This disc was a delightful
surprise. All the works on it are popular
and much recorded; the Vaughan Williams
in particular needs something extra
special if it is to survive in the competition
of Barbirolli, Marriner and others.
But it’s good to report that this performance
has got that special quality,
as have the other items. Warren-Green’s
approach is extremely spacious – his
Tallis Fantasia at 16:32, is
minutes longer than Marriner or Toscanini,
and even 15 seconds slower than the
classic Barbirolli on EMI, which I have
always thought of as ideally measured.
There are many lovely
subtle touches in the playing, too;
for example, the fine solo violinist
plays his final solo ascent without
vibrato, perfectly in tune, then, as
the other strings join in at the cadence,
the vibrato is allowed to gently
warm the sound – marvellous, and an
example of the kind of touch a string
player like Warren-Green can bring to
his interpretations. On this topic,
why have APEX failed to credit the important
solo quartet of players in the VW? This
should always be done, and it
is downright discourteous not to do
so. I know this is a bargain issue,
but surely twelve words on the liner
is not going to break the bank. Hmm.
That grouch aside,
this CD is great value, because the
other items maintain the high standard
set by the Tallis Fantasia. Britten’s
Simple Symphony fizzes with energy,
and has an intensely expressive Sentimental
Sarabande. Butterworth’s The
Banks of Green Willow is the only
work on the disc to use instruments
other than strings, and there is fine
playing in this from the RPO woodwind
section. Near the end is a particularly
poignant oboe solo at the introduction
of the folk-song Green Bushes.
The Elgar Serenade
receives a sympathetic and stylish
performance, but I enjoyed the Holst
St. Paul’s Suite as much as anything
in the compilation. Again, Warren-Green
is so successful in bringing out significant
detail; everything is heard with great
clarity, even though the large RPO string
body ensures a really powerful weight
of sound.
The recording is excellent,
if a little boomy and bass heavy at
times, largely because, I suspect, of
the resonant acoustic of Watford’s Colosseum.
But equally, the music is appropriately
complemented by the cathedral-like ambience.
This is a brilliant bargain.
Gwyn Parry-Jones
Royal Philharmonic Orchestra/Christopher
Warren-Green 
