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  1. Lady Agnes Georgiana Elizabeth Hay (12 May 1829 – 18 December 1869), wed to James Duff on 16 March 1846, was the third child and second daughter. Lady Agnes Hay's son, Alexander Duff, married Princess Louise, daughter of King Edward VII. Lady Alice Mary Emily Hay (7 July 1835 – 7 June 1881) Ancestry

  2. 26 de ene. de 2011 · Elgar's assumed muse for the Violin Concerto has always been Mrs Alice Stuart Wortley, but the initials, reproduced in the Sunday Telegraph article, were much more obviously A.N. than A.W. (see reproduction below). If Elgar had indeed been serious when he inscribed those initials, it did not fit the standard wisdom.

    • Lady Alice Stuart1
    • Lady Alice Stuart2
    • Lady Alice Stuart3
    • Lady Alice Stuart4
    • Lady Alice Stuart5
  3. It was Elgar's close friend and confidante Lady Alice Stuart-Wortley (Windflower) that asked Elgar in January 1917 if he would write The Sanguine Fan. The ballet was to be included in a matinée performance to be staged in London in March of that year for the benefit of wartime charities.

    • the composer
    • Chelsea Palace Theatre, London
    • 20 March 1917
  4. Elgar's biographer Jerrold Northrop Moore suggests that behind each of the concerto's movements lay both a living inspiration and a ghost: Alice Stuart-Wortley and Helen Weaver in the first...

  5. The History of Elgar's Piano Concerto. Elgar worked, fitfully, at his Piano Concerto for at least twenty years. Encouragement and inspiration came from three pianists - two professional, and one amateur. The latter, Alice Stuart-Wortley, his “Windflower”, had already done much, directly and indirectly, to deliver the Violin Concerto, the ...

  6. daughter Clare to preserve with the short-score ms. possession November, 1938. Elgar's close relationship with Lady Alice Stuart of Wortley alias 'Wiridflower', has been delicately elucidated by Michael latterly by Brian Trowell in a broadcast talk on the Violin December 1973.

  7. 10 de nov. de 2023 · Elgar’s biographer Jerrold Northrop Moore suggests that behind each of the concerto’s movements lay both a living inspiration and a ghost: Alice Stuart-Wortley and Helen Weaver in the first...