Vaughan Williams: A Pastoral Symphony (No. 3)/Symphony No. 4 in F Minor [Import]

Ralph Vaughan Williams (Composer), Bernard Haitink (Conductor), London Philharmonic Orchestra (Orchestra), Amanda Roocroft (Performer) | Format: Audio CD

Product Details

• Performer: Amanda Roocroft
• Orchestra: London Philharmonic Orchestra
• Conductor: Bernard Haitink
• Composer: Ralph Vaughan Williams
• Audio CD (April 7, 1998)
• Number of Discs: 1
• Format: Import
• Label: EMI Classics
• ASIN: B00000630I
• Average Customer Review: 4.8 out of 5 stars  See all reviews (6 customer reviews)
• Amazon Best Sellers Rank: #133,625 in Music (See Top 100 in Music)

Track Listings

1. A Pastoral Sym(Sym No. 3): I. Molto Moderato

2. A Pastoral Sym(Sym No. 3): Lento Moderato - Paul Beniston/Nicholas Busch

3. A Pastoral Sym(Sym No. 3): Moderato Pesante

4. A Pastoral Sym(Sym No. 3): Lento - Amanda Roocroft/Duncan Blume/Robert Truman

5. Sym No. 4 In f: 1. Allegro

6. Sym No. 4 In f: II. Andante Moderato

7. Sym No. 4 In f: III. Scherzo (Allegro Molto)

8. Sym No. 4 In f: IV. Finale Con Epilogo Fugato (Allegro Molto)

Customer Reviews

Most Helpful Customer Reviews

13 of 13 people found the following review helpful:

5.0 out of 5 stars If you think that 20th century music is not "real" music, October 27, 1999

By 

N. Daniele Pietro "hyperdanny" (Milano, MI Italy) - See all my reviews
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This review is from: Vaughan Williams: A Pastoral Symphony (No. 3)/Symphony No. 4 in F Minor (Audio CD)

A national glory in the UK, Vaughan-Williams (RVW) is not so well known outside the Anglo-America cultural area. That's a pity, because he's one of the most accomplished symphonists of this century. His works have an amazing range of moods and variety of expression rarely found elsewhere, from the RVW-signature radiant string melodies of the Third and Fifth to the furious, more enigmatic gestures of the powerful Sixth , not to mention the monumental First and Seventh and the enigmatic Ninth. RVW technique ( structure, orchestration) is masterful, but this never overwhelms the sheer listening pleasure. This issue (like most of the other Haitink/LPO releases) is surely a milestone performance : the beautifully flowing but strangely haunting harmonies of the Third really bring you in a different world, while the rage and fury of the Fourth blows you away. This , alongside the indispensable Fifth, can be a good introduction to this marvellous artist, but I highly recommend it to the good-music lovers willing to listen to something new and rewarding.

9 of 9 people found the following review helpful:

4.0 out of 5 stars +1/2 Very perceptive Third ; admirable Fourth, but composer's version spoils me, June 8, 2006

By 

Jeffrey Lee (Asheville area, NC USA) - See all my reviews
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This review is from: Vaughan Williams: A Pastoral Symphony (No. 3)/Symphony No. 4 in F Minor (Audio CD)

In the words of Vaughan Williams, his Third or "Pastoral" Symphony is "almost entirely quiet and contemplative". By this measure, Bernard Haitink deserves credit for providing a most faithful interpretation. He pays homage to the work's plaintive and tranquil elements, and his spiritual/emotional range has greater breadth than that of Sir Adrian Boult, who generally takes more of an extroverted approach in both his Decca and EMI conceptions. Recurrently, Haitink also exhibits a mood that seems more in keeping with some of the composer's explicit World War One reflections. Further, his reading more clearly reveals both foreground and background melodies. Although often attractive in its way, Boult's more outward looking perspective tends to gloss over some of the music's subtle details. Moreover, Haitink's instrumental tonalities are more clearly and fully resolved. Orchestral execution is superb, and frequently paints an enchanting portrait. Currents of solemnness are sensitively captured. Quieter moments reflect a convincing atmospheric presence. Repeated listening pays new dividends and increases my appreciation for Haitink, whose thoughtful, absorbing approach I prefer to the offerings of Boult, Handley and Thomson. The only other version of this haunting piece I particularly favor is Andre Previn's with the London Symphony. It is quite musically appealing, but Haitink's interpretation seems to get the measure of this piece somewhat better.

Haitink does not achieve as high a level of success in the very different Fourth Symphony, but neither do Boult on EMI nor Previn in my estimation. As I commented in my previous review of the Dutton disc, the composer's almost manic intensity carries the day. In the opening movement, Haitink launches an impressive forward thrust, but quickly shifts to a somewhat broad, almost cinematic tack, thereby bypassing the serious agitation depicted by the composer in his BBC performance. However, in the sober second movement, he is emotionally powerful, and evinces a fairly strong flavor of Shostakovich during some of his grayer moments. But in the scherzo and final movement that follow, he cannot match the composer's interpretive highjinks. I do like Haitink's presentation of the more reflective moments, and his more expansively characterized symphonic view surely has its appeal ; nonetheless, in summation and once again, the composer takes the prize with his unique reading.

12 of 13 people found the following review helpful:

5.0 out of 5 stars at his finest......, April 9, 2002

By 

andrew john raiskums "musician" (Melbourne, Australia) - See all my reviews

This review is from: Vaughan Williams: A Pastoral Symphony (No. 3)/Symphony No. 4 in F Minor (Audio CD)

I like to consider Vaughan-Williams' Symphonies almost as if they were one big work; (as I do also with Mahler) with each symphony progressing very naturally on to the next, each with its own individual tone and sense of placement within the set. I love them all but my favourite is the Third, the 'Pastoral' Symphony. VW's began work on this symphony in France in 1916 during his wartime service. While the title of the work makes clear a connection to among other things, landscape and the natural world, the work is really a meditation on war; a prayer for peace and reflection.
The symphony is in four movements, "all slow" according to the composer. Much like the Fifth, the first movement of the Third is preluding in character, with soft undulating chords and themes that don't really contrast, seeming to all come from the same source. An important feature is the subtle use of bitonality that will pervade the whole symphony. The second movement is a nocturne, featuring ghostly evocations of 'The Last Post' played on natural trumpet. The stately, dance-like music of the third movement was conceived as a setting of the scene of Falstaff and the fairies in The Merry wives of Windsor. Providing a contrast to the other movements, this movement swaggers to a fortissimo climax and then quietly subsides. The last movement begins with an off-stage soprano quietly singing a lovely pentatonic melody over a soft timpani roll. This melody becomes the focus of the movement and the mood slowly becomes more dramatic. Strings and winds begin to 'tear' at the melody. The climax of the work comes as the melody is presented emphatically in the highest register of the violins and flutes, against bitter clashing harmonies in the brass. The soprano's wordless song returns to lead this great work into silence.
Haitink and the LPO make the most glorious sounds in this recording. There is always plenty of space for the beauties of the scoring to come through, the many solos are superbly done and the brass, esp in the third movement are wonderfully full and round. But most importantly, Haitink always lets the music 'sing'. An expansive, lyrical and insightful reading.
The Fourth Symphony is, of course, a total contrast, perhaps even a shock if you're not ready for it! Responsive to the wide range of moods in this work, Haitink delivers an urgent, incisive performance.