BaL 22.09.18 - Vaughan Williams: On Wenlock Edge

[Pabmusic]

Pabs, can you clear up the thing about Bredon Hill being in Worcestershire? (I know I've probably asked this before. Put it down to old age.)

Easy. The poems aren't a travelogue. Housman's original title was Poems of Terence Hearsay (he's the Shropshire Lad) so they're poems written by the (exiled?) Shropshire Lad. Bredon Hill is near enough.

Of course, maybe Housman got it wrong - I don't think he'd ever visited Shropshire when he wrote the poems. He came from Worcestershire.

[rauschwerk]

A most absorbing review. I still remember Graeme Kay's from many years ago. He thought Pears and Britten's version terrible - so terrible that he had to play two excerpts! DoN has been much more respectful. Last time, Bostridge/Haitink was declared the best orchestral version, but clearly that's not the case this time round.

[Eine Alpensinfonie]

A most absorbing review. I still remember Graeme Kay's from many years ago. He thought Pears and Britten's version terrible - so terrible that he had to play two excerpts! DoN has been much more respectful. Last time, Bostridge/Haitink was declared the best orchestral version, but clearly that's not the case this time round.

I'm pleased that Alexander Young was given a decent mention. A truly fine tenor.

Less pleased with DoN's attempts at singing.

[ferneyhoughgeliebte]

Less pleased with DoN's attempts at singing.

... or speaking.

Point of order:

Britten did not "invent" the "Curlew Symbol" in his Curlew River - he borrowed it from Lutoslawski who first used it in his Jeux Venitiens (1961) which Britten heard at the 1961 Warsaw Festival (where he performed with Pears). Britten was so impressed that he immediately commissioned Lutoslawski to write Paroles Tissees for Pears - and a couple of years later began work on Curlew River.

Nice to hear the Pears and Elwes recordings, though - but Partridge just stood head, shoulders, and torso above all the "competition" for me.

[jonfan]

I'm pleased that Alexander Young was given a decent mention. A truly fine tenor.

Less pleased with DoN's attempts at singing.

DoN is the master communicator so he can sing, stand on his head if it helps getting across what he’s saying. A great BAL, a model of how it should be done, or attempted, by others.

[DracoM]

DoN is the master communicator so he can sing, stand on his head if it helps getting across what he’s saying. A great BAL, a model of how it should be done, or attempted, by others.

Personally, I'd have gone for Partridge, but a true illumination of music and intent by Norris.

[underthecountertenor]

Personally, I’d have gone for Partridge, Rolfe Johnson or Ainsley over Kennedy. I’m allergic to his voice and his mannerisms (and am I right in thinking that he’s rather disappeared from the scene - or is he making a career abroad). A model BaL marred, for me, by a surprise and barely justified final choice.

[Beef Oven!]

DoN is the master communicator so he can sing, stand on his head if it helps getting across what he’s saying. A great BAL, a model of how it should be done, or attempted, by others.

A great BaL indeed, I really enjoyed it - I'm glad I tuned in.

I don't think it's useful to speak of 'models of how it should be done' for others to follow etc. The Boulez's Le Marteau Sans Maitre was a sensationally good BaL, but was done very differently. We are lucky that BaL is an excellent broadcast, with many enjoyable episodes.

I shan't be adding to my library, I'm happy with Bostridge/Haitink/Tear/Rattle in the orchestral and ARJ et al in the chambre.

[Constantbee]

I can't imagine Ian Partridge being bettered, but will listen to find out!

This is in fact the recording I have It was bought the LP (1971 recording on EMI, bought in 1980) in the days when reviewing recordings was not as critical an exercise as it is today because you could trust a good record shop to do the work for you and only stock the best selection. Reading the sleeve notes this morning I notice that my first music teacher's sister appears in the Music Group of London. Never noticed that before

[Pulcinella]

Personally, I'd have gone for Partridge, but a true illumination of music and intent by Norris.

Well I did (go for Partridge, that is), a long time ago, and feel no need to add to the other versions I also have.
I liked DON's style: until he pointed it out, I had not associated the beginning with Sine nomine (For all the saints), despite having sung that countless times!

[BBMmk2]

I have Adrian Thompson and Iain Burnside, Delmé Quartet. I was playing keyboards this morning,so missed it.

[ardcarp]

and am I right in thinking that he’s [Andrew Kennedy's] rather disappeared from the scene - or is he making a career abroad

I hope Andrew won't mind my saying that he has had a few health problems which is why he's been less prominent lately. I'm happy to report (and I disagree with you about his voice...it's great, IMO) that he is now back on track with his career. I heard him do a fantastic Verdi Requiem recently.

I'm very pleased DON chose his version. DON is forensic in his reviews, and not much passes him by! I'd add that my preference for Wenlcock Edge is a typically English lyric tenor, and Partridge and Rolfe Johnson have been my faves up to now.

I can't help thinking DON rather over-did his thing about the rolled 'r' and other pronunciation minutiae which have changed through the decades. Surely something ineradicably associated with its era should not be a criterion for assessing a recorded performance?

[Barbirollians]

Personally, I’d have gone for Partridge, Rolfe Johnson or Ainsley over Kennedy. I’m allergic to his voice and his mannerisms (and am I right in thinking that he’s rather disappeared from the scene - or is he making a career abroad). A model BaL marred, for me, by a surprise and barely justified final choice.

Until he chose Pires in Schubert'sPiano Sonata D960 I thought that last sentence applied to every BAL I had ever heard DON do !

[Master Jacques]

I couldn't agree more with those of you who praise DON's review of On Wenlock Edge - full of a performer's insights, specific and using many short examples brilliantly to demonstrate his points. His perception about the two alternative ways to sing 'Bredon Hill', one with hindsight from the beginning, the other "in the moment", struck me as particularly revealing.

My only wish was that he'd chosen to play Decca's own, much superior home transfer of the Pears/Britten/Zorian Quartet recording. This is currently available in Decca's 'Peter Pears - An Anniversary Tribute' 6-CD box set (a tremendous treasure-trove, incidentally) and puts the fuzzy, distant and gritty Pearl transfer completely in the shade.

As for that performance itself ... once heard, never forgotten. I'm in the camp which finds it strikes deeper and more daringly into RVW's extraordinary music than any other, before or since; but I recognise it is not to all tastes. Otherwise, despite the strange pronunciation slips at the end of 'Clun', Andrew Kennedy's recent version does indeed sound a worthy "winner". I must catch up with it, next time I have an Amazon gift voucher!

[BBMmk2]

I listened to the winning re ording yesterday via Spotify. Most excellent it is too! Like the couplings as well. The Ian Venables work is most interesting to listen to. Should be better known as well.