Composer: Ralph Vaughan Williams
Works: A London Symphony; Symphony No. 8 in D minor
Performers: Royal Liverpool Philharmonic Orchestra; Vernon Handley (conductor)
Recording: Recorded in the Philharmonic Hall, Liverpool, 3-4 March 1992. Stereo DDD
Label: Classics for Pleasure 7243 5 75309 2 7
Ralph Vaughan Williams, a seminal figure in British music, composed works that resonate with the landscapes of his homeland and the complexities of the human experience. Among his symphonic oeuvre, “A London Symphony” (1913, rev. 1918, 1920, 1936) and Symphony No. 8 (1955) encapsulate his evolving musical language and thematic explorations. The former evokes the bustling life of London through a framework that is both impressionistic and structurally rigorous, while the latter, often overshadowed by earlier successes, reveals a more modernist approach, reflective of the tumultuous post-war era.
Vernon Handley’s interpretation of “A London Symphony” is marked by an impressive command of the score’s architecture. The first movement’s myriad tempo changes are navigated with a meticulous touch, preserving the clarity of Vaughan Williams’ intricate musical argument. Handley demonstrates a deep understanding of the dynamic markings, ensuring that the ethereal horn calls above the muted strings in the slow movement are articulated at a true pianissimo—an instance where the conductor’s restraint honors the composer’s vision, eschewing the overly romanticized approach that can dilute the work’s impact. This attention to detail culminates in the climactic moment of the fourth movement, where the build-up is not merely about volume but about emotional trajectory, leading seamlessly into the poignant Epilogue with a sense of eloquence that resonates long after the final notes.
The Royal Liverpool Philharmonic Orchestra’s performance is consistently of the highest caliber, showcasing a blend of technical precision and expressive nuance. Solo contributions, particularly from the orchestra’s leader, enhance the overall texture of the symphony, weaving individual voices into the larger tapestry of sound. The playing is not just technically proficient; it embodies the spirit of Vaughan Williams, capturing the essence of the city’s vibrancy interlaced with moments of introspection.
Handley’s reading of Symphony No. 8 is equally compelling, presenting a work that, despite its initial underappreciation, reveals profound depths. The Hindemith-like qualities of the Eighth Symphony are deftly highlighted, with Handley emphasizing the work’s unique tonal language and its stark contrasts. The Cavatina, featuring a splendid solo from Diana Cummings, emerges as a particularly striking moment, blending lyrical beauty with an underlying tension that characterizes much of Vaughan Williams’ later style.
The engineering of this recording, handled by Andrew Keener, is exemplary. The sound quality captures the orchestra’s rich sonority while allowing the subtleties of individual lines to emerge distinctly. The balance between sections is carefully maintained, ensuring that the listener can appreciate the intricate interplay of voices—an essential aspect of Vaughan Williams’ orchestration.
When compared to other significant recordings, such as Sir John Barbirolli’s 1959 Nixa recording with the Hallé Orchestra, Handley’s interpretation offers a greater sense of stylistic familiarity and cohesion. The Royal Liverpool Philharmonic’s refined playing elevates the performance, making it not just a version of the symphonies, but a definitive statement on Vaughan Williams’ intentions.
This reissue stands as a testament to both Handley’s artistic vision and the remarkable capabilities of the Royal Liverpool Philharmonic Orchestra. The performances of “A London Symphony” and Symphony No. 8 are not merely commendable; they are essential listening for anyone seeking to understand the depth and breadth of Vaughan Williams’ symphonic contributions. This release deserves a prominent place in any collection dedicated to exploring the rich tapestry of British orchestral music.