Beecham’s recording
of The Seasons has not received as much
critical attention as have his recordings
of the Symphonies. This is the first
ever CD reissue of this 1956-58 set
(essentially 1956 but with patching
sessions in March 1957 and April 1958)
which makes this Somm double that much
more of an attractive prospect. There
are a number of Beechamesque idiosyncrasies;
a 43 bar cut in the orchestral introduction
and added bells and cymbals and percussive
effects generally in Summer are noticeable
as are the added huntsman’s shots in
Autumn. But the most obvious feature
is Beecham’s orchestration of the keyboard
accompanied secco recitatives. He applied
an analogous approach in his recording
of Schumann’s Manfred when he orchestrated
Schumann’s piano music to fit into the
fabric of the score.
As can be heard from
the live Berlioz that has emanated from
around this time Beecham could still
marshal large forces with verve and
panache – and driving power into the
bargain. Haydn was a favoured composer
and though he seems only to have given
one complete concert performance of
The Seasons (Edinburgh, 1950) he did
conduct isolated movements of the years;
The Creation was invariably played more
often. Beecham is on affectionate
and sympathetic form throughout, relishes
the twinkle-tinkle little star tune
in Simon’s Air Now fairly runs the
farmer’s boy (this is an English
language performance), and moulds the
Trio and Chorus in Spring Be now
gracious with notable acumen.
The orchestra is commendably rustic
when required, the trombones flaring
marvellously in the final Chorus and
Trio of Spring, the hunting horns decisive
and animated in Summer (No 12), flutes
piping in the same movement’s Recitative
for Lucas The midday sun. We
have a real sense of anticipation and
dynamism in Lucas’ You beauties of
the Town (No. 27 – Autumn), a splendid
drone effect in the Chorus Cheer
Now! And plenty of lyric phrasing
in Here stands the wand’rer
now (No. 16 – Winter).
The Chorus is sometimes
rather sluggish (listen to the men in
their very first outing Come, gentle
Spring when Spring takes quite some
time coming) but otherwise sing stoutly
and even nobly. Of the three soloists
Elsie Morison takes the highest honours.
Alexander Young was an estimable singer
of course and his Handel memorable but
he’s not always quite steady (as in
the recitative in Winter At his approach).
Michael Langdon’s voice tends to spread,
an effect noticeable very early on in
Spring’s recitative From Aries rolls
at last.
Somm have clearly taken
care with the transfers; at high level
some of the original residual hum is
audible but it won’t interfere in your
listening pleasure. And there is always
satisfaction to be taken in Beecham’s
Haydn.
Jonathan Woolf
Beecham Choral Society 