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This world premiere recording of Peter Horton's new edition of Vaughan Williams' Fifth Symphony edited from the manuscript is the first time a recording addresses all the textural problems left in the published score. Peter Horton writes: "The composer's notoriously hard-to-read handwriting caused further problems, as the copyist assigned to make a fair copy of the score introduced a large number of mistakes, principally (but not exclusively) in the phrasing and articulation. To compound matters, these subsequently made their way into the orchestral parts and the published score. The most significant was the delay by one bar of a timpani entry in the Romanza."
The coupling is Christopher Wright's deeply felt Violin Concerto sensitively played by Fenella Humphreys. Christopher Wright's affecting Concerto was written in memory of his wife, and looks perhaps to Walton for its stylistic roots, especially in the scherzando elements of the middle movement. Composer Elis Pehkonen writes how, "Words cannot convey the beauty and emotional content of this music." Track listing: Christopher Wright: Momentum (2008), Concerto for Violin & Orchestra (And then there was silence...) (2010) - Fenella Humphreys (violin), Christopher Watson (tenor), Royal Scottish National Orchestra conducted by Martin Yates; Ralph Vaughan Williams: Symphony No.5 in D major (1938-43) - New Edition (2008) Edited by Peter Horton - Bournemouth Symphony Orchestra conducted by Martin Yates
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By S. H. Smith
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This Dutton CD takes the form of a traditional concert programme: overture, concerto, symphony. The first two pieces are by the contemporary composer Christopher Wright (b.1954) who writes in a refreshingly tonal and lyrical vein. "Momentum" (2008), as the name implies, is a short, high-spirited piece with plenty of fast music, and one or two more reflective episodes by contrast, just the thing as a "starter". The serious business begins with the Violin Concerto, "And then there was silence..." (2010), written in memory of Wright's wife, who had recently died, and had herself been a violinist. The pattern of the three movements, like that of the Moeran concerto, is slow-fast-slow. The central movement recalls happier times, but is a fairly brief interlude bringing some light relief from the lamenting character of the remainder. The first movement hints at despair, and contains some anguished writing in places, particularly for the orchestra. The violin, meanwhile, has the leading role, and is given some beautiful, sinuous passages, as well as some reflective moments.
Unusually for an instrumental concerto, the finale focuses on a verse from Christina Rossetti's poem "Echo", sung by a tenor soloist (Christopher Watson on this CD), the words of which hold the key not only to this movement but to the entire work. The voice of the composer's late wife sings on in the violin solo, while his instructions for the movement ("lento e lacrimoso", for example) set the intended mood, the anguish and despair of the opening movement giving way, finally, to resignation.
This is a beautiful, lyrical concerto which it is difficult to divorce from its raison d'etre, once it is known. The Royal Scottish National Orchestra, under the baton of Martin Yates, does full justice to the piece.... Read more ›
Unusually for an instrumental concerto, the finale focuses on a verse from Christina Rossetti's poem "Echo", sung by a tenor soloist (Christopher Watson on this CD), the words of which hold the key not only to this movement but to the entire work. The voice of the composer's late wife sings on in the violin solo, while his instructions for the movement ("lento e lacrimoso", for example) set the intended mood, the anguish and despair of the opening movement giving way, finally, to resignation.
This is a beautiful, lyrical concerto which it is difficult to divorce from its raison d'etre, once it is known. The Royal Scottish National Orchestra, under the baton of Martin Yates, does full justice to the piece.... Read more ›
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