Elgar, Sir Edward. Enigma
Variations, Op. 36;
Cockaigne Overture (In London Town),
Op.40.*
Sony Classical SB2K 63247 (Analog Stereo / ADD).
Recorded 8 April 1962 and 20 January 1963.*
Vaughan Williams, Ralph.
Fantasia on a Theme of Thomas Tallis;
Fantasia on Greensleeves.+
Recorded 13 October 1963 & 14 April 1957+
Delius, Frederick.
Brigg Fair;* Dance Rhapsody No.
2;** On Hearing the First Cuckoo in Spring;*** In A Summer Garden.****
Recorded 8 April* and 11 March*** 1962;
2 November 1961** & 20 November 1960****
Sony Classical SBK-62645 (Analog Stereo / ADD).
Eugene Ormandy recorded very little British music as part of his vast discography; to my knowledge, these are the only works by Elgar he ever recorded, except for the Pomp and Circumstance March No. 1 (also recorded around the same time).
The recorded sound is typical of the best work that Columbia Masterworks (now Sony) and Thomas Frost did for Ormandy. Some of the Columbia Odyssey LP re-issues of Ormandy recordings in the 1970s and 80s were not very impressive; they often had a rather brittle sound with little bass. But Sony's "Essential Classics" CD re-issues have demonstrated how good the original recordings were: warm, clear, smooth, rather closely miked with some instrumental highlighting, and a good bass response. Many digital recordings today are not as pleasant. Hiss is minimal, even when played at rather loud levels. No organ is audible (perhaps it was not even used-it is often omitted in recordings and performance.)
Ormandy's interpretation of both these works is just what we would expect
from him. He was never a conductor who imposed an idiosyncratic view upon
the music. Instead, he let the music speak for itself and breathe naturally;
he was a conductor of the Golden Mean: Never too fast, never too
slow; he secured polished and beautiful playing from his musicians and
let the composer have his say. You will hear all of this in his Elgar.
Tempi are average - perhaps a shade on the fast side, but never hurried.
Everything is presented with warmth and affection, but nothing is protracted
or
sentimental. Elgar's music, in the wrong hands, can sometimes seem
bloated or heavy (this is true of much late Romantic music, such as Strauss
or Mahler, that employs large forces); Ormandy completely avoids this pitfall.
The overture in particular, which sounds so lumbering in many performances,
receives a flexible, fluid performance.
Ormandy was often accused of blandness in his music making. It's true that he didn't seem to do much to the music on the surface; but his art was an art which concealed the hard work that went into a performance. Ormandy's goal was not what points the conductor had to make, but rather to impart the will of the composer as faithfully as possible. Like Stokowski, Ormandy's predecessor in Philadelphia, much of the interest in an Ormandy performance centered around the sheer beauty of the sound - especially of the string section, though there wasn't a section of the Philadelphia Orchestra that didn't sound gorgeous at the time this recording was made (the brass, for example, always had force without ever being overbearing or rough). Each of the Enigma Variations is given character through the silken refinement and expressiveness of the playing, whether it's an entire section or a solo.
There's nothing especially "British" sounding about Ormandy's Elgar
(it's hard to describe what the "British" sound is; but you know it when
you hear it). In some ways Ormandy gives the music a more mainstream European
sound (even a little Teutonic, perhaps). But for some listeners that may
be an
advantage and make the music more accessible and less regional.
My favorite performances of the Enigma Variations are Pierre Monteux's with the London Symphony Orchestra (London/Decca records, recorded 1959); Sir John Barbirolli's with the Philharmonia Orchestra (EMI records, recorded 1962); and Sir Adrian Boult's with the London Symphony (EMI, recorded 1970). I've decided that Ormandy falls a little below these in his interpretation (the sound of his recording is as good as any). Monteux is more incisive and emphatic; Barbirolli more intense and empathic; Boult quintessentially and definitively "British." But Ormandy is highly recommendable, and he would be an excellent introduction to this music. As for the Cockaigne Overture, I rank it among the very best in interpretation and sound. It is Ormandy at his best: Unpretentious, unfussy, direct, and flowing smoothly.
These two recordings come as part of a two-CD set that sells for about $14.00 in the U.S. They are coupled with more music by Elgar. There is the Violin Concerto with Pinchas Zukerman and the London Philharmonic (recorded 1976); the Cello Concerto from a concert performance in 1970 with Jacqueline DuPre, the Philadelphia Orchestra, and Daniel Barenboim conducting; and the five Pomp and Circumstance Marches with Andrew Davis conducting the Phlharmonia Orchestra (1981). The Violin Concerto is an outstanding performance in very acceptable sound; there is a youthful tension and drive missing from the re-makes these artists made later (Zukerman's re-make was with the St. Louis Symphony and Leonard Slatkin on RCA; Barenboim's with Itzhak Perlman and the Chicago Symphony for Deutsche Grammophon). The Cello Concerto is a dark, slow, brooding performance in broadcast-quality sound, complete with audience noises; DuPre's commercial recording with Barbirolli is preferable. Davis' Marches are nothing special in performance or sound (his re-make on Teldec is much superior).
Overall, I would recommend this set primarily for the Ormandy recordings, though the other works are added bonuses. At the cheap price, both novice and veteran collectors will find much pleasure here.
While I'm at it, I would also strongly urge you to acquire another disc
of Eugene Ormandy conducting British music, including Vaughan Williams
(Fantasia on a Theme of Thomas Tallis; Fantasia on Greensleeves)
and Delius (Brigg Fair, Dance Rhapsody No. 2, On Hearing the
First Cuckoo in Spring, and In A Summer Garden). Again, the
sound is stunning (all late 1950s and early 60s), the interpretations less
"British" - richer, thicker, more European sounding. At the risk of sounding
heretical, I prefer Ormandy's Brigg Fair to Beecham's!
It is less
impressionistic, not as delicate, and more direct. The Tallis Fantasia
is unsurpassed on records - only Barbirolli (EMI) and Stokowski (also EMI)
equal it, and neither of those recordings can boast the sheer richness
and beauty of the massed Philadelphia strings. The first chair soloists
are ravishing in their work. For sheer beauty of string sound, I can think
of no better recording of this music-or any other music for that matter.
So: Buy these two Sony releases; for under $20 you will have hours of enjoyment.
