Page 335 - Liverpool Philharmonic 22-23 Season Coverage Book
P. 335

22 October 2022

                                                 Richard Bratby


                   A miniature rite of a very English spring: a

                             Vaughan Williams rediscovery in


                                                   Liverpool



                              Plus: ENO's new Tosca has humanity and theatrical flair






























                   Royal Liverool Philharmonic Orchestra/Manze


                   Philharmonic Hall, Liverpool
                   Tosca


                   London Coliseum, in rep until 4 November

                   Imagine a folk dance without music. Actually, you don’t have to: poke about on YouTube and you’ll find footage from 1912 (there’s music dubbed on, but it’s a silent film)
                   of Vaughan Williams’s friend George Butterworth in full Morris fig, going through the moves with Cecil Sharp and a pair of pinafore-wearing gals. Note the precision of
                   his movements, that big Kitchener moustache: how seriously Butterworth is taking it, four years before he stopped a bullet on the Somme. And they really were sincere,
                   those folk song pioneers. The same modernising impulse drove Bartok on his song-collecting journeys at the opposite end of Europe, and in 1913 – two weeks after the
                   première of Le Sacre du printemps – Sharp’s Morris side gave demonstration performances to an avant-garde crowd in Paris.
                   Still, I would not have predicted that the most striking moment in a recent Royal Liverpool Philharmonic Orchestra concert under Andrew Manze would come from The
                   Running Set, a six-minute squib that Vaughan Williams wrote in 1934 for an international folk dance festival in London. ‘The Running Set’ was also a folk dance without
                   music. Sharp encountered it in Kentucky and detected English roots in the traditional moves, while noting that the original melodies had been lost.
                   The Vaughan Williams anniversary year has been noticeably short on major rediscoveries

                   Vaughan Williams duly filled the gap, and if nothing sounds more disturbingly redolent of the 1930s than mass folk dance at the Royal Albert Hall, wait until you hear the
                   piece. It snaps brusquely into action, and – at least as conducted by Manze – bounds forward with a breathless, kinetic energy. VW includes a piano in the orchestra,
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