{"product_id":"boultlpo-vaughan-williams-symphonies-more-1952-1958-pabx038","title":"BOULT\/LPO Vaughan Williams Symphonies \u0026 More (1952-1958) - PABX038","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonies 1 - 9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOld King Cole ‒ Ballet\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e English Folk Song Suite \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Norfolk Rhapsody No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Fantasia on Greensleeves\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Job ‒ A Masque for Dancing \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Wasps ‒ Aristophanic Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Partita for Double String Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Fantasia on a Theme by Thomas Tallis\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1952-1958\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIsobel Baillie\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMargaret Ritchie\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJohn Cameron\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, baritone\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJohn Gielgud\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, speaker\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Adrian Boult\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC672.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 1: A Sea Symphony (1953\/4) - PASC658\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cem\u003eA Sea Symphony\u003c\/em\u003e\nof Ralph Vaughan Williams was the composer’s first large-scale composition\nto receive a public performance and subsequent publication. (Two\nunpublished predecessors, also for vocal soloists, chorus, and orchestra,\nthat have emerged from manuscripts only in recent years are\u003cem\u003eThe Garden of Proserpine\u003c\/em\u003e from 1897–99 and \u003cem\u003eA Cambridge Mass \u003c\/em\u003efrom 1901, the latter submitted for the D.Mus.\ndegree at Cambridge.) RVW began work on the score, originally envisioned as\na cantata titled \u003cem\u003eOcean\u003c\/em\u003e, in 1903 or 1904; in her biography of her\nhusband, Ursula Vaughan Williams mentions that he was working on it during\na 1904 vacation in Yorkshire. In 1906 he wrote to Gustav Holst that the\nscoring of the second movement was done, and the whole was completed in\n1907, though revisions would be made right up to its premiere. Influences\nupon it include the cantata \u003cem\u003eInvocation to Music\u003c\/em\u003e of his revered\nteacher, C. H. H. Parry; Elgar’s \u003cem\u003eThe Dream of Gerontius\u003c\/em\u003e; and \u003cem\u003eSea Drift\u003c\/em\u003e of Frederick Delius. (During his studies with Ravel in\n1907, RVW hunted down Delius in Paris and played the entire work for him,\neliciting the laconic rejoinder, “Vraiment, il n’est pas mesquin”—Truly, it\nis not shabby.)\n\u003c\/p\u003e\n\u003cp\u003e\nThe premiere was given at the Leeds Music Festival on 12 October 1910,\nRVW’s 38th birthday, with the composer on the podium. The soloists were\nsoprano Cicely Gleeson-White and baritone James Campbell McInness; the\nrenowned dramatic soprano Agnes Nicholls (wife of Hamilton Harty), whom RVW\noriginally had in mind in writing that solo part, would sing with McInness\nin subsequent performances elsewhere. Despite the now famous words of\nencouragement from timpanist C. A. Henderson—“Give us a square\nfour-in-the-bar, and we’ll do the rest”—RVW was diffident as to how the\ninitial performance went, even describing it in a 1941 letter as “a\ncomplete flop.” Aside from his own lack of sufficient experience as a\nconductor, it certainly could not have boosted his confidence when a\nnervous McInness said to him, “If I stop, you’ll go on, won’t you?” In\nfact, though, reviews were quite positive. Herbert Thompson of the \u003cem\u003eYorkshire Post\u003c\/em\u003e perceptively observed, “The music is difficult,\nunnecessarily so, one would imagine, for probably the desired effect might\nhave been obtained with less complication and fewer awkward passages, but\nhowever this may be, it strikes one as sincere, highly poetic in feeling,\nand showing the power to deal with a big canvas. The ideas are never puny\nor finicking, and the music has breadth and grandeur….” The critics for the \u003cem\u003eLondon Times\u003c\/em\u003e and \u003cem\u003eManchester Guardian \u003c\/em\u003ewere even more\nenthusiastic, without reservations. Thanks to championing by Hugh Percy\nAllen (1869–1946), who in 1918 both succeeded Parry as a professor of music\nat Oxford and became director of the Royal College of Music in London, the\nsymphony had further performances at Oxford in 1911 (which RVW found far\nmore satisfactory) and London in 1913. But it was a 19 June 1919\nperformance, directed by Allen for presentation of an honorary Oxford\ndoctorate to the composer, that is often considered to have established the\nwork in the standard repertoire in England.\n\u003c\/p\u003e\n\u003cp\u003e\nThe subsequent success of \u003cem\u003eA Sea Symphony\u003c\/em\u003e was also due in no small\nmeasure to the advocacy of Sir Adrian Boult (1889–1983). As an\nundergraduate at Oxford he came under the tutelage of Allen; he sang as a\nchorister in a performance of \u003cem\u003eToward the Unknown Region\u003c\/em\u003e in 1909,\nattended the first two performances of \u003cem\u003eA Sea Symphony\u003c\/em\u003e, and was\nintroduced to RVW in 1912. Boult conducted the symphony himself beginning\nin 1924, and assiduously promoted it thereafter; at a 1930 London\nperformance, RVW’s first wife Adeline wrote to a friend, “Adrian Boult must\nbe overworking, he is nothing but a black streak in a white waistcoat….”\nDuring his 20 years as director of music at the BBC, Boult used his\nposition to promote the music of English composers, above all Elgar and\nVaughan Williams. While the two men were not close personal friends, their\nrelationship was more than cordial. To this day, Boult remains the\nunrivalled champion of RVW’s music on disc, with over 60 recordings of 36\ndifferent works that includes two complete cycles of the nine symphonies,\nwith the present 1953 recording coming from the first cycle. Fittingly, on\n20 February 1983, two days before his death, Boult asked his wife to play\nfor him his second, stereo recording of \u003cem\u003eA Sea Symphony\u003c\/em\u003e; it was the\nlast music he was to hear in this life.\n\u003c\/p\u003e\n\u003cp\u003enotes by \u003cb\u003eJames Altena\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 2: Symphonies 2 \u0026amp; 3 - London \u0026amp; Pastoral (1952) - PASC662\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe genesis of Vaughan Williams’s “London” Symphony, as recounted twice by\nthe composer (in his essays “A Musical Autobiography” and “George\nButterworth”) is well known. One day in 1910, Butterworth “said in his\ngruff, abrupt, manner: ‘You know, you ought to write a symphony.’ I\nanswered, if I remember aright, that I had never written a symphony and\nnever intended to.” As RVW admitted, “This was not strictly true”—twice\nbefore he had drafted movements of projected symphonies, “all now happily\nlost. I suppose that Butterworth’s words stung me” and in 1912–13 he worked\nup sketches originally intended for a symphonic poem into the symphony. It\nseems, then, as if he initially considered \u003cem\u003eA Sea Symphony\u003c\/em\u003e to be an\nextended secular cantata, and the “London” Symphony his first proper\nsymphony. He showed his work to Butterworth as it progressed, “and it was\nthen that I realized that he possessed, in common with very few composers,\na wonderful power of criticism of other men’s work and insight into their\nideas and motives. I can never feel too grateful to him for all he did for\nme over this work.” After Butterworth died in combat in World War I, RVW\ndedicated the score to him. In his old age he declared it to be his\nfavorite among his own symphonies.\n\u003c\/p\u003e\n\u003cp\u003e\nGeoffrey Toye conducted the premiere with the Queen’s Hall Orchestra at its\nhome venue on Friday, March 27, 1914. Critical reaction was overwhelmingly\nlaudatory; the critic for the \u003cem\u003eDorking and Leatherhead Advertiser\u003c\/em\u003e\ndeclared that it was “not only the most masterly, but also the most\nbeautiful work, musically or psychologically considered, from the pen of\nany musician of his generation that we have heard in recent years”; that\nfor \u003cem\u003eJ. P.’s Weekly \u003c\/em\u003eopined that it was “a symphony that is full of\nnoble and unforgettable music.” There were a few dissenting voices; reviews\nin the \u003cem\u003eGlobe \u003c\/em\u003eand \u003cem\u003eTruth\u003c\/em\u003e were tepid, while H. A. Scott for \u003cem\u003eThe Westminster Gazette\u003c\/em\u003e dismissed it outright as “for the most\npart very dry and labored … dull in the extreme.” Most writers rightly\ngrasped that the symphony was intended to be psychologically evocative of\nstates of mind in beholding aspects of London, rather than graphically\npictorial in the manner of a symphonic poem; in RVW’s own words it was a\n“work written solely in music and meant to appeal solely to the musical\nimagination of the hearers.” The \u003cem\u003eLento\u003c\/em\u003e was singled out for its\nparticular beauty. Several critics agreed that the finale was the weakest\nlink and would be improved by being shortened. In the two bouts of\nrevisions that RVW undertook in 1918–20 and 1933 he pruned that movement\nconsiderably, resulting in the version generally familiar today, though\nboth the original 1913 and intermediate 1920 scores have also enjoyed\nrecordings.\n\u003c\/p\u003e\n\u003cp\u003e\nThe “Pastoral” Symphony was composed in the aftermath of the war in\n1919–20. This work often is alleged to have prompted Peter Warlock’s famous\ngibe that RVW’s music “is all just a little too much like a cow looking\nover a gate” (in fact Warlock had high praise for this symphony). This gave\nrise to the derisive nickname of “Cow Pat” school (coined by Elizabeth\nLutyens in 1950) for the so-called “English Pastoralist” composers such as\nRVW, Butterworth, Finzi, Ireland, and Moeran. But the composer himself\nwrote in 1938 to Ursula Wood that the score “is really \u003cem\u003ewar time\u003c\/em\u003e\nmusic … it’s not really Lambkins frisking at all as most people take for\ngranted,” an embodiment of his reminiscences of fields in France where he\nserved in the war as a medical orderly, and an elegy to those who fell\nthere in combat. The famous trumpet tune in the second movement provided an\ninitial idea for the work when a regimental bugler accidentally played an\ninterval of a seventh instead of an octave.\n\u003c\/p\u003e\n\u003cp\u003e\nThe premiere was given by Adrian Boult on January 16, 1922, with the London\nPhilharmonic and soprano soloist Flora Mann. Most critics seem to have been\na bit nonplussed by the score’s sustained, subdued mood throughout its four\nmovements; Ernest Newman penned a sour diatribe against it for \u003cem\u003eThe Sunday Times\u003c\/em\u003e. Only recently have its many virtues gained\nproper appreciation; the present recording was its premiere on discs.\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJAMES ALTENA\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 3: Symphonies 4 \u0026amp; 5 (1953) - PASC665\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nComposed in 1931–34 and dedicated to Arnold Bax, the Fourth Symphony of\nVaughan Williams notoriously represents for many listeners a bewildering\ndeparture from his usual compositional style. Although fellow composers\nwaxed enthusiastic – William Walton supposedly said that it was “the\ngreatest symphony since Beethoven” – critical reception was far cooler.\nWriting in \u003cem\u003eThe Manchester Guardian\u003c\/em\u003e on April 11, 1935, the day\nafter the premiere, Neville Cardus opined: “Vaughan Williams is becoming an\nenigma. A few years ago he was one of our purest melodists, drawing his\nsimple accents from English folk-tunes. To-day he is everything but a\nmelodist. His new symphony, played superbly to-night by the B.B.C.\nOrchestra under Dr. Boult, has many admirable orchestral qualities, but a\nman might as well hang himself as look in the work for a great tune or\ntheme…. I decline to believe that a symphony can be made out of a method,\nplus gusto.”\n\u003c\/p\u003e\n\u003cp\u003e\nThe Fourth represents a departure from the essentially poetic and\ndiscursive veins of RVW’s first three symphonies: It is far more taut and\nabstract, more academically rigorous in its formal procedures, as well as\nfar more jagged and bitingly dissonant in its thematic contours and\nharmonics. As in the Piano Concerto from 1926–31, one hears the composer\ngrappling with the compositional idioms of Bartók and Hindemith. The\nscore’s “meaning” remains controversial. Its blazing fierceness often later\nwould be seen as prophetic of the catastrophes of totalitarianism and war\nsoon about to engulf Europe. In an October 1958 essay in the \u003cem\u003eMusical Times\u003c\/em\u003e, Boult asserted that RVW “foresaw the whole thing\n[i.e. war] and surely there is no more magnificent gesture of disgust in\nall music than the final open fifth when the composer seems to rid himself\nof the whole hideous idea.” But in a letter from December 1937, RVW denied\nsuch associations: “I wrote it not as a definite picture of anything\nexternal – e.g. the state of Europe – but simply because it occurred to me\nlike this.” On the other hand, RVW’s biographer Michael Kennedy saw the\nwork as “a kind of self-portrait: the towering rages of which Vaughan\nWilliams was capable, his robust humour, his poetic nature,” and a friend\nwrote to RVW after the premiere that “I recognized your poisonous temper in\nthe scherzo.” Perhaps the best and last word is the composer’s exasperated\nrejoinder, “It never seems to occur to people that a man might just want to\nwrite a piece of music.”\n\u003c\/p\u003e\n\u003cp\u003e\nThe Fifth Symphony, composed between 1938 and 1943, is the Fourth’s\nantipode in spirit and temperament, though structurally both works employ\ncyclical forms, with the finales bringing back materials from the opening\nmovements. However, rather than reverting back to the style of the first\nthree symphonies, the Fifth instead moved forward to break new ground as\none of RVW’s most spiritually profound works. The composer had been\nlaboring since 1906 on an opera based on John Bunyan’s \u003cem\u003eThe Pilgrim’s Progress\u003c\/em\u003e; doubtful of its completion (he would\nfinally finish it in 1949), he recycled some of its materials into music\nfor a dramatic radio presentation and this symphony. Although not printed\nin the published version, the manuscript of the \u003cem\u003eRomanza\u003c\/em\u003e third\nmovement that forms the heart of the work quotes the following lines from\nBunyan’s work: “Upon that place there stood a cross, And a little below a\nsepulchre … Then he said, ‘He hath given me rest by his sorrow and Life by\nhis death.’” Frank Howes, writing in \u003cem\u003eThe Times\u003c\/em\u003e on 25 June 1943,\nthe day after the premiere under RVW’s baton, rightly discerned that the\nwork is “therefore essentially apocalyptic, but in the only way possible to\nthe composer, that of quiet contemplation, not of a sudden or dramatic\nrevelation. It seems to absorb into itself and sum up all that he has ever\nwritten, and to give us a restatement of his whole philosophy now proved by\nlife’s experience. It is not too much to say that this belongs to that\nsmall body of music that, outside of late Beethoven, can properly be\ndescribed as transcendental.” Due to wartime difficulties in\ncommunications, the score’s frontispiece reads, “Dedicated without\npermission to Jean Sibelius.” Boult subsequently secured Sibelius’s\nconsent, and after hearing a broadcast performance the Finnish composer\nwrote: “This Symphony is a marvelous work.... The dedication made me feel\nproud and grateful.” \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eJAMES ALTENA\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 4: Symphonies 7 \u0026amp; 8 (1953\/56) - PASC668\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\nAs is well known, Vaughan Williams created his \u003cem\u003eSinfonia antartica\u003c\/em\u003e out of the film score he created for the\n1948 film \u003cem\u003eScott of the Antarctic\u003c\/em\u003e. Greatly moved by its subject\nmatter, the composer actually wrote some 996 bars of music before\nreceiving the actual film script. Only about half of that music made\nits way into the film, but RVW was by then already contemplating\nwriting a symphony with the whole. Due to work on other projects,\nnotably completion of his opera \u003cem\u003eThe Pilgrim’s Progress\u003c\/em\u003e after\n45 years’ gestation, the symphony was not finished until early 1952.\nRVW dedicated it to Kelville Ernst Irving (1878–1953), the veteran\ntheater director and music director at Ealing Studios, who had\ncommissioned the film score. The premiere was given by John Barbirolli\nand the Hallé Orchestra and Choir, with soprano Margaret Ritchie, on 14\nJanuary 1953; performances in London, Chicago, and Sydney followed soon\nthereafter. The initial reviews, all extremely favorable, dovetailed in\nmaking much the same points: comparison to Beethoven’s “Pastoral”\nSymphony as a programmatic yet truly symphonic depiction of nature; a\nbreaking of new stylistic ground by an octogenarian composer at the\nheight of his creative powers, whose creativity continued to evolve;\nthe work’s unconventional structure; the extremely colorful\norchestration, with use of organ, vibraphone, and wind machine; and the\nvirtuoso execution by the performers.\n\n\u003c\/p\u003e\n\u003cp\u003e\nBy contrast, the Symphony No. 8, composed in 1953–55 and premiered on 2 May\n1956 by the same conductor and orchestra and dedicated to the former (“For\nGlorious John”), although received enthusiastically by its first audiences,\nprovoked widely divided reactions from critics. Whereas RVW’s first seven\nsymphonies were all considered to have explicit or implicit programs, for\nthe first time he was seen to be offering a purely abstract work in that\ngenre. Somewhat provocatively, he described the first movements as “seven\nvariations in search of a theme” and said that the work utilized “a large\nsupply of extra percussion, including all the 'phones and 'spiels known to\nthe composer.” The negative notices duly seized upon these details to fault\nthe work for deficit of form, dearth of inspiration, and reliance upon\ngimmickry.\n\u003c\/p\u003e\n\u003cp\u003e\nWriting in \u003cem\u003eThe Manchester Guardian\u003c\/em\u003e (May 3), Colin Mason charged\nthat “the new symphony does not quite satisfy as a complete musical form.”\nWhile offering guarded praise for the first three movements, he excoriated\nthe finale: “[T]he clattering din of the last movement, in which the whole\npercussion array is in action almost throughout, has no justification as a\nresolution of what has gone before, nor any in relation to the real musical\ncontent of the movement itself, which would have been more satisfying\nwithout this added noise, the only effect of which is to draw attention to\nthe flimsiness and poverty of the material. This is the weakest movement in\nthe symphony, at the bottom of the decline the work describes in its\nprogress from first movement to last, a slight decline through the first\nthree movements and a very steep one in the last.” Writing in \u003cem\u003eThe Observer\u003c\/em\u003e (May 6), Peter Heyworth patronizingly characterized\nthe piece as “a relatively slight affair. But just because it is so\nunpretending, it leaves in the main a pleasing impression,” and then damned\nnot only the finale but the composer’s competence: “In the finale … he\nunlooses an orchestral tornado which sweeps up every hitting instrument\nwithin reach…. But this orgy is as unaccomplished as it is inappropriate.\nThe trouble is that in matters of orchestral virtuosity Dr. Vaughan\nWilliams remains an invincible amateur…. [I]t was just as well that Ravel\nwas not present at the Free Trade Hall to hear what his old pupil was up\nto.” By contrast, Felix Aprahamian in \u003cem\u003eThe Times\u003c\/em\u003e (May 6) declared:\n“From first to last, every bar of this admirably transparent score bears\nthe hall-mark \"R.V.W.\" This eighth symphony may well become the most loved\nand popular of the series.” Also in \u003cem\u003eThe Times\u003c\/em\u003e (May 15), Frank\nHowes found that the summary statement of the finale’s chief themes\n“carries the argument to a satisfactory conclusion” and that a repeat\nhearing “removed some doubts” about the first movement as well.\n\u003c\/p\u003e\n\u003cp\u003e\nIn these two symphonies only, Boult’s recordings were not disc premieres,\nas the world premiere performers waxed them a few months earlier for HMV\nand Pye Nixa, respectively. The broadcast of the world premiere performance\nof the Eighth also has been released. Soprano Margaret Ritchie appears in\nboth versions of the \u003cem\u003eSinfonia antartica\u003c\/em\u003e, with Boult’s rendition\nadding readings by Sir John Gielgud of the prefatory quotations to each\nmovement, a practice adopted by only five of seventeen recordings of that\nwork released to date.\n\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eJAMES ALTENA\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT A Vaughan Williams Extravaganza (1953-56) - PASC672\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nAlthough Boult had catholic tastes in repertoire, and was a doughty\nchampion of 20th-century music during his tenure as head of the BBC\nSymphony, record companies (primarily HMV, EMI, Decca, Pye Nixa, and\nLyrita) largely confined him to British repertoire, above all Elgar and\nVaughan Williams. (Interestingly, though, the next most prominent name in\nBoult’s discography is Tchaikovsky!) In the years following his 1952–54\nseries of RVW’s first seven symphonies, with Nos. 8 and 9 following in 1956\nand 1958, Boult recorded a number of mostly shorter works by that composer,\nmost of which are presented here. The\u003cem\u003eFantasia on a Theme by Thomas Tallis\u003c\/em\u003e,\u003cem\u003eFantasia on Greensleeves\u003c\/em\u003e, \u003cem\u003eEnglish Folk Song Suite\u003c\/em\u003e, and \u003cem\u003eNorfolk Rhapsody\u003c\/em\u003e No. 1 were recorded for Pye Nixa (under the\npseudonym “Philharmonic Promenade Orchestra” for contractual reasons) in\n1953, and \u003cem\u003eOld King Cole\u003c\/em\u003e, \u003cem\u003eJob\u003c\/em\u003e, \u003cem\u003eThe Wasps\u003c\/em\u003e, and The\nPartita for Double String Orchestra (the last-named in stereo) for Decca in\n1953–56.\n\u003c\/p\u003e\n\u003cp\u003e\nBoult recorded the \u003cem\u003eTallis Fantasia\u003c\/em\u003e five times in the studio; a\nlive performance from 1972 also has been issued. Strikingly, his\ninterpretation of the piece changed markedly between his two monaural\nrecordings (BBC 1940 and London Philharmonic 1953) and his three stereo\nversions (Vienna State Opera Orchestra 1959, London Philharmonic 1969 and\n1975) and live account (New Philharmonia 1972). In the former two the\nperformance is brisk, coming in at slightly over 14 minutes; in the latter\nfour, it expands to slightly over 16 minutes. More strikingly yet, whereas\nthe 1940 BBC version, despite more antiquated sound, matches the four later\nrecordings for lushness of string texture, the 1953 account heard here\nradically shifts the emphasis to rhythmic incisiveness and clarity of the\ninterweaving lines. It thus represents a unique take by Boult on the work,\nthat more than justifies its restoration to the active catalog.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eJob\u003c\/em\u003e\nwas another favorite RVW score of Boult’s—indeed, the score is dedicated to\nhim. He recorded it in the studio four times (BBC SO 1946, London\nPhilharmonic 1954 and 1958, and London Symphony 1970), plus a live\nperformance with the London Philharmonic filmed in 1972 and available on\nDVD. Of these, the 1946 version suffers both outdated sonics and a degree\nof metrical stiffness, while the 1958 Everest recording is too closely\nmiked and rather harsh sounding. The remaining three are all excellent;\nwhile this 1954 version (like the live 1972 outing) is less hard-driving\nthan the 1970 account, it has no lack of energy or nobility and makes a\ngreat effect even today.\n\u003c\/p\u003e\n\u003cp\u003e\nBy contrast, this 1953 recording of the 1923 folk dance ballet \u003cem\u003eOld King Cole\u003c\/em\u003e is not only the only recording of the work by Boult;\nit apparently remains one of only three recordings ever made (the other two\nbeing by Richard Hickox for EMI, and an acoustical set led by the composer\nin 1925).\n\u003c\/p\u003e\n\u003cp\u003e\nThe \u003cem\u003eFantasia on Greensleeves\u003c\/em\u003e (drawn from the 1928 opera \u003cem\u003eSir John in Love\u003c\/em\u003e) and 1923 \u003cem\u003eEnglish Folk Song Suite\u003c\/em\u003e were\nrecorded in tandem by Boult three times, with the London Philharmonic in\n1953, the Vienna State Opera Orchestra in 1959, and the London Symphony in\n1970. All three sets are delightful and more or less on a par.\n\u003c\/p\u003e\n\u003cp\u003e\nThe \u003cem\u003eNorfolk Rhapsody \u003c\/em\u003eNo. 1 is, after the \u003cem\u003eTallis Fantasia\u003c\/em\u003e,\nfar and away the most often recorded work of RVW among the items included\nin this present set. Originally written in 1905–06 and revised in 1914, it\nis generally considered to be RVW’s first orchestral piece to speak in his\ndistinctive voice. Boult would re-record it with the New Philharmonia in\n1968; this earlier 1953 version is more extroverted in mood.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Partita for Double String Orchestra from 1948, reworked from the\nearlier unsatisfactory version of a double trio for string sextet, is\nanother RVW rarity. Apart from Boult, who again recorded it twice (the\nsecond time with the London Philharmonic in 1975), apparently only four\nother conductors—John Farrer, Vernon Handley, Ross Pople, and Bryden\nThompson—have set it down on disc. As with the Tallis Fantasia, Boult\nsignificantly changed his interpretation of the Partita between his two\nversions; this earlier 1956 version has a far more ponderous opening\nmovement and thicker instrumental textures throughout, but a brisker, more\nfebrile finale than in the EMI remake.\n\u003c\/p\u003e\n\u003cp\u003e\nBoult also recorded the delightful incidental music for Aristophanes’s \u003cem\u003eThe Wasps\u003c\/em\u003e from 1909 twice, the second time with the London\nPhilharmonic in 1968; he also recorded just the overture for Everest in\n1958 and the march for Lyrita in 1973. If the latter version has more vivid\nrecorded sound, the earlier one from 1953–54 has a more energetic snap to\nit.\n\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eJAMES ALTENA\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 5: Symphonies 6 \u0026amp; 9 (1953\/58) - PASC673\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe Sixth and the Ninth Symphonies of Vaughan Williams make apt discmates.\nBoth share the same home key of E Minor, and open in dark, dramatic\nconflict but close in quiet, unresolved mystery. (Regarding the finale to\nthe Sixth, RVW quoted the famous lines from Shakespeare’s \u003cem\u003eThe Tempest\u003c\/em\u003e: “We are such stuff as dreams are made on, and our\nlittle life is rounded with a sleep.”) Both also exemplify the exploration\nof new instrumental colors and more dissonant harmonies that became\nsignatures of the composer’s late period compositions.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Symphony No. 6 was composed in 1944–47 and premiered on 21 April 1948\nby Adrian Boult and the BBC Symphony. Initial reviews were uniformly\nlaudatory, if somewhat patrician in tone, as illustrated by Ernest Newman’s\nnotice in the \u003cem\u003eSunday Times\u003c\/em\u003e on 25 April 1948: “Whether Vaughan\nWilliams's new symphony … will soon achieve the popularity of some of its\npredecessors I cannot say;… but it is clear already that here we have a new\nVaughan Williams, and a Vaughan Williams at the height of his powers.\nSuperficially it links up in mood now with the vehement Fourth, now with\nthe mysticism of certain others of his works. But it would be a mistake to\nregard the No. 6 as merely a re-travelling, even a superior re-travelling,\nof the old routes. It reveals a new order of ideas and a new logic in the\nhandling of them. It is the work of a mind at once sensitive and powerful\nthat at long last has succeeded in bringing its whole kingdom of thought\nand emotion under unified control; and in the light of it we shall now be\nable to listen to the composer's older works in a new way.”\n\u003c\/p\u003e\n\u003cp\u003e\nJust as the Fourth Symphony was for some time seen as a harbinger of the\nviolence that overtook Europe in the 1930s and 1940s with fascism and war,\nthe Sixth was likewise initially viewed as a “war” symphony. While such\ninterpretations fiercely annoyed RVW, in the case of the Sixth it fitted\nthe public mood, and the work was embraced enthusiastically. The first two\nrecordings of it were made almost simultaneously, by Leopold Stokowski and\nthe New York Philharmonic on 21 February 1949, and by Boult with the London\nSymphony on 23–24 February. In 1950 RVW significantly revised the scherzo\nmovement; Boult promptly recorded the new version, which displaced the\nprevious one in 78rpm and LP releases, though CD releases have featured\nboth.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Ninth Symphony, composed in 1956–57, was premiered by Malcolm Sargent\nand the Royal Philharmonic on 2 April 1958 (the broadcast of that\nperformance was previously released on PASC234). As with the Eighth\nSymphony, it left most critics nonplussed; Harold C. Schonberg in the \u003cem\u003eNew York Times\u003c\/em\u003e was virtually alone in hailing it “a masterpiece.”\nIn the \u003cem\u003eManchester Guardian\u003c\/em\u003e on 3 April, Colin Mason sniffed, “The\nkey is E minor, the same as that of the sixth, and the composer has\nfollowed the precedent he set with that work of introducing his symphonies\nwith a facetious analytical programme note of his own, in which he tilts at\nthe professional analysers of musical forms…. Other strange notions nod in\nthis composer's head. There is a march theme in the slow movement described\nby him as ‘barbaric.’ Later in the movement there is a ‘menacing’ stroke on\nthe gong, introducing a ‘sinister’ recapitulation of an earlier theme…. The\ngong stroke makes no effect at all, and the supposedly barbaric march\ntheme, in the pseudo-Chinese vein of the Eighth Symphony, is the silliest\nand poorest music in the work.” Three days later in the same publication,\nAdam Bell, while more positive in overall tone, observed: “[T]o complain\nthat Vaughan Williams's Ninth lacks a coherent and consistent programme is\nreally another way of saying that it does not quite convince as a piece of\nmusic. As a composer Vaughan Williams has always appeared to work best in\nresponse to the stimulus of an idea which, in musical terms, may be called\nphilosophic; his most satisfying symphonies – 4, 5 and, perhaps, 6 – are\nall undeniably ‘about’ something. The new work does not seem (after two\nhearings) to have been written under the same pressure of experience.” As\nis now known, the Ninth originally did have a programmatic basis, in Thomas\nHardy’s \u003cem\u003eTess of the d’Urbervilles\u003c\/em\u003e, with draft references to\nStonehenge, Salisbury Plain, Wessex, and Tess herself, all deleted before\nthe score was finished. While the Eighth unjustly still languishes as RVW’s\nleast often performed symphony, in recent decades the Ninth has won\nincreased understanding and popularity, as a fitting capstone to the\ncomposer’s compositional career.\n\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eJAMES ALTENA\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 1: A Sea Symphony (1953\/4) - PASC658\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eVaughan Williams Symphonies, Volume 1\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A Sea Symphony \u003cbr\u003e(Symphony No. 1)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e1st mvt. - A Song for All Seas, All Ships\u003c\/b\u003e\u003cbr\u003e1. (1)  Behold, the sea itself  (3:28)\u003cbr\u003e2. (2) Today a rude brief recitative  (5:04)\u003cbr\u003e3. (3) Flaunt out, O sea, your separate flags of nations!  (3:02)\u003cbr\u003e4. (4) Token of all brave captains  (4:14)\u003cbr\u003e5. (5) A pennant universal  (3:42)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e2nd mvt. - On the Beach at Night, Alone\u003c\/b\u003e\u003cbr\u003e6. (1) On the Beach at Night, Alone  (3:53)\u003cbr\u003e7. (2) A vast similitude interlocks all  (7:49)\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003e3rd mvt. - Scherzo - The Waves\u003c\/b\u003e  (7:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e4th mvt. - The Explorers\u003c\/b\u003e\u003cbr\u003e9. (1) O vast Rondure, swimming in Space  (4:12)\u003cbr\u003e10. (2) Down from the gardens of Asia descending  (7:30)\u003cbr\u003e11. (3) O we can wait no longer  (5:14)\u003cbr\u003e12. (4) O thou transcendent  (3:26)\u003cbr\u003e13. (5) Greater than stars or suns  (1:25)\u003cbr\u003e14. (6) Sail forth  (2:34)\u003cbr\u003e15. (7) O my brave Soul!  (4:31)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eIsobel Baillie\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eJohn Cameron\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eLondon Philharmonic Choir \u0026amp; Orchestra   \u003c\/b\u003e\u003cbr\u003echoir directed by \u003cb\u003eFrederick Jackson\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003eRecorded 28-30 December 1953 \u0026amp; 1 January 1954, Kingsway Hall, London\u003cbr\u003e\u003cbr\u003eTotal duration:  67:20  \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 2: Symphonies 2 \u0026amp; 3 - London \u0026amp; Pastoral (1952) - PASC662\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eVaughan Williams Symphonies, Volume 2\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A London Symphony\u003c\/span\u003e (Symphony No. 2)\u003cbr\u003e1. 1st mvt. - Lento - Allegro resoluto  (13:20)\u003cbr\u003e2. 2nd mvt. - Lento  (11:04)\u003cbr\u003e3. 3rd mvt. - Scherzo (Nocturne)  (7:03)\u003cbr\u003e4. 4th mvt. - Finale. Andante con moto - Maestoso alla marcia - Lento - Epilogue  (12:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Pastoral Symphony \u003c\/span\u003e(Symphony No. 3)\u003cbr\u003e5. 1st mvt. - Molto moderato  (9:43)\u003cbr\u003e6. 2nd mvt. - Lento moderato  (8:19)\u003cbr\u003e7. 3rd mvt. - Moderato pesante  (6:22)\u003cbr\u003e8. 4th mvt. - Lento  (10:53)\u003cbr\u003e\u003cb\u003eMargaret Ritchie\u003c\/b\u003e, soprano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003e\u003cb\u003e\u003cbr\u003eA London Symphony\u003c\/b\u003e\u003cbr\u003eRecorded 8 \u0026amp; 10 January 1952\u003cbr\u003eKingsway Hall, London\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePastoral Symphony\u003c\/b\u003e\u003cbr\u003eRecorded 12-13 December 1952\u003cbr\u003eKingsway Hall, London\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:17 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 3: Symphonies 4 \u0026amp; 5 (1953) - PASC665\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eVaughan Williams Symphonies, Volume 3\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No.4 in F minor\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro  (9:10)\u003cbr\u003e2. 2nd mvt. - Andante moderato  (10:10)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro molto  (5:44)\u003cbr\u003e4. 4th mvt. - Finale con epilogo fugato. Allegro molto  (9:31)\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No.5 in D major\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Preludio. Moderato  (11:01)\u003cbr\u003e6. 2nd mvt. - Scherzo. Presto  (4:58)\u003cbr\u003e7. 3rd mvt. - Romanza. Lento  (10:58)\u003cbr\u003e8. 4th mvt. - Passacaglia. Moderato  (10:23)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cbr\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003eRecorded 2, 3 \u0026amp; 5 December 1953, Kingsway Hall, London\u003cbr\u003eProduced by John Culshaw \u0026amp; James Walker\u003cbr\u003eEngineered by Kenneth Wilkinson\u003cbr\u003eRecordings supervised by the composer\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  71:55  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 4: Symphonies 7 \u0026amp; 8 (1953\/56) - PASC668\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eVaughan Williams Symphonies Volume 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Sinfonia antartica (Symphony No. 7)\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Prelude: Andante maestoso  (10:53)\u003cbr\u003e2. 2nd mvt. - Scherzo: Moderato  (5:50)\u003cbr\u003e3. 3rd mvt. - Landscape: Lento  (11:26)\u003cbr\u003e4. 4th mvt. - Intermezzo: Andante sostenuto  (6:22)\u003cbr\u003e5. 5th mvt. - Epilogue: Alla marcia, moderato ma non troppo  (10:59)\u003cbr\u003e\u003cb\u003eMargaret Ritchie\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eJohn Gielgud\u003c\/b\u003e, speaker\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No.8 in D major\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Fantasia: Variazioni senza tema  (11:07)\u003cbr\u003e7. 2nd mvt. - Scherzo alla marcia (per stromenti a fiato)  (3:55)\u003cbr\u003e8. 3rd mvt. - Cavatina (per stromenti ad arco)  (8:08)\u003cbr\u003e9. 4th mvt. - Toccata  (5:02)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra \u003c\/b\u003e  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSinfonia antartica \u003c\/b\u003e(\u003ci\u003eAmbient Stereo\u003c\/i\u003e)\u003cbr\u003eProduced by John Culshaw \u0026amp; James Walker\u003cbr\u003eRecorded 10,11 December 1953\u003cbr\u003eRecording supervised by the composer\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSymphony No. 8\u003c\/b\u003e (\u003ci\u003estereo\u003c\/i\u003e)\u003cbr\u003eProduced by Christopher Whelan\u003cbr\u003eRecorded 7-8 September 1956\u003cbr\u003e\u003cbr\u003eRecorded at Kingsway Hall, London\u003cbr\u003eEngineered by Kenneth Wilkinson\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  73:42  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT A Vaughan Williams Extravaganza (1953-56) - PASC672\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eA Vaughan Williams Extravaganza\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (79:45)\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Fantasia on a Theme by Thomas Tallis\u003c\/span\u003e  (15:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 \u0026amp; 14-15 September 1953, Walthamstow Assembly Hall\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Job - A Masque for Dancing\u003c\/span\u003e\u003cbr\u003e2. Scene 1: Introduction - Pastoral Dance - Satan's Appeal to God -    Saraband of the Sons of God  (9:55)\u003cbr\u003e3. Scene 2: Satan's Dance of Triumph  (3:43)\u003cbr\u003e4. Scene 3: Minuet of the Sons of Job and Their Wives  (4:15)\u003cbr\u003e5. Scene 4: Job's Dream - Dance of Plague, Pestilence, Famine and Battle  (4:28)\u003cbr\u003e6. Scene 5: Dance of the Three Messengers  (4:56)\u003cbr\u003e7. Scene 6: Dance of Job's Comforters - Job's Curse - A Vision of Satan  (4:47)\u003cbr\u003e8. Scene 7: Elihu's Dance of Youth and Beauty - Pavane of the Sons of the Morning  (5:27)\u003cbr\u003e9. Scene 8: Galliard of the Sons of the Morning - Altar Dance and Heavenly Pavane  (5:01)\u003cbr\u003e10. Scene 9: Epilogue  (3:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 \u0026amp; 11-13 January 1954, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Old King Cole - Ballet\u003c\/span\u003e\u003cbr\u003e11. Introduction  (3:30)\u003cbr\u003e12. Pipe Dance  (2:48)\u003cbr\u003e13. Bowl Dance  (1:22)\u003cbr\u003e14. Morris Jig: 'Go and 'list for a sailor'  (1:24)\u003cbr\u003e15. Folk Song: 'Bold Young Farmer'  (2:11)\u003cbr\u003e16. Folk Tune: 'The Jolly Thresherman'  (1:34)\u003cbr\u003e17. General Dance  (6:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 September 1953, Walthamstow Assembly Hall\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (73:33)\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Fantasia on Greensleeves\u003c\/span\u003e  (5:02)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 \u0026amp; 14-15 September 1953, Walthamstow Assembly Hall\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  English Folk Song Suite\u003c\/span\u003e\u003cbr\u003e2. 1. March - 'Seventeen come Sunday'  (3:24)\u003cbr\u003e3. 2. Intermezzo - 'My Bonny Boy'  (3:27)\u003cbr\u003e4. 3. March - 'Folk Songs from Somerset'  (3:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 \u0026amp; 14-15 September 1953, Walthamstow Assembly Hall\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Norfolk Rhapsody No. 1  (10:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 \u0026amp; 14-15 September 1953, Walthamstow Assembly Hall\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Partita for Double String Orchestra*\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Prelude  (6:27)\u003cbr\u003e7. 2nd mvt. - Scherzo Ostinato  (4:26)\u003cbr\u003e8. 3rd mvt. - Intermezzo (Homage to Henry Hall)  (4:24)\u003cbr\u003e9. 4th mvt. - Fantasia  (6:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12-13 November 1956, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  The Wasps (Aristophanic Suite)\u003c\/span\u003e\u003cbr\u003e10. 1. Overture  (10:04)\u003cbr\u003e11. 2. Entr'acte  (2:58)\u003cbr\u003e12. 3. March past of the kitchen utensils  (1:47)\u003cbr\u003e13. 4. Entr'acte  (4:32)\u003cbr\u003e14. 5. Ballet and final Tableau  (6:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28-31 December 1953 \u0026amp; 1 January 1954, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLondon Philharmonic Orchestra   \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSir Adrian Boult\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003eSpecial thanks to James Altena\u003cbr\u003eAll recordings presented in Ambient Stereo except *Stereo\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 33:22\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eBOULT Vaughan Williams Symphonies Volume 5: Symphonies 6 \u0026amp; 9 (1953\/58) - PASC673\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBOULT \u003c\/b\u003eVaughan Williams Symphonies Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 6 in E minor\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro  (8:20)\u003cbr\u003e2. 2nd mvt. - Moderato  (10:18)\u003cbr\u003e3. 3rd mvt. - Scherzo: Allegro vivace  (6:59)\u003cbr\u003e4. 4th mvt. - Epilogue: Moderato  (13:19)\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Speech after the recording of Symphony No. 6  (1:19)\u003cbr\u003e6.\u003cb\u003e SIR ADRIAN BOULT\u003c\/b\u003e Introduction to Symphony No. 9  (0:27)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 9 in E minor\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Moderato maestoso  (9:17)\u003cbr\u003e8. 2nd mvt. - Andante sostenuto  (8:05)\u003cbr\u003e9. 3rd mvt. - Scherzo: Allegro pesante  (5:36)\u003cbr\u003e10. 4th mvt. - Andante tranquillo  (11:52)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra  \u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Vaughan Williams\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSymphony No. 6\u003c\/b\u003e (\u003ci\u003eAmbient Stereo\u003c\/i\u003e)\u003cbr\u003eRecorded Kingsway Hall, London, 2, 3, 5 \u0026amp; 30 December 1953\u003cbr\u003eEngineered by Kenneth Wilkinson\u003cbr\u003eProduced by John Culshaw and James Walker\u003cbr\u003eRecording supervised by the composer\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSymphony No. 9\u003c\/b\u003e (\u003ci\u003estereo\u003c\/i\u003e)\u003cbr\u003eRecorded Walthamstow Assembly Hall, 26-27 August 1958\u003cbr\u003eProduced by John Carewe\u003cbr\u003e\u003cbr\u003eTotal duration:  75:32 \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":44064697548890,"sku":"eqk1789303543581","price":84.47,"currency_code":"USD","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":44064697581658,"sku":"ero1789303543582","price":58.96,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":44064697614426,"sku":"vdb1789303543583","price":43.86,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/boultlpo-vaughan-williams-symphonies-more-1952-1958---pabx038_1.jpg?v=1789303550","url":"https:\/\/vestorawear.shop\/products\/boultlpo-vaughan-williams-symphonies-more-1952-1958-pabx038","provider":"My Store","version":"1.0","type":"link"}