BaL 15.10.22 - Vaughan Williams: The Lark Ascending

[smittims]

Yes, I've noticed a tendency for performances of much-loved works with 'glorious melodies' to get slower: both Elgar's concertos have been affected by this. I wonder if it reflects more sumptuous recording quality which tempts artists to linger.

VW's own recordings (regrettably few) display a brisker, no-nonsense approach to tempo. But in the Lark I suspect his published tempo marks , variants of andante and tranquillo have contributed to slower performances.

[mikealdren]

Why don't you like the Hugh Bean? I just listened to it and found it spellbinding. Kennedy & Rattle, on the other hand, I found far too slow and over-indulgent (17 minutes!) Smittims is right about Boult/Bean's "freshness", I feel, the lark was really moving about and chirping, meanwhile Kennedy & Rattle lingered with their lark, grounded, in their modern A list hot tub (OK, not altogether unpleasant... but likely to send you to sleep...)

I agree, Bean catches the stillness and atmosphere of the soaring bird without imposing his own 'interpretation' as so many players do.

Hilary Hahn for example plays beautifully, typical fabulous playing, but she completely misses the calm atmosphere of the piece.

I find it a lovely piece, sadly ill served by Classic FM's over exposure.

[smittims]

Yes, familiarity can breed contempt, or misinterpretation. Yet the 'Lark' hasn't always been so popular. I think there was even a time when there was no available recording.

The miniarture score was first published in 1927 at three shillings and sixpence, the price increased to four shillings in 1956. It was a copy of this print that I bought (new) in 1972, with the new price overprinted on the original. This doesn't suggest high sales!

[RichardB]

Nice to see some belated but welcome exposure for a work far too seldom played, recorded and broadcast.

[Mal]

I agree, Bean catches the stillness and atmosphere of the soaring bird without imposing his own 'interpretation' as so many players do.

Hilary Hahn for example plays beautifully, typical fabulous playing, but she completely misses the calm atmosphere of the piece.

I agree, but I think Bean also has freshness, movement and excitement. Combining that with the necessary stillness and calm, when needed, is magical.

[Stanfordian]

Why don't you like the Hugh Bean? I just listened to it and found it spellbinding. Kennedy & Rattle, on the other hand, I found far too slow and over-indulgent (17 minutes!) Smittims is right about Boult/Bean's "freshness", I feel, the lark was really moving about and chirping, meanwhile Kennedy & Rattle lingered with their lark, grounded, in their modern A list hot tub (OK, not altogether unpleasant... but likely to send you to sleep...)

The Hugh Bean 'Lark' recording is sublime.

[Pulcinella]

Why don't you like the Hugh Bean? I just listened to it and found it spellbinding. Kennedy & Rattle, on the other hand, I found far too slow and over-indulgent (17 minutes!) Smittims is right about Boult/Bean's "freshness", I feel, the lark was really moving about and chirping, meanwhile Kennedy & Rattle lingered with their lark, grounded, in their modern A list hot tub (OK, not altogether unpleasant... but likely to send you to sleep...)

I shall have to give it another hearing, but if memory serves, I think I found it too sugary sweet, and the beginning not tentative enough for my liking.
Given the response here, maybe I'm being too harsh in that assessment.

Just found this, which perhaps says why I don't like the start:

No special pleading is required for Hugh Bean, an orchestra leader who, when not keeping Otto Klemperer’s show on the road, was a distinguished concerto soloist and teacher. It’s difficult to listen to his familiar rendition with fresh ears, and I found his direct lyrical warmth as appealing as ever. Boult conducts with absolute naturalness, too, so every gear change glides by without strain. If there is a downside it’s apparent from the very start. Boult, prioritising that sense of line over the composer’s dynamic gradations, makes little of the ppp marking attached to all but the muted horns. Bathed in golden-age analogue stereo from HMV’s Abbey Road the music-making doesn’t set out to ruffle feathers, but then why should it?

This comes from a Gramophone review article:

https://www.gramophone.co.uk/features/article/vaughan-williams-s-the-lark-ascending-a-complete-guide-to-the-best-recordings

[Mal]

I shall have to give it another hearing, but if memory serves, I think I found it too sugary sweet, and the beginning not tentative enough for my liking.

Do you like Kennedy's more tentative performance? I was wondering why I didn't like it so much this time when my memory of it was better. Maybe it's best heard after his wonderful performance of Elgar's violin concerto - relaxing in the hot tub after a hard run through the forest.

Like others, I'd question the inclusion of this work in BAL - surely they should be considering more substantal fare, and RVW certainly composed several large, substantial works. Surely there must be some that haven't appeared in a recent BAL, and maybe some that haven't appeared at all?

By considering larger works, people can concentrate on collecting the most important performances and capture smaller fry, like the "lark", as fillers.

[Pulcinella]

Do you like Kennedy's more tentative performance? I was wondering why I didn't like it so much this time when my memory of it was better. Maybe it's best heard after his wonderful performance of Elgar's violin concerto - relaxing in the hot tub after a hard run through the forest.

Like others, I'd question the inclusion of this work in BAL - surely they should be considering more substantal fare, and RVW certainly composed several large, substantial works. Surely there must be some that haven't appeared in a recent BAL, and maybe some that haven't appeared at all?

By considering larger works, people can concentrate on collecting the most important performances and capture smaller fry, like the "lark", as fillers.

I don't know the Kennedy performance but might try to find it to stream.
Following a comment from Sir Velo on the Young Musician thread, I listened to his (Kennedy's) recording of the Walton Violin and Viola concertos (RPO/Previn) yesterday, and wasn't taken with either (which may well be why they don't feature in my collection!). The Elgar (I have the version with Handley) is a different matter.

[BBMmk2]

I don't know the Kennedy performance but might try to find it to stream.
Following a comment from Sir Velo on the Young Musician thread, I listened to his (Kennedy's) recording of the Walton Violin and Viola concertos (RPO/Previn) yesterday, and wasn't taken with either (which may well be why they don't feature in my collection!). The Elgar (I have the version with Handley) is a different matter.

oh the Kennedy, with Rattle? That’s a must. I think Tasmin Little’s is one of my top 3.

[Barbirollians]

The two Boult recordings Pougnet and Bean are my favourites . The long unpublished Haendel/Norrington is extraordinary much the darkest I have ever heard turning thoughts as much to WW1 as a sunny summer’s day.

[MickyD]

The Shaham/New Queen's Hall Orchestra/Wordsworth gives us the piece on gut strings and period wind instruments. A very generously filled disc, which is an interesting alternative take on VW favourites.

[smittims]

Indeed yes, a rare chance to hear VW on period instruments.

What happened to the New QH orch? Are they still around?

I had a dream of having unlimited wealth and rebuilding the QH on its original site (which I think came up for sale some time ago).

[Cockney Sparrow]

Mentally prepare yourself - Tom Service is in the "making lots of comments and asking a few questions" chair today.

And at about 9.30, I turned it off as an overloud, compressed sounding "BBC advert" (for something) crashed in......... (my days of live listening to BBC radio are progressively coming to an end - BBC Sounds on a tablet or laptop is a boon - I can fast forward through these offensive interrruptions).

[Goon525]

I’m not anti Tom Service, but he talks far too much. In the session with Mark Seow, I’m sure we heard more from Tom than Mark. Do we have any idea why Andrew is missing?