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Vaughan Williams: Symphony no. 6, Film Music
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1. Symphony No. 6 In E Major: Allegro
2. Symphony No. 6 In E Major: Moderato
3. Symphony No. 6 In E Major: Scherzo (Allegro vivace)
4. Symphony No. 6 In E Major: Epilogue (Moderato)
5. Scott Of The Antarctic: Prologue
6. Scott Of The Antarctic: Pony March
7. Scott Of The Antarctic: Penguins
8. Scott Of The Antarctic: Climbing The Glacier
9. Scott Of The Antarctic: The Return
10. Scott Of The Antarctic: Blizzard
11. Scott Of The Antarctic: Final Music
12. Coastal Command: Prelude
13. Coastal Command: The Sunderland Goes In Close
14. 49th Parallel: Epilogue
15. The Story Of A Flemish Farm: Dawn Scene
16. The Loves Of Joanna Godden: Romney Marsh; Joanna Godden; Sheepshearing; Work On The Farm; The Fair; Martin Drowned At Dungeness
17. The Loves Of Joanna Godden: Ellen And Harry Trevor; Adoption Of Motherless Lamb; Bruning Of The Sheep; Reunion
Top Customer Reviews
By Thomas F. Bertonneau on October 17, 2000
Format: Audio CDComment Sending feedback...
Ralph Vaughan-Williams (1872-1958) composed his Sixth Symphony (E-Major and Minor) in 1946, right after World War II. Those who remembered the Fourth Symphony (F-Minor), from 1934, should not have started at the new score's harshness and dissonance; but the serene Fifth Symphony (D-Minor) had interposed between the Fourth and Sixth, reinforcing the received notion of Vaughan-Williams the gentle pastoralist. So the Sixth, with its eruptive crescendi in the First Movement and malevolent saxophone in the Scherzo, struck its early audiences as shocking, as cynical, and as a resigned editorial on the dim prospects of post-war humanity. The rumor even circulated that the pianissimo Finale, in the form of a slow fugue, represented a world blasted and depopulated by atomic weapons. (RVW denied this and quoted Prospero from "The Tempest": "We are are such stuff as dreams are made on.") Adrian Boult recorded the Sixth in 1949, two years after its première, for EMI, and now Pearl reissues the matrices along with other archival material - all of it film-music - from the same period in the composer's career. Boult would re-record the Sixth at least twice; but the 1949 "take" makes a claim on our interest not only because it uses the composer's first, quickly withdrawn, version of the Scherzo but also because it lies close to the music's inception and thus takes its character from the very Zeitgeist that gave rise to RVW's apocalyptic vision in the first place. Peter Pirie ("The English Musical Renaissance" ) describes this bleak score as "noisy... dramatic [and] powerful." Boult's interpretation brings out the tumultuousness of it, keeping up the tempos where, in later recorded performances, he becomes slightly more expansive, to some small detriment in the tightly wound mood.Read more ›
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