Vaughan Williams's Veranda

[Roasted Swan]

I didn't really mean "evolve" means devolve or get worse.  Just that there can be a major shift from their youthful interpretations and their elderly interpretations.  I seem to generally prefer the youthful ones.  For example, with Lennie Bernstein, MTT, Previn, Haitink, Jarvi, etc., I prefer their younger, more fiery interpretations of repertoire than their elderly more vast and slower interpretations.  If a conductor takes 30 or 40 years to produce a cycle, it will probably be quite different throughout.  It's just a personal preference because the same could be said about composers.  And yes, I am generalizing, there are exceptions, but it's just a general rule.  I would prefer the earlier mono Boult over the later EMI stereo one for instance but on a symphony by symphony basis, that might not be the case.  I prefer Bernstein's NYPO 1960's Mahler cycle over the DG cycle, etc.

Fair point - I'd add Mehta/Muti/Maazel to conductors whose work I prefer from their younger years......

[Karl Henning]

A little surprised at how the Concerto in C for two pianos has wheedled into my sonic affection.

[Stürmisch Bewegt]

A little surprised at how the Concerto in C for two pianos has wheedled into my sonic affection.

Why surprised, Meister Henning? Reservations about it? I liked it on first hearing (a long time ago via recording below); it rocks! 

[Irons]

I didn't really mean "evolve" means devolve or get worse.  Just that there can be a major shift from their youthful interpretations and their elderly interpretations.  I seem to generally prefer the youthful ones.  For example, with Lennie Bernstein, MTT, Previn, Haitink, Jarvi, etc., I prefer their younger, more fiery interpretations of repertoire than their elderly more vast and slower interpretations.  If a conductor takes 30 or 40 years to produce a cycle, it will probably be quite different throughout.  It's just a personal preference because the same could be said about composers.  And yes, I am generalizing, there are exceptions, but it's just a general rule.  I would prefer the earlier mono Boult over the later EMI stereo one for instance but on a symphony by symphony basis, that might not be the case.  I prefer Bernstein's NYPO 1960's Mahler cycle over the DG cycle, etc.

Bernstein is an excellent example. So is Ansermet, his mono recordings of the 1950's are far superior to the stereo remakes a decade later as he was getting a bit passed it and it showed. There is a flipside though, for example Menuhin who suffered much criticism for less then secure technique of his later violin recordings but age can bring wisdom and for me the musical insight he brings far outweighs any deficiency in technique. As for composers, Janacek? But as you say making generalizations will always throw up an opposite view.

[Karl Henning]

Why surprised, Meister Henning? Reservations about it? I liked it on first hearing (a long time ago via recording below); it rocks! 

No reservations, I found it immediately likeable. The surprise is in the power of the attachment.

[Mirror Image]

A little surprised at how the Concerto in C for two pianos has wheedled into my sonic affection.

A fascinating work that shows a Bartókian percussiveness to it (I'm thinking here of the Sonata for Two Pianos and Percussion especially). If I'm mistaken, Bartók himself commented on this work saying he enjoyed it.

[Stürmisch Bewegt]

No reservations, I found it immediately likeable. The surprise is in the power of the attachment.

Ah, you're a good man.  Its onward propulsion (though it's comprised of way more than that - the Romanza both beautiful and affecting) is indeed addictive.  "A rockin' little record I want my jockey to play." It was about all I listened to for several weeks way back when and had to wean myself off of it.  Wonder if I can just listen to it once now...  

[vandermolen]

I love the Concerto for Two Pianos. I never looked back after taking this marvellous disc out of my local record library in my late teens:

[relm1]

Fair point - I'd add Mehta/Muti/Maazel to conductors whose work I prefer from their younger years......

Agreed.

[Karl Henning]

I love the Concerto for Two Pianos. I never looked back after taking this marvellous disc out of my local record library in my late teens:

I've been listening to Ralph Markham & Kenneth Broadway, Royal Phil, Menuhin.
I've also got Vitya Vronsky & Victor Brabin, London Phil, Boult

[Stürmisch Bewegt]

I love the Concerto for Two Pianos. I never looked back after taking this marvellous disc out of my local record library in my late teens:

I can only imagine what that concerto might have done to my delicate neuronal connections at that tender age... (Green with envy!)

[vandermolen]

I've been listening to Ralph Markham & Kenneth Broadway, Royal Phil, Menuhin.
I've also got Vitya Vronsky & Victor Brabin, London Phil, Boult

The Vronsky/Babin/Boult is in a class of its own IMO.

[vandermolen]

I can only imagine what that concerto might have done to my delicate neuronal connections at that tender age... (Green with envy!)

I was obsessed with Vaughan Williams from age 17. Fortunately my obsession coincided with the VW Centenary in 1972 when there was a revived interest in the composer with new recordings, books and concerts.

[relm1]

I was obsessed with Vaughan Williams from age 17. Fortunately my obsession coincided with the VW Centenary in 1972 when there was a revived interest in the composer with new recordings, books and concerts.

Wow, you overlapped him by a few years.  That must add a connection to him for you.  Just like it does for me and Shostakovich who died when I was 3.

[Karl Henning]

The Vronsky/Babin/Boult is in a class of its own IMO.

My recollection is imperfect, but I may well have picked this disc up at your suggestion, Jeffrey.

[Karl Henning]

Especially because RVW worked with Ravel, my ear seems to make something of a connexion between the finale alla tedesca and La valse. This concerto has its hooks into me, but good, now.

[vandermolen]

Especially because RVW worked with Ravel, my ear seems to make something of a connexion between the finale alla tedesca and La valse. This concerto has its hooks into me, but good, now.

Interesting Karl. I hadn't thought of that connection before but I think that you are right.

[Roasted Swan]

Does it verge on heresy not to love a Barbirolli performance of Vaughan Williams?!  I listened to this recording the other day;



and didn't think much of it at all.  The opening is very atmospheric as is the epilogue (with a rather un-sweet violin solo).  I also liked the quite slow "nobilmente" tempo for the opening of the finale.  But that's about it for the "pros" column.  After that, too many other tempi feel leaden - the scherzo nearly leaden - not mercurial at all.  The 'churchyard' passage in the 1sy movement left me about as untouched as I have ever been.  Even the finale suffers ultimately for the slow basic tempo because each time he observes a further slowing toward the final cathartic climax things get turgid to the point of inertia.  Then there is the general playing and ensemble.  Goodness me there is some very sloppy ensemble - the right and left brass groups struggle to sound together.  All in all a major dud for me but that runs directly against received wisdom and one that left me thinking perhaps I'm beginning to go off the work as a whole!

[Karl Henning]

Even though I had supposed that the composer's tongue was in his cheek, somehow I was always put off by the title Concerto accademico (an instance of a joke backfiring, perhaps) but I've now listened to it twice, and of course I like it. So now, I'm not sure whether I wish he had called it simply a violin concerto, or if (in spite of my advancing years) I'll just get over it.

[Biffo]

Does it verge on heresy not to love a Barbirolli performance of Vaughan Williams?!  I listened to this recording the other day;



and didn't think much of it at all.  The opening is very atmospheric as is the epilogue (with a rather un-sweet violin solo).  I also liked the quite slow "nobilmente" tempo for the opening of the finale.  But that's about it for the "pros" column.  After that, too many other tempi feel leaden - the scherzo nearly leaden - not mercurial at all.  The 'churchyard' passage in the 1sy movement left me about as untouched as I have ever been.  Even the finale suffers ultimately for the slow basic tempo because each time he observes a further slowing toward the final cathartic climax things get turgid to the point of inertia.  Then there is the general playing and ensemble.  Goodness me there is some very sloppy ensemble - the right and left brass groups struggle to sound together.  All in all a major dud for me but that runs directly against received wisdom and one that left me thinking perhaps I'm beginning to go off the work as a whole!

Not heresy just personal choice. Barbirolli recorded the work twice and I marginally prefer the earlier one even though it is in mono. My favourite (tied for first place with Boult/LPO (1971). My most recent listening to the Barbirollis was of the remastered CDs in the Warner Barbirolli box.