Composer: Ralph Vaughan Williams
Works: A Sea Symphony
Performers: Joan Rodgers (soprano), William Shimmell (baritone), Royal Liverpool Philharmonic Choir, Royal Liverpool Philharmonic Orchestra
Recording: Conducted by Vernon Handley, recorded in the Philharmonic Hall, Liverpool, 27-29 July 1988
Label: Classics for Pleasure
Ralph Vaughan Williams’ A Sea Symphony, composed between 1909 and 1910, represents a significant milestone in the development of English symphonic music. As the first of his symphonic works, it not only showcases his early mastery of orchestration but also reflects the burgeoning national identity in music at the turn of the 20th century. The symphony, a vast tapestry of sound, draws inspiration from Walt Whitman’s poetry, imbuing it with a sense of grandeur and a deep connection to the natural world. In this recent reissue of the recording by Vernon Handley and the Royal Liverpool Philharmonic Orchestra, originally released on EMI’s Eminence label, listeners are treated to a performance that evokes both the vastness of the sea and the intimate human experience of it.
Handley’s interpretation is marked by a deep understanding of Vaughan Williams’ idiom, revealing both the thematic depth and the emotive undercurrents of the symphony. The opening movement, which bursts forth with an arresting fanfare and choral exultation, captures the audience’s attention from the outset. The addition of the bass drum roll, which evokes the image of a powerful wave, is executed with finesse here, enhancing the dramatic intensity and providing an auditory representation of the sea’s might. This moment, as noted in the review, delivers an exhilarating experience that is faithfully reproduced in this recording, making it a standout feature of Handley’s approach.
The contributions of the soloists are noteworthy, particularly that of soprano Joan Rodgers, whose voice resonates with both strength and sensitivity. Her initial entry is commanding, and her ability to navigate the demanding tessitura is commendable, especially notable in her thrilling top A at “Token of all brave captains.” This highlights her technical prowess and dramatic flair, which are essential in conveying the text’s emotional weight. Baritone William Shimmell, while offering a pleasing timbre, does not reach the same level of character as some of his counterparts in other recordings, such as John Shirley-Quirk or John Cameron. Notably, moments of strain mar his performance, particularly during climactic passages where pitch stability becomes a concern. Despite these reservations, Shimmell’s interpretation in the second movement, “On the Beach at Night, Alone,” is commendable and showcases a gentler, reflective side that complements the overall narrative.
The Royal Liverpool Philharmonic Choir, under the direction of Ian Tracey, demonstrates commendable precision throughout the performance. Their execution of the fleet scherzo, “The Waves,” is particularly impressive, revealing a mastery of rhythm and diction that enhances the work’s liveliness. However, the choir’s softer passages occasionally lack the nuanced delicacy found in other interpretations, where the LPO chorus, under Haitink, sets a benchmark for the rapt opening of the finale. This slight imbalance does not detract significantly from the overall impact, as the choir’s fervor and commitment shine through, particularly during the climactic moments of the work.
The recording quality deserves special mention. The engineering captures a wide dynamic range, allowing the intricate details of the orchestration to emerge clearly, particularly the percussive elements that Vaughan Williams employed to evoke the sea’s tumultuous nature. The bass register, crucial for the organ’s contribution in the finale, is well-integrated into the overall soundscape, ensuring that the listener experiences the full breadth of the orchestral palette.
Vernon Handley emerges as a central figure in this recording, his authoritative grasp of the score allowing for a fluid interpretation that navigates the myriad changes in tempo and mood with ease. His leadership results in a performance that feels cohesive and well-paced, successfully balancing the symphony’s dramatic arcs with moments of introspection. Handley’s intuitive understanding of Vaughan Williams’ language and his ability to draw out the emotional resonance of the work affirm his status as a leading advocate for English music.
This reissue on Classics for Pleasure presents a compelling interpretation of A Sea Symphony that resonates with both historical significance and contemporary relevance. While certain aspects, particularly Shimmell’s performance, may invite critique, the overall execution by Handley, Rodgers, and the Royal Liverpool Philharmonic Orchestra captures the essence of Vaughan Williams’ vision. For aficionados of Vaughan Williams and admirers of English symphonic music, this release is an essential addition to any collection, embodying a performance that is both technically accomplished and deeply moving.
