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Site review by Castor June 3, 2007
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Performance: Sonics: |
Having greatly enjoyed the vital performance of Elgar’s 2nd Symphony by Richard Hickox and the BBC National Orchestra of Wales, I was surprised to discover that Hickox takes a more relaxed view of the 1st. Recent performances on disc have moved closer to Elgar’s own swift tempi and I have recently been listening to Boult’s superb final performance of the work recorded at the Proms in 1976. Boult was no speed merchant, but he takes 45m for the work against the 51.57 of Hickox.
In the first movement Hickox is meticulous at observing the large number of tempo and dynamic changes in the score. His concern for detail sometimes impedes the forward thrust, and this, coupled with a fractionally too measured opening tempo at the start, (it is marked Andante Nobilamente e semplice), occasionally dissipates the energy of the music in this movement. The effect is similar to setting out on a long country walk with someone who constantly stops to admire the view. Further, it is impossible not to notice the lack of body in the upper strings of the BBC National Orchestra of Wales when compared to the rich Wagnerian brass and lower strings captured so realistically by the superb Chandos recording. This is, I believe, partly accounted for by Hickox’s (most welcome) antiphonal division of the violins and maybe sheer lack of numbers of players.
The Allegro molto that follows is the finest part of this performance. A well-chosen march tempo with crisp, incisive playing and excellent articulation by the orchestra leads to the tenderly played ‘pastoral interlude’ of the trio section. The transition from the return of the scherzo to the opening of the Adagio is also beautifully managed.
The ravishing playing in the magnificent slow movement is captured to perfection by the rich and detailed recording. Once again, however, Hickox is quite indulgent (12.55 against the 9.04 of Boult) and, whilst one must admire his control and care for shaping the music’s lines and achieving breathtaking pianissimos, the overall effect, though undeniably beautiful, could be considered a touch somnolent.
The mysterious march-like opening to the finale is impressively handled as is the ensuing Allegro, but the statement of the glorious melody that emerges at 6.30 seemed a tad prosaic. From that point to the end of the movement, however, Hickox’s performance catches fire and builds impressively in power, culminating in a satisfyingly blazing coda.
The generous fill-up to the symphony is Gordon Jacob’s wonderful orchestration of Elgar’s Organ Sonata made in the 1940s. It is almost a mini-symphony and Jacob has re-created Elgar’s orchestral sound world with remarkable accuracy. Hickox and the orchestra give a thrilling performance of this marvellous music which has never received a recording as good as this one.
The Chandos 5.0 DSD recording has captured the fine acoustic of the recording venue, Brangwyn Hall, Swansea, perfectly. The sound is clean, but with an impressive richness and weight, particularly at the lower end of the spectrum so essential for Elgar’s music. It is also pleasing to report that the recording level is much higher than the previous issue. Definitely recommended.
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Copyright © 2007 Graham Williams and SA-CD.net
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