Elgar's Hillside

[Karl Henning]

Not at my end, but if they don't work, just scroll down.

Gar, I did scroll down, and saw nothing past section 6.  Hmm, maybe it just isn't finished loading.

[Karl Henning]

The text also just ends with the first word of a paragraph (and that word, Handley's).

[Karl Henning]

Well, I shall have to try with some other device.

[North Star]

The text also just ends with the first word of a paragraph (and that word, Handley's).

This bit?

Not a comfortable moment.

Handley's Michael George is prodigious in his breath control; as both Priest and Angel of the Agony there is seamless phrasing. As the Priest this (combined with the controlled approach to dynamics) makes him a very comforting figure. His Angel of the Agony opens with a curiously muffled quality on the high Ds and E flats, but he gives a satisfying account of the solo, without achieving the fully searing quality which one finds with Robert Lloyd and Horace Stevens. John Shirley-Quirk appears for both Britten and Rattle and, like Michael George, he has tremendous breath control, achieving long, beautifully-shaped phrasing. His dark-hued baritone fully encompasses both roles. Inevitably, the voice is fresher in his earlier recording with Britten, but ultimately I would choose the performance under Rattle to represent this singer. His Priest has command and warmth in equal measure and his Angel of the Agony is filled with anguish and awe. In this latter part, he really does observe the 'pp' (teneramente) and 'p' (dolce) to spine-tingling effect. Rattle's accompaniment here achieves the right proportions of fear and comfort.
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SECTION 7 - Conclusions


Going through all these recordings within a relatively short space of time has not wearied the ear of the work; rather has it enriched and energised it and left me wishing for more. There are always artists who one hoped would have recorded the work or one hopes might yet do so, but one must not be greedy! We are lucky indeed to have so many recordings to choose amongst. I am not going to be presumptuous in recommending a recording outright - and nothing I have written is going to influence firm adherents to particular recordings or performers - but recently I had cause to introduce Gerontius to an acquaintance for whom it was his first experience of the work. I thought hard and long which recording to use, but I settled for Handley as a good all-round representation in modern sound.

Which recording do I turn to most frequently for sheer pleasure? That is easy : always Barbirolli's 1964 reading. However, in my "desert island" mood I conjure up my own personal ideal : Barbirolli, Vickers, Baker (1964), Lloyd, CBSO & Choir. Mind you, next week it could be Rattle, Nash, Hodgson..... See? The permutations are endless!

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SECTION 8 - Discography

[71 dB]

My most recent Elgar purchase is this twofer of Elgar's songs and piano music:

[asin]B000PGTHVM[/asin]
What makes this release interesting is the instrument: it's Elgar's own piano. This set contains a lot of music I had not heard before, even premiere performances.

The balance between piano and voice is toward voice. I wish the piano part was recorded a few decibels louder. The singers and positioned a bit too right, I wish they were more centered. With headphones the spatial distortion is very very small and the recording works well without crossfeed. The sound of Elgar's piano is fun to listen to, especially 'Prelude and Angel's Farewell from The Dream of Gerontius' played on Elgar's piano is 16 minutes of bliss.

[Karl Henning]

This bit?

Now it is loading fine.  Sorry about the kerfuffle!

[Moonfish]

Elgar: The Music Makers         Baker/London Philharmonic Choir/London Philharmonic O/Boult (rec 1966)

Couldn't resist to follow up the 2x listening of TDOG with "The Music Makers" on the same set. Again, I am freshly impressed with this choral work. Listened to it twice today and find it irresistible. Baker's voice is glorious - rich and powerful - and seems as to be an organic part of this work. Beautiful! Ahh, Janet Baker and Elgar is a great combination!  0:)   I am finding myself more drawn to Elgar's choral works relative to the symphonies. Hmm, I am starting to think that Elgar is an underrated composer.....


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[Moonfish]

Went on a small Elgar shopping spree earlier today (heavily under the influence of TDOG and TMM  )..

Not very familiar with Boughton and the ESO. I figured that I could not resist the $5 price tag. It is an Elgar recording after all! 

[asin] B0000037AY[/asin]

Now I have a heavy compulsion to hear Sargent's 1945 rendition of "The Dream of Gerontius"..... I expect the sound to be subpar (at least the Testament label is likely to be one of the better sound options in that regard). Since this was the first recording of TDOG it will be interesting to compare with later versions.  Sargent also has a 1955 version that seems interesting in my eyes.  The cello concerto with Tortelier is a pure bonus as far as I am concerned.

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and Britten's

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[Moonfish]

My most recent Elgar purchase is this twofer of Elgar's songs and piano music:

[asin]B000PGTHVM[/asin]
What makes this release interesting is the instrument: it's Elgar's own piano. This set contains a lot of music I had not heard before, even premiere performances.

The balance between piano and voice is toward voice. I wish the piano part was recorded a few decibels louder. The singers and positioned a bit too right, I wish they were more centered. With headphones the spatial distortion is very very small and the recording works well without crossfeed. The sound of Elgar's piano is fun to listen to, especially 'Prelude and Angel's Farewell from The Dream of Gerontius' played on Elgar's piano is 16 minutes of bliss.

Ok 71 dB, I will be a copycat and tag along with you on this one. Ordered! Looking forward to it.   

[71 dB]

Ok 71 dB, I will be a copycat and tag along with you on this one. Ordered! Looking forward to it.   

Well, it isn't a disc I'd recommend to anyone new to Elgar, but who knows, maybe you even like Elgar's songs. 

At least it is the kind of obscure Elgar most people don't know about.

Btw, happy exploring! Elgar will surprise you several times while you do. Hearing different works from him gives better understanding of the composer's art and you might find the symphonies more satisfying if you re-visit them in the future.

[Moonfish]

@71 dB
Would you by any chance know of a good book covering Elgar's life and his times?

[71 dB]

@71 dB
Would you by any chance know of a good book covering Elgar's life and his times?

Elgar O. M. - Percy Young
[asin]B000MXUHLC[/asin]I have this, but I must say don't know what is the best Elgar book out there. Most of my Elgar knowledge is from internet.

[Karl Henning]

I should search Elgarian's posts, I feel certain he has mentioned books of which he thinks well.

[Moonfish]

Thanks 71 dB and Karl!

[71 dB]

Thanks 71 dB and Karl!

You're wellcome. Don't forget to check out http://www.elgar.org/
(visually the ugliest and crappiest webpages ever but very informative).

[Mirror Image]

Elgarians rejoice! I'm back from hibernation and walking those glorious trails of the Malvern Hills again! So what's new everyone? I see Moonfish has sunk his teeth into The Music Makers. Wonderful! I love that work, but I prefer Andrew Davis' performance on Warner to Boult's.

[Moonfish]

Elgarians rejoice! I'm back from hibernation and walking those glorious trails of the Malvern Hills again! So what's new everyone? I see Moonfish has sunk his teeth into The Music Makers. Wonderful! I love that work, but I prefer Andrew Davis' performance on Warner to Boult's.

Ahh, just a bit. I am still chewing on the delicious Gerontius (TDOG). I find it marvelous and keep listening to the older Sargent recordings! 

[Mirror Image]

Ahh, just a bit. I am still chewing on the delicious Gerontius (TDOG). I find it marvelous and keep listening to the older Sargent recordings! 

I've yet to connect with Gerontius, but haven't had one bit of trouble connecting with The Kingdom or The Apostles. If backed into a corner, The Kingdom gets my vote for his best oratorio but I'm a strange Elgarian. What other works do you enjoy?

[Moonfish]

I've yet to connect with Gerontius, but haven't had one bit of trouble connecting with The Kingdom or The Apostles. If backed into a corner, The Kingdom gets my vote for his best oratorio but I'm a strange Elgarian. What other works do you enjoy?

I have mostly been hovering around the first two symphonies as well as the violin and cello concertos (beyond Gerontius that is). For some reason I do a lot of repeated listening when it comes to Elgar. I presume it builds some type of attachment and familiarity, but I wonder of there is more to it? Regardless, I do need to dig deeper. I have a feeling of that you have heard quite a bit (or perhaps almost all) of Elgar's works? What is in your most listened to Elgar pile?

[Mirror Image]

I have mostly been hovering around the first two symphonies as well as the violin and cello concertos (beyond Gerontius that is). For some reason I do a lot of repeated listening when it comes to Elgar. I presume it builds some type of attachment and familiarity, but I wonder of there is more to it? Regardless, I do need to dig deeper. I have a feeling of that you have heard quite a bit (or perhaps almost all) of Elgar's works? What is in your most listened to Elgar pile?

Elgar, for me, is the kind of composer that requires multiple listens and definitely benefits from it. He has a way of getting under the skin and stirring emotions deep within. I've probably heard 97% of his oeuvre. Here are my top 5 Elgar works (in no particular order): 1. Sea Pictures, 2. Symphony No. 2, 3. Violin Concerto, 4. The Spirit of England, and 5. Alassio (In the South). Of course, this list is subject to change but these are the works I keep near me whenever I'm in a Elgar phase.