Performers: Stephen Roberts (baritone), Howard Shelley (piano), Jonathan Snowden (flute solo), The Bach Choir, London Philharmonic Orchestra, Sir David Willcocks (conductor)
Programme notes from AllMusic by Robert Cummings:
Sometimes it is no simple task dating Vaughan Williams' works. While this one was composed in 1957, it was derived largely from an ill-fated masque entitled The Bridal Day. Vaughan Williams wrote that work in 1938, but owing to the onset of the war, he could do nothing to prevent its first performance from being canceled. Apparently dissatisfied with it anyway, he revised it in 1952 and the work was finally premiered the following year. Still not fully convinced of the masque's artistic worth, he converted it into this cantata in 1957. The word "Epithalamion" pertains to a wedding or nuptial song, the composer thus retaining the spirit, if not the letter of the masque's title.
The work is scored for baritone, chorus, and string orchestra, but also features prominent flute and piano parts. It is cast in 11 sections and features a text by Edmund Spenser (from his Epithalamion), as selected by Ursula Vaughan Williams, the composer's second wife. The masque also consisted of 11 sections and used the same text sources.
Epithalamion opens with a choral prologue (Andante con moto -- Allegretto), rather light and ethereal, the flute often fluttering about the somewhat exotic intonations of the chorus. The ensuing "Wake Now" (Allegretto) features vigorous solo work from the baritone, while the flute and orchestra supply colorful support. "The Calling of the Bride" (Allegro moderato) and "The Minstrels" (Allegro) are both choral numbers of lively mood, with plenty of colorful writing, the latter divulging a flavorful folk character, something for which the composer was so well-known.
The fifth section, "Procession of the Bride" (Andante maestoso), is perhaps the loveliest of all. It features a lush soaring melody for the women's chorus of mesmerizing beauty. This is Vaughan Williams at his most Romantic. "The Temple Gates" (Adagio -- Allegro) and "The Bellringers" (Andante con moto) are choral numbers largely of a regal manner, the latter having a lilt that conjures images of bells ringing in a rocking rhythmic manner. "The Lover's Song" (Andante sostenuto -- poco animato) follows, a subdued and somewhat ethereal number for the baritone soloist and chorus.
The ensuing section, "The Minstrel's Song" (Andante sostenuto -- tranquillo), continues that mood but turns it a bit toward the exotic. "The Song of the Winged Lovers" (Allegretto) is a light and ethereal piece for women's chorus, and the concluding "Prayer to Juno" (Molto adagio -- allegro -- andante maestoso) is actually quite deep in its expressive manner: following a brief orchestral introduction, the baritone sings a somber prayer of profound character; while the middle section is lively and less weighty, the close offers music of considerable substance.
This is one of the composer's last important choral works and must be ranked among his finer efforts in the genre.
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