I used mostly my ears

a blog about music by Marc Haegeman

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Vaughan Williams by Sir Adrian Boult

Ralph Vaughan Williams: A Sea Symphony (1,2,a); A London Symphony (2); A Pastoral Symphony (3,c); Symphony #4 in F minor (3); Symphony #5 in D Major (2); Symphony #6 in E minor (3); Sinfonia antarctica (1,2,b); Symphony #8 in D minor (2); Symphony #9 in E minor (2)
(a) Sheila Armstrong, soprano
(a) John Carol Case, baritone
(b) Norma Burrowes, soprano
(c) Margaret Price, soprano
(1) London Philharmonic Choir
(2) London Philharmonic Orchestra/Adrian Boult
(3) New Philharmonia Orchestra/Adrian Boult
Recorded between 1967 & 1971
Warner Classics (EMI) 87484-2 5CDs ADD

Vaughan Williams Symphonies

Sir Adrian Boult plays Vaughan Williams

For anyone looking to explore the symphonies of Ralph Vaughan Williams (1872-1958) this famous set recorded by Sir Adrian Boult for HMV/EMI between 1967 and 1971, and reissued by Warner Classics at an attractive price, is still a clear first choice. While clearly not neglected on disc Vaughan Williams’s symphonies are hardly ever heard in the concert-halls. There are first-rate complete sets by Bernard Haitink, Vernon Handley, and André Previn among others, yet one doesn’t get any closer to his particular and ever-changing sound-world than with Sir Adrian Boult, who knew the composer since his Oxford student-days, premiered three of his symphonies and remained a close friend and lifelong champion of his music.
Read the full review on Classical Net

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Royal Liverpool Philharmonic in Paris

Ralph Vaughan Williams: Overture “The Wasps”
Wolfgang Amadeus Mozart: Piano Concerto #23, K. 488
Piotr Ilyitch Tchaikovsky: Manfred Symphony, Op. 58

Hélène Grimaud, piano
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
Théâtre des Champs-Elysées, Paris, 26 March 2011

The Royal Liverpool Philharmonic Orchestra under their chief conductor Vasily Petrenko appeared in Paris for a single concert that, according to the program notes, aimed to contrast classical harmony with the often unbridled expressivity of romantic music. Although the works chosen (Mozart’s Concerto for piano #23 and Tchaikovsky’s Manfred Symphony) are indeed foremost representatives of each genre, in practice the differences turned out to be less pronounced as was intended.
Read the full review on Classical Net