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Symfonische muziek - Verschenen op 1 maart 2001 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Year - The Qobuz Ideal Discography - Hi-Res Audio
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Klassiek - Verschenen op 16 april 2021 | LSO Live

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Sir Antonio Pappano leads the London Symphony Orchestra in a pair of symphonies by Ralph Vaughan Williams that span the build-up and aftermath of the Second World War. Throughout the Fourth Symphony Vaughan Williams channels tension and power through the music in amongst moments of light and clarity. It evokes a sense of hardship and persistence, perhaps suggesting the ever-present threat of war in the 1930s. Written in 1947, the composer's Sixth Symphony also seems to reflect the hardships and devastation wrought by World War II. Melancholic in some movements, ferocious in others. © LSO Live
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Klassiek - Verschenen op 17 november 2009 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Symfonische muziek - Verschenen op 29 september 2017 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Uitzonderlijke Geluidsopnamen - 5 Sterne Fono Forum Klassik
Vaughan Williams’ seventh symphony (1951), Sinfonia Antartica, reuses numerous materials from the stunning piece the composer wrote in 1948 for the film Scott of the Antarctic. Therefore none will be surprised by the extraordinarily visual orchestration and theme, which any listener – even ignoring the title or cinematographic influence – will immediately associate with vast windy flatlands, scintillating icy lights, Antarctica in all its splendour – and dangers, as Scott’s expedition ended tragically, that’s the least one can say. As a complement to the programme, the Bergen Philharmonic Orchestra (where they are used to the great cold!) and Andrew Davis provide us with Vaughan Williams’s Concerto For Two Pianos: initially created in 1933 for a single piano, the work was adapted to two pianos in 1946 in light of the tremendous difficult piano part, and the composer also took the opportunity to change a few sections. Here it is performed by two Canadians, Louis Lortie and Hélène Mercier. And finally you’ll discover the Four Last Songs sung by Roderick Williams, a kind of Vaughanwilliamsian equivalent to Strauss’ own Four Last Songs, even though Vaughan Williams’ four songs were first orchestrated after his death, by Anthony Payne in 2013 – scrupulously following the composer’s orchestral habits. A beautiful musical testament, created during the last few months of his life. © SM/Qobuz
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Klassiek - Verschenen op 23 oktober 2020 | Albion

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This is the first in a series of four albums recording all 80 of the folk songs in English that Ralph Vaughan Williams arranged for voice and piano or violin. 57 of the 80 songs have not previously been recorded in these arrangements, so there is a good deal of unknown - but very beautiful - music to be found here. This first album has 23 tracks including 15 world premières. It includes Folk Songs from Sussex (1912) and Six English Folk Songs (1935). Later volumes will include songs collected in the Eastern Counties (1908), the Appalachian Mountains (about 1938) and from Newfoundland (1946). Vaughan Williams is well known as a collector of folk songs, but his own collection by no means predominates in this series; most of the arrangements were made and published as a collaborative effort, drawn from many sources. The 14 Songs from Sussex on this album were all collected by Percy Merrick from Henry Hills, a farmer from Lodsworth, Sussex, around 1900. Some will be well-known in other arrangements; others will be unfamiliar. © Albion Records
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Klassiek - Verschenen op 26 maart 2021 | Albion

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This is the second in a series of four albums recording all 80 of the folk songs in English that Ralph Vaughan Williams arranged for voice and piano or violin. 57 of the 80 songs have not previously been recorded in these arrangements. This second album has 19 tracks including 15 world premieres. It includes Folk Songs collected from the Southern Appalachian Mountains by Maud Karpeles and Cecil Sharp in 1916-1918, arranged by Vaughan Williams with piano accompaniment in about 1938. Additionally, there are two English Folk Songs for Voice and Violin. A miscellany of English folk songs includes I Will Give my Love an Apple and concludes with a Farmyard Song which is difficult to perform without collapsing in laughter. Once again, though Vaughan Williams is well known as a collector of folk songs, his own collection by no means predominates. Praised by Opera for her "dramatic wit and vocal control", British soprano Mary Bevan is internationally renowned in baroque, classical and contemporary repertoire, and appears regularly with leading conductors, orchestras and ensembles around the world. Nicky Spence is one of Scotland's proudest sons and his unique skills as a singing actor and the rare honesty of his musicianship are steadfastly earning him a place at the top of the classical music profession. Roderick Williams is one of this country's most sought after baritones and is constantly in demand. In 2016 he won the Royal Philharmonic Society's Singer of the Year award. Violinist Thomas Gould has fast established for himself a reputation as one of Britain’s foremost interpreters of contemporary music whilst also remaining dedicated to the core classical repertoire. A multiple-prize winning conductor and accompanist, William Vann is equally at home on the podium or at the piano and is the founder and Artistic Director of the London English Song Festival. © Albion Records
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Concertmuziek - Verschenen op 5 november 2013 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 17 februari 2017 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Klassiek - Verschenen op 11 oktober 2019 | PM Classics Ltd.

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Andrew Manze and the Royal Liverpool Philharmonic Orchestra’s cycle of the 9 Vaughan Williams symphonies have been praised by the reviewers, and their live performances rapturously received. This album contains the most popular of his shorter orchestral works – The Tallis Fantasy, Greensleeves, The Lark Ascending and the wonderful Five Variants of "Dives and Lazarus". The Serenade to Music is heard in the rarely performed orchestral version – this album will be a must have for all fans of the composer! © Onyx Classics
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Symfonische muziek - Verschenen op 23 maart 2018 | Onyx Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Even if they succeed one another by only five years, Vaughan Williams’ Fifth and Sixth Symphonies—among his more impressive masterworks—couldn’t be more different from one another. The Fifth, written in the middle of the war in 1943, and dedicated to Jean Sibelius, seems to be some kind of call for peace and beauty, even in its darkest and contemplative moments. The Sixth from 1948, on the other hand, creates the impression of evoking the most grating memories of the war. Not that, of course, the composer had in any way tried to write program music, but you can only be captivated by the howling, desperate, terrifying sonorities, the impossibility to ever find any moment of tonal respite—the first movement sways between the E minor and, just beside but so distant, the F minor which comes to upset the whole. In the middle of the same movement, the saxophones—saxophones are a rarity in Vaughan Williams’ music—come to sow discord with some kind of nasty reminiscence of a sorcerer’s apprentice who has become mad… saxophones that you will hear again howling in the diabolical scherzo, that Shostakovich wouldn’t have disavowed. The last movement fizzles out completely, as if someone had suddenly blown the candle out without warning; and this all the more so that during the ten minutes it lasts, he never ever leaves the pianissimo and never finds any respite, whether melodic—the discourse wanders endlessly—or harmonic. It’s a tremendous stroke of genius. Here, this is the excellent Andrew Manze, decidedly very at ease with British music, who conducts a most inspired Liverpool Orchestra. © SM/Qobuz
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Symfonische muziek - Verschenen op 3 november 2014 | Halle Concerts Society

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 4 juni 2021 | LSO Live

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Klassiek - Verschenen op 17 september 2021 | Albion

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This is the third in a series of four albums recording all 81 of the folk songs in English that Ralph Vaughan Williams arranged for voice and piano or violin. 57 of the 81 songs have not previously been recorded in these arrangements. This third album has 21 tracks including 14 world premières. The principal collection (15 tracks) comprises folk songs collected by Vaughan Williams himself from "The Eastern Counties" – primarily Essex, Norfolk and Cambridgeshire – and published by him in these arrangements in 1908. These are thus the earliest works in the series. Additionally, there are Twelve Traditional Country Dances arranged for Maud Karpeles in 1931 and Songs from The Penguin Book of English Folk Songs and other Songs from The Motherland Song Book. Praised by Opera for her “dramatic wit and vocal control”, British soprano Mary Bevan is internationally renowned in baroque, classical and contemporary repertoire, and appears regularly with leading conductors, orchestras and ensembles around the world. Opera singer Nicky Spence is one of Scotland’s proudest sons and his unique skills as a singing actor and the rare honesty of his musicianship are steadfastly earning him a place at the top of the classical music profession. Roderick Williams is one of this country’s most sought after baritones and is constantly in demand, encompassing a repertoire from the baroque to world premières. In 2016 he won the Royal Philharmonic Society’s Singer of the Year award. A multiple-prize winning and critically acclaimed conductor and accompanist, William Vann is equally at home on the podium or at the piano and is the founder and Artistic Director of the London English Song Festival. © Albion Records
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Symfonische muziek - Verschenen op 29 april 2016 | Onyx Classics

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Andrew Manze is familiar to classical listeners as a violinist and as a specialist in early music, but he has also pursued conducting, performing orchestral music of a more modern vintage. His concert performances have increasingly featured the symphonies of Ralph Vaughan Williams, and this 2016 release on Onyx of the Symphony No. 2 in G major, "A London Symphony" and the Symphony No. 8 in D minor gives a clear idea of his approach to this music. The impassioned reading of "A London Symphony" with the Royal Liverpool Philharmonic Orchestra reveals that Manze has an affinity for expansive melodic lines, poignant harmonies, and rich, atmospheric orchestration, and the sounds the orchestra produces are quite lush and luxuriant, wholly appropriate for Vaughan Williams' post-Romantic phase. The Symphony No. 8, dating from 1955, is Vaughan Williams' shortest symphony, and his use of pitched percussion creates a wonderful atmosphere that is unique in the cycle. Manze draws out marvelous sonorities from the orchestra, and the musicians respond with great warmth and a level of enthusiasm that is easy to perceive. Onyx has produced an exceptional recording with vivid tone colors and a resonant acoustic that gives the music a spacious feeling. © TiVo
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Symfonische muziek - Verschenen op 1 november 1990 | Chandos

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Symfonische muziek - Verschenen op 4 september 2015 | Halle Concerts Society

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Kamermuziek - Verschenen op 6 mei 2014 | Naxos

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Symfonische muziek - Verschenen op 24 maart 2017 | Onyx Classics

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Although best known as a conductor of historically oriented performances, Andrew Manze has turned his attention to mainstream repertory with often profitable results. This release is part of a cycle devoted to the symphonies of Ralph Vaughan Williams, and it succeeds in works that are not among the audience favorites of the composer's nine. The subtitle "A Pastoral Symphony" for the Symphony No. 3 is both apropos and problematical, and as such the work is one of the most personal in the oeuvre of a rather impersonal composer. The germs of the music date to Vaughan Williams' service as an ambulance driver in World War I, and the mood throughout is one of pastoral scenes disturbed by danger. Manze, leading a charged-up Royal Liverpool Philharmonic Orchestra, has the wisdom to realize that less is more here, and when he deepens the effect, he does so through unusual textures rather than grand gestures. For the solo trumpet part in the second movement, evocative of the composer hearing buglers at the front in the evening, he uses a natural trumpet, and he employs a tenor in the fourth movement opening (sample this for the haunting effect). A soprano is generally used here despite Vaughan Williams' own indication that the part may be sung by a soprano or tenor (or played on a clarinet). The Symphony No. 4, from the 1930s, is a more outwardly turbulent work whose march rhythms may bring Shostakovich to mind. One of the Russian conductors on the British scene might bring more zing to this, but there's also much to be said for Manze's approach in this unsettling work. Recommended RVW, very much in the British school. © TiVo
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Klassiek - Verschenen op 4 februari 2013 | Halle Concerts Society

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Concertmuziek - Verschenen op 1 april 2002 | Chandos

Booklet