Search - Vaughan Williams, Lpo, Bernard Haitink :: Vaughan Williams - Symphony No. 6 · In the Fen Country · On Wenlock Edge / Bostridge · LPO · Haitink

Another jewel in the Haitink/Vaughan Williams cycle

N. Daniele Pietro | Milano, MI Italy | 04/30/2001

(5 out of 5 stars)

"The splendid Emi cycle of the RVW symphonies under Haitink is, possibly,the most distressingly slow release in the history : I mean, the first cd ( the "Antartica" dates from 1985 and we're still waiting for what is supposed to be the last one ( 8&9) ! . Perhaps it wasn't intended to be a cycle, but the quality of the results sort of forced EMI to go on ....slowly. What I really like is that Haitink approaches Vaughan Williams like the 20th century master symphonist he is: he skips the idea of the "all-British"phenomenon and puts RVW in the mainstream symphonic canon , where this wonderful music belongs. Probably some British reviewers would say that these are not the most "idiomatic" (whatever it may mean) performances, but I believe that Haitink has the musical stature to encompass all the aspects of RVW's muti-faceted symphonies, while remaining admirably faithful to the letter of the scores. The 6th is a highly rewarding but very difficult piece, for it's uncompromisingly craggy, even bleak in its ominous pianissimos and earth-shattering tuttis. After the luminously serene 5th the critics and audiences of 1948 were shocked by this enigmatic work : they liked it (the first performance was a triumph) but they tried to explain it with the depiction of a desolate post-atomic landscape, to the composer's annoyance. Haitink's view is as musically comprehensive as it gets : the complicated orchestrations are wonderfully clear, the vision of the work as a whole is totally convincing. Yet this not an "academic" performance, low on tension charge: the strikingly original final movement ( 10 minutes of pianissimo fading into silence) is really an anguished contemplation of the Abyss, while the famous climax of the 2nd movement sounds inexorably terrifying. All in all, this performance completely supersedes my previous digital reference, Andrew Davis on Teldec. About the other pieces : "In the Fen country" is a minor but beautiful (and here beautifully played) symphonic piece, very much in the RVW classic British-Pastoral tradition, just like "Wenlock edge", a vocal miniature delicately shaped by Haitink and beautifully sung by Ian Bostridge. A final praise for the LPO, which plays marvelously for their beloved Dutchman ( Haitink is currently the LPO's President) : they produce a splendidly unified, richly dark sound, yet the solo parts are nothing short of mesmerizing. The EMI sound is completely satisfying, a notable achievement in itself because the incredibly wide-ranging dynamics of the 6th don't seem an easy job for a sound engineer. Recommended with enthusiasm."

An Outstanding Performance

D. A Wend | Buffalo Grove, IL USA | 12/16/2002

(5 out of 5 stars)

"When first performed in 1948, this was the most popular British Symphony since Elgar and received a high number of performances in England and America. Perhaps this is due to the mysterious post-nuclear program given to the symphony by many listeners but was disavowed by the composer. Vaughan Williams seemed content to finish his symphonic output with the tranquil Fifth. His Sixth, written at age 75, is anything but tranquil! There is an angry unsettled quality to the first movement and the scherzo, too, sounds as if a cataclysm is being depicted, accounting for Malcolm Sargents notion that the scherzo depicted a World War II event. The use of the saxophone in the Scherzo is striking, and was an instrument Vaughan Williams used in his later symphonies. The Epilogue is the most unusual part of this symphony. The orchestra barely raises above a whisper and drifts into silence. This movement was thought to depict a post nuclear bomb landscape but Vaughan Williams called it "an agnostic's Paradiso." The Vaughan Williams cycle of symphonies conducted by Bernard Haitink is impressive for giving us rewarding and faithful accounts of these works. This recording of the Sixth symphony is no exception. What is immediately striking is the assurance of the orchestra in playing the symphony. Haitink followed the score to the letter and produced a performance that is very eloquent. From a late work, the CD next holds an early composition "In the Fen Country." This is a very beautiful and eloquent performance. The last work is "On Wenlock Edge" for orchestra and tenor. The tenor in this recording is Ian Bostridge, who sings with great expression and passion; he is ably and sensitively supported by the London Philharmonic. I have read a comment that this work has a Ravelian sound, and it should be recalled that Vaughan Williams studied with Ravel for a short period. This is an outstanding CD that will delight anyone interested in the music of Vaughan Williams."

A truly superb release

G.D. | Norway | 03/04/2009

(5 out of 5 stars)

"If I were to recommend one single complete cycle of Vaughan Williams symphonies, it would be Haitink's, and this release of no. 6 is one of the very best in that series. No. 6 is (maybe together with the fourth) the most violent and gloomy symphony from that composer - but there are moments of noble beauty there as well, such as the big tune from the first movement. Haitink's reading is imposing and bold, and I have never heard that movement come across as powerful anywhere else. Still, the second movement is even better done, impressingly showcasing Haitink's ability to build up and realize a climax. The scherzo is fierce and sounds almost possessed - as it should. Only in the final Epilogue is it possibly to dream of something perhaps even more desolate than Haitink gives us - it is cold and mysterious, even chilling, but in Haitink's interpretation there's more mystery than despair. No matter (and I am frankly not sure how much of a criticism the last nitpick could constitute), this is, I think, the sixth to go for.



And the couplings are excellent as well. On Wenlock Edge is truly magical, sounding just as wistful as it should, and with the various impressions, from the warmth of spring and love to the coldness and darkness of midwinter, perfectly realized. And honors are no less due to Ian Bostridge's excellent realization of the Housman texts. Similar impressionistic magic is conjured up in the early tone poem In The Fen Country. Sound quality is superb as well, making this disc a mandatory acquisition; truly superb."