Edward ELGAR (1857-1934)
Wand of Youth Suites Dream Children Nursery Suite
Sir Edward Elgar occupies a strange position in his own
country. For many he is associated with British, or, more specifically, English
Imperialism, epitomized in Land of Hope and Glory, a patriotic anthem now sung
with gusto and tongue in cheek on the last night of the London Promenade
Concerts each year. The image of an Edwardian country gentleman, with his dogs
and horses is misleading. Elgar was the son of a shopkeeper, in the days when
to be in trade marked a man for life and escape from this background earned a
man the name of counter-jumper. He married the daughter of a retired Indian
Army general, a pupil of his, nine years his senior, and it was she who gave
him the necessary support, morally and socially, that finally helped him to
make his way in Edwardian society. Nevertheless, musically Elgar was far nearer
to the German romantic composers of his time than to the developing vein of
English music, with its pastoral reliance on newly collected folk-song.
Edward Elgar was born near Worcester, in the West of
England, in 1857. His father was a piano-tuner, organist, violinist and
eventually a shopkeeper, and it was from him that Elgar acquired much of his
musical training. He at first made his living as a free-lance musician,
teaching, playing the violin and organ, and conducting local amateur orchestras
and choirs. His first success away from his own West Country, after earlier
abortive attempts, was in 1897 with his Imperial March, written for the royal
jubilee celebrating sixty glorious years of Queen Victoria. His reputation was
further enhanced by the so-called Enigma Variations of 1899. The oratorio The
Dream of Gerontius, which followed in 1900, was less successful at its first
performance in Birmingham, but later became a staple element in British choral
repertoire. His publishers Novello had not always been particularly generous in
their treatment of him, but he came to rely on the encouragement of the
German-born Augustus Johannes Jaeger, a reader for the firm, who found in
Elgar's music something much more akin to the music of his native country.
Public recognition brought Elgar many honours, his position
sealed by the composition of music for the coronation of King Edward VII. He
was awarded honorary doctorates by universities old and new and in 1904
received the accolade of a knighthood. Later official honours included the
Order of Merit in the coronation honours of 1911 and finally, in 1931, a
baronetcy. Acceptance, as represented by the musical establishment of the
country, was confirmed by the award of the Gold Medal of the Royal Philharmonic
Society in 1925, after an earlier award to Delius.
Elgar's work had undergone significant changes in the later
years of the 1914-18 war, a development evident in his Cello Concerto of 1919.
His wife's death in 1920 removed a support on which he had long relied, and the
last fourteen years of his life brought a diminishing inspiration and energy in
his work as a composer, although he continued to meet demands for his
appearance as a conductor in both the concert-hall and recording studio. He
died in 1934.
It was in 1907 that Elgar turned his attention to
compositions on which he had worked in childhood, notably music for a
children's play to be performed in the family with his brothers and sisters. The
play contrasted age and youth, with the latter trying to persuade the two
adults that fairyland offered more than the conventional world in which they
lived. From this early material he drew two suites. The first of these had its
première at the Queen's Hall in London under Sir Henry Wood in December that
year and the second suite was first given at the Worcester Festival in
September 1908, conducted by the composer. The Wand of Youth provided a source
in 1915 for some of the music that accompanied Violet Pearn's play Starlight
Express, based on a novel by Algernon Blackwood.
Suite No.1 starts with a lively Overture in the unmistakable
musical language of the adult Elgar. The Serenade opens with an attractive
clarinet melody. The E minor Minuet, in the old style, marks the entrance of
the two old people, the adults of the original play. The mood changes at once
with the spirited Sun Dance. Fairy Pipers has the stage direction 'Two fairy
pipers pass in a boat, and charm them to sleep'. Here there is a gently lilting
melody for two clarinets, framing two passages for strings. This proves
effectively somniferous and is followed by Slumber Scene, scored for muted
strings, two bassoons and French horn. Fairies and Giants, derived from a
Humoreske dated 1867, was of later use in Starlight Express. The illustrative
nature of the music is clear.
The solemn G minor March that starts Suite No.2 had formed
the ending of the children's play. It is followed by The Little Bells, a little
scherzo, with appropriate tintinnabulation from the glockenspiel and an E flat
bell. The dance Moths and Butterflies has a charm of its own and was described
by the composer as the oldest of the movements. It leads to Fountain Dance,
with its muted strings, the first violins divisi. The Tamed Bear, with its
traditional dance pattern, is contrasted with the final Wild Bears, in which
the animals are allowed their freedom.
The two movements of Dream Children were written in 1902,
again suggesting a certain nostalgia for childhood. The score is headed by a
quotation from Charles Lamb's Dream-Children, a Reverie: 'And while I stood
gazing, both the children gradually grew fainter to my view, receding, and
still receding till nothing at last but two mournful features were seen in the
uttermost distance, which, without speech, strangely impressed on me the
effects of speech: "We are not of Alice, nor of thee, nor are we children at
all.*** We are nothing; less than nothing, and dreams. We are only what might
have been."' Dream Children seems to have been a re-working of earlier
material, written, as Elgar explained, 'long ago and sketched a few years
back'.
The first of the idylls, originally with the title Sorrowful
Child's Suite, starts with the gentle sound of two clarinets in thirds, the
opening key of G minor leading to a brighter E flat major, before the return of
the initial reverie with pairs of flutes, clarinets and bassoons. The strings
are again muted in the second of the two pieces, in which a clarinet takes the
initial lead. There is contrast in slightly slower passages in a deeply felt
work that often seems akin to Grieg or Tchaikovsky in elegiac mood.
In his Nursery Suite of 1930 Elgar returns for the last time
to childhood. Dedicated to the Duke and Duchess of York and their children,
Princess Elizabeth and Princess Margaret Rose, it was first performed at a
recording session in May 1931, conducted by the composer. The opening Aubade
provides a gentle awakening and includes a quotation of the children's hymn
Hear Thy children, gentle Jesus. The Serious Doll brings a flute solo,
returning in increasingly elaborate form after the brief melodic intervention
of the oboe. Busy-ness lives up to its name, even more so with the rapidly
repeated notes of its secondary theme, and The Sad Doll is a melancholy waltz,
opening with muted strings and leading to a brief passage for solo violin. The
Wagon (Passes) marks the slow approach of the lumbering wagon, drawing near and
then moving away into the distance. The ebullient Merry Doll bursts into laughter
and jumps around, while Dreaming, for muted strings, finds the child gently
sleeping. The Envoy is introduced by a violin cadenza, as the composer leads
the way to the return of the serious doll, and then, after the intervention of
the violin, the merry doll, the child's dreaming and the initial awakening.
Keith Anderson