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CHSA 5002 BOOK.Qxd 12/4/07 2:09 Pm Page 2 CHSA 5002 Front.qxd 12/4/07 2:07 pm Page 1 CHSA 5002 CHANDOS SUPER AUDIO CD CHSA 5002 BOOK.qxd 12/4/07 2:09 pm Page 2 Ralph Vaughan Williams (1872–1958) premiere recording 1 Norfolk Rhapsody No. 2 9:15 in D minor • in d-Moll • en ré mineur Edited and completed by Stephen Hogger Larghetto – Allegro – Molto tranquillo Lebrecht Collection Lebrecht Pastoral Symphony (Symphony No. 3)* 39:00 2 I Molto moderato – Poco tranquillo – Tempo I – Largamente – Tempo I 10:42 3 II Lento moderato – Poco tranquillo, tempo rubato – Tempo I 10:27 4 III Moderato pesante – Poco animato – A tempo – Presto 6:35 5 IV Lento – Moderato maestoso – Animato – Poco più lento – Tempo I 11:14 6 The Running Set 6:33 Presto 7 Norfolk Rhapsody No. 1 11:25 in E minor • in e-Moll • en mi mineur Adagio – Allegro vivace – Tempo I (Lento) TT 66:26 Rebecca Evans soprano* Ralph Vaughan Williams London Symphony Orchestra Markus Wolf leader Richard Hickox 3 CHSA 5002 BOOK.qxd 12/4/07 2:09 pm Page 4 Army Medical Corps and served in France. Like landscape should be painted in Ravelian Vaughan Williams: Pastoral Symphony/Norfolk Rhapsodies Nos 1 & 2 many others, he never spoke afterwards of the tone-colours and bitonality. Yet, for all the horrors he had witnessed there, but they left apparent tranquillity, the ear will detect darker their mark. He began this symphony shortly undercurrents which allude to the war. The Vaughan Williams wrote three Norfolk Norfolk Rhapsody No. 2 had not been after his return to civilian life and completed it poignant horn solo, accompanied by muted Rhapsodies in 1905– 06, originally intending performed since 1914 until this recording was by June 1921 (the scoring was slightly revised strings, which opens the second movement, is to compose a Norfolk Symphony. They were made. Two pages of the score are missing but in 1950–51). The composer never publicly followed by a cadenza for E flat trumpet based on folk-tunes he had collected at King’s have been recomposed. This Rhapsody also gave any clues to what lay behind the music, playing only natural notes. This evokes Lynn and elsewhere in Norfolk in 1905. There begins quietly with woodwind playing ‘Young leaving its title to mislead most commentators Vaughan Williams’s memory of a bugler is no record of their having been performed Henry the Poacher’ before the tune passes to into portraying it as a kind of Cotswold practising on Salisbury Plain and sounding the together in one concert, although Vaughan violas and cellos. A climax contains hints of the rhapsody or a distillation of English folksong seventh in mistake for the octave, but it also Williams conducted the first performances of second subject, the tune ‘All on Spurn Point’, (partly true), and into making silly remarks plainly refers to the ‘Last Post’ and provokes Nos 2 and 3 at the Cardiff Festival on introduced in full by a solo horn. The third tune about cows looking over gates or ‘VW rolling an impassioned outburst in E flat for woodwind 27 September 1907. These two Rhapsodies is ‘The Saucy Bold Robber’ which provides the over and over in a ploughed field’. To his future and strings before the ‘Last Post’ theme were first played in London in April 1912 but basis for a short scherzo, beginning with wife, Ursula, he confided in 1938: returns on a natural horn. were then withdrawn (the score of No. 3 no piccolo and oboe. ‘Young Henry the Poacher’ It’s not really lambkins frisking at all, as most Vaughan Williams described the scherzo as longer exists). In contrast, Rhapsody No. 1 had returns in a variant and the Rhapsody ends people take for granted… It’s really wartime ‘of the nature of a slow dance’ although it its first performance in London on 23 August pianissimo with a return to ‘Spurn Point’. music – a great deal of it incubated when I used ends with some fast and mysteriously quiet 1906 conducted by Henry Wood. It was Why did Vaughan Williams call his Symphony to go up night after night with the ambulance music. Some of the material was sketched drastically revised for 21 May 1914 when the No. 3 ‘Pastoral Symphony’? Certainly not to wagon at Écoivres and we went up a steep hill before 1914 when Vaughan Williams was composer conducted the new version in provide a comparison with Beethoven. There are and there was a wonderful Corot-like landscape in music director at Stratford-upon-Avon and was Bournemouth. The work as published is no imitation bird-calls, no thunderstorm and no the sunset. contemplating a setting of Falstaff and the permeated by the hauntingly beautiful melody ‘awakening of happy feelings on arriving in the So the Pastoral label is explained: not the fairies in the Windsor Forest scene of The of ‘The Captain’s Apprentice’, first hinted at by countryside’. Vaughan Williams’s Pastoral Cotswolds, but battle-scarred France. Ironic, Merry Wives of Windsor. The most overtly the clarinet in the slow introduction – like a begins with flutes and bassoons playing perhaps. It is characteristic of Vaughan emotional movement of the symphony is its misty Fenland morning – and later played in oscillating triads in level quavers, followed by a Williams that what might be called his ‘war finale. Its unrestrainedly impassioned central full by solo viola. A contrast in mood and solo violin accompanied by tremolando chords. requiem’ is not full of trumpets and drums, nor outburst might be the Écoivres sunset, but it tempo is provided by the folksong ‘The Basket The mood is gently elegiac, and there lies the of angry harmonic dissonances, but looks seems to me to represent the composer’s of Eggs’, while a cor anglais introduces clue. The symphony is directly related to the above the battle to the transcendence of reaction to the loss of friends – the musical ‘A Bold Young Sailor’. This Rhapsody originally First World War of 1914–18. Vaughan sunsets and Corot, expressed in undulating counterpart to the words he wrote to Gustav ended brilliantly, but the revision substituted a Williams, although forty-one when war was chords and the clarity of sound he learned Holst: ‘I sometimes dread coming back to return to the misty landscape of the opening. declared, enlisted as a private in the Royal from Ravel – so apposite that the French normal life with so many gaps’. 4 5 CHSA 5002 BOOK.qxd 12/4/07 2:09 pm Page 6 The finale begins and ends with a wordless Rebecca Evans The London Symphony Orchestra was Conductor of the BBC National Orchestra of vocalise for solo soprano, first heard over a very was born in formed in 1904 as London’s first self- Wales since September 2000, he is also Music soft drumroll but unaccompanied when it South Wales and governing orchestra and has been resident Director of the City of London Sinfonia, which returns. So the human voice intrudes upon the studied at the orchestra at the Barbican Centre since 1982. he founded in 1971, formerly Artistic Director landscape, but it is an ethereal, transcendental Guildhall School Sir Colin Davis became Principal Conductor in and now Conductor Emeritus of the Northern voice. Is it a girl singing over the killing-fields, of Music and 1995, following in the footsteps of Hans Sinfonia, and Guest Conductor of the London or something more mystical? Elgar, in the Drama. She has Richter, Sir Edward Elgar, Sir Thomas Beecham, Symphony Orchestra. He frequently conducts second of his wartime recitations with appeared with André Previn, Claudio Abbado and Michael leading orchestras in Europe, Japan and North orchestra, Une voix dans le désert (1915), hit major opera Tilson Thomas, among others. The Orchestra America. upon the same poignant device of a girl’s song. companies gives numerous concerts around the world Opera occupies much of his time, and It is unlikely that Vaughan Williams ever heard throughout the each year, plus more performances in London besides having made guest appearances with the Elgar, but it is nevertheless curious that two world and is a than any other orchestra. It is the world’s most The Royal Opera, Covent Garden and the of the greatest English composers should have regular guest at recorded symphony orchestra and has Vienna State Opera, among others, he has used a similar method of conveying wartime The Royal Opera, appeared on some of the greatest classical recorded several operas live at the Spoleto emotion recollected in a kind of tranquillity. Covent Garden, recordings and film soundtracks. The Festival, Italy, where he is Music Director. The Running Set, founded on traditional The Metropolitan Orchestra runs a ground-breaking education Richard Hickox is committed to a wide range folk-tunes, was written in 1933 for the National Opera, New York, and Bayerische Staatsoper. programme, LSO Discovery, dedicated to of music and he has received many accolades Folk Dance Festival at the Royal Albert Hall on Her roles include Sophie (Der Rosenkavalier), introducing the finest music to young and and awards for his contribution to British 6 January 1934. The composer conducted, as Nanetta (Falstaff ), Susanna (Le nozze di old alike. musical life. His flair for programming captures he did at its first concert performance by the Figaro), Servilia (La clemenza di Tito), Hero the imagination of public and critic alike. BBC Symphony Orchestra on 27 September (Béatrice et Bénédict ), Ilia (Idomeneo), Zdenka Winner of three Gramophone Awards, one Particularly memorable have been his complete 1934. The title comes from a dance of British (Arabella) and the title role in The Cunning Grammy Award, the Deutsche cycle of symphonies by Vaughan Williams at origin which was still performed in the remoter Little Vixen.
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