Autograph music manuscript of Elgar's orchestration of Henry Purcell's motet 'Jehova, quam multi sunt hostes', dated at end 26 June 1929, with an annotated proof, first edition and autograph letter signed

Edward Elgar (1857-1934)
Autograph music manuscript of Elgar's orchestration of Henry Purcell's motet 'Jehova, quam multi sunt hostes', dated at end 26 June 1929, with an annotated proof, first edition and autograph letter signed
Full score. 27 pages, 318 x 299mm, rectos only, foliated in ink, notated in blue and (the vocal parts) red ink, extensive cancellations, erasures and emendations, the text where present in another hand, some annotations by Sir Ivor Atkins; with an autograph letter signed (with his pseudonym, 'Reynart') by Elgar to Atkins, 27 June 1929, presenting the score. Bound in contemporary black roan by Phillips & Probert Ltd, Worcester, title on spine; [with:] a proof copy of Atkins's edition of the motet, marked up by Elgar in red ink, and blue and lead pencil, with some further notes by Atkins, annotated by Atkins 'Proofs from which Elgar scored the work, with notes in his handwriting'; [and:] a copy of the first edition, London: Bayley & Ferguson, 1929, similarly marked up by Elgar, signed on title by Atkins and annotated 'This was the copy used by Elgar when orchestrating it'; [and:] a second copy, also signed by Atkins. Provenance: Sir Ivor Atkins (1869-1953, organist of Worcester Cathedral; ownership inscriptions); Sotheby's London, 18 May 1995, lot 133.

Elgar's orchestration of a motet by his great predecessor, Henry Purcell. Purcell's 'Jehova, quam multi sunt hostes' is one of only two sacred motets on Latin texts by him, and is one of his most striking works, remarkable for its sense of harmonic adventure. Elgar's orchestration, for five-part choir, flutes, oboes, clarinets, bassoons, horns, trombone, tuba, timpani, strings and organ, was first performed at the Three Choirs Festival, 1929. In his letter accompanying the score, Elgar writes self-deprecatingly 'It is an awkward thing to do as it is so intrinsically contrapuntal in the chorus bits ... It does not lend itself to orch[estra]l climaxes – I have done what I could'.