Vaughan Williams: Fantasia on a Theme by Thomas Tallis

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"In the Introduction and Allegro, Sir John shows his love of the score clearly enough and his is an experienced, masterly performance. The Serenade is warm and affectionate also, but the work’s calm serenity is nevertheless skilfully preserved." Gramophone Magazine

EMI MASTERS celebrates the full glory of the greatest performances from the world's greatest catalogue of recorded music. Digitally remastered at Abbey Road Studios direct from the original master tapes, these classic recordings emerge with unparalleled immediacy. You will be left in no doubt that you are in the presence of legendary musicians and ageless interpretations.

Now rightfully acknowledged as a towering figure, Vaughan Williams was the first composer to write in the English language, using folksong in the Norfolk Rhapsody, a Tudor hymn in the Fantasia on a Theme by Thomas Tallis, and absorbing and transforming his influences in the stunningly beautiful Serenade to Music.

During the 16th and 17th centuries England had been a leading participant in the delevopment of European music, but after the early death of Purcell in 1695, music in England came to be dominated by musicians of foreign origin: notably Handel and Mendelssohn. Ralph Vaughan Williams (1872-1958) is the best-known of a new generation of composers that came after Elgar and made up what became known as the English Musical Renaissance. Along with Gustav Holst, Vaughan Williams travelled the country collecting and preserving English folksong traditions, and was largely responsible for the revival of interest in folksong. So strong was his interest in the subject that, like Holst, folksong was absorbed into his compositional style and was to influence his concert music, giving it a uniquely English quality. Starting with the evocative Thomas Tallis Fantasia, (RVW's look back at his great 16th-century predecessor) this set contains some of the composer's best-known and most-loved music, including the popular Fantasia on Greensleeves and the beautiful Lark Ascending.

This BARBIROLLI ENGLISH MUSIC ALBUM contains something of a scoop in that the recording of Elgar’s Enigma Variations was made on 12 May 1947, the first time Barbirolli recorded the work. For some undiscoverable reason, the discs were never issued and the work was re-recorded on 23 October of the same year (also issued on CD by the Barbirolli Society on SJB1017). His affection for this inexhaustible masterpiece shone through every performance of it he gave as he gloried in the piquancy of the illustration of Elgar’s “friends pictured within” — and he liked to remind Michael Kennedy that the Variations and JB were born in the same year, 1899. Elgar’s genius was to weld his series of vignettes into a large-scale composite portrait — of himself. This gift for writing a miniature which was a microcosm of a big work is illustrated also in the second (the exquisite Lullaby) of the Three Bavarian Dances, a previously unpublished take, recorded on 30 May 1947.

Recorded: Cheltenham Festival, 7 July 1972 (Vaughan Williams), Barking Town Hall, 26 November 1969 (Hadley, Bax), Maida Vale Studios, 12 December 1966 (Berg)

Sir Adrian Boult was Vaughan Williams's close friend and one of his greatest advocates.

The broadcast in excellent stereo from the 1972 Cheltenham Festival marks the composers 100th anniversary with wonderful performances of Symphony No.6 (Boult gave the first performance of this work in 1947) and the ever popular Fantasia on a Theme of Thomas Tallis. Boult recorded these works in the studio many times but these are live performances and the occasion is palpably felt.

There are two short fillers in stereo from Patrick Hadley (celebrating Vaughan Williams's 70th birthday) and Arnold Bax with his warmly atmospheric 'Mediterranean' both recorded in the studio in 1969.

As a substantial bonus and also as a 'must' for Boult collectors is a very rare broadcast made in 1966 in stereo of Berg's 'Lyric Suite'. Boult gave a pioneering performance of Berg's 'Wozzeck' in 1933 and therefore it is of particular interest to hear his interpretation of the three movement 'Lyric Suite', one of the composers most approachable works.