Track Listing

Disc 1:

1. A Song For All Seas, All Ships - Andante Maestoso - London Symphony Chorus
2. On The Beach At Night, Alone - Largo Sostenuto - London Symphony Chorus
3. Scherzo: The Waves - Allegro Brillante - London Symphony
4. The Explorers - Grave E Molto Adagio - London Symphony Chorus

Disc 2:

1. Lento: Allegro Risoluto
2. Lento
3. Scherzo (Nocturne)
4. Andante Con Moto; Maestoso Alla Marcia; Allegro; Lento; Epilogue
5. Allegro Pesante - James Oliver Buswell IV
6. Adagio - James Oliver Buswell IV
7. Presto - James Oliver Buswell IV
8. Overture

Disc 3:

1. Molto Moderato - Douglas Cummings
2. Lento Moderato - Douglas Cummings
3. Moderato Pesante - Douglas Cummings
4. Lento - Douglas Cummings
5. Allegro
6. Andante Moderato
7. Scherzo: Allegro Molto
8. Finale Con Epilogo Fugato: Allegro Molto

Disc 4:

1. Preludio: Moderato
2. Scherzo: Prestso
3. Romanza: Lento
4. Passacaglia: Moderato
5. Explorer
6. Poet
7. Queen
8. Allegro Moderato - John Fletcher
9. Romanza: Andante Sostenuto - John Fletcher
10. Finale: Rondo Alla Tedesca - John Fletcher

Disc 5:

1. Allegro
2. Moderato
3. Scherzo: Allegro Vivace
4. Epilogue: Moderato
5. Moderato Maestoso
6. Andante Sostenuto
7. Scherzo: Allegro Pesante
8. Andante Tranquillo

Disc 6:

1. Spoken Introduction - The Ambrosian Singers
2. Prelude: Andante Maestoso - The Ambrosian Singers
3. Spoken Introduction - The Ambrosian Singers
4. Scherzo: Moderato; Poco Animato - The Ambrosian Singers
5. Spoken Introduction - The Ambrosian Singers
6. Landscape: Lento - The Ambrosian Singers
7. Spoken Introduction - The Ambrosian Singers
8. Intermezzo: Andante Sostenuto - The Ambrosian Singers
9. Spoken Introduction - The Ambrosian Singers
10. Epilogue: Alla Marcia Moderato (Ma Non Troppo) - The Ambrosian Singers
11. Fantasia (Variazioni Senza Tema)
12. Scherzo Alla Marcia (Per Stromenti A Fiato)
13. Cavatina (Per Stromenti Ad Arco)
14. Toccata

Product Details

• Amazon Sales Rank: #83785 in Music
• Released on: 2004-03-15
• Number of discs: 6
• Format: Box set
• Dimensions: .60 pounds
• Running time: 428 minutes

Customer Reviews

Vaughan Williams Symphonies - At their best !
Although some would say dated in some ways (1972)- Andre Previn's masterful interpretation of Ralph Vaughan Williams 9 Symphonies is still regarded by many as one of the finest renditions of the greatest of English composers. Originally available as LP's on the RCA Victor label, then cassette and ultimately CD's, they are still available today which is a testimony to Vaughan Williams and indeed Andre Previn's wonderful understanding of his work. Sir Ralph Richardson's poetry on Symphony 7 - Antarctica is a special treat to a work which Ralph Vaughan Williams originally wrote for the British film 'Scott of the Antarctic' starring the late John Mills. Purchase these recordings while they are still available - you won't be disappointed

Still the best RVW cycle?
I was introduced to the symphonies of Vaughan Williams in my teens through LPs of the complete cycle by Andre Previn and the LSO. These LPs have now been transferred to disc and have been made available again. They remain, after all these years and having listened to a number of other cycles, the best of the bunch, in my humble opinion.

Before moving to London, part of Andre Previn's background was in the theatre. As an American showman, he proved capable - and still is capable - of bringing out the drama inherent in the symphonic form, whilst at the same time producing a deeper understanding of the traits that make up each symphony.

There are two anecdotes I like about Previn's relationship to the music of RVW. I do not know if either is apocryphal. The first is that his third wife, Mia Farrow, came across him weeping whilst reading a RVW score (fifth symphony?); the second, that he induced the Vienna Philharmonic to play the Tallis Fantasia, after which some members of this august institution, being duly impressed by the piece, came up to Previn and asked him if RVW had written anything else!

This series of six CDs consists of not just the symphonies, but also a few other pieces thrown in which also appeared on the LPs. As for the symphonies themselves, I have rated Previn's performance as follows: -

Five stars - the first, second, and fifth symphonies;
Four stars - the third, fourth, seventh, eighth, and ninth symphonies; and
Three stars - the sixth symphony.

The unaccredited writer of the sleeve notes refers to "Whitman's ponderous and portentous poetry" and "the banality and rodomontade of Whitman's words" in RVW's FIRST symphony. The writer prefers "tunes of Portsmouth jolly tars and sea shanties ... with plenty of wind and spray in the notes." He (or she?) finds that the finale "is long and apparently rambling". Strange enthusiasm! There is a hushed awe that pervades much of RVW's music, a submission to an idea of the divine within us all, and this is mirrored in Whitman's poetry (the words of which are included in the booklet).

There is certainly no rambling in Previn's performance. The re-entry of the initial "Behold the Sea" is electric and disciplined with a marvellously clear distinction between different parts of the orchestra and the choirs, the brass and timpani very much to the fore. Overall, the whole performance is well-balanced. Previn captures the drama, successfully conveying the pathos as well as the joy.

The second CD in form is like a typical concert in reverse. Opening with his SECOND symphony ... there is a blistering opening to the finale. The transitions between sections are always well-handled. Previn knows through his own Broadway experience how to stage drama. Thus at the climax of the lento, a precise second of delay is engineered to produce the full effect of the music's flow.

Then follows RVW's violin concerto, officially the Concerto Accademico, and well-performed. The CD ends on a vigorously-played overture to the Wasps: a five-star performance.

CD3 features the THIRD and FOURTH symphonies. The third has great breadth but could have done with more depth. It is also too stark in places, when a more soft approach would have been appropriate. For example, the moderato pesante strives too hard and is too loud. But the intricate interplay of the instrumental groups is beautifully managed and Previn's interpretation is miles better than Boult's on EMI (but not as good as Bakels's on Naxos).

When the listener starts to surrender to the forces of aggression in RVW's fourth symphony, Previn is still fighting hard, relentlessly, taking the orchestra with him all the way to the line. The brass is on top form.

The fourth CD has arguably the best interpretation I have heard of the FIFTH symphony. The opening is marvellously controlled, like dawn suspended. What follows is perfectly paced. In the scherzo the contrasts are emphasised, revealing RVW's brilliant orchestration. This sets the right tone for the opening of the romanza: slow, subtle and stately. This hymn to nature, where woodwind mirror birdcalls, is perfectly played. There is a ghostly calm in the air at the end. Unfortunately the sound quality is less than perfect in places.

Then comes `Three Portraits from The England of Elizabeth'. For sure the Elizabethan feel is present, but the oft-bludgeoning orchestration by Muir Matheson does not sound like Vaughan Williams, who was more subtle. The pieces are well-played nevertheless. The final item on this CD is the Tuba Concerto, a playful and romantically coy piece.

The penultimate CD features both E minor symphonies, the sixth and the ninth. I consider the SIXTH to be a wonderfully cold symphony, its opening so reminiscent of Shostakovich, taking no prisoners. There is poor sound quality in the midst of the second movement. This is a shame because Previn catches the mood so right.

Previn's NINTH, at 38 minutes, is one of, if not the longest on disc. After the symphony's mysterious opening, Previn contrasts this with sheer power. Unfortunately, there is again distortion at moments of full breadth. The strong contrasts are carried forward into the second and third movements where the sound can be beautifully shimmering. The extra length is most pronounced in the final movement, the slowness adding a dramatic but sombre edge to the repeated four-note refrain.

The final CD features the remaining symphonies, the seventh and eighth. The SEVENTH has Ralph Richardson reading each movement's opening words. Each is separately cued on this CD, so the listener can dispense with these if desired. As for the music, Previn is good on the follow-through, maintaining the drama through different dynamics, realising that the story has to be told. It is a tribute to RVW that such a rich tone-colour can be derived from such a monochrome landscape.

There is alas the remains of a background crackle at the start of the third movement, the kind of crackle that one used to put up with on LPs. My only complaint with the performance is that the organ is not heavy enough in tone.

The EIGHTH has a perfectly gentle opening, the clarity and balance in the performance of these `variations in search of a theme' leading us often to find it. There is some slight distortion in the recording.

Magical performances and recording
Recoded in the late 1960's and early 70's, Previn's RCA cycle competed with Boult's second cycle for HMV. In almost all respects it was superior to the older man's, although it was often difficult for critics of the day to admit that the great champion and frind of VW had been outclassed by someone who had not been born with this music in his blood. Coming back to these recordings in re-mastered form is a revelation. Having previously tried the cycles by Handley, Haitink, Davis and Boult (1 & 2) I can now say without reservation that this set stands well above all others. Aside from the great insight and clarity of the interpretations, the recording quality is more spacious and vivid than the recent digital recordings. This set is well worth the extra cost if you love VW, or are just not sure at the moment. Like me, you may find it difficult to listen to other performances again.