BaL 4.06.22 - Britten: Four Sea Interludes (from "Peter Grimes")

[makropulos]

I thought that Gardner was a worthwhile winner, with well-reasoned arguments for the choice. I was sorry we didn't hear any of van Beinum's Concertgebouw version or the excellent Pesek (but did get some of Marriner's truly odd Minnesota version). Still, an enjoyable BAL.

[Lordgeous]

Surprised not to hear any of Britten's own ROH version, though mentioned in passing as a reference. Couldn't resist picking up a secondhand copy of Davis for £1.99; includes the Passacaglia, the Young Person's Guide, and the Frank Bridge Variations (which I don't know at all).

Yes, why no Britten? Nothing beats it still IMHO., despite advances in recording. Interesting was why so many wrong notes/entries in other recordings? What were the producers doing??? As an aside, did my ears deceive me or did one excerpt (in Moonlight) sound a semitone out???

[Pulcinella]

Yes, why no Britten? Nothing beats it still IMHO., despite advances in recording. Interesting was why so many wrong notes/entries in other recordings? What were the producers doing??? As an aside, did my ears deceive me or did one excerpt (in Moonlight) sound a semitone out???

Doesn't Britten's own recording self-disqualify as it's taken from the complete opera recording (with some vocal parts present) rather than being an actual recording of this reworking as Opus 33 a?

[Parry1912]

It does, for me. It sounds odd with the voices.

Of course, the complete opera recording is great

[Retune]

Doesn't Britten's own recording self-disqualify as it's taken from the complete opera recording (with some vocal parts present) rather than being an actual recording of this reworking as Opus 33 a?

Maybe, but they don't always restrict themselves to standard versions - e.g., the Vaughan Williams Songs of Travel BaL included a recording of the orchestral version, in which most of the arrangements aren't even by RVW.

[ardcarp]

Interesting that the reviewer is Anna Lapwood - she will have probably thoroughly studied the score before recording her organ transcription of the Interludes

I wondered why, with her emphasis on the importance and subtlety of Britten's percussion writing, Anna Lapwood had bothered with her organ transcription at all!

OK, she mentioned sneaking in some tubular bells or somesuch for her recording, but,,,

The gist of the two quotes above occurred to me also. I think Anna Lapwood is great...she has achieved a lot, and as quote 1 above says, she must know the dots pretty well. (I haven't heard her organ transription.)

I concur with the outcome of this BAL (Gardner sounds fantastic) but we had the old 'saying everything twice' scenario with A McG suggesting something and AL agreeing....though they did avoid the word 'absolutely' I think. What a brilliant BAL it would have been if AL or some other knowledgeable person had been given a solo opportunity, particularly as this was a small body of music to discuss.

I adore those Sea Interludes. Britten at his best?

PS Just heard 2 of the movements from Lapwood's organ version. Thanks for the link Chris B. A very clever transcription...BUT, of dear, Britten's orchestral colour and genius is a must, I think. The organ just brings out the wrong emphasis almost everywhere. But full marks to AL for the effort and the playing!!

[BBMmk2]

For me, I prefer Previn. Although I like Sir Andrew Davis and Edward Gardner’s, who won the accolade.

[Goon525]

There seem to be many here who retain their attachment to fifty year old recordings (in every BaL): I thought AL demonstrated quite clearly why the Previn, much loved by many here, is actually pretty mediocre. Not least because the actual recording quality - yes, it matters, a lot! - doesn’t hold a candle to the final two. There was just a thrill about listening to either Davis or Gardner that the Previn simply didn’t begin to match. (As a side note, I thought the Bernstein sounded more Times Square than Aldeburgh - I was really surprised she stuck with it so long. It’s not even as if she’s Edward Seckerson!)

[Ein Heldenleben]

There seem to be many here who retain their attachment to fifty year old recordings (in every BaL): I thought AL demonstrated quite clearly why the Previn, much loved by many here, is actually pretty mediocre. Not least because the actual recording quality - yes, it matters, a lot! - doesn’t hold a candle to the final two. There was just a thrill about listening to either Davis or Gardner that the Previn simply didn’t begin to match. (As a side note, I thought the Bernstein sounded more Times Square than Aldeburgh - I was really surprised she stuck with it so long. It’s not even as if she’s Edward Seckerson!)

When I heard the celli and contrabass glissandi in the Bernstein I wondered whether he was confusing things with the opening of A Midsummer Night’s Dream

[cloughie]

There seem to be many here who retain their attachment to fifty year old recordings (in every BaL): I thought AL demonstrated quite clearly why the Previn, much loved by many here, is actually pretty mediocre. Not least because the actual recording quality - yes, it matters, a lot! - doesn’t hold a candle to the final two. There was just a thrill about listening to either Davis or Gardner that the Previn simply didn’t begin to match. (As a side note, I thought the Bernstein sounded more Times Square than Aldeburgh - I was really surprised she stuck with it so long. It’s not even as if she’s Edward Seckerson!)

Or the even older Boult and van Beinum - but then some of us have old ears as well - Anna’s analysis was very good - Previn perhaps didn’t get the notes in the right order and Giulini, it appears, missed a bit. I loved her reference to adding bells to her organ transcription - I know there are organ pieces which mimic the Westminster Carillon but when you want tubular bells you can’t beat the real thing (well yes, you have to tap them!)

[ardcarp]

There is a 3-manual organ in a rather fine parish church near where I live. It began life as a two manual Walker but was rebuilt by Nicholson with a new Positif manual, from which are played a set of tubular bells. These were added (from an old cinema organ?) at the whim of the person who generously funded the 'new' organ...some 40 years ago now. Because of lack of space, the set of tubular bells was sited inside the vicar's vestry, above which the pipework sits. It only needed one ding to frighten any robing priest out of his wits. Consequently, playing that stop was strictly forbidden at inappropriate times. It is not used much anyway, and recently the tubular bells unit has been reposition just outside the vestry. It looks a bit unsightly and has been camouflaged by various bits of ecclesiastical-looking furniture and drapes. Maybe Anna Lapwood could come and give a recital here?

Changing the subject completely:

the opening of A Midsummer Night’s Dream

That overture is the most striking and effective bit of string-writing which is somehow etched into my brain. I guess it must take some considerable rehearsal time to get those long, slow and quiet glissandi played neatly and by whole string sections. How do they get them together, i.e. all staying at the same pitch in any one moment? A most original and effective device by Britten to conjure up a world of magic and otherworldlliness.

Has Britten's AMSND ever been the subject of BAL? I know Alfred Deller was the original Oberon, but it has to be said that James Bowman's voice was just made for the part. (I saw him live.)

[Lordgeous]

I believe Britten didn't think much to Boult's treatment of his music. If Boult's Sea Interludes were anything to go by I can see why!

[Ein Heldenleben]

There is a 3-manual organ in a rather fine parish church near where I live. It began life as a two manual Walker but was rebuilt by Nicholson with a new Positif manual, from which are played a set of tubular bells. These were added (from an old cinema organ?) at the whim of the person who generously funded the 'new' organ...some 40 years ago now. Because of lack of space, the set of tubular bells was sited inside the vicar's vestry, above which the pipework sits. It only needed one ding to frighten any robing priest out of his wits. Consequently, playing that stop was strictly forbidden at inappropriate times. It is not used much anyway, and recently the tubular bells unit has been reposition just outside the vestry. It looks a bit unsightly and has been camouflaged by various bits of ecclesiastical-looking furniture and drapes. Maybe Anna Lapwood could come and give a recital here?

Changing the subject completely:

That overture is the most striking and effective bit of string-writing which is somehow etched into my brain. I guess it must take some considerable rehearsal time to get those long, slow and quiet glissandi played neatly and by whole string sections. How do they get them together, i.e. all staying at the same pitch in any one moment? A most original and effective device by Britten to conjure up a world of magic and otherworldlliness.

Has Britten's AMSND ever been the subject of BAL? I know Alfred Deller was the original Oberon, but it has to be said that James Bowman's voice was just made for the part. (I saw him live.)

Especially difficult in a dark opera pit where you can’t pick up much in the way of visual cues . I’m not a string player but I would have thought as long as you start and end together a small lack of synchronicity in the glissando shouldn’t matter that much.

[mikealdren]

and the Frank Bridge Variations (which I don't know at all).

A true masterpiece, you are in for a treat!

[Pulcinella]

...
Has Britten's AMSND ever been the subject of BAL? I know Alfred Deller was the original Oberon, but it has to be said that James Bowman's voice was just made for the part. (I saw him live.)

Probably not enough versions to warrant it, but let's do a Summer BaL of our own if you want to suggest it.

Looks like only five recordings (surely there are some videos of opera productions too?):
Britten
Britten (Aldeburgh premiere, on Testament)
Colin Davis
Hickox
Volkov

https://www.prestomusic.com/classical/works/56177--britten-a-midsummer-nights-dream/browse