...an abundantly characterful, often exquisitely observant reading of the Enigma Variations set down at Walthamstow towards the end of 1954... Beecham sifts Elgar’s textures with rare mastery, and there are some delectable sounds throughout from his RPO wind principals (above all, Jack Brymer’s wonderfully hushed solos in the ‘Romanza’). Elsewhere, ‘Troyte’ fairly tears out of the blocks (distinctive, gun-shot timpani), and the finale struts with an irresistible physicality and unbuttoned thrust. By contrast, ‘Dorabella’ skips along in a more leisurely fashion than usual, and I love the tender intimacy Beecham imparts to ‘Ysobel’. A pity about the botched opening of ‘RPA’; otherwise, an Enigma to savour, if not quite ousting such legendary near-contemporaries as the evergreen Monteux or Barbirolli’s inspirational 1956 Halle account from the head of a very long list. It’s preceded by a terrific, swaggeringly exuberant Cockaigne (whose ripe coda heralds a startling change in both ambience and perspective) and a wholly disarming, gently affectionate reading of the Serenade for Strings.

-- Gramophone [8/2001]

"The Enigma Variations, Froissart, Cockaigne, and In the South (a thrilling performance) all benefit from Slatkin's keen musical insight and impeccable execution. The London Philharmonic, long experienced in this music, provides its usual enthusiastic and authoritative performances."

--Victor Carr Jr, ClassicsToday.com [6/15/2004] Reviewing RCA 60389

The years 1898-1900 for Elgar saw the composition of The Dream of Gerontius which represented a new style of oratorio in which a continuous musical flow replaced the customary division into separate arias and choruses. He embarked seriously on The Apostles in 1902 and the first performance took place in October of the following year at the Birmingham Festival conducted by Hans Richter. Elgar himself conducted performances in 1914 and again in 1922 in Canterbury Cathedral where this performance was given. As with Handel's Messiah Elgar's work was to have been in three parts, though it soon became apparent that it was going to be far too long for one oratorio, and the third part became the starting point for The Kingdom. This piece grew in its turn and the project became one for three oratorios; the first The Apostles, concerned with the apostles' relationship with the earthly Jesus, the second, The Kingdom, with the period after the crucifixion and the coming of the Holy Ghost, and the third, which never came to be written, on Judgment and the Life Everlasting. Another influence is to be found in Wagner who built up his scores from a pattern of leit-motifs. In his analysis of The Apostles, Jaeger identified and named about sixty such themes, though he came under criticism from Ernest Newman (a leading Wagner authority) for being too obsessional in this respect, and even Elgar himself felt that Jaeger had taken this aspect of the work further than was really justified, since the themes, while being a strong structural element in the music, lacked the immediately identifiable symbolism of Wagner's motifs. The two composers' compositional methods were very different: Wagner completed his libretto first, allocating fragments of melody to particular ideas and incorporating them into the score at significant moments, for Elgar the musical development was pre-eminent he was by nature a symphonic, rather than an operatic composer.

Available for the first time in the United States, this set from the Sony Classical Masters Series features Leonard Slatkin conducting the London Philharmonic Orchestra, the Philharmonia Orchestra and the Saint Louis Symphony Orchestra (featuring Pinchas Zukerman on violin) in the works of Elgar including Symphonies nos. 1 & 2, Violin Concerto, Cello Concerto, and “Enigma” Variations.

-----

Leonard Slatkin's Elgar recordings are among the best recordings of the works in the past 20 years. Slatkin's understanding of Elgar's music and his ability to articulate both its grandly monumental and deeply intimate qualities is unsurpassed among his contemporaries and his interpretations are marvelously controlled and wonderfully expressive. Of course, Slatkin is aided by the strong and sympathetic playing of the London Philharmonic and by the soulful virtuosity of violinist Pinchas Zukerman and cellist Janos Starker. And RCA does capture all their performances in clear, deep, and warm digital sound. While no one who loves Elgar's music should be without Barbirolli and Boult's recordings, anyone who loves Elgar's music would like Slatkin's recordings.

– All Music Guide

MOZART, ELGAR, GRIEG, BACH TO

The sound is exemplary in clarity, warmth, and balance. None of this is “great” music but committed Elgarians will relish the delicacy and sensibility of Elder’s performance.

Miniatures though they be, the two Wand of Youth suites are not just “light” music, in that there is much here which is – charming, yes, but also emotionally deeply evocative and musically profound. Their quality has attracted recordings from celebrated conductors such as Boult, Handley, Mackerras, Bryden Thomas and van Beinum, to name but a few; now Mark Elder includes them in his series of Elgar works with the Hallé, which has hitherto garnered much critical acclaim – my own favourite recordings of the symphonies are Elder’s.

These works were based on material written by Elgar many years before as a teenager as accompaniment to a play, reworked by the composer as a man of fifty while simultaneously composing his First Symphony - so they presumably provided some relief from that arduous task. They are characteristically innocent and nostalgic, evoking an idealised fairyland free from adult taint; both were dedicated to friends, as was Elgar’s custom, most famously in the Enigma Variations.

The variety of orchestral colour and melodic invention mark these suites out as typical of the composer; the Overture of the first suite starts with a bustling motif played with great brio followed by a falling Seventh –a motif very recognisably Elgarian. A gentle “Serenade”, an elegant parody of a Handelian minuet, a shimmering, Mendelssohnian “Sun Dance” ending in a blaze of brass encompass so many of the tropes we know from the more famous works while also paying homage to Elgar’s predecessors; while the string passage is all Elgar, if the sinuous clarinet motif at the heart of the “Fairy Pipers” isn’t at least unconsciously inspired by Tchaikovsky’s “Arabian Dance” from the Nutcracker, I have no ears.

The pattern of great thematic and colourific variety continues into the second suite, although I do not find it quite as uniformly captivating as the first. Elgar introduces a glockenspiel into the “The Little Bells”, employs graceful arabesques to suggest the flow of water in “Fountain Dance” and creates two contrasting bear portraits, the first melancholy, `the second rumbustious; Elder and the Hallé successfully capture all these moods.

The Nursery Suite was Elgar’s final foray into mining his juvenilia: it is more, lovely, pastoral music, including an extended solo for flute in The Serious Doll, played with assured, liquid musicality by Katherine Baker. Likewise, Lyn Fletcher plays a fine violin solo in the final movement, Envoy (Coda). The Wagon (Passes) was encored at its premiere at the request of the Duke and Duchess of York (the future King George VI and Queen Elizabeth). Dreaming has one of those long, languorous melodies we know from the symphonies.

Bonus “lollipops” are provided in the form of the lush, orchestrated versions of Salut d’amour and Chanson de nuit, both so delightfully sentimental and redolent of the Edwardian drawing room, beautifully played.

The sound is exemplary in clarity, warmth, and balance. None of this is “great” music but committed Elgarians will relish the delicacy and sensibility of Elder’s performance.

– MusicWeb International (Ralph Moore)

Dating from his years of 'apprenticeship', these two works shaped Elgar's reputation as a leading orchestrator and most popular British composer of his time. The secular cantata Scenes from the Saga of King Olaf derives from Longfellow's epic poem about Olaf Tryggvason, who became King of Norway in 995. While the text was heavily adapted and augmented, the use of sophisticated compositional techniques, such as extensive motivic work, resulted in music of great power and solemnity. The ballad The Banner of Saint George is based on the story of Saint George of Cappadocia, as related by the Bristol poet Shapcott Wensley. It was commissioned by Britain's leading publisher, Novello, and composed in only one month in 1896. Elgar overcame the prescriptive nature of the words and produced a work of lasting charm, the music rising above the material to create atmosphere, momentum, and color.

Reviews:

What a nice idea it was to have a Norwegian choir and orchestra performing English music about a Norse hero. The combined Norwegian choirs sing very well indeed in both works, and the Bergen Philharmonic plays with verve and distinction. Sir Andrew Davis is just the man for these assignments.

– MusicWeb International

There's nothing stilted about Elgar's music: it crackles with confident vitality...the Norwegian choruses respond with crisp vigor and superb English diction, only faintly (and appropriately) Scandinavian-tinged. Davis's expansive conducting and the excellent Bergen Philharmonic Orchestra bring out Elgar's vivid orchestral textures.

– BBC Music Magazine

Poet Laurence Binyon is known today for one famous verse from "For the Fallen," the complete poem being the most substantial part of Elgar's the Spirit of England and the other two poems being "The Fourth of August" and "To Women." with this important new release SOMM commemorates World War I, and the courage and patriotism of those who fell defending England. The war inspired Elgar to write some of his most moving pages of music, which he dedicated "To the memory of our glorious men." the Philharmonia Orchestra, under the baton of John Wilson, and the London Symphony Chorus, under the direction of Simon Halsey, bring these pages to life in the most inspiring way. Another "plus" is the premiere recording of Elgar's Complete Incidental Music to Binyon's Play Arthur, edited and conducted here by Ben Palmer and his Orchestra of St Paul's.

Sir Adrian Boult was a supreme interpreter of Elgar’s music, winning accolades and awards for performances and recordings. Boult championed his music throughout his conducting life following the composer’s prophetic words in a letter to Boult in 1920: “I feel that my reputation in the future is safe in your hands.” This release represents the only existing film of Boult conducting The Dream of Gerontius filmed in Canterbury Cathedral in 1968. This performance features a stellar cast of soloists: Dame Janet Baker, a leading interpreter of The Angel in The Dream of Gerontius, who recorded the role twice, John Shirley Quirk who, with Boult, recorded a definitive interpretation of Peter in The Kingdom, and Peter Pears, who recorded the work in 1972 under the direction of his close friend Benjamin Britten. This film uses the original BBC master which is far superior to the poor copies which have been in circulation over the years. This was the first classical music production filmed in color, for which Brian Large had secured eight out of the nine color TV cameras existing in the UK at that time. The film also includes a one hour documentary on Sir Adrian Boult as a bonus. The film was originally produced in 1989 to celebrate Sir Adrian Boult’s 100th anniversary.

ELGAR: SEA PICTURES, FALSTAFF,

A remarkable achievement.

Last year, when I surveyed most of the available recordings of The Dream of Gerontius, I expressed the hope that Mark Elder, as he then was, and his Hallé forces might make a commercial recording of the work. That hope was inspired by the remarkable performance that they had given at the 2005 Henry Wood Promenade Concerts, which, as I commented at the time, made a great impression on me. Having re-listened to it more than once in the off-air recording I made, I now feel it was, quite simply, the finest live account of the work that I ever expect to hear. And now, with almost identical forces, the newly-knighted Sir Mark Elder has made a studio recording. It comes too late for the 150th anniversary of Elgar’s birth but instead, and more fittingly, perhaps, it marks the Hallé’s own 150th birthday, which falls this year.

The inevitable question is: has it been worth the wait for this recording? The answer is an unequivocal "yes".

The American tenor, Paul Groves, reprises the role of Gerontius, as I hoped he would. I hadn’t realised it at the time but we learn from the booklet biography that his performance at the 2005 Proms was his debut in the role, which makes his achievement that night all the more remarkable. His greatest virtue of all, it seems to me, is the clarity and ease of his singing. Every note is hit right in the centre and his voice has an exciting and pleasing ring. The top notes are always true and secure. I followed in the score but, frankly, that was superfluous as far as the text is concerned for Groves’ diction is crystal clear – as, indeed, is that of the other soloists and the choirs.

In Part I Elgar sets his tenor a task that is almost impossible. The singer must try to suggest the frailty of a man on his death bed while, at the same time, he must be able to deliver heroic, dramatic passages, such as ‘Sanctus fortis’. Groves is fully equal to the dramatic sections though sometimes he does sound a little too healthy for a dying man. ‘Sanctus fortis’ is a huge test and it’s one that Groves passes with flying colours. He starts it in ringing, forthright voice but later on, just before cue 48 in the vocal score, he shades off the end of the phrase "Parce mihi, Domine" with great sensitivity. In this aria, and frequently during the performance as a whole, he demonstrates prodigious breath control. One example occurs in ‘Sanctus fortis’, where the whole eight-bar phrase, "For the love of Him alone, Holy Church as his creation" is taken in one span, where most tenors take a breath, quite legitimately, after the comma. Later, the first phrase of ‘Take me away’ is one glorious, seamless whole, as it should be but often isn’t. Returning to ‘Sanctus fortis’, there’s a lovely piangendo at cue 53, when the words "Sanctus fortis" are repeated gently by Gerontius, and then the phrase "O Jesu, help" is truly anguished. Groves’ delivery of the climatic "In Thine own agony", top B flat and all, is magnificent. In all, his performance of this testing keynote aria is very fine.

Part II brings different demands for the tenor soloist. Now he represents the soul of the dead Gerontius. Quite a bit of the music in Part I required the vocal resources of a heldentenor but the opening pages of Part II needs the subtlety of a lieder singer. I’m not sure that Groves is quite successful in these passages. The clear, pleasing singing remains a constant feature but he doesn’t seem to delve as deeply into the words as do some of his distinguished predecessors in the role. As an example, I compared the first solo – "I went to sleep" - as sung on disc by John Mitchinson (for Rattle) and by Anthony Rolfe Johnson (Vernon Handley). Both are so much more responsive to the words and both also sing more quietly. Groves can’t quite match those experienced masters of the role. But he brings his own insights and subtleties to the part and his dialogue with the Angel is intelligently and sensitively sung. Inspired, no doubt, by the presence of an audience, he was a touch more spontaneous at times in the live Proms performance. On the other hand, on that occasion he had to project into a huge acoustic. Here, recording under studio conditions, he can offer a more subtly nuanced reading. The last section of the role, the aria ‘Take me away’, is another hugely demanding solo. Groves’ opening is superb. Later on, perhaps, a little more dynamic contrast would have been welcome but his fervour – not overdone - firm tone and excellent breath control offer ample compensation and the final phrase – "there let me be" – is most affecting.

Alice Coote, who was the Angel in the Proms performance, once again takes the role for the recording. Like Paul Groves she offers much but I found it interesting to compare this performance with her live account. To my ears her voice has a slight edge to it at times in this present performance and her tone doesn’t have quite the same degree of warmth and fullness that she exhibited at the Proms. That said, she is right inside the role, she sings with feeling and commitment and her performance gives a great deal of pleasure. I like, for example, the inflection she brings to the words, "this child of clay". A little later on, she has the right amount of legato and warmth for "A presage falls upon thee." That wonderful passage "There was a mortal" is done with appropriate inwardness – I think she does this passage even better here than in the Proms performance. Her account of the celebrated Farewell is lovely. She brings compassion and dignity to this solo and sends the Soul of Gerontius on his way in a most reassuring way.

There is one change to the line up of soloists that took part in the Prom performance and it’s a significant one. In place of Matthew Best, who sang in 2005, Bryn Terfel sings the two bass solos. This is luxury casting indeed. Terfel is a magisterial Priest. His opening phrases are delivered with all the power and sonority that one would expect from this singer. However, I was delighted to note how, as the aria unfolds, he’s attentive to Elgar’s dynamic markings, which are often quiet, and by so doing he makes the Priest’s words properly prayerful. He’s an imposing Angel of The Agony, singing this dramatic solo quite splendidly. One relishes the sheer amplitude of his voice but, once again, one notes how attentive he is to the dynamic markings – and it makes such a difference. Often I’ve found that a soloist is more suited to one of these two solos than the other but on this occasion Terfel is completely successful in both.

At the Proms performance the Hallé Youth Choir, a mixed-voice choir whose members are aged between twelve and nineteen years, sang the crucial semi chorus parts. Their contribution was important then and I’m delighted to find them similarly involved this time. The involvement of these young singers, for whom this recording must have been a tremendous experience, gives this performance an edge over most of its CD rivals. Benjamin Britten scored a significant coup by using the choir of King’s College, Cambridge as the semi chorus when he recorded Gerontius in 1971 and I wonder if Sir Mark Elder had that precedent in mind. The use of young voices, with their completely different timbre, results in a sharp and very telling contrast and I find the effect is really exciting and atmospheric. The writing for the semi chorus is often extremely exposed but the young Hallé singers rise to the challenge superbly and their fresh, youthful voices add an additional and very welcome dimension to the choral sound. I think their involvement is a major success and I applaud it unreservedly.

Their adult colleagues in the main Hallé Choir are also on top form. They’ve obviously been prepared superbly by their chorus master, James Burton. So, every strand is clear in "Be merciful" and they bring real bite and urgency to "Rescue him." In the Demons’ Chorus their singing is virile and has excellent definition. Perhaps they could have snarled a bit more but it’s an exciting account of the chorus. Equally fine is ‘Praise to the Holiest’ and, towards the end, they are clear, controlled and atmospheric at "Lord, Thou hast been our refuge", never an easy passage to bring off.

The orchestral contribution is, if anything, even finer. From the very start of the Prelude to Part I you sense we’re in for something a bit special. The playing glows here and elsewhere. Dynamics are beautifully observed, the rhythms are well articulated and there’s a consistent feeling that the players are right inside the idiom and playing with belief. Two things are worthy of special comment. Firstly, the engineers have contrived to balance the organ beautifully so that whenever it plays it enriches the textures without being unduly prominent. Secondly, the harp part is hugely important and once again, the instrument is balanced perfectly so that time and again one is aware of its importance yet it never draws unwarranted attention to itself.

But for all the splendour of these contributions the whole is knitted into something much greater than the sum of its parts by Sir Mark Elder. Writing of his Prom performance I suggested that one or two of his tempi were a fraction too fleet. I have no such feelings here. I cannot recall a single bar in the whole score when I felt that the pacing wasn’t just right. Elder has demonstrated in several previous Elgar recordings and performances that he is a master interpreter of this composer. This superb interpretation confirms that judgement in spades. His shaping of the Prelude is masterly and that sets the tone for the whole performance. He is scrupulous in his observance of Elgar’s markings and in many ways that’s the key to success in Elgar performance for the composer was copious in the indications he gave in the score and if a conductor trusts Elgar and follows the markings that’s more than half the battle.

The performance has huge sweep and conviction but there are also many small points that show Elder’s meticulous and perceptive attention to detail. One example comes in the Prelude a couple of bars before cue 17 when the orchestra plays a quiet, stabbing chord, with the gong adding a frisson. Elder places and balances that chord to perfection. Move on to the short, hushed Prelude to Part II, for the strings alone. Elder obtains miraculous, luminous textures from his players and in a mere twenty-six bars he establishes an otherworldly atmosphere, just as Elgar intended. Best of all, at cue 3 the dynamic marking is an incredible pppp. Elder achieves precisely that and the effect is superb. Only one other conductor in my experience has matched this, namely Simon Rattle in his 1986 EMI recording, but to be honest, I think even Rattle is put in the shade at this point. These are very small points in themselves but they catch the ear and show the scrupulous attention to detail that has gone into the preparation of this performance.

Elder, however, is anything but a micro-manager. He is magnificent in the big moments. The end of Part I, after the chorus has joined the bass soloist at "Go, in the name of Angels and Archangels", is brought off expertly. Every strand of Elgar’s many-layered tableau is given its proper weight and the whole passage causes the eyes – or my eyes, at any rate – to prickle, as it should. Even better is the long build up to ‘Praise to the Holiest’. This long passage, after the Angel’s solo "There was a mortal" is challenging, but Elder’s direction is superbly assured. Once again, all the various strands - semi chorus, chorus, orchestra and two soloists - are knitted together perfectly. One thing I admired particularly is the way in which Elder paces the several short sections marked Poco più animato with a vernal eagerness and then observes the decelerations, marked by Elgar, to perfection. Here the ladies of the chorus and the younger ladies in the semi chorus sing with a wide-eyed freshness that is completely appropriate to Angelicals. The whole passage is an unqualified success and Elder builds the tension and the atmosphere so that when the choir erupts at "Praise to the Holiest" it is as if great gold doors have been thrown open to reveal blinding light. Elder handles the ensuing chorus masterfully. The last pages, from cue 94 onwards, are tremendously exciting without recourse to excessive speed as Sakari Oramo does on his CBSO recording (see review). The end of the chorus bids fair to lift the roof off the Bridgewater Hall yet Elder’s forces have more to give and manage to observe the crescendo on the last, long chord. It’s a thrilling moment.

One more example of Elder’s perceptive command of the score and of his forces will suffice. In Part II, starting at cue 114, is the remarkable passage where Gerontius sings, "I go before my Judge", followed by the choir’s muffled entreaties, "Be merciful". Elder distils the most incredible atmosphere in these bars. The music has an awestruck quality that I’ve never heard brought out so well. It sounds as if everyone – Paul Groves, the choirs, the orchestra – is on tenterhooks, scarcely daring to articulate the notes. It’s the most remarkable piece of music making imaginable.

So how can I sum up this recording? I think it’s a remarkable achievement and I have been greatly moved by hearing it. Paul Groves and Alice Coote both deliver very fine performances. I feel that both gave a little more in terms of spontaneity during the Proms performance, inspired by the presence of an audience. On the other hand, under studio conditions they achieve some subtle points that were not possible in the huge arena that is the Royal Albert Hall. Bryn Terfel is a superb addition to the cast. The choirs and orchestra are on inspired form and Sir Mark Elder confirms that he is the finest Elgar interpreter now before the public. Under his inspired leadership the white-hot inspiration of Elgar’s visionary score comes alive.

The performance is captured in excellent, atmospheric sound. The recording doesn’t quite have the punch and presence of the Oramo recording but it’s not far short in terms of immediacy. The forces are splendidly and truthfully balanced and the whole project is a great success for the engineers. The notes are by Michael Kennedy and up to that fine writer’s usual immaculate standard.

It has been well worth the wait for this recording. For over forty years Sir John Barbirolli’s great 1964 recording of Gerontius has dominated the catalogue. I’m sure he would rejoice that, in their 150th anniversary year, his beloved Hallé and their distinguished current Music Director have produced a worthy successor and one that offers irrefutable proof that the Elgar tradition of the Hallé is being maintained in the twenty-first century. Let us hope that Sir Mark will go on to give us new and equally fine recordings of Apostles and Kingdom but even if that doesn’t happen they have done Elgar proud with this distinguished recording which I have found to be a very moving experience.

-- John Quinn, MusicWeb International

The latest release in Hallé’s award winning Elgar Edition features the much anticipated studio recording of Sea Pictures, coupled with the lesser known tone poem Polonia and the five original Pomp and Circumstance Marches.

Premiered in 1899, shortly after the triumph of the Enigma Variations in London the previous month, Sea Pictures became an immediate hit (with two of the songs being performed with piano accompaniment for Queen Victoria at Balmoral two weeks after the premiere). The cycle of five songs for which Elgar selected a variety of poems from his wide knowledge of literature, features a range of masterly orchestral textures and stunning vocal settings.

The featured soloist is world renowned mezzo soprano Alice Coote, regarded as one of the leading artists of our day, equally famed on the great operatic stages as in concert and recital.

Polonia has long been overlooked but this recording will re-establish this highly engaging tone poem which quotes Polish tunes and Chopin, written as a tribute to Poland’s contribution to the Allied cause in the First World War, in a brilliantly orchestrated score.

Not all of the five original Pomp and Circumstance Marches are as universally well known as No.1 and No.4 and, although constructed on the same structural pattern, they display an extraordinary variety of character. These orchestral showcases are a perfect vehicle with which to display the technical and artistic skill of the Hallé under Elder.

Classical Music

Another major recording of this glorious concerto: Zehetmair, on top form, gets the partners of one's dreams in the Hallé with its great Elgar tradition.

Classical Music

ELGAR: ENIGMA VARIATIONS, POMP

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Classical Music

Richard Hickox brought these two neglected works into the record catalogue to criticla acclaim. In an Editor's Choice review in 1996 - the year of its release - Gramophone stated: ''Elgar completed The Black Knight in 1893 and it provided him with his first big success. The text tells of a sinister, unnamed ''Prince of mighty sway'', whose appearance at the King's court during the feast of Pentecost has disastrous consequences. Elgar's score boasts much attractive invention, some of it strikingly eloquent and prescient of greater offerings to come. The choral writing is always effective, the orchestration already vivid and assured. Richard Hickox's performance has great bloom and spaciousness. Similarly, in the tuneful, vernally fresh Scenes from the Bavarian Highlands, Hickox and his colleagues respond with comendable spirit and pleasing polish. Typical of Chandos, the recording is bright and clear, tonally beyond reproach and with just the right balance between choir and orchestra.''

"Hickox's superior Elgarian credentials are immediately established in the glorious orchestral "Meditation", where his conducting demonstrates a noble flexibility, sensitivity to dynamic nuance and feeling for climax that are wholly beguiling. Equally, the Chandos production team see to it that the familiar Elgarian 'glow'-.-a component largely missing from Sir Charles Groves's rival Liverpool recording—is in generous supply; indeed, the engineering, sumptuous yet nicely detailed, comes close to the ideal. The LSO respond for their Associate Conductor with playing that is both warm-hearted and alert; as ever, the London Symphony Chorus contribute to proceedings in exemplary, splendidly disciplined fashion..."

- Gramophone, (From the original 1993 release.)

This re-release of The Light of Life by Sir Edward Elgar forms part of the new Hickox Legacy commemorative series on Chandos Records, leading up to (and continuing beyond) the fifth anniversary, in Nov 2013, of the conductor’s untimely death.

The Light of Life, an oratorio for soprano, contralto, tenor, and baritone soloists, full choir and orchestra, is a lesser-known but imposing work by the composer who brought us the mighty Dream of Gerontius. The story concerns the blind beggar whose sight Christ restored. The words are taken from the Gospel of St John, with additions by the Reverend Edward Capel Cure.

Elgar proposed to call this his first oratorio Lux Christi, but his publishers persuaded him to provide an English title: as the work was written with the 1896 Three Choirs Festival at Worchester in mind, the concern was that an Anglican cathedral festival might detect a Roman Catholic bias… Elgar complied, and the work was given the more suitable title by which we know it today.

Hickox and the London Symphony Orchestra and Chorus were joined on this recording by the soloists Judith Howarth, Linda Finnie, Arthur Davies, and John Shirley-Quirk.

- Chandos

"The performance of Elgar's oratorio that John Barbirolli conducted in Rome in November 1957 was briefly available on LP, and acquired a place in history as the only surviving record of the great Jon Vickers in the title role. Now out of copyright and available for the first time on CD, it's a fascinating document, although the shortcomings are considerable. Vickers doesn't disappoint, singing with an intensity and a care for the sound and sense of every word that are well nigh ideal...The orchestra and chorus do their best, which isn't quite good enough; it's Vickers who makes this a must-have." - Andrew Clements, The Guardian, London

This music could be called pre-Elgarian, since it was composed between 1878 and 1879, well before this late-bloomer had begun to find his distinctive voice. It was designed for a specific group of friends who joined together in an ensemble that was off kilter both in terms of its makeup (two flutes, oboe, clarinet, and bassoon) and in terms of its varying skills (the clarinetist was apparently less fluent than the flutists, while the bassoonist—the composer himself—was just beginning to master the instrument). It was penned under less-than-ideal circumstances, too: according to Jerrold Northrop Moore, cited in Noël Goodwin’s informative notes, the young church-organist composer tossed off much of this music during Sunday sermons.

All of this is apt to seem inauspicious, especially for those who don’t much care even for such “important” early works as the Bavarian Dances or for those who don’t like Elgar’s miniatures more generally. Rest assured: there may be nothing even faintly characteristic of the composer here, but the music is consistently captivating in a way that may bring the wind versions of Rossini’s String Sonatas to mind. No profundity, no sentimentality, no significant aesthetic aspirations, no formal challenges, no real attempt to engage the listener on any but the most superficial level: next to this, even the sunnier moments of the Dvo?ák Wind Serenade seem both monumental and avant-garde. But in its bursts of wit and in its unflagging and self-confident optimism, Elgar’s egregiously old-fashioned tidbits will surely brighten your brunch. These spirited performances, by the players who introduced the music to the wider public, have been staples of the Chandos catalog for years—and for good reason. If you’ve missed them in their earlier incarnations, now is a good time to make their acquaintance.

FANFARE: Peter J. Rabinowitz

Recent News Tasmin Little has scooped the Critics' Award at the 2011 Classic Brit Awards, held at the Royal Albert Hall, London on 12 May, for her recording of Elgar's Violin Concerto with the Royal Scottish National Orchestra conducted by Sir Andrew Davis Recent reviews The CD received a string of superlative reviews on its initial release: 'Little tantalises with a winning combination of heartfelt passion and engaging simplicity that radiates beguiling warmth.' Julian Haylock, Classic FM ***** 'For sheer beauty of tone and expressive nostalgia, Tasmin Little and Sir Andrew Davis out-Elgar their rivals.' Michael Kennedy, The Sunday Telegraph 'Tasmin Little's [recording] goes right to the top of the class.' David Mellor, The Mail on Sunday Edward Greenfield in Gramophone ('Editor's Choice') described Tasmin Little's playing as masterly'. The long-awaited and much anticipated recording by Tasmin Little of Elgar's Violin Concerto will be released this November, 100 years after the work's first performance. In concert Tasmin Little is closely associated with this concerto, having celebrated the 150th anniversary of the birth of Sir Edward Elgar with performances of it on a major tour to Southeast Asia and Australia in 2007; she has also performed the concerto extensively in London: at the BBC Proms in the Royal Albert Hall, with the BBC Symphony Orchestra at the Barbican, and with the Philharmonia Orchestra in the Royal Festival Hall. What makes this recording especially interesting is that she has included the cadenza used in the work's first recording, made in 1916 with Marie Hall. For that occasion, Elgar, amongst other things, added harps to counter the sonic limitations of the acoustic recording process. For those used to hearing the standard version, also included, the result makes for fascinating listening, and the recording will prove a valuable addition to the Elgar discography. The 1916 version of the cadenza has been tracked separately. Tasmin Little: 'I have waited a long time to record the Elgar Concerto, a work that I have been playing for twenty years and one which is so close to my heart. In the inspirational Andrew Davis and the RSNO's commitment, I found exactly the right partnership for this monumental work.' The Violin Concerto is complemented by another piece for violin and orchestra, the charming Interlude from The Crown of India, as well as the rarely recorded but imposing Polonia, an inventive and colourful work incorporating much Polish melodic material. This was commissioned by the Polish conductor Emil Ml~ynarski in 1915 and dedicated to Ignacy Jan Paderewski, the pianist composer and, later, Prime Minister of Poland. Since coming to prominence as a finalist in the string section of the 1982 BBC Young Musician of the Year competition, Tasmin Little has enjoyed an international career, making more than twenty recordings. Highly imaginative in her approach to classical music, she received the 2008 Classic FM / Gramophone Award for Audience Innovation in London for the project 'The Naked Violin'. Whilst she has made superb recordings of the great popular violin concertos, including those by Bruch, Brahms, and Sibelius, she has made a speciality of recording and performing less familiar repertoire, especially neglected British works. On Chandos, she has released a recording of Finzi's Violin Concerto to tremendous critical acclaim (CHAN 9888). Sir Andrew Davis is famous for his performances of British music in general, and of the music of Elgar in particular. Last year he had great success with the premiere recording of Elgar's The Crown of India on Chandos (CHAN 10570(2)). Chandos also has a long association with the Royal Scottish National Orchestra. Over the last thirty years the label, in partnership with the RSNO, has produced a string of award winning CDs, notable among much else for their sound quality. This new CD, recorded in five-channel surround sound, continues that tradition.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Chandos Records is delighted to present this new recording of Elgar’s choral masterpiece The Dream of Gerontius and the popular song cycle Sea Pictures. The BBC Symphony Orchestra and Chorus are conducted by Sir Andrew Davis, a peerless Elgarian who this year was awarded the prestigious Elgar Society Medal in recognition of his outstanding contribution to the composer’s music. In Gerontius the soloists are Stuart Skelton, David Soar and Sarah Connolly, who also sings in Sea Pictures. This recording was made in the days leading up to their triumphant live performance of Gerontius in April 2014. Skelton was praised as “the ideal tenor for the role of Gerontius,” Soar described as “an implacable, dark-sounding Priest,” and Connolly, “a consummately polished Angel” (The Guardian).