Composer: Edward Elgar (1865 – 1934), Christopher Ball (born 1936), Ralph Vaughan Williams (1872 – 1958), William Walton (1902 – 1983), John Marsh
Works: Serenade for Strings Op.20, On a Summer Day, Celtic Moods, Fantasia on Greensleeves, Two Pieces from Henry V, Fantasy on David of the White Rock, Suite: The Quantocks
Performers: Emerald Ensemble, Roger Armstrong (flute/alto flute), Paul Arden-Taylor (oboe/cor anglais), Ruth Faber (harp), Colin Hunt (organ), Roger Huckle (violin), Matthew Bale (conductor), Christopher Ball (conductor)
Recording: All Saints Church, Weston-Super-Mare, January 2002
Label: Dinmore Records
The latest release from the Emerald Ensemble offers a compelling survey of British string repertoire, skillfully intertwining well-known classics with lesser-known contemporary works. At the forefront is Elgar’s Serenade for Strings Op. 20, a staple of the chamber music canon that reflects the composer’s deep emotional resonance and rich harmonic language. Composed in 1893, this piece encapsulates the lyrical beauty that characterizes much of Elgar’s early output, oozing with nostalgia and a sense of yearning. The performance here is imbued with a warmth and sensitivity that complements Elgar’s intentions, with the ensemble deftly navigating the work’s contrasting moods.
The inclusion of Christopher Ball’s “On a Summer Day” and “Celtic Moods” provides a refreshing juxtaposition to the historical weight of the Elgar piece. Ball’s compositions, firmly rooted in the British pastoral tradition, evoke the serene landscapes of the English countryside, reminiscent of Vaughan Williams and Delius. The scoring for flute, oboe, and strings in “On a Summer Day” allows for a delicate interplay between the woodwinds and strings, which is executed with finesse by the ensemble. The interplay creates a gentle ebb and flow, drawing the listener into a tranquil reverie. However, it is in the “Celtic Moods,” featuring the alto flute and cor anglais, where the ensemble’s rich timbres truly shine. The lush textures and haunting melodies evoke a deep sense of longing, drawing on the evocative qualities of Celtic music that resonate with the listener.
John Marsh’s contributions, particularly the “Fantasy on David of the White Rock,” stand out for their engaging melodies and harmonies, which offer a nod to the Welsh folk tradition. The integration of organ with strings adds a unique layer of depth, enhancing the work’s pastoral character. The “Suite: The Quantocks” for violin and string orchestra further showcases Marsh’s ability to weave poignant thematic material, sometimes echoing the stylistic nuances of Gerald Finzi. The performers handle these works with evident enthusiasm and technical prowess, allowing the lyrical lines and intricate passages to emerge with clarity.
Sound quality is commendable, considering the recording’s setting in a church, which imparts a natural reverberation that enhances the ensemble’s tonal quality. The engineering captures the nuances of the performance, allowing the listener to appreciate the subtleties of the musicianship. However, the insert notes leave much to be desired; the lack of biographical context for Ball and Marsh detracts from the overall experience, leaving a gap that could have contextualized their works more fully within the broader tapestry of British music.
This release is a noteworthy addition to the catalog, particularly for its premiere recordings of Ball and Marsh. The Emerald Ensemble demonstrates a commendable ability to interpret these works with both technical skill and interpretive insight, suggesting a promising future for this relatively young ensemble. The combination of familiar favorites and fresh offerings creates an engaging listening experience that should appeal to both seasoned aficionados and newcomers alike.
