Customer Reviews

Elgar: Symphonies 1 & 2

5 star:		(5)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Elgar's two symphonies tend to be discursive and soft-grained--at least the way they're frequently performed. Sir Georg Solti (a Hungarian knighted for, among other things, his tenure as director of the Royal Opera at Covent Garden) is not the first man who would have come to mind as a natural successor to Adrian Boult or John Barbirolli as far as Elgar's music is concerned, but in fact he gives Elgar's two completed symphonies (a Third Symphony exists only in sketches, which were filled out and orchestrated by Anthony Payne a few years ago) a welcome shot of adrenaline. The blunt, clipped phrasing and fast tempi in these recordings have a clear precedent in Elgar's own performances. As a result, the music has a ruddy glow to its cheeks and strides forward with a sense of purpose. I would say, however, that the Second Symphony gets the more deeply considered interpretation here (despite its being better known and more frequently heard than the First Symphony, the Second is not necessarily the finer piece); the First is just a tad superficial in Solti's hands, although the London Philharmonic give their best in both symphonies (and the two overtures which fill out this bargain-priced set).

If you have ever regarded Elgar's music as insufferably pompous or stuffy, then Solti is the man to convince you otherwise. Solti's exuberant, life-affirming, intensely dramatic and ripely romantic Elgar blows all the cobwebs away, and will often remind you of Richard Strauss when tempos are brisk and Mahler when they are slow. And why not? Elgar was an exact contemporary of Strauss, and his career overlapped substantially with Mahler's. He knew and appreciated music from the Continent, and in many ways sought to transplant such late Romantic idioms onto British soil. The odd conclusion is that this doyen of Imperial Britain does not in truth sound particularly "English" (if by that term one means a certain predilection for folksy bonhomie, pastoral evocation, and high Anglican austerity). Indeed, Elgar was not an Anglican, but a Roman Catholic, and for this reason alone stood outside of the English mainstream.

But I digress. The main point is that Solti draws thrillingly robust playing from the LPO in all four works contained in the double-CD package. If Solti's emphasis on action-packed heroism in *Cockaigne* is ultimately too much of a good thing--reminding the listener at times of a soundtrack to an Indiana Jones movie--then at least he does justice to the work's dramatic impetus. And, let's face it, there is a sufficient tincture of corniness mingled with the nobilamente in this work (and also--gulp!--in the finale of Second Symphony) to remind us that Elgar, for all his brilliance, is not quite in the same league as Mahler.

Solti's renditions of the two symphonies are explicitly modeled after the composer's own, and that means a refreshingly brisk approach and a highly charged atmosphere in which moods come and go chimerically, while pathos never descends into sentimentality. The two slow movements are particularly affecting here, and the finales of both symphonies are nothing short of glorious (rambustious though they seem at Solti's upbeat tempos). The very opening of the First Symphony could do with a greater sense of mystery (it's one of the few genuinely Brucknerian moments in Elgar and should be treated as such--Solti misses the boat here), and the ghostly, malign passages in the first movement of the Second Symphony should not be quite so forthright (subtlety wasn't Solti's strongest suit at this stage of his career). Perhaps the most effective movement of all is Second Symphony's scherzo, where Solti's incendiary vitality seems to ignite the orchestra, with predictably scintillating results.

*In the South* is perhaps marginally less convincing than the other works presented here: the piece is, frankly, rather episodic, and needs more TLC than Solti is willing to give it. On the other hand, Solti is in his element in its bitingly dissonant passages, which have rarely sounded quite so modernistic.

This economical set represents quite possibly the best introduction to Elgar's music (beyond "Enigma" and the "Pomp and Circumstance" Marches) for those listeners who have, for whatever reason, resisted this most elusive and ambiguous of modern British composers. Even if, in the end, you still find Elgar intractable, Solti's performances deserve your attention if only as examples of orchestral and conductorial virtuosity at their most stunning. The recordings sound as astonishingly vivid as the day they were made. The Decca engineers outdid themselves here, and the remasterings have done nothing to undermine their achievement.

Not to be missed on any account.

I agree with the review below and would add that it seems these recordings tend to be enjoyed more by people who didn't think they liked Elgar more than hard-core Elgarians, at least that has been my experience. I never thought I liked these works until I heard this set. So I would recommend to anyone who is in that position to give it a shot.

At the time of this writing, I am a relative newcomer to the music of Sir Edward Elgar, familiar with just a few of his works (Pomp and Circumstance, Nimrod from the Enigma Variations) and I am more than happy to say that with this set of works I am constantly intrigued. Elgar was a composer who used Wagner's big orchestra and gave it a very English feel. There is no mistaking these works for something Germanic. As a bass clarinet player, I've played MANY pieces by English composers, especially works by Grainger, Holst, Arnold, and Jacob so I have a good idea of what English music sounds like. I see grand processions through London, the English countryside, the snapping flags in Southampton, the pastures around Yorkshire. I feel like this music captures the essence of England at the turn of the 20th century. Even though this music can sound dated and jingoistic, I see all of these compositions as masterpieces of the symphonic literature. In London Town is a perfect portrait of that city, capturing all of the hustle and bustle of a busy day. The two symphonies are wonderfully crafted. Elgar had a very good feel for the symphonic form, and his two are highly individual. Even though he has the same instruments to use that Strauss does, nothing is ever cluttered and frantic. It sounds as if any instrument were removed than something significant would be missing. The London Philharmonic tackles these works with aplomb. They have a slight rough around the edge feel but this makes all of the compositions feel even more authentic. Solti works up excitement in all of the right spots yet he does not drive relentlessly. Decca's recording is just what I've come to expect from this company, very natural and detailed. I highly recommend this set of works.

Bravi tutti!

The Solti 1970 performances of the Elgar symphonies hold and deserve to hold a special place in the works' catalogue. Are they anywhere close to definitive? Well, hardly - the fervour and high tension Solti brings to these scores are undeniably exciting, but too idiosyncratic, I think, ever to make these versions first choices (although I have to admit that my personal first choice in the first symphony is the even more urgent Slatkin account). Solti does undeniably miss out on some of the charm and swagger of the music, but what we get in return are admirably spirited and passionately red-blooded music making.

Most successful is the second symphony. There is, for good or bad, little here of the somewhat staid grandeur of the music, but the version is instead electrifying and brings a wholly different sense of splendor to the proceedings. The performances are not without nobility, however, and the Larghetto is not at all lacking in pastoral beauty. Glorious, quicksilver, glittering music-making, then; swirling, cascading and leaping out at you. The first symphony is imbued with a controlled urgency, with a golden sheen to it and the whole thing is vivid and visceral. My objection - and this is in comparison with Slatkin in particular - is that the molto allegro still sounds a little stodgy and heavy-footed (but it is more effective than most others' apart from Slatkin's).

The couplings comprise a wonderfully effective In the South - probably my favorite performance of what I think is one of the most marvelouse concert overtures ever written; again, hot-blooded urgency is the trademark, together with a smoldering, steely power and fervor and remarkable, fleeting beauty. The Cokaigne overture is similarly good but might perhaps lack the last ounce of charm and wit. In all works the orchestral playing is truly superb. The sound quality might not have the most vivid presence one could hope for from a recording made today, but it is still pretty good and very detailed. An important reissue, then, strongly recommended, if perhaps not as the only versions to have of these works.

you enjoy very high-end equipment (electrostatic speakers) to do the performance and recording justice. Wide soundstage, sharp detail, and deep...an exciting performance from all. Highly recommended. A+++++

Sir Georg Solti (1912-97), former longtime bandleader of the Chicago Symphony whose Wagner Ring cycle Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti was voted the best recording of the 20th century in at least one magazine, recorded this Elgar set with the London Philharmonic Orchestra back in his heyday from 1972-80. Since its first release, it has received plentiful international praise. Even today, both the Penguin Guide The Penguin Guide to Recorded Classical Music 2010: The Key Classical Recordings on CD, DVD and SACD and Gramophone's book of reviews The Gramophone Classical Music Guide: The Most Authoritative Guide to the Best Classical Recordings Written by the World's Leading Critics sing its praises, the former saying Solti made a study of the Elgar Symphony 1 and that his conducting mimics the composer's own tendencies and speeds.

That may be true, but for any Elgarian that was brought up on either of the kingpins of England, Sirs Adrian Boult or John Barbirolli, there is an ingredient essential to Elgar that is missing from these recordings -- orchestral weight. That weight is usually provided by the lower brass including the trombones and tubas. To hear an example of what this weight brings to Elgar, listen to Yehudi Menhuin's splendid CD of the Pomp and Circumstance and other marches Elgar: Pomp and Circumstance Marches / Cockaigne Overture / Menuhin. You can get a taste of this simply by listening to the sound bytes Amazon offers you on the CD or its download version.

Neither can I say I was completely swayed by Solti's way with the two symphonies, certainly not the way the others around here have been. His speeds are fast in the fast movements and slower than some in the slow ones. In addition, I found his phrasing to be generally curious. This becomes apparent right away in the opening movement of Symphony 1 when Elgar's unique nobilmente marking is almost too literal to be noble. Compared to Barbirolli Elgar: Symphonies Nos. 1 & 2; In the South; Serenade for Strings, Elgar is beating time to his own impatient pulse. While critical opinion tends to supprt Solti's case as being a version of the composer's own views, Third Ear Classical Music Classical Music: Third Ear: The Essential Listening Companion called this recording "superficial." I wouldn't go that far but I understand what they mean.

Ironically, the one item on this set that both the Penguin Guide and Third Ear found inadequate was In the South, Elgar's overture about the sunny Mediterranean. While I would say Solti's way with this was similar to his approach to the symphonies, I thought his fastish speed worked wonderfully and this was the most satisfying piece in the twofer. The London recordings remind me a lot of Karajan's recordings for DG only with more definition. They are brilliant to a fault but lack weight, depth and bass response. In this case, I think the recordings, which enunciate all the instuments well, only contribute to the overall lack of Elgarian weight. I think Solti's leadership and direction is the main culprit.

While this set is cheap and provides anyone new to Elgar with an important look at his major symphonic works, I don't like these as well as either Barbirolli or Boult Elgar: Symphonies 1 & 2. I also enjoy Colin Davis's newer recordings on the LSO Live label of Elgar's two symphonies and the construction of the third Sir Edward Elgar: Symphony No. 1 - Sir Colin Davis / London Symphony Orchestra, Sir Edward Elgar: Symphony No. 2 - Sir Colin Davis / London Symphony Orchestra and Sir Edward Elgar: Symphony No. 3 (Sketches elaborated by Anthony Payne) - Sir Colin Davis / London Symphony Orchestra. I'd take any of those over this one.

Edward Elgar was probably the last of the great Romance composers in classical music, with many of his works published in the 20th century. Being English in origin, his music, like many other British Romance music, is subdued and relaxing in manner; no thunder and lightning like Beethoven's 5th or Tchaikovsky's 5th symphony. This 2-disc set presents some of Elgar's better known orchestral works, his first two symphonies and his "In The South" and "Cockaigne" overture. The last piece is probably the most famous in this set, and is recorded very well. In The South was unknown to me before buying this CD, and does not stand out as either as an excellent or memorable piece of music. The two symphonies are good, and tunes from both of them are distinctly familiar to fans of modern Hollywood theme music. For example, the middle parts of the 2nd symphony sound strangely similar to some of the softer themes in the Star Wars movies.

The overall sound quality is good. Both CD's provide about an hour of music, so this set is somewhat expensive at the Amazon price. But a cheap used copy is a great buy, which is what I got.