Flos Campi/ Viola Concerto [CD]

This Hyperion release includes two Vaughan Williams works for viola and orchestra, and John Blackwell McEwen's Viola Concerto. "Flos Campi" ("Flower of the Field") is unique in RVW's oeuvre, both formally and structurally, and with regard to the forces for which it was written (viola, small orchestra, and wordless chorus). It is cast in six continuous movements, each of which is prefaced in the score by a quotation from the Song of Songs. It is one of the composer's most sublime pieces, with a spiritual, visionary quality throughout. The textural delicacy of the piece makes it one that is perhaps quite difficult to bring off successfully in performance, and doubly so on record. For instance, RVW directs the chorus to articulate various wordless sounds ("ah", "oh", "mmm", and so on) by altering the shape of the mouth, and these can be difficult, if not impossible to detect on a mediocre recording. Fortunately, this Hyperion presentation is technically superb, and crystal-clear throughout, and the performance itself (Lawrence Power, viola; BBC National Orchestra & Chorus of Wales, conducted by Martin Brabbins) is first-rate.

The Suite for Viola and Orchestra is a rarity on record. The only other complete recording of which I am aware is an old RCA LP (RL 25137) of 1974 with Frederick Riddle and the Bouremouth Sinfonietta conducted by Norman del Mar, although there is currently an ASV disc (DCA 1181) of just the first three movements.The full suite consists of eight movements arranged in three groups (3+2+3). Group 1 begins with a heartfelt Prelude with several tempo changes creating a slightly restless atmosphere; a lovely Carol, full of warmth and sincerity; and the inevitable (for RVW) Christmas Dance - all best wishes and good cheer. Group 2 includes an intensely-felt Ballad - perhaps the heart of the whole piece - which nevertheless develops momentarily into a skipping dance; and a restless Moto perpetuo. Group 3 begins with a tender Musette, followed by a strngely-titled Polka melancolique (since, as Lewis Foreman has pointed out, it is neither a polka nor particularly melancholy), and finally a rumbustious Galop with a jaunty march at its centre.

John Blackwood McEwen (1868-1948) was a Scottish composer who eventually became Principle of the RAM. His Viola Concerto, written for the legendary Lionel Tertis, is a comparatively early work, composed in 1901. The substantial first movement explodes into life on full orchestra, followed by a brief viola solo, after which the music proceeds along conversational lines, alternating between soloist and orchestral tutti. Not surprisingly for such an early work the style is more Germanic than British (compare this with the composer's later Border Ballads).

The "grazioso" nature of the second movement is evident from the outset, suggesting, perhaps, the atmosphere of a Victorian ballroom, and the viola stays well within range of its capabilities. The "con brio" finale, by contrast, sets off at a brisk pace, and the viola - orchestral tutti exchanges are resumed. A more restrained middle section is finally swept aside by fast passagework from the soloist, as the tempo picks up, leading to a sparkling bravura conclusion.

This is an interesting recording which explores some sidelights of the British viola repertoire as well as the more familiar.

This is a most wonderful CD. The Vaughan Williams pieces are both magical and mystical and the concerto by John Blackwell McEwan is not only on a large scale but one of the best in the repertoire. As these pieces may be unfamiliar and you may be wishing to "dip your toe into the water of something a bit different", I will outline the works in the order they occor on the disc.

Vaughan Williams Suite for Viola and Small Orchestra (25.5 minutes)

There are eight separate element in three Groups:

Group 1
Prelude - majestic and uplifting - the viola really soars.
Carol - beautiful but more reflective.
Christmas Dance - lively and more rustic.

Group 2
Ballad - An elergy - a slow opening is transformed into a lively dance.
Moto perpetuo - very lively indeed, sounds as though Paganini has got hold of the viola. Not pretty but techically brilliant.

Group 3
Musette - Thoughtful and beautiful with a hint of wistful melancholy, moving into a more highly orchestrated passage,
interesting contributions from the harp.
Polka melancolique - Just as it sounds.
Galop - rather jazz-like series of cadenzas - the pace is furious but the music beautiful.

John Blackwell McEwan's Viola Concerto is a major work (31 minutes) and more heavily orchestrated than most viola concertos. This was one of Lionel Tertis' first major commissions. The lightly scored Allegretto second movement, with delightful harmonies between viola and woodwind, provides good contrast to the two Allegro movements. The concerto opens dramatically with orchestral outbursts, interspersed with the viola elaborating on the orchestral themes. There is a bustling finale where the viola threatens to catch fire. I think you may be very pleasantly surprised by the originality and quality of this significant work which deserves much greater recognition.

Vaughan Williams Flos Campi (Flower of the Fields), A suite for Viola, wordless chorus and orchestra (which includes useful contributions from a celeste). Just under 20 minutes. The work in six parts, each superscripted by a quoation from the Song of Songs. It is essentially pastoral in nature and the wordless Chorus sings a succesion of Ah sounds which vary in pitch and intensity. The effect is rather reminiscent of the fional mnovement of his third symphony with the viola providing, melody, beauty and, occasionally, attitude.
1 Lento - a quiet introduction with the oboe providing a sense of longing before the entry of the wordless chorus raises the intensity.
2 Andante con moto - essential pastoral.
3 Allegro con brio - the viola is more intense and searcing - the entry of the wordless chorus adds urgency.
4 Moderato alla marcia - the March is as if a ghostly regiment is coming down a rural lane before the viola develops the theme, this piece climaxes
with a very late but dramatic entry of the wordless chorus before going straight into the entry (wonderful contrast)
5 Andante quasi lento - The viola soars, rather reminiscent of the violin in The Lark Ascending.
6 Moderato tranquillo - In pastoral mood again - the chorus enters suddenly to swell to a dramatic false-ending before the woork truly ends in rather
haunting fashion.

This is a most original and wonderful work of enchanting beauty, evocative of green pastoral scenes.

The recording is bright and clear and the perforamances by Lawrence Power and also the Welsh chorus, are sublime. Martin Brabbins and the BBC National Orchestra handle the work with authority and sympathy, in particular bringing out the tenderness in Flos Campi.

Alerted to Vaughan Williams by a BBC 4 documentary I decided to give his music a try by purchasing this album and the Halle Orchestra's recent recording of the London Symphony and Oboe Concerto. Both are fine productions. To my surprise it is the Viola Concerto on THIS album which has really taken a trick and inspired further exploration of the VW works. Recording standards are top notch, as you would expect given their provenance. Musically it is light, full hearted, very English and slightly bucolic. I was transported to the heartlands of rural England when listening in the Scottish Highlands. The album also provided an introduction to John McEwen through his viola concerto. The very deep Flos Campi rounds the whole thing off, a model of understated passion. Site Works Vaughan Williams A London Symphony and Oboe Concerto To Ride The Mountain Winds: A History of Aerial Mountaineering and Rescue