The Naxos cycle of
Vaughan Williams symphonies has been
slowly unfolding for some years now,
having started out in the hands of the
Bournemouth Symphony Orchestra under
Kees Bakels. Bakels drew some creditable
performances from the Bournemouth without
quite hitting the heights of his tough
competition. As a result the earlier
recordings in the cycle tend to be somewhat
over-looked, despite their reasonable
credibility.
It was in 2003 however,
with two symphonies still to be recorded
and Paul Daniel stepping forward to
take the helm, that the cycle was suddenly
thrust into the limelight with an outstandingly
impressive Sea Symphony. It’s
a recording that stands comparison with
the very finest. As a consequence I
came to this new recording of the Fourth
Symphony with some anticipation and
from the opening paragraphs it is immediately
clear that Daniel does not intend to
disappoint.
Rarely will you be
hit between the eyes with an opening
like this. Vaughan Williams was always
quick to cast aside suggestions that
this was a war symphony, yet the sheer
savagery Daniel draws from the Bournemouth
could leave no other impression. Daniel
sets about the music with a ruthless
sense of purpose, demonstrating an unerring
grasp of the music’s tension. It makes
for uneasy yet utterly compulsive listening.
In response the Bournemouth players
are nothing short of magnificent, as
is Mike Clements’ stunningly engineered
recording. The closing bars of the opening
movement descend into an unsettling,
tense peace that had me holding my breath
in awe. Never has this music been more
atmospherically captured. The same mastery
of pacing is evident in the Andante
Moderato that follows, the slow pizzicato
tread of the lower strings beautifully
judged. The riot of cross-rhythms that
are the life blood of the scherzo are
pulled off with glorious clarity, the
central fugue deftly handled and the
dynamics judged to perfection. In the
Finale there are few, if any conductors
who have dared to approach the frightening
pace of VW’s own recording of this work
(a must-have performance available on
Dutton). Paul Daniel shows no such reticence
and his fourth movement sets off at
an absolutely bristling pace. Daniel’s
judgement once again yields spectacular
results. For a fine example listen as
the music comes back to life from around
4:00 or the demonic brass at 7:20, the
final terrifying assault prior to a
conclusion of shattering power.
I could not be without
VW’s own recording of this symphony,
despite occasionally rough and ready
orchestral playing, for its sheer energy
and scintillating atmosphere. Thus far
amongst modern recordings it has been
Handley who has come closest to emulating
this with the benefit of modern sound.
Yet in Paul Daniel and the Bournemouth
Symphony Orchestra we finally have a
recording that draws all of these strands
together. As such it shoots straight
to the top of my list.
As if to emphasise
the point and by sheer coincidence I
found myself reviewing Andrew Davis’s
newly packaged boxed set of the VW symphonies
on Warner Classics at the same time
as this disc dropped on my doormat.
If ever there was a stark comparison
between two performances of the Fourth
Symphony this is it. The uninspiring,
characterless and lacklustre recording
of the work by Davis and the BBC Symphony
Orchestra had me thanking my lucky stars
that I had the revelatory Daniel to
look forward to whilst listening to
it.
The disc is topped
up with two more than worthwhile bonus
works. In the final analysis Flos
Campi may just lack the last ounce
of ethereal atmosphere that marks out
its closest rivals (Handley is superb
once again here) but there is no denying
Paul Daniel’s total command of the nuances
of Vaughan Williams’ ecstatic score.
The choral contributions from the Bournemouth
Symphony Chorus are exceptional as is
Paul Silverthorne’s lucid and full-toned
contribution as viola soloist. The Norfolk
Rhapsody No. 1 offers more of the
same with luscious sounds from the strings
and a palpable sense of stillness framing
a rollicking central section that Daniel
takes at a cracking and highly effective
pace.
Rarely will you hear
the Bournemouth Symphony Orchestra in
finer form than this. The orchestra’s
principal conductor Marin Alsop has
been doing sterling work since her arrival
in Dorset and coupled with the energies
of Daniel there is no doubt that this
is an orchestra freshly invigorated.
Naxos provides a recording of admirable
clarity and dynamic range and once again
I find myself marvelling at the value
for money that this label provides at
the top of its form. Recommended unreservedly.
Christopher Thomas
see also reviews
by Patrick
Waller and William
Hedley
Paul Silverthorne* (viola) 
