereford Group - following an impassioned leader article in the Hereford Times about the county's huge association's with the composer - is making great strides in its project to present the city with a statue.

One member of that group, Dr Joan Marsden, lives in part of Plas Gwyn and, although very down-to-earth about living her life where the flower of genius once bloomed, she cares deeply about the heritage.She, understandably, is determined to keep the flat her home and not a semi-museum and she admits that while others say they have experienced vibes or a presence she has not. But Elgar's Hereford legacy matters greatly to her and she wants to see that statue in place.

Enthusiasm

The statue will symbolise a man whose biographer Michael Kennedy wrote: "This was not only Elgar's first symphony, it was England's."

It made its bow at a Halle concert in Manchester and Elgar was called on to the platform during the performance by a crowd said to be almost beside itself with enthusiasm. At the close the orchestral players rose as one man and cheered the composer to the echo. Four days later the symphony had its first London performance at Queen's Hall. Conductor Hans Richter described it as "...the greatest symphony of modern times, and not only in this country". And he described the adagio as one such as Beethoven would have written.

Elgar's great friend, Augustus Jaeger wrote: "The Hall was packed, the atmosphere was electric. After the first movement Edward Elgar was called out; again, several times, after the third, and then came the great moment.

Frantic

"After that superb Coda (finale) the audience seemed to rise at E. when he appeared. I never heard such frantic applause after any novelty nor such shouting.

"Five times he had to appear before they were pacified. People stood up and even on their seats to get a view."

Michael Kennedy, in Portrait of Elgar, wrote that in 1909 the Hereford creation received 82 performances, including concerts in America, Vienna, Berlin, Bonn, St Petersburg and Sydney.

It is still played all over the world today - as are other works that had their genesis at Plas Gwyn - and was happily due to come 'home' last night (Wednesday) with a performance in Hereford Cathedral during the Three Choirs Festival.

One of the most moving reactions to the symphony came from Lord Northampton. He wrote to Elgar at Plas Gwyn in 1910: "I hardly know what to think and certainly not what to write. That you, a mortal with whom I had just talked, had out of yourself given the world that.....it is almost terrifying in its greatness."