BBC Scottish Symphony Orchestra
Graham Treacher conductor
Chorus and orchestra of Charterhouse School
ALBION ALBCD072
Most of these rare performances date from the 1960s, but any concerns about recording quality may, with one exception, be cast aside. The disc opens with three extracts from the Suite: The Story of a Flemish Farm. Anyone wishing to hear the remaining four movements is well served by the BBC Philharmonic on Chandos, but those heard here have a lovely intimate quality about them.
Perhaps the most historically interesting accounts are those by the Aeolian Quartet. RVW’s Second Quartet, a darkly troubled legacy of the war, is lent particular poignancy through Stephen Connock’s excellent notes. Particularly vital are the reminiscences of Jean Stewart, not only the work’s dedicatee, but the viola player of the Menges Quartet who gave the premiere.
The Phantasy Quintet (with Kenneth Essex as second viola) is part of the significant heritage of such pieces championed by W. W. Cobbett. From its rich opening on solo viola to its calm answering assurances of parallel triadic harmonies, the players fully relish its hints of the Tallis Fantasia written just two years before. If they are perhaps less poised and meticulously aware of every nuance of the score than the Maggini Quartet with Garfield Jackson on Naxos, this profoundly satisfying version is still well worth acquiring.
The Three Organ Preludes founded on Welsh Hymn-Tunes are performed with magisterial insight by George Thalben-Ball on a fine instrument, probably that of the Temple Church. ‘Rhosymedre’, whose melody is generally sung to the text, ‘Author of life divine’ (at least, where these things are still done properly), is a little steadier than usual and all the better for it. Moreover, we are happily fully ensconced in the organ loft, with combination pistons quite audible.
The Oxen, a brief extract from Hodie, featuring the warm qualities of baritone John Carol Case, was recorded at the final concert of the RVW centenary celebrations at the Queen Elizabeth Hall in 1972. It appears to be the soloist’s only appearance in the work, so the slightly cloudy recording may be excused. Earlier that year, the choir and orchestra of Charterhouse School performed two extracts from the Charterhouse Suite, a work that appears to have sadly fallen into abeyance there in recent years.
This might also be noted as one of the first recordings to feature female voices in the choir, as the school had admitted girls to the sixth form a few months before, one of the earliest foundations to do so. Unfortunately, it has not been possible to fully restore this recording, but even it if remains unquestionably a school performance the performers tackle it with huge commitment.
Overall, a thoroughly captivating release.
Review by Andrew Plant