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Track(s) taken from CDA67168

On Wenlock Edge

author of text

John Mark Ainsley (tenor), The Nash Ensemble, Leo Phillips (violin), Elizabeth Wexler (violin), Roger Chase (viola), Paul Watkins (cello), Ian Brown (piano)
Recording details: October 1999
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: September 2000
Total duration: 21 minutes 30 seconds

Other recordings available for download

Andrew Kennedy (tenor), Dante Quartet, Simon Crawford-Phillips (piano)
James Gilchrist (tenor), Fitzwilliam String Quartet, Anna Tilbrook (piano)
Adrian Thompson (tenor), Delmé Quartet, Iain Burnside (piano)


'John Mark Ainsley's performance is among his best on record in these austerely beautiful, imaginatively scored settings' (Gramophone)

'It would be hard to find an interpreter more beautifully suited to the Blake Songs than John Mark Ainsley' (BBC Music Magazine)

'Superbly sung. A warm recommendation' (International Record Review)

'John Mark Ainsley’s voice has exactly the right timbre for this music. First-rate. A most desirable disc. Very strongly recommended' (Fanfare, USA)

'Hyperion could have no better champion here than John Mark Ainsley. With beautifully sensitive playing from the Nash Ensemble, his clean, mellifluous tenor draws us in to the hidden riches of this marvellous music' (Amazon.co.uk)
Though rightly regarded as one of the twentieth century’s great symphonists, Ralph Vaughan Williams responded to the setting of words throughout his long life. Songs were therefore as significant among his earliest efforts as they were in his final creative period. On Wenlock Edge was composed in 1909 and first performed by Gervase Elwes (tenor) and the Schwiller Quartet, with Frederick Kiddle (piano), in the Aeolian Hall in London’s Bond Street, on 19 November. It signalled what the ‘Sea Symphony’ and the ‘Tallis Fantasia’ would confirm in the following year, that a major composer had arrived on the British musical scene.

It had been an arduous journey, however. Vaughan Williams was nearly forty and had served a long apprenticeship: two years at the Royal College of Music studying composition with Parry, three years for a Bachelor of Music degree at Cambridge University, two more years at the Royal College (this time under Stanford), a few months in Germany under the guidance of Max Bruch, and finally, in 1908, three months in Paris to acquire ‘a little French polish’ from Ravel. To which one might add the self-education that came about through his investigations into English folksong (he collected his first example on 4 December 1904) and the years of intensive research that went into preparing the great English Hymnal for publication in 1906. Such were the labours that transformed him from a composer in the German mould into a voice that could only be English. Something of this process can be felt in On Wenlock Edge. In it, the discipline of German symphonic thought is tempered by the subtlety of French impressionism and invigorated by the melodic directness of English folksong. The result is the unique language of Vaughan Williams and a turning point in the history of British music.

A E Housman’s A Shropshire Lad poems were published in March 1896. Though not the first composer to recognise their suitability for music (that distinction belongs to Sir Arthur Somervell), Vaughan Williams’s cycle was the first fully integrated interpretation to appear (George Butterworth’s cycles belong to 1911 and 1912). In all essentials, Vaughan Williams’s conception is symphonic—though more a matter of emotional sweep than thematic development. Where appropriate, he treats the song as drama. Thus the conversation between the living and the dead in ‘Is my team ploughing?’ becomes a miniature opera, while the bell-like accompaniment of ‘Bredon Hill’ provides a background symphony of great dramatic intensity. Similarly, the flaring strings that accompany ‘On Wenlock Edge’ depict not only the storms that trouble the woods, but also the emotional gales that move the protagonist. And who but Vaughan Williams could have conjured up the mood of spiritual resignation and fulfilment that brings the cycle to its noble end? By any standards, On Wenlock Edge is a remarkable achievement.

from notes by Michael Hurd © 2000

Other albums featuring this work

Gurney: Ludlow and Teme & The Western Playland; Vaughan Williams: On Wenlock Edge
Vaughan Williams, Venables & Gurney: On Wenlock Edge & other songs
SIGCD112Download only
Vaughan Williams: On Wenlock Edge; Warlock: The Curlew; Gurney: Ludlow and Teme
Studio Master: CKD296Download onlyStudio Master FLAC & ALAC downloads available
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