Merrie Olde England

 

Vaughan Williams' opera Hugh the Drover can be accused of such a sound.

And yet I love this cantata, taken from that opera, all the same.

Much of the 40-minute A Cotswold Romance is strappingly boisterous, and you really get the sense of a rustic, salt-of-the-Earth community from these singers.

Death of Tintagiles is completely different, offering a 15-minute moody, orchestral-only set piece. My enthusiasm is overflowing regarding this recording, both the music and the performances. Deservedly, a reissue came out in the Richard Hickox Legacy series.

 

A review from 2021

Ralph Vaughan Williams’ A Cotswold Romance is a choral cantata with soloists, adapted from his hour-and-a-half opera, Hugh the Drover. Tuneful and robust, the 40-minute cantata is in 10 bite-sized sections, varied with heartfelt solos and rough-ridden choruses.

I am not at all familiar with the opera, still found on EMI under Sir Charles Groves with a starry cast, but the story is still vividly apparent in its truncated, chorally-focused cantata form. If anything, Cotswold Romance only makes me want to seek out the original, for it is filled with virile orchestral work, earthy, full-throated choruses, and yearning vocal solos.

Vaughan Williams’ opening bidding war is great fun, the boxing match is full of energy, and the finale is full of swollen climaxes. Hugh’s ‘Vagabond’ solos are full of rustic, hearty earnestness, and the love tale still maintains beauty among the vigour. The opening ‘Huzzah’ of the 5th portion really took me by surprise, and the same could be said of the whole work; something really worth seeking out!

The Death of Tintagiles, incidental music for the same-titled play, is quite the opposite. For orchestra alone, there is a grim moodiness that never casts away its dour pallor through its runtime, although the story seems just as heartbreaking as its music. There are some wonderful string solo spotlights, as well as a full, Romantic depth to its symphonic setting.

This music cannot really be found anywhere else on record, and it is a crime that it has taken so long for me to find it. The London Philharmonic Chorus is really special in their characterful portrayal of this rural community. Crisp diction and all-in singing with excellent balance and tone; who could ask for more? The vocalists are equally appealing, with no nitpicking on vocal quality at any aspect.

Similarly, the London Symphony Orchestra sounds great. Chandos’ sonics give the ensemble depth and a warm sheen; overall a really satisfying sound. Sir Richard Hickox leads strongly, as was typical of his approach to English symphonic choral works, and it is no different here. If I had any problem at all, the soloists are occasionally overwhelmed when the orchestra and chorus are going full steam, but this is not a frequent issue.

I am really enthusiastic over this recording. The music, the performances, and sound are all top notch. The Death of Tintagiles spoils a bit of the high-flying mood that A Cotswold Romance opens; but to have two very rare Vaughan Williams compositions, without redundant filler, is wonderful.

 

 

 

Work
Cotswold Romance (39.34)
Death of Tintagiles (14.46)

Soloists
Rosa Mannion, soprano
Thomas Randle, tenor
Matthew Brook, baritone

Ensembles
London Philharmonic Choir
London Symphony Orchestra
Richard Hickox, conductor

Label: Chandos
Year: 1998; 2012
Timing: 54.29

 

 

 

A Cotswold Romance may be the most fun I have had with a Vaughan Williams recording ever. This recording certainly makes me want to look up Hugh the Drover again.

The performers really sell it too!