These four examples of Vaughan Williams in mainly meditative mood are attractively performed by The Consort of London. Its conductor, Robert Haydon Clark, favours brisk tempos in the first movement of the Oboe Concerto, which leads to some muddy textures, but his treatment of the rest of the work is judicious and he provides a sensitive framework for Julia Girdwood's agile and neatly phrased performance of the solo part. This young oboist has a most pleasing tone and excellent breath-control. David Theodore, on Chandos, brings more nostalgic passion to the climax of the finale. Girdwood is a little cool here.
The Lark Ascending has had several excellent recordings in recent years. Michael Davis, with Bryden Thomson on Chandos, gives one of the most fluent and rapturous performances, but some listeners may prefer the more detached approach by David Juritz on this disc. His tone is pure and effortlessly controlled. The lines by George Meredith which were Vaughan Williams's inspiration for this magical piece are spoken before the music by Niamh Cusack—a legitimate recording device.
Clark keeps the Tallis Fantasia on the move. This is an elusive piece where recordings are concerned—none seems totally satisfactory, though Haitink's for EMI is as good as any since the introduction of CDs. On this new disc, the solo viola is too close to the microphone at its first entry and there is generally rather a lack of the mystery that is a part of this wonderful work. But the playing is good and the contrast between the solo quartet and the two string orchestras comes over well.'