Search - Ralph Vaughan Williams, Bryden Thomson, London Philharmonic Orchestra :: Ralph Vaughan Williams: Norfolk Rhapsody No. 1; In the Fen Country; Fantasia on a Theme by Thomas Tallis; etc.

Partial Review

Carla C. Jameson | Wilmington, DE United States | 12/04/1999

(5 out of 5 stars)

"I first heard selection #3 on a movie I watched called, Rowing with the Wind, starring Hugh Grant and Elizabeth Hurley. The music was beautiful and haunting, and I couldn't forget it. When I looked for the soundtrack to the movie, I couldn't find one. This composer was mentioned, though, and his work. I can't wait to hear it again, and those of you who like this music should see the movie mentioned above. I am planning to rent it again."

A fine assemblage in Thomson's typical style

Larry VanDeSande | Mason, Michigan United States | 02/09/2007

(4 out of 5 stars)

"Compared to Vaughan Williams specialists that capitalize on the bucolic nature of the Englishman's compositions, Bryden Thomson approaches his countryman differently. Based on evidence presented in his complete recording of Vaughan Williams symphonies, this disk and others, Thomson's interpretations tend to be more refined, linear and objective that conductors such as Boult, Previn, Barbirolli and Hickox, to whom Thomson relates most readily.



You can hear this pretty easily if you compare Thomson's opening item, the "Norfolk Rhapsody No. 1" -- which was originally part of three rhapsodies the composer was going to sink into a symphony -- against readings by any of the others mentioned.



Thomson's work eschews some of the atmospheric disturbance prevalent in Boult's work in both mono and stereo. His approach to "Five Variants on Dives and Lazarus" in judicious and relates the score but lacks the rustic appeal given it by the Abravanel-Utah Symphony Orchestra. And his version of "In the Fen Country" is less folksong than score reading.



Does Thomson's literal style diminish the music? That's mostly a matter of personal preference; I don't think so. I prefer Boult's monaural readings of half these scores (still available from Haydn House) to Thomson's recording but it doesn't render them deficient or second rate.



Thomson has proven he knows his way around a Vaughan Williams score and his style sometimes improves the product -- as it did with VW's Symphony No. 3, a piece almost always overinterpreted for unnecessary ethereal affect. The recordings here are very much in that vein -- outstanding projections of the Vaughan Williams scores in five of his most popular orchestral items. Vaughan Williams the way Vaughan Williams wrote the music, you might say, not the way others interpret it.



With good notes by Max Harrison, this well-filled (79:26) CD will bring joy and magic to anyone that will listen. Chandos' 1990 sound is a tad dated compared to modern SACD standards but still worthy. I'd like this CD a lot more if it was marketed and sold for a sticker price below $10, which would make it an outstanding value."

A Vaughan Williams Devotee

Thomas F. Heffernon | 01/05/2007

(5 out of 5 stars)

"When I saw my five favorite V.W. short pieces on a good label with two fine orchestras, I took it as a 'must buy.' These are nearly flawless recordings, Bryden at his interpretive best. Michael Davis' violin gives us a spiritually evocative 'Lark Ascending.' And the incomparable 'Dives and Lazarus' variants speak with such exquisite poignancy it tests the limits of one's emotions. Adrian Boult would applaud.



You don't want to miss this one.



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