Composer: Ralph Vaughan Williams
Works: Symphony No. 4, A Shropshire Lad (Butterworth), Symphony No. 4 (Antheil)
Performers: NBC Symphony Orchestra, Leopold Stokowski
Recording: Original NBC broadcasts from 14 March 1943 (RVW4), 13 February 1944 (Butterworth and Antheil)
Label: Cala
Ralph Vaughan Williams’ Symphony No. 4 stands as a pivotal work within the British symphonic canon, often perceived as a stark departure from the pastoral idealism characteristic of his earlier compositions. Completed in 1935, it encapsulates the anxiety and turmoil of its time, reflecting the tensions preceding World War II. In this recording, Stokowski’s interpretation presents a visceral and unabashedly forceful rendition of the symphony, offering insights into both the composer’s intentions and the broader context of mid-20th-century music.
The performance of Vaughan Williams’ Fourth Symphony under Stokowski is marked by intense drama and a vivid orchestral palette. Stokowski, known for his flamboyant conducting style, channels the work’s raw energy through accentuated brass and a thunderous percussion section. The opening movement bursts forth with an unrelenting force, where the brass ‘barking’ indeed captures the primal essence of the music. This reading, while perhaps lacking some of the subtlety found in later interpretations, revels in the symphony’s visceral qualities. Notably, at 2:40 in the second movement, Stokowski elicits a sound from the strings that possesses an almost human quality, reminiscent of a choral lament, reinforcing the emotional depth that Vaughan Williams imbues into the score.
The recording quality, a product of the era’s technology, presents a mixed bag. While the surface noise and occasional coughs detract from the listening experience, they also serve to transport the listener to a time when these performances were recorded live, adding an authentic historical dimension. The clarity of orchestral lines, despite the slushy background noise, allows for a vivid appreciation of the orchestration. Stokowski’s ability to extract a wide range of colors from the orchestra, as evident in the scherzo, highlights his unique interpretative choices. The demonic energy of the scherzo, with its cackling woodwinds and raucous brass, illustrates a master conductor at work, reveling in the frenetic spirit of the music.
Turning to the complementary works on this disc, Butterworth’s A Shropshire Lad is rendered with a certain poignant fragility, though the technical limitations of the original acetate are apparent. The recording suffers from a bruised sound, and the interpretation lacks the clarity that one might find in more modern recordings. However, its inclusion provides a valuable juxtaposition to Vaughan Williams’ symphonic weight. Antheil’s Symphony No. 4, recorded shortly thereafter, evokes a sense of urgency and despair, reflecting the tumult of its time—particularly the events surrounding Stalingrad. The influence of Shostakovich is unmistakable, especially in the rhythmic interplay between the flute and side drum at 1:57 in the first movement. While Antheil may have denied such influences, they are undeniably woven into the fabric of this work, serving to underscore its historical significance.
The overall assessment of this recording reveals a remarkable snapshot of mid-20th-century orchestral performance. Stokowski’s interpretations, while not without their imperfections, convey a palpable sense of immediacy and emotional weight that resonates deeply. The recording, despite its technical flaws, captures the spirit of a pivotal moment in music history, presenting Vaughan Williams’ Fourth Symphony as a visceral manifesto of its time. This disc stands as a testament to the enduring power of these compositions and the unique artistry of Stokowski, reinforcing the importance of historical context in appreciating these works.
