Editing Pomp and Circumstance Marches (section)

===March No. 5 in C===
====Dedication====
March No. 5 was composed in 1930, much later than the others, and dedicated "To my friend [[Percy Hull|Dr. Percy C. Hull]], Hereford".<ref>{{harvnb|Moore|1984|p=785}}: "In early May [1930] he sent it to [[Boosey & Hawkes|Booseys]] to add to Op. 39."</ref><ref>{{harvnb|McVeagh|2007|p=199}}: "To Hull he dedicated a fifth ''Pomp and Circumstance'' march."</ref> Its first public performance was on 20 September 1930 in a [[Queen's Hall]] concert conducted by Sir [[Henry Wood]], though it had been recorded two days earlier in the [[Kingsway Hall]], London, conducted by Elgar himself in spite of his poor health.<ref>{{harvnb|Moore|1984|p=786}}: "[Despite his ill health, Elgar] was able to get to London for gramophone sessions which included the new ''Pomp and Circumstance'' No. 5 – rehearsed and recorded two days before Henry Wood conducted the first public performance in a sold-out Queen's Hall."</ref>

====Instrumentation====
The instrumentation is: [[piccolo]], 2 [[Western concert flute|flutes]], 2 [[oboe]]s, [[cor anglais]], 2 [[soprano clarinet|clarinets in B{{music|flat}}]], [[bass clarinet]] in B{{music |flat}}, 2 [[bassoon]]s, [[contrabassoon]], 4 [[French horn|horns]] in F, 3 [[trumpet]]s in B{{music |flat}}, 3 [[trombone]]s, [[tuba]], [[timpani]] (3), [[percussion]] ([[snare drum|side drum]], [[bass drum]] & [[cymbal]]s), and [[string section|strings]].

====Description====
Without introduction, its opening episode is extended with enormous confidence and proceeds directly into the ''Trio'' section. The ''Trio'' starts quietly in a similar way to the introduction of his [[Symphony No. 1 (Elgar)|First Symphony]]: just a moving bass line and a tune, also in the same key ([[A-flat major|A{{music|flat}}]]). The tune is re-stated strongly, as we expect, then developed. The re-statement of the opening employs the same instruments of the orchestra, but is this time started as soft as possible for just four bars before a quick ''crescendo'' restores its spirit to as it was in the beginning. There is more development before a big return of the ''Trio'' theme, in the home key of C, and a triumphant ending which might bring to mind the conclusion of [[Edvard Grieg|Grieg]]'s ''[[In the Hall of the Mountain King]]''.