VAUGHAN WILLIAMS: Symphony No. 4 / Norfolk Rhapsody No. 1 / Flos Campi

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Album Name Length Format Sample Rate Price
VAUGHAN WILLIAMS: Symphony No. 4 / Norfolk Rhapsody No. 1 / Flos Campi 1:03:17 $11.98
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# Track Title Length Format Sample Rate Price
1 I. Allegro (Symphony No. 4 in F minor) 8:35 44.1/16 Album only
2 II. Andante moderato (Symphony No. 4 in F minor) 10:14 44.1/16 Album only
3 III. Scherzo: Allegro molto (Symphony No. 4 in F minor) 5:06 44.1/16 Album only
4 IV. Finale con epilogo fugato: Allegro molto (Symphony No. 4 in F minor) 8:41 44.1/16 Album only
5 Norfolk Rhapsody No. 1 in E minor [Norfolk Rhapsody No. 1] 10:13 44.1/16 Album only
6 Lento: As the lily among the thorns (Flos campi) 2:28 $1.49 Buy
7 Andante con moto: For, lo, the winter is past (Flos campi) 3:11 $1.49 Buy
8 Lento: I sought him whom my soul loveth (Flos campi) 3:01 $1.49 Buy
9 Moderato all marcia: Behold his bed, which is Solomon's (Flos campi) 1:49 $1.49 Buy
10 Andante quasi lento: Return, return, O Shulamite (Flos campi) 3:24 $1.49 Buy
11 Moderato tranquillo: Set me as a seal upon this heart (Flos campi) 6:35 $1.49 Buy

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The Fourth Symphony is one of Vaughan Williams’ most dissonant symphonies, and yet one of his most frequently-performed works. Vaughan Williams is normally thought of as a ‘pastoral’ composer – modal, melodic, and inspired by folk-song – but this symphony marks a high-point for British modernism. William Walton, at that time having troubles completing his own symphony and having been to the rehearsals of Vaughan Williams’s 4th, reported glumly to a friend, ‘You are about to hear the greatest symphony since Beethoven’. In contrast Flos Campi conjures delicate pastoral images with wonderfully atmospheric music ranging from a first section, depicting the poet languishing for love, to life-affirming ecstasy in the finale.

Reviews
Paul Daniel and the Bournemouth Symphony Orchestra leave one with little room for doubt about either the strength of the creative urge behind the Fourth [symphony] or the composer's mastery of his new-found 'modernism'. - Christopher Thomas, MusicWeb International, January 2005