Vaughan Williams: A London Symphony; Fantasia on a Theme by Thomas Tallis

Editorial Reviews
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Sir Adrian Boult's reading with the LPO is lively and lyrical--a brisk, impressionistic view of RVW's London, delivered with all the naturalness one could ask for. If the approach is more fanciful and rhapsodic than most, particularly in the second movement, there is no shortage of weight and power in the big moments of the two outer movements. The orchestra plays the score with perfect idiomatic fluency, and the recording is open and finely detailed. A bracing account. --Ted Libbey

Tracks:

I: A Song For All Seas, All Ships: Behold, The Sea Itself - Jonathan Summers
I: A Song For All Seas, All Ships: Today A Rude Brief Recitative - Jonathan Summers
I: A Song For All Seas, All Ships: Flaunt Out, O Sea, Your Seperate Flags Of Nations! - Jonathan Summers
I: A Song For All Seas, All Ships: Token Of All Brave Captains - Jonathan Summers
I: A Song For All Seas, All Ships: A Pennant Universal - Jonathan Summers
II: On The Beach At Night, Alone: On The Beach At Night, Alone - Jonathan Summers
II: On The Beach At Night, Alone: A Vast Similitude Interlocks All - Jonathan Summers
III: Scherzo: The Waves - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O Vast Rondure, Swimming In Space - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Down From The Gardens Of Asia Descending - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O We Can Wait No Longer - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O Thou Transcendent - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Greater Than Stars Or Suns - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Sail Forth - Jonathan Summers
IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O My Brave Soul! - Jonathan Summers

Tracks:

I. Lento - Allegro Risoluto - London Philharmonic Orchestra
II. Lento - London Philharmonic Orchestra
III. Scherzo (Nocturne): Allegro Vivace - London Philharmonic Orchestra
IV. Andante Con Moto - Maestoso Alla Marcia (Quasi Lento) - Allegro - London Philharmonic Orchestra
Fantasia On A Theme - London Philharmonic Orchestra

Tracks:

I: Molto Moderato - Amanda Roocroft
II: Lento Moderato - London Philharmonic Orchestra
II: Moderato Pesante - Presto - London Philharmonic Orchestra
IV: Lento - Moderato Maestoso - London Philharmonic Orchestra
I: Allegro - London Philharmonic Orchestra
II: Andante Moderato - London Philharmonic Orchestra
III: Scherzo: Allegro Molto - London Philharmonic Orchestra
IV: Finale Con Epilogo Fugato: Allegro Molto - London Philharmonic Orchestra

Tracks:

I: Preludio: Moderato - Sarah Chang
II: Scherzo: Presto - Sarah Chang
III: Romanza: Lento - Sarah Chang
IV: Passacaglia: Moderato - Sarah Chang
Norfolk Rhapsody No.1 - Sarah Chang
Romance For Violin And Orchestra - Sarah Chang

Tracks:

I: Allegro - Ian Bostridge
II: Moderato - Ian Bostridge
III: Scherzo: Allegro Vivace - Ian Bostridge
IV: Epilouge: Moderato - Ian Bostridge
In The Fen Country - Ian Bostridge
I: On The Wenlock Edge - Ian Bostridge
II: From Far, From Eve And Morning - Ian Bostridge
III: Is My Team Ploughing? - Ian Bostridge
IV: Oh, When I Was In Love With You - Ian Bostridge
V: Bredon Hill - Ian Bostridge
VI: Clun - Ian Bostridge

Tracks:

I: Prelude: Maestoso - London Philharmonic Choir
II: Scherzo: Moderato - London Philharmonic Choir
III: Landscape: Lento - London Philharmonic Choir
IV: Intermezzo: Andante Sostenuto - London Philharmonic Choir
V: Epilogue: Alla Marcia, Moderato (Non Troppo Allegro) - London Philharmonic Choir

Tracks:

I: Fantasia: Moderato - Presto - Andante Sostenuto - Allegretto - Andante Non Troppo - Allegro Vivace - Andante Sostenuto - Tempo I, Ma Tranquillo - London Philharmonic Orchestra
II: Scherzo Alla Marcia: Allegro Alla Marcia - Andante - Tempo I (Allegro) - London Philharmonic Orchestra
III: Cavatina: Lento Espressivo - London Philharmonic Orchestra
IV: Toccata: Moderato Maestoso - London Philharmonic Orchestra
I: Moderato Maestoso - London Philharmonic Orchestra
II: Andante Sostenuto - London Philharmonic Orchestra
III: Scherzo: Allegro Pesante - London Philharmonic Orchestra
IV: Andante Tranquillo - London Philharmonic Orchestra

Customer Reviews:

VW Can't miss.......2007-04-01

It would take a lot of effort to make these works anything but wonderful to my ( untrained) ear. I have other versions of Symphonies 3 & 5, Tallis, and Lark, but am not that familiar with the rest. I bought the CD set just to hear them. VW's music goes straight to my soul, perhaps because I was born about 40 km ( 25 miles ) from the composer. These works evoke instant nostalgia. Haintink, the orchestra , soloists, sound fine. I particularly enjoyed Ian Bostridge.

Vaughan Williams the Great European Symphonist.......2004-12-15

2004 Has been a good year for Box Sets of Vaughan Williams Symphonies. Best of the bunch is this one from EMI with Bernard Haitink conducting the London Philharmonic Orchestra. Do not be put off by the lengthy gestation of the project, over 16 years between 1984 and 2000, there is a consistency of interpretation, performance and sound.

Haitink's first recording in the set of the 7th Symphony, the Sinfonia Antarctica is his manifesto. He takes Vaughan Williams out of the cosy world of 20th century British music and the interpretive shadow cast by Adrian Boult and places him in an ongoing tradition of European symphonists. Haitink revels in the richness of the symphony's sound worlds and in the romantic heart which he finds in them all. These are rich, big boned interpretations. Nowhere more so than in this 7th Symphony, from the episodic feast of the first movement onwards, and there is surely no recording with a more appropriate acoustic.

The First in the cycle , `A Sea Symphony" is startling, as conductor, orchestra and singers burn a new way to the heart of this huge work with a searingly intense first movement.

The Second, A London Symphony has many fine recordings. Here the louder passages are brash, boisterous and thoroughly urban. Vaughan Williams loved city life and would surely have approved.

The Third, A Pastoral Symphony is one of the most striking reinterpretations here, and perhaps the hardest to take for traditionalists. Boult's mystical manipulation of blocks of chords with solo instruments floating above them is replaced with lyrical argument.

The furies at the heart of the Fourth Symphony are set free to great effect, as they are in the Sixth Symphony. Haitink excels in the demonic dance music in both symphonies and the jazz elements in the Sixth are enthusiastically articulated

If the interpretation of the Pastoral Symphony is striking, that of the 8th is a complete transformation, and one that convinces. No longer is this a small symphony, here it is the considerable utterance of a master.

The Fifth symphony is its radiant self, but the questions that also inhabit the score are welcomed, giving this performance light and shade.

The Ninth Symphony, sometimes considered a difficult work sounds like a natural summation of Vaughan Williams musical journey. It is a suitable epitaph, autumnal but radiating vigour.

There are a number of filler works here, like the Symphonies some are radical reinterpretations. I am not convinced by this Variations on a Theme of Thomas Tallis. In The Lark Ascending the programme is forgotten and it becomes a one movement concerto with a continuous violin line.

Haitink's interpretations are not for everyone. If you want modern a modern equivalent of Boult with good digital sound choose the Vernon Handley Set on Classics For Pleasure. That also has the benefit of a more generous selection of extra works. If you want to hear exciting modern performances in exemplary sound snap up this bargain box.

Vaughan Williams: Dona Nobis Pacem and Other Works

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Vaughan Williams: Dona Nobis Pacem and Other Works

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Vaughan Williams: An Oxford Elegy/ Flos Campi/ Sancta Civitas/ etc.
Hodie / Fantasia on Christmas Carols
Vaughan Williams: The Shepherds of the Delectable Mountains
Vaughan Williams: Sir John In Love
Vaughan Williams: Complete Concertos

ASIN: B00005Q2X8
Release Date: 2005-07-13

Tracks:

Toward The Unknown Region - London Phil Chor/John Alldis
Dona Nobis Pacem: I. Agnus Dei (Lento) - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Dona Nobis Pacem: II. Beat! Beat! Drums! (Allegro Moderato) - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Dona Nobis Pacem: III. Reconciliation (Andantino) - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Dona Nobis Pacem: IV. Dirge For Two Veterans (Moderato Alla Marcia) - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Dona Nobis Pacem: V. The Angel Of Death Has Been abroad (L'istesso Tempo) - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Dona Nobis Pacem: VI. O Man Greatly Beloved - Sheila Armstrong/John Carol Case/London Phil Chor/John Alldis
Fant (Quasi Vars) On The Old 104th Psalm Tune - Peter Katin
Magnificat - Helen Watts/Ambrosian Singers/Christopher Hyde-Smith

Tracks:

Partita: I. Prld (Andante Tranquillo) - LPO/Sir Adrian Boult
Partita: II. Scherzo Ostinato (Presto) - LPO/Sir Adrian Boult
Partita: III. Intermezzo (Homage To Henry Hall) (Andante Con Moto) - LPO/Sir Adrian Boult
Partita: IV. Fant (Allegro) - LPO/Sir Adrian Boult
Con Grosso: I. Intrada (Largo) - LPO/Sir Adrian Boult
Con Grosso: II. Burlesca Ostinata (Allegro Moderato) - LPO/Sir Adrian Boult
Con Grosso: III. Sarabande (Lento) - LPO/Sir Adrian Boult
Con Grosso: IV. Scherzo (Allegro: Tempo Di Valse) - LPO/Sir Adrian Boult
Con Grosso: V. March (A La Marcia) And Reprise - LPO/Sir Adrian Boult
Fant On A Theme By Thomas Tallis - Philharmonia Orch/Sir Malcolm Sargent
Romance in D flat - Larry Adler/Eric Gritton
The Lark Ascending - Jean Pougnet

Lark Ascending - The Soft Sounds of Vaughan Williams (2 CDs) (London)

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One of those Collection CDs that Merits Adding to the Library!
Beautiful!
Beautiful Selections
Good if not for the oboe...
I am so glad I bought this album!

Lark Ascending - The Soft Sounds of Vaughan Williams (2 CDs) (London)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Vaughan Williams: Serenade to Music; The Lark Ascending; Fantasia on Greensleeves; English Folk Song Suite; In the Fen Country; Norfolk Rhapsody No. 1
Heat: An Amateur's Adventures as Kitchen Slave, Line Cook, Pasta-Maker, and Apprentice to a Dante-Quoting Butcher in Tuscany (Vintage)

ASIN: B0000042HD
Release Date: 1997-04-15

Tracks:

The Lark Ascending
Fantasia On Greensleeves
Oboe Concerto: Rondo pastorale
Oboe Concerto: Minuet And Musette
'London' Symphony No. 2 - Lento
Concerto Grosso: Concerto Grosso - Sarabande
English Folk Song Suite
Fantasia On A Theme By Thomas Tallis

Customer Reviews:

One of those Collection CDs that Merits Adding to the Library!.......2006-09-24

Often pasted together excerpts on the basis of a theme or a specific artist can be annoyingly disjointed. This is an exception to that rule. While many people appreciate the majestic symphonies by Ralph Vaughn Williams, there is a larger audience waiting to be introduced to one f the masters of British melody. Here is a selection of some of the more moody but eloquent works by a great composer too often dismissed.

The CD collection of 'Soft Sounds' is divided among several groups. Works on the collection include performances from the New Queen's Hall Orchestra (Barry Wordsworth, conductor), Academy of St. Martin-in-the-Fields (Sir Neville Marriner, conductor), and the London Philharmonic Orchestra (Sir Adrian Boult, conducing). These fine orchestras survey 'The Lark Ascending, romance for violin & orchestra' with a sensitive Hagai Shaham as soloist, 'Fantasia on Greensleeves, for harp, flute & strings', the Oboe Concerto in A minor' with Celia Nicklin soloist, the 'Lento' from 'The London Symphony', the 'Concerto grosso for strings' (Sarabande), 'English Folk Song Suite', and the much loved 'Fantasia on a Theme by Thomas Tallis, for 2 string orchestras'.

There are no attempts to connect these works except through the concept of 'soft music' and there are individually finer performances of some on other recordings. But for a soothing, tranquil hour of gorgeous music to tame the savage world, this is one of those CDs that will serve the listener well - and hopefully increase Vaughn Williams' audience! Grady Harp, September 06

Beautiful!.......2004-02-19

"The Lark Ascending" is one of my all-time favorite pieces, and I must say that Ralph Vaughan Williams is amazing after listening to this CD. "Fantasia on Greensleeves" blew me away.

Wonderful music.

Elizabeth

Beautiful Selections.......2002-03-22

I'm a Vaughan Williams enthusist and I find that this CD has many (not all, of course) of the soft and beautiful orchestral works of Mr. Williams. The quality is excellent. "Fant on a Theme by Thomas Tallis" is one of my favorite pieces of work by Williams, however, I didn't like Mr. Wordsworth's interpretation of this piece (in my opinion, the best interpretation is by Leonard Slatkin, which I suggest you buy). All in all, this is a very good CD and I highly recommand it.

Good if not for the oboe..........2001-03-19

This recording features wonderful renditions of many of Vaughan Williams' most heralded compositions. The Fantasia on a Theme by Thomas Tallis is one of the best I've heard, as are most of the other pieces on this CD. However, the (incomplete) Oboe Concerto is of mediocre quality. Being an oboist, I am naturally critical of oboe playing, but I must say that at times even an untrained ear can discern the utter lack of taste that went in to playing the wonderful concerto, which I much enjoy playing myself. A good CD to help people come to love Vaughan Williams, but don't buy it for the Oboe Concerto - you'll be wasting your money.

I am so glad I bought this album!.......2000-11-04

I bought this album because it had two pieces I acutally knew the names of (Lark Ascending & Fantasia on a Theme by Thomas Tallis) and adored, never thinking I would also come to love the other pieces. Well I did and now am on a search to find more good works by Vaughan Williams! This is one of my most played cds and still gives me shivers with each listen :-)

Vaughan Williams: The Nine Symphonies; Job (Box Set)

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RESTORES ONE'S FAITH IN HONEST MUSIC MAKING
Excellence throughout

Vaughan Williams: The Nine Symphonies; Job (Box Set)

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

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Vaughan Williams: Symphonies 1-9 / Boult
Vaughan Williams: Complete Concertos
Bax: The Symphonies
Vagn Holmboe: The Complete Symphonies
Kurt Atterberg: The Symphonies (Box Set)

ASIN: B00006J3LP
Release Date: 2002-11-06

Tracks:

A Sea Symphony
A London Symphony
Symphony No. 8 In D Minor
English Folk Song Suite
A Pastoral Symphony
Symphony No. 4 In F Minor
Flos Campi
Oboe Concerto In A Minor
Symphony No. 5 In D
Symphony No. 6 In E Minor
Symphony No. 9 In E Minor
Fantasia On "Greensleeves"
Serenade To Music
Partita For Double String Orchestra
Sinfonia Antartica
Fantasia On A Theme By Thomas Tallis
Five Variants Of Dives And Lazarus
Job - A Masque For Dancing

Customer Reviews:

RESTORES ONE'S FAITH IN HONEST MUSIC MAKING.......2007-03-29

Thank God for Tod Handley. I vividly recall a year or two back, feeling particularly jaundiced after a succession of glitzy, superficial concerts by conductors far starrier and younger, having my faith in real music making restored by a Handley concert which included a scintillating Schubert Little C Major and a profoundly moving VW Sea Symphony.

That work, of course, is the springboard for this cycle of complete VW symphonies. And a very satisfying journey through this inspiring canon of nine it is, too. Handley's affinity with English music needs no reiterating, but his relationship with Vaughan Williams in particular is a special one. More than most, he is alive to the changing and developing nature of the different symphonies through Vaughan Williams life - from the rich Romantic panoply of the 1st, taking in the influence of study with Ravel in the 3rd, the violence of Nos.4 & 6 and the idealisation of his Pilgrim music as well as that of his beloved Tudor composers in the Fifth, right through to the exploration of new sonorities and form in 7, 8 and 9. Throughout the cycle, this is music making that is honest, perceptive, communicative and frequently illuminating and inspiring.

Handley's Sea Symphony has terrific sweep in the opening movement, ideal rhythmic crispness in the scherzo and real depth in the long, questing Finale. Its one drawback is perhaps the somewhat cramped acoustics of Liverpool's Philharmonic Hall compared to, say, the fuller sound of the Kingsway Hall in Boult's second recording. His London Symphony is as fine as any, though I do now miss the passages opened out in Hickox's recording of the Original Version.

I'm inclined to think this the best Pastoral of any on disc: it finds Handley very sensitive to all the overtones of VW's experiences of the Great War that lie behind its overt pastoralism - Flanders Fields as much as English ones. This is followed by a stunning Fourth, matched only by the composer's own performance. The grinding dissonances of its motto motif, the bounce of the jazzier rhythms, the dark Beethovenian transition to the Finale are all perfectly realised: "I don't know if I like it, but it's what I meant" in VW's famous phrase and I feel sure Handley's performance is just what he meant.

The Fifth finds fierce competition from Boult (twice), Barbirolli (twice) and Haitink (most purely symphonic of all). But Handley strikes a fine balance between the Pilgrim's Progress antecedents of much of the material and the `absolute music' arguments to which it is subjected. This disc is almost worth it for the glorious horn counterpoint at the climax of the first movement alone, picked out by Handley as by no other conductor in my experience. His Sixth is another blistering reading to set beside that of his mentor, Boult, in mono for Decca. Handley's pp final movement here is too mystical to be mistaken for the post-nuclear landscape it's often compared to - it seems closer to VW's great friend, Holst's, Neptune. Pacing and colour are the strengths of this Antarctica, but only Haitink really succeeds in making it sound truly symphonic. And No.8 was always the domain of its dedicatee, `Glorious John' Barbirolli, who seemed to have the secret of its somewhat obtuse Variations without a Theme opening movement, its Bartokian Strings only and Wind only inner movements and the clangour of its Finale with `all the phones and spiels know to the composer'. However the elusive 9th is one of the best of Handley's set. He really seems to understand its deep, dark, Hardyesque mysteries, grounded as those novels seem to be in the very earth and land of England, as well as its further explorations of intriguing sonorities with the use of flugelhorn and saxophones.

The fill-ups from the original discs are here as well, including a fine Job and a superb Flos campi, another elusive work that seems to speak of secrets that are not to be found in the VW biographies. These are all considerable performances that reflect Handley's long-standing empathy with and authority in this music. And all at a bargain price.

Excellence throughout.......2004-10-16

On balance, this is probably the best set of Vaughan Williams symphonies out there today. Vernon Handley was a protege of Adrian Boult and you can hear a likeness in the way the two approach the music of their countryman. Boult may have had an advantage, being alive at a time Vaughan Williams was composing and premiering a number of the symphonies after they were composed.

The passage of time has left us two outstanding sets of Vaughan Williams symphonies by Boult, including a latter stereo version. I have heard both sets and they are wonderful. I prefer this one, however. Handley does things with some of the lesser played Vaughan Williams scores that, I believe, gives him an edge as the best of today's interpreters.

His version of the "Sea" Symphony No. 1 -- which is not a favorite of mine -- stacks up with anything out there. It avoids the bombastic approach taken by some conductors that do not completely understand the music or Vaughan Williams style. Even the new Atlanta Symphony version of the "Sea" Symphony does not exceed the vigor, loveliness and fine singing on parade under Handley's baton.

Handley also does wonderful things with the lesser known Symphonies 8 and 9, which some critics went wow over when Bernard Haitink recorded them together on one CD a few years back. Personally, I never heard the message of the dramatic 8th Symphony until I listened to this set.

Handley is hardly at a loss in the more well-known symphonies, either. His renditions of the "London" Symphony 2, "Pastoral" Sympony 3, Symphony 4 and "Antarctica" Symphony 7 are up with the best versions ever recorded. Handley's version is the first time I ever heard the chimes of Big Ben in the "London" symphony. His trip to Antarctica in Symphony 7 is probably the best one out there today and rivals the famous mono version Boult did 50 years ago, less the spoken tracts at the beginning and between sections.

Handley is equally fine in Vaughan Williams two violent symphonies, Nos. 4 and 6. In Symphony 4, he is especially visionary, understanding that the composer was not really writing about the impending world war when he penned the symphony in the late 1930s. Vaughan Williams said it was more about human interaction and communication and you hear this from Handley, who eschews much of the needless violence other conductors put into the score.

It is only the Symphony No. 5 where I find a clear preference to versions by Andre Previn in either of his stereo versions. Previn's 1988 Telarc recording also includes "Fantasia on a Theme by Thomas Tallis", perhaps Vaughan Williams' best-known melody. This is preferable to Handley's Symphony 5 diskmate, the "Flos Campi" Suite, which provides another moment for the Liverpool Philharmonic Choir to shine. Previn endows the wonderful symphony with more romance and emotion than Handley.

That's not to say Handley's recording is a dog. Hardly! His is an exquisite recording of some of the world's most beautiful music. It lacks little and competes with the best out there. All told, this is a five star set with beautiful and, when appropriate, powerful and visceral playing from the Royal Liverpool Philharmonic Orchestra.

There are other fine Vaughan Williams set extant -- both Boult sets, the exceptionally well-recorded Thomson on Chandos, various recordings by Previn & Hickox and those by Bakels on Naxos -- but no complete set quite captures Ralph Vaughan Williams as three dimensionally as this one. My only complaint is Classics for Pleasure could have mated Handley's equally brilliant version of "Job: A Masque for Dancing" with one of the shorter symphonies and did not.

Vaughan Williams: The 9 Symphonies [Box Set]

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Vaughan Williams: The 9 Symphonies [Box Set]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FDR
Release Date: 1993-11-09

Tracks:

A Sea Sym (No.1): I. A Song For All Seas, All Ships-Andante Maestoso: Behold, The Sea Itself - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): I. A Song For All Seas, All Ships-Andante Maestoso: Today A Rude Brief Recitative - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): I. A Song For All Seas, All Ships-Andante Maestoso: Flaunt Out, O Sea - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): I. A Song For All Seas, All Ships-Andante Maestoso: Token Of All Brave Captains - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): I. A Song For All Seas, All Ships-Andante Maestoso: A Pennant Universal - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): II. On The Beach At Night, Alone-Largo Sostenuto: On The Beach At Night, Alone - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): II. On The Beach At Night, Alone-Largo Sostenuto: A Vast Similitude Interlocks All - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): III. Scherzo: The Waves-Allegro Brillante - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: O Vast Rondure, Swimming In Space - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: Down From The Gardens Of Asia Descending - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: O We Can Wait No Longer - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: O Thou Transcendent - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: Greater Than Stars Or Suns - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: Sail Forth, Steer For The Deep Waters Only - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin
A Sea Sym (No.1): IV. The Explorers-Grave E Molto Adagio: O My Brave Soul! - Benita Valente/Thomas Allen/Philharmonia Chor/Leonard Slatkin

Tracks:

Norfolk Rhap No.1 - John Chambers
Fant On A Theme By Thomas Tallis - Hugh Bean/Nicholas Whiting/John Chambers/Matthias Feile
A London Sym (No.2): Lento/Allegro Risoluto - Philharmonia Orch/Leonard Slatkin
A London Sym (No.2): Lento - John Chambers/Jane Marshall
A London Sym (No.2): Scherzo (Nocturne): Allegro Vivace - Philharmonia Orch/Leonard Slatkin
A London Sym (No.2): Andante Con Moto/Maestoso Alla Marcia (Quasi Lento)/Allegro/Lento/Epilogue... - Philharmonia Orch/Leonard Slatkin

Tracks:

Fant On Greensleeves - Philharmonia Orch/Leonard Slatkin
A Pastoral Sym (No.3): Molto Moderato - Linda Hohenfeld/Hugh Bean/John Chambers/Jane Marshall
A Pastoral Sym (No.3): Lento Moderato - Linda Hohenfeld/Mark David/Nigel Black
A Pastoral Sym (No.3): Moderato Pesante/Presto - Linda Hohenfeld
A Pastoral Sym (No.3):Lento: Moderato Maestoso - Linda Hohenfeld
Sym No.4 in f: Allegro - Philharmonia Orch/Leonard Slatkin
Sym No.4 in f: Andante Moderato - Kenneth Smith
Sym No.4 in f: Scherzo: Allegro Molto - Philharmonia Orch/Leonard Slatkin
Sym No.4 in f: Finale Con Epilogo Fugato: Allegro Molto - Philharmonia Orch/Leonard Slatkin

Tracks:

Sym No.5 in D: Prld: Moderato - Philharmonia Orch/Leonard Slatkin
Sym No.5 in D: Scherzo: Presto Misterioso - Philharmonia Orch/Leonard Slatkin
Sym No.5 in D: Romanza: Lento - Philharmonia Orch/Leonard Slatkin
Sym No.5 in D: Passacaglia: Moderato - Philharmonia Orch/Leonard Slatkin
Sym No.6 in e: Allegro - Philharmonia Orch/Leonard Slatkin
Sym No.6 in e: Moderato - Philharmonia Orch/Leonard Slatkin
Sym No.6 in e: Scherzo: Allegro Vivace - Philharmonia Orch/Leonard Slatkin
Sym No.6 in e: Epilogue: Moderato - Philharmonia Orch/Leonard Slatkin

Tracks:

Quick March-Sea Songs - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Theme (Adagio) - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Var I - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Var II - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Var III - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Var IV - Philharmonia Orch/Leonard Slatkin
Five Vars Of 'Dives And Lazarus': Var V - Philharmonia Orch/Leonard Slatkin
Sinf Antartica (Sym No.7): Prld (Andante Maestoso) - Linda Hohenfeld/Women Of The Philharmonia Chor
Sinf Antartica (Sym No.7): Scherzo (Moderato) - Linda Hohenfeld/Women Of The Philharmonia Chor
Sinf Antartica (Sym No.7): Landscape (Lento) - Linda Hohenfeld/Women Of The Philharmonia Chor/Leslie Pearson
Sinf Antartica (Sym No.7): Intermezzo (Andante Sostenuto) - Linda Hohenfeld/Women Of The Philharmonia Chor/John Anderson
Sinf Antartica (Sym No.7): Epilogue. Alla Marcia, Moderato (Non Troppo Allegro) - Linda Hohenfeld/Women Of The Philharmonia Chor

Tracks:

Flourish For Glorious John - Philharmonia Orch/Leonard Slatkin
Sym No.8 in d: Fant (Vari Senza Tema): Moderato/Presto/Andante Sostenuto/Allegretto... - Philharmonia Orch/Leonard Slatkin
Sym No.8 in d: Scherzo Alla Marcia (Per Stromenti A Fiato): Allegro Alla Marcia/Andante/Tempo I... - Philharmonia Orch/Leonard Slatkin
Sym No.8 in d: Cavatina (Per Stomenti Ad Arco): Lento Espressivo - Hugh Bean/David K. Jones
Sym No.8 in d: Toccata: Moderato Maestoso/Animato/Largamente - Philharmonia Orch/Leonard Slatkin
Sym No.9 in e: Moderato Maestoso: Tranquillo - Philharmonia Orch/Leonard Slatkin
Sym No.9 in e: Andante Sostenuto - David Mason
Sym No.9 in e: Scherzo: Allegro Pesante - Philharmonia Orch/Leonard Slatkin
Sym No.9 in e: Adante Tranquillo - Philharmonia Orch/Leonard Slatkin

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The Most Unforgettable Vaughan Williams

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Vaughan Williams: Over hill, over dale
Vaughan Williams - Serenade to Music · Five Mystical Songs · Fantasia on Christmas Carols · Flos Campi / Sixtieen Soloists · Thomas Allen · Nobuko Imai · Corydon Singers · ECO · Matthew Best
Vaughan Williams: The Nine Symphonies
Vaughan Williams: Orchestral Works
Ralph Vaughan Williams: Symphonies Nos. 3 & 5

ASIN: B000026C6F
Release Date: 1999-07-19

Tracks:

Fant On 'Greensleeves' - LSO/Sir Adrian Boult
The Lark Ascending - David Nolan
English Folk Song Ste: I. March (Seventeen Come Sunday)/II. Intermezzo (My Bonny Boy)/III. March... - LSO/Sir Adran Boult
Fant On A Theme By Thomas Tallis - Jonathan Small
The Wasps - Aristophanic Ste: Ballet And Final Tableau - LPO/Vernon Handley
Sinf Antartica, Landscape: III. Lento - Alison Hargan/Ian Tracey/Royal Liverpool Phil Choir
Job - A Masque For Dancing: Satan's Dance Of Triumph - The London Phil/Vernon Handley
Ser To Music (Shakespeare) - Royal Liverpool Phil Choir/Ian Tracey

Ralph Vaughan Williams: A London Symphony (Symphony No. 2) / Fantasia on a Theme by Thomas Tallis - Bernard Haitink / London Philharmonic Orchestra

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Ralph Vaughan Williams: A London Symphony (Symphony No. 2) / Fantasia on a Theme by Thomas Tallis - Bernard Haitink / London Philharmonic Orchestra
London Philharmonic Orchestra , and Bernard Haitink
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Easy Listening | Pop | Styles | Music
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Shostakovich: Symphonies no 5 and 9 / Haitink

ASIN: B000005GIK
Release Date: 1990-10-25

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Weekend Favorites

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B0009K8LKM
Release Date: 2005-06-14

Tracks:

Meditation
Intermezzo Sinfonico
Gymnopedie No. 3
Fantasia
Morning Mood
The Death Of Ase
Solveig's Song
Last Sleep Of The Virgin
Pavane - Tanglewood Festival Chorus
Fantasia
The Swan
Adagietto

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The Spirit of England

Manufacturer: Nimbus
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00000E0E8
Release Date: 1989-01-01

Tracks:

Overture Cockaigne - SPIRIT OF ENGLAND
Summer Evening - SPIRIT OF ENGLAND
A Shropshire Lad - SPIRIT OF ENGLAND
The Banks Of Green Willow - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Introduction Allegro vigoroso - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': 'Moth': Allegro scherzando - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Nocturne: Allegro comodo - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': The Hunt: Allegro molto e vivace - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Dance: Allegretto grazioso - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Quodlibet (Clowns): Vivo - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Soliliquy I: Grazioso - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Soliloquy II: Adagio - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Soliloquy III: Allegretto - SPIRIT OF ENGLAND
Suite From 'Love's Labours Lost': Finale: Allegro maestoso - SPIRIT OF ENGLAND

Tracks:

The Lark Ascending - SPIRIT OF ENGLAND
Oboe Concerto: Rondo Pastorale - SPIRIT OF ENGLAND
Oboe Concerto: Minuet And Musette - SPIRIT OF ENGLAND
Oboe Concerto: Scherzo - SPIRIT OF ENGLAND
Clarinet Concerto: Allegro vigoroso - SPIRIT OF ENGLAND
Clarinet Concerto: Adagio - SPIRIT OF ENGLAND
Clarinet Concerto: Rondo: Allegro giocoso - SPIRIT OF ENGLAND

Tracks:

Lady Radnor's Suite: Prelude - English String Orchestra
Lady Radnor's Suite: Allemande - English String Orchestra
Lady Radnor's Suite: Sarabande - English String Orchestra
Lady Radnor's Suite: Bourree - English String Orchestra
Lady Radnor's Suite: Slow Minuet - English String Orchestra
Lady Radnor's Suite: Gigue - English String Orchestra
Introduction & Allegro Op.47 - English String Orchestra
Sospiri Op.70 - English String Orchestra
Suite For String Orchestra: Prelude - English String Orchestra
Suite For String Orchestra: Intermezzo - English String Orchestra
Suite For String Orchestra: Nocturne - English String Orchestra
Suite For String Orchestra: Finale - English String Orchestra

Tracks:

Fantasia On A Theme By Thomas Tallis - Vaughan Williams, Ralph
Fantasia On Greensleeves - Vaughan Williams, Ralph
St. Paul's Suite Opus 29 No. 2: Jig - Gustav Holst
St. Paul's Suite (Opus 29 No. 2): Ostinato - Gustav Holst
St. Paul's Suite (Opus 29 No. 2): Intermezzo - Gustav Holst
St. Paul's Suite (Opus 29 No. 2): Finale - The Dargason - Gustav Holst
Capriol Suite: Basse-Danse - Peter Warlock
Capriol Suite: Pavane - Peter Warlock
Capriol Suite: Tordion - Peter Warlock
Capriol Suite: Bransles - Peter Warlock
Capriol Suite: Pieds-en-l'air - Peter Warlock
Capriol Suite: Mattachins - Peter Warlock
Variations On A Theme Of Frank Bridge Opus 10: Introduction And Theme - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Adagio - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: March - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Romance - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Aria Italiana - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: BourrClassique - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Wiener Waltzer - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Moto Perpetuo - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Funeral March - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Chant - Benjamin Britten
Variations On A Theme Of Frank Bridge Opus 10: Fugue And Finale - Benjamin Britten

Vaughan Williams, The Complete Symphonies

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BEST COMPLETE SURVEY
Still the Best
As good as anyone needs--this isn't Beethoven
Consider Supplementing This Core Set
What's the hurry to have 'em all?

Vaughan Williams, The Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B00004YA0V
Release Date: 2000-11-07

Tracks:

I: A Song For All Seas, All Ships - London Philharmonic Choir
II: On The Beach At Night, Alone - London Philharmonic Choir
III: Scherzo: The Waves - London Philharmonic Choir
IV: The Explorers - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir

Tracks:

Fantasia On A Theme By Thomas Tallis - London Philharmonic Orchestra
I: Lento - Allegro Risoluto - London Philharmonic Orchestra
II: Lento - London Philharmonic Orchestra
III: Scherzo (Nocturne): Allegro Vivace - London Philharmonic Orchestra
IV: Andante Con Moto - Maestoso Alla Marcia - London Philharmonic Orchestra

Tracks:

I: Molto Moderato - Margaret Price
II: Lento Moderato - Margaret Price
III: Moderato Pesante - Margaret Price
IV: Lento - Margaret Price
I: Preludio: Moderato - London Philharmonic Orchestra
II: Scherzo: Presto - London Philharmonic Orchestra
III: Romanza: Lento - London Philharmonic Orchestra
IV: Passacaglia: Moderato - London Philharmonic Orchestra

Tracks:

I: Allegro - New Philharmonia Orchestra
II: Andante Moderato - New Philharmonia Orchestra
III: Scherzo: Allegro Molto - New Philharmonia Orchestra
IV: Finale Con Epilogo Fugato: Allegro Molto - New Philharmonia Orchestra
I: Allegro - New Philharmonia Orchestra
II: Moderato - New Philharmonia Orchestra
III: Scherzo: Allegro Vivace - New Philharmonia Orchestra
IV: Epilogue: Moderato - New Philharmonia Orchestra

Tracks:

I: Prelude: Andante Maestoso - London Philharmonic Choir
II: Scherzo: Moderato - London Philharmonic Choir
III: Landscape: Lento - London Philharmonic Choir
IV: Intermezzo: Andante Sostenuto - London Philharmonic Choir
V: Epilogue: Alla Marcia - London Philharmonic Choir
I: Overture - London Philharmonic Orchestra
II: Entr'acte - London Philharmonic Orchestra
III: March Past Of The Kitchen Utensils - London Philharmonic Orchestra
IV: Entr'acte - London Philharmonic Orchestra
V: Ballet And Final Tableau - London Philharmonic Orchestra

Tracks:

I: Fantasia (Variazioni Senza Tema) - London Philharmonic Orchestra
II: Scherzo Alla Marcia - London Philharmonic Orchestra
III: Cavatina - London Philharmonic Orchestra
IV: Toccata - London Philharmonic Orchestra
I: Moderato Maestoso - London Philharmonic Orchestra
II: Andante Sostenuto - London Philharmonic Orchestra
III: Scherzo: Allegro Pesante - London Philharmonic Orchestra
IV: Andante Tranquillo - London Philharmonic Orchestra

Tracks:

Serenade To Music - Norma Burrowes
In The Fen Country - New Philharmonia Orchestra
The Lark Ascending - Hugh Bean
Norfolk Rhapsody No.1 - New Philharmonia Orchestra
English Folk Song Suite - London Symphony Orchestra
Fantasia On 'Greensleeves' - London Symphony Orchestra
Untitled - London Symphony Orchestra
Untitled - London Symphony Orchestra

Tracks:

I: Toccata: Allegro Moderato - Victor Babin
II: Romanza: Lento - Victor Babin
III: Fuga Chromatica (Allegro) Con - Victor Babin
Finale Alla Tedesca - Victor Babin
Introduction - London Symphony Orchestra
Sarabande Of The Sons Of God - London Symphony Orchestra
Satan's Dance Of Triumph - London Symphony Orchestra
Minuet Of The Sons Of Job And Their Wives - London Symphony Orchestra
Job's Dream - London Symphony Orchestra
Dream Of The Three Messengers - London Symphony Orchestra
Dance Of Job's Comforters - London Symphony Orchestra
Elihu's Dance Of Youth And Beauty - London Symphony Orchestra
Pavane Of The Sons Of The Morning - London Symphony Orchestra
Galliard Of The Sons Of The Morning - London Symphony Orchestra
Altar Dance - London Symphony Orchestra
Epilogue - London Symphony Orchestra

Amazon.com

Adrian Boult's credentials in this repertoire are unassailable, and to have nearly all his stereo Vaughan Williams recordings for EMI so elegantly packaged and enticingly priced will be incentive enough for many a prospective purchaser. There's much to treasure here, not least those gently perceptive accounts of the first three symphonies, as well as the Fifth and the Ninth. All the same, the fires burned more brightly on Boult's earlier mono cycle for Decca, and there's some oddly listless orchestral playing to contend with in both the Sinfonia Antarctica and the Eighth, especially. The Fourth and Sixth, too, find the New Philharmonia in less than ideally tidy form. The disc of shorter orchestral items and the gorgeous Serenade to Music offer mostly unbridled pleasure (with Hugh Bean a memorably serene soloist in The Lark Ascending), as does Boult's fourth and final recording of Job, though here, too, tension levels are markedly lower than on either of his mono versions. No matter, for all its ups and downs, the present anthology undoubtedly offers fine value for the money. --Andrew Achenbach

Customer Reviews:

BEST COMPLETE SURVEY.......2006-07-14

The VW symphonies have done remarkably well on disc. Complete cycles by Previn, Haitink and Tod Handley all make substantial claims. Individual symphonies from Richard Hickox, Andrew Davis, Vaughan Williams himself and, of course, 'Glorious John' Barbirolli (as VW christened him) also demand attention. But, if you're looking for a complete overview of the Vaughan Williams symphonic canon (plus quite a lot of substantial extras) then this Boult set is probably still the best all-round recommendation.

Even he has a substantial rival in his earlier self on Decca, conducted under the gaze of the composer who delivers a touching speech of thanks to the players at the end of the pianissimo finale of the Sixth Symphony. This earlier Decca version probably has the edge for urgency and thrust in the quicker movements, but the sound on these later discs benefits enormously from the full warm stereo production typical of EMI in the 70's and also benefits from Sir Adrian's lifetime experience of these works.

In many ways, it is the earlier symphonies that come off best in this series. A wonderfully full-blooded Sea Symphony with a finely disciplined chorus, excellent soloists in John Carol Case and Sheila Armstrong (though she can't eclipse the magical Isobel Baillie in the older Boult set), and a rich Kingsway Hall acoustic get the set off to a fine start. The London Symphony was always special with Boult: he managed to achieve an ideal balance of symphonic thought with the touches of Edwardian period colour. The jingles of the hansom cab in the London fog and the cries of the street vendors come off particularly well here. But don't ignore Hickox's magnificent recording of the substantially longer original version. The Pastoral, too, is beautifully sustained in Boult's hands: the succession of slow, mostly quiet movements always glows with Pastoral intensity for him. Maybe his disciple, Vernon Handley, penetrates deeper into the dark echoes of the composer's experiences as an ambulance driver in the Great War.

The Fourth - "I don't know if I like it, but it's what I meant," in VW's famous quote - is full of barely restrained power, but perhaps would benefit from a bit more urgency at times. The Fifth, arguably the most symphonic of all the symphonies despite the Pilgrim's Progress origins of much of its material, gets an authentically profound performance with the LPO. Maybe we are closer to the Pilgrim origins here than to the symphonic arguments behind their transformations. There is serious competition in this symphony from Barbirolli (his 1st recording), from Haitink and from Handley. Haitink is the most 'symphonic', Barbirolli the most impassioned, Handley probably the most balanced.

The Sixth is fine, suitably violent and desolate by turns, but doesn't quite match Boult's blistering earlier recording. The Antarctica is curiously lack-lustre here - Haitink's is the revelatory performance of this symphony. The Eighth has always seemed to be the special domain of its dedicatee, Barbirolli, who had the key to unlocking its mixture of wild and wonderful orchestration (including "all the 'phones and 'spiels known to the composer") with cryptic symphonic argument. The enigmatic Ninth seems to elude most conductors, including Boult here. Handley comes closest to revealing its dark Hardyesque mysteries.

There are two additional discs of extra stuff, all beautifully played. Specially noteworthy are a Serenade to Music that comes close to matching Henry Wood's original line-up of soloists, Hugh Bean as a magically carolling Lark Ascending, a real rarity in the Double Piano Concerto and a great Job, perhaps the VW work closest to Boult's heart.

This set is excellent value for money and, for a complete collection of the symphonies, probably the best all-round recommendation - though Tod Handley runs it pretty close. Maybe the bonus items tip the balance Boult's way.

Still the Best.......2006-03-20

Done more than 30 years ago, these recordings are still the best available of Ralph Vaughan Williams' orchestral music. The sound is here and there a little dated, but usually strongly competitive with present digital recordings. And the musicianship -- the wisdom of Adrian Boult and the high level of playing and singing -- really carry the day. Teaching a Lifelong Learning Institute on 20th Century Romantic composers this winter, I not only recommended but urged the participants to buy this set.

Vaughan Williams is one of the finest symphonists ever -- a thorough-going craftsman -- whose music connects the English countryside of a hundred years ago to the agonies of war and uproar of the century just past. People will be listening to this music long after the academics have come and gone; and this recording will still be the benchmark.

As good as anyone needs--this isn't Beethoven.......2005-11-01

The British are admirable loyalists when it comes to their own composers. Symphonies by Bax, Arnold, Rubbra, Simpson, and others that are nevre played in the U.S. are daily fare to music lovers in the UK, which heated discussion about the best versions. By comparison, how much do American music lovers argue over the symphonies of William Schuman, Roy Harris, Roger Sessions, Leonard Bernstein, John Harbison, or champion of them all, with symphonies by the dozen, Alan Hovhaness?

Of the British crop, the only works that cross the Atlantic with any frequency are Elgar Sym. #1, Walton Sym. #1, and a handful of the Vaughan Williams nine. Boult's second set of the VW symphonies, in stereo for EMI as opposed to mono for Decca, is all anybody really needs. Some of the performances have been bettered individually--one thinks of Handley's VW First, Bernstein's Fourth, Barbirolli's Second, Stokowski's Fourth and Sixth--but these symphonies aren't masterpieces. Boult has a fine orchestra in the London Phil. and good analog sound from EMI; his readings are dramatic and interesting, if not always deep.

If this were a Beethoven cycle, I'd want three or four alternative sets. Here it's not necessary. You can own all of VW's symphonic output and be assured that each reading is good enough to do justice to the music. Of course, this won't stop British enthusiasts, but for Americans time might be better spent uncovering the shamefully neglected symphonic past--and present--of our native composers.

Consider Supplementing This Core Set .......2005-02-23

My first exposure to V W's symphonies happened back in the 1970's courtesy of Boult's earlier recordings (#1-8 on London and Decca LPs, and #9 on an Everest LP). Later I acquired all of Boult's stereo recordings on Angel LPs. Here we have the latter recordings in their best-ever transfers. Despite strong competition from Handley (EMI) and Previn (RCA), I feel that over-all this Boult set (Boult II) remains THE one to own in good stereo sound. However, Boult's earlier set (Boult I - now available on Decca CDs in top-notch transfers) features even better performances of Symphonies 4, 6 and 9. I own them both, along with a few individual symphony readings by other conductors. Here's a brief summary of the performances:

#1. I won't mince words here: This Sea Symphony is absolutely dazzling, the finest I have ever heard. Boult I was also pretty extraordinary, but Boult II's superb stereo sound and slightly stronger vocal line-up make it a clear first choice.

#2. Boult I is a more energetic performance than Boult II. Sonically, however, Boult II offers a far more vivid listening experience. I am also rather fond of Barbirolli's first recording (on Dutton, paired with his magnificent 8th). My favorite "live" 2nd is a superb Malcolm Sargent reading, available only in an expensive 10-disc set from the Chicago Symphony. That set is well worth owning: it also contains what I feel are the finest-ever recordings of three great Third Symphonies (Mahler's, Prokofiev's and Roussel's), in readings by (respectively) Martinon, Kondrashin and Munch.

#3. Boult II is my favorite here, just ahead of Previn (RCA).

#4. Boult II simply lacks the incredible rhythmic snap and commitment of Boult I, which is my favorite account along with the Stokowski (Cala) and the composer himself (Dutton, paired with Barbirolli's fine 5th). In V W's own reading, the influence of the composer's contemporaries (especially Honegger, Janacek and Roussel) sounds more noticeable than in any other recording.

#5. Boult I and II are both excellent. Despite II's better sound, I think I prefer I's greater exuberance (especially in the 2nd mvt.) Likewise, I am very fond of both Barbirolli readings (Dutton and EMI), but retain a slight preference for the mono Dutton (which also has V W's own hell-for-leather rendition of the 4th).

#6. Boult I is far better than the slightly soggy Boult II: the former is my favorite performance of the work, despite the mono sound. At the end is a touching little speech given by the composer, in which he thanks Boult and the orchestra for their incredible pianissimo playing in the Epilogue: Indispensable. In stereo, the inexpensive Bakels (Naxos) is excellent.

#7. It's almost a toss-up here, but Boult II ultimately wins out on the basis of sound. But Boult I is no sonic slouch, and Sir John Gielgud's stately narration is a handsome dividend.

#8. Here I feel that, while Boult II is clearly superior to Boult I, neither comes even close to matching the classic first studio recording by Barbirolli, to whom the work is dedicated. The latter is coupled on Dutton with Barbirolli's fine #2 (both in stereo). Barbirolli's studio effort is FAR better played than his live 8th on BBC Legends.

#9. Boult I, this time in clear stereo sound (licensed from Everest), is in every way superior to Boult II, which is curiously detached. Unfortunately, the excellent "Job: A Masque for Dancing" that was Everest's discmate has not been retained. That's a pity: nobody ever did it better, although the Boult II is very satisfying.

All of the smaller works included on Boult II (the Boult I set has just the 9 symphonies) receive fine performances. Especially noteworthy is the Serenade to Music: it even eclipses the classic first-ever recording by Sir Henry Wood (on Dutton). In the Tallis Variations, there are wonderful versions worth hearing from Silvestri (EMI), Stokowski (Bridge) and Barbirolli (EMI). Silvestri also recorded a superlative Wasps (EMI).

If recorded sound is your uppermost concern, then Boult II will prove the more satisfying. But if you want to hear Boult's V W interpretations at their finest, then owning both sets becomes essential.

What's the hurry to have 'em all?.......2003-09-24

This is a "bargain," sort of. But Ralph Vaughan Williams is not Beethoven; unless one is VW "completist" one doesn't really need the unifying vision of a great conductor in a recorded cycle of all nine symphonies with the same orchestra. So it's worthwhile & fun to assemble a VW cycle from a variety of sources. I recommend unreservedly the ethereal Boult #3 & #5 (the former with lovely Brit soprano Margaret Price), & his Job Masque & #9 on Everest (the latter recorded the day after VW died). Actually, any of the recordings in this set are fine. But there are others equally accomplished or even better: Hickox & Bryden Thomson on Chandos; Andre Previn on RCA (Sea Symphony with Heather Harper & John Shirley-Quirk); Kees Bakels on low-priced Naxos; Andrew Davis & the BBC Orchestra on Elektra; Bernard Haitink on Angel/Emi; Vernon Handley & the Royal Liverpool on whatever label is issuing them now; orchestra isn't great but the conductor is insightful. Plus the superb David Lloyd-Jones recording of Job for Naxos. There's a couple of stereo Barbirolli peformances out there, too. Because of his creative alliance with the composer, Boult set the base standard for these symphonies, especially in his historic mono recordings, but that doesn't mean he owns them; & in any case he was quite old by the time good stereo sound arrived. & you'll want "high fidelity," not an ancient artifact. Collect your first Mahler & Bruckner cycles the same way. What's the hurry to have 'em all? Have fun with your purchases.

Bob Rixon

Music Review: