Search - Ralph Vaughan Williams, Bernard Haitink, London Philharmonic Orchestra :: Vaughan Williams: On Wenlock Edge; Fantasia on a Theme by Thomas Tallis; etc.

An Excellent Vaughan Williams "Starter Kit", and then some

Jeffery A. Triggs | New Jersey | 03/30/2008

(4 out of 5 stars)

"If you are a fan of Vaughan Williams, as I am, you probably already have all or most of these pieces on other recordings, and you might even be prepared to quibble with some of Bernard Haitink's rather slow tempi. If you are new to RVW's music, however, this is an excellent, gentle introduction to this multifaceted composer's work. The neo-Elizabethan side is represented by the deservedly famous Fantasia on a Theme by Thomas Tallis, the English folk song side by the Norfolk Rhapsody (No. 1), In the Fen Country, and the beautiful fantasy for violin and orchestra, The Lark Ascending. If these works appeal to you, then you are well primed for the early symphonies, as well as works like the Wasps, Serenade to Music, and Dives and Lazarus.



The most fascinating work in this collection, and one that makes this CD worthwhile even for veteran fans, is the rarely heard orchestral version of Vaughan Williams's song cycle On Wenlock Edge, a setting of poems from A. E. Housman's A Shropshire Lad. Originally scored for Tenor and Piano Quintet, it was published in 1909 shortly after RVW's brief stint as Ravel's student in Paris, and like the incidental music for The Wasps published the same year it contains more than a whiff of continental impressionism. I think it could be at least plausibly argued that On Wenlock Edge is the finest set of songs in modern English, and a worthy companion of the great contemporary Lieder of Wolf, Mahler, and Strauss. (Housman, more than most recent English poets, cries out to be set to music, and how beautifully Vaughan Williams sets him here, though the poet was reputedly furious with the composer because of some minor alterations that were made to the texts.) Vaughan Williams orchestrated the songs himself in the early 1920's. Those who know only the quintet version will set about eagerly making comparisons. My own feeling is that, with a couple of exceptions, both versions are equivalent and work equally well. The orchestral versions are at least very interesting and at best, as in the grimly ironic "Is My Team Ploughing?" offer an interpretive richness beyond what was possible with more modest resources. The exception I feel most strongly about, however, happens to be one of the best songs in the set, "From Far, from eve, and morning" (#2). In the original version, the song's first stanza paints its bleak picture of an accidental nature with only the piano offering a ghostly accompaniment of arpeggiated chords, and then, at the words "Now for a breath I tarry" beginning the second stanza and carrying on through the first two lines of the third, the quartet takes over in a wonderful effect suggesting the brief time of pulsing life between "two eternities of darkness", to borrow Nabokov's phrase. Then the vibrant strings vanish and the ghostly piano returns for the end of the song. This is one of the most beautifully matched accompaniments in the history of the art song, and the orchestra, try as it will, cannot help muddling things. If you are new to Vaughan Williams and you like these songs, get the quintet version as well.



As I mentioned above, Haitink is a bit slow in his tempi at times, though not enough to be annoying. Sarah Chang doesn't blow me away, but she is perfectly acceptable as the violin soloist in The Lark Ascending. The tenor, Ian Bostridge, is in lovely voice for the songs. In general the sound quality is excellent. For whichever audience, this is not a CD you will regret buying."

Vaughan Williams, the master of the folk art

L. Wiltamuth | Northport, NY | 11/06/2006

(5 out of 5 stars)

"Vaughan Williams, like Holst, was famous for reviving the neglected folk songs of his country. In this CD he utilizes a theme from English Renaissance composer, Tallis and weaves it into a lush string serenade. Sara Chang performs a lovely interpretation of The Lark Ascending. Her light uninhibited sound evokes the sound and image of the lark soaring. Although I enjoyed Vaughan Williams' In The Fen Country and Norfolk Rhapsody, my favorite work by far was On Wenlock Edge. I had just heard Mr. Bostridge in a live performance of that work at Carnegie Hall and was eager to find a recording of it with him. His voice, nuanced and articulate, is perfect for this "original" folksong. Vaughan Williams is able to transport you to various places throughout the song cycle by way of text and orchestral effects. Highly recommended for anyone wanting an introduction to Vaughan Williams' music or standard repetoire by this often neglected composer. Enjoy!"