Track Listing

Disc 1:

1. I: A Song For All Seas, All Ships: Behold, The Sea Itself - Jonathan Summers
2. I: A Song For All Seas, All Ships: Today A Rude Brief Recitative - Jonathan Summers
3. I: A Song For All Seas, All Ships: Flaunt Out, O Sea, Your Seperate Flags Of Nations! - Jonathan Summers
4. I: A Song For All Seas, All Ships: Token Of All Brave Captains - Jonathan Summers
5. I: A Song For All Seas, All Ships: A Pennant Universal - Jonathan Summers
6. II: On The Beach At Night, Alone: On The Beach At Night, Alone - Jonathan Summers
7. II: On The Beach At Night, Alone: A Vast Similitude Interlocks All - Jonathan Summers
8. III: Scherzo: The Waves - Jonathan Summers
9. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O Vast Rondure, Swimming In Space - Jonathan Summers
10. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Down From The Gardens Of Asia Descending - Jonathan Summers
11. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O We Can Wait No Longer - Jonathan Summers
12. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O Thou Transcendent - Jonathan Summers
13. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Greater Than Stars Or Suns - Jonathan Summers
14. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): Sail Forth - Jonathan Summers
15. IV: The Explorers (Grave E Molto Adagio - Andante Co Moto): O My Brave Soul! - Jonathan Summers

Disc 2:

1. I. Lento - Allegro Risoluto - London Philharmonic Orchestra
2. II. Lento - London Philharmonic Orchestra
3. III. Scherzo (Nocturne): Allegro Vivace - London Philharmonic Orchestra
4. IV. Andante Con Moto - Maestoso Alla Marcia (Quasi Lento) - Allegro - London Philharmonic Orchestra
5. Fantasia On A Theme - London Philharmonic Orchestra

Disc 3:

1. I: Molto Moderato - Amanda Roocroft
2. II: Lento Moderato - London Philharmonic Orchestra
3. II: Moderato Pesante - Presto - London Philharmonic Orchestra
4. IV: Lento - Moderato Maestoso - London Philharmonic Orchestra
5. I: Allegro - London Philharmonic Orchestra
6. II: Andante Moderato - London Philharmonic Orchestra
7. III: Scherzo: Allegro Molto - London Philharmonic Orchestra
8. IV: Finale Con Epilogo Fugato: Allegro Molto - London Philharmonic Orchestra

Disc 4:

1. I: Preludio: Moderato - Sarah Chang
2. II: Scherzo: Presto - Sarah Chang
3. III: Romanza: Lento - Sarah Chang
4. IV: Passacaglia: Moderato - Sarah Chang
5. Norfolk Rhapsody No.1 - Sarah Chang
6. Romance For Violin And Orchestra - Sarah Chang

Disc 5:

1. I: Allegro - Ian Bostridge
2. II: Moderato - Ian Bostridge
3. III: Scherzo: Allegro Vivace - Ian Bostridge
4. IV: Epilouge: Moderato - Ian Bostridge
5. In The Fen Country - Ian Bostridge
6. I: On The Wenlock Edge - Ian Bostridge
7. II: From Far, From Eve And Morning - Ian Bostridge
8. III: Is My Team Ploughing? - Ian Bostridge
9. IV: Oh, When I Was In Love With You - Ian Bostridge
10. V: Bredon Hill - Ian Bostridge
11. VI: Clun - Ian Bostridge

Disc 6:

1. I: Prelude: Maestoso - London Philharmonic Choir
2. II: Scherzo: Moderato - London Philharmonic Choir
3. III: Landscape: Lento - London Philharmonic Choir
4. IV: Intermezzo: Andante Sostenuto - London Philharmonic Choir
5. V: Epilogue: Alla Marcia, Moderato (Non Troppo Allegro) - London Philharmonic Choir

Disc 7:

1. I: Fantasia: Moderato - Presto - Andante Sostenuto - Allegretto - Andante Non Troppo - Allegro Vivace - Andante Sostenuto - Tempo I, Ma Tranquillo - London Philharmonic Orchestra
2. II: Scherzo Alla Marcia: Allegro Alla Marcia - Andante - Tempo I (Allegro) - London Philharmonic Orchestra
3. III: Cavatina: Lento Espressivo - London Philharmonic Orchestra
4. IV: Toccata: Moderato Maestoso - London Philharmonic Orchestra
5. I: Moderato Maestoso - London Philharmonic Orchestra
6. II: Andante Sostenuto - London Philharmonic Orchestra
7. III: Scherzo: Allegro Pesante - London Philharmonic Orchestra
8. IV: Andante Tranquillo - London Philharmonic Orchestra

Product Details

• Amazon Sales Rank: #1720 in Music
• Released on: 2004-09-20
• Number of discs: 7
• Format: Box set
• Dimensions: .57 pounds
• Running time: 454 minutes

Customer Reviews

Haitink puts Vaughan Williams in a European Context
2004 was a good year for Box Sets of Vaughan Williams Symphonies. Best of the bunch is this one from EMI with Bernard Haitink conducting the London Philharmonic Orchestra. Do not be put off by the lengthy gestation of the project, over 16 years between 1984 and 2000, there is a consistency of interpretation, performance and sound.

Haitink's first recording in the set of the 7th Symphony, the Sinfonia Antarctica is his manifesto. He takes Vaughan Williams out of the cosy world of 20th century British music and the interpretive shadow cast by Adrian Boult and places him in an ongoing tradition of European symphonists. Haitink revels in the richness of the symphony's sound worlds and in the romantic heart which he finds in them all. This is a rich, big boned interpretation from the episodic feast of the first movement onwards, and there is surely no recording with a more appropriate acoustic.

The First in the cycle , 'A Sea Symphony" is startling, as conductor, orchestra and singers burn a new way to the heart of this huge work with a searingly intense first movement.

The Second, A London Symphony has many fine recordings. Here the louder passages are brash, boisterous and thoroughly urban. Vaughan Williams loved city life and would surely have approved.

The Third, A Pastoral Symphony is one of the most striking reinterpretations here, and perhaps the hardest to take for traditionalists. Boult's mystical manipulation of blocks of chords with solo instruments floating above them is replaced with lyrical argument.

The furies at the heart of the Fourth Symphony are set free to great effect, as they are in the Sixth Symphony. Haitink excels in the demonic dance music in both symphonies and the jazz elements in the Sixth are enthusiastically articulated

If the interpretation of the Pastoral Symphony is striking, that of the 8th is a complete transformation, and one that convinces. No longer is this a small symphony, here it is the considerable utterance of a master.

The Fifth symphony is its radiant self, but the questions that also inhabit the score are welcomed, giving this performance light and shade.

The Ninth Symphony, sometimes considered a difficult work sounds like a natural summation of Vaughan Williams musical journey. It is a suitable epitaph, autumnal but radiating vigour.

There are a number of filler works here, like the Symphonies some are radical reinterpretations. I am not convinced by this Variations on a Theme of Thomas Tallis. In The Lark Ascending the programme is forgotten and it becomes a one movement Concerto with a continuous violin line.

Haitink's interpretations are not for everyone. If you want modern a modern equivalent of Boult with good digital sound choose the Vernon Handley Set on Classics For Pleasure. That also has the benefit of a more generous selection of extra works. But if you want to hear exciting modern performances in exemplary sound snap up this bargain box.

Haitink vs Handley: too close to call?
For a RVW set, though there are several excellent bargains to choose from, choice really comes down to two EMI labelmates: Haitink and Handley. I think the Dutchman may just have the edge on his English rival, although neither will disappoint.

This set began in the late eighties with a magnificent Sinfonia Antartica, then came an equally splendid London Symphony and then a faultless Sea Symphony. The pattern was established.

Everyone has a different idea about which of the nine is RVW's best, so if I say that Haitink might even convince you No8 is in the running, you'll guess at how surprising his performances can be. This and Nos3-4 become expansive, more imposing creations. No5 is less ethereal than it can be, but portends a genuine sense of tragedy that befits its wartime origins. Nos6 & 9 are beyond praise (especially the latter).

what finally swayed me was (re)hearing Haitink's sublime recording of In The Fen Country, on the radio. Given that Handley's recordings are all available individually, I suggest you buy this slimline box and maybe supplement it with Handley's versions of Nos 3 & 5.

The only thing wrong with Haitink's box is the hideous colour scheme, but even that can't prevent it receiving 5 stars. A landmark issue.

Vaughan Williams enters the Canon of European Symphonists
2004 Has been a good year for Box Sets of Vaughan Williams Symphonies. Best of the bunch is this one from EMI with Bernard Haitink conducting the London Philharmonic Orchestra. Do not be put off by the lengthy gestation of the project, over 16 years between 1984 and 2000, there is a consistency of interpretation, performance and sound.

Haitink's first recording in the set of the 7th Symphony, the Sinfonia Antarctica is his manifesto. He takes Vaughan Williams out of the cosy world of 20th century British music and the interpretive shadow cast by Adrian Boult and places him in an ongoing tradition of European symphonists. Haitink revels in the richness of the symphony's sound worlds and in the romantic heart which he finds in them all. These are rich, big boned interpretations. Nowhere more so than in this 7th Symphony, from the episodic feast of the first movement onwards, and there is surely no recording with a more appropriate acoustic.

The First in the cycle , 'A Sea Symphony" is startling, as conductor, orchestra and singers burn a new way to the heart of this huge work with a searingly intense first movement.

The Second, A London Symphony has many fine recordings. Here the louder passages are brash, boisterous and thoroughly urban. Vaughan Williams loved city life and would surely have approved.

The Third, A Pastoral Symphony is one of the most striking reinterpretations here, and perhaps the hardest to take for traditionalists. Boult's mystical manipulation of blocks of chords with solo instruments floating above them is replaced with lyrical argument.

The furies at the heart of the Fourth Symphony are set free to great effect, as they are in the Sixth Symphony. Haitink excels in the demonic dance music in both symphonies and the jazz elements in the Sixth are enthusiastically articulated

If the interpretation of the Pastoral Symphony is striking, that of the 8th is a complete transformation, and one that convinces. No longer is this a small symphony, here it is the considerable utterance of a master.

The Fifth symphony is its radiant self, but the questions that also inhabit the score are welcomed, giving this performance light and shade.

The Ninth Symphony, sometimes considered a difficult work sounds like a natural summation of Vaughan Williams musical journey. It is a suitable epitaph, autumnal but radiating vigour.

There are a number of filler works here, like the Symphonies some are radical reinterpretations. I am not convinced by this Variations on a Theme of Thomas Tallis. In The Lark Ascending the programme is forgotten and it becomes a one movement Concerto with a continuous violin line.

Haitink's interpretations are not for everyone. If you want modern a modern equivalent of Boult with good digital sound choose the Vernon Handley Set on Classics For Pleasure. That also has the benefit of a more generous selection of extra works. If you want to hear exciting modern performances in exemplary sound snap up this bargain box.