the british are coming!

tomorrow, in an event guaranteed to lighten the burden of p-town’s early winter drizzle, the oregon symphony releases their second album with coach k. at the helm.  entitled this england, the all-british record kicks off with sir edward elgar’s euphoric and energetic cockaigne overture.  essentially an urban tone poem, the music serves as a snappy appetizer of percussion and brass, painting many vivid images of a merrily bustling london.

what follows is a respite from city life in the form of ralph vaughan williams’ symphony #5.  surprisingly, every impressionistic movement begins and ends with gentle smoothness, a musical watercolor where melodies and chords and entire orchestral sections blend and bleed into each other with bittersweet beauty.  double-basses provide an undercurrent of warmth throughout the performance and a solid foundation for the higher strings to sing and soar, especially for (then guest) concertmaster sarah kwak, whose brief but dreamy solo in the gorgeous third movement is a single candle atop a dense, rich cake.

the album concludes with instrumental selections from peter grimes, the most successful opera benjamin britten ever composed and arguably the most famous english opera ever written.  what’s not at all debatable is our oregon symphony’s knockout performance of four sea interludes & passacaglia on this new recording.  violins set the stage for uncle benny’s scene-changing music, introducing his first interlude with an ethereal melody that transforms itself into an unanswered question repeated over a beefy-yet-restrained orchestra, evoking the beauty of sunrise with a hint of warning.  sunday morning, the second interlude, sharply depicts villagers as church-going automatons urged to action by bells and rollicking buoys through the pure magic of a 14-foot chime.  and then there’s interlude #3, simply titled moonlight.  indeed, what a little moonlight can do.  deeply resonating string sections, a smattering of woodwinds, crisp percussive accents… it just might be four of the most brilliant minutes ever written for orchestra.  these moonlit whitecaps are followed by britten’s passacaglia – a disturbing interlude amongst interludes in which joël belgique’s haunting viola creepily traces the unraveling mind of peter grimes.  percussive thuds and subterranean growls help to color the rough-and-tumble fisherman’s desperate situation with fairly dark shades of gray.  the interludes end stormily, blowing the listener out of the water by chugging to a capsizing climax.  last year, the oregon symphony released their highly praised music for a time of war which (in addition to being a serious contender in next month’s grammy nominations) featured mr. britten’s forceful sinfonia da requiem.  that album, along with this newest release on the pentatone label, showcase maestro carlos and the band as supreme interpreters of benjamin britten’s amazingly colorful brand of orchestral anxiety, inviting the listener to delve ever deeper into painful, yet rewarding, symphonic ambivalence.


1 Response to “the british are coming!”

  1. 1 Nancy Ives (@cellonancy) November 13, 2012 at 11:38 pm

    I LOVE Britten and Elgar!!! I am so proud of this recording. Thanks for the fabulous description. :>)

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s

Feed the Beavs

Follow Me.

  • My 2932nd and final tweet: Thanks for following the Beavs these past few seasons. Wishing all my tweeps lots of peace, love, and Haydn! 4 years ago

%d bloggers like this: