Vaughan Williams: Symphony No. 2 'A London Symphony'

“As a young conductor I received a great deal of support and encouragement from Sir Adrian Boult, who had been a friend of Vaughan Williams and one of his favourite interpreters. He and his wife regularly listened to my BBC broadcasts and often wrote with comments and suggestions. One of my most treasured possessions is the following letter, written after a broadcast of “A London Symphony,” a work often associated with Boult himself.”

CHRISTOPHER SEAMAN

To mark the close of an outstanding 13-season tenure as Music Director of the Rochester Philharmonic, Christopher Seaman leads his orchestra in a programme of music which he holds especially dear: Vaughan Williams' ‘London' Symphony and the ‘Serenade to Music', the latter with singers from Mercury Opera Rochester. Henry Wood commissioned Vaughan Williams to compose the Serenade to be premiered at a concert marking Wood’s 50th anniversary on the podium. Vaughan Williams dedicated it to Sir Henry, “in grateful recognition of his services to music.”

This recording presents it in its original form – for 16 solo singers and orchestra, as Wood requested. In her biography of Vaughan Williams, his second wife, Ursula, recalled the period of the Serenade’s premiere, when Europe was once again teetering perilously on the brink of war. “But on that evening, in the Serenade,” she wrote, “night in the garden at Belmont laid its balm of starry words and moonlit music on the audience gathered to celebrate the man whose work had meant so much to musicians and public alike during the last 50 years.”

Hallé returns with a disc of Vaughan Williams in works chosen to illustrate the full range of colour and highly accomplished playing of the award winning ensemble under its Musical Director, Sir Mark Elder.

Latest release for award winning label in the English repertoire at which it excels.

Features Hallé Principal Oboist Stéphane Rancourt as soloist.

The London Symphony and Oboe Concerto were both personal favourites of the composer and contain some of his finest writing.

Vaughan Williams claimed that the Symphony should “stand or fall as ‘absolute’ music” but, as Michael Kennedy says in the authoritative note which accompanies the disc, in this work direct references to “street cries, the Abbey chimes, the Cockney’s mouth-organ and accordion, are raised to the level of great art. “

The Concerto for Oboe and Strings contains virtuosic writing for the soloist, against exquisite string writing, in a work whose early material derived from sketches the composer had prepared for the Scherzo of his 5th Symphony.

Sir John Barbirolli’s affinity with the music of Ralph Vaughan Williams was formed in his teens when he heard Gervase Elwes sing On Wenlock Edge. But it was from 1943, when he became conductor of the Hallé Orchestra in Manchester, that he developed into one of the composer’s favourite interpreters of the symphonies. Vaughan Williams described him as ‘one of those wizards who can take the dry bones of crotchets and quavers and breathe into them the breath of life’.

But closest to his heart, perhaps, was A London Symphony, partly because it is the most warmly and colourfully scored of the nine and also because it enshrines the Edwardian London in which Barbirolli spent his boyhood. No one who was fortunate enough to be present will ever forget the wonderful performance he conducted at the Cheltenham Festival in July 1958, a month before Vaughan Williams died. At the rehearsal that morning I heard RVW say to Barbirolli: ‘Do you know John, I wish I could score now like I scored then. I seemed to get a richer sound—don’t quite know how.’ On 2 May 1956, in Manchester, Barbirolli conducted the first performance of the Eighth Symphony in D minor.

The composer dedicated the work to him, and gave him the autograph full score, which he inscribed with the words, ‘For Glorious John, with love and admiration from Ralph’. Barbirolli had been rehearsing the work since the start of the year, and when Vaughan Williams went to Manchester in February to hear a play-through he found that the performance was already prepared. During rehearsals for the première, a friend commented on the effectiveness of the slight pause Barbirolli made after each of the variations in the first movement and suggested that they should be indicated in the score. ‘No,’ Vaughan Williams replied, ‘everyone else will make them too long. John does them just right, and how can I indicate what he does?’ The scoring of the Eighth may not have the Edwardian richness of A London Symphony but it has a kaleidoscopic brilliance remarkable as the work of an octogenarian. Although in some ways the slightest of the nine, the work is too easily underrated. The recording heard here was made a month after the first performance and therefore does not contain the extra cymbal clash which Vaughan Williams added to the first movement at a later date.

A London Symphony is the second of Vaughan Williams's nine symphonies. Premiered in March 1914 on the eve of the Great War, it enshrines all the glittering brilliance of the pre-war world and, in retrospect, is its epitaph. It was the composer's own favourite of his symphonies and he described it as a "Symphony by a Londoner." Although the Symphony is loosely programmatic, it does not represent the physical body of London, but the spirit of a great city. The spirit and movement of dance is central to much of William Mathias's music. Pieces directly inspired by dance include the Dance Overture (1962), the Invocation and Dance (1961) and the present Celtic Dances, written in 1972 to mark the 50th anniversary of Urdd Gobaith Cymru. Mathias's use of dance is not superficial; on the contrary it reminds us that in earlier times dance was associated with religious fervour. The word ‘Celtic’ had many connotations for Mathias when he came to write this piece. He wrote, "the music is intended to evoke an area of feeling largely associated with the mythological past, even though such an idea is here expressed in terms of our own time. Rite and magic, jewelled colours, the spirit of play, wistfulness, lyrical warmth, and (above all) rhythmic vitality - these are all qualities associated with Celtic arts and tradition, and they were present as part of that area of experience which prompted the composition of this work."

The National Youth Orchestra of Wales under Owain Arwel Hughes performed both of these works at the Welsh Proms in August 2008 and also at Birmingham Town Hall. “ superbly paced and beautifully sonorous, it was intensely moving and really quite marvelous" (Birmingham Post)