Variations on an Original Theme (‘Enigma’), Op. 36 [27:54]
rec. 21 and 23 June 1956, Free Trade Hall, Manchester
Introduction and Allegro, Op. 47 [13:32]
rec. 1 September 1953, Free Trade Hall, Manchester
Serenade in E minor, Op. 20 [12:08]
rec. 30 April 1949, No 1 Studio, Abbey Road, London
Dream Children No.1, Op. 43/1 [3:46]
rec. 2 February 1950, No 1 Studio, Abbey Road, London
Cockaigne (In London Town) - Concert Overture, Op. 40 [14:14]
rec. 2 February 1950, No 1 Studio, Abbey Road, London
Cockaigne (In London Town) - Concert Overture, Op. 40 [13:45]
rec. 4 January 1954, Free Trade Hall, Manchester
Symphony No 2 in E flat, Op. 63 [51:37]
Rec. 8-9 June 1954, Free Trade Hall, Manchester
Land of Hope and Glory [5:19]
*Kathleen Ferrier (contralto)
Hallé Orchestra/Sir John Barbirolli
rec. Opening ceremony of Free Trade Hall, Manchester, 16 November 1951)*
BARBIROLLI SOCIETY SJB 1075-76 [71:34 + 69:41]
I’ve been collecting Elgar recordings for well over forty
years now. I have a huge regard for the work of several conductors,
including Boult, Elder and Handley - and Elgar’s own recordings
are indispensable. However, the more I’ve listened to this
wonderful music it’s Barbirolli’s performances that
move me the most. The reason why is summed up for me admirably in
Robert Matthew-Walker’s very good notes accompanying this
latest Barbirolli Society release. He writes of JB’s performance
of the Introduction and Allegro that ‘there is a virtually
indefinable but nonetheless apparent character of expressive warmth
here that permeates Barbirolli’s conducting of Elgar - a sense
of inner involvement, almost - implying that his interpretations
came from within and were not imposed from without.’ I couldn’t
agree more and anyone who listens to these 1950s recordings is likely
to feel the same.
I’ve owned all but one of these recordings in EMI versions
for many years but it’s excellent to have them conveniently
assembled here and in good re-masterings by Paul Baily. The set
is dominated by the 1954 recording of the Second Symphony. As Mr
Matthew-Walker reminds us, it was this work that gave the young
conductor his first big breakthrough when, in 1927, he deputised
for an ailing Beecham at an LSO concert, learning the complex score
in a mere 48 hours. He made a further recording of the symphony,
in stereo, in 1964 and naturally that performance benefits from
richer sound. However, the 1954 performance arguably shows the best
of Barbirolli in this work; overall the performance is much tauter,
especially in the first movement which took 19:24 in 1964 compared
with 17:05 here. In fact the overall timings for all four movements
are quicker in this earlier reading yet JB doesn’t underplay
the more relaxed, lyrical passages. There’s an admirable thrust
and urgency in the first movement while the slow movement is simply
glorious: Barbirolli knows just how this music should ‘go’
and he paces it excellently. Despite the rather thin sound the oboe
threnody against the main theme (from 7:11) is very moving and Barbirolli
thrusts home the climaxes in the movement passionately and unerringly.
The scherzo is urgent and exciting while the finale is marvellously
satisfying, the autumnal coda in particular.
The ‘Enigma’ Variations was a Barbirolli speciality
and this 1956 performance is a very good one. He characterises all
the variations very well. The theme itself really sings,
as does ‘C.A.E.’ while the conductor has a dashing way
with variations such as ‘Troyte’. ‘Nimrod’
is ideal: Barbirolli has the orchestra play it nobly and, above
all, cantabile. He builds this variation very naturally and
movingly and not as an elegy. The ‘E.D.U.’ finale
is surging and confident and the Free Trade Hall organ is involved
at the end to good effect.
We get a big performance of the Introduction and Allegro,
which is played with sweep and energy. The performance has plenty
of ardour but it’s always well controlled. On a different
scale is the account of the Serenade in E minor. For this, we learn
in the notes, Barbirolli reduced the size of the string sections
and the resulting performance has a lovely sense of intimacy. His
celebrated 1962 recordings of both works with the Sinfonia of London
remain in a class of their own but these earlier Hallé readings
are very fine.
There are two performances of Cockaigne and it’s interesting
to note that the later, 1954, recording is some 30 seconds quicker
- in 1962 when JB recorded the piece again, this time with the Philharmonia,
he took 14:35. In all honesty, it’s not easy to spot differences
between the two performances included here - it’s more a matter
of nuance - but both are very good. The 1954 recorded sound has
more body; the 1950 sound, though perfectly acceptable, has a slightly
more wiry treble. Barbirolli, himself a Londoner, conducts two red-blooded,
affectionate performances.
The one recording I didn’t have in my collection until now
is the one with which the second disc ends. This is a live recording
from the ceremonial re-opening of the orchestra’s Manchester
home, the Free Trade Hall, which had been severely damaged during
the war. The recording of Kathleen Ferrier singing Land of Hope
and Glory suffers from some surface noise but her voice is well
caught by the microphones and sounds glorious. There’s a palpable
sense of occasion here. The big tune itself is taken pretty slowly
by Barbirolli, but not too slowly, and after Ferrier has sung it
everyone joins in the reprise. This re-opening of the hall must
have been a powerful signal to Mancunians that their city was recovering
from the ravages of war. I defy anyone to listen to this and not
be moved; I certainly was.
Barbirolli was loyal to Elgar’s music throughout his career
and his crucial role in keeping the composer’s music in the
public eye even when it threatened to go out of fashion should never
be forgotten. Nor should his important and consistent work in taking
Elgar’s music to overseas audiences be overlooked: he was
something of an evangelist for Elgar. This is an excellent set and
self-recommending to Elgar collectors and to admirers of this great
and big-hearted conductor.
John Quinn
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