Richard Hickox Haydn London Vol. 1

It was during the summer of 1911 that George Butterworth, whose enchanting 1913 idyll, The Banks of Green Willow, comprises the achingly poignant curtainraiser here, first suggested to Vaughan Williams that he should write a purely orchestral symphony. VW dug out some sketches h'd made for a symphonic poem about London, while at the same time deriving fruitful inspiration from HG Wells's 1908 novel, Tono-Bungay. Geoffrey Toye gave the successful Queen's Hall premiere in March 1914, and VW subsequently dedicated the score to Butterworth's memory.

The playing and singing of Hickox’s own orchestra and chorus are always mindful of stylistic matters, crisp and airy in the sensuous dance music, urgent and theatrical (in the best sense) in passionate sections of the score, which Hickox holds together in exemplary manner (Gramophone Magazine). Hickox conducts with a fine sense of theatre, as well as an aptly Gluckian restraint…Palmer is remarkable at her best, and her duet with Rolfe Johnson ('Armide, vous m'allez quitter') is memorably done (International Record Review).

Carl Orff - Carmina Burana
Penelope Walmsley-Clark, John Graham-Hill - London Symphony Orchestra & Chorus / Richard Hickox
EAC+LOG+CUE | FLAC: 246 MB | Artwork | 5% Recovery Info
Label/Cat#: IMP # PCD 855 | Country/Year: UK 1986
Genre: Classical | Style: Early 20th Century, Medieval, Vocal

"Richard Hickox, on his brilliantly recorded CD, like Previn uses the combined LSO forces, but adds the Southwen Boy's Choir who make sure we know they understand all about sexual abandon – their 'Oh, oh, oh I am bursting all over' is a joy. (…) The vivid orchestral detail revealed by the very bright digital sounds adds an extra dimentsion, with bass drum and percussive transients very telling, while the LPO brass, trumpets and horns especially, playing superbly are brilliantly projected." ~Penguin Guide

Much worthy English music issues from the atéliers of minor talents and has a cottage or "small beer" quality. Of course "small beer" (locally brewed) can put the grand variety to shame, and so too in music, where dedication within limitation can produce work of exceptional beauty and character. John Ireland is one such (a miniaturist extraordinaire); Gerald Finzi (1901-1957) is another. Finzi, although of Italian-Jewish extraction, was London-born and in many ways more English than his teacher Ralph Vaughan Williams.

This is a wonderful studio recording of one of Handel's most accomplished opera's. Unlike Christie's live recording where the voices seem too remote this production has excellent balance and faultless sound. Arleen Auger is magnificent. She is involved and passionate and has a voice of both power and beauty. Indeed, the whole cast is second to none. Where this set surpasses Christie is the warmth and immediacy of the performance.
By KC "KC London" (London, England)