Vaughan Williams Choral & Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Ralph Vaughan Williams
Label: Studio
Magazine Review Date: 11/1989
Media Format: CD or Download
Media Runtime: 70
Mastering:
ADD
Catalogue Number: 769962-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Flos campi |
Ralph Vaughan Williams, Composer
Cecil Aronowitz, Viola David Willcocks, Conductor Jacques Orchestra King's College Choir, Cambridge Ralph Vaughan Williams, Composer |
| (An) Oxford Elegy |
Ralph Vaughan Williams, Composer
David Willcocks, Conductor Jacques Orchestra John Westbrook, Speaker King's College Choir, Cambridge Ralph Vaughan Williams, Composer |
| Magnificat |
Ralph Vaughan Williams, Composer
Ambrosian Singers Christopher Hyde-Smith, Flute Helen Watts, Contralto (Female alto) London Orchestra Nova Meredith Davies, Conductor Ralph Vaughan Williams, Composer |
| Fantasia (quasi variazione) on the Old 104th |
Ralph Vaughan Williams, Composer
Adrian Boult, Conductor London Philharmonic Choir London Philharmonic Orchestra Peter Katin, Piano Ralph Vaughan Williams, Composer |
Author:
Vintage stuff here from 1968–70, when EMI were committing almost all of Vaughan Williams to disc in performances that are standing the test of time. They all come up well on CD, tribute enough to Christopher Bishop as producer. I would myself prefer a more sensuous choir than King's for Flos campi, that extraordinarily erotic meditation which some listeners still believe is a 'religious' work! Nevertheless, the violist is Cecil Aronowitz and his passionate, smoky tone is well suited to the music.
The Magnificat is still a rarity, a strange piece with echoes and anticipations of Holst and of Vaughan Williams's Riders to the Sea and Fourth Symphony. I suppose that, like the Fantasia on the Old 104th, it doesn't really 'come off', but what an imagination conceived both these works, the latter undeniably attractive in spite of itself, as might be said of its model, Beethoven's Choral Fantasia. These performances are eloquent advocacy. The real treasure, though, is An Oxford elegy, with the late John Westbrook an ideal speaker. Music, poetry, Oxford—all come together here in a masterpiece that is nobly performed by Sir David Willcocks's Cambridge forces.'
The Magnificat is still a rarity, a strange piece with echoes and anticipations of Holst and of Vaughan Williams's Riders to the Sea and Fourth Symphony. I suppose that, like the Fantasia on the Old 104th, it doesn't really 'come off', but what an imagination conceived both these works, the latter undeniably attractive in spite of itself, as might be said of its model, Beethoven's Choral Fantasia. These performances are eloquent advocacy. The real treasure, though, is An Oxford elegy, with the late John Westbrook an ideal speaker. Music, poetry, Oxford—all come together here in a masterpiece that is nobly performed by Sir David Willcocks's Cambridge forces.'
Vaughan Williams Choral & Orchestral Works
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