Salut d'Amour (Loves Greeting) Opus 12 for Bassoon & Piano

By: Edward Elgar
For: Solo Bassoon + piano
page one of Salut d'Amour (Loves Greeting) Opus 12 for Bassoon & Piano

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Composer
Edward Elgar
Year of composition
1888
Difficulty
Moderate (Grades 4-6)
Duration
2 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

A beautiful transcription of ''Salut d'Amour'' (Loves Greeting) Opus 12 for Bassoon & Pianoforte

In the Summer of 1888, Edward Elgar and Alice Roberts were heading towards marriage. Edward decided on a holiday with his long-standing friend, Dr Charles Buck of Settle, Yorkshire. As he left Worcester, Alice presented Edward with a poem she had written and entitled Love's Grace. While on holiday in Settle, Edward reciprocated by writing a short piece of music for her, which he called Liebesgruss (Love's Greeting). The work carried the dedication "To Carice", a contraction of his future wife's forenames Caroline Alice with which they subsequently christened their daughter. On his return from Settle, Elgar presented the work to his wife and proposed to her. They married at the Brompton Oratory in South Kensington, London in May the following year.

Towards the end of 1888, Edward submitted three arrangements of the work - for solo piano, for violin and piano, and an orchestral arrangement - to the music publishing firm of Schott who agreed to buy the work outright for a fee of two guineas. 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. It did, much to the publisher's satisfaction but with no financial benefit to Elgar.

It is easy to dismiss Salut d'Amour as an insignificant trifle, salon music not deserving a wider audience. However, for the work to establish itself so forcefully in what was a fiercely competitive field says much for its charm and quality. And, as Elgar's first published work, it has a historical value, containing pointers to the skills that Elgar was to develop and display in his later works.

Elgar subsequently composed a companion piece, Mot d'Amour (Liebesahnung or Love's Word). Although in many ways structurally and dramatically superior to the earlier work, it failed to capture the public affection of its predecessor and is rarely heard today.

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