Elgar's Hillside

[Mirror Image]

Well, what is highly enough?

I'm not much into buying multiple performances generally, but I do have half-dozen performances of many works by Elgar. I have 9 performances of Enigma Variations, 7 on orchestra and 2 on piano. 

I have collected Elgar pretty carefully the last 10 years or so. I bought four Elgar CDs (three of them double CDs) in 2014.

There are long periods when I hardly listen to classical music at all. My music taste has been expanding in unexpected directions. At the moment I have a classical music period and that's why I am also more active on this board.

Highly enough would be considering Falstaff a masterwork, which I believe it is without a doubt in my mind even when I wasn't a big fan of the work. I think it sometimes falls to the wayside in favor of some more 'accessible' works in his oeuvre. Anyway, I love it and respect the fact that others do not and I'm certainly fine with this. I can't say I go into many musical directions or at least I haven't for the last six years with the exception being when I took about 3 (or 2?) months off from classical to pursue some other music interests, but those interests aren't long-lasting. Classical music is, for me, the genre I get the most out of from an emotional and intellectual standpoint. I do love jazz and progressive rock, for example, but they don't satisfy as much.

[Mirror Image]

Received today:



I will definitely be giving both of these recordings a spin tonight.

Gave the Takezawa/C. Davis a listen but didn't feel anything from it like I did Little/A. Davis. Takezawa definitely plays well, but I need more from the Violin Concerto. I got halfway through the first movement of Symphony No. 2 with Barenboim/Staatskapelle and turned it off. This isn't the Elgar 'sound' that I know and love. It sounds a bit emotionless to me. I just couldn't make it through it without being disappointed by how out-of-touch Barenboim is from Elgar's sound-world. The reviewer on Amazon had it right when they said Barenboim was no Elgarian. He certainly isn't in my book. Boult is starting to sound a lot better to me now. I'm definitely going to be revisiting his performances once I get his EMI Complete Elgar Recordings set.

[Elgarian]

Boult is starting to sound a lot better to me now. I'm definitely going to be revisiting his performances once I get his EMI Complete Elgar Recordings set.

One thing about Boult that always inspires me to listen again is the knowledge that Elgar himself thought so highly of him. He wrote to him around 1920 after listening to him conduct one of the symphonies: "I feel that my reputation in the future is safe in your hands". That's a remarkable thing for a composer to say to a conductor. Of course I'm not suggesting this means that all Boult's performances of Elgar are automatically definitive - not at all - but I do find it helpful to remember it.

There's a particularly incandescent performance conducted by Boult of the 1st symphony which I stumbled across by accident in a charity shop some years ago. It had been given away free with BBC Music Magazine - a 1976 live Prom performance (one of Boult's last), and it just blew me away (not an insignificant event, given that I've passionately loved Elgar's 1st symphony all my life). It seemed to convey a lifetime of experience with the work, with great sympathy and insight, and towering majesty. I believe it received a proper official release just a year or two ago, to great acclaim.

In fact yes, here it is, on Amazon:
http://www.amazon.co.uk/Brahms-Elgar-Adrian-Symphony-Classics/dp/B006VOX7Q8

[71 dB]

There's a particularly incandescent performance conducted by Boult of the 1st symphony which I stumbled across by accident in a charity shop some years ago. It had been given away free with BBC Music Magazine - a 1976 live Prom performance (one of Boult's last), and it just blew me away (not an insignificant event, given that I've passionately loved Elgar's 1st symphony all my life). It seemed to convey a lifetime of experience with the work, with great sympathy and insight, and towering majesty.

Somebody on this board recommended that performance years ago (sorry, I can't remember who it was) and I bought the Magazine (yes, they selled it in Helsinki) for that CD. I haven't listened to it for a long time. I remember the performance being quite good, but the sound quality a bit odd (granular? Live Proms performances must be difficult to record well).

[Mirror Image]

One thing about Boult that always inspires me to listen again is the knowledge that Elgar himself thought so highly of him. He wrote to him around 1920 after listening to him conduct one of the symphonies: "I feel that my reputation in the future is safe in your hands". That's a remarkable thing for a composer to say to a conductor. Of course I'm not suggesting this means that all Boult's performances of Elgar are automatically definitive - not at all - but I do find it helpful to remember it.

There's a particularly incandescent performance conducted by Boult of the 1st symphony which I stumbled across by accident in a charity shop some years ago. It had been given away free with BBC Music Magazine - a 1976 live Prom performance (one of Boult's last), and it just blew me away (not an insignificant event, given that I've passionately loved Elgar's 1st symphony all my life). It seemed to convey a lifetime of experience with the work, with great sympathy and insight, and towering majesty. I believe it received a proper official release just a year or two ago, to great acclaim.

In fact yes, here it is, on Amazon:
http://www.amazon.co.uk/Brahms-Elgar-Adrian-Symphony-Classics/dp/B006VOX7Q8

I'll definitely check it out. Thanks, Elgarian and, yes, I knew Elgar held Boult in high regard, which is reason enough to give his performances another listen.

[Leo K.]

This Boult performance of no.2 is simply amazing. The flow, the phrasing and sound quality is breathtaking in every way. The second movement is a great example, it is simply glorious.

[Mirror Image]

This Boult performance of no.2 is simply amazing. The flow, the phrasing and sound quality is breathtaking in every way. The second movement is a great example, it is simply glorious.

Will definitely dig this one out tonight, Leo. Have you heard Boult's Lyrita recordings of Symphonies Nos. 1 & 2?

[Leo K.]

Will definitely dig this one out tonight, Leo. Have you heard Boult's Lyrita recordings of Symphonies Nos. 1 & 2?

It's in my Amazon cart, pretty sure I will buy it today!

I didn't get Boult's Elgar when I first started listening to Elgar, but this conversation led me to try him again and I was amazed.

[71 dB]

Highly enough would be considering Falstaff a masterwork, which I believe it is without a doubt in my mind even when I wasn't a big fan of the work. I think it sometimes falls to the wayside in favor of some more 'accessible' works in his oeuvre. Anyway, I love it and respect the fact that others do not and I'm certainly fine with this.

Today I listened Barbirolli's version of Falstaff. The work contains excellent parts, but particularly Part II is a bit tiresome repeating it's rather weak thematic material as nauseum (10 minutes). I have no problem with people enjoying Falstaff. I wish I enjoyed it as much as you do. 

What is your favorite Falstaff performance?

[Mirror Image]

It's in my Amazon cart, pretty sure I will buy it today!

I didn't get Boult's Elgar when I first started listening to Elgar, but this conversation led me to try him again and I was amazed.

Sometimes all it takes is re-listening. I know my opinion has certainly become much softer regarding Boult.

[Mirror Image]

Today I listened Barbirolli's version of Falstaff. The work contains excellent parts, but particularly Part II is a bit tiresome repeating it's rather weak thematic material as nauseum (10 minutes). I have no problem with people enjoying Falstaff. I wish I enjoyed it as much as you do. 

What is your favorite Falstaff performance?

Indeed. It's a tough work to get your mind around. I won't deny that, as I have mentioned before, I have had problems with it as well. My favorite performance of Falstaff? Probably Andrew Davis/BBC SO on Warner with Barbirolli coming in a close second. I haven't heard that many of them, though.

[71 dB]

Indeed. It's a tough work to get your mind around. I won't deny that, as I have mentioned before, I have had problems with it as well.

I wouldn't say I have problems with the work other than it doesn't make it to my top 10 Elgar list. Top 20 maybe...

My favorite performance of Falstaff? Probably Andrew Davis/BBC SO on Warner with Barbirolli coming in a close second. I haven't heard that many of them, though.

Ok, thanks!

[Leo K.]

Gave the Takezawa/C. Davis a listen but didn't feel anything from it like I did Little/A. Davis. Takezawa definitely plays well, but I need more from the Violin Concerto. I got halfway through the first movement of Symphony No. 2 with Barenboim/Staatskapelle and turned it off. This isn't the Elgar 'sound' that I know and love. It sounds a bit emotionless to me. I just couldn't make it through it without being disappointed by how out-of-touch Barenboim is from Elgar's sound-world. The reviewer on Amazon had it right when they said Barenboim was no Elgarian. He certainly isn't in my book. Boult is starting to sound a lot better to me now. I'm definitely going to be revisiting his performances once I get his EMI Complete Elgar Recordings set.

I'm definitely curious about these performances, thanks for your thoughts!

[Mirror Image]

Ok, thanks!

You're welcome!

I'm definitely curious about these performances, thanks for your thoughts!

You're welcome!

[jfdrex]

Gave the Takezawa/C. Davis a listen but didn't feel anything from it like I did Little/A. Davis. Takezawa definitely plays well, but I need more from the Violin Concerto. I got halfway through the first movement of Symphony No. 2 with Barenboim/Staatskapelle and turned it off. This isn't the Elgar 'sound' that I know and love. It sounds a bit emotionless to me. I just couldn't make it through it without being disappointed by how out-of-touch Barenboim is from Elgar's sound-world. The reviewer on Amazon had it right when they said Barenboim was no Elgarian. He certainly isn't in my book. Boult is starting to sound a lot better to me now. I'm definitely going to be revisiting his performances once I get his EMI Complete Elgar Recordings set.

John, sorry the Takezawa/ C. Davis recording of the Violin Concerto didn't quite do it for you.  As it happens, I listened to the Chung/ Solti recording last evening, and had much the same reaction to that one--the playing was fine, but the performance as a whole struck me as a series of disjointed highlights rather than a complete narrative, an unidiomatic interpretation (largely Solti's fault?) lacking a sense of emotional engagement.  (A shame, since I do feel Solti's interpretations of the symphonies are thoroughly Elgarian.)  I'll have to listen to Takezawa/ C. Davis again to see I have a more positive response to that.

In addition to the Little/ A . Davis, I discovered that I also have a download of a broadcast of a performance she gave with Vernon Handley and the BBC SO.  I'm looking forward to comparing and contrast those two performances.  (That will make a total of three different Elgar VC performances I'll have heard by her.)

[jfdrex]

This Boult performance of no.2 is simply amazing. The flow, the phrasing and sound quality is breathtaking in every way. The second movement is a great example, it is simply glorious.

My wife considers this one of her desert island discs.  (I feel the same way--but if she goes off and takes that one to her desert island, I guess I'll have to take Barbirolli to mine. )

[Mirror Image]

John, sorry the Takezawa/ C. Davis recording of the Violin Concerto didn't quite do it for you.  As it happens, I listened to the Chung/ Solti recording last evening, and had much the same reaction to that one--the playing was fine, but the performance as a whole struck me as a series of disjointed highlights rather than a complete narrative, an unidiomatic interpretation (largely Solti's fault?) lacking a sense of emotional engagement.  (A shame, since I do feel Solti's interpretations of the symphonies are thoroughly Elgarian.)  I'll have to listen to Takezawa/ C. Davis again to see I have a more positive response to that.

In addition to the Little/ A . Davis, I discovered that I also have a download of a broadcast of a performance she gave with Vernon Handley and the BBC SO.  I'm looking forward to comparing and contrast those two performances.  (That will make a total of three different Elgar VC performances I'll have heard by her.)

Well, we're all wired differently and we shouldn't expect to have the same kinds of reactions. I haven't heard the Chung/Solti, so I can't comment on the merits of their performance. I do like Solti's Elgar recordings, though. He also has a fine Enigma Variations that seems to hit all the right spots. Tasmin Little is a great Elgarian IMHO. She plays the VC like no one else. There's a strong narrative in her performance and the whole thing just holds together so well. I'm looking forward to your comments after you've done some comparisons.

[André]

The violin concerto, is an elusive work. I can't pretend to know the work all that well but over the course of listening to a variety of interpretations I have come to develp an immense fondness for its mixture of sensuality and nobilmente. These are the ones I have :

Ehnes-A. Davis
Chung-Solti
Haendel - Boult
Kennedy-Rattle
Kang-Leaper

I am awaiting the Elgar-Boult big box which I believe has the Mr. Bean - Boult version. When I receive it I wil compare it to the others and attempt an assessment.

[Mirror Image]

The violin concerto, is an elusive work. I can't pretend to know the work all that well but over the course of listening to a variety of interpretations I have come to develp an immense fondness for its mixture of sensuality and nobilmente. These are the ones I have :

Ehnes-A. Davis
Chung-Solti
Haendel - Boult
Kennedy-Rattle
Kang-Leaper

I am awaiting the Elgar-Boult big box which I believe has the Mr. Bean - Boult version. When I receive it I wil compare it to the others and attempt an assessment.

It's certainly an elusive work. I've heard it so many times that I feel I should know better than I do, but even after so many hearings, I'm still mystified by it (in a good way). It's one of those works that doesn't lay everything out for you, which is how I feel about the symphonies, Falstaff, the chamber works, the oratorios, etc. It causes me to reconsider what actually could have been the intent each time I listen to it. I do love the work unconditionally, though and I think it's one of the finest pieces of music from Elgar's pen.

[Elgarian]

The violin concerto, is an elusive work. I can't pretend to know the work all that well but over the course of listening to a variety of interpretations I have come to develp an immense fondness for its mixture of sensuality and nobilmente. These are the ones I have :

Ehnes-A. Davis
Chung-Solti
Haendel - Boult
Kennedy-Rattle
Kang-Leaper

I am awaiting the Elgar-Boult big box which I believe has the Mr. Bean - Boult version. When I receive it I wil compare it to the others and attempt an assessment.

Unless you know something I don't (very possible!), I don't think you'll find the Hugh Bean violin concerto in the Boult box, sadly. There IS a wonderful recording of the VC by Bean, but it was with Charles Groves and the RLPO. I believe Bean did perform it with Boult on at least one occasion, but I know of no recording of that performance.

The Bean recording that stimulated so much discussion a few years ago in this thread (and which I suspect is the one you're referring to) is this one:


http://www.amazon.co.uk/Violin-Sonata-Concerto-Quintet-Quartet/dp/B0001ZM8VI/ref=sr_1_sc_1?s=music&ie=UTF8&qid=1420885929&sr=1-1-spell&keywords=elgar+vioin+concerto+groves

It's more expensive than it used to be, but it's a double CD which includes the 'Big Three' chamber pieces. And whatever the cost, the performance is priceless.

I've said so much about the violin concerto already over the years that whatever I say now is likely to be a repeat ... but I have a thought or two about that 'elusiveness'. We know for sure that a particular person - Alice Stuart Wortley - was associated with its 'windflowerisms', but I think there's a strong element of 'mythicising the feminine' that goes beyond any particular literal association. As with all myths, it won't be pinned down: it niggles at us with alternate suggestions of meaning when we start thinking about it in different ways. So no matter how we try to unravel it, that 'elusiveness' will remain.

There's also of course Elgar's fondness of 'japes' to be taken into account. He loved to tease his friends with tantalising puzzles, and I fancy that dedication of the VC - 'Herein is enshrined the soul of ....' - will remain as elusive as the 'enigma' theme of the variations.