Ralph VAUGHAN WILLIAMS (1872-1958)
Symphony No.5 in D major (1938-43) [39:01]
Symphony No.8 in D minor (1953-55) [29:23]
Hallé/Sir Mark Elder
rec. live, 9 November 2011 and in rehearsal, Bridgewater Hall, Manchester,
England (Sym 5); 3 February 2012, BBC Studios, MediaCityUK, Salford, England.
(Sym 8)
HALLÉ CD HLL 7533 [68:24]
I hope that this release from the Hallé will form part of a complete cycle
of Vaughan Williams symphonies. On this evidence it should prove to be a distinguished
one. Few orchestras today play Vaughan Williams as well as the Hallé under
their music director Sir Mark Elder. The music seems to flow like lifeblood
through their veins. Great clarity of thought, an enormous energy and a real
sense of vision are characteristics of Elder’s conducting and the Hallé players
respond positively.
I fondly remember reporting for Seen and Heard International at the
Bridgewater Hall concert in November 2011 from which this new live Hallé recording
of Symphony No.5 was taken. Composed when Vaughan Williams was in
his mid-sixties to early-seventies it was the composer himself who introduced
the score in 1943 at a BBC Proms concert*. A commonly expressed view that
the symphony is “a vision of peace” seems incongruous with the horrors
of the world war that was raging at the time. To open the Preludio
a haunting pair of horns intone over dark and mysterious low strings. The
predominant mood is one of absorbing introspection with a simmering undercurrent
of anxiety. Throughout there is a glorious fluidity to the music with playing
that often feels evocative of opening a window onto a winter fenland scene.
I can almost feel the early morning mist clinging to the moist earth. How
the swirling Scherzo heaves with activity with a distinct sense of
unease and apprehension underlined. Here the playing feels taut and incisive.
The Romanza is saturated with passion and the writing speaks of humanity.
In Sir Mark’s hands the music feels like an elegy for a receding way of life,
in honour of those who were dying to protect it. At one special point the
playing from the Hallé was so rapt that time seemed to stand still. Stunningly
played by Stéphane Rancourt and Thomas Davey the writing for the combination
of oboe and cor anglais could only have come from the pen of Vaughan
Williams. Throughout I was struck by the unity and appealing timbre of the
glorious string sound and Lyn Fletcher’s solo violin part towards the peaceful
and heavily melancholic close of the movement. Generally stormy in character,
the Passacaglia, Finale is a curious blend of anxiety, fuelled
with eager anticipation. The peaceful and glowing conclusion to the score
feels just perfect.
Vaughan Williams was an octogenarian when he composed his Symphony No.8
during a time when the Cold War was gaining momentum. The shortest of his
set of nine symphonies the Eighth was introduced in 1956 by the Hallé
under Sir John Barbirolli to whom the score is dedicated. It was certainly
out of step with the progressive compositional schools that were in vogue
at the time. The same dynamic also applies to the Ninth. Neither
work has ever recovered this tainted reputation and I see them programmed
only infrequently. The adeptly composed opening Fantasia in parts
radiates that pastoral feel yet to my ears Sir Mark brings out a distinctly
cinematic quality. Especially in the forte passages I am reminded of Rózsa’s
score to the MGM historical epic Ben Hur composed a few years later
in 1959. Scored for wind instruments only the short Scherzo alla Marcia
has similarities to the sound-world of Paul Hindemith. This appealing movement
conveys disarming buoyancy and mischievous revelry. The emotional heart of
the work, the Cavatina, is scored for bowed strings. It is elegiac
in character and has a sense of searching. Impressive pastoral qualities evoke
a chilly autumn fenland scene with birds gathering for migration. I admire
the solo violin part played by leader Lyn Fletcher with its uplifting character
somewhat reminiscent of The Lark Ascending. In the Coda
the doleful passage for solo cello brings the movement to a hushed close.
The full orchestra combines in the Toccata: Finale. Here
an array of exuberant extra percussion features heavily. Although the composer
described the opening as “rather sinister” Sir Mark brings out a strong celebratory
quality. The writing is often mocking, palpably questioning and sometimes
strangely disconcerting and the Hallé play radiantly and with deep understanding.
Of the alternative recordings my two long time favourites are included in
excellent sets of the complete symphonies. Firstly the powerfully expressive
performances by Sir Adrian Boult with the London Philharmonic Orchestra/New
Philharmonia Orchestra. Boult recorded the set in 1967/71 in London and I
have these on EMI Classics 0-87484-2. Secondly for their stunning musicianship
there’s André Previn and the London Symphony Orchestra., These were recorded
in 1968/72 also in London and can be heard on RCA Red Seal 82876-55708-2.
This new Hallé release of the Symphony No. 5 was recorded live and
also from rehearsal sessions. The warm sound quality of the performance is
to a good standard, however, the balance could have been slightly improved
and it feels a touch over-bright. Whilst the Symphony No. 8 was recorded
in February 2012 in the studio it has the benefit of crystal clear and well
balanced sound. Liner notes written by Michael Kennedy are of the quality
that one would expect from such a knowledgeable source. Although I would not
wish to dispense with Boult or Previn this admirable Hallé release can confidently
stand alongside any of the competition. This is surely a golden period for
the Hallé and Elder and any of their recordings are worthy of attention. Lovers
of symphonic music will be in their element with this outstanding Vaughan
Williams release.
Michael Cookson
*The first trumpeter at the premiere performance of the no.5 in 1943 were
actually (the later) Sir Malcolm Arnold!
Ulf Skjæran
An admirable Hallé release that can confidently stand alongside any of the
competition.
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