CLASSICAL MUSIC REVIEW: The Halle Orchestra: A Sea Symphony - The Bridgewater Hall, Manchester.

The Halle Orchestra, under the direction of Sir Mark Elder, are currently performing - and recording - the whole set of Ralph Vaughan-Williams's symphonies. This evening it was the turn of his 6th symphony, followed by his mightiest and most grandiose of them all, his Sea Symphony.

I have always found Elder's conducting to be very indulgent, and this was never more clearly observed than during his leadership of Vaughan-Williams's 6th symphony which started the concert. Obviously passionate, Elder sought to highlight every single motif, every dynamic change, every thought process within the piece, and in so doing the piece was a tad longer than is normal for this symphony, and one was left wondering if he didn't actually slightly over-egg the pudding by so doing. Elder's perhaps somewhat obstinate observation of every scored dynamic is punctillious, but the sound he creates with the orchestra however, is beyond speech. Words cannot express what a joy it was to be back listening to such a world class orchestra once again; the quality of the sound produced, and the subtelties which Elder manages to wring out of them, is just astounding. 

It's well known that Vaughan-Williams's symphony was written as a direct reaction to the second world war. Vaughan-Williams was in his 70s when the work was premiered and is often thought that the final movement of this symphony is perhaps one of the most personal pieces of composition he ever wrote. Much speculation still arises over whether or not the symphony is a vision of a post-nuclear world; but of one thing we can be certain, this piece of music would not have been written if he had not have experienced war, and the music is directly associated with and at the same time horrified by war. For an example, the solo saxophone melody in the scherzo was written in response to the bombing of the Cafe De Paris, and the musicians who suffered in that attack.

There are still many lighter moments within this work - played through without a break - as the 3rd movement (scherzo) opens with an almost ironic Big Band sound of jazz, and one can hear folk song melody fragments all over this work too. The melody fragments of the fourth movement popping up like accusations or perhaps even questions, as it finally diminuendos through the denouement to an almost imperceptible final few notes.

After the interval and we return to listen to my favourite of all Vaughan-Williams's symphonies, and a piece of music which was ground-breaking in its day, marking a new era of symphonic writing which utlilises a choir throughout as part of the symphonic structure of the writing. Although never officially numbered it was the first symphony (of nine), and was written long before even the first world war, premiering in 1910. However it is his longest symphony (70 minutes), and is scored for large orchestra, baritone and soprano solos, large mixed choir, and organ. Using the words of poet Walt Whitman as his text throughout.

This is a giant of a piece, and as such is rarely performed. But here Elder excelled himself, as his direction of all sections - including the choir, was beyond reproach. His meticulousness paying full dividend throughout this mammoth. In fact, you would have to go a very long way to find a piece of music and a performance of it that was as thrilling. The hairs on my arms were at attention during the quieter more reflective moments. The endings to each movement superbly measured.

As a personal preference I would have liked to have heard / seen a larger male contingent in the choir. There was a little overpowering from the females at times; and tonight's baritone soloist, Roderick Williams would have benefitted from more amplification to his voice when he was joined by soprano and chorus.

Roderick Williams however was a truly congenial and wonderful presence on stage. He looked to be enjoying every second of the score, completely immersed in it, and his mellow baritone voice was lush and his diction and articulation superb. He was joined by soprano soloist Masabane Cecilia Rangwanasha, as well as a larger than normal Halle Choir - joined by the Youth Choir - and the sound they created was precise, articulate, and delightful. The third movement (sung by only the choir) is always my favourite section.

Again, as is Vaughan-Williams's want, the whole is peppered with folk song fragments; especially sea shanties and hornpipes in this, his Sea Symphony. We delight in the swells, as waves of sound pour over us, and again, perhaps almost a Vaughan-Williams trademark, the ending of the symphony dies to an much slower, more reflective, and much quieter final few bars which diminuendo to ppp and silence. Masterly.

Reviewer - Matthew Dougall
on - 30.4.22