Sir Classics Wand of Youth Suites

Ulster Orchestra Bryden Thomson Bournemouth Sinfonietta Norman Del Mar CHAN 10422 X 17

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 116-176-17 227/3/077/3/07 14:18:5014:18:50 Cadenza Archive Sir Edward Elgar (1857 –1934)

Wand of Youth Suite No. 1, Op. 1a 21:06 1 Overture 1:42 2 Serenade 1:59 3 Minuet 2:06 4 Sun Dance 3:04 5 Fairy Pipers 3:50 6 Slumber Scene 4:27 7 Fairies and Giants 3:31

Wand of Youth Suite No. 2, Op. 1b 18:06 8 March 4:58 9 The Little Bells 2:45 10 Moths and Butterfl ies 1:59 11 Fountain Dance 2:49 12 The Tame Bear 2:46 13 Wild Bears 2:25

Sir Edward Elgar

3

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 22-3-3 227/3/077/3/07 14:18:4114:18:41 Elgar: Wand of Youth Suites etc

Nursery Suite 25:41 A love of children and their intimate world young Edward devised some suitable music, 14 Aubade 6:06 was something Elgar never lost. His œuvre later copying it into his ‘Shed’ books, and it 15 The Serious Doll 3:08 includes a variety of works happily associated was from this material that the two suites 16 Busy-ness 2:27 with that subject: , were drawn. the song ‘’, and the three The First Suite opens appropriately with 17 The Sad Doll 1:49 Suites recorded here. In March 1907 Elgar an Overture which had existed in sketches 18 The Wagon (Passes) 1:45 had visited the United States, where in the from 1879, when Elgar was bandmaster of a 19 The Merry Doll 1:49 course of a six-week tour he conducted hospital band, although he reworked much of 20 Dreaming – Envoy (coda) 8:09 various works to considerable critical the material. The mood here is exuberant and acclaim. Following his return he plunged into fast-moving: the composer marks it Allegro composition with renewed vigour, writing molto in 4/4 in the key of B fl at. ‘Serenade’ Dream Children, Op. 43* 7:51 among other pieces the Fourth Pomp and is a gentle, lilting piece with a delicate (Enfants d’un rêve) Circumstance March, but he spent the later melody fi rst heard from the but then 21 Andante – 3:30 summer months looking through his ‘Shed’ taken over by the violins, later joined by the or jotting books. There were six of these, the woodwind; the melody is tossed between the 22 Allegro 4:21 earliest containing sketches dating back to two. The Minuet (subtitled ‘Old Style’) is a TT 73:17 1871. They were to prove of much assistance charming seventeenth-century pastiche which in the production of the orchestral scores of had existed since 1881 but only in short Ulster Orchestra the two Wand of Youth Suites. The origins score. Marked Andante in 3/4, the opening Bryden Thomson of this music dated back over thirty years to bars carry the following inscription: ‘The when the teenage Elgar children had written two old people enter’ (referring originally to a play in which there was a perfect, untainted Elgar’s parents!). ‘Sun Dance’, cast in 3/4 Bournemouth Sinfonietta* world from which ill-tempered adults were and marked Presto, is the most strongly Norman Del Mar* barred. The only outsiders in this dream- developed piece in the First Suite: its origins world were butterfl ies, fairies, giants and date from 1879 when it was devised as a moths; but should an adult recognise the waltz (of which there are two glimpses here: error of his ways, due consideration might fi rst at the change of key from C to A fl at, be given to his request for admission. The and later when the tune is repeated a third

4 5

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 44-5-5 227/3/077/3/07 14:18:4314:18:43 higher). This movement is basically a dialogue Lee Williams (1853 –1935), organist at a drone bass. The fi fth movement (an Allegro re-organising the King’s Music Library housed between the higher wind who permit the light Gloucester Cathedral from 1882 until 1898, moderato in 2/2) is called ‘The Tame Bear’. in the British Museum. His basic role was more and busy strings to take over the glittering the fi rst performance of the Suite took place Here Elgar graphically captures the sad of an adviser to King George V, but there were arabesques. The use of horns and brass in the Queen’s Hall on 4 December 1907, picture of a chained and clumsy performing occasions when suitable ceremonial music was is judiciously reserved for the fi nal climax. conducted by Sir Henry Wood. animal being exhibited in the streets. Note called for, and Elgar’s compositions included (Incidentally, this movement was also used in Such was Elgar’s enthusiasm that he wrote a the subtle use of the part to suggest Good Morrow (‘a simple carol for His Majesty’s the later Starlight Express incidental music.) second Wand of Youth Suite which he himself the pitiless animal and the and happy recovery’), a four-part setting to words Next comes the contrasting ‘Fairy Pipers’, conducted in Worcester on 9 September, 1908. to convey his pathetic shuffl ing. ‘Wild by George Gascoigne dating from 1929, and set in a rocking 6/8 rhythm and marked The music was dedicated to Hubert Leicester, a Bears’ (one of the pieces written in 1879) the Nursery Suite, written to mark the birth of Allegretto. The give out a soothing friend since boyhood days. This Suite has only was originally a quadrille and the pace and two children to the Duchess of York in 1926 melody over a rippling string accompaniment, six movements, beginning with a March (the excitement of the dancing whirl is exuberantly and 1930. only for the strings to have their tune before opening sketched in 1897) which is in sombre caught. It is a fi ttingly vivid and exhilarating Elgar began work on this Suite following the clarinets return. The score here remarks: mood in the key of E fl at in 4/4 with much fi nale which includes evocative animal-like the success of which ‘Two fairy pipers pass by in a boat, and charm use of triplet rhythms. There is an attractive growls in the bass and percussion parts. was written for the National Brass Band them to sleep’. The following ‘Slumber Scene’ change to G major when the strings have a The death of his wife, Alice, in April 1920 Championship in 1930. That, like much of is for muted strings with two and jaunty semiquaver pattern. The ensuing ‘Little was a poleaxe blow to Elgar. He was stunned the music written in this last decade of Elgar’s a single horn. Marked Moderato in 4/4, Bells’ (subtitled ‘Scherzino’), also containing and never really recovered from the loss. Her life, had its origins in the ‘Shed’ books. The the nocturnal mood is exquisitely caught. A sketches dating back to 1879, is an Allegro inspiration, encouragement and assistance fi rst movement, ‘Aubade’ (subtitled ‘Awake’), point of interest here is that the bass part molto in 2/4. The mood is gossamer-like in were greatly missed, and with the marked opens with a single, long-held G major chord. uses just the open strings (the original child the delicacy of the woodwind writing. The change in the musical climate and prevailing The ensuing passage, marked Allegretto, has player in 1879 was only able to manage wistful middle section, using a falling fi ve- tastes in post-war Britain the composer a rocking 12/8 quaver/crochet rhythm. The this). Concluding the First Suite is ‘Fairies note phrase, is set in the melodic minor; Elgar virtually ceased writing music, certainly any change of key to E fl at minor with the time and Giants’: the delightful contrast of higher imparts a warm, autumnal glow when the completed large-scale score. He sensed his signature 4/4 includes part of an F major wind and lower strings creates a marvellous horn melody enters. However, the opening era was over. The brash, vulgar, garish mood hymn tune which Elgar had written in 1878 effect of two extremes. The origins of this mood quickly returns, albeit with a brief of the 1920s was not for a sensitive man to the words ‘Hear Thy Children’ (entitled section date back to 1867 but the brilliance repeat of the middle section tune now up a approaching his retirement years. Drake’s Broughton, No. 151 in the Westminster of the 1907 orchestration shows Elgar at third. ‘Moths and Butterfl ies’, another piece Elgar had been the unoffi cial Master of Hymnal). The opening mood soon returns until his richest. The brass and percussion are using sketches from 1879, is an Allegretto the King’s Music for two decades before the fortissimo climax where the hymn tune is given suitably ponderous music to suggest in 2/4 in which the prevailing mood is quiet, his offi cial appointment in 1924 following repeated. ‘The Serious Doll’ (marked Andantino) the size and slowness of pace of the larger fairy-like and soft. ‘Fountain Dance’ gracefully the death of Sir Walter Parratt. The duties opens with a gentle and decorative solo fl ute creatures. The scoring employed here is the conveys the idea of rising and falling jets of were scarcely onerous but the sixty-seven- over rocking, muted strings. The middle largest in the Suite. Dedicated to Charles water, the lower strings and forming year-old incumbent devoted time and effort to section is introduced by oboe and clarinet

6 7

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 66-7-7 227/3/077/3/07 14:18:4414:18:44 passages, only for the opening melody to Everything hurries about and the movement Edward VII’s Coronation in 1902. The title is exclusive broadcast partner of the BBC, with return in a more rhapsodic manner. There concludes in a boisterous and rumbustious from Charles Lamb, and a long quotation from many relays on BBC Radio 3, Radio Ulster is a delicacy and simplicity in the orchestral manner. ‘Dreaming’ opens with muted strings him at the head of the score ends with the and BBC TV. Tours of Europe, Asia and the writing here which has an endearing warmth. alone in a tender, refl ective mood with various poignant words, ‘We are only what might have United States have added to the Orchestra’s ‘Busy-ness’ is in essence a miniature scherzo Elgarian fi ngerprints, and concludes with two been’. It fi nds an echo in the yearning sadness reputation. in 4/4 marked Allegro molto, in which hustle violins playing in octaves. There follows a solo that suffuses No. 1, with its musing oboe and bustle are evocatively caught with rising violin cadenza marked ‘Envoy (coda)’. The and clarinet, and which also intervenes in the Born in Scotland, Bryden Thomson studied and falling passages for wind and strings. succeeding pages offer a recapitulation of lighter No. 2. at the Royal Scottish Academy of Music and The whole of this brief movement is enhanced some of the music already heard, and a fi nal Drama and in Europe with Hans Schmidt- © Malcolm Walker by the judicious use of brass. ‘The Sad Doll’ return to the opening of the ‘Aubade’. Isserstedt and Igor Markevitch. He worked (marked Andantino) is in the form of a slow The fi rst performance took place in the with the BBC Scottish Symphony Orchestra waltz in which the strings are muted and Kingsway Hall on 4 June 1931 with the Formed in 1966 and based in Belfast, as assistant to Ian Whyte whose death divided with harp and woodwind. The skill composer conducting the work for recording Northern Ireland, the Ulster Orchestra he undertook some 250 engagements in with which Elgar conveys a mood of gentle purposes. The occasion was attended by Their is now one of the major orchestras in the two years. He was Principal Conductor of wistfulness for the children’s toys and the Royal Highnesses the Duke and Duchess of United Kingdom and Ireland, with a main the BBC Northern Symphony Orchestra from nursery is beautifully captured. ‘The Wagon York who were anxious to hear the music. concert season in the Ulster and Waterfront 1968 to 1973, Principal Conductor and Music (Passes)’, an Allegretto in 4/4, depicts a They greatly liked ‘The Wagon (Passes)’ and Halls, and additional performances across Director of the Ulster Orchestra from 1977 lumbering, heavily laden horse-drawn vehicle, immediately requested an encore before Northern Ireland. Orchestra in Residence for to 1985, and undertook guest conducting initially heard in the distance ponderously hearing the rest of the Suite. The score is the Belfast Festival at Queen’s University, engagements with orchestras such as the making its journey. Slowly the cart rumbles ‘dedicated by permission to their Royal it also accompanies opera and ballet Philharmonia Orchestra, Royal Philharmonic, into the foreground only to disappear again Highnesses, the Duchess of York [subsequently productions at Belfast’s Grand Opera London Philharmonic, Scottish National and out of sight. Elgar skilfully suggests its size Queen Elizabeth, the Queen Mother] and the House, while its outstanding education and Scottish Chamber orchestras. His work in the and lugubrious pace by the use of percussion Princesses Elizabeth [Queen Elizabeth II] and outreach work has been recognised by an operatic fi eld included posts with Norwegian and lower brass in a rhythmic ostinato. The Margaret Rose [Princess Margaret]’. award from the Royal Philharmonic Society. Opera and Scottish Opera. Bryden Thomson contrasting tune whistled by the driver is Although Elgar grumbled on occasion at As Principal Conductor and Artistic Adviser, died in 1991. introduced by a solo clarinet accompanied the need to earn money with short pieces Thierry Fischer numbers Bryden Thomson, by violas. ‘The Merry Doll’ forms an effective instead of giving the time to larger works, Vernon Handley, Dmitry Sitkovetsky and Yan In 1998/99 the Bournemouth Sinfonietta contrast, being a second scherzo in 2/4 as a good craftsman he would never waste Pascal Tortelier among his distinguished celebrated thirty years of providing music of which Elgar marks Allegro molto. The overall anything left over from other compositions if predecessors, with Kenneth Montgomery an international standard to the South and mood is cheerful and entertaining with much he could make something else of them. His being the Orchestra’s new Principal Guest West of England. Performing in venues ranging use of timpani and percussion (notably Opus 43, Dream Children, appeared in idyllic Conductor. The Ulster Orchestra has made from concert halls to community centres, ) to enhance the whole effect. contrast to the celebratory music of King more than sixty recordings and is an the Bournemouth Sinfonietta maintained a

8 9

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 88-9-9 227/3/077/3/07 14:18:4514:18:45 commitment to the people of the region with as Sir Thomas Beecham’s assistant, he a touring programme from Lands End to became a notable conductor of Mozart, High Wycombe. The Sinfonietta was Resident Janácˇek, Strauss and Schoenberg, amongst Orchestra at the Hall for Cornwall in Truro others. He worked with a range of British following a successful concert series, and also orchestras including the Royal Philharmonic gave concerts in Brazil. Under the baton of Orchestra, the BBC Symphony Orchestra and Also available Principal Conductor Alexander Polianichko, Bournemouth Symphony Orchestra, as well who was appointed in 1997, the Sinfonietta as with orchestras in Europe, Russia, the toured both Normandy and Polianichko’s home Middle and Far East, and South America. He town of St Petersburg. was also a keen opera-lover and was invited, as guest conductor, to perform at The Royal Born in 1919, Norman Del Mar was Opera, Covent Garden, Sadler’s Wells, the educated at Marlborough and the Royal Royal Stockholm Opera and Scottish Opera. College of Music. From his early successes He died in February 1994.

Britten/Bridge/Bax/Stanford Orchestral Works CHAN 10426 X

10 11

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 110-110-11 227/3/077/3/07 14:18:4614:18:46 Also available Also available

Bax Stanford Orchestral Works, Vol. 3 Six Irish Rhapsodies CHAN 10156 X CHAN 10116 X

12 13

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 112-132-13 227/3/077/3/07 14:18:4714:18:47 Also available

You can now purchase Chandos CDs online at our website: www.chandos.net For mail order enquiries contact Liz: 0845 370 4994

Any requests to license tracks from this CD or any other Chandos discs should be made direct to the Finance Director, Chandos Records Ltd, at the address below.

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

Recording producer Brian Couzens Sound engineers Brian Couzens (Dream Children), Ralph Couzens (other works) Mastering Jonathan Cooper Recording venue Guildhall, Southampton; July 1976 (Dream Children), Ulster Hall; 27 June 1982 (other works) Front cover An’ you KNOW what men are (The Tatler, 1920) by Mabel Lucie Atwell (1879 –1964) © The Copyrights Group Design and typesetting Cassidy Rayne Creative p 1976 & 1982 Chandos Records Ltd This compilation p 2007 Chandos Records Ltd Vaughan Williams & Delius Digital remastering p 2007 Chandos Records Ltd Orchestral Works © 2007 Chandos Records Ltd CHAN 10174 X Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU

14 15

CCHANHAN 10422X10422X BBooklet.inddooklet.indd 114-154-15 227/3/077/3/07 14:18:4914:18:49 4

ELGAR: WAND OF YOUTH SUITES ETC. - Ulster Orchestra/Thomson 0 CHAN 10422 X : 8 1 : 4 1

p 1976 and 1982 Chandos Records Ltd This compilation p 2007 Chandos Records Ltd 7 0 / 6 p c Digital remastering 2007 Chandos Records Ltd 2007 Chandos Records Ltd 3 /

Chandos Records Ltd • Colchester • Essex • England 7 227/3/07 14:18:04 2 2 2 4 1 5 1 1 5 9 24-bit/96digitally remastered kHz 0 LC 7038 DDD TT 73:17 Printed in the EU Domain Public CHAN 10422 X 10422 CHAN 7:51 25:41 21:06 18:06 DIGITAL DIGITAL

* * * CHANDOS CHANDOS Bournemouth Sinfonietta 1 Sir Edward Sir ELGAR

Nursery Suite Suite Nursery 43 Op. Dream Children, No. 1, Suite 1a Op. of Youth Wand 1b No. 2, Op. Suite of Youth Wand d d 7 13 22 20 n i

. - - - - y

a l 1 8 21 14 n

Ulster Orchestra Thomson Ulster Bryden 73:17 TT Mar Norman Del I

X 2 2 4 0 1

N A H CCHAN 10422X Inlay.indd 1 ELGAR: WAND OF YOUTH SUITES ETC. - Ulster Orchestra/Thomson CHAN 10422 X