sign in sign up
<<
Home , Amour (Stockhausen), Evelyn Barbirolli, Flos Campi, Harriet Cohen, Henry Wood, Isobel Baillie

Vaughan Williams Piano • Concerto to Music •

Louis Lortie piano Sarah Jeffrey oboe Toronto Symphony Teng Li Peter Oundjian Drawing by Leo Hardy © Lebrecht Music & Arts Photo Library

Ralph Vaughan Williams, c. 1936 – 37 (1872 – 1958)

1 (1938)* 14:29 for Four Soloists, Chorus, and Orchestra Words by Shakespeare () Dedicated to Sir Henry J. Wood on the occasion of his Jubilee, in grateful recognition of his services to music Andante sostenuto – Poco animato – I – Poco animato – Tempo I – Andante con moto – Tempo I ma poco animato – Tempo I – Poco animato – Tempo I

Concerto (1944)† 20:06 in • in a-Moll • en la mineur for Oboe and Strings To Léon Goossens 2 I Rondo Pastorale. Allegro moderato – Cadenza – [Allegro moderato] – Cadenza – Tempo – Cadenza – [Tempo] – Cadenza – Tempo 7:52 3 II Minuet and Musette. Allegro moderato – Musette – [Minuet] 2:39 4 III Finale (Scherzo). Presto – [Cadenza] – Doppio più lento – [Cadenza] – Doppio più mosso – Lento – Presto 9:33

3 Flos Campi (1924 – 25)‡ 21:01 (Flower of the Field) Suite for Viola, Small Chorus, and Small Orchestra To 5 1 Lento (senza misura) – (Tempo) – 2:46 6 2 Andante con moto – [senza misura] – 3:24 7 3 Lento (senza misura) – [A tempo] – Allegro moderato (senza misura) – Allegro moderato – Allargando – 3:21 8 4 Moderato alla marcia – 1:59 9 5 Andante quasi lento (Largamente) – Largamente – A tempo (poco animato) – Largamente – Moderato tranquillo – 3:20 10 6 (Moderato tranquillo) – (Lento) (Tempo del principio) (senza misura) – (A tempo) (Tranquillo) 6:08

Concerto (1926 – 31)§ 26:42 in C major • in C-Dur • en ut majeur for Piano and Orchestra To 11 I . Allegro moderato – Poco animato – Tempo I – Poco animato – Tempo I – Poco animato – Largamente – Cadenza – 6:42 12 II Romanza. Lento – Poco più mosso – Poco animato – Tranquillo – Tempo I – 9:02

4 13 III Fuga chromatica, con Finale alla tedesca. Allegro – Fuga – Cadenza – Finale alla tedesca – Cadenza – Poco stringendo – Cadenza – Lento – Largo sostenuto – Andante sostenuto 10:58 TT 82:21

Carla Huhtanen soprano* Emily D’Angelo mezzo-soprano* Lawrence Wiliford * Tyler Duncan * Sarah Jeffrey oboe† Teng Li viola‡ Louis Lortie piano§ Elmer Iseler Singers*‡ Lydia Adams artistic director Toronto Symphony Orchestra Jonathan Crow concertmaster Peter Oundjian

5 Elmer Iseler Singers Lydia Adams conductor and artistic director Jessie Iseler general manager soprano tenor Jodie Alcorn Ben Jisoo Kim Anne Bornath Eric MacKeracher Amy Dodington Mitchell Pady Gisele Kulak Will Reid Cathy Robinson Michael Sawarna Alison Roy alto Alexander Jozefacki Claudia Lemcke Nelson Lohnes Victoria Marshall Graham Robinson Laura McAlpine Michael Thomas Lynn McMurray Paul Winkelmans Victor Cheng (James T. Chestnutt Scholar, 2017 / 18)

6 Toronto Symphony Orchestra Peter Oundjian music director Sir conductor laureate violin Jennifer Thompson Jonathan Crow, concertmaster Angelique Toews Tom Beck Concertmaster Chair James Wallenberg Mark Skazinetsky, associate concertmaster Virginia Chen Wells Marc-André Savoie, assistant concertmaster Arkady Yanivker Etsuko Kimura, assistant concertmaster Paul Meyer, principal second violin viola Wendy Rose, associate principal second violin Teng Li, principal Eri Kosaka, assistant principal second violin Principal Viola funded by David and Atis Bankas Renette Berman Sydney Chun Theresa Rudolph, assistant principal Carol Lynn Fujino Daniel Blackman Amanda Goodburn Ivan Ivanovich Terry Holowach Gary Labovitz Bridget Hunt Diane Leung Amalia Joanou-Canzoneri Charmain Louis Mi Hyon Kim Mary Carol Nugent Shane Kim Christopher Redfield Leslie Dawn Knowles Kent Teeple Douglas Kwon Ethan Filner* Sergei Nikonov Jesse Morrison* Hyung-Sun Paik Young Dae Park cello Semyon Pertsovsky Joseph Johnson, principal Clare Semes Principal Cello Chair funded by Peter Seminovs Dr Armand Hammer

7 Emmanuelle Beaulieu Bergeron, associate oboe principal Sarah Jeffrey, principal Winona Zelenka, assistant principal Principal Oboe funded by Pam and Alastair Eng Chris Hodgson Igor Gefter Keith Atkinson, associate principal Marie Gelinas Cary Ebli Roberta Janzen Britton Riley English horn Kirk Worthington Cary Ebli double-bass Jeffrey Beecher, principal Joaquin Valdepeñas, principal Principal Chair annually Sheryl L. and David W. Kerr Principal funded by the Saunderson Family Clarinet Chair Michael Chiarello, associate principal Miles Jaques Theodore Chan Joseph Orlowski Timothy Dawson Chas Elliott bass clarinet David Longenecker Miles Jaques Paul Rogers Michael Sweeney, principal Kelly Zimba, principal Samuel Banks Toronto Symphony Volunteer Committee Fraser Jackson Principal Flute Chair Julie Ranti, associate principal contrabassoon Leonie Wall Fraser Jackson Camille Watts horn piccolo Neil Deland, principal Camille Watts Dr Michael Braudo Principal Horn Chair

8 Christopher Gongos, associate principal percussion Audrey Good Charles Settle, principal Nicholas Hartman John Rudolph Gabriel Radford Russell Hartenberger* Bryn Lutek* Andrew McCandless, principal harp Toronto Symphony Volunteer Committee Heidi Van Hoesen Gorton, principal Principal Trumpet Chair Principal Harp funded by Richard Rooney Steven Woomert, associate principal and Laura Dinner James Gardiner James Spragg keyboard Talisa Blackman* Gordon Wolfe, principal librarians Vanessa Fralick, associate principal Gary Corrin, principal Principal Librarian funded by Bob and bass trombone Ann Corcoran Jeffrey Hall Kim Gilmore Andrew Harper, interim librarian Mark Tetreault, principal personnel David Kent, manager David Kent, principal *guest musician

9 Carla Huhtanen

Tobin Grimshaw Emily D’Angelo

SongFest Emerging Artist Vaughan Williams: Serenade to Music / / Flos Campi

Serenade to Music part. The initials of each singer at the first Ralph Vaughan Williams (1872 – 1958) performance were placed in the score to phoned Ursula Wood in the spring of 1938 mark his or her individual entries. While Wood to tell her about a request from Sir Henry and Vaughan Williams were able to agree Wood for a work to celebrate his fifty on the names of the sixteen singers, some years as a conductor, adding: ‘He wants leading soloists had to be omitted; perhaps something for sixteen singers.’ Vaughan the most disappointed was the bass-baritone Williams quickly chose the episode involving , a close friend of both conductor Jessica and Lorenzo from Act V, Scene 1 of and composer. The Merchant of Venice as the text for the The early rehearsals of the piece proved work. This romantic scene from his beloved an emotional experience, Lady Jessie Wood Shakespeare, with lines such as ‘With writing that ‘the singers were so moved that sweetest touches pierce your mistress’ their lips seemed unable to articulate’. The ear, / And draw her home with music’, was soprano said that she had personally apposite: Vaughan Williams had the awesome task of leading the sixteen started a passionate love affair with the solo contributions; my phrase ‘of sweet twenty-seven-year-old Ursula on 31 March harmony’ was very exposed and rose to a 1938. Ursula said later that ‘I think he was top A within two bars! rather in love with me at that time; I think the The successful first performance took place Serenade was written for me’. on 5 October 1938 in the in The work is certainly one of the most and the composer dedicated the work ravishing of all Vaughan Williams’s to Sir Henry J. Wood on the occasion of compositions. It was Vaughan Williams who his Jubilee, in grateful recognition of his came up with the inspired idea to set the services to music. words for the sixteen voices as soloists, Vaughan Williams authorised performances the individual vocal qualities of each singer of the work in several formats; it is the version shaping the phrasing and colour of each for four soloists (S, A, T, B) with chorus and

11 orchestra that is heard on this recording. almost four years of war. Something of the The hushed orchestral opening, for harp, visionary quality of this symphony is also strings, clarinet, and a violin solo, marked heard in the , particularly in Andante sostenuto, sets a suitably rapt tone. the extraordinary Lento section of the third A second theme, led by woodwind, is a little movement. more animated before the voices enter, tutti, Léon was one of five children in the singing, ‘How sweet the moonlight sleeps musically gifted Goossens family which upon this bank!’ After a few more bars for the included his brother, the conductor Eugene, singers combined, a soprano soloist soars and the harpists Marie and Sidonie. He to that top A, on ‘sweet harmony’, and the inspired more than 100 compositions over other soloists take turns to elaborate the two his career, such as the Oboe Quintet (1922) main musical ideas. The first of two fortissimo of Sir . A close friend of Vaughan passages for the full vocal occurs Williams, he gave the first performance of at ‘Such harmony is in immortal souls’, the the Oboe Concerto, on 30 September 1944, second, following a fanfare, at ‘Come, ho! and with the Philharmonic Orchestra wake Diana with a hymn!’ The earlier melodies conducted by Sir . Léon are repeated, including the fanfare, and the Goossens said that ‘This work showed the words ‘Soft stillness and the night’ signal oboe in all its guises from piping shepherd to the end of the work, a soprano soloist, full brilliant virtuoso’. ensemble, and solo violin recapturing those Vaughan Williams wrote the first two moments of sweet harmony. movements in 1943, then put the work to one side while he completed his Fifth Symphony. Concerto in A minor for Oboe and Strings Using a discarded scherzo movement from The delightful and underrated Oboe this symphony as his inspiration, he opens Concerto was composed for Léon Goossens the first movement with a pastoral rondo in 1943 – 44, at a time when London and tune in A minor. The soloist plays almost southern were under attack continuously in this Allegro moderato, florid, from flying bombs. Vaughan Williams’s rhythmic writing – ‘merry-piping’ – alternating Fifth Symphony, first performed in 1943, with broader, cantabile themes; it is one contains music of tranquillity and repose of these lyrical passages that brings the which had provided hope to those enduring movement to an end. In the short second

12 movement, the opening Minuet suggests that the Latin title, translated as ‘Flower of an eighteenth-century stately dance, the Field’, did not connote ‘buttercups and beginning brightly with pizzicato strings. daisies’ but was the The linked Musette contains a ‘drone’ (a Vulgate equivalent of ‘Rose of Sharon’ – sustained note) played by the oboe, evoking ‘I am the Rose of Sharon, and the Lily of a rustic atmosphere. Technically challenging, the Valleys’. the Finale also offers the deepest music, The Vulgate is the late-fourth-century Latin recalling themes from earlier movements. translation of the thirty-nine books of the Opening with virtuoso writing for the soloist, Hebrew Bible, which was adopted by the this Scherzo has two trio sections, the first Catholic Church as its official Latin Bible resembling a broad, lyrical waltz, the second in the mid-sixteenth century. Contained in marked Doppio più lento, or half the tempo of the Vulgate is the Canticum Canticorum or the preceding section. There is then a Doppio Song of Songs, also known as the Song of più mosso instruction. Vaughan Williams once Solomon, an ancient love-song expressed asked why oboists found this through the voices of two lovers. It is the movement so difficult and her answer was woman who describes herself as the ‘lily to point at these frequent changes of tempo. of the valleys’ in Chapter II, verse 1. Some The evocative Lento passage now follows, religious commentators have seen in the during which Vaughan Williams glimpses sensuous and mystical language of the those Delectable Mountains, or perhaps Songs an allegory of the love of Christ for his the Elysian Fields, ‘where hunger and thirst Church, or of God for his people. However, are satisfied at living fountains of water’. It Vaughan Williams disavows all such is a deeply moving episode. All too quickly speculation by stating firmly that the music the vision fades and the shepherd’s pipe has no ecclesiastical basis – for him it is a takes the work in more exuberant style to its celebration of the love between a man and conclusion, although closing on a pianissimo a woman. high D. The work is in six linked movements, each headed by a Latin quotation, with an English Flos Campi translation, added later, from the Song of Vaughan Williams indicated in his programme Solomon. Vaughan Williams began the work note for a performance of Flos Campi in 1927 in 1924 and it was first performed by Lionel

13 Tertis (viola) with the Queen’s Hall Orchestra I naturally have a great affinity for the and a chorus from the which Vaughan Williams conducted by Sir on 10 October wrote for me. This is a work which I feel 1925. From the restrained, lyrical opening opened the way to his Fourth Symphony... bars, the work flows with a remarkable sense Vaughan Williams’s writing for piano in this of ecstasy and rhapsodic longing; it is the work is technically challenging and Harriet most sensual of all Vaughan Williams’s works. Cohen admitted that her fingers were The cantabile viola solo in section 2 is quite ‘fumbling with nervousness’. She found the beautiful, the wordless instructed to sing third movement fugue ‘specially frightening’ – with ‘half closed lips’. The instrumental fourth the stretches of enormous chords were section, a march with oriental overtones, beyond the span of her small hands. After the provides necessary contrast. Overall, first few performances, Vaughan Williams Flos Campi is contemplative and at times accepted that Harriet would not be able passionate, the exchanges among the solo to play the work again and was ultimately viola, wordless chorus, and small orchestra persuaded, in 1946, to rearrange it for two signifying desire and, from the end of the fifth pianos. (For more information on the Concerto section, satisfaction and fulfilment. Above all, for Two Pianos and Orchestra see CHSA 5186.) Flos Campi is, as Hubert Foss once put it, ‘An Ursula Vaughan Williams said that the exquisite study in pure sound’. composer had Busoni’s transcriptions of Bach in mind while he wrote his Piano Concerto in C major for Piano and Orchestra Concerto. This influence is most pronounced Vaughan Williams wrote that in the opening Allegro moderato, a Toccata The first two movements of this Concerto that lives up to this label in its fast-moving were sketched in 1926, and the third virtuosity. The exuberance and percussive movement in 1930. The work is dedicated nature of the piano writing may surprise to Miss Harriet Cohen. those used to Vaughan Williams in pastoral It was first performed by Cohen at the mode. After a succession of block chords for Queen’s Hall, London on 1 February 1933, the soloist, Vaughan Williams does at least the BBC Symphony Orchestra conducted add a folk-like phrase for woodwind, then by . Harriet Cohen (1895 – 1967) piano, as a contrasting idea to the drama that wrote: precedes it. A virtuoso Largamente section

14 leads to a short Cadenza, marked senza and it provides a moving and most satisfying misura, and then to the second movement, a conclusion to a brilliant work. lyrical Romanza. Vaughan Williams reserves © 2018 Stephen Connock this description for many of his most deeply Vice-President, RVW Society felt passages, including the slow movement (www.rvwsociety.com) of his Fifth Symphony, and this Romanza is Author of Toward the Sun Rising: no exception. Initially the music focuses on Ralph Vaughan Williams Remembered, a single note played over gentle arpeggios; Albion Music Ltd, 2018 a dreamlike melody of melting, restrained beauty, initially for solo flute, follows, constituting the heart of the concerto. The soprano Carla Huhtanen is in demand After a rapt climax the restrained melody internationally for her soaring, translucent returns in passages that recall discarded voice, winning stage presence, and diverse sections of the original version of A London repertoire. Now living in the UK, she was last Symphony. Then the solo oboe and heard with the Toronto Symphony Orchestra hint at the main thematic material of the final in Boulez’s Le Soleil des eaux in Toronto and movement. The brass, fortissimo, outline the . She has recently made acclaimed theme of the fugue which opens the third appearances in Atelier’s production of movement, quickly introduced in full by the Armide in Toronto and at Versailles, Bach’s soloist. A powerful climax ensues before a with the Grand Philharmonic lengthy Cadenza which provides a link to the Choir, the Dora Award-winning production frenetic rhythms of the Finale alla tedesca, of Rocking Horse Winner with Tapestry written in the style of an eighteenth-century New Opera Works, and Abigail Schulte- German dance. Another glittering Cadenza Richardson’s Alligator Pie, also with the brings the movement back to the lyrical Toronto Symphony Orchestra. Elsewhere, theme of the Romanza. Finally, in a section she has sung Cunegonde (Candide) with the marked Andante sostenuto, the dance-like BBC Concert Orchestra in London and at the subject is played softly by pizzicato strings Valletta Festival in Malta, Lisetta (Rossini’s alongside calm piano chords. Vaughan La gazzetta) at Garsington Opera, Serpetta Williams added this soft ending in 1946, when (Mozart’s La finta giardiniera) at the Barbican he was arranging the work for two pianos, Centre’s Mostly Mozart series, and given

15 performances at Teatro La Fenice in Venice, Opera in 2017 – 18, Emily D’Angelo has appeared Welsh National Opera, Teatro Nacional de in concert performances of Die Zauberflöte São Carlos in Lisbon, and with the Israel with the , as the Philharmonic Orchestra. Carla Huhtanen has mezzo soloist in Stravinsky’s Pulcinella with participated in recordings of Herbert’s Babes The Montclair Orchestra, and made her role in Toyland with the London and début as Rosina (Il barbiere di Siviglia) at Vivaldi’s Griselda, the JUNO Award-winning The Glimmerglass Festival. Mozart’s Magnificent Voyage, and discs of sacred music and works by James Rolfe. Lauded for his luminous projection, lyrical sensitivity, and brilliant coloratura, the Described as having ‘a voice hued like polished American-Canadian tenor Lawrence Wiliford teak’ by , the Italian- is in high demand in concert, opera, and recital Canadian mezzo-soprano Emily D’Angelo was repertoire, and has performed in concert with born and raised in Toronto. She received her the major symphony and early Bachelor of Music in Voice Performance from music groups in the US and Canada. He has the University of Toronto, and is a graduate of recently appeared in performances of Vaughan the Ensemble Studio at the Canadian Opera Williams’s Serenade to Music with the Toronto Company. A winner of the 2016 Metropolitan Symphony Orchestra, Mozart’s Opera National Council Audition Finals, she with the Hamilton Philharmonic Orchestra, was also a First Prize winner of the 2015 Milwaukee Symphony Orchestra, and ProMusica Canadian Opera Company Centre Stage Chamber Orchestra of Columbus, Bach’s Competition, the 2016 American National St John Passion with the Grand Philharmonic Opera Association Competition, the 2017 Gerda Choir, Handel’s with the Phoenix Lissner International Voice Competition, the Symphony, The , Tucson 2017 Innsbruck International Cesti Competition Symphony Orchestra, Louisiana Philharmonic for Baroque Opera, and the 2017 Canadian Orchestra, Naples Philharmonic, Philharmonia Opera Company Quilico Awards Competition; Baroque Orchestra, Toronto Symphony in October 2017 she won Second Prize at the Orchestra, and Tafelmusik Baroque Orchestra, 2017 Neue Stimmen International Competition. the Evangelist in the St Matthew Passion As a member of the Lindemann Young Artist with the Calgary Philharmonic Orchestra, Development Program at the Metropolitan Orchestre Métropolitain, and Toronto Bach

16 Consort, Bach’s Mass in B minor with Music of with orchestras across Canada and the the Baroque, National Arts Centre Orchestra, United States and beyond, in works such Orquesta Sinfónica Nacional de Mexico, as Mahler’s Eighth Symphony, Beethoven’s Oregon Bach Festival, and Vancouver Chamber Ninth Symphony, Handel’s Messiah, Choir, and Beethoven’s Mass in C major and Janáček’s , Mozart’s Requiem, Stravinsky’s Pulcinella with the Houston Brahms’s Ein deutsches Requiem, Haydn’s Symphony. Die Schöpfung, and Bach’s St Matthew Passion. Tyler Duncan is a popular guest The British Columbia-born and America- at international festivals throughout North based baritone Tyler Duncan enjoys America and Europe, has won numerous international renown for bringing prizes for his considerable gifts in the realm consummate musicianship, vocal beauty, of , and can point to an expanding and interpretative insight to recital, concert, discography. and operatic literature. Educated at the University of British Columbia, Hochschule Hailed by critics for her ‘exquisite solo work’ für Musik in Augsburg, and Hochschule für (The Globe and Mail), ‘luscious tone’ (Toronto Musik und Theater in Munich, he is a founding Star), and sensitive musicianship, Sarah member on the faculty of the Vancouver Jeffrey is Principal Oboe of the Toronto International Song Institute. His operatic roles Symphony Orchestra. A regular soloist with have included Prince Yamadori (Madama the Orchestra, she has also appeared as Butterfly) and Fiorello (Il barbiere di Siviglia) at soloist with orchestras across Canada, The Metropolitan Opera, Friendly (Flora) and performing works by Bach, Mozart, Vaughan the Speaker (Die Zauberflöte) at the American Williams, Marcello, Haydn, and Marjan Spoleto Festival, Dandini (La cenerentola) with Mozetich. She is also an active recitalist Pacific Opera Victoria, Demetrius (Britten’s and chamber musician, making frequent A Midsummer Night’s Dream) at the Princeton guest appearances with the Amici Chamber Festival, Papageno (Die Zauberflöte) for Ensemble, ARC Ensemble, and Trio Arkel. A Greensboro Opera, and roles in Lully’s Armide devoted performer of new music, she has with Houston’s Mercury Baroque and Purcell’s commissioned several chamber works, The Fairy Queen and King Arthur with Early including Chaconne for Oboe, Horn, and Piano Music Vancouver. He has appeared in concert by Erik Ross, and Rhapsody by Ronald Royer.

17 She is a recipient of the Ontario Arts Council’s (New York), WHYY (Pennsylvania), WFMT Chalmers Award for Creativity and Excellence (), and Bayerischer Rundfunk (Munich). in the Arts. A passionate and devoted teacher, An active recitalist and chamber musician, she is on the faculty of The Glenn Gould School currently a member of Trio Arkel, she has at The Royal Conservatory and of the University participated in the Marlboro, Santa Fe, Mostly of Toronto, and spends her summers at the Mozart, Music from Angel Fire, Rome, and Orford Arts Centre and the National Youth Moritzburg (Germany) festivals, as well as the Orchestra of Canada. Sarah Jeffrey can be Rising Stars Festival in Caramoor. Her début heard discussing the finer points of the oboe album, entitled 1939, was released in June on CBC radio, both as a performer and as a 2015 to great acclaim. Teng Li plays on a 1703 guest on several podcasts. Amati viola donated generously to the Toronto Symphony Orchestra by Dr William Waters. Since joining the Toronto Symphony Orchestra in 2004 as Principal Viola, Teng Li has The French-Canadian pianist Louis Lortie established herself internationally as a diverse has attracted critical acclaim throughout and dynamic performer. A graduate of the Europe, Asia, and the United States, not least Curtis Institute of Music in Philadelphia, she for exploring his interpretative voice across has won numerous international competitions a broad repertoire rather than choosing to and currently serves on the faculty of the specialise in a particular style. Describing his University of Toronto and The Phil and Eli Taylor playing as ‘ever immaculate, ever imaginative’, Performance Academy for Young Artists at The identified a ‘combination of total Royal Conservatory; she is also Artistic Director spontaneity and meditated ripeness that only of the Morningside Music Bridge International great pianists have’. He studied in Festival, a world-class training programme for with Yvonne Hubert, a pupil of Alfred Cortot, young professionals. She has performed with in Vienna with the Beethoven specialist Dieter the Curtis Symphony Orchestra, Münchener Weber, and subsequently with the Schnabel Kammerorchester, Shanghai Opera Orchestra, disciple Leon Fleisher. He made his debut with Canadian Sinfonietta, and Esprit Orchestra, the Montreal Symphony Orchestra at the age among many others, her performances of thirteen, and his first appearance with the broadcast on CBC Radio 2, Classical 96.3 FM Toronto Symphony Orchestra three years later (Toronto), National Public Radio, WQXR led to an historic tour of Japan and the People’s

18 Republic of China. In 1984 he won First The Elmer Iseler Singers, conducted by their Prize in the International Artistic Director, Lydia Adams, for the past Piano Competition and was also a prize twenty years, are now in their thirty-ninth winner at the Leeds International Pianoforte season. This twenty-voice fully professional Competition. choral ensemble, founded by the late Dr Elmer Louis Lortie has made more than thirty Iseler in 1979, has built an enviable reputation recordings for Chandos, covering a repertoire throughout Canada, the United States, and from Mozart to Stravinsky. His recording of internationally through concerts, broadcasts, Beethoven’s Eroica Variations won an Edison and recordings, performing a repertoire that, Award; his disc of works by Schumann while focussing on Canadian composers, (including Bunte Blätter) and Brahms was spans 500 years. The Singers present a five- judged one of the best CDs of the year by the concert series in Toronto each season, magazine BBC Music; the same magazine and are featured at concerts, workshops, named his complete recording of Chopin’s and festivals throughout Canada. Touring is a Études one of ‘50 Recordings by Superlative major component of their activities, two multi- Pianists’; his interpretation of Liszt’s complete city tours taken in the 2016 / 17 season – works for piano and orchestra was an Editor’s one to western Canada and one to Atlantic Choice in Gramophone, as was his complete Canada. Annually, the group sponsors choral set of Beethoven’s sonatas; and his complete workshops through its GET MUSIC! Educational recording of the Années de pèlerinage by Outreach Initiative for secondary school Liszt was rated ‘Outstanding’ by International conductors and , concluding with a joint Record Review. His Chandos discography also public performance. While the Elmer Iseler includes works by Franck, Fauré, d’Indy, Ravel, Singers received a 2014 National Choral Award, Szymanowski, Prokofiev, Gershwin, Poulenc, Lydia Adams was the Artist Recipient of the Rachmaninoff, and Lutosławski. 2013 Ontario Premier’s Award for Excellence in In 1992 Louis Lortie was named Officer of the Arts. In 2017, the Singers were nominated in the Order of Canada, and received both the the ‘Classical Album of the Year: Vocal or Choral Order of Quebec and an honorary doctorate Performance’ category of the JUNO Awards. from Laval University. He has lived in Berlin since 1997 but also keeps homes in Italy and Founded in 1922, the Toronto Symphony Canada. Orchestra is one of Canada’s major cultural

19 institutions, recognised internationally. Peter A dynamic presence in the conducting world, Oundjian, now in his fourteenth season as the Toronto-born Peter Oundjian is renowned its Music Director, leads the Orchestra with a for his probing musicality, collaborative spirit, commitment to innovative programming and and engaging personality. His appointment audience engagement through a broad range as Music Director of the Toronto Symphony of performances that showcase its exceptional Orchestra in 2004 reinvigorated the Orchestra talents along with a roster of acclaimed with numerous recordings, tours, and guest artists and conductors. The Orchestra acclaimed innovative programming, all of which also serves the larger community with resulted in extensive audience growth, thereby TSOUNDCHECK, the original under-thirty-five significantly strengthening the ensemble’s ticket programme; the Toronto Symphony Youth presence in the world. He recently led the Orchestra; and music education programmes Orchestra on a tour of Europe, which included that reach tens of thousands of students a sold-out performance at the Concertgebouw, annually. Under Oundjian’s leadership, the Amsterdam and the first performance by a Orchestra has distinguished itself as an active North American orchestra at the Harpa concert supporter of new Canadian and international hall in Reykjavik. In 2017 he conducted the works, predominantly through its annual New Orchestra’s first-ever performances in Israel, Creations Festival. Since 2008, it has released which were followed by a residency at the eight recordings under its self-produced label, Prague Spring International Music Festival. tsoLive, and two recordings with Chandos He was appointed Music Director of the Royal Records. Over the past decade, the Orchestra Scottish National Orchestra in 2012. Under has toured regions in Canada and the United his , the Orchestra has enjoyed several States, including regular excursions to Northern successful tours, including one to China, and Ontario and two sold-out appearances at has continued its relationship with Chandos Carnegie Hall. The Toronto Symphony Orchestra Records. In 2015, to great critical and audience gave a notable performance at Reykjavik’s acclaim, he and the Orchestra opened the new concert hall, Harpa, in 2014, the first of Edinburgh International Festival with the any North American orchestra, and its first- innovative Harmonium Project. ever performances in Israel in 2017; in 2017 Few conductors bring such musicianship it also held a residency at the Prague Spring and engagement to the world’s great International Music Festival. podiums – from Berlin, Amsterdam, and Tel

20 Aviv to New York, Chicago, and Sydney. He Conductor of the Detroit Symphony Orchestra has also appeared at some of the great from 2006 to 2010 and Artistic Director of annual gatherings of music and music lovers: the Caramoor International Music Festival in from the BBC Proms and the Prague Spring New York between 1997 and 2007. Since 1981, Festival to the Edinburgh Festival and the he has been a visiting professor at the Yale Mozart Festival of The Philadelphia Orchestra, School of Music, awarded the Sanford Medal where he was Artistic Director from 2003 for distinguished service to music by Yale to 2005. Peter Oundjian was Principal Guest University in 2013. © Jag Gundu / TSO

Louis Lortie performing Vaughan Williams’s Piano Concerto with the Toronto Symphony Orchestra and Peter Oundjian

21 Lawrence Wiliford Tyler Duncan Vaughan Williams: Serenade to Music / Solokonzerte / Flos Campi

Serenade to Music Stimmen solistisch zu setzen und unter Im Frühjahr 1938 bekam Ursula Wood Berücksichtigung der stimmlichen Qualitäten einen Anruf von Ralph Vaughan Williams der einzelnen Sänger in Phrasierung und (1872 – 1958) mit der Nachricht, dass ihm Farbe maßgeschneidert zu vertonen. Sir Henry Wood die Komposition eines In der Partitur wurden die Partien der Chorwerks zur Feier seines fünfzigjährigen Uraufführungssolisten mit deren Initialen Dirigentenjubiläums angetragen hatte. gekennzeichnet. Obwohl sich Wood und Genauer gesagt: “Er will etwas für sechzehn Vaughan Williams auf die Besetzung der Sänger.” Bei der Vorlage entschied sich sechzehn Stimmen einigen konnten, gelang Vaughan Williams schnell für die erste dies nicht ohne den Verzicht auf einige Szene aus dem V. Akt von Der Kaufmann große Namen – eine wohl besonders herbe von Venedig mit Jessica und Lorenzo. Diese Enttäuschung für den Bassbariton Keith romantische Episode aus der Feder seines Falkner, der sowohl mit dem Dirigenten als geliebten Shakespeare, mit Zeilen wie “With auch dem Komponisten eng befreundet war. sweetest touches pierce your mistress’ ear, / Die ersten Proben erwiesen sich als And draw her home with music”, war von emotionales Erlebnis. Lady Jessie Wood persönlicher Relevanz: Vaughan Williams war schrieb, dass “die Sänger so tief ergriffen am 31. März 1938 in eine leidenschaftliche waren, dass ihnen die Lippen den Dienst Liebesbeziehung mit der siebenundzwanzig- versagten”. Die Sopranistin Isobel Baillie jährigen Ursula eingetreten. Diese erklärte hatte, wie sie sich erinnerte, später: “Ich glaube, er war damals ziemlich in die großartige Aufgabe, mit dem ersten mich verliebt; ich glaube, die Serenade wurde der sechzehn solistischen Beiträge für mich geschrieben.” hervorzutreten; meine Phrase “of sweet Mit Sicherheit gehört das Werk zu den harmony” war stark exponiert und stieg hinreißendsten Kompositionen von Vaughan innerhalb von zwei Takten auf ein hohes A! Williams. Er war es, der die inspirierte Die erfolgreiche Uraufführung fand Idee hatte, den Text für die sechzehn am 5. Oktober 1938 in der Londoner Royal

23 Albert Hall statt, und der Komponist widmete Sopransolistin, das vollständige Ensemble das Werk und eine Solovioline noch einmal an diese Sir Henry J. Wood zu seinem Jubiläum und Klänge süßer Harmonie erinnern. in Anerkennung seiner Verdienste um die Musik. Konzert für Oboe und Streicher a-Moll Vaughan Williams ließ die Aufführung der Das reizvolle und doch unterbewertete Serenade in verschiedenen Besetzungen zu; Oboenkonzert wurde 1943 / 44 für Léon die vorliegende Aufnahme hält sich an die Goossens komponiert – zu einer Zeit, Fassung für vier Solisten (S, A, T, B), Chor und als fliegende Bomben über London und Orchester. Die gedämpfte Orchestereinleitung Südengland einfielen. Die 1943 uraufgeführte für Harfe, Streicher, Klarinette und ein Fünfte Sinfonie von Vaughan Williams strahlt Violinsolo unter der Bezeichnung Andante eine Ruhe und Abgeklärtheit aus, die den sostenuto setzt einen angemessen Menschen nach dem Leid von fast vier euphorischen Ton. Holzbläser führen ein Kriegsjahren Hoffnung gegeben hatte. Etwas zweites, etwas lebhafteres Thema zum tutti von dem visionären Wesen dieser Sinfonie gehaltenen Einsatz der Sänger: “How sweet ist auch im Oboenkonzert zu vernehmen, the moonlight sleeps upon this bank!” Nach insbesondere in dem außergewöhnlichen ein paar weiteren Takten für die vereinten Lento-Abschnitt des dritten Satzes. Sänger beflügelt sich eine Sopransolistin zu Léon Goossens entstammte einer den Worten “sweet harmony” auf ein hohes A, musikalisch begabten Familie und hatte vier worauf die anderen Solisten im Wechsel Geschwister: den Dirigenten Eugene, den die beiden musikalischen Hauptgedanken Hornisten Adolphe und die Harfenistinnen ausarbeiten. Die erste von zwei Fortissimo- Marie und Sidonie. Er selbst inspirierte Passagen für das vollständige Vokalensemble im Laufe seiner langen Karriere mehr als ergibt sich bei “Such harmony is in immortal einhundert Kompositionen, wie etwa das souls”, die zweite folgt, nach eine Fanfare, mit Oboenquintett (1922) von Sir Arnold Bax. Als “Come, ho! and wake Diana with a hymn!” Die enger Freund von Vaughan Williams gab er vorausgegangenen Melodien, einschließlich am 30. September 1944 die Uraufführung der Fanfare, werden wiederholt, bevor die des Oboenkonzerts mit dem Liverpool Worte “Soft stillness and the night” das Philharmonic Orchestra unter der Leitung von Ende des Werkes signalisieren und eine Sir Malcolm Sargent. Für ihn war es “ein Werk,

24 das die Oboe in all ihren Formen zeigte, vom einmal, warum es Oboisten mit diesem Satz flötenden Hirten bis zum brillanten Virtuosen”. so schwer haben, und sie verwies auf diese Vaughan Williams schrieb die ersten häufigen Tempowechsel. In der ergreifenden beiden Sätze im Jahr 1943 und legte dann das Lento-Passage erblickt Vaughan Williams Werk zur Seite, um seine Fünfte Sinfonie zu nun jene lieblichen Berge oder vielleicht die vollenden. Mit einem verworfenen Scherzo elysischen Felder, “wo Hunger und Durst an aus dieser Sinfonie vor Augen eröffnet er den lebendigen Wasserbrunnen gestillt werden”. ersten Satz mit einer pastoralen Rondo- Es ist eine tiefbewegende Episode. Allzu Melodie in a-Moll. Der Solist spielt in diesem schnell verblasst die Vision, und die Hirtenflöte Allegro moderato fast durchgängig in einem führt das Werk auf überschwänglichere Weise figuralen, rhythmischen Tonfall – “merry- seinem Ende zu, wo es auf einem hohen D piping” – im Wechsel mit breiteren, kantablen pianissimo ausklingt. Themen; eine dieser lyrischen Passagen schließt den Satz. Im kurzen zweiten Satz Flos Campi suggeriert das einleitende Menuett einen Vaughan Williams wies in seiner würdevollen Tanz aus dem achtzehnten Programmnotiz für eine Aufführung von Jahrhundert, der heiter mit Pizzicato- Flos Campi im Jahre 1927 darauf hin, dass Streichern beginnt. Die damit verbundene der lateinische Titel, wortwörtlich “Blume Musette entfaltet sich über einem von der des Feldes”, nichts mit “Butterblumen und Oboe gespielten Bordun (oder Halteton) und Gänseblümchen” zu tun habe, sondern es sei vermittelt eine rustikale Atmosphäre. Das das Äquivalent der Vulgata für die “Rose technisch herausfordernde Finale enthält von Sharon” – “Ich bin die Rose von Sharon auch die tiefste Musik, die an Themen und die Lilie der Täler”. früherer Sätze erinnert. Dieses Scherzo, das Die Vulgata ist die lateinische Übersetzung für den Solisten virtuos beginnt, hat zwei der neununddreißig Bücher der hebräischen Trio-Abschnitte, deren erster einem breiten, Bibel aus dem späten vierten Jahrhundert, die lyrischen Walzer ähnelt, während der zweite Mitte des sechzehnten Jahrhunderts von der Doppio più lento zu spielen ist, also im halben katholischen Kirche als offizielle lateinische Tempo des vorhergehenden Abschnitts, Bibel übernommen wurde. Die Vulgata enthält worauf die Anweisung Doppio più mosso das Canticum Canticorum oder der Lieder, folgt. Vaughan Williams fragte Evelyn Barbirolli auch bekannt als das Hohelied Salomos, ein

25 altes Liebeslied, in dem ein Mann und eine wortlose Chor mit “halb geschlossenen Lippen” Frau abwechselnd ihre Liebe besingen. Es ist singen. Der instrumentale vierte Teil, ein die Frau, die sich in Kapitel II, Vers 1, selbst als Marsch mit orientalischen Anklängen, sorgt für “Lilie der Täler” bezeichnet. Einige Theologen den nötigen Kontrast. Insgesamt ist Flos Campi haben in der sinnlichen und mystischen kontemplativ und zuweilen leidenschaftlich; Sprache der Lieder eine Allegorie der Liebe die Dialoge zwischen der Solobratsche, dem zwischen Christus und seiner Kirche wortlosen Chor und dem kleinen Orchester oder der Liebe zwischen Gott und seinem bringen das Begehren zum Ausdruck und dann Volk gesehen. Vaughan Williams jedoch mit dem Ende des fünften Teils Zufriedenheit distanziert sich von all diesen Spekulationen und Erfüllung. Vor allem ist Flos Campi, wie und stellt fest, dass die Musik keine kirchliche Hubert Foss es ausdrückte, “eine exquisite Grundlage hat – für ihn ist es eine Zelebration Studie über reinen ”. der Liebe zwischen einem Mann und einer Frau. Konzert für Klavier und Orchester C-Dur Das Werk besteht aus sechs miteinander Vaughan Williams schrieb: verbundenen Sätzen, die jeweils unter einem Die ersten beiden Sätze dieses Konzerts lateinischen Zitat stehen, mit einer später wurden 1926 skizziert und der dritte Satz aus dem Hohelied Salomos hinzugefügten 1930. Das Werk ist Miss Harriet Cohen englischen Übersetzung. Vaughan Williams gewidmet. begann das Werk im Jahr 1924, und es Die Uraufführung fand am 1. Februar 1933 in wurde am 10. Oktober 1925 von Lionel Tertis der Queen’s Hall London statt. Es spielten die (Bratsche) mit dem Queen’s Hall Orchestra Widmungsträgerin und das BBC Symphony und einem Chor des Royal College of Music Orchestra unter der Leitung von Adrian Boult. unter der Leitung von Sir Henry Wood Harriet Cohen (1895 – 1967) bekannte: uraufgeführt. Von den zurückhaltenden, Ich habe natürlich eine große Affinität zu lyrischen Eröffnungstakten fließt die Musik mit dem Klavierkonzert, das Vaughan Williams einem bemerkenswerten Gefühl von Ekstase für mich geschrieben hat. Es ist ein Werk, und rhapsodischer Sehnsucht – es ist das das ihm meiner Meinung nach den Weg zu sinnlichste aller Werke von Vaughan Williams. seiner Vierten Sinfonie erschlossen hat ... Das cantabile bezeichnete Bratschensolo in Vaughan Williams stellte die Pianistin vor Teil 2 ist ausgesprochen schön; dabei soll der eine schwierige technische Aufgabe, und

26 Harriet Cohen gab zu, dass ihre Finger “vor senza misura und dann zum zweiten Satz, Nervosität fummelten”. Sie fand die Fuge im einer lyrischen Romanza. Vaughan Williams dritten Satz “besonders beängstigend” – behält diese Bezeichnung vielen seiner am die streckenweise enormen Akkorde tiefsten empfundenen Passagen vor, wie etwa überschritten die Spannweite ihrer kleinen dem langsamen Satz seiner Fünften Sinfonie, Hände. Nach einigen wenigen Aufführungen und diese Romanza ist keine Ausnahme. akzeptierte Vaughan Williams, dass Harriet Anfangs konzentriert sich die Musik auf eine das Werk nicht wieder spielen konnte, und einzelne Note, die über sanften Arpeggios ließ sich schließlich 1946 dazu bewegen, es gespielt wird; es folgt – zunächst für die für zwei Klaviere umzuschreiben. (Weitere Soloflöte – eine träumerische Melodie von Informationen über das Konzert für zwei schmelzender, verhaltener Schönheit, die das Klaviere und Orchester enthält das Beiheft zu Herzstück des Konzerts bildet. Nach einem CHSA 5186.) entrückten Höhepunkt kehrt die verhaltene Ursula Vaughan Williams zufolge Melodie in Passagen zurück, die an verworfene dachte der Komponist an Busonis Bach- Abschnitte der Originalfassung von A London Transkriptionen, als er sein Klavierkonzert Symphony erinnern. Dann verweisen die schrieb. Dieser Einfluss macht sich am Solo-Oboe und Bratschen auf das thematische deutlichsten im einleitenden Allegro Hauptmaterial des Finalsatzes. Die Blechbläser moderato bemerkbar, einer Toccata, die ihrer umreißen fortissimo das Fugenthema, das Bezeichnung in schnelllebiger Virtuosität den dritten Satz eröffnet und vom Solisten gerecht wird. Die Überschwänglichkeit und rasch in vollem Umfang vorgestellt wird. die perkussive Behandlung des Klaviers Einem kraftvollen Höhepunkt folgt eine lange überraschen vielleicht, wenn man Vaughan Cadenza, die zu den frenetischen Rhythmen Williams nur in pastoraler kennt. des Finale alla tedesca im Stil eines deutschen Nach einer Reihe von Blockakkorden für den Tanzes aus dem achtzehnten Jahrhundert Solisten fügt Vaughan Williams zumindest überleitet. Eine weitere glitzernde Cadenza eine folkloristische Phrase für Holzbläser leitet den Satz zurück zum lyrischen Thema und dann Klavier hinzu, um einen Kontrast zu der Romanza. Schließlich wird in einem mit dem vorausgegangenen Drama zu schaffen. Andante sostenuto markierten Abschnitt das Ein virtuoser Largamente-Abschnitt führt zu tänzerische Thema von Pizzicato-Streichern einer kurzen Cadenza unter der Anweisung und mit ruhigen Klavierakkorden weich

27 wiederholt. Vaughan Williams fügte dem Werk dieses entspannte Ende an, als er es im Jahr 1946 für zwei Klaviere bearbeitete. Das Ergebnis ist ein ergreifender und überaus befriedigender Abschluss für ein glänzendes Werk. © 2018 Stephen Connock Vice-President, RVW Society Christopher Wahl (www.rvwsociety.com) Verfasser des Buches Toward the Sun Rising: Ralph Vaughan Williams Remembered Albion Music Ltd., 2018 Übersetzung: Andreas Klatt

Sarah Jeffrey

28 Teng Li

Christopher Wahl Louis Lortie

© Élias Photography Michael RomaniukMichael

Elmer Iseler Singers Vaughan Williams: Serenade to Music / Concertos / Flos Campi

Serenade to Music idée de mettre le texte en musique pour seize Au printemps 1938, Ralph Vaughan Williams voix solistes, les qualités vocales de chacun (1872 – 1958) appela Ursula Wood pour lui des interprètes ciselant le phrasé et donnant dire que Sir Henry Wood lui avait demandé leur coloris à chaque partie. Pour la création de composer une œuvre chorale pour la de la pièce, les initiales des chanteurs furent célébration de son jubilé de chef d’orchestre, reprises dans la partition afin d’indiquer et il ajouta: “Il voudrait une pièce pour seize chacune des entrées. Wood et Vaughan chanteurs.” Vaughan Williams choisit sans Williams parvinrent à se mettre d’accord tarder de s’inspirer du texte de l’Acte V, sur les noms des seize interprètes, mais il Scène 1 de The Merchant of Venice dont les fallut renoncer à engager certains solistes protagonistes sont Jessica et Lorenzo. Cette de renom; le plus déçu fut sans doute le scène romantique de son cher Shakespeare baryton-basse Keith Falkner, un ami proche avec des phrases telles: “With sweetest du chef d’orchestre et du compositeur. touches pierce your mistress’ ear, / And draw Les premières répétitions de la pièce her home with music” (Pénètre des accents s’avérèrent une expérience pleine d’émotion, les plus mélodieux l’oreille de ta maîtresse, / comme le décrit Lady Jessie Wood: “les Et entraîne-la en musique vers sa demeure) interprètes étaient tellement émus que leurs avait une pertinence personnelle: Vaughan lèvres semblaient incapables d’articuler.” La Williams avait commencé, le 31 mars 1938, soprano Isobel Baillie dit qu’elle avait une histoire d’amour passionnée avec Ursula la difficile tâche d’être la première des qui avait alors vingt-sept ans. Ursula dit plus seize solistes à devoir chanter; ma phrase tard: “Je pense qu’il était assez amoureux de “of sweet harmony” était très délicate à moi à cette époque; je crois que la Serenade interpréter et s’envolait vers un la aigu en fut écrite pour moi”. deux mesures! Cette œuvre est sans aucun doute l’une La création de l’œuvre eut lieu le 5 octobre des plus séduisantes de Vaughan Williams. 1938 au Royal Albert Hall à Londres et fut une Et ce fut Vaughan Williams qui eut la brillante réussite. Le compositeur dédia la pièce

31 à Sir Henry J. Wood à l’occasion de son jubilé, marquent la fin de l’œuvre, avec une soprano avec ma profonde reconnaissance pour les solo, l’ensemble vocal et le violon solo services qu’il a rendus à la musique. recréant ces moments de douce harmonie. Vaughan Williams autorisa que l’œuvre soit exécutée sous différentes formes; c’est la Concerto en la mineur pour hautbois et version pour quatre voix solos (S, A, T, B) avec cordes chœur et orchestre qui est reprise sur ce CD. Le Concerto pour hautbois et cordes, une L’introduction orchestrale feutrée pour harpe, œuvre superbe et souvent sous-estimée, cordes, clarinette et un violon solo, annotée fut composé pour Léon Goossens en Andante sostenuto, crée un climat extatique 1943 – 1944, à une époque où Londres et approprié. Le second thème, emmené par le sud de l’Angleterre étaient la cible de les bois, est un peu plus animé, puis les voix bombes volantes. La Cinquième Symphonie font leur entrée, tutti, chantant “How sweet de Vaughan Williams, créée en 1943, contient the moonlight sleeps upon this bank!” (Que des pages tout en tranquillité et sérénité, qui la lueur de la lune sommeille doucement sur avaient été comme une lueur d’espoir pour la rive!). Après quelques mesures encore ceux qui traversaient ces presque quatre pour l’ensemble des chanteurs, la voix d’une années de guerre. Et les accents visionnaires soprano s’élève jusqu’au la aigu évoqué plus de cette symphonie resurgissent en haut sur les mots “sweet harmony”, et les filigrane dans le Concerto pour hautbois, autres solistes développent tour à tour les particulièrement dans l’extraordinaire section deux idées musicales principales. Le premier Lento du troisième mouvement. de deux passages fortissimo pour l’ensemble Léon était l’un des cinq enfants de la vocal complet est chanté sur les mots famille Goossens, une famille très douée pour “Such harmony is in immortal souls” (Pareille la musique, puisqu’outre son frère, Eugene, harmonie est au cœur des âmes immortelles), devenu chef d’orchestre, il y avait ses sœurs et le second, qui suit une fanfare, sur “Come, Marie et Sidonie, toutes deux harpistes. Il ho! and wake Diana with a hymn!” (Allons, inspira plus de 100 compositions au cours éveillons Diane au son d’un hymne!). Les de sa carrière, comme le Quintette avec mélodies qui précèdent sont répétées, y hautbois (1922) de Sir Arnold Bax. Ami proche compris la fanfare, et les mots “Soft stillness de Vaughan Williams, il créa le Concerto pour and the night” (Douce quiétude et la nuit) hautbois, le 30 septembre 1944, avec le

32 Liverpool Philharmonic Orchestra dirigé par Sir est annotée Doppio più lento, son tempo Malcolm Sargent. Léon Goossens dit que “Cette étant réduit de moitié par rapport à la section œuvre montre toutes les facettes du hautbois, précédente. Il y a alors une annotation Doppio du berger jouant du pipeau au brillant virtuose”. più mosso. Vaughan Williams demanda un jour Vaughan Williams écrivit les deux premiers à Evelyn Barbirolli pourquoi les hautboïstes mouvements en 1943, puis mit l’œuvre de trouvaient ce mouvement si difficile et elle côté pour achever sa Cinquième Symphonie. incrimina ces fréquents changements de Utilisant comme source d’inspiration un tempo. Un passage Lento évocateur suit mouvement de cette symphonie qu’il avait alors, au cours duquel Vaughan Williams abandonné, un scherzo, il entame le premier aperçoit ces Delectable Mountains (les mouvement avec une mélodie en forme de “Montagnes délectables”, évoquées dans rondo pastoral en la mineur. Le soliste joue The Pilgrim’s Progress / “Le Voyage du pèlerin” presque sans arrêt dans cet Allegro moderato de ), ou peut-être les Champs dont l’écriture est ornementée, rythmique – Élysées, “where hunger and thirst are “merry-piping” –, alternant avec des thèmes satisfied at living fountains of water” (où la cantabile plus amples; c’est un de ces faim et la soif sont apaisées aux sources passages lyriques qui conclut le mouvement. vivantes). C’est un épisode émouvant. Très Dans le bref deuxième mouvement, le Menuet vite l’image s’évanouit et le pipeau du berger introductif évoque une danse majestueuse du emporte l’œuvre vers sa conclusion en un dix-huitième siècle, commençant de manière style plus exubérant, bien qu’elle se referme brillante avec des cordes pizzicato. La Musette sur un ré aigu pianissimo. qui suit contient un “bourdon” (ou “drone”, soit une note tenue) jouée par le hautbois, Flos Campi évoquant l’atmosphère de la campagne. Le Vaughan Williams indiqua dans sa note de Finale, un réel défi technique, est aussi tout en programme pour une exécution de Flos Campi profondeur, rappelant des thèmes entendus en 1927 que le titre latin, traduit par “Flower of dans les mouvements qui précèdent. Ce the field”, n’évoquaient pas “boutons d’or et Scherzo qui commence avec un épisode pâquerettes”, mais était de virtuosité pour le soliste comporte deux l’équivalent de la “Rose du Sarone” dans la sections en trio; la première ressemble à une Vulgate – “Je suis la Rose du Sarone, le lis ample valse lyrique tandis que la seconde des vallées”.

33 La Vulgate est la traduction latine des rhapsodique; c’est la plus sensuelle de toutes trente-neuf livres de la Bible hébraïque, faite les œuvres de Vaughan Williams. Le solo à la fin du quatrième siècle et adoptée par cantabile à l’alto dans la section 2 est très l’Église catholique en tant que Bible latine beau, le chœur muet devant chanter avec officielle au milieu du seizième siècle. Dans la “les lèvres à demi fermées”. La quatrième Vulgate se trouve le Canticum Canticorum ou section, instrumentale, est une marche Cantiques des cantiques, connu aussi sous aux connotations orientales qui forme un le nom de Cantique de Salomon, un ancien contraste bienvenu. Dans l’ensemble, Flos hymne d’amour chanté par deux amants. Campi est contemplatif, parfois passionné, C’est la femme qui se décrit comme “le lis des les échanges entre l’alto solo, le chœur muet vallées” dans le Chapitre II, vers 1. Certains et le petit orchestre exprimant le désir et, commentateurs religieux ont vu dans le à partir de la fin de la cinquième section, la langage sensuel et mystique des Cantiques satisfaction et l’accomplissement. Avant une allégorie de l’amour du Christ pour son tout, Flos Campi est, comme Hubert Foss l’a Église, ou de Dieu pour son peuple. Vaughan dit, “Une délicieuse étude de sonorité pure”. Williams rejette toutefois cette hypothèse et affirme que la musique n’a aucune base Concerto en ut majeur pour piano et religieuse – pour lui, il s’agit de la célébration orchestre de l’amour entre un homme et une femme. Vaughan Williams écrivit: L’œuvre est en six mouvements reliés Les deux premiers mouvements de ce entre eux, ayant chacun en guise d’en-tête Concerto furent esquissés en 1926, et le une citation latine, à laquelle s’est ajoutée troisième en 1930. L’œuvre est dédiée à plus tard une traduction anglaise venant du Miss Harriet Cohen. Cantique de Salomon. L’œuvre, commencée Elle fut créée par Harriet Cohen au Queen’s en 1924 par Vaughan Williams, fut créée par Hall à Londres, le 1er février 1933, avec le Lionel Tertis (alto), le 10 octobre 1925, avec le BBC Symphony Orchestra sous la direction Queen’s Hall Orchestra et un chœur du Royal d’Adrian Boult. Harriet Cohen (1895 – 1967) College of Music sous la direction de Sir Henry nous dit: Wood. Dès les premières mesures lyriques Je suis naturellement très attachée au et retenues, l’œuvre s’épanche dans un Concerto pour piano que Vaughan Williams remarquable climat d’extase et d’aspiration a écrit pour moi. C’est une œuvre qui à

34 mon sens ouvre la voie à sa Quatrième avec le climat dramatique qui précède. Une Symphonie... section Largamente tout en virtuosité mène à L’écriture de Vaughan Williams pour le une courte Cadenza, annotée senza misura, piano dans cette œuvre représente un défi puis au deuxième mouvement, une Romanza technique, et Harriet Cohen admit que ses lyrique. Vaughan Williams réserve cette doigts “tremblaient de nervosité”. Elle trouvait description à de nombreux épisodes parmi que la fugue du troisième mouvement était les plus profonds, y compris le mouvement “particulièrement effrayante” –, les intervalles lent de sa Cinquième Symphonie, et cette des accords dépassant l’empan de ses Romanza ne fait pas exception. Initialement petites mains. Après les quelques premières la musique est centrée sur une seule note exécutions, Vaughan Williams accepta jouée sur des arpèges délicats; suit alors l’idée qu’il était difficile pour Harriet de jouer une mélodie de rêve, d’une beauté sublime et l’œuvre et il se décida finalement, en 1946, discrète, initialement pour la flûte seule, qui à la remanier pour deux pianos. (Pour plus forme le cœur du concerto. Après un climax d’informations sur le Concerto pour deux extatique, la discrète mélodie réapparaît pianos et orchestre, voir CHSA 5186.) dans des passages qui rappellent certaines Ursula Vaughan Williams précise que le sections de la version de A London compositeur avait à l’esprit, en écrivant son Symphony, qui avaient été écartées. Puis Concerto pour piano, les transcriptions que le hautbois solo et les altos font allusion au Busoni avait faites de Bach. Cette influence matériau thématique principal du mouvement est particulièrement prononcée dans l’Allegro final. Les cuivres, fortissimo, esquissent le moderato introductif, une Toccata qui mérite thème de la fugue qui marque le début du cette étiquette en raison de l’accélération troisième mouvement, bientôt présenté dans qui imprègne sa virtuosité. L’exubérance et la son intégralité par le soliste. Un puissant nature percussive de ces pages pour piano climax lui succède avant une longue Cadenza peuvent surprendre ceux qui connaissent qui sert de lien avec les rythmes frénétiques Vaughan Williams en mode pastoral. Après du Finale alla tedesca, dont le style rappelle une succession d’accords plaqués pour le celui d’une danse allemande du dix-huitième soliste, Vaughan Williams ajoute quand même siècle. Une autre Cadenza étincelante une phrase d’inspiration folklorique pour les ramène le mouvement au thème lyrique de bois, puis le piano, une idée qui contraste la Romanza. Finalement, dans une section

35 annotée Andante sostenuto, le sujet à l’allure de danse est joué en douceur par des cordes pizzicato avec de paisibles accords au piano. Vaughan Williams ajouta cet épisode final serein en 1946, lorsqu’il arrangeait le concerto pour deux pianos, et c’est pour cette œuvre brillante une conclusion émouvante et extrêmement réussie. © 2018 Stephen Connock Vice-président de la RVW Society (www.rvwsociety.com) Auteur de Toward the Sun Rising: Ralph Vaughan Williams Remembered, Albion Music Ltd, 2018 Traduction: Marie-Françoise de Meeûs

36 © Jag Gundu / TSO

Soloists, chorus, and orchestra performing Vaughan Williams’s ‘Serenade to Music’ Serenade to Music Music! hark! 1 How sweet the moonlight sleeps upon this It is your music of the house. bank! Methinks it sounds much sweeter than by day. Here will we sit and let the sound of music Silence bestows that virtue on it. Creep in our ears: soft stillness and the night How many things by season season’d are Become the touches of sweet harmony. To their right praise and true perfection! Peace, ho! the moon sleeps with Endymion Look how the floor of heaven And would not be awak’d. Is thick inlaid with patines of bright gold: There’s not the smallest orb that thou Soft stillness and behold’st the night But in his motion like an angel sings, Become the touches of sweet harmony. Still quiring to the young-eyed cherubins; from The Merchant of Venice, Act V, Scene 1 Such harmony is in immortal souls; by (1564 – 1616) But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.

Come, ho! and wake Diana with a hymn! With sweetest touches pierce your mistress’ ear, And draw her home with music.

I am never merry when I hear sweet music. The reason is, your spirits are attentive – The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus: Let no such man be trusted.

38 Flos Campi Flower of the Field ( 5 ) 1 1 Sicut Lilium inter spinas, sic amica mea As the lily among thorns, so is my love inter filias... Fulcite me floribus, stipate me among the daughters... Stay me with malis: quia amore langueo. flagons, comfort me with apples: for I am sick of [faint with] love. Canticum Canticorum Salomonis 2: 2, 5 The Song of Solomon 2: 2, 5

( 6 ) 2 2 Iam enim hiems transiit, imber abiit, et For, lo, the winter is past, the rain is over and recessit. Flores apparuerunt in terra nostra, gone; the flowers appear on the earth; the tempus putationis advenit: vox turturis time of the singing of birds is come, and the audita est in terra nostra. voice of the turtle is heard in our land. Canticum Canticorum Salomonis 2: 11, 12 The Song of Solomon 2: 11, 12

( 7 ) 3 3 ...quaesivi quem diligit anima mea: quaesivi I sought him whom my soul loveth... but I illum, et non inveni... “Adiuro vos, filiae found him not... ‘I charge you, O daughters of Hierusalem, si inveneritis dilectum meum, , if ye find my beloved, that ye tell ut nuntietis ei quia amore langueo”... him, that I am sick of love’... ‘Whither is thy “Quo abiit dilectus tuus, O pulcherrima beloved gone, O thou fairest among women? mulierium? quo declinavit dilectus tuus, et whither is thy beloved turned aside? that we quaeremus eum tecum?” may seek him with thee.’ Canticum Canticorum Salomonis 3: 1; 5: 8, 17 The Song of Solomon 3: 1; 6: 1, 8, 17

39 ( 8 ) 4 4 En lectulum Salomonis sexaginta fortes Behold his bed, which is Solomon’s; three ambiunt... omnes tenentes gladios, et ad score valiant men are about it... They all hold bella doctissimi. swords, being expert in war. Canticum Canticorum Salomonis 3: 7, 8 The Song of Solomon 3: 7, 8

( 9 ) 5 5 Revertere, revertere Sulamitis: Revertere, Return, return, O Shulamite [female revertere ut intueamur te... Quam pulchri protagonist in Song of Solomon]; return, sunt gressus tui in calceamentis, filia return that we may look upon thee... How principis. beautiful are thy feet with shoes, O prince’s daughter. Canticum Canticorum Salomonis 6: 12; 7: 1 The Song of Solomon 6: 13; 7: 1

( 10 ) 6 6 Pone me ut signaculum super cor tuum. Set me as a seal upon thine heart. Canticum Canticorum Salomonis 8: 6 The Song of Solomon 8: 6

40 You can purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Royalties Director, Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

www.facebook.com/chandosrecords www.twitter.com/chandosrecords

Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or multi-channel DSD layer as appropriate.

41 Executive producer Ralph Couzens Recording producer Blanton Alspaugh, Soundmirror Inc. Sound engineer John Newton, Soundmirror Inc. Mixing engineer Dirk Sobotka Mastering engineer Mark Donahue, Soundmirror Inc. Editor Blanton Alspaugh, Soundmirror Inc. Chandos mastering Rosanna Fish Production manager Chris Walroth, Toronto Symphony Orchestra A & R administrator Sue Shortridge Recording venue Roy Thomson Hall, Toronto, Ontario, Canada; 15 and 16 November 2017 Front cover ‘Summer meadow with butterfly at sunset’, photograph © borchee / Getty Images Back cover Photograph of Peter Oundjian © Sian Richards Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen Publishers p 2018 Chandos Records Ltd c 2018 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

42 © Jag Gundu / TSO

Teng Li performing Vaughan Williams’s ‘Flos Campi’ with the Elmer Iseler Singers, Toronto Symphony Orchestra, and Peter Oundjian CHANDOS DIGITAL CHSA 5201 CHANDOS CHANDOS

Ralph Vaughan Williams (1872 – 1958) VAUGHAN WILLIAMS: SERENADE TO MUSIC, ETC.

1 Serenade to Music (1938)* 14:29

Soloists / EIS TSO Oundjian for Four Soloists, Chorus, and Orchestra Words by Shakespeare (The Merchant of Venice) † 2 - 4 Concerto (1944) 20:06 Carla Huhtanen soprano* in A minor • in a-Moll • en la mineur Emily D’Angelo mezzo-soprano* for Oboe and Strings Lawrence Wiliford tenor* * 5-10 Flos Campi (1924 – 25)‡ 21:01 Tyler Duncan baritone † (Flower of the Field) Sarah Jeffrey oboe ‡ Suite for Solo Viola, Small Chorus, Teng Li viola § and Small Orchestra Louis Lortie piano Elmer Iseler Singers*‡ 11-13 Concerto (1926 – 31)§ 26:42 Lydia Adams artistic director in C major • in C-Dur • en ut majeur Toronto Symphony Orchestra for Piano and Orchestra Jonathan Crow concertmaster TT 82:21

CHSA 5201 Peter Oundjian CHSA 5201

p 2018 Chandos Records Ltd c 2018 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

All tracks available This Hybrid SA-CD SA-CD and its logo are in stereo and can be played on any trademarks of Sony. multi-channel standard CD player.