Vaughan Williams's Veranda

[Irons]

Released on LP as -

[vandermolen]

Released on LP as -

I remember that LP. I like your John Ireland quote Lol. Sounds very typical of him!

I had this LP of it and there's an earlier one featuring a rather fine photograph of the composer:

[Papy Oli]

Thank you for the information, Gentlemen. I'll order one of them soon.

[relm1]

What is your favorite recording of Symphony No. 6?  I especially like very slow final movement.

My favorite is probably Boult/New Philharmonia Orchestra.

[Irons]

What is your favorite recording of Symphony No. 6?  I especially like very slow final movement.

My favorite is probably Boult/New Philharmonia Orchestra.

Yes, probably mine as well, but Berglund is excellent too.

[Irons]

I remember that LP. I like your John Ireland quote Lol. Sounds very typical of him!

I had this LP of it and there's an earlier one featuring a rather fine photograph of the composer:

Wow, long forgotten on my part that the Barbirolli RVW 8th, along with Bax and Butterworth was a Mercury recording!

[aligreto]

Symphony No. 7: Sinfonia Antartica



Boult:






Boult gives a strong, robust, atmospheric and evocative account of this work.





Previn:






Previn gives a strong account of this fine work. However, in this case, I do not like the inclusion of the suggested narrative in this recording.




This work to me is like a Tone Poem in its approach to depicting the harsh environment and life of the Antarctic. It uses a multitude of instrumental effects to achieve this depiction including a wind machine as well as a soprano and choir singing an eerie vocalise [I can never listen to this element of the composition without being reminded of Holst's Neptune]. The music is as harsh, bleak and brutal as the world it depicts and is very effective and evocative as a result. I really like the musical language and scoring of this work. I particularly like the writing and evocation in the Scherzo [especially as interpreted by Boult] which I think is very effective.

Just on a personal note I do not concur with the composer's optimism scattered throughout the work's first movement in terms of Man's successful encounters in this region of the globe. Perhaps this movement is more concerned with Man's Endeavour and Spirit. I rather concur with his thoughts as reflected in the Landscape movement. I think that the very harsh reality is that Nature rules here; Man can survive and adapt but not dominate nearly as much as he has done elsewhere.

As an additional comment this is one case where I can categorically say that I have a preference for either Boult or Previn; in this case I favour Boult. Although Previn's is an account that is full and filled with power, I do find that the Boult version has a greater grasp of the subtleties and finer moments of this work.

[vandermolen]

What is your favorite recording of Symphony No. 6?  I especially like very slow final movement.

My favorite is probably Boult/New Philharmonia Orchestra.

That Boult is very good as is the sibelian Berglund recording. My favourite, however, is Boult's second recording made with the LPO and the composer in the studio (he makes a speech at the end). I have never found the epilogue sound more atmospheric. There's an element of nostalgia in this due to the overwhelming effect that this recording had on my 16 or 17 year old self. It's available on a not very well transferred Belart CD and in a much better processed Decca boxed set of the earlier Boult symphony cycle, which also features the Everest recording of the Ninth Symphony made a few hours after the composer died in 1958 (he had intended to attend the recording session). Boult makes a tribute speech at the start. The Symphony No.6 is IMO very difficult to get right on disc and I think that there are few entirely successful recordings. Abravanel with his Utah Orchestra are impressive as are Thomson, Davis and Haitink:

[vandermolen]

Symphony No. 7: Sinfonia Antartica



Boult:






Boult gives a strong, robust, atmospheric and evocative account of this work.





Previn:






Previn gives a strong account of this fine work. However, in this case, I do not like the inclusion of the suggested narrative in this recording.




This work to me is like a Tone Poem in its approach to depicting the harsh environment and life of the Antarctic. It uses a multitude of instrumental effects to achieve this depiction including a wind machine as well as a soprano and choir singing an eerie vocalise [I can never listen to this element of the composition without being reminded of Holst's Neptune]. The music is as harsh, bleak and brutal as the world it depicts and is very effective and evocative as a result. I really like the musical language and scoring of this work. I particularly like the writing and evocation in the Scherzo [especially as interpreted by Boult] which I think is very effective.

Just on a personal note I do not concur with the composer's optimism scattered throughout the work's first movement in terms of Man's successful encounters in this region of the globe. Perhaps this movement is more concerned with Man's Endeavour and Spirit. I rather concur with his thoughts as reflected in the Landscape movement. I think that the very harsh reality is that Nature rules here; Man can survive and adapt but not dominate nearly as much as he has done elsewhere.

As an additional comment this is one case where I can categorically say that I have a preference for either Boult or Previn; in this case I favour Boult. Although Previn's is an account that is full and filled with power, I do find that the Boult version has a greater grasp of the subtleties and finer moments of this work.

Interesting analysis Fergus. I think that Boult's oddly impersonal way with Vaughan Williams really suits symphonies 6 and 7, both of which I think show, as you suggest, the influence of Holst, especially Saturn and Neptune from 'The Planets'. As with Symphony No.6 much as I admire the EMI version I prefer the earlier Decca recording.

[Sergeant Rock]

What is your favorite recording of Symphony No. 6?  I especially like very slow final movement. My favorite is probably Boult/New Philharmonia Orchestra.

I'm with Vandermolen; Boult/(Decca) is my favorite though Boult/EMI is a runner-up along with Berglund and Haitink.

Sarge

[Archaic Torso of Apollo]

What is your favorite recording of Symphony No. 6?  I especially like very slow final movement.

My favorite is probably Boult/New Philharmonia Orchestra.

Mine too. I also like Handley.

This is a hard symphony to get right. Some highly praised recordings never clicked with me (A. Davis, Previn, Stokowski).

[aligreto]

Interesting analysis Fergus. I think that Boult's oddly impersonal way with Vaughan Williams really suits symphonies 6 and 7, both of which I think show, as you suggest, the influence of Holst, especially Saturn and Neptune from 'The Planets'. As with Symphony No.6 much as I admire the EMI version I prefer the earlier Decca recording.

Cheers Jeffrey. I do of course have the earlier Decca recording on CD but for some reason I did not think to compare the two [another senior moment  ]. I must do that soon.

[aukhawk]

For the 6th I like the Andrew Davis/BBC SO recording.  There's a lot of interesting orchestral colour in the first three movements of the 6th, and it really benefits from a more modern recording than the Boult or Previn classics

.

Now just a moment to agree with all those who have already praised the new Brabbins recording of the 3rd.



I've always enjoyed the 3rd Symphony (of course) but I've always had difficulty finding any points of difference in the various versions, tempi and general approach to this music seem pretty set in stone (and Brabbins is no exception).  What elevates this above the rest for me is the sheer lucidity and detail in this recording, bringing a whole new layer of interest to music that can otherwise seem perilously close to 'bland'.  And I love the restraint in the finale, with the soprano pushed well back in the mix, much more so than in most other recordings - that's perfect!

I listened to 'Helen' as well - sounds like a dry run for Serenade to Music - which is twice as long and therefore twice as good.  Not plucked up courage for the 4th yet.

[vandermolen]

For the 6th I like the Andrew Davis/BBC SO recording.  There's a lot of interesting orchestral colour in the first three movements of the 6th, and it really benefits from a more modern recording than the Boult or Previn classics

.

Now just a moment to agree with all those who have already praised the new Brabbins recording of the 3rd.



I've always enjoyed the 3rd Symphony (of course) but I've always had difficulty finding any points of difference in the various versions, tempi and general approach to this music seem pretty set in stone (and Brabbins is no exception).  What elevates this above the rest for me is the sheer lucidity and detail in this recording, bringing a whole new layer of interest to music that can otherwise seem perilously close to 'bland'.  And I love the restraint in the finale, with the soprano pushed well back in the mix, much more so than in most other recordings - that's perfect!

I listened to 'Helen' as well - sounds like a dry run for Serenade to Music - which is twice as long and therefore twice as good.  Not plucked up courage for the 4th yet.

Interesting points and I very much agree with your comment on the 'lucidity' and 'detail' on the new Brabbins recording of 'A Pastoral Symphony'. I also haven't plucked up the courage for No.4! Opinion on the Andrew Davis recording of Symphony No.6 is rather divided on this forum but I think that it is one of the few successful recordings of this work - I must give it another listen to.

[Roasted Swan]

I've always enjoyed the 3rd Symphony (of course) but I've always had difficulty finding any points of difference in the various versions, tempi and general approach to this music seem pretty set in stone (and Brabbins is no exception).  What elevates this above the rest for me is the sheer lucidity and detail in this recording, bringing a whole new layer of interest to music that can otherwise seem perilously close to 'bland'.  And I love the restraint in the finale, with the soprano pushed well back in the mix, much more so than in most other recordings - that's perfect!

I listened to 'Helen' as well - sounds like a dry run for Serenade to Music - which is twice as long and therefore twice as good.  Not plucked up courage for the 4th yet.

Just to slightly stir the pot.  I think Brabbins is very good in No.3 and not nearly so good in No.4.  I've read other people appreciating the gentler aspects of No.4 but that seems to me to miss the point.  A bit like buying a racing car and then using it to potter to the shops!  I would agree that Brabbins does achieve a sense of repose and contemplation in No.3 that is effective and touching but surely the lucidity and detail mentioned are as much a tribute to the producer/engineer as Brabbins?  Certainly the prominent harp and some clear wind detail is achieved on the mixing desk (which is fine) not the podium.  Likewise the soprano - which should be "distant" (as marked in the score) - how well it is achieved here - I agree very well - is a technical success.

[vandermolen]

Just to slightly stir the pot.  I think Brabbins is very good in No.3 and not nearly so good in No.4.  I've read other people appreciating the gentler aspects of No.4 but that seems to me to miss the point.  A bit like buying a racing car and then using it to potter to the shops!  I would agree that Brabbins does achieve a sense of repose and contemplation in No.3 that is effective and touching but surely the lucidity and detail mentioned are as much a tribute to the producer/engineer as Brabbins?  Certainly the prominent harp and some clear wind detail is achieved on the mixing desk (which is fine) not the podium.  Likewise the soprano - which should be "distant" (as marked in the score) - how well it is achieved here - I agree very well - is a technical success.

I liked your racing car analogy RS - made me laugh out loud. That's just the sort of thing I'd do if I could afford a racing car!

[Christo]

Opinion on the Andrew Davis recording of Symphony No.6 is rather divided on this forum but I think that it is one of the few successful recordings of this work - I must give it another listen to.

Let's be honest: I find it no more than okayish, certainly not one of my favourites. It's very very straightforward - and that's about it. 

[aukhawk]

I would agree that Brabbins does achieve a sense of repose and contemplation in No.3 that is effective and touching but surely the lucidity and detail mentioned are as much a tribute to the producer/engineer as Brabbins?  Certainly the prominent harp and some clear wind detail is achieved on the mixing desk (which is fine) not the podium.  Likewise the soprano - which should be "distant" (as marked in the score) - how well it is achieved here - I agree very well - is a technical success.

Of course.  I use 'Brabbins' or 'Previn' etc as a convenient shorthand to identify a recording, according to what is available to us on the front cover.  The production team are not normally credited on the front.  And in fact I mentioned that (to me) Brabbins is no different from other conductors of this symphony, in general approach (tempi etc).  I said:

What elevates this above the rest for me is the sheer lucidity and detail in this recording, bringing a whole new layer of interest to music that can otherwise seem perilously close to 'bland'.

[relm1]

Symphony No. 7: Sinfonia Antartica

Just on a personal note I do not concur with the composer's optimism scattered throughout the work's first movement in terms of Man's successful encounters in this region of the globe. Perhaps this movement is more concerned with Man's Endeavour and Spirit. I rather concur with his thoughts as reflected in the Landscape movement. I think that the very harsh reality is that Nature rules here; Man can survive and adapt but not dominate nearly as much as he has done elsewhere.

The work's optimism isn't about man's successful encounters in that region of the globe but man's enduring spirit in the face of adversity.  The movie ends with Scott's grave and a close up of the words "To strive to seek...to find...and not to yield" to the rousing music that ends the first movement.

[Roasted Swan]

Of course.  I use 'Brabbins' or 'Previn' etc as a convenient shorthand to identify a recording, according to what is available to us on the front cover.  The production team are not normally credited on the front.  And in fact I mentioned that (to me) Brabbins is no different from other conductors of this symphony, in general approach (tempi etc).  I said:

Fair points all!