Vaughan Williams: Five Tudor Portraits & 5 Variants of 'Dives & Lazarus'

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First heard at the 1936 Norwich Festival, Vaughan Williams's Five Tudor Portraits find the composer at his most dazzlingly inventive, the resourceful and witty writing fitting Skelton's words... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CHAN9593
Label: Chandos
Length: 55 minutes

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Vaughan Williams: Five Tudor Portraits

Work length44:54

Album only

Richard Hickox, London Symphony Orchestra, Jean Rigby, John Shirley-Quirk, Tim Hugh, Michael Cox, Robert Bourton, London Symphony Chorus

I. Ballad. The Tunning of Elinor Rumming

Track length11:42

$2.15

$2.60

II. Intermezzo. Pretty Bess

Track length3:05

$1.05

$1.30

III. Burlesca. Epitaph on John Jayberd of Diss

Track length3:20

$1.05

$1.30

IV. Romanza. Jane Scroop (Her Lament for Philip Sparrow)

Track length22:23

Album only

V. Scherzo. Jolly Rutterkin

Track length4:24

$1.05

$1.30

Vaughan Williams: Five Variants of ‘Dives and Lazarus'

Work length10:35

$1.60

$1.95

Richard Hickox, London Symphony Orchestra

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2010

First heard at the 1936 Norwich Festival, Vaughan Williams's Five Tudor Portraits find the composer at his most dazzlingly inventive, the resourceful and witty writing fitting Skelton's words like a glove. Moreover, an irresistible humanity illuminates the most ambitious of the settings, 'Jane Scroop (Her Lament for Philip Sparrow)', which contains music as compassionate as Vaughan Williams ever conceived. It's a life-enhancing creation and well deserving of this first-rate recording. Aided by disciplined orchestral support, the London Symphony Chorus launches itself in lusty fashion into the ale-soaked narrative of 'The Tunning of Elinor Rumming', though the resonant acoustic rather precludes ideal clarity of diction. Hickox is exuberant in this sparkling tableau, while Jean Rigby's characterful contribution should raise a smile. John Shirley-Quirk's is a touching presence in 'My Pretty Bess', and the mordant, black humour of 'Epitaph of John Jayberd of Diss' is effectively captured. Jane Scroop's lament in the fourth (and surely best) movement finds these fine artists at their most perceptive. How ravishingly Hickox moulds his strings in the hushed passage following 'It was proper and prest!' where the music movingly anticipates the poignancy of the closing section. Listen out, too, for the wealth of exquisitely observed woodwind detail in the enchanting funeral processional.
The concluding 'Jolly Rutterkin' goes with a swing, though Shirley-Quirk is a mite unsteady at the top of his range.
The coupling is a heart-warming Dives andLazarus, with the LSO strings producing their most lustrous tone.

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