Vaughan Williams - Complete Symphonies etc
Vaughan Williams - Complete Symphonies etc
Needless to report, Adrian Boult’s credentials in this repertoire are unassailable, and to have nearly all of his stereo Vaughan Williams recordings for EMI so elegantly packaged and enticingly priced will be incentive enough for many a prospective purchaser. There is much to treasure here, not least those gently perceptive accounts of the first three symphonies, as well as the fifth and the ninth. All the same, the fires burned more brightly on Boult’s earlier mono cycle for Decca (Symphonies 1-8 are still available within an unmissable super-budget Belart box) and there is some oddly listless orchestral playing to contend with in both the Sinfonia Antartica and the eighth especially. The fourth and sixth, too, find the New Philharmonia on less than ideally tidy form. The disc of shorter orchestral items and the gorgeous Serenade to Music offers mostly unbridled pleasure (with Hugh Bean a memorably serene soloist in The Lark Ascending), as does Boult’s fourth and final recording of Job, though here, too, tension levels are markedly lower than on either of his mono versions (try hearing Boult’s 1954 LPO version). No matter, for all its ups and downs, the present anthology undoubtedly offers fine value for money. ––Andrew Achenbach
Customer Review: PROBABLY THE BEST ALL-ROUND SET OF VW SYMPHONIES
The VW symphonies have done remarkably well on disc. Complete cycles by Previn, Haitink and Tod Handley all make substantial claims. Individual symphonies from Richard Hickox, Andrew Davis, Vaughan Williams himself and, of course, ‘Glorious John’ Barbirolli (as VW christened him) also demand attention. But, if you’re looking for a complete overview of the Vaughan Williams symphonic canon (plus quite a lot of substantial extras) then this Boult set is probably still the best all-round recommendation.
Even he has a substantial rival in his earlier self on Decca, conducted under the gaze of the composer who delivers a touching speech of thanks to the players at the end of the pianissimo finale of the Sixth Symphony. This earlier Decca version probably has the edge for urgency and thrust in the quicker movements, but the sound on these later discs benefits enormously from the full warm stereo production typical of EMI in the 70’s and also benefits from Sir Adrian’s lifetime experience of these works.
In many ways, it is the earlier symphonies that come off best in this series. A wonderfully full-blooded Sea Symphony with a finely disciplined chorus, excellent soloists in John Carol Case and Sheila Armstrong (though she can’t eclipse the magical Isobel Baillie in the older Boult set), and a rich Kingsway Hall acoustic get the set off to a fine start. The London Symphony was always special with Boult: he managed to achieve an ideal balance of symphonic thought with the touches of Edwardian period colour. The jingles of the hansom cab in the London fog and the cries of the street vendors come off particularly well here. But don’t ignore Hickox’s magnificent recording of the substantially longer original version. The Pastoral, too, is beautifully sustained in Boult’s hands: the succession of slow, mostly quiet movements always glows with Pastoral intensity for him. Maybe his disciple, Vernon Handley, penetrates deeper into the dark echoes of the composer’s experiences as an ambulance driver in the Great War.
The Fourth - “I don’t know if I like it, but it’s what I meant,” in VW’s famous quote - is full of barely restrained power, but perhaps would benefit from a bit more urgency at times. The Fifth, arguably the most symphonic of all the symphonies despite the Pilgrim’s Progress origins of much of its material, gets an authentically profound performance with the LPO. Maybe we are closer to its Pilgrim origins here than to the symphonic arguments behind their transformations. And there is serious competition in this symphony from Barbirolli (his 1st recording), from Haitink and from Handley. Haitink is the most ’symphonic’, Barbirolli the most impassioned, Handley probably the most balanced.
The Sixth is fine, suitably violent and desolate by turns, but doesn’t quite match Boult’s blistering earlier recording. The Antarctica is curiously lack-lustre here - Haitink’s is the revelatory performance of this symphony. TAnd the Eighth has always seemed to be the special domain of its dedicatee, Barbirolli, who had the key to unlocking its mixture of wild and wonderful orchestration (including “all the ‘phones and ’spiels known to the composer”) with its cryptic symphonic argument (exemplified by the Variations without a Theme of the opening movement). The enigmatic Ninth seems to elude most conductors, including Boult here. Handley comes closest to revealing its dark Hardyesque mysteries.
There are two additional discs of extra stuff in this slimline box, all beautifully played. Specially noteworthy are a Serenade to Music that comes close to matching Henry Wood’s original line-up of soloists, Hugh Bean as a magically carolling Lark Ascending, a real rarity in the Double Piano Concerto and a great Job, perhaps the VW work closest to Boult’s heart.
This set is excellent value for money and, for a complete collection of the symphonies, probably the best all-round recommendation - though Tod Handley runs it pretty close. Maybe the bonus items tip the balance Boult’s way.
Customer Review: Boult’s final tributes to Vaughan Williams
“You got the score right into you and through you into the orchestra.”
So wrote Vaughan Williams to the thirty year old conductor Adrian Boult in 1918 after a performance of A London Symphony. Subsequently Boult conducted and championed Vaughan Williams’ works constantly. Many times he recorded and premiered them. This slim-line box, containing all the symphonies and many other items, all recorded in stereo and mostly in the warm Kingsway Hall acoustic between 1967 and 1975, ought therefore to be self-recommending.
It must be said that Vaughan Williams as a composer has tended to polarize listeners. Detractors say that he had neither the architectural vision nor the construction skills necessary for a symphonist. They point to the fact that he himself hesitated to name and number many of his works as symphonies, and that one of them is merely a re-cycled film score. They contain, moreover, many awkward and ungainly rhythmic figures that tend to cheapen them. Champions argue that the music is wonderfully evocative of its time, that many beauties are to be found therein, and that at least three of the works deserve to remain in the international repertoire forever.
Internet browsers, wondering which Vaughan Williams purchases to make, need to balance several factors before selecting this box. The octogenarian conductor, Sir Adrian Boult, directs with authority and knowledge, but nevertheless does not always elicit the very best performances (as in No 7) available or the very best performances of his own recorded versions (as in No 2 and No 6). Against this must be balanced the benefits of relatively modern recording and reprocessing, together with the benefits of low cost and compactness.
Perhaps there are no other internet browsers who, like me, heard Vaughan Williams conduct. At an orchestral concert in London in the early 1950s, devoted to his works, he conducted his own Fourth Symphony. As a young audience member I reckoned that he obviously was not the world’s best conductor. A tall, big-framed figure, he kept his eye on his own score and beat time with the baton. Nowadays, I am happy to recommend and own this box of his works, while ensuring however that other versions of them are in my collection.
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