In the age of internet communities such as our own quaint little Sputnik, it’s not hard to see why “classical” music has fallen by the way side. Especially regarding the pieces that were composed prior to the dawn of the recording era, which were often large spectacle that not only stimulated aurally, but also visually. Watching Gustav Mahler’s Symphony No. 8 with its “choir of one thousand voices” (the title was literal upon its inaugural performances) would be quite the vision I’m sure. Perhaps this is then the largest disconnect between “classical” music and anything of the modern age. While culture has always recycled the past into something attractive to the present, when it comes to music, technology has widened the gap between pre and post recording age. Certainly music has become a far more personal experience. Nowadays I could lock myself in my room and plug headphones into my ear, and simply escape. I’m not making any new found discovery, as this conceit is rather obvious. Instead, this notion is allowing me to consider an interesting point of view when it comes to composers from the early 20th century.
One composer in particular, Ralph Vaughan Williams, seemed to flow just outside the modernist movement of his time. While still leaning towards the melodic, late 19th century, Williams tread along the line between bombast and ambience. In his Symphony No. 2 in G, (A London Symphony), it becomes clear that the beginnings of the recording era had started to make an impact on the grander tradition of live orchestration. While it can’t be pinned down to anything in particular in the compositions themselves, the overall feel of the music seems to be more personal. The soft melodic and harmonic interplay of the strings and french horns that dominate much of the symphony’s running time are warm and inviting to the listener. At the same time the forte climaxes, filled with loud horns, cymbal crashes and sweeping strings, simply scream spectacle– and communal. It’s music that emotes a sense of adventure and relaxation, alternating between the two continuously. It’s like sitting by a warm fire place, listening to the great stories of an eccentric uncle’s past excursions.
As for the music itself, it is nothing short of breathtaking. Stately, menacing and inviting when it needs to be, it’s always gorgeous and engulfing. The heartbreaking violin and cello swells that end the third movement, “Scherzo: Allegro Vivace”, which juxtapose the galloping, woodwind heavy opening; drip with beauty. The fourth and final movement is perhaps the most grandiose as it slowly crescendos several times from sweeping string and horn melodies to crashing cymbals and minor scale horn explosions. The longest section, at nearly nineteen minutes, this fourth movement is fittingly exhausting. It treads through several themes and emotions, at one point ambient and brooding while at another stately, as if in a Russian waltz. At this point if you, my humble readers, are being somewhat reminded of the much loved genre of post-rock– you’re not too far off.
Well, okay you are far off, but the music follows similar patterns to post-rock. However instead of long sections of ambience and dissonance, Vaughan Williams has long sections of soft melodic and harmonic arrangements that crescendo into climaxes full of fortissimo horns, strings and cymbal crashes; minus the electric guitars of course. The first of these climaxes comes at about the four minute mark of the first movement. As a side note, listen to the descending chromatic pattern that bursts during this climax; then listen to the main theme from The Phantom of the Opera– notice anything similar?
This version of Vaughan Williams’ Symphony No. 2 in G, (A London Symphony) is performed by The London Symphony Orchestra and is conducted by Richard Hickox. As is to be expected by such a respected group of classically trained musicians, the performance is top-notch. Along with the Symphony, the group also play another selection from English composer, George Buttersworth entitled, “The Banks of the Green Willow”, which is a whimsical piece that is considerably shorter then any of the movements from the symphony. The musicians play with the kind of emotion and restraint that the music demands. The Symphony is incredibly dynamic and is in constant flux from loud to soft, fast to slow. Played any other way then with heart-on-sleeve, would take away from the overall feel of the music. This is a beautiful, emotional composition; one that will appeal to anyone who likes beautiful music, whether it be classical or otherwise.
