The World of English String Music
Edward ELGAR (1857-1934) Introduction and
Allegro
Academy of St Martin in the Fields/Neville Marriner Rec
1968
Henry PURCELL (1659-1695) Chacony in G
minor
English Chamber Orchestra/Benjamin Britten Rec
1969
Peter WARLOCK (1894-1930) Capriol Suite
Academy of St Martin in the Fields/Neville Marriner Rec
1979
Michael TIPPETT (1905-1998) Little Music for
Strings
Academy of St Martin in the Fields/Neville Marriner Rec
1972
William WALTON (1902-1983) Two Pieces from Henry
V
Bournemouth Symphony Orchestra/Andrew Litton Rec
1995
Ralph VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by
Thomas Tallis
The New Queen's Hall Orchestra/Barry Wordsworth Rec
1992
DECCA 467 784-2
[64.22]
Crotchet
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An interesting collection of performances of some of the best music from
the English string orchestra repertoire, featuring leading ensembles and
artists.
Neville Marriner and the Academy of St Martin in the Fields lead the way,
in music by Elgar, Warlock and Tippett, recorded over a period of more than
ten years. Decca's sound is excellent throughout, and the remastering of
the 1960s performances makes it difficult for the ear to detect that they
are older than the more recent examples: praise indeed.
Marriner is direct and purposeful in the Introduction and Allegro,
Elgar's greatest work for strings. The shadings of dynamic which are
such a crucial aspect of this score are splendidly projected; all that is
lacking is that extra degree of expressive intensity which the marvellous
Barbirolli (EMI) performance achieves.
On a smaller scale the Academy are excellent in Warlock's Capriol
Suite and Tippett's Little Music. The latter was originally
coupled with his masterly Corelli Fantasia and Double Concerto,
works too long to fit with this mixed programme on a single CD. The music's
contrapuntal manner is beautifully controlled by Marriner, at his best in
music that needs to be accurately played in ensemble. As for the Warlock,
the mood is generally restrained, the style neo-classical, based on Elizabethan
dances. The Academy play with peerless accuracy of tone and ensemble, doing
full justice to this delightful music.
Benjamin Britten's feeling for the music of Henry Purcell was particularly
committed, and his recording of the famous Chacony sets a bench mark
for the expressive power of this score. So too does Andrew Litton have a
special identity with William Walton, having recorded all the major
orchestral works, and Belshazzar's Feast too, with the Bournemouth
Symphony Orchestra. These two short items from the music for the film Henry
V - The Death of Falstaff and Touch her soft lips and part
- are exquisite miniatures, and the orchestral playing maintains the high
standards found elsewhere on the disc.
The programme closes with one of the greatest of all string orchestra
compositions: the Fantasia on a Theme of Thomas Tallis by Vaughan
Williams. This performance is rather different, being by an orchestra
which prides itself on delivering a performing style appropriate to the period
when the music was written. The New Queen's Hall Orchestra thus organises
the forces differently from modern practice - including, for example - placing
the double basses across the back. The tone may not be quite as powerful
in climaxes, but Barry Wordsworth paces the music admirably, and there is
a real expressive warmth about the shaping and phrasing.
Terry Barfoot
