{"product_id":"boult-vaughan-williams-symphony-no-6-1949-pasc072","title":"BOULT Vaughan Williams - Symphony No. 6 (1949) - PASC072","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eR\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eecorded\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e in 1949\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 32:54\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/b\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_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s re-mastering is simply phenomenal578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eRalph Vaughan Williams’s Symphony in E Minor,\nwritten during and after World War II, is often considered to be one of\nthe composer’s finest and most emotional works, capturing the horrors of\nwar and the spirit of hope that arose during that conflict. My own\nfeelings about the score may differ from yours, but I found much of the\nfirst movement harmonically and rhythmically interesting but bombastic\nin expression. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFortunately, the music does not lie there, nor\ndoes it become repetitive or predictable. The development of mood seems\nto me as or more important than the actual musical structure, which in\nscoring and musical expression is very close to movie music. (Not that I\nhave a problem with movie music per se, only that I believe such music\nis meant to accompany the visual images of the film and not to be\nlistened to as an independent entity.) Like Richard Danielpour’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMargaret Garner,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwhich I have seen and heard but which has not been recorded, the\ncomposer’s deep personal convictions and feelings often transcend music\nthat in other hands would be derided as derivative or insincere. The\nstill, quiet ending of the work, so different from its splashy\nbeginnings, almost seems a resignation of man’s fate in the face of\ninsuperable odds. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis symphony has several fine readings available\non CD, among them Kees Bakels’s 1994 release on Naxos and Bernard\nHaitink’s with the London Philharmonic on Angel. I found Bakels to be\nmore supple in rhythm than Boult, but less powerful, gripping, or sure\nof the dramatic impetus of the music. Haitink has the power and some of\nthe feeling, but he conducts the work—particularly the opening\nsection—with a far stiffer rhythm than even Boult. Thus, I would still\nhave to recommend Boult for an overall concept of the work, though\nBakels would make a fine digital alternative. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eAdrian Boult has always been one of my conducting\nheroes, vastly underrated and for the most part underrecorded. I have\nlong treasured his 1959 recording of the Mahler Symphony No. 1 for\nEverest, in which he was deputized at the last moment for an indisposed\nJascha Horenstein, and of course his earlier recordings (mono in 1945,\nstereo in 1961) of Holst’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePlanets\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nare considered important historical readings. His very obvious\ncommitment to this work is as sincere as the composer’s vision, which\nlifts it above the rather shallow yet spectacular recording made by\nLeopold Stokowski three days before this one, which was made on February\n24, 1949. Yet I feel hesitant in recommending this disc without\nreservation because of my somewhat ambivalent view of the music, which\nmight strike other listeners as less valid than I found it. I would\nrather suggest that an auditor new to this work sample it (the Scherzo,\nlater slightly revised by the composer, is available online). As is the\ncase with all of the recordings I’ve heard, Pristine’s re-mastering is\nsimply phenomenal, bringing out clarity and warmth not previously\nnoticeable in this historic performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 31:3 (Jan\/Feb 2008) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC072.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eVaughan Williams' Sixth Symphony in E minor was premiered with Boult conducting in April 1948, and Boult's first recording of the piece followed in February of the following year, just three days after Stokowski had made the premiere recording. Boult was to return to the piece in the Decca studios in the early 1950's with the London Philharmonic - by this stage the Scherzo had been revised by the composer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat we hear in this recording is the original Scherzo - HMV did also later issue an alternative disc with the revised Scherzo as part of this album.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt's interesting to look back to a review of the day - from \u003cem\u003eThe Record Guide\u003c\/em\u003e (which gave it a star), written at a time when the work was still new and the composer had yet to complete his life's work:\u003c\/p\u003e\n\u003cp class=\"style20\"\u003e\u003ci\u003e\u003cem\u003e\u003cem\u003e\u003cem\u003e\"In the massive, brooding sadness of this extremely powerful work Vaughan Williams unites, as never before in his career, the two moods of his vision. It has the nature of a symphonic poem rather than of a symphony proper, and the four movements, although clearly divided, are played without a break. The Epilogue, which preserves an undeviating pianissimo\u003c\/em\u003e for about twelve minutes, is an astounding imaginative feat. The muted orchestra weaves a cat's-cradle of glassy filaments through which shines a dead white light. It is like the final echo of a vanishing world - a human cry lost in the cold of interstellar space. The only other works which produce an impression at all similar are Sibelius's Tapiola\u003c\/em\u003e and the Finale of Chopin's Sonata in B flat minor. The performance on the whole is admirably recorded, but the pianissimo\u003c\/em\u003e in the Epilogue is not quite consistently preserved, and the woodwind solos at the end are distractingly near. In every other respect this is an issue worthy of a great work. (Since the Symphony was recorded the composer has revised the Scherzo in one or two places. The revision is very slight - indeed, scarcely noticeable; but the movement was re-recorded and the disc containing the new version is that now issued with the rest of the set.) \"\u003c\/i\u003e\u003c\/p\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\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e Symphony No. 6 in E minor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eLondon Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e \u003c\/b\u003eConducted by \u003cb\u003eSir Adrian Boult \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded at Abbey Road Studios, London, 23-24th February, 1949\u003cbr\u003e Issued as HMV C.3873-6, Matrix numbers 2EA 13623-30. \u003cbr\u003e All first takes except side one, take two.\u003cbr\u003e Natural Sound remastering by Andrew Rose March 2007\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 32:54\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC072.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC072.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932293419347,"sku":"jrg1789301712295","price":9.57,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":54932293452115,"sku":"pfc1789301712296","price":7.66,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/boult-vaughan-williams---symphony-no-6-1949---pasc072_1.jpg?v=1789301719","url":"https:\/\/vendnora.com\/products\/boult-vaughan-williams-symphony-no-6-1949-pasc072","provider":"luckagni","version":"1.0","type":"link"}