Vaughan Williams's Veranda

[Karl Henning]

Here's what I said elsewhere. YMMV and all that.

FWIW, it was Bakels who convinced me of the piece.

[vandermolen]

The earlier Boult version (Decca/Belart) is a great one I think.  Boult's rather objective way with Vaughan Williams really works well here. Some time ago I reviewed a rather odd polar exploration CD which featured Boult's version complete (but without separate tracks for the movements) and, uniquely, it included separately some of the Scott film music. If I can find the review I'll post it here.

http://www.musicweb-international.com/classrev/2011/Oct11/antartica_CD41024.htm

[Vesteralen]

Thanks for the link.

I tend to agree with the reviewer that the spoken word segments don't really bother me.  I remember getting really used to them on the Previn recording and I almost missed them (in context) on the Naxos disc.

[calyptorhynchus]

I've managed to catch up with the Hickox recording of the 1913 version of the London Symphony (only a decade after it was issued).

It's great to have another 20 minutes of vintage VW to listen to!

The curious thing is that I find that both version work. The 1913 version is (obviously) more extended and reflective, but still well-structured. The 1936 (?) version is more concise, but you don't feel short-changed. Now I can just choose which to listen to.

[eyeresist]

In the recent issue of IRR, I read about the new edition of RVW's symphony no. 5, as recently recorded by Yates on Dutton. I wish I'd remembered to bring in the issue so that I could quote from it, but.... apparently a timpani entry in the Scherzo Andante has been "corrected" on the basis that it sounds wrong but RVW didn't notice due to poor hearing. The CD reviewer correctly points out that, as the composer actually heard the piece in concert a number of times and never raised an objection, we don't really have the right to second-guess the score, even if to some ears it seems wrong. Nonetheless, this is the new "official" view of the symphony.

[vandermolen]

In the recent issue of IRR, I read about the new edition of RVW's symphony no. 5, as recently recorded by Yates on Dutton. I wish I'd remembered to bring in the issue so that I could quote from it, but.... apparently a timpani entry in the Scherzo has been "corrected" on the basis that it sounds wrong but RVW didn't notice due to poor hearing. The CD reviewer correctly points out that, as the composer actually heard the piece in concert a number of times and never raised an objection, we don't really have the right to second-guess the score, even if to some ears it seems wrong. Nonetheless, this is the new "official" view of the symphony.

I wrote a review of the CD for the RVW Journal, which might be of interest.

Vaughan Williams: Symphony No 5 in D major (1938-43) – New Edition edited by Peter Horton (2008)

With Christopher Wright : Concerto for Violin and Orchestra 'And then there was silence...'
Momentum.
Fenella Humphreys, violin
Christopher Watson, tenor
Royal Scottish National Orchestra
Bournemouth Symphony Orchestra
Martin Yates
DUTTON EPOCH CDLX 7289

Firstly I must make it clear that anyone expecting the equivalent of the 1913 version of 'A London Symphony' will be disappointed, as there is very little difference between this new edition of Symphony No 5 and the earlier 1946 OUP version.  In fact, my non-musical ear was unable to hear any difference at all.  Nevertheless, Peter Horton's very informative booklet note informs us that partly due to the composer's famously illegible handwriting, mistakes did occur in the published score – mainly in matters of phrasing and articulation, although the most important being a one-bar delay in a timpani entry in the Romanza.  Mr Horton suggests that the composer's encroaching deafness may have resulted in his not noticing it when he conducted the first performance at the Proms in June, 1943.  His deafness also, according to Mr Horton, resulted in the composer adding an accent to the opening note, which has, controversially perhaps, been omitted from the 2008 Edition.

Whatever one's view of the new edition, any new recording of Vaughan Williams's Fifth Symphony is to be welcomed – especially one as good as this.   In many ways the performance reminded me of the underrated sibelian interpretation by Sir Alexander Gibson (EMI, 1982).  As with Gibson's version, there is a Tapiola-like intensity to the climax of the first movement and a very strong sense of rhythmic intensity throughout the performance.  Where Yates's new version scores over the Gibson is in the outstanding 2011 Dutton recording from the Lighthouse, Poole - which allows us to hear the clarity of instrumentation in great detail. The start of the Romanza has an almost Brucknerian intensity to it, which accompanied by a beautifully articulated cor anglais solo, is deeply affecting.  The radiant final movement possesses a great sense of inevitability and a sense of home-coming, which I imagine provided considerable spiritual comfort on its first appearance in war-time London.

Also of great interest are the two accompanying works by Christopher Wright (born 1954).  Momentum composed in 2008 is, as the composer points out 'fast, rhythmic and colourful' – an extremely enjoyable and very approachable jazzy score lasting just over seven minutes and a fine curtain raiser to this CD. 

Christopher Wright's Violin Concerto (And then there was silence...) was written in memory of the composer's wife Ruth, who tragically died from cancer in the summer of 2009.  The last movement, which reminded me a little of Kenneth Leighton's Symphony No. 3 Laudes Musica, includes a tenor solo in a setting of the first verse of the poem Echo by Christina Rossetti.  As Elis Pehkonen points out in the accompanying note 'Words cannot convey the beauty and emotional content of this music.  It has to be in the ears of the listener.'  Fenella Humphreys is the outstanding soloist.

The accompanying booklet demonstrates Dutton's characteristically high production values.  Apart from the excellent notes, it contains a charming photo of Vaughan Williams and Ursula sitting on the steps of Epsom Parish Church, laughing, in 1947.  The back page of the booklet features a photograph of Christopher Wright and of William Fawke's bronze statue of Vaughan Williams in Dorking.

I had come across Martin Yates as a result of his previously released  Dutton recordings of the symphonies of Richard Arnell and Stanley Bate.  In his charming reply to my unsolicited fan mail, the late Richard Arnell referred to 'the excellent conductor Martin Yates' – this outstanding CD can only serve to confirm this verdict and is recommended with great enthusiasm.

[calyptorhynchus]

I'm having a VW time at the moment, listening to many of his works. I knew VW in my teens and his music hasn't waned in my affections. You know about his reputation as a doyen of English mid C20 music with the implicit judgement that his music is stolid and homely and not as exciting as others'. However, as I listen to some of his later works I am continually struck by how consistently his works "work" and are highly satisfying, even though they seem very unpretentious (ie Symphony No.8, Violin Sonata &c).

On the theme of recordings of his symphonies: back in the early 80s I had LPs or cassettes of the Andre Previn and LSO recordings (I can remember I had Symphonies 3-7 at least), and have some of the reissues on CD now. These seemed very good at the time and I still regard them as a touchstone for other interpretations.

[eyeresist]

You know about his reputation as a doyen of English mid C20 music with the implicit judgement that his music is stolid and homely and not as exciting as others'. However, as I listen to some of his later works I am continually struck by how consistently his works "work" and are highly satisfying, even though they seem very unpretentious (ie Symphony No.8, Violin Sonata &c).

On the theme of recordings of his symphonies: back in the early 80s I had LPs or cassettes of the Andre Previn and LSO recordings (I can remember I had Symphonies 3-7 at least), and have some of the reissues on CD now. These seemed very good at the time and I still regard them as a touchstone for other interpretations.

So you are not a collector of multiple cycles? Luckily for you I agree with you on the virtues of the Previn set, though I prefer Thomson for 8 (broader tempos) and Haitink for the Sea Symphony (much better sound).

You know, I'm not sure I've ever heard the violin sonata! I see it's on disc 13 of the EMI collector's edition....

[The new erato]

The earlier Boult version (Decca/Belart) is a great one I think.  Boult's rather objective way with Vaughan Williams really works well here.

Just received this Decca set and must try this. Played no 4/6 last night and found the sound quality just so-so; slightly dissapointed with it even though I know what to expect from an early 50'ies recording.

[vandermolen]

For me the Violin Sonata with the SQ No 2 is VW's finest chamber works. It's one of those late craggy works which greatly appeal to me (the Fantasia on the Old 104th is another one - notwithstanding the opening sounding a bit like the children's record, 'Sparky's Magic Piano'  )

I agree about Haitink's recording of 'A Sea Symphony' which has an epic grandeur unlike any other - certainly it is the recording which won me round to this work - which I had never really appreciated before. To me the turbulent 6th Symphony is one of the greatest and most thought-provoking 20th century symphonies. Recordings by Boult (Decca), Haitink, Berglund, Stokowski (very fast Epilogue) and Andrew Davis are all excellent (as is Thomson for that matter).  Recently I have come to admire Previn's version more and agree that his RCA cycle is excellent.

[eyeresist]

For me the Violin Sonata with the SQ No 2 is VW's finest chamber works. It's one of those late craggy works which greatly appeal to me (the Fantasia on the Old 104th is another one - notwithstanding the opening sounding a bit like the children's record, 'Sparky's Magic Piano'  )

I guess I know what I'll be listening to tonight, then

[vandermolen]

Just received this Decca set and must try this. Played no 4/6 last night and found the sound quality just so-so; slightly dissapointed with it even though I know what to expect from an early 50'ies recording.

I'll be interested to hear what you think of the rest of the set. The great thing is that it includes the Everest recording of Symphony No 9 (excluded from the Belart box), with Boult's tribute speech at the start. I still think that these are the most consistently great performances of the symphonies. Hope you enjoy the rest of it - listening to No 7 recently led to me realising how fine that performance was.

[vandermolen]

I guess I know what I'll be listening to tonight, then

Sparky's Magic Piano? 

The EMI Collectors Edition is a great, inexpensive way, to discover the music and the Music Group of London's CD with the Violin Sonata on is in a class of its own.

[Karl Henning]

Aye, that Violin Sonata is top-tier RVW.

I should probably revisit the Previn, someday.  I only remember not being 'grabbed' by his account of either the Fifth or Seventh, but I may have been the slippery one at the time . . . .

[vandermolen]

Aye, that Violin Sonata is top-tier RVW.

I should probably revisit the Previn, someday.  I only remember not being 'grabbed' by his account of either the Fifth or Seventh, but I may have been the slippery one at the time . . . .

Karl
Previn's 'A London Symphony' and No 8 are possible best ever versions from the RCA set. No 8, in particular, has a magical type quality at the opening which is IMHO unique.

[Karl Henning]

Thanks for the word, Jeffrey. When I undertake that revisitation, those two symphonies will be the priority!

I've had to start the morning with some Tchaikovsky, but then I am spinning the Violin Sonata!

[eyeresist]

Aye, that Violin Sonata is top-tier RVW.

I should probably revisit the Previn, someday.  I only remember not being 'grabbed' by his account of either the Fifth or Seventh, but I may have been the slippery one at the time . . . .

Not confusing with his Prokofiev, I hope...

[Karl Henning]

No. Of the Prokofiev symphonies, I think I've heard Previn in the Sixth only.  But it was back at roughly the same period of my life.

[vandermolen]

Which version of the Violin Sonata do you have Karl?

I think that the Music Group of London's is my favourite version - but I have known it since I was about 17/18!

[Karl Henning]

The Menuhin brother-sister team, Jeffrey.  Goodness knows it is a piece which deserves more extensive representation in the recordings catalogue!