Elgar wrote, "one week's work", in the score inscription, but that measures only the final constructive push. He had worked on the piece off and on for nearly three months. Biographer Jerrold Moore notes that Elgar depended, in order to complete a work, on the stimulation of an imminent deadline. This was the first time, but not the last, that Elgar cut it so close that there was insufficient time for rehearsal. The work was dedicated to Elgar's friend and fellow-musician Charles Swinnerton Heap In the s, the decade after Elgar's death, the publishers decided that an orchestration of the sonata should be commissioned, and having consulted the composer's daughter and the conductor Sir Adrian Boult , they entrusted the job to Gordon Jacob.
The notes to that recording aver that "due to Jacob's sympathetic scoring the version may be described as Elgar's Symphony No 0", though this may be thought an optimistic claim, as for nearly twenty years after the recording was made it remained the only one in the catalogue, compared with four recordings of Anthony Payne 's elaboration of Elgar's sketches for the Symphony No 3.
There exists another orchestration of the sonata made in by John Morrison, completed without being aware of the work by Gordon Jacob.
It was revised in and without hearing the Jacob version. A second organ sonata was arranged by Ivor Atkins from Elgar's Severn Suite , written as a test piece for a brass band competition.
Sonata for Organ No. 1 in G major Op. 28: I. Allegro maestoso
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Organ Sonata No. 1 in G major, Op. | Details | AllMusic
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