Composer: Various
Works: English Dance No. 5 (Arnold), Fantasia on Greensleeves (Vaughan Williams), Anvil Chorus from Il trovatore (Verdi), The Arrival of the Queen of Sheba (Handel), Jesu, Joy of Man’s Desiring (Bach), Easter Hymn (Mascagni), Let the bright Seraphim (Handel), Air on a G string (Bach), Romance from The Gadfly (Shostakovich), Chorus of the Hebrew Slaves from Nabucco (Verdi), Bailero from Songs of the Auvergne (Canteloube), Cum Sancta Spiritu from the Petit Messe solennelle (Rossini), March of the Little Lead Soldiers (Pierné), Popular Song from Façade (Walton), Perpetuum Mobile (J. Strauss II), Chanson de Matin (Elgar)
Performers: Hallé Orchestra and Hallé Choir, Pamela Coburn (soprano)
Recording: Royal Northern College of Music, Manchester, July 1984 and Studio 7 Broadcasting House, Manchester, July 1985
Label: Classics for Pleasure
Much Loved Music is a delightful compilation that traverses a rich tapestry of classical favorites, bringing together beloved works from various composers. This assembly of pieces, drawn from both the operatic and orchestral canons, serves as an engaging introduction to classical music for the uninitiated while also delighting seasoned listeners. The selection ranges from the pastoral charm of Vaughan Williams to the dramatic intensity of Verdi, embodying a spectrum of emotions and styles that reflect the historical breadth of classical music.
The performances by the Hallé Orchestra and Choir under the direction of Owain Arwel Hughes reflect a commendable commitment to clarity and precision, even amid the eclectic mix of repertoire. Pamela Coburn’s soprano shines particularly in Handel’s “Let the Bright Seraphim,” where her bright, penetrating tone conveys both exuberance and emotional depth. The interplay with the trumpet, although not always perfectly aligned, showcases a spirited collaboration that does not detract from the overall impact. Conversely, the “Fantasia on Greensleeves,” while lush in orchestration, could benefit from a more spirited tempo; its languid pace, while atmospheric, occasionally borders on sluggishness, diminishing the piece’s inherent vitality.
The recording quality is commendable, capturing the warmth of the orchestra and the clarity of the choir. The engineering allows the nuances of the performances to emerge, with the dynamic range well balanced, ensuring that even the quietest moments retain their gravitas. However, the inclusion of only a single verse of “Jesu, Joy of Man’s Desiring” feels like a missed opportunity for further exploration of Bach’s choral genius. This choice may reflect the compilation’s overarching intent to appeal to a broader audience, yet it leaves one yearning for a fuller experience of the work.
The tracklist is a veritable smorgasbord of musical delights, with highlights such as the haunting “Romance from The Gadfly” by Shostakovich, which is rendered with an admirable sensitivity that evokes the score’s poignant beauty. Likewise, the “March of the Little Lead Soldiers” by Pierné emerges as a surprising gem, played with a delicate touch that captures its whimsical charm and rhythm. Such interpretations demonstrate a thoughtful approach to the works, blending technical proficiency with emotional engagement.
Much Loved Music, while not without its imperfections, stands as a well-curated anthology that allows listeners to revel in the rich heritage of classical music. Each piece is presented with a freshness that encourages repeated listening, making it a suitable companion for various activities, from leisurely afternoons to festive celebrations. The Hallé forces, though occasionally faltering in ensemble cohesion, ultimately deliver a collection that is both enjoyable and accessible, reaffirming the notion that classical music can indeed be a source of joy for all.
