Albion Records www.albionrecords.org the recording label of the Ralph Vaughan
Williams Society have already released a recording of the arrangement for two
pianos by Michael Mullinar of Vaughan Williams’ Symphony No.6.
Now from Albion comes
Mullinar’s two piano arrangement of Vaughan Williams’ http://rvwsociety.com Fifth Symphony coupled with The Running Set and Fantasia on a Theme by Thomas Tallis all performed by leading
British piano duo Anthony Goldstone and Caroline Clemmow www.divine-art.co.uk/AS/goldstoneclemmow.htm
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| ALBCD031 |
The gestation period for Ralph Vaughan Williams’ (1872-1958) stage work The Pilgrim’s Progress (1951) lasted many years, from his music for
a Bunyan dramatization at Reigate Priory in 1906 through his pastoral episode The Shepherds of the Delectable Mountains
(1922) to what eventually became his opera or, as he preferred to call it,
a morality. When he came to write his Symphony
No.5 in D major, in 1943, he again drew on themes that would be used in The Pilgrim’s Progress though in a
thoroughly symphonic way.
Vaughan Williams often asked his former pupil, Michael
Mullinar (1895-1973), to give an initial play through of his symphonies so it
was natural that the composer should choose him to arrange his Fifth Symphony for two pianos. Here it
is played in Vaughan Williams’ revision edited by Anthony Goldstone.
Anthony Goldstone and Caroline Clemmow create so much of the
magic of the original in the opening of the Preludio:
Moderato of the Fifth Symphony subtly
building the musical lines and harmonies, pointing up many striking aspects of
this music that are easily overlooked in orchestral guise. There is a strength
here that reveals more than ever Vaughan Williams’ true nature, an underlying
grit and power. The music rises to a forceful peak with these two formidable
musicians bringing a tremendous authority. When the music falls away, the
haunting quality is palpable.
The Scherzo: Presto
misterioso bubbles up through some terrific bars in the opening as the
music develops a terrific rhythmic pulse. There are some lovely little
dissonances heard more clearly in this arrangement. These pianists bring the
most amazing ensemble, finding a terrific fluency through Vaughan Williams’ sparkling
phrases. Phrasing, tempo and rhythmic changes are superbly done.
The heart of this magnificent symphony is the Romanza: Lento where the self-professed
agnostic composer inscribed on the manuscript score ‘Upon this place stood a
cross, and a little below a sepulchre. He hath given me rest by his sorrow and
life by his death.’ Goldstone and Clemmow keep a fine tempo; the glorious theme
is allowed to develop wonderfully. They provide some spine tingling moments of
emotional depth before rising centrally with some playing of remarkable brilliance
and power, only to pull back in a moment of great intensity. When they resume
the steady tread, the effect is overwhelming as we are led to a plaintive,
gentle coda.
Goldstone and Clemmow strike just the right tempo in the Passacaglia: Moderato moving
purposefully forward, developing some lovely musical lines. They soon find the
developing rhythm, picking up the tempo in passages of great brilliance and
strength before finding a peak. When they share the theme they reveal even more
than before their intuitive partnership.
One can hear so much more clearly the development passages, always with
a sense of moving forward toward a goal. Later there is another peak where
these two fine pianists achieve a bell like clarity before finding a
tranquillity and peace in the coda.
Surely the Fifth Symphony is as much a spiritual journey as
Pilgrims Progress. Certainly this fine duo takes us on a wonderful journey.
The Running Set is
an arrangement of traditional dance tunes for orchestra written in 1933 and
first performed in London in 1934. The arrangement for two pianos was made by Vally
Lasker and Helen Bidder in 1936. These two pianists were associates of Gustav
Holst and were involved in an early play through of Vaughan Williams’ Piano Concerto and played through the Fourth Symphony at St. Paul’s Girls
School, Hammersmith, London where Holst was Director of Music.
There is an arresting opening with this duo bringing some
amazing ensemble, as though four hands but one mind. Their playing is full of
rhythmic joy as it moves through passages of the most impressive power and
fluency. There are some fast and furious passages of terrific virtuosity, a
quite incredible pianistic display finding a spontaneity and abandon as the
music heads towards the coda.
The young Herbert Howells and Ivor Gurney famously walked
the streets of Gloucester completely overwhelmed by the first performance of
Vaughan Williams’ Fantasia on a Theme by
Thomas Tallis in 1910. When editing the English Hymnal, a commission he had
received in 1904, the composer had come across Thomas Tallis’ (c.1505-1585) magnificent
theme. The arrangement for two pianos was undertaken by Maurice Jacobson, a
pupil of Holst who also arranged Vaughan Williams’ Mass in G minor as a Communion Service for Anglican use as well as
arranging the composer’s ballet score Old
King Cole for piano.
The opening chords set a wonderful scene before Tallis’
theme is presented in staccato phrases. Goldstone
and Clemmow move ahead with striking effect soon providing an extra strength as
the music rises. They pace it beautifully, allowing an organic growth, often
bringing a timeless sense of grandeur. The church acoustic allows the music to
expand magnificently, revealing some lovely details, particularly in the
slower, quieter sections. When the music soars to the heights as it reaches its
peak it is truly magnificent before this duo weave some quite lovely moments in
the later stages.
If any work on this disc was likely to fall flat it would
surely have been the Tallis Fantasia.
In the event Anthony Goldstone and Caroline Clemmow deliver a spectacularly
fine performance that soars, shimmers and glows.
This whole disc is a remarkable achievement, superbly
recorded at the church of St. John the Baptist, Alkborough, North Lincolnshire,
England. There are excellent booklet notes from John Francis and Anthony
Goldstone.
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