I imagine VW's mother saying that in an 'Ursula' voice. 
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# 56
Oldcrofter. Do please carry on posting and don't be put off by clever dicks (I include myself) who affect to know loads of stuff about everything. I think some of us do (a) worry that fine...I hesitate to use the dreadful 'iconic' word....pieces such as The Lark may become debased by over-exposure on CFM and 3beebies and (b) tend to feel the dumbing-down trend...eg presenters with more celeb than musical credentials...is a bit of a pain. But I agree we should be grateful for what BBC4 does for music. There ought to be more of it! And it's refreshing to hear from people who watch a programme and enjoy it without having any baggage or preconceived ideas. I still think Ms Hwang's performance was a stunner and thought the piano version was something of a revelation. I wouldn't go as far as one poster who 'prefers' it to the string version. I would not want to be without that gorgeous VW pastoral string sound...and one of my favourite versions is Nigel Kennedy, CBSO and Rattle. Iconic.
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I've now seen the programme and the very fine performance (though I thought the piano was a bit loud-toned). It was really very good throughout, and I'm not at all put out about the elevation of the piece to "the nation's no 1". It's a lovely thing, and it does evoke sunny afternoons on the downs, with a nostalgia that can be heart-rending. I do think the editor could have corrected the text, which had RVW writing "nine symphonies, including the Tallis fantasia", but it was a minor slip.
Just one thing, though. I had always believed Marie Hall's name was Mahr-ie, like Marie Lloyd. I don't know where I got that from, but it sounded wrong in French.Comment
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I was sorry to see Michael Kennedy looking a lot thinner and older in the Lark programme than in Bridcut's VW film that preceded it and was made only three years ago .
As for the programme rather glib I thought . Peter Sallis spoke from the heart and old Tazza explained it well although her eyebrows seem to be higher every time I see her !
Was it my ears or did Diana Rigg call the Tallis Fantasia one of his 9 symphonies ?
The performance was sound . I can understand why some forumites are driven mad by the piece's ubiquity but I am very fond of it and have Hugh Bean and Sir Adrian Boult to thank for that - their glorious recording has an exquisite restraint I think.Comment
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The lark ascending: violin and piano version
A quick posting to let people know of a repeat showing of a violin and piano version of The lark ascending tonight (well, early tomorrow) on BBC4.
Mentioned on another thread, I'm sure, so happy for this to be moved there if more appropriate, but thought it worth flagging up as a new thread!
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Thanks for the info. I've set it to record.Comment
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I really don't like the piano version. It cannot begin to evoke the feelings conjured by VW's orchestration....strings especially.Comment
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My hotel was playing this arrangement today in the Lobby
I agree with ardcap, but I was surprised when I found out that the Orchestral version came second. It sounds so much more idiomatic with Orchestra.Comment
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We are so used to that version, I think rfg, probably why....Don’t cry for me
I go where music was born
J S Bach 1685-1750Comment
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I've watched the programme for the first time this evening and really enjoyed the refreshing intimacy of this original version, though the later orchestral version is quite magnificent.Comment
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Michael Kennedy (Catalogue of the Works of RVW) says that the piece was begun in 1914, almost completed in full score but put aside because of the war, and completed in 1920. The first performance was given "in a special arrangement for violin and pianoforte made by the composer for the occasion". This was because it was included in a concert by the Avonmouth & Shirehampton Choral Society at the Shirehampton Public Hall some seven months before its first orchestral performance by the British Symphony Orchestra and Adrian Boult. Marie Hall was the soloist both times.Originally posted by Eine Alpensinfonie View Post
So I suspect that we shouldn't really think of the violin & piano version as the original.Comment
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Thanks, Pabs; I don't think that that was made clear in the programme.Originally posted by Pabmusic View Post
Like Alpie, I thoroughly enjoyed the violin and piano version, and thought that those wonderful spare but sustained accompanying open chords (you know what I mean even if I can't describe them very well!) worked their magic just as well as in the orchestrated version.
Horrified, as I often am, to see an original manuscript handled without gloves!Comment
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Wonderful music in whatever arrangement.
A victim of it's own success.
Not the nation's favourite classical piece for nothing you know
My beautiful ascending lark.
Your critics are wide of the mark.
It's not your fault it seems to me.
Overworked by Radio three.
When you rise and begin to round.
I love that silver chain of sound.
Over the course of many years.
You've brought sheer delight to my ears.
And so much pleasure still to give.
I'll love you as long as I liveComment
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Having said that,I'm not convinced by an arrangement for flute and orchestra.Originally posted by EdgeleyRob View PostWonderful music in whatever arrangement.
A victim of it's own success.
Not the nation's favourite classical piece for nothing you know
Probably a must for RVW completists though
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