Orchestral Works by Vaughan Williams and Delius: Evocative Interpretations by the London Philharmonic Orchestra

Composer: Ralph Vaughan Williams (1872-1958), Frederick Delius (1862-1934)
Works: The Lark Ascending, The Wasps – Aristophanic Suite, Prelude and Fugue in c minor, Intermezzo from Fennimore and Gerda, On Hearing the First Cuckoo in Spring, Sleigh Ride, Irmelin Prelude, La Calinda
Performers: London Philharmonic Orchestra / Vernon Handley, David Nolan (violin), David Bell (organ)
Recording: St. Augustine’s, Kilburn, June 1985 and February 1978; Henry Wood Hall, Southwark, October 1977
Label: EMI Classics for Pleasure 72435 75316 2

The pairing of Ralph Vaughan Williams and Frederick Delius on this EMI Classics for Pleasure disc offers a fascinating exploration of early 20th-century English music, particularly through the contrasting lenses of their artistic temperaments. Vaughan Williams, a figure deeply rooted in the pastoral and the spiritual, presents works that resonate with an optimistic embrace of nature, while Delius’s contributions reflect a more introspective and often melancholic perspective. The titular works, Vaughan Williams’s “The Lark Ascending” and Delius’s “On Hearing the First Cuckoo in Spring,” encapsulate this dichotomy beautifully, providing a compelling thematic and emotional framework for the recording.

The interpretation of “The Lark Ascending,” performed by David Nolan, is characterized by a lyrical quality that captures the essence of the piece, yet it lacks the ethereal transcendence found in other notable renditions, such as those by Louis Lane with Szell or Hugh Bean with Boult. Handley’s support on the orchestral parts is deft, allowing the violin’s voice to emerge, but Nolan’s performance feels somewhat restrained, missing the delicate interplay of solitude and elation that defines Vaughan Williams’s vision. The opening phrases, intended to evoke the gentle rise of a lark, could benefit from a more expansive and nuanced reading, one that fully embraces the piece’s inherent mystique.

The “Wasps” Suite, a delightful and often underrated work, provides a contrasting texture. Composed for a 1909 staging of Aristophanes’ play, the suite’s overture and subsequent movements reveal Vaughan Williams’s burgeoning style—playful, inventive, and imbued with character. Handley’s direction brings out the humor and charm of the “March Past of the Kitchen Utensils,” showcasing the orchestra’s lively engagement. However, in the “Entr’acte” movements, while the orchestration is crisp, a more pronounced dynamic contrast could enhance the theatricality inherent in the music. The “Prelude and Fugue in c minor,” while not as immediately striking as Vaughan Williams’s more celebrated works, is handled competently, though it lacks the gravitas found in the interpretations of heavierweights such as Barbirolli.

Delius’s contributions to the disc are performed with a straightforwardness that allows the music to breathe, yet this approach sometimes results in a loss of emotional depth. In “On Hearing the First Cuckoo in Spring,” for instance, Handley’s interpretation flows naturally, but it does not quite achieve the level of poignancy that Barbirolli’s renditions offer. The oboe solo, which is pivotal to the piece’s charm, lacks the radiant quality found in performances by legends like Leon Goossens, leading to a diminished impact on the listener. Nevertheless, the lively rendition of “Sleigh Ride” and the sensitive interpretation of the “Irmelin Prelude” bring moments of delight, even if the incessant percussion detracts from the overall experience.

The sound quality of this recording varies, with the most recent performances of “The Lark” and “The Wasps” benefitting from clearer engineering, while the older recordings, notably the “Prelude and Fugue,” come across as somewhat congested and boxy. This inconsistency shifts the listening experience, favoring the more contemporary pieces in terms of fidelity and clarity.

This compilation of works by Vaughan Williams and Delius presents an engaging overview of their contrasting yet complementary musical worlds. Handley’s interpretations, while occasionally lacking the depth of more famous counterparts, still offer substantial merit for enthusiasts of English music. The recording stands as a valuable addition to the catalog, particularly for those looking to explore lesser-known cornerstones of the repertoire. The juxtaposition of the lark’s joyful ascent and the cuckoo’s reflective call invites a deeper appreciation of the emotional spectrum within English classical music, making this disc a worthy exploration for collectors and newcomers alike.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.