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Edward Elgar

Sir Edward William Elgar, 1st Baronet, (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.

Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British Army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.

In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.

Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.

Early years
Edward Elgar was born in the small village of Lower Broadheath, near Worcester, England, on 2 June 1857. His father, William Henry Elgar (1821–1906), was raised in Dover and had been apprenticed to a London music publisher. In 1841 William moved to Worcester, where he worked as a piano tuner and set up a shop selling sheet music and musical instruments. In 1848 he married Ann Greening (1822–1902), daughter of a farm worker.

Edward was the fourth of their seven children. Ann Elgar had converted to Roman Catholicism shortly before Edward's birth, and he was baptised and brought up as a Roman Catholic, to the disapproval of his father. William Elgar was a violinist of professional standard and held the post of organist of St George's Roman Catholic Church, Worcester, from 1846 to 1885. At his instigation, masses by Cherubini and Hummel were first heard at the Three Choirs Festival by the orchestra in which he played the violin.

All the Elgar children received a musical upbringing. By the age of eight, Elgar was taking piano and violin lessons, and his father, who tuned the pianos at many grand houses in Worcestershire, would sometimes take him along, giving him the chance to display his skill to important local figures. Elgar's mother was interested in the arts and encouraged his musical development. He inherited from her a discerning taste for literature and a passionate love of the countryside. His friend and biographer W. H. "Billy" Reed wrote that Elgar's early surroundings had an influence that "permeated all his work and gave to his whole life that subtle but none the less true and sturdy English quality". He began composing at an early age; for a play written and acted by the Elgar children when he was about ten, he wrote music that forty years later he rearranged with only minor changes and orchestrated as the suites titled The Wand of Youth.

Until he was fifteen, Elgar received a general education at Littleton (now Lyttleton) House school, near Worcester. His only formal musical training beyond piano and violin lessons from local teachers consisted of more advanced violin studies with Adolf Pollitzer, during brief visits to London in 1877–78. Elgar said, "my first music was learnt in the Cathedral ... from books borrowed from the music library, when I was eight, nine or ten." He worked through manuals of instruction on organ playing and read every book he could find on the theory of music. He later said that he had been most helped by Hubert Parry's articles in the Grove Dictionary of Music and Musicians.

Elgar began to learn German, in the hope of going to the Leipzig Conservatory for further musical studies, but his father could not afford to send him. Years later, a profile in The Musical Times considered that his failure to get to Leipzig was fortunate for Elgar's musical development: "Thus the budding composer escaped the dogmatism of the schools." However, it was a disappointment to Elgar that on leaving school in 1872 he went not to Leipzig but to the office of a local solicitor as a clerk. He did not find an office career congenial, and for fulfilment he turned not only to music but to literature, becoming a voracious reader. Around this time, he made his first public appearances as a violinist and organist.

After a few months, Elgar left the solicitor to embark on a musical career, giving piano and violin lessons and working occasionally in his father's shop. He was an active member of the Worcester Glee club, along with his father, and he accompanied singers, played the violin, composed and arranged works, and conducted for the first time. Pollitzer believed that, as a violinist, Elgar had the potential to be one of the leading soloists in the country, but Elgar himself, having heard leading virtuosi at London concerts, felt his own violin playing lacked a full enough tone, and he abandoned his ambitions to be a soloist. At twenty-two he took up the post of conductor of the attendants' band at the Worcester and County Lunatic Asylum in Powick, 3 mi from Worcester. The band consisted of: piccolo, flute, clarinet, two cornets, euphonium, three or four first and a similar number of second violins, occasional viola, cello, double bass and piano. Elgar coached the players and wrote and arranged their music, including quadrilles and polkas, for the unusual combination of instruments. The Musical Times wrote, "This practical experience proved to be of the greatest value to the young musician. ... He acquired a practical knowledge of the capabilities of these different instruments. ... He thereby got to know intimately the tone colour, the ins and outs of these and many other instruments." He held the post for five years, from 1879, travelling to Powick once a week. Another post he held in his early days was professor of the violin at the Worcester College for the Blind Sons of Gentlemen.

Although rather solitary and introspective by nature, Elgar thrived in Worcester's musical circles. He played in the violins at the Worcester and Birmingham Festivals, and one great experience was to play Dvořák's Symphony No. 6 and Stabat Mater under the composer's baton. Elgar regularly played the bassoon in a wind quintet, alongside his brother Frank, an oboist (and conductor who ran his own wind band). Elgar arranged numerous pieces by Mozart, Beethoven, Haydn, and others for the quintet, honing his arranging and compositional skills.

In his first trips abroad, Elgar visited Paris in 1880 and Leipzig in 1882. He heard Saint-Saëns play the organ at the Madeleine and attended concerts by first-rate orchestras. In 1882 he wrote, "I got pretty well dosed with Schumann (my ideal!), Brahms, Rubinstein & Wagner, so had no cause to complain." In Leipzig he visited a friend, Helen Weaver, who was a student at the Conservatoire. They became engaged in the summer of 1883, but for unknown reasons the engagement was broken off the next year. Elgar was greatly distressed, and some of his later cryptic dedications of romantic music may have alluded to Helen and his feelings for her. Throughout his life, Elgar was often inspired by close women friends; Helen Weaver was succeeded by Mary Lygon, Dora Penny, Julia Worthington, Alice Stuart Wortley and finally Vera Hockman, who enlivened his old age.

In 1882, seeking more professional orchestral experience, Elgar was employed as a violinist in Birmingham in William Stockley's Orchestra, for whom he played every concert for the next seven years and where he later said he "learned all the music I know". On 13 December 1883 he took part with Stockley in a performance at Birmingham Town Hall of one of his first works for full orchestra, the Sérénade mauresque – the first time one of his compositions had been performed by a professional orchestra. Stockley had invited him to conduct the piece but later recalled "he declined, and, further, insisted upon playing in his place in the orchestra. The consequence was that he had to appear, fiddle in hand, to acknowledge the genuine and hearty applause of the audience." Elgar often went to London in an attempt to get his works published, but this period in his life found him frequently despondent and low on money. He wrote to a friend in April 1884, "My prospects are about as hopeless as ever ... I am not wanting in energy I think, so sometimes I conclude that 'tis want of ability. ... I have no money – not a cent."

Marriage
When Elgar was 29, he took on a new pupil, Caroline Alice Roberts, known as Alice, daughter of the late Major-General Sir Henry Roberts, and published author of verse and prose fiction. Eight years older than Elgar, Alice became his wife three years later. Elgar's biographer Michael Kennedy writes, "Alice's family was horrified by her intention to marry an unknown musician who worked in a shop and was a Roman Catholic. She was disinherited." They were married on 8 May 1889, at Brompton Oratory. From then until her death, she acted as his business manager and social secretary, dealt with his mood swings, and was a perceptive musical critic. She did her best to gain him the attention of influential society, though with limited success. In time, he would learn to accept the honours given him, realising that they mattered more to her and her social class and recognising what she had given up to further his career. In her diary, she wrote, "The care of a genius is enough of a life work for any woman." As an engagement present, Elgar dedicated his short violin-and-piano piece Salut d'Amour to her. With Alice's encouragement, the Elgars moved to London to be closer to the centre of British musical life, and Elgar started devoting his time to composition. Their only child, Carice Irene, was born at their home in West Kensington on 14 August 1890. Her name, revealed in Elgar's dedication of Salut d'Amour, was a contraction of her mother's names Caroline and Alice. Elgar took full advantage of the opportunity to hear unfamiliar music. In the days before miniature scores and recordings were available, it was not easy for young composers to get to know new music. Elgar took every chance to do so at the Crystal Palace Concerts. He and Alice attended day after day, hearing music by a wide range of composers. Among these were masters of orchestration from whom he learned much, such as Berlioz and Richard Wagner. His own compositions made little impact on London's musical scene. August Manns conducted Elgar's orchestral version of Salut d'amour and the Suite in D at the Crystal Palace, and two publishers accepted some of Elgar's violin pieces, organ voluntaries, and part songs. Some tantalising opportunities seemed to be within reach but vanished unexpectedly. For example, an offer from the Royal Opera House, Covent Garden, to run through some of his works was withdrawn at the last second when Sir Arthur Sullivan arrived unannounced to rehearse some of his own music. Sullivan was horrified when Elgar later told him what had happened. Elgar's only important commission while in London came from his home city: the Worcester Festival Committee invited him to compose a short orchestral work for the 1890 Three Choirs Festival. The result is described by Diana McVeagh in the Grove Dictionary of Music and Musicians, as "his first major work, the assured and uninhibited Froissart." Elgar conducted the first performance in Worcester in September 1890. For lack of other work, he was obliged to leave London in 1891 and return with his wife and child to Worcestershire, where he could earn a living conducting local musical ensembles and teaching. They settled in Alice's former home town, Great Malvern.

Growing reputation
During the 1890s, Elgar gradually built up a reputation as a composer, chiefly of works for the great choral festivals of the English Midlands. The Black Knight (1892) and King Olaf (1896), both inspired by Longfellow, The Light of Life (1896) and Caractacus (1898) were all modestly successful, and he obtained a long-standing publisher in Novello and Co. Other works of this decade included the Serenade for Strings (1892) and Three Bavarian Dances (1897). Elgar was of enough consequence locally to recommend the young composer Samuel Coleridge-Taylor to the Three Choirs Festival for a concert piece, which helped establish the younger man's career. Elgar was catching the attention of prominent critics, but their reviews were polite rather than enthusiastic. Although he was in demand as a festival composer, he was only just getting by financially and felt unappreciated. In 1898, he said he was "very sick at heart over music" and hoped to find a way to succeed with a larger work. His friend August Jaeger tried to lift his spirits: "A day's attack of the blues ... will not drive away your desire, your necessity, which is to exercise those creative faculties which a kind providence has given you. Your time of universal recognition will come."

In 1899, that prediction suddenly came true. At the age of forty-two, Elgar produced the Enigma Variations, which were premiered in London under the baton of the eminent German conductor Hans Richter. In Elgar's own words, "I have sketched a set of Variations on an original theme. The Variations have amused me because I've labelled them with the nicknames of my particular friends ... that is to say I've written the variations each one to represent the mood of the 'party' (the person) ... and have written what I think they would have written – if they were asses enough to compose". He dedicated the work "To my friends pictured within". Probably the best known variation is "Nimrod", depicting Jaeger. Purely musical considerations led Elgar to omit variations depicting Arthur Sullivan and Hubert Parry, whose styles he tried but failed to incorporate in the variations. The large-scale work was received with general acclaim for its originality, charm and craftsmanship, and it established Elgar as the pre-eminent British composer of his generation.

The work is formally titled Variations on an Original Theme; the word "Enigma" appears over the first six bars of music, which led to the familiar version of the title. The enigma is that, although there are fourteen variations on the "original theme", there is another overarching theme, never identified by Elgar, which he said "runs through and over the whole set" but is never heard. Later commentators have observed that although Elgar is today regarded as a characteristically English composer, his orchestral music and this work in particular share much with the Central European tradition typified at the time by the work of Richard Strauss. The Enigma Variations were well received in Germany and Italy, and remain to the present day a worldwide concert staple.

National and international fame
Elgar's biographer Basil Maine commented, "When Sir Arthur Sullivan died in 1900 it became apparent to many that Elgar, although a composer of another build, was his true successor as first musician of the land." Elgar's next major work was eagerly awaited. For the Birmingham Triennial Music Festival of 1900, he set Cardinal John Henry Newman's poem The Dream of Gerontius for soloists, chorus and orchestra. Richter conducted the premiere, which was marred by a poorly prepared chorus, which sang badly. Critics recognised the mastery of the piece despite the defects in performance. It was performed in Düsseldorf, Germany, in 1901 and again in 1902, conducted by Julius Buths, who also conducted the European premiere of the Enigma Variations in 1901. The German press was enthusiastic. The Cologne Gazette said, "In both parts we meet with beauties of imperishable value. ... Elgar stands on the shoulders of Berlioz, Wagner, and Liszt, from whose influences he has freed himself until he has become an important individuality. He is one of the leaders of musical art of modern times." The Düsseldorfer Volksblatt wrote, "A memorable and epoch-making first performance! Since the days of Liszt nothing has been produced in the way of oratorio ... which reaches the greatness and importance of this sacred cantata." Richard Strauss, then widely viewed as the leading composer of his day, was so impressed that in Elgar's presence he proposed a toast to the success of "the first English progressive musician, Meister Elgar." Performances in Vienna, Paris and New York followed, and The Dream of Gerontius soon became equally admired in Britain. According to Kennedy, "It is unquestionably the greatest British work in the oratorio form ... [it] opened a new chapter in the English choral tradition and liberated it from its Handelian preoccupation." Elgar, as a Roman Catholic, was much moved by Newman's poem about the death and redemption of a sinner, but some influential members of the Anglican establishment disagreed. His colleague, Charles Villiers Stanford complained that the work "stinks of incense". The Dean of Gloucester banned Gerontius from his cathedral in 1901, and at Worcester the following year, the Dean insisted on expurgations before allowing a performance.

Elgar is probably best known for the first of the five Pomp and Circumstance Marches, which were composed between 1901 and 1930. It is familiar to millions of television viewers all over the world every year who watch the Last Night of the Proms, where it is traditionally performed. When the theme of the slower middle section (technically called the "trio") of the first march came into his head, he told his friend Dora Penny, "I've got a tune that will knock 'em – will knock 'em flat". When the first march was played in 1901 at a London Promenade Concert, it was conducted by Henry Wood, who later wrote that the audience "rose and yelled ... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore." To mark the coronation of Edward VII, Elgar was commissioned to set A. C. Benson's Coronation Ode for a gala concert at the Royal Opera House on 30 June 1902. The approval of the king was confirmed, and Elgar began work. The contralto Clara Butt had persuaded him that the trio of the first Pomp and Circumstance march could have words fitted to it, and Elgar invited Benson to do so. Elgar incorporated the new vocal version into the Ode. The publishers of the score recognised the potential of the vocal piece, "Land of Hope and Glory", and asked Benson and Elgar to make a further revision for publication as a separate song. It was immensely popular and is now considered an unofficial British national anthem. In the United States, the trio, known simply as "Pomp and Circumstance" or "The Graduation March", has been adopted since 1905 for virtually all high school and university graduations.

In March 1904 a three-day festival of Elgar's works was presented at Covent Garden, an honour never before given to any English composer. The Times commented, "Four or five years ago if any one had predicted that the Opera-house would be full from floor to ceiling for the performance of an oratorio by an English composer he would probably have been supposed to be out of his mind." The king and queen attended the first concert, at which Richter conducted The Dream of Gerontius, and returned the next evening for the second, the London premiere of The Apostles (first heard the previous year at the Birmingham Festival). The final concert of the festival, conducted by Elgar, was primarily orchestral, apart for an excerpt from Caractacus and the complete Sea Pictures (sung by Clara Butt). The orchestral items were Froissart, the Enigma Variations, Cockaigne, the first two (at that time the only two) Pomp and Circumstance marches, and the premiere of a new orchestral work, In the South, inspired by a holiday in Italy.

Elgar was knighted at Buckingham Palace on 5 July 1904. The following month, he and his family moved to Plâs Gwyn, a large house on the outskirts of Hereford, overlooking the River Wye, where they lived until 1911. Between 1902 and 1914, Elgar was, in Kennedy's words, at the zenith of popularity. He made four visits to the US, including one conducting tour, and earned considerable fees from the performance of his music. Between 1905 and 1908, he held the post of Peyton Professor of Music at the University of Birmingham. He had accepted the post reluctantly, feeling that a composer should not head a school of music. He was not at ease in the role, and his lectures caused controversy, with his attacks on the critics and on English music in general: "Vulgarity in the course of time may be refined. Vulgarity often goes with inventiveness ... but the commonplace mind can never be anything but commonplace. An Englishman will take you into a large room, beautifully proportioned, and will point out to you that it is white – all over white – and somebody will say, 'What exquisite taste'. You know in your own mind, in your own soul, that it is not taste at all, that it is the want of taste, that is mere evasion. English music is white, and evades everything." He regretted the controversy and was glad to hand on the post to his friend Granville Bantock in 1908. His new life as a celebrity was a mixed blessing to the highly strung Elgar, as it interrupted his privacy, and he often was in ill-health. He complained to Jaeger in 1903, "My life is one continual giving up of little things which I love." Both W. S. Gilbert and Thomas Hardy sought to collaborate with Elgar in this decade. Elgar refused, but would have collaborated with Bernard Shaw had Shaw been willing.

Elgar paid three visits to the USA between 1905 and 1911. His first was to conduct his music and to accept a doctorate from Yale University. His principal composition in 1905 was the Introduction and Allegro for Strings, dedicated to Samuel Sanford. It was well received but did not catch the public imagination as The Dream of Gerontius had done and continued to do. Among keen Elgarians, however, The Kingdom was sometimes preferred to the earlier work: Elgar's friend Frank Schuster told the young Adrian Boult: "compared with The Kingdom, Gerontius is the work of a raw amateur."

As Elgar approached his fiftieth birthday, he began work on his first symphony, a project that had been in his mind in various forms for nearly ten years. His First Symphony (1908) was a national and international triumph. Within weeks of the premiere it was performed in New York under Walter Damrosch, Vienna under Ferdinand Löwe, St Petersburg under Alexander Siloti, and Leipzig under Arthur Nikisch. There were performances in Rome, Chicago, Boston, Toronto and fifteen British towns and cities. In just over a year, it received a hundred performances in Britain, America and continental Europe.

The Violin Concerto (1910) was commissioned by Fritz Kreisler, one of the leading international violinists of the time. Elgar wrote it during the summer of 1910, with occasional help from W. H. Reed, the leader of the London Symphony Orchestra (LSO), who helped the composer with advice on technical points. Elgar and Reed formed a firm friendship, which lasted for the rest of Elgar's life. Reed's biography, Elgar As I Knew Him (1936), records many details of Elgar's methods of composition. The work was presented by the Royal Philharmonic Society, with Kreisler and the LSO, conducted by the composer. Reed recalled, "the Concerto proved to be a complete triumph, the concert a brilliant and unforgettable occasion." So great was the impact of the concerto that Kreisler's rival Eugène Ysaÿe spent much time with Elgar going through the work. There was great disappointment when contractual difficulties prevented Ysaÿe from playing it in London.

The Violin Concerto was Elgar's last popular triumph. The following year he presented his Second Symphony in London, but was disappointed at its reception. Unlike the First Symphony, it ends not in a blaze of orchestral splendour but quietly and contemplatively. Reed, who played at the premiere, later wrote that Elgar was recalled to the platform several times to acknowledge the applause, "but missed that unmistakable note perceived when an audience, even an English audience, is thoroughly roused or worked up, as it was after the Violin Concerto or the First Symphony." Elgar asked Reed, "What is the matter with them, Billy? They sit there like a lot of stuffed pigs." The work was, by normal standards, a success, with twenty-seven performances within three years of its premiere, but it did not achieve the international furore of the First Symphony.

Last major works
In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."

When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. "Land of Hope and Glory", already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.

Elgar's other compositions during the war included incidental music for a children's play, The Starlight Express (1915); a ballet, The Sanguine Fan (1917); and The Spirit of England (1915–17, to poems by Laurence Binyon), three choral settings very different in character from the romantic patriotism of his earlier years. His last large-scale composition of the war years was The Fringes of the Fleet, settings of verses by Rudyard Kipling, performed with great popular success around the country, until Kipling for unexplained reasons objected to their performance in theatres. Elgar conducted a recording of the work for the Gramophone Company.

Towards the end of the war, Elgar was in poor health. His wife thought it best for him to move to the countryside, and she rented "Brinkwells", a house near Fittleworth in Sussex, from the painter Rex Vicat Cole. There Elgar recovered his strength and, in 1918 and 1919, he produced four large-scale works. The first three of these were chamber pieces: the Violin Sonata in E minor, the Piano Quintet in A minor, and the String Quartet in E minor. On hearing the work in progress, Alice Elgar wrote in her diary, "E. writing wonderful new music". All three works were well received. The Times wrote, "Elgar's sonata contains much that we have heard before in other forms, but as we do not at all want him to change and be somebody else, that is as it should be." The quartet and quintet were premiered at the Wigmore Hall on 21 May 1919. The Manchester Guardian wrote, "This quartet, with its tremendous climaxes, curious refinements of dance-rhythms, and its perfect symmetry, and the quintet, more lyrical and passionate, are as perfect examples of chamber music as the great oratorios were of their type."

By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the LSO's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played the work for him again later. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.

Last years
Although in the 1920s Elgar's music was no longer in fashion, his admirers continued to present his works when possible. Reed singles out a performance of the Second Symphony in March 1920 conducted by "a young man almost unknown to the public", Adrian Boult, for bringing "the grandeur and nobility of the work" to a wider public. Also in 1920, Landon Ronald presented an all-Elgar concert at the Queen's Hall. Alice Elgar wrote with enthusiasm about the reception of the symphony, but this was one of the last times she heard Elgar's music played in public. After a short illness, she died of lung cancer on 7 April 1920, at the age of seventy-two.

Elgar was devastated by the loss of his wife. With no public demand for new works, and deprived of Alice's constant support and inspiration, he allowed himself to be deflected from composition. His daughter later wrote that Elgar inherited from his father a reluctance to "settle down to work on hand but could cheerfully spend hours over some perfectly unnecessary and entirely unremunerative undertaking", a trait that became stronger after Alice's death. For much of the rest of his life, Elgar indulged himself in his several hobbies. Throughout his life he was a keen amateur chemist, sometimes using a laboratory in his back garden. He even patented the "Elgar Sulphuretted Hydrogen Apparatus" in 1908. He enjoyed football, supporting Wolverhampton Wanderers F.C., for whom he composed an anthem, "He Banged the Leather for Goal", and in his later years he frequently attended horseraces. His protégés, the conductor Malcolm Sargent and violinist Yehudi Menuhin, both recalled rehearsals with Elgar at which he swiftly satisfied himself that all was well and then went off to the races. In his younger days, Elgar had been an enthusiastic cyclist, buying Royal Sunbeam bicycles for himself and his wife in 1903 (he named his "Mr. Phoebus"). As an elderly widower, he enjoyed being driven about the countryside by his chauffeur. In November and December 1923, he took a voyage to Brazil, journeying up the Amazon to Manaus, where he was impressed by its opera house, the Teatro Amazonas. Almost nothing is recorded about Elgar's activities or the events that he encountered during the trip, which gave the novelist James Hamilton-Paterson considerable latitude when writing Gerontius, a fictional account of the journey.

After Alice's death, Elgar sold the Hampstead house, and after living for a short time in a flat in St James's in the heart of London, he moved back to Worcestershire, to the village of Kempsey, where he lived from 1923 to 1927. He did not wholly abandon composition in these years. He made large-scale symphonic arrangements of works by Bach and Handel and wrote his Empire March and eight songs Pageant of Empire for the 1924 British Empire Exhibition. Shortly after these were published, he was appointed Master of the King's Musick on 13 May 1924, following the death of Sir Walter Parratt.

From 1926 onwards, Elgar made a series of recordings of his own works. Described by the music writer Robert Philip as "the first composer to take the gramophone seriously", he had already recorded much of his music by the early acoustic-recording process for His Master's Voice (HMV) from 1914 onwards, but the introduction of electrical microphones in 1925 transformed the gramophone from a novelty into a realistic medium for reproducing orchestral and choral music. Elgar was the first composer to take full advantage of this technological advance. Fred Gaisberg of HMV, who produced Elgar's recordings, set up a series of sessions to capture on disc the composer's interpretations of his major orchestral works, including the Enigma Variations, Falstaff, the first and second symphonies, and the cello and violin concertos. For most of these, the orchestra was the LSO, but the Variations were played by the Royal Albert Hall Orchestra. Later in the series of recordings, Elgar also conducted two newly founded orchestras, Boult's BBC Symphony Orchestra and Sir Thomas Beecham's London Philharmonic Orchestra.

Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.

In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the LSO, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.

A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.

In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1997.

Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St Wulstan's Roman Catholic Church in Little Malvern.

Influences, antecedents and early works
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.

Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and part songs. W. H. Reed expressed reservations about these pieces, but praised the part song The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.

Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Peak creative years
Elgar's best-known works were composed within the twenty-one years between 1899 and 1920. Most of them are orchestral. Reed wrote, "Elgar's genius rose to its greatest height in his orchestral works" and quoted the composer as saying that, even in his oratorios, the orchestral part is the most important. The Enigma Variations made Elgar's name nationally. The variation form was ideal for him at this stage of his career, when his comprehensive mastery of orchestration was still in contrast to his tendency to write his melodies in short, sometimes rigid, phrases. His next orchestral works, Cockaigne, a concert-overture (1900–1901), the first two Pomp and Circumstance marches (1901), and the gentle Dream Children (1902), are all short: the longest of them, Cockaigne, lasting less than fifteen minutes. In the South (1903–1904), although designated by Elgar as a concert-overture, is, according to Kennedy, really a tone poem and the longest continuous piece of purely orchestral writing Elgar had essayed. He wrote it after setting aside an early attempt to compose a symphony. The work reveals his continuing progress in writing sustained themes and orchestral lines, although some critics, including Kennedy, find that in the middle part "Elgar's inspiration burns at less than its brightest." In 1905 Elgar completed the Introduction and Allegro for Strings. This work is based, unlike much of Elgar's earlier writing, not on a profusion of themes but on only three. Kennedy called it a "masterly composition, equalled among English works for strings only by Vaughan Williams's Tallis Fantasia."

During the next four years Elgar composed three major concert pieces, which, though shorter than comparable works by some of his European contemporaries, are among the most substantial such works by an English composer. These were his First Symphony, Violin Concerto, and Second Symphony, which all play for between forty-five minutes and an hour. McVeagh says of the symphonies that they "rank high not only in Elgar's output but in English musical history. Both are long and powerful, without published programmes, only hints and quotations to indicate some inward drama from which they derive their vitality and eloquence. Both are based on classical form but differ from it to the extent that ... they were considered prolix and slackly constructed by some critics. Certainly the invention in them is copious; each symphony would need several dozen music examples to chart its progress."

Elgar's Violin Concerto and Cello Concerto, in the view of Kennedy, "rank not only among his finest works, but among the greatest of their kind". They are, however, very different from each other. The Violin Concerto, composed in 1909 as Elgar reached the height of his popularity, and written for the instrument dearest to his heart, is lyrical throughout and rhapsodical and brilliant by turns. The Cello Concerto, composed a decade later, immediately after World War I, seems, in Kennedy's words, "to belong to another age, another world ... the simplest of all Elgar's major works ... also the least grandiloquent." Between the two concertos came Elgar's symphonic study Falstaff, which has divided opinion even among Elgar's strongest admirers. Donald Tovey viewed it as "one of the immeasurably great things in music", with power "identical with Shakespeare's", while Kennedy criticises the work for "too frequent reliance on sequences" and an over-idealised depiction of the female characters. Reed thought that the principal themes show less distinction than some of Elgar's earlier works. Elgar himself thought Falstaff the highest point of his purely orchestral work.

The major works for voices and orchestra of the twenty-one years of Elgar's middle period are three large-scale works for soloists, chorus and orchestra: The Dream of Gerontius (1900), and the oratorios The Apostles (1903) and The Kingdom (1906); and two shorter odes, the Coronation Ode (1902) and The Music Makers (1912). The first of the odes, as a pièce d'occasion, has rarely been revived after its initial success, with the culminating "Land of Hope and Glory". The second is, for Elgar, unusual in that it contains several quotations from his earlier works, as Richard Strauss quoted himself in Ein Heldenleben. The choral works were all successful, although the first, Gerontius, was and remains the best-loved and most performed. On the manuscript Elgar wrote, quoting John Ruskin, "This is the best of me; for the rest, I ate, and drank, and slept, loved and hated, like another. My life was as the vapour, and is not; but this I saw, and knew; this, if anything of mine, is worth your memory." All three of the large-scale works follow the traditional model with sections for soloists, chorus and both together. Elgar's distinctive orchestration, as well as his melodic inspiration, lifts them to a higher level than most of their British predecessors.

Elgar's other works of his middle period include incidental music for Grania and Diarmid, a play by George Moore and W. B. Yeats (1901), and for The Starlight Express, a play based on a story by Algernon Blackwood (1916). Of the former, Yeats called Elgar's music "wonderful in its heroic melancholy". Elgar also wrote a number of songs during his peak period, of which Reed observes, "it cannot be said that he enriched the vocal repertory to the same extent as he did that of the orchestra."

Final years and posthumous completions
After the Cello Concerto, Elgar completed no more large-scale works. He made arrangements of works by Bach, Handel and Chopin, in distinctively Elgarian orchestration, and once again turned his youthful notebooks to use for the Nursery Suite (1931). His other compositions of this period have not held a place in the regular repertory. For most of the rest of the twentieth century, it was generally agreed that Elgar's creative impulse ceased after his wife's death. Anthony Payne's elaboration of the sketches for Elgar's Third Symphony into a complete score led to a reconsideration of this supposition. Elgar left the opening of the symphony complete in full score, and those pages, along with others, show Elgar's orchestration changed markedly from the richness of his pre-war work. The Gramophone described the opening of the new work as something "thrilling ... unforgettably gaunt". Its first public performance was given by the BBC Symphony Orchestra under Andrew Davis in London on 15 February 1998. Payne also subsequently produced a performing version of the sketches for a sixth Pomp and Circumstance March, premiered at the Proms in August 2006. Elgar's sketches for a piano concerto dating from 1913 were elaborated by the composer Robert Walker and first performed in August 1997 by the pianist David Owen Norris. The realisation has since been extensively revised.

Reputation
Views of Elgar's stature have varied in the decades since his music came to prominence at the beginning of the twentieth century. Richard Strauss, as noted, hailed Elgar as a progressive composer; even the hostile reviewer in The Observer, unimpressed by the thematic material of the First Symphony in 1908, called the orchestration "magnificently modern". Hans Richter rated Elgar as "the greatest modern composer" in any country, and Richter's colleague Arthur Nikisch considered the First Symphony "a masterpiece of the first order" to be "justly ranked with the great symphonic models – Beethoven and Brahms." By contrast, the critic W. J. Turner, in the mid-twentieth century, wrote of Elgar's "Salvation Army symphonies," and Herbert von Karajan called the Enigma Variations "second-hand Brahms". Elgar's immense popularity was not long-lived. After the success of his First Symphony and Violin Concerto, his Second Symphony and Cello Concerto were politely received but without the earlier wild enthusiasm. His music was identified in the public mind with the Edwardian era, and after the First World War he no longer seemed a progressive or modern composer. In the early 1920s, even the First Symphony had only one London performance in more than three years. Wood and younger conductors such as Boult, Sargent and Barbirolli championed Elgar's music, but in the recording catalogues and the concert programmes of the middle of the century his works were not well represented.

In 1924, the music scholar Edward J. Dent wrote an article for a German music journal in which he identified four features of Elgar's style that gave offence to a section of English opinion (namely, Dent indicated, the academic and snobbish section): "too emotional", "not quite free from vulgarity", "pompous", and "too deliberately noble in expression". This article was reprinted in 1930 and caused controversy. In the later years of the century there was, in Britain at least, a revival of interest in Elgar's music. The features that had offended austere taste in the inter-war years were seen from a different perspective. In 1955, the reference book The Record Guide wrote of the Edwardian background during the height of Elgar's career: "Boastful self-confidence, emotional vulgarity, material extravagance, a ruthless philistinism expressed in tasteless architecture and every kind of expensive yet hideous accessory: such features of a late phase of Imperial England are faithfully reflected in Elgar's larger works and are apt to prove indigestible today. But if it is difficult to overlook the bombastic, the sentimental, and the trivial elements in his music, the effort to do so should nevertheless be made, for the sake of the many inspired pages, the power and eloquence and lofty pathos, of Elgar's best work. ... Anyone who doubts the fact of Elgar's genius should take the first opportunity of hearing The Dream of Gerontius, which remains his masterpiece, as it is his largest and perhaps most deeply felt work; the symphonic study, Falstaff; the Introduction and Allegro for Strings; the Enigma Variations; and the Violoncello Concerto."

By the 1960s, a less severe view was being taken of the Edwardian era. In 1966 the critic Frank Howes wrote that Elgar reflected the last blaze of opulence, expansiveness and full-blooded life, before World War I swept so much away. In Howes's view, there was a touch of vulgarity in both the era and Elgar's music, but "a composer is entitled to be judged by posterity for his best work. ... Elgar is historically important for giving to English music a sense of the orchestra, for expressing what it felt like to be alive in the Edwardian age, for conferring on the world at least four unqualified masterpieces, and for thereby restoring England to the comity of musical nations."

In 1967 the critic and analyst David Cox considered the question of the supposed Englishness of Elgar's music. Cox noted that Elgar disliked folk-songs and never used them in his works, opting for an idiom that was essentially German, leavened by a lightness derived from French composers including Berlioz and Gounod. How then, asked Cox, could Elgar be "the most English of composers"? Cox found the answer in Elgar's own personality, which "could use the alien idioms in such a way as to make of them a vital form of expression that was his and his alone. And the personality that comes through in the music is English." This point about Elgar's transmuting his influences had been touched on before. In 1930 The Times wrote, "When Elgar's first symphony came out, someone attempted to prove that its main tune on which all depends was like the Grail theme in Parsifal. ... but the attempt fell flat because everyone else, including those who disliked the tune, had instantly recognized it as typically 'Elgarian', while the Grail theme is as typically Wagnerian." As for Elgar's "Englishness", his fellow-composers recognised it: Richard Strauss and Stravinsky made particular reference to it, and Sibelius called him "the personification of the true English character in music ... a noble personality and a born aristocrat". Among Elgar's admirers there is disagreement about which of his works are to be regarded as masterpieces. The Enigma Variations are generally counted among them. The Dream of Gerontius has also been given high praise by Elgarians, and the Cello Concerto is similarly rated. Many rate the Violin Concerto equally highly, but some do not. Sackville-West omitted it from the list of Elgar masterpieces in The Record Guide, and in a long analytical article in The Musical Quarterly, Daniel Gregory Mason criticised the first movement of the concerto for a "kind of sing-songiness ... as fatal to noble rhythm in music as it is in poetry." Falstaff also divides opinion. It has never been a great popular favourite, and Kennedy and Reed identify shortcomings in it. In a Musical Times 1957 centenary symposium on Elgar led by Vaughan Williams, by contrast, several contributors share Eric Blom's view that Falstaff is the greatest of all Elgar's works.

The two symphonies divide opinion even more sharply. Mason rates the Second poorly for its "over-obvious rhythmic scheme", but calls the First "Elgar's masterpiece. ... It is hard to see how any candid student can deny the greatness of this symphony." However, in the 1957 centenary symposium, several leading admirers of Elgar express reservations about one or both symphonies. In the same year, Roger Fiske wrote in The Gramophone, "For some reason few people seem to like the two Elgar symphonies equally; each has its champions and often they are more than a little bored by the rival work." The critic John Warrack wrote, "There are no sadder pages in symphonic literature than the close of the First Symphony's Adagio, as horn and trombones twice softly intone a phrase of utter grief", whereas to Michael Kennedy, the movement is notable for its lack of anguished yearning and angst and is marked instead by a "benevolent tranquillity."

Despite the fluctuating critical assessment of the various works over the years, Elgar's major works taken as a whole have in the twenty-first century recovered strongly from their neglect in the 1950s. The Record Guide in 1955 could list only one currently available recording of the First Symphony, none of the Second, one of the Violin Concerto, two of the Cello Concerto, two of the Enigma Variations, one of Falstaff, and none of The Dream of Gerontius. Since then there have been multiple recordings of all the major works. More than thirty recordings have been made of the First Symphony since 1955, for example, and more than a dozen of The Dream of Gerontius. Similarly, in the concert hall, Elgar's works, after a period of neglect, are once again frequently programmed. The Elgar Society's website, in its diary of forthcoming performances, lists performances of Elgar's works by orchestras, soloists and conductors across Europe, North America and Australasia.

Honours, awards and commemorations
Elgar was knighted in 1904, and in 1911 he was appointed a member of the Order of Merit. In 1920 he received the Cross of Commander of the Belgian Order of the Crown; in 1924 he was made Master of the King's Musick; the following year he received the Gold Medal of the Royal Philharmonic Society; and in 1928 he was appointed a Knight Commander of the Royal Victorian Order (KCVO). Between 1900 and 1931, Elgar received honorary degrees from the Universities of Cambridge, Durham, Leeds, Oxford, Yale (USA), Aberdeen, Western Pennsylvania (USA), Birmingham and London. Foreign academies of which he was made a member were Regia Accademia di Santa Cecilia, Rome; Accademia del Reale Istituto Musicale, Florence; Académie des Beaux Arts, Paris; Institut de France; and the American Academy. In 1931 he was created a Baronet, of Broadheath in the County of Worcester. In 1933 he was promoted within the Royal Victorian Order to Knight Grand Cross (GCVO). In Kennedy's words, he "shamelessly touted" for a peerage, but in vain. In Who's Who, post-First World War, he claimed to have been awarded "several Imperial Russian and German decorations (lapsed)". Elgar was offered, but declined, the office of Mayor of Hereford (despite not being a member of its city council) when he lived in the city in 1905. The same year he was made an honorary freeman of the city of Worcester.

The house in Lower Broadheath where Elgar was born is now the Elgar Birthplace Museum, devoted to his life and work. Elgar's daughter, Carice, helped to found the museum in 1936 and bequeathed to it much of her collection of Elgar's letters and documents on her death in 1970. Carice left Elgar manuscripts to musical colleges: The Black Knight to Trinity College of Music; King Olaf to the Royal Academy of Music; The Music Makers to Birmingham University; the Cello Concerto to the Royal College of Music; The Kingdom to the Bodleian Library; and other manuscripts to the British Museum. The Elgar Society dedicated to the composer and his works was formed in 1951.

Elgar's statue at the end of Worcester High Street stands facing the cathedral, only yards from where his father's shop once stood. Another statue of the composer by Rose Garrard is at the top of Church Street in Malvern, overlooking the town and giving visitors an opportunity to stand next to the composer in the shadow of the Hills that he so often regarded. In September 2005, a third statue sculpted by Jemma Pearson was unveiled near Hereford Cathedral in honour of his many musical and other associations with the city. It depicts Elgar with his bicycle. From 1999 until early 2007, new Bank of England twenty pound notes featured a portrait of Elgar. The change to remove his image generated controversy, particularly because 2007 was the 150th anniversary of Elgar's birth. From 2007 the Elgar notes were phased out, ceasing to be legal tender on 30 June 2010. There are around 65 roads in the UK named after Elgar, including six in the counties of Herefordshire and Worcestershire. Elgar had three locomotives named in his honour.

Elgar's life and music have inspired works of literature including the novel Gerontius and several plays. Elgar's Rondo, a 1993 stage play by David Pownall depicts the dead Jaeger offering ghostly advice on Elgar's musical development. Pownall also wrote a radio play, Elgar's Third (1994); another Elgar-themed radio play is Alick Rowe's The Dorabella Variation (2003). David Rudkin's BBC television "Play for Today" Penda's Fen (1974) deals with themes including sex and adolescence, spying, and snobbery, with Elgar's music, chiefly The Dream of Gerontius, as its background. In one scene, a ghostly Elgar whispers the secret of the "Enigma" tune to the youthful central character, with an injunction not to reveal it. Elgar on the Journey to Hanley, a novel by Keith Alldritt (1979), tells of the composer's attachment to Dora Penny, later Mrs Powell, (depicted as "Dorabella" in the Enigma Variations).

Perhaps the best-known work depicting Elgar is Ken Russell's 1962 BBC television film Elgar, made when the composer was still largely out of fashion. This hour-long film contradicted the view of Elgar as a jingoistic and bombastic composer, and evoked the more pastoral and melancholy side of his character and music.

Notes and references
Notes

References

title: Edward Elgar


text:
European Investment Fund

The European Investment Fund (EIF), established in 1994, is a financial institution for the provision of finance to SMEs (small and medium-sized enterprises), headquartered in Luxembourg. It is part of the European Investment Bank Group.

It does not lend money to SMEs directly; rather it provides finance through private banks and funds. Its main operations are in the areas of venture capital and guaranteeing loans. Its shareholders are: the European Investment Bank (62%); the European Union, represented by the European Commission (29%); and 30 financial institutions (9%).

The European Investment Bank Group is able to assist the development of a broader creative, green ecosystem through the European Investment Fund: venture capital funds, technical transfer, business perspectives, and private-sector equity (infrastructure funds) in general.

Since 2015, the EaSI Guarantee Instrument (EU Programme for Employment and Social Innovation), managed by the European Investment Fund, has provided over €280 million in guarantees across Europe and is expected to provide over €3 billion in financing to micro-enterprises and social enterprises. In the coming years, the EIF intends to continue providing assistance to these types of final beneficiaries in areas heavily impacted by the transition to a low-carbon economy.

The EIF is managed by a Chief Executive who acts independently in the EIF’s best interests. As of January 1, 2023, the Chief Executive is Marjut Falkstedt.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: European Investment Fund


text:
European Currency Unit

The European Currency Unit (Unité de compte européenne, Unidad Monetaria Europea, Europäische Währungseinheit; ⟨₠⟩, ECU, or XEU) was a unit of account used by the European Economic Community and composed of a basket of member country currencies. The ECU came in to operation on 13 March 1979 and was assigned the ISO 4217 code. The ECU replaced the European Unit of Account (EUA) at parity in 1979, and it was later replaced by the euro (EUR) at parity on 1 January 1999.

As a unit of account, the ECU was not a circulating currency and did not replace or override the value of the currency of EEC member countries. However, it was used to price some international financial transactions and capital transfers.

Exchange rate
Using a mechanism known as the "snake in the tunnel", the European Exchange Rate Mechanism was an attempt to minimize fluctuations between member state currencies—initially by managing the variance of each against its respective ECU reference rate—with the aim to achieve fixed ratios over time, and so enable the European Single Currency (which became known as the euro) to replace national currencies.

Hard ECU proposal
In 1990 the British Chancellor of the Exchequer John Major proposed the creation of a 'hard' ECU, which different national currencies could compete against and, if the ECU was successful, could lead to a single currency. The move was seen by France and Germany as a wrecking tactic, especially when the increasingly Eurosceptic Thatcher announced her outright opposition to European Economic and Monetary Union (EMU), and the idea was abandoned.

Euro replaces the ECU
On 1 January 1999, the euro (with the code EUR and symbol ⟨€⟩) replaced the ECU at par (one-to-one). Unlike the ECU, the euro is a real currency, although not all member states participate (for details on euro membership see Eurozone). Two of the countries in the ECU basket of currencies, UK and Denmark, did not join the eurozone, and a third, Greece, joined late. On the other hand, Finland and Austria joined the eurozone from the beginning, even though their currencies were not part of the ECU basket, since they had joined the EU in 1995, two years after the ECU composition was "frozen".

Legal implications
Due to the ECU being used in some international financial transactions, there was a concern that foreign courts might not recognize the euro as the legal successor to the ECU. This was unlikely to be a problem, since it is a generally accepted principle of private international law that states determine their currencies, and that therefore states would accept the European Union legislation to that effect. However, for abundant caution, several foreign jurisdictions adopted legislation to ensure a smooth transition. Of particular importance, the U.S. states of Illinois and New York adopted legislation to ensure a large proportion of international financial contracts recognized the euro as the successor of the ECU.

Symbol and name
The ECU's symbol, ₠, consists of an interlaced C and E—the initials of "European Community" in many languages of Europe. However, the symbol was not widely adopted. Few computer systems utilized by financial institutions and governments could render it, and commercial payment systems were obliged to use the ISO code, XEU, as with other currencies without widely recognised currency symbols. The Unicode designation for the ECU symbol was not implemented on many personal computer operating systems until the release of Unicode v2.1 in May 1998, which also introduced the euro sign. Microsoft did include the ECU symbol in many of its European versions of Windows beginning in the early 1990s; however, accessing it required the use of an Alt code, and not all typefaces provided a glyph. By 2009, Microsoft referred to the ECU symbol as "historical". Support among other operating systems, including Macintosh operating systems, was inconsistent.

Although the acronym for ECU is formed from the English name of the unit, the écu was a family of gold coins minted during the reign of Louis IX of France. The name of the ECU's successor, the euro, was chosen because the name did not favor any single language, nation, or historical period.

Coins and notes
As the ECU was only an electronic unit of account and not a full currency, it did not have any official coins or notes that could be used for everyday transactions. However, various European countries and organizations like the European Parliament made commemorative and mock-up coins and notes. A common theme on the coins was usually celebrating European unity, such as celebrating membership of the European Union.

Gibraltar issued commemorative coins from 1993 through 1998, though these were (nominally) legal tender only in Gibraltar, which uses the pound sterling.

title: European Currency Unit


text:
Eastern Caribbean dollar

The Eastern Caribbean dollar (symbol: EC$; code: XCD) is the currency of all seven full members and one associate member of the Organisation of Eastern Caribbean States (OECS). The successor to the British West Indies dollar, it has existed since 1965, and it is normally abbreviated with the dollar sign $ or, alternatively, EC$ to distinguish it from other dollar-denominated currencies. The EC$ is subdivided into 100 cents. It has been pegged to the United States dollar since 7 July 1976, at the exchange rate of US$1 = 2 XCD.70.

Circulation
Six of the states using the EC$ are independent states: Antigua and Barbuda, Dominica, Grenada, Saint Kitts and Nevis, Saint Lucia, and Saint Vincent and the Grenadines. The other two, Anguilla and Montserrat, are British Overseas Territories. These states are all members of the Eastern Caribbean Currency Union.

The other two associate members of the OECS do not use the Eastern Caribbean dollar as their official currency: the British Virgin Islands and Martinique. The British Virgin Islands were always problematic for currency purposes due to their proximity to the Danish West Indies, which became the United States Virgin Islands in 1917. Officially, the British Virgin Islands used to use sterling, but in practice the situation was more complicated and involved the circulation of French francs and U.S. dollars. In 1951, the British Virgin Islands adopted the British West Indies dollar which at that time operated in conjunction with the sterling coinage, and in 1959 they changed over officially to the U.S. dollar.

Martinique, as part of France, uses the euro as its currency.

British Guiana and Barbados had previously been members of the Eastern Caribbean Currency Union but withdrew in 1966 and 1972, respectively. Trinidad and Tobago had been a member of the earlier British West Indies currency union, but withdrew in 1964.

The combined population of the EC$ area is about 613,000 (2014 census and estimates ), which is comparable to Montenegro or the American capital city of Washington, D.C. The combined GDP is 5.46 billion US dollars, which is comparable to Bermuda.

The late Queen Elizabeth II appears on the banknotes and also on the obverse of the coins. She was the head of state of all the states and territories using the EC$, except for Dominica. Dominica is nevertheless a member of the Commonwealth of Nations which now recognizes King Charles III as Head of the Commonwealth.

History
Queen Anne's proclamation of 1704 was the first attempt to introduce sterling currency to the British West Indies, however it failed to displace the existing Spanish dollar currency system right up until the late 1870s. In 1822, the British government coined 1⁄4, $1/100$, and $1/8$ fractional 'Anchor dollars' for use in Mauritius and the British West Indies (but not Jamaica). A few years later copper fractional dollars were coined for Mauritius, Sierra Leone, and the British West Indies.

The next attempts to introduce British sterling silver coinage to the colonies came with an imperial order-in-council dated 1825. This move was inspired by a number of factors. The United Kingdom was now operating a very successful gold standard in relation to the gold sovereign that was introduced in 1816, and there was a desire to extend this system to the colonies. In addition to this, there was that the supply of Spanish dollars (pieces of eight) had been cut off as a result of the revolutions in Latin America where most of the Spanish dollars were minted. The last Spanish Dollar was in fact minted at Potosi in 1825. There was now a growing desire to have a stable and steady supply of British shillings everywhere the British drum was beating. The 1825 order-in-council was largely a failure because it made sterling silver coinage legal tender at the unrealistic rating in relation to the Spanish dollar of $1/16$ = 4 shillings 4 pence. It succeeded in Jamaica, Bermuda, and British Honduras because the authorities in those territories set aside the official ratings and used the more realistic rating of $$1$ = 4 shillings. The reality of the rating between the dollar and the pound was based on the silver content of the Spanish pieces of eight as compared to the gold content of the British gold sovereign.

A second imperial order-in-council was passed in 1838 with the correct rating of $$1$ = 4 shillings 2 pence. In the years following the 1838 order-in-council, the British West Indies territories began to enact local legislation for the purposes of assimilating their monies of account with the British pound sterling. Gold discoveries in Australia in 1851 drove the silver dollar out of the West Indies, but it returned again with the great depreciation in the value of silver that followed with Germany's transition to the gold standard between 1871 and 1873. In the years immediately following 1873, there was a fear that the British West Indies might return to a silver standard. As such, legislation was passed in the individual territories to demonetize the silver dollars. Even though the British coinage was also silver, it represented fractions of the gold sovereign and so its value was based on a gold standard.

During this period, and into the nineteenth century, accounts could be kept in either dollars or sterling. Jamaica, Bermuda, and the Bahamas preferred to use sterling accounts whereas British Guiana used dollar accounts. British Guiana used dollar accounts for the purpose of assisting in the transition from the Dutch guilder system of currency to the British pound sterling system. In the Eastern Caribbean territories the private sector preferred to use dollar accounts whereas the government preferred to use sterling accounts. In some of the Eastern Caribbean territories, notes were issued by various private banks, denominated in dollars equivalent to 4 shillings 2 pence. See Antigua dollar, Barbadian dollar, Dominican dollar, Grenadian dollar, Guyanese dollar, Saint Kitts dollar, Saint Lucia dollar, Saint Vincent dollar and Trinidad and Tobago dollar.

In 1946, a West Indian Currency Conference saw Barbados, British Guiana, the Leeward Islands, Trinidad and Tobago and the Windward Islands agree to establish a unified decimal currency system based on a West Indian dollar to replace the current arrangement of having three different Boards of Commissioners of Currency (for Barbados (which also served the Leeward and Windward Islands), British Guiana and Trinidad & Tobago).

In 1949, the British government formalized the dollar system of accounts in British Guiana and the Eastern Caribbean territories by introducing the British West Indies dollar (BWI$) at the already existing conversion rate of $$1$ per pound sterling (or $$4.8$ = 4 shillings 2 pence). It was one of the many experimental political and economic ventures tested by the British government to form a uniform system within the British West Indies territories. The symbol "BWI$" was frequently used and the currency was known verbally as the "Beewee" (slang for British West Indies) dollar. Shortly thereafter in 1950, the British Caribbean Currency Board (BCCB) was set up in Trinidad with the sole right to issue notes and coins of the new unified currency and given the mandate of keeping full foreign exchange cover to ensure convertibility at $$1$.80 per pound sterling. In 1951, the British Virgin Islands joined the arrangement, but this led to discontent because that territory was more naturally drawn to the currency of the neighbouring U.S. Virgin Islands. In 1961, the British Virgin Islands withdrew from the arrangement and adopted the U.S. dollar.

Until 1955, the BWI$ existed only as banknotes in conjunction with sterling fractional coinage. Decimal coins replaced the sterling coins in 1955. These decimal coins were denominated in cents, with each cent worth one halfpenny in sterling.

In 1958, the West Indies Federation was established and the BWI$ was its currency. However, although Jamaica (including the Cayman Islands and the Turks and Caicos Islands) was part of the West Indies Federation, it retained the Jamaican pound, despite adopting the BWI$ as legal tender from 1954. Jamaica, the Cayman Islands, and the Turks and Caicos Islands were already long established users of the sterling accounts system of pounds, shillings, and pence.

In 1964 Jamaica ended the legal tender status of the BWI$ and Trinidad and Tobago withdrew from the currency union (adopting the Trinidad and Tobago dollar) forcing the movement of the headquarters of the BCCB to Barbados and soon the "BWI$" dollar lost its regional support.

In 1965, the British West Indies dollar of the now defunct West Indies Federation was replaced at par by the Eastern Caribbean dollar and the BCCB was replaced by the Eastern Caribbean Currency Authority or ECCA (established by the Eastern Caribbean Currency Agreement 1965). British Guiana withdrew from the currency union the following year. Grenada, which had used the Trinidad and Tobago dollar from 1964, rejoined the common currency arrangement in 1968. Barbados withdrew from the currency union in 1972, following which the ECCA headquarters were moved to St. Kitts.

Between 1965 and 1983, the Eastern Caribbean Currency Authority issued the EC$, with banknotes from 1965 and coins from 1981. The EC$ is now issued by the Eastern Caribbean Central Bank, based in the city of Basseterre, in Saint Kitts and Nevis. The bank was established by an agreement (the Eastern Caribbean Central Bank Agreement) signed at Port of Spain on 5 July 1983.

The exchange rate of $$4$ = £1 sterling (equivalent to the old $$4.8$ = 4s 2d) continued until 1976 for the new Eastern Caribbean dollar.

For a wider outline of the history of currency in the region see Currencies of the British West Indies.

Coins
Until 1981, the coins of the BWI$ circulated. In 1982, a new series of coins was introduced in denominations of 1, 2, 5, 10 and 25 cents and 1 dollar. The 1 and 5 cent coins were scalloped in shape while the 2 cent coin was square. These three were struck in aluminum. The 10 and 25 cent coins were round and cupro-nickel. The dollar was aluminum bronze and also round. The round, aluminum bronze dollar coin was replaced in 1989 with a decagonal, cupro-nickel type. In 2002 new and larger round-shaped 1, 2, and 5 cent pieces were introduced, along with a new 1 dollar coin which was also round. The effigy of Queen Elizabeth II was also changed that same year on all coin denominations to the Ian Rank-Broadley design, making it the last commonwealth currency up to that date to discontinue the Arnold Machin portrait. Their compositions remained aluminum and cupro-nickel, respectively. Higher denominations exist, but these were issued only as medal-coins. 1 and 2 cent coins were withdrawn from circulation in July 2015, and remained legal tender until 30 June 2020.

Banknotes
In 1965, the Eastern Caribbean Currency Authority issued banknotes in denominations of 1, 5, 20 and 100 dollars, all featuring Pietro Annigoni's 1956 portrait of Queen Elizabeth II in regalia of the Order of the Garter. The first issues in the name of the Eastern Caribbean Central Bank in 1985 were of the same denominations, with the addition of 10 dollar notes. The last 1 dollar notes were issued in 1989 and 50 dollar notes were introduced in 1993. On 1 April 2008, the Eastern Caribbean Central Bank issued a new series of banknotes which are like the preceding issues, except for omitting both the barcode and the country code letters which form part of the serial number on current notes. In 2012, the Eastern Caribbean Central Bank issued a series of banknotes with Braille features in an effort to provide notes which are easier for blind and visually impaired persons to use. The raised Braille characters on the upgraded notes feature a cricket theme in the form of balls and stumps. These characters have been added to the 10, 20, 50, and 100 dollar notes.

In 2019, the Eastern Caribbean Central Bank introduced a new family of notes produced in polymer substrate and presented in a vertical format.

Previous issues
The 2012 issue included raised braille elements for the visually-impaired in the form of a cricket ball and stumps. These were added to the EC$10, $20, $50, and $100 banknotes.

title: Eastern Caribbean dollar


text:
Talk:Eastern Caribbean dollar

Comments
Are there really only five independent states using XCD? If so, which of the six listed shouldn't be there? --Zundark, 2001 Nov 17

I don't know... I really should go to bed... I don't know if I can't count, or what... -- SJK

How is the rate to USD fixed? Do they issue new banknotes together with the US? - Lev 08:13, 4 Apr 2005 (UTC)

rate
Are you sure the change rate is 2.7? In Antigua I learned it is 2.67, however, for fast calculations, they use 2.7.

--80.58.33.235 15:11, 16 November 2005 (UTC)

 * Sorry! I've seen it changed:
 * http://web.archive.org/web/20040815225905/http://www.eccb-centralbank.org/Currency/exchange.asp
 * http://web.archive.org/web/20041010090120/http://www.eccb-centralbank.org/Currency/exchange.asp

 * --80.58.33.235 15:23, 16 November 2005 (UTC)

From the best I can understand the exchange rate is not fixed at a permanent rate of 2.7, but rarely fluctuates more than .1 points. I think the final sentence of the introduction should be edited to reflect that. If there are no objections, I shall make the necessary changes. --Monkofbob (talk) 09:55, 27 September 2011 (UTC)
 * (edit) I did some further research and the exchange rate rarely fluctuated, however it has been fixed with the American dollar at 2.7 since 14 December 2010. I think this shall be the change made to clarify to the general reader. --Monkofbob (talk) 09:59, 27 September 2011 (UTC)

Are they plastic? - or part-plastic?
Someone brought me back from Grenada a souvenir lucky cent encased in a keyring. This week the keyring broke and the cent came out. I have just realised this is plastic, although it looks like metal. Is this how the currency is made for the East Carribean, or was this just a fake made for tourists? DavidFarmbrough 08:36, 20 February 2006 (UTC)

 * David, if you check on the ECCB website, you will see that the 1 cent coin is made of aluminium, which would explain the lack of weight. Otherwise it might be a plastic souvenir coin for tourists.--Vivenot 10:25, 20 February 2006 (UTC)

This has to be retitled.
This article has to be retitled and shifted to East Caribbean States dollar, as that is what is inscribed on the coins. - (British Commonwealth Numismatics 07:05, 27 March 2007 (UTC))

 * If this page is to be retitled, the matter should first be discussed here, then the page should be "moved". The redirect you set up actually deleted the entire article. For my part, I'll vote for the move as the coins do indeed say "East Caribbean States". Dove1950 07:45, 27 March 2007 (UTC)

 * Dove is right about the way you "move". You actually didn't move. You merely replaced the page with a non-existing link. --ChoChoPK (球球PK) (talk | contrib) 07:53, 27 March 2007 (UTC)

 * Against Just because it's on the coin doesn't mean it should be named that way. The standing convention is  . "East Caribbean" is already an adjective. French franc coins have "RÉPUBLIQUE FRANÇAISE" inscribed on them. Does it make the article named "République française franc" or "French Republic franc"?
 * Against, per the above. — Nightst a  llion  (?) 14:54, 27 March 2007 (UTC)

Comment: "Républic Française" is not an adjective in English. So it would be "French Républic Française franc", which looks really silly. (130.237.205.133 (talk) 10:20, 25 May 2009 (UTC))

Elizabeth II
The images in this article show portraits of Queen Elizabeth II. Is her portrait shown on all of the coins, despite the lack of a Dominican queen? (212.247.11.153 21:02, 16 July 2007 (UTC))

 * Yes. --ChoChoPK (球球PK) (talk | contrib) 06:31, 13 August 2007 (UTC)

 * Is her portrait on all the banknotes as well? If not, which notes have her portrait or effigy, if any? Respectfully, SamBlob (talk) 03:05, 30 December 2007 (UTC)
 * Yes she is the central figure on the banknotes as well. Please check the appropriate links on the article page. Enlil Ninlil (talk) 05:29, 30 December 2007 (UTC)

Year of switch of Br. V.I. to EC$ not 1961?
According to Br. V.I. article, EC$ became official in 1959. Which is correct? --Mistakefinder (talk) 17:34, 28 September 2010 (UTC)

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 * 10 Eastern Caribbean dollars in 2012 Obverse.jpg
 * 10 Eastern Caribbean dollars in 2012 Reverse.jpg
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 * 100 Eastern Caribbean dollars in 2012 Reverse.jpg
 * 20 Eastern Caribbean dollars in 2012 Obverse.jpg
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title: Talk:Eastern Caribbean dollar


text:
Erythromycin

Erythromycin is an antibiotic used for the treatment of a number of bacterial infections. This includes respiratory tract infections, skin infections, chlamydia infections, pelvic inflammatory disease, and syphilis. It may also be used during pregnancy to prevent Group B streptococcal infection in the newborn, and to improve delayed stomach emptying. It can be given intravenously and by mouth. An eye ointment is routinely recommended after delivery to prevent eye infections in the newborn.

Common side effects include abdominal cramps, vomiting, and diarrhea. More serious side effects may include Clostridium difficile colitis, liver problems, prolonged QT, and allergic reactions. It is generally safe in those who are allergic to penicillin. Erythromycin also appears to be safe to use during pregnancy. While generally regarded as safe during breastfeeding, its use by the mother during the first two weeks of life may increase the risk of pyloric stenosis in the baby. This risk also applies if taken directly by the baby during this age. It is in the macrolide family of antibiotics and works by decreasing bacterial protein production.

Erythromycin was first isolated in 1952 from the bacteria Saccharopolyspora erythraea. It is on the World Health Organization's List of Essential Medicines. In 2021, it was the 259th most commonly prescribed medication in the United States, with more than 1million prescriptions.

Medical uses
Erythromycin can be used to treat bacteria responsible for causing infections of the skin and upper respiratory tract, including Streptococcus, Staphylococcus, Haemophilus and Corynebacterium genera. The following represents MIC susceptibility data for a few medically significant bacteria:
 * Haemophilus influenzae: 0.015 to 256 μg/ml
 * Staphylococcus aureus: 0.023 to 1024 μg/ml
 * Streptococcus pyogenes: 0.004 to 256 μg/ml
 * Corynebacterium minutissimum: 0.015 to 64 μg/ml

It may be useful in treating gastroparesis due to this promotility effect. It has been shown to improve feeding intolerances in those who are critically ill. Intravenous erythromycin may also be used in endoscopy to help clear stomach contents to enhance endoscopic visualization, potentially improving diagnostic accuracy and subsequent management.

Available forms
Erythromycin is available in enteric-coated tablets, slow-release capsules, oral suspensions, ophthalmic solutions, ointments, gels, enteric-coated capsules, non enteric-coated tablets, non enteric-coated capsules, and injections. The following erythromycin combinations are available for oral dosage: For injection, the available combinations are:
 * erythromycin base (capsules, tablets)
 * erythromycin estolate (capsules, oral suspension, tablets), contraindicated during pregnancy
 * erythromycin ethylsuccinate (oral suspension, tablets)
 * erythromycin stearate (oral suspension, tablets)
 * erythromycin gluceptate
 * erythromycin lactobionate

For ophthalmic use:
 * erythromycin base (ointment)

Adverse effects
Gastrointestinal disturbances, such as diarrhea, nausea, abdominal pain, and vomiting, are very common because erythromycin is a motilin agonist.

More serious side effects include arrhythmia with prolonged QT intervals, including torsades de pointes, and reversible deafness. Allergic reactions range from urticaria to anaphylaxis. Cholestasis and Stevens–Johnson syndrome are some other rare side effects that may occur.

Studies have shown evidence both for and against the association of pyloric stenosis and exposure to erythromycin prenatally and postnatally. Exposure to erythromycin (especially long courses at antimicrobial doses, and also through breastfeeding) has been linked to an increased probability of pyloric stenosis in young infants. Erythromycin used for feeding intolerance in young infants has not been associated with hypertrophic pyloric stenosis.

Erythromycin estolate has been associated with reversible hepatotoxicity in pregnant women in the form of elevated serum glutamic-oxaloacetic transaminase and is not recommended during pregnancy. Some evidence suggests similar hepatotoxicity in other populations.

It can also affect the central nervous system, causing psychotic reactions, nightmares, and night sweats.

Interactions
Erythromycin is metabolized by enzymes of the cytochrome P450 system, in particular, by isozymes of the CYP3A superfamily. The activity of the CYP3A enzymes can be induced or inhibited by certain drugs (e.g., dexamethasone), which can cause it to affect the metabolism of many different drugs, including erythromycin. If other CYP3A substrates — drugs that are broken down by CYP3A — such as simvastatin (Zocor), lovastatin (Mevacor), or atorvastatin (Lipitor) — are taken concomitantly with erythromycin, levels of the substrates increase, often causing adverse effects. A noted drug interaction involves erythromycin and simvastatin, resulting in increased simvastatin levels and the potential for rhabdomyolysis. Another group of CYP3A4 substrates are drugs used for migraine such as ergotamine and dihydroergotamine; their adverse effects may be more pronounced if erythromycin is associated.

Earlier case reports on sudden death prompted a study on a large cohort that confirmed a link between erythromycin, ventricular tachycardia, and sudden cardiac death in patients also taking drugs that prolong the metabolism of erythromycin (like verapamil or diltiazem) by interfering with CYP3A4. Hence, erythromycin should not be administered to people using these drugs, or drugs that also prolong the QT interval. Other examples include terfenadine (Seldane, Seldane-D), astemizole (Hismanal), cisapride (Propulsid, withdrawn in many countries for prolonging the QT time) and pimozide (Orap). Interactions with theophylline, which is used mostly in asthma, were also shown.

Erythromycin and doxycycline can have a synergistic effect when combined and kill bacteria (E. coli) with a higher potency than the sum of the two drugs together. This synergistic relationship is only temporary. After approximately 72 hours, the relationship shifts to become antagonistic, whereby a 50/50 combination of the two drugs kills less bacteria than if the two drugs were administered separately.

It may alter the effectiveness of combined oral contraceptive pills because of its effect on the gut flora. A review found that when erythromycin was given with certain oral contraceptives, there was an increase in the maximum serum concentrations and AUC of estradiol and dienogest.

Erythromycin is an inhibitor of the cytochrome P450 system, which means it can have a rapid effect on levels of other drugs metabolised by this system, e.g., warfarin.

Mechanism of action
Erythromycin displays bacteriostatic activity or inhibits growth of bacteria, especially at higher concentrations. By binding to the 50s subunit of the bacterial rRNA complex, protein synthesis and subsequent structure and function processes critical for life or replication are inhibited. Erythromycin interferes with aminoacyl translocation, preventing the transfer of the tRNA bound at the A site of the rRNA complex to the P site of the rRNA complex. Without this translocation, the A site remains occupied, thus the addition of an incoming tRNA and its attached amino acid to the nascent polypeptide chain is inhibited. This interferes with the production of functionally useful proteins, which is the basis of this antimicrobial action.

Erythromycin increases gut motility by binding to motilin receptor, thus it is a motilin receptor agonist in addition to its antimicrobial properties. It can be therefore administered intravenously as a stomach emptying stimulant.

Pharmacokinetics
Erythromycin is easily inactivated by gastric acid; therefore, all orally administered formulations are given as either enteric-coated or more-stable salts or esters, such as erythromycin ethylsuccinate. Erythromycin is very rapidly absorbed, and diffuses into most tissues and phagocytes. Due to the high concentration in phagocytes, erythromycin is actively transported to the site of infection, where, during active phagocytosis, large concentrations of erythromycin are released.

Metabolism
Most of erythromycin is metabolised by demethylation in the liver by the hepatic enzyme CYP3A4. Its main elimination route is in the bile with little renal excretion, 2%–15% unchanged drug. Erythromycin's elimination half-life ranges between 1.5 and 2.0 hours and is between 5 and 6 hours in patients with end-stage renal disease. Erythromycin levels peak in the serum 4 hours after dosing; ethylsuccinate peaks 0.5–2.5 hours after dosing, but can be delayed if digested with food.

Erythromycin crosses the placenta and enters breast milk. The American Association of Pediatrics determined erythromycin is safe to take while breastfeeding. Absorption in pregnant patients has been shown to be variable, frequently resulting in levels lower than in nonpregnant patients.

Composition
Standard-grade erythromycin is primarily composed of four related compounds known as erythromycins A, B, C, and D. Each of these compounds can be present in varying amounts and can differ by lot. Erythromycin A has been found to have the most antibacterial activity, followed by erythromycin B. Erythromycins C and D are about half as active as erythromycin A. Some of these related compounds have been purified and can be studied and researched individually.

Synthesis
Over the three decades after the discovery of erythromycin A and its activity as an antimicrobial, many attempts were made to synthesize it in the laboratory. The presence of 10 stereogenic carbons and several points of distinct substitution has made the total synthesis of erythromycin A a formidable task. Complete syntheses of erythromycins’ related structures and precursors such as 6-deoxyerythronolide B have been accomplished, giving way to possible syntheses of different erythromycins and other macrolide antimicrobials. Woodward successfully completed the synthesis of erythromycin A, which was published in 1981.

History
In 1949 Abelardo B. Aguilar, a Filipino scientist, sent some soil samples to his employer at Eli Lilly. Aguilar managed to isolate erythromycin from the metabolic products of a strain of Streptomyces erythreus (designation changed to Saccharopolyspora erythraea) found in the samples. Aguilar received no further credit or compensation for his discovery.

The scientist was allegedly promised a trip to the company's manufacturing plant in Indianapolis, but it was never fulfilled. In a letter to the company's president, Aguilar wrote: “A leave of absence is all I ask as I do not wish to sever my connection with a great company which has given me wonderful breaks in life.” The request was not granted.

Aguilar reached out to Eli Lilly again in 1993, requesting royalties from sales of the drug over the years, intending to use them to put up a foundation for poor and sickly Filipinos. This request was also denied. He died in September of the same year.

Lilly filed for patent protection on the compound which was granted in 1953. The product was launched commercially in 1952 under the brand name Ilosone (after the Philippine region of Iloilo where it was originally collected). Erythromycin was formerly also called Ilotycin.

The antibiotic clarithromycin was invented by scientists at the Japanese drug company Taisho Pharmaceutical in the 1970s as a result of their efforts to overcome the acid instability of erythromycin.

Economics
It is available as a generic medication.

In the United States, in 2014, the price increased to seven dollars per tablet.

The price of erythromycin rose three times between 2010 and 2015, from 24 cents per tablet in 2010 to $8.96 in 2015. In 2017, a Kaiser Health News study found that the per-unit cost of dozens of generics doubled or even tripled from 2015 to 2016, increasing spending by the Medicaid program. Due to price increases by drug manufacturers, Medicaid paid on average $2,685,330 more for Erythromycin in 2016 compared to 2015 (not including rebates). By 2018, generic drug prices had climbed another 5% on average.

Brand names
Brand names include Robimycin, E-Mycin, E.E.S. Granules, E.E.S.-200, E.E.S.-400, E.E.S.-400 Filmtab, Erymax, Ery-Tab, Eryc, Ranbaxy, Erypar, EryPed, Eryped 200, Eryped 400, Erythrocin Stearate Filmtab, Erythrocot, E-Base, Erythroped, Ilosone, MY-E, Pediamycin, Zineryt, Abboticin, Abboticin-ES, Erycin, PCE Dispertab, Stiemycine, Acnasol, and Tiloryth.

Veterinary uses
Erythromycin is also used in fishcare for the "broad spectrum treatment and control of bacterial disease". Body slime, mouth fungus, furunculosis, bacterial gill illness, and hemorrhagic septicaemia are all examples of bacterial diseases in fish that may be treated and controlled with this therapy. The usage of Erythromycin in fishcare is mainly limited to therapies targeting gram-positive bacteria.

title: Erythromycin