Elgar's "Nursery" Suite

Radio Record, 25 March 1938, Page 21

Elgar's "'Nursery" Suite

MUSIC ABOUT CHILDREN FOR GROWN-UPS

(\N IR EDWARD ELGAR more than once showed a sympaPt. in his "Nursery" Suite, in the two "Wand of Youth" Suites and in his real enthusiasm for children’s choral work in his native city of Worcester. It needs no great gift of prophecy to forsee the warm affection in which the "Nursery Suite’ is certain to be held by those who realise the greatness of his achievements in almost all musical fields. The chief characteristic of the work is a charming wistfulness, rather retnarkable in this jazz-ridden uge, but all the more welcome on that account. In a word it is restful music. This applies to the three more lively movements as well as the four pensive ones. It is obvious that the "Nursery Suite’ is not so much music for children as music for grown-ups about children. The suite, of course, is really a tone poem in sections, based upon child-life episodes, but child-life idealised by the musical imagination of a great composer. The work was, dedicated to H.M. Queen Elizabeth, when she was Duchess of York, and the Princesses Elizabeth and Margaret Rose. The Queen’s interest in music is genuine and real, and this interest was evidenced by her presence at the studios when the work was recorded under the direction of the composer. Another distinguished visitor present wag Mr. George Bernard Shaw. Many years have passed since any. young people of our Royal House had so great a Master of the King’s Musick to write

for them; nor has it often happened in our history, that little people, quite so universally beloved, inspired a great master, The suite, although scored for a ful) modern orchestra, is all laid out with that clear, straightforward simplicity which Sir Edward could turn to such purpose, and none of the movements calls for much in the way of detailed explanation. There are eight numbers. No. 1, "Aubade" (Awake), in its first section flows with a gentle lilt, and in the second section there is a quotation from a hymn tune, "Hear ‘Thy Children, Gentle Jesus," that was written by the composer in his youth. No. 2, "The Serious Doll," is as economically written and as spare of notes as the music of the modern Ftench school at its best. The chief melody, wistful yet tinged with humour, is given to the flute, and is supported by a delieate string accompaniment. No. 3, "Busy-ness," is a brilliant piece of orchestral virtuosity, and the title fits the music perfectly. No. 4, "The Sad Doll," has the character of a slow waltz, and contains some lovely string writing. No. 5, "The Wagon Passes," is imbued with the phantasy and mys-. tery associated with the nursery thle told at dusk, No. 6, ‘The Merry Doll," moves along briskly and suggests the activities of Punch. For sonority and poetic feeling No. 7, "Dreaming," takes first place in the suite. Its, mood’ of sadness and regtet leads without a break into No. 8, "Wnvoy," which rounds off the whole work. Elgar’s "Nursery Suite" will be heard from 3YA on Wednesday, March 80, played by the London Syinphony Orchestra, under the baton of the composer.