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| Unit name | Chindits |
|---|---|
| Caption | A Chindit column crossing a river in Burma |
| Dates | 1942 – 1945 |
| Country | India |
| Branch | Army of India |
| Type | Special forces |
| Role | Asymmetric warfare |
| Garrison | Jhansi, India |
| Battles | Burma Campaign of World War II |
| Decorations | Four members awarded the Victoria Cross |
| Notable commanders | Orde Wingate,Walter David Alexander Lentaigne |
Most of the members of the Chindits were from units of the British Army and Gurkha units of the British Indian Army. Personnel recruited in Burma served as reconnaissance troops. Some United States personnel were attached to the Chindits, or served in a USAAF unit specifically formed to support the Chindits in the field.
In the East African Campaign of 1940–41, Wingate had begun to explore the ideas that he later used with the Chindits, when he created and commanded a mixed group of regular Sudanese and Ethiopian units together with Abyssinian partisans. Known as Gideon Force, they disrupted Italian supply lines and provided intelligence to British forces. As Commander-in-Chief of the Middle East in 1940, Wavell had given permission for the Gideon Force for political reasons, because he had thought Wingate's idea to be militarily too unorthodox. After the disbandment of Gideon Force, Wavell requested Wingate for service in Burma in 1942 where it was intended that he raise irregular forces to operate behind the Japanese lines similar to the manner in which Gideon Force had operated in Ethiopia. Rather than organize irregular forces in Burma, Wingate spent his time touring the country and developing his theory of long range penetration on paper. During the final stages of the British retreat from Burma, Wingate had himself specially flown back to India while the rest of the army walked out. Once in Delhi, he presented his proposals to Wavell.
The 77th Indian Infantry Brigade, otherwise known as the Chindits, was gradually formed in the area around Jhansi during the summer months of 1942. Wingate took charge of the training of the troops in jungles of central India during the rainy season. Half of the Chindits were British infantry soldiers from the 13th Battalion of the King's Liverpool Regiment (nominally a second-line battalion which contained a large number of older men), and men from the former Bush Warfare School in Burma who were formed into 142 Commando Company. The other portion of the force was made up of the 3rd Battalion of the 2nd Gurkha Rifles (a battalion which had only just been raised) and 2nd Battalion of the Burma Rifles, a composite unit formed from several depleted battalions of Burmese troops which had retreated into India in 1942.
Wingate trained this force as Long-Range Penetration units that were to be supplied by stores parachuted or dropped from transport aircraft, and use close air support as a substitute for heavy artillery They would penetrate the jungle on foot, essentially relying on surprise through mobility to target enemy lines of communication (a tactic which the Japanese had previously been using to great effect in Singapore and in Burma in 1942 against British forces).
The Chindits crossed the Chindwin River on 13 February and faced the first Japanese troops two days later. Two columns marched to the south and received their air supply drops in broad daylight to create an impression that they were the main attack. They even had a man impersonating a British general along with them. The RAF mounted air attacks on Japanese targets to support the deception. These columns were to swing east at the beginning of march and attack the main north-south in areas south of the main force. One column successfully carried out demolitions along the railway but the other column was ambushed. Half of the ambushed column returned to India.
Five other columns proceeded eastward. Two, those of Michael Calvert and Bernard Fergusson, proceeded towards the main north-south railway in Burma. On 4 March, Calvert's column reached the valley and demolished the railway in 70 places. Fergusson arrived two days later to do the same. Despite these successes, however, the railway was only temporarily disabled, and resumed operation shortly after.
On many occasions, the Chindits could not take their wounded with them; some were left behind in villages. Wingate had in fact issued specific orders to leave behind all wounded, but these orders were not strictly followed. Since there were often no established paths in the jungle along their routes, many times they had to clear their own with machetes and kukris (and on one occasion, a commandeered elephant). A single RAF squadron of 6 planes supplied them by air.
Once in Burma, Wingate repeatedly changed his plans, sometimes without informing all the column commanders. The majority of two of the columns marched back to India after being ambushed by the Japanese in separate actions. After the railway attacks, he decided to cross his force over the Irrawaddy River. However, the area on the other side of the river turned out to be inhospitable to operations. Water was difficult to obtain and the combination of rivers with a good system of roads in the area allowed the Japanese to force the Chindits into a progressively smaller "box".
In late March, Wingate made the decision to withdraw the majority of the force, but sent orders to one of the columns to continue eastward. The operations had reached the range limit of air supply and prospects for new successful operations were low, given the Japanese pressure. The columns were generally left to make their own way back to India. On the journey back, the most difficult actions involved crossing back over the Irrawaddy River. The Japanese had observers and patrols all along the river bank and could quickly concentrate once an attempt at a crossing was detected. Gradually, all the columns broke up into small groups. Wingate's headquarters returned to India on its own ahead of most of the columns. Through the spring and even into the autumn of 1943 individual groups of men from the Chindits made their way back to India. The army did what they could for the men. In one case, an aeroplane was landed in an open area and wounded men were evacuated by air. Part of one column made it to China. Another portion of the men escaped into the far north of Burma. Others were captured or died.
By the end of April, after the mission of three months, the majority of the surviving Chindits had crossed the Chindwin river, having marched between 750-1000 miles. Of the 3,000 men that had begun the operation, a third (818 men) had been killed, taken prisoner or died of disease, and of the 2,182 men who returned, about 600 were too debilitated from their wounds or disease to return to active service.Popularly known as The Leopards, although he had little choice but to accept 111th Brigade, and two Gurkha battalions in 77th brigade. Since large numbers of trained British infantry were required, three brigades (14th, 16th, 23rd) were added to the Chindits by breaking up the experienced British 70th Infantry Division, much against the wishes of Lieutenant General William Slim and other commanders, who wished to use the division in a conventional role. A sixth brigade was added to the force by taking a brigade from the British 81st (West Africa) Division.
At Quebec, Wingate had also succeeded in obtaining a "private" air force for the Chindits, the 1st Air Commando Group, mainly consisting of USAAF aircraft. The Chindits were greatly encouraged by having aircraft on which they could call immediately for supply drops, casualty evacuation and air support. Other welcome American aid was the "K" Ration pack which, although it provided insufficient calories for prolonged active operations, was far better than the equivalent British ration pack.
The forces for the second Chindit operation were called Special Force, officially 3rd Indian Infantry Division, or Long Range Penetration Groups, but the nickname, the Chindits, had already stuck.
The new Chindit force commenced training in Gwalior. Men were trained in crossing rivers, demolitions and bivouacking. Calvert and Fergusson, both newly promoted to Brigadier, took command of two of the brigades, and were responsible for much of the training program and the development of tactical planning. Wingate himself was absent for much of the training period, first being out of the country to attend the Quebec Conference and then struck ill with typhoid from drinking bad water in North Africa on his return.
The methods of the new Long Range Penetration force in 1944 differed from those of 1943. Wingate had decided on a strategy of creating fortified bases behind the Japanese lines, which would then send out raiding columns over short distances. This change was in part forced upon him by strengthened Japanese patrols along the Burmese frontier, making a repeat of the successful infiltration in 1943 unlikely. In an imaginative move prompted by Colonel Philip Cochran's assurance that he could transport both troops and supplies by glider, Wingate arranged for the bulk of the force to enter Burma by air, greatly accelerating the force's ability to reach its target objectives. Advance units would land in gliders in preselected open fields in Burma, and prepare them for large-scale landings by transport aircraft. The lavish air support provided by Colonels Cochran and Alison of the 1st Air Commando Group proved critical to the success of the operation.
Wingate also had plans for a general uprising of the Kachin population of Northern Burma. He fought over these plans with the leadership of Force 136 (an organisation set up to liase with resistance forces in Japanese-occupied countries), which was concerned that a premature uprising of the Kachins without a permanent British military presence would lead to their slaughter by the Japanese at the end of operations. Force 136 also had their own plans for a rising to be coordinated with the arrival of the regular army into Burma. Wingate was eventually convinced to scale back his original plans. Further complicating relations between the organisations were orders issued by Wingate to the commander of Dah Force (a British-led force of Kachin irregulars attached to the Chindits) not to coordinate operations with Force 136 for security reasons.
During the last months of 1943, planning was conducted to carry out the strategy for India as originally determined at the Quebec Conference. In November, the overall plan for the dry season campaign of 1944 determined by South East Asia Command focused on the use of the Chindits in the reconquest of northern Burma. These plans were approved by the Combined Chiefs of Staff at the Cairo Conference and although other offensives in Burma were scaled back or cancelled, Stilwell's Northern Front offensive with the Chindits' participation survived the cuts. The uncertainty of the plans nevertheless meant that the plans and contingency plans for the use of the Chindits repeatedly changed up to the very start of operations.
The Chindits were assigned the task of helping the forces of Joseph Stilwell push the Ledo Road through northern Burma to link up with the Burma Road and re-establish an overland supply route to China, by mounting a long range penetration operation behind the Japanese opposing his forces on the Northern Front. It had originally been intended that the IV Corps would attack on the Central Front and cross the Chindwin to tie up Japanese forces which could otherwise be used to aid the Northern Front. As the Japanese launched their own attack on the Central Front, this advance did not meet its objectives, but it still meant that most Japanese forces were engaged the Central Front and not available to reinforce the Japanese 18th Division on the Northern Front. The Japanese offensive on the Central Front resulted in further proposals and refinements of the plans for the Chindits.
==Operation Thursday== , 3rd West African Brigade (Thunder)]] On 5 February, 1944, Fergusson's 16th Brigade left Ledo for Burma. They avoided Japanese forces by traversing exceptionally difficult terrain. The rest of the Brigades were brought in by air to create fortified bases with airstrips.
Three landing zones, codenamed Piccadilly, Broadway and Chowringhee were selected. Calvert's 77th Brigade prepared to fly by glider into Piccadilly on the night of 5 March. A last-minute reconnaissance revealed Piccadilly to be covered with logs, making landing impossible. In some accounts of the incident, Wingate insisted that the operation had been betrayed and that the other landing zones would be ambushed. To proceed would be "murder". Slim accepted the responsibility of ordering a willing Calvert to proceed with the operation, using Broadway instead. While Piccadilly had already been used to evacuate casualties during the first Chindit operation in 1943, Broadway had to be selected from the results of aerial reconnaissance. It turned out to be a poor landing landing ground and there were many casualties in crash landings, but Calvert's men were just able to make the strip fit to take transport aircraft the next day. Chindit gliders also landed on Chowringhee the next day, without opposition.
It was later revealed that the logs on Piccadilly had been placed there to dry by Burmese teak loggers. The real problem was the failure to maintain continuous observation of the landing zones (e.g. by high-flying Spitfire photo-reconnaissance aircraft) before the forces were deployed.
Over the next week, 600 sorties by DC3 transport aircraft transferred 9000 men to the landing zones. Chowringhee was abandoned once the fly-in was completed, but Broadway was held with a garrison which included field artillery, anti-aircraft guns and even Spitfire fighters for a brief period. Fergusson's brigade set up another base named Aberdeen north of Indaw, into which 14th Brigade was flown. Calvert's brigade established yet another, named White City at Mawlu, astride the main railway and road leading to the Japanese northern front. 111 Brigade set up ambushes and roadblocks south of Indaw (although part of the brigade which landed at Chowringhee was delayed in crossing the Irrawaddy River), before moving west to Pinlebu.
Ferocious jungle fighting ensued around Broadway and White City. At times, British and Japanese troops were in close combat, bayonets and kukris against katanas. On March 27, after days of aircraft attack, Japanese attacked Broadway for several nights before the attack was repulsed with flown-in artillery and the aid of locally-recruited Kachin irregulars.
However, a setback occurred when Fergusson's brigade tried to capture Indaw on 24 March. The original intention had been to seize the town and its airfields on 15 March but Fergusson had to report that this was impossible. Wingate appeared ready to change the brigade's mission but on 20 March, he reinstated Indaw as the target. The brigade was already exhausted from its long march, and there was no time to properly reconnoitre the objective. The units were dismayed to find that the Japanese controlled the only water sources. Fergusson expected that 14th Brigade would cooperate in the attack, but they moved west instead. Also, Japanese reinforcements had moved into Indaw, which was a major road and rail centre. Fergusson's battalions, attacking separately, were each repulsed. After this, most of the tired 16th Brigade were flown out.
Slim, the commander of British Fourteenth Army which had loose operational control over Special Force, selected Brigadier Lentaigne to be Wingate's replacement after conferring with Brigadier Derek Tulloch, Wingate's Chief of Staff. The choice was made on the grounds that Lentaigne was the most balanced and experienced commander in the force; he had been an instructor at the Staff College at Quetta, had led a Gurkha battalion with distinction during the gruelling retreat from Burma in 1942, and had commanded a Chindit Brigade in the field (albeit for only a few weeks but none of the other Brigade commanders had more experience). As an officer of Gurkha troops, he had a similar outlook and background to Slim. The other Brigade commanders were unknown quantities, mostly without staff qualifications with some having never even commanded a battalion-sized unit in combat before 1944, and Wingate's staff officers lacked the necessary combat experience.
What Slim ignored was complaints inside the Chindits that Lentaigne was an outsider in Wingate's force and had been critical of Wingate's methods and techniques. In this respect, he would be opposed to several of the Brigade commanders and staff of the Chindits. Wingate had disliked him because he was selected by Wavell without Wingate's approval. (Wingate also tended to hold Indian Army officers, and Gurkha Officers in particular, in total contempt.)
It is probably fair to say that nobody could have filled Wingate's shoes. Wingate had sustained his force outside normal army command through political connections that no successor would have available. The other dilemma of any successor was that they would constantly be second-guessed by those who thought they knew exactly what Wingate would have done in a particular situation. The same officers who would go to extraordinary lengths to justify even the most flawed decisions by Wingate would attack any successor whenever the opportunity presented itself.
In April, Lentaigne ordered the main body of 111 Brigade west of the Irrawaddy, now commanded by John Masters, to move north and build a new stronghold, codenamed Blackpool, which would block the railway and main road at Hopin, south of Mogaung. Calvert was ordered to abandon White City and Broadway and move north to support Masters. Calvert was opposed to this, as his brigade had successfully held these two strongholds for months. Stilwell also feared that abandoning White City would allow Japanese reinforcements to move north. However, Lentaigne insisted that the Chindit brigades were too far apart to support each other, and that it would be difficult to use aircraft at White City and Broadway during the monsoon.
Masters's force established Blackpool on 8 May and were almost immediately engaged in fierce fighting. Whereas White City had been deep in the Japanese rear, its defenders had had plenty of time to prepare their defences and its attackers had been a mixed bag of detachments from several formations, Blackpool was close to the Japanese northern front, and was immediately attacked by Japanese troops with heavy artillery support. As Calvert and Stilwell had feared, abandoning White City had allowed the Japanese 53rd Division to move north from Indaw. A heavy attack against Blackpool was repulsed on 17 May, but a second attack on 24 May captured vital positions inside the defences.
Because the monsoon had broken and heavy rain made movement in the jungle very difficult, neither Calvert nor Brodie's British 14th Infantry Brigade could help Masters. Finally, Masters had to abandon Blackpool on 25 May, because the men were exhausted after 17 days of continual combat. Nineteen Allied soldiers, who were so badly injured as to be beyond hope of recovery and could not be moved, were shot by the medical orderlies and hidden in heavy stands of bamboo.
Over the period from 6 June to 27 June, Calvert's 77th Brigade took Mogaung and suffered 800 casualties (50%) among those of the brigade involved in the operation. Fearing that they would then be ordered to join the siege of Myitkyina, Calvert handed over Mogaung to Force X, shut down his radios and retreated to Kamaing, where Stilwell had his headquarters. A court-martial was likely until Stilwell and Calvert met in person, and Stilwell finally appreciated the conditions under which the Chindits had been operating.
111 Brigade, after resting, were ordered to capture a hill known as Point 2171. They did so, but were now utterly exhausted. Most of them were suffering from malaria, dysentery and malnutrition. On 8 July, at the insistence of the Supreme Commander, Admiral Louis Mountbatten, doctors examined the brigade. Of the 2200 men present from four and a half battalions, only 119 were declared fit. The Brigade was evacuated, although Masters sarcastically kept the fit men, "111 Company" in the field until 1 August.
The portion of 111 Brigade east of the Irrawaddy were known as Morris Force, after its commander, Lieutenant-Colonel "Jumbo" Morris. They had spent several months harassing Japanese traffic from Bhamo to Myitkyina. They had then attempted to complete the encirclement of Myitkyina. Stilwell was angered that they were unable to do so, but Slim pointed out that Stilwell's Chinese troops (numbering 5,500) had also failed in that task. By 14 July, Morris Force was down to three platoons.. A week later, they had only 25 men fit for duty. Morris Force was evacuated about the same time as 77th Brigade.
14th Brigade and 3rd West African Brigade remained in action, assisting the newly-arrived British 36th Infantry Division in its advance down the "Railway Valley" south of Mogaung. Finally, they were relieved and withdrawn, starting on 17 August.
The last Chindit left Burma on 27 August, 1944.
The healthy were sent to training camps to await new operations. However, when the army command evaluated the men and equipment required to return the Chindits to operational status, it was decided to transform the force into an Airborne Division in India. Beyond direct replacements, it was known that the British element of the Chindits would be decimated in 1945 by the need to repatriate personnel who had served more than four years overseas.
During the early months of 1945, several of the brigade headquarters and many of the veterans of the Chindit operations were reformed into the 14th and 77th Infantry Brigades and merged into the 44th Airborne Division (India), while the force headquarters and signals units formed the core of Indian XXXIV Corps. The Chindits were finally disbanded in February 1945.
The views of the majority of the post-war British military establishment were made succinctly by Slim (commander of the Fourteenth Army), when he wrote "... the Chindits, gave a splendid examples of courage and hardihood. Yet I came firmly to the conclusion that such formations, trained equipped and mentally adjusted for one kind of operation were wasteful. They did not give, militarily, a worth-while return for the resources in men, material and time that they absorbed. ... [Special forces] were usually formed by attracting the best men ... The result of these methods was undoubtedly to lower the quality of the rest of the Army." He makes several other arguments against special forces, about the danger of ordinary battalions thinking that some tasks could only be performed by special forces, and that special forces can only stay in the field for relatively short periods compared to regular battalions. He sums up that "Anything, whatever the short cuts to victory it may promise, which thus weakens the Army spirit is dangerous." To underline his point he suggests that "This cult of special forces is as sensible as to form a Royal Corps of Tree Climbers and say that no soldier, who does not wear its green hat with a bunch of oak leaves stuck in it should be expected to climb a tree". He does acknowledge the need for small units to stir up trouble in the enemy's rear area but does not make it clear if he is talking about V Force or the actions of Force 136.
Others, like Sir Robert Thompson, himself a Chindit, have asserted that the idea behind the Chindits was a sound one, but that they were just badly handled and used in operations for which they were not properly equipped or trained, for example in static defence. A third view is that despite the relatively insignificant losses that the Chindits were able to inflict, their propaganda value in 1943, at a time when the Army was on the defensive, was a moral boost to the people of India and Britain, and helping to dispel the image of Japanese invincibility. It has been hard to reach a consensus on any of these issues due to the partisan nature of the discussions surrounding Wingate himself.
It has also been argued that the Chindits also contributed to the overall success of the Allied armies in Burma through the innovations in air supply techniques and organisation which their operations required. The Allied air forces were later to use these tactics to supply increasingly large forces which were cut off by enemy forces, or were operating independently of road or rail lines of communication. Conversely, it has been argued that the apparent success of the Chindits led some Japanese commanders to believe that they could employ their own incursion tactics on a much larger scale, and that when they came to implement such tactics during the Chindwin offensive of early 1944, lacking the necessary air support that had enabled the Allies to be successful, the result was disastrous and ultimately led to defeat at both Kohima and Imphal, and later on the plains of Burma in 1945.
Three of the Brigade commanders on Operation Thursday (two of whom had also served in the first Chindit expedition) subsequently wrote autobiographies, which contained their comments on the Chindits' concept and practice of operations. Bernard Fergusson, originally an enthusiastic supporter of Wingate, later came to feel that Wingate lacked both consistency and flexibility in his plans, which contributed to Fergusson's long, pointless march from Ledo and his defeat at Indaw. John Masters, who was a close friend and supporter of Lentaigne, felt that the Chindits' mobility was sacrificed in holding fixed defensive positions or attacking strong Japanese positions, without the necessary support. In criticism of the whole Chindit concept, he pointed out that the Chindit force had the infantry strength of two and a half line divisions, but, without supporting arms, it had the fighting strength of less than one. Michael Calvert, who was closest to Wingate, remained an absolute unquestioning defender of Wingate and his methods.
;Citations
;Bibliography Autobiography by Wingate's Chief of Staff
Category:Divisions of the Indian Army Category:Indian World War II divisions Category:British World War II divisions Category:Groups of World War II Category:Divisions of World War II Category:Military history of Burma during World War II Category:Military units and formations established in 1942 Category:Military units and formations of India in World War II
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| Series | Emmerdale |
|---|---|
| Color | #99CCCC |
| Image1 | Image:Len Reynolds.png |
| Name | Len Reynolds |
| Introducer | Kieran Roberts |
| Portrayer | Peter Martin |
| Years | 2001–07 |
| Born | 23 February 1937 |
| Death | |
| Romances | Pearl Ladderbanks (2003–07) |
| Occupation | Retired |
| Classification | Former; regular |
| First | 21 February 2001 |
| Last | 17 May 2007 |
| Wife | Eileen Reynolds (?-2001) |
| Sons | Sean Reynolds |
| Grandsons | Marc Reynolds |
| Granddaughters | Ollie Reynolds |
Leonard "Len" Reynolds was a fictional character in the British ITV soap opera Emmerdale. He was played by Peter Martin.
However, the marriage was destroyed when it was revealed that Angie had been sleeping with village criminal Cain Dingle and Sean left to start a new life with his mistress, Lady Tara Oakwell. Len stayed behind to help Angie rebuild her life, at the request of granddaughter Ollie. Len kept a close watch on his grandchildren - not knowing that soon he would be required to take on a more pivotal role in their lives.
In November 2002, Angie was killed in a car crash whilst attempting to set Cain up in order to get him out of her life, leaving Len to look after Marc and Ollie. Marc went to live with his father but Ollie chose to stay in Emmerdale with Len and soon her boyfriend Danny Daggert moved in with them. Len enjoyed living with them and was sad when Ollie moved away to go to university.
At the same time, Len had developed feelings for local pensioner Edna Birch but she did not reciprocate. However, he found love again with flamboyant newcomer Pearl Ladderbanks. Enchanted by Pearl’s sunny personality, Len moved in with her.Pearl, however, was hiding a secret. Her son, Frank Bernard Hartbourne, whom she had said was a financial advisor, was released from prison - after serving a sentence for rape. When Len found out the truth, he was horrified and it looked like their relationship was over but he realised what Pearl had been through and he agreed to stand by her.
Having nowhere else to go, Frank was invited to Emmerdale by a reluctant Pearl. When news of his arrival was announced in the local paper, the villagers were outraged and turned against Pearl and Len. Only vicar Ashley Thomas and Edna stood by them. Devastated at being treated so cruelly by their neighbours, the couple decided to leave Emmerdale for good. But, after Frank left after being viciously assaulted by Scott Windsor and Syd Woolfe, Len and Pearl decided to stay and try and rebuild bridges with their neighbours.
Len was delighted for Pearl when her grandson Owen Hartbourne came to visit from Hong Kong and even agreed to start saving for a trip overseas to see him. But Pearl’s saving got out of hand. She started investing in an internet scheme that turned out to be a scam and lost all her money. The mistake ended up putting Pearl into financial turmoil and she ended up owing a huge sum of money to her boss Eric Pollard. When he found out that Pearl had been blackmailed by Eric, Len punched him and thought that the matter was resolved. But although he had got the loan he had to given Pearl back, Eric insisted on charging an early settlement charge that he said must be paid or he would report Len for assault. Pearl decided to keep this from him and Len had no idea that her debts had spiralled even further. Their relationship ended when Len found out about Pearl's lies and she left the village in disgrace.
Two months later, she returned to Emmerdale with the intention of winning her respect back and reuniting with Len. But Len knew he was in love with Edna Birch and had been for a long time. He confessed his love for Edna to Pearl, but she vowed to stand by him and was satisfied with being second best as they both knew that Edna did not feel the same way about Len that he did for her. Len then proposed, and the couple began planning their wedding.
On 17 May 2007, Len, with most of the other villagers, attended the village pageant to celebrate Emmerdale's 500th birthday. Pearl was supervising activities, had failed to include Edna. Len was disappointed with Pearl and went after Edna to see if she was alright, and he comforted her. Len then returned to the church hall with his friend Sandy Thomas. Whilst the celebrations were occurring outside, Len died in his chair of a heart attack. He was found by Sandy, who had been bringing Len a drink. Sandy thought Len friend had fallen asleep and attempted to wake him him until he checked Len's pulse and realised Len had died. Sandy, knowing it was too late, told a shocked Pearl, who was devastated. Jo Stiles, who had become a close friend of Len's through Danny begged Donna Windsor-Dingle to keep on trying to resuscitate Len, but her attempts were to no avail. An ambulance arrived to take Len's body away, while Pearl tried to contemplate her loss in private and Sandy comforted Betty and Edna. As news of Len's death spread around the village, Len's body was driven away in an ambulance whilst Katherine Jenkins sang him out, although as she was closing the pageant, she was unaware of the death that had occurred in the village.
Category:Fictional mechanics Category:Emmerdale characters
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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. The first of his Pomp and Circumstance Marches (1901) is well-known in the U.S. and in the UK.
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 and did not begin to revive significantly until 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 remains more played 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 recordings of his works. The introduction of the microphone in 1925 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. These recordings were reissued on LP record in the 1970s and on CD in the 1990s.
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. 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. 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." Elgar regularly played the bassoon in a wind quintet, alongside his brother Frank, an oboist (and conductor who ran his own wind band). He 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."
, dedicated by Elgar to his future wife]] 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 Wagner. Some tantalising opportunities seemed to be within reach but vanished unexpectedly. 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. 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.|group= n}} 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. and remain to the present day a worldwide concert staple.
, first singer of Elgar's "Land of Hope and Glory"]] 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 J. 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 in June 1901. 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 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, 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 (Alassio), 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. 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 George Bernard Shaw had Shaw been willing.
Elgar's principal composition in 1905 was the Introduction and Allegro for Strings, dedicated to Samuel Sanford, professor at Yale University. Elgar visited America in that year to conduct his music and to accept a doctorate from Yale. 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.
, dedicatee of Elgar's Violin Concerto]] 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 the violinist W. H. Reed, the leader of the London Symphony Orchestra, 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 London Symphony Orchestra (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. Elgar asked Reed, "What is the matter with them, Billy? They sit there like a lot of stuffed pigs." an exclusive 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 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 London Symphony Orchestra'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 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.
Elgar was devastated by the loss of his wife. For much of the rest of his life, Elgar indulged himself in his several hobbies. 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 bicyclist, 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.
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. Elgar, described by the music writer Robert Philip as "the first composer to take the gramophone seriously", 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.
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 London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." 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. 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 began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, 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 cooperation 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 1998. Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Church in Little Malvern.
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. 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. 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." Nevertheless, at less than a quarter of an hour, it was not by contemporary standards a lengthy composition. Gustav Mahler's Seventh Symphony, composed at the same time, runs for well over an hour.
During the next four years, however, 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." 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, 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."
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." 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.
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:
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." As for Elgar's "Englishness", his fellow-composers recognised it: Richard Strauss and Stravinsky made particular reference to it,
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. 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." 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 Australia.
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 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 that 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. Among these are eleven Elgar Avenues, including one in Malvern, Worcestershire, and another close to the house where Elgar lived, Plâs Gwyn in Hereford. A street in North Springfield, Virginia and a major road in Box Hill, Melbourne, are also named after him. Elgar had three locomotives named in his honour. The first "Sir Edward Elgar" was a Bulldog class locomotive, number 3414; it was built in 1906 and withdrawn from service in 1938. The second was a Great Western Railway Castle Class locomotive in the post WWII 7000 series. Built in 1946 and withdrawn from service in 1964, its original name was replaced by "Sir Edward Elgar" in 1957. The third was a Brush type 47 diesel locomotive, for which nameplates were specially cast in the former Great Western Railway style.
Elgar's life and music have inspired works of literature including the novel Gerontius 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), and covers the fifteen years from their first meeting in the mid-1890s to the genesis of the Violin Concerto when, in the novel, Dora has been supplanted in Elgar's affections by Alice Stuart-Wortley.
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.
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