Ask the Audience at the BBC Proms – Tony Winter on the BBC National Orchestra of Wales playing Vaughan Williams, Parry & Holst

For the latest in Arcana’s Ask The Audience series Tony Winter gives his verdict on the BBC National Orchestra of Wales and their Prom of English music.

Prom 17: Tai Murray  (violin), Francesca Chiejina (soprano), Ashley Riches (bass-baritone),  BBC National Chorus and Orchestra of Wales / Martyn Brabbins

Parry Symphony no.5 in B minor (Symphonic Fantasia ‘1912’) (1912)
Vaughan Williams The Lark Ascending (1914, rev 1920)
Parry Hear my words, ye people (1895)
Holst Ode to Death, Op.38 (1919)
Vaughan Williams A Pastoral Symphony (Symphony no.3) (1921)

Royal Albert Hall, Friday 27 July 2017

You can watch this Prom on the BBC iPlayer here

ARCANA: Tony, how would you describe your musical upbringing?

I had a brief encounter with the violin which I never really got on with – I didn’t get on with the teacher – and then when I was about 13 the guitar, but that was rock music. I played the guitar for years. When I retire it’s going to come out again! I played in a band called The Committee, but to be fair by the time they’d risen to fame they’d chucked me out!

Name three musical acts you love and why:

I love Bach, just because of the melodies. I think you can look at other people and say the orchestration is great but for me the genius is the melody. James Rhodes says ‘the immortal Bach’, which sums it up.

I’ve been playing a lot of David Bowie recently with his demise, I was a big fan of Bowie up to about the Let’s Dance era, and now suddenly I’ve been playing some of the later albums as I’ve been guilty of overlooking some of them. I don’t like it when it gets too commercial! But I think later on he was saying that he didn’t give a shit, which is an approach I’ve always liked. The Outside album was described as ‘difficult and industrial’ but I think it’s great. I wonder in 200 years if people will be playing Bowie? He died at the same age as Shostakovich but who knows? Only time will tell. How many people were on stage tonight, over 100? I’m sure everyone would be using that if there weren’t cost implications to it!

I don’t know whether to say the Rolling Stones or Mozart for the third!

Have you been to classical music concerts before, and if so what has been your experience?

I’ve been to a few over the years – I’ve even started going to a few operas! Living close to the Watford Coliseum I’ve been going to concerts there as I’m a bit of a lazy bugger. I tend to go to any classical concerts they put on there. I’ve seen Beethoven’s 9th, that was a bit echoey. James Rhodes sticks in the mind for his more modern presentation which particularly appealed to my kids. They’re learning the piano so that helped but it helped that he stood up and made a few jokes. I’m not saying everyone has to turn into a variety act but he judged it right. I like sitting at the front in an intimate gig, but coming here tonight though I think I should drag my sorry arse into London more as I don’t think you could fit that orchestra on the stage in Watford!

Can you give a snapshot of the music you’ve been listening to in the past week?

Yesterday I was going through making a playlist for stuff we’re going to play on holiday when we’re driving in the car. I found something on Tidal called ‘Music Your Kids Like That Won’t Drive You Crazy’ but we were doing one of our own. We had a couple of Michael Jackson tracks – Thriller, Pretty Young Thing (there’s some good grunting on that!) My daughter jumps up and down on the sofa to it.

I stuck on some David Bowie because my wife wanted Adam Ant – Stand And Deliver – and the video put me in mind of Ashes To Ashes – which then made me think of Life Is Lost, which refers back to that song. Bowie was brilliant at referring back to things from years before. We had A-ha, Earth, Wind and Fire – an ever-growing playlist!

Apart from that I’ve been playing Daniel Barenboim’s recording of the Bach Well-Tempered Clavier at work. It’s my fallback and I put it on when it all gets a bit too much for me!

What did you think of tonight’s Prom?

I thought it was excellent! Parry I know absolutely nothing about. With Holst I know the proverbial Planets but nothing at all about the piece we heard tonight, and Vaughan Williams I’m very familiar with. I’m a huge fan anyway, and think his music is absolutely sublime, but it also comes from being a massive fan of The Fast Show – with Ralph and Ted! A friend of mine used to say ‘rural cowpat music’, which is not my take on it but there you go. I do think it is reminiscent of a lost England – not even John Major’s Middle England, an England before that – and certainly not Theresa May’s Brexit idiot England that we have now. We’re getting a bit political here!

What did you think of the Parry’s Fifth Symphony?

I thought it was a bit short – that’s not a symphony! I was quite impressed with it, and some of it was reminiscent of Carnival of the Animals for me, some of the slow bits in the score. I’m not at all familiar with it but I did enjoy it.

Which of the pieces left the most impression tonight?

It’s the one I am most familiar with – which is The Lark Ascending. The soloist (Tai Murray) was fabulous and it is one of my favourite pieces anyway, I just love it. It’s like the pop concert where the Rolling Stones do Satisfaction I think!

How would you describe your experience in the Arena tonight?

It was great. I love standing up in there, I think it’s more rock ‘n’ roll, you can move to the front. Someone came and stood in front of us in the first half but there you are! I really enjoyed it.

Verdict: SUCCESS

Prom 17 – BBC NoW & Martyn Brabbins: Vaughan Williams ‘Pastoral’ Symphony, Parry Symphony no.5 & Holst

Prom 17: Tai Murray  (violin), Francesca Chiejina (soprano), Ashley Riches (bass-baritone),  BBC National Chorus and Orchestra of Wales / Martyn Brabbins

Parry Symphony no.5 in B minor (Symphonic Fantasia ‘1912’) (1912)
Vaughan Williams The Lark Ascending (1914, rev 1920)
Parry Hear my words, ye people (1895)
Holst Ode to Death, Op.38 (1919)
Vaughan Williams A Pastoral Symphony (Symphony no.3) (1921)

Royal Albert Hall, Friday 27 July 2018

Reviewed by Ben Hogwood Photos of Martyn Brabbins and Tai Murray (c) BBC/Mark Allan

You can watch this Prom on BBC4 on Sunday 22 July here

This was a fascinating concert, a celebration of Sir Hubert Parry both in his music and the work of his pupils.

Parry – composer of the music to Jerusalem and royal anthem I Was Glad for many of us – wrote five symphonies, and it is bordering on ridiculous that only one of them, the Symphony no.5 in B minor, has been heard at the Proms before. Hopefully this excellent performance from the BBC National Orchestra of Wales under Martyn Brabbins will open the door to further hearings, for it presented the piece as an extremely coherent stream of consciousness.

With its Schumann-like dimensions, the Fifth flows for 27 minutes unabated, and is almost constantly melodic, its themes and motives passed through the instruments. There were some lovely moments of clarity in the first movement where a certain English splendour came through, whereas elsewhere Parry was in thrall to Richard Strauss and his hero Brahms without ever slipping into parody.

The programmatic nature of the piece is revealed in the titles of its movements (Stress, Love, Play and Now) and Brabbins shaped his response accordingly, lovingly tendering the phrases but enjoying the more adventurous and colourful aspects of the score.

The rapt stillness of Vaughan WilliamsA Lark Ascending followed, in which the audience were immediately relocated to the stillness of an English field to witness the freedom of the lark as its song spiralled upwards. Tai Murray (above) was the violinist inhabiting its character, and she allowed the music all the room it needed. Brabbins enjoying the softly burnished strings – some beautiful shading from the BBC Welsh – before the slightly more playful and folksy central section took hold. Her encore, a gravity defying account of Ruggiero Ricci’s arrangement of Tárrega’s Recuerdos de la Alhambra, felt a little misplaced but was played with exceptional athleticism and virtuosity.

There was more music from Vaughan Williams’ teacher Parry after the interval, in celebratory festival mood for Hear my words, ye people. This presented a couple of tricky performance issues, with the soloists Francesca Chiejina (below) and Ashley Riches just in front of Sir Henry Wood’s bust at the back of the stage, with a 120-strong choir behind them. To the side were the brass of the BBC Welsh – but all gelled together in classic Anglican exultation, nicely held together by organist Adrian Partington, who delivered sensitive registrations on the Royal Albert Hall organ.

Parry’s celebrations were checked by a polar opposite in a work from another of his pupils, Holst’s Ode to Death – a choral setting of Walt Whitman. This left an incredibly powerful impact in an understated way, leaving us mindful of the First World War – to which the piece responds. The best Holst music takes its listener to the brink of another world and this was another such occasion, Brabbins overseeing a performance of subtlety and beauty but uncertainty too, especially when the composer’s oblique harmonies and silvery orchestration were at work. As in the Parry, the BBC National Chorus of Wales were superb.

Vaughan Williams invested heavily in the First World War, not from a position of overwrought patriotism but from a sense of duty to his country. What he saw as an ambulance driver in France in 1916 is not fully documented, but it left a lasting impression fully realised in A Pastoral Symphony, his third – following musical depictions of the Sea (no.1) and London (no.2).

While ostensibly a peaceful work, there are hints around the edges that its composer is struggling to come to terms with peace in the wake of such a terrible conflict. Martyn Brabbins felt this too, and brought from the orchestra some beautifully judged phrasing, colourful textures and eloquent playing, none more so than Neil Brough‘s exquisite off-stage trumpet solo in the second movement.

Everything was headed for the appearance of soprano Chiejina at the height of the fourth movement, and the balance was ideal as her wordless vocalise sounded from on high – a touch too much vibrato for my taste, but leaving a strong impact nonetheless. In our uncertain times now, we would do well to heed Vaughan Williams’ subtle but incredibly powerful warning of the consequences of war.

On record: BBC Scottish Symphony Orchestra / Martyn Brabbins – Sir Michael Tippett: Symphonies nos. 1 & 2 (Hyperion)

Tippett Symphonies nos. 1 & 2 BBC Scottish Symphony Orchestra / Martyn Brabbins

Tippett
Symphony no.1 (1944-5)
Symphony no.2 (1956-7)

Reviewed by Richard Whitehouse

What’s the story?

A new recording of Michael Tippett’s symphonies, following on from those by Colin DavisGeorg Solti (Decca, 1968-81) and Richard Hickox (Chandos, 1992-4) was sorely needed, and with his prowess in British music Martyn Brabbins would seem well placed to provide it.

Having begun his cycle of Vaughan Williams symphonies, Brabbins now embarks on those of Tippett, whose reputation seems to be on the ascent given the inevitable decline after his death in 1998. The BBC Scottish Symphony Orchestra may not have had a close association with this music, though the fact each of these recordings was preceded by a live performance at least ensure what is heard here are those interpretations intended by Brabbins rather than merely a run-through that comprises studio takes methodically assembled in post-production.

What’s the music like?

In the First Symphony, informed by the tragedies of war and personal loss, Brabbins handles the initial Allegro’s bracing polyphonic discourse with assurance – less unyielding than Colin Davis if not quite evincing the forward resolve of Richard Hickox. The exposition’s motivic elements are precisely individuated then vividly contrasted in the development, though there could have been greater intensity during the reprise before it reaches stasis in the coda. The Adagio is the highlight here, a passacaglia afforded focus by the expressive contrasts of its variations and cohesion by their near-symmetrical trajectory. Slower then either of his rivals, Brabbins secures greater momentum so that the sombre augmentation of the theme caps this sombre movement overall. The scherzo’s outer sections have the right rhythmic buoyancy, even if its songful trio is a little reticent, and while the twin subjects of the finale’s double-fugue are well delineated, the transition into the reprise lacks impetus; the climactic ‘stretto’ less potent than its disintegration in the coda, though this is likely what Tippett intended.

This remains a frequently impressive account, with that of the more wide-ranging Second Symphony only marginally less so. Its opening Allegro is the finest on disc – more flexible than Davis and less stolid than Hickox, while generating kinetic energy in the development and truly Beethovenian coda. If the Adagio feels less convincing, this is not through lack of insight on Brabbins’s part or finesse on that of the BBCSSO but rather a sense that the ideas in its mosaic-like construction are being juxtaposed without admitting that greater eloquence Hickox finds at a slower tempo and Tippett himself (NMC) conveys to rapturous effect. The scherzo is disappointing as, for all the wealth of detail uncovered, the underlying tempo is too staid for momentum to accrue so the climax feels less Dionysian than merely incisive. Some might also consider the finale too steady, yet Brabbins succeeds more than those before him in knitting the four parts of this fantasia-like sequence into an organic process of continuous variation through to a coda as brings the work forcefully but never overbearingly full-circle.

Does it all work?

Most of the time. As recorded in Glasgow’s City Halls, the orchestral sound has clarity and lustre well in advance of those earlier readings, even if the acerbities of Tippett’s scoring can seem a little too well-blended (the balance of trumpets in the outer movements of the Second Symphony being a case in point), hence a relatively high playback level is preferable. Oliver Soden’s annotations are informed and informative, though not free of occasional tautologies or affectations that one hopes will not feature in his forthcoming biography of the composer.

Is it recommended?

Yes. Whatever their difficulties in execution, the intrinsic musical qualities of Tippett’s symphonies cannot be doubted and this first instalment augurs well for the rest of the cycle. Nos. 3 and 4, as well as the early Symphony in B flat, are due from Hyperion later this year.

You can read more about this release on the Hyperion website, while for more on Sir Michael Tippett, visit the Tippett foundation. The BBC Scottish Symphony Orchestra can be found here, while more on Martyn Brabbins can be found here

On record: BBC Symphony Orchestra / Martyn Brabbins – Vaughan Williams: A London Symphony (Hyperion)

Elizabeth Watts, Mary Bevan (sopranos), Kitty Whatley (mezzo-soprano), Royal College of Music Brass Band (Variations), BBC Symphony Orchestra / Martyn Brabbins

Vaughan Williams
Symphony no.2, ‘A London Symphony’ (1918 version)
Sound sleep (1903)
Orpheus with his lute (1901/3)
Variations (1957)

Reviewed by Richard Whitehouse

What’s the story?

Following on from discs devoted to Elgar and Walton, Martyn Brabbins conducts the BBC Symphony Orchestra in this first instalment of his Vaughan Williams cycle, coupled with three relatively little-heard pieces from either end of the composer’s lengthy creative span.

What’s the music like?

Significantly, Brabbins has chosen the ‘second version’ of A London Symphony as revised in 1918 and published in 1920. Closer in its formal proportions to the streamlined 1933 revision than the expansive 1913 original, this features additional passages in the second and fourth movements, but it is the textural richness and subtlety which comes through most strongly in this account – among the most overtly alluring yet recorded. Rarely has Vaughan Williams’s later bemusement as to how he achieved such beauty of sound in this piece felt more apposite.

Beginning barely perceptibly, the opening movement unfolds from hazy evocation to one of London ‘in full swing’ and Brabbins captures such a progression unerringly – as he does that of the central interlude with its enfolding calm and opening-out of emotional space prior to a resumption of the earlier activity then a coda whose imposing rhetoric is never overbearing. Even finer is the ensuing Lento, outwardly a depiction of Bloomsbury Square one November afternoon though more pressingly a meditation on time and place which builds to climaxes of sustained expressive intensity. Brabbins gauges these superbly, then draws the extra material found in the coda into a seamless continuity of serene recollection. Rarely, moreover, have the numerous woodwind and string solos been rendered with such felicity as by the BBCSO.

A scherzo designated ‘nocturne’ might present problems of characterization and pacing, but neither is an issue here – Brabbins opting for a relaxed though never sluggish tempo such as underlines that teasing reticence to the fore in the fatalistic coda. The finale follows on with due inevitability – its heartfelt initial ‘cry’ launching a movement whose sectional unfolding feels more than usually cohesive as it takes in halting processional and forthright march on the way to a culmination where anguish and that sense of teetering on the brink are palpably conveyed. Brabbins takes his time in the ‘Epilogue’, slightly more extended than it became while evincing that steady emergence from anxiety to affirmation as brings the whole work affectingly full circle. Rarely have these closing pages conveyed so much of a benediction.

Does it all work?

Absolutely, and the fill-ups are a further enhancement. Heard in its version for three female voices, the setting of Christina Rosetti’s Sound sleep audibly anticipates Serenade to Music almost four decades hence – with Elizabeth Watts no less touching in that of Shakespeare’s Orpheus with his lute likely written for a staging of Henry VIII. Almost Vaughan Williams’s last completed work, Variations is better known as orchestrated by Gordon Jacob – though its intricately intertwined sections and final chorale are thrown into starker relief by brass band.

Is it recommended?

Indeed – not least when the sound has ideal spaciousness and definition, along with probing annotations by Robert Matthew-Walker. Fine as was Martin Yates’s recent account (Dutton), that from Brabbins is undoubtedly the recording of the ‘1920 London Symphony’ to go for.

For further information on this release, visit the Hyperion website, or the BBC Symphony Orchestra. You can also read more about Martyn Brabbins here

Talking Heads: Martyn Brabbins

Interviewed by Ben Hogwood

When it comes to British music, Martyn Brabbins is your man.

His current set of projects are particularly invigorating. A cycle of Vaughan Williams symphonies with the BBC Symphony Orchestra is off to a flying start, with a recording of A London Symphony on Hyperion. A cycle of the symphonies of Sir Michael Tippett with the BBC Scottish Symphony Orchestra is also underway for the same company, and will include the world premiere of the composer’s early Symphony in B flat. Then there is the small matter of English National Opera, where Brabbins is Music Director – and it’s after a stint of rehearsals and creative advice there that Arcana takes him to the pub for a well-earned drink. As you might hope for one deeply involved in English symphonies, he chooses a pale ale.

“We’ve just done the Sea Symphony!” he proclaims when the small matter of the Vaughan Williams cycle is raised. Does that mean with the first two works covered, that the nine symphonies will proceed in chronological order? “They will now,” he confirms, “we’re doing the Third (the Pastoral) and the Fourth next year. One at a time! I supposed we didn’t do the Sea Symphony first because of the chorus availability, but it doesn’t matter.”

A London Symphony (no.2) is now out on Hyperion, and has been extremely well received, not least for the extended edition used. “What I really like about it was the version we did. A real Vaughan Williams buff said to me that we should do this version. It has been recorded before, but he thought – and I agree with him now – that some of the music that Vaughan Williams put back in is absolutely fantastic.

I know the original, and even some of the music that we’ve cut out of the version we’ve done is amazing – but as a one-off performance piece that original version is a bit too long. This one is only five more minutes, but you get such pay-offs in the new music, especially at the very end of the piece and in the slow movement. The slow movement coda is absolutely ravishing. When we recorded it with the BBC Symphony Orchestra they realised it was different and they were completely convinced. I don’t remember anybody saying they preferred the original, and at the time, when we were recording in Henry Wood Hall, it felt so right because this is the orchestra for whom it was written. It is in their blood and in their spirit, possibly more than any other British orchestra.”

The orchestra has a rich recent history with VW, due to their conductor laureate Sir Andrew Davis. “He did a cycle with them,” says Brabbins, “and somehow it felt like they knew how it should go, and on a technical level they can do everything anyway. You just press the right buttons and they are so incredibly responsive, and so willing to go where you want them to go.”

Did he take their performing history into account when preparing the recording? “No, not at all. I just feel the fact they have that history means they don’t just do it how they’ve done it –they have the DNA of the music. It was like that in the Birtwistle Earth Dances, which we performed alongside the Sea Symphony at the Barbican in November. They are the only orchestra in the world that has got it in their blood. With that piece particularly it’s incredibly difficult and they have to work really hard, but in that performance it felt like they were meeting a familiar friend.”

I confess to Brabbins that I have struggled with Birtwistle at times – the Earth Dances included – due more to my own response to the music than anything else. It is however telling to witness the effect his music has on devotees such as its conductor. “It was a shattering performance, and I think anyone who was there was very positive about it”, he says. “Again the orchestra wondered why we weren’t recording it! Some of them might not like it but they take enormous pride in doing it. It’s like taking a really high, haute cuisine recipe and doing something out of the ordinary with it. It’s in every musician’s grasp but you have to grasp it. We all have those challenges in our lives I imagine, but when you’ve achieved it the rewards are so great. I think for your case it’s just repetition, listening to it more. I’ve always listened to a lot of contemporary music, and I trained as a composer, so I’ve always been interested, not in an anoraky kind of way but I’ve always found it hugely rewarding to explore music. As a professional I always want to do the best for my colleague composers. It gives me a huge sympathy for them!”

He elaborates. “When I think a composer has done their utmost to make a piece work, and they’re being practical, professional and interacting well with the musicians, when you get everything going well – like the opera I’ve been doing with Nico Muhly, Marnie – then it’s great. They’re not all like that, but I do try to pride myself on being a good intermediary between composer and orchestra. That can be very fraught, because if a composer doesn’t handle them right, you’re in deep water.”

A form of negotiation, essentially? “You have to be diplomatic but you have to be that all the time as a conductor. When there is a composer in the room there is a chance of a catastrophic outburst. I’ve witnessed players really lose their temper, and witnessed composers behave awfully – and once that happens, nobody is a winner! So I try all I can to avoid that.”

As is customary, at some point in an Arcana interview we ask our subjects to cast their mind back to their first encounters with classical music. Martyn thinks hard before taking up the story. “I remember music moving me as a child, especially when I sang it. I used to make myself feel sad singing Edelweiss from The Sound of Music. I grew up in a non-musical household, but joined a brass band at the age of eight or nine. Through that I would have got to know arrangements of classical music.”

He gives more detail on his family history. “When I think that I had a working class background, and am one of five kids, it’s pure fluke that I’m here. I’m quite proud of that, because I left school at 14. My dad and mum worked in a shop, dad became a travelling salesman, and there was no education to speak of.

My dad was a paratrooper in the Second World War, and was a prisoner of war. Looking back, he is a hero for me. He then had a tragic car crash when I was at the age of seven. I had a younger brother, an elder brother and two elder sisters, and he was in his late 40s. He never really got himself back. His kidneys failed, and he had renal dialysis for 15 years at home. Both of my parents died before I went to study conducting, in the same year. They were hugely wonderful to me, and in no way did they discourage music. Dad had a good singing voice, and I remember he had about four classical records. I used to nick them and play them very loudly in my bedroom if I could – the Karajan Verdi Requiem, Schubert’s Unfinished Symphony with Karl Böhm and SibeliusSymphony no.5 conducted by Anthony Collins. They are the records I remember at home in my teens.

I was born in Leicester, and dad heard Gigli and Caruso there. There was never any serious idea that I would become a musician though. One of my oldest sisters went to university, and I did in the end, but my other siblings are an electrician, a chef and a secretary who went to run a company. When you talk to other conductors there is probably a private education somewhere along the way, from Cambridge or Oxford. Don’t get me wrong, I’m not saying any of that is a bad thing – it’s wonderful! – but I never saw myself in that league. It took me a while to even think I could be a conductor because of my background, my lack of keyboard skills – and I wasn’t a chorister either. There were so many things against it but in my early 20s after graduating people said why don’t you take it seriously? That’s how it started, with a few brass bands. I played in a band but then conducted the one I had grown up in as a member. It was too far to travel to Northamptonshire and so I got a band in London, then conducted amateur choirs and orchestras. Then I went off to Russia and it all happened after that, so it was a very unorthodox route!”

Now for Brabbins it is all about giving something back, and he is equally keen to talk about this as he is his own new recordings. “I’ve just established a youth company at the ENO, the Harewood Artists Programme, and some of the youngsters are clearly from disadvantaged circumstances, but when you hear them making music and drama together I realise just how lucky I am to be here. I’m a donor to the Baylis programme here at ENO, simply because I realise that so many kids with talent are never given the chance. This has got nothing to do with CDs though! I’m president of the Salomon Orchestra, who are amateurs, and Music Director of the Huddersfield Choral Society. I’m president of the Royal Choral Union in Edinburgh, and the Towcester Choral Society where I grew up. I really care about music making for all people.”

I remark how this dedication to the community recalls tales of Vaughan Williams, and he nods vigorously. “Of course! He did amazing things, and he wrote music to speak to everyone. The Hymn Tunes on the new disc are a great example of that.”

Does he think that London now is so different from Vaughan Williams’ capital city that A London Symphony is less meaningful? “I realised this morning that I haven’t read Tono-Bungay, the H G Wells book that the piece is inspired by, so I’m going to put that right as soon as I can. I think there is still enough of a connection with the spirit of London from that period somehow. It’s a completely different city in all manner of ways, but still there is a kind of special flavour about London. You can talk to a cabbie or walk down some of the back streets, or go to some East End or South London locations, and there are certain connections. It seems to me that Londoners still have that pride in their history, so although it has changed you can still smell the same London that Vaughan Williams did – maybe not quite as smoggy! I think that is where the cover of that disc is fantastic, Simon Perry and those guys find such fantastic artwork for their discs at Hyperion.”

As the symphony cycle progresses Brabbins will inevitably arrive at the angrier wartime symphonies, the Fourth and Sixth in particular. Will he then be more mindful of his father’s role in the war? “Well Vaughan Williams was of course a driver in the First World War”, he notes, “and he went off to France. The Pastoral is influenced by his experiences in France. As for my connection, I was born in 1959, so if you think back from here that’s only 15 years after the war ended, which is incredible. You don’t think of things like that until you’re much older, but realising how close it all was is amazing. My dad was a prisoner of war, and we’ve got the telegrams from the war office saying ‘Missing In Action’. It’s incredibly touching and moving.”

“Having that family connection and experience…everything infuses how you perform, how you look at stuff. I went to Auschwitz for the first time recently, and that leaves an indelible mark on how you view things. The whole thing is so profoundly inhuman and unrepeatable, but sadly the same tragic stuff is still going on. Life is full of horrible things, and as I get older I realise my emotions in performance are much more free, and bubble over sometimes. The whole thing gets to me! I think that’s all to do with the things one goes through, your history and pre-history, and stuff that happened to you or your family. I’ve got three children and one of them has had health problems, my wife has had brain surgery previously, I lost my parents in my 20s – all those things give you a grounding in emotion somewhere, and it comes out.”

The music of Vaughan Williams will be forever close, it would seem. “I remember I was doing the Fifth Symphony on tour in China. I had to go there about 3-4 days after my father in law died, and I had to get back to see him. Because I lost my parents early he was like a father to me. We were doing Vaughan Williams’ Fifth in Beijing, and in the slow movement I just collapsed. I carried on but music has that way of speaking in a way that is unexpected, perhaps. The Fourth and Sixth as you say, there is a palpable anger there. He wouldn’t have it said that the Sixth is about the Second World War but…”

What about the striking discord in the epilogue of the London Symphony, does that have a similar quality? “Harmonically I find the whole piece very subtle, and everywhere there are places that become dissonant and then come back, bass lines that are sustained, and dissonances that come against it. I think it’s incredible music. The way he evokes place, somehow, and weather – you can almost feel the mist. The Scherzo is fantastic in this way, the Nocturne too.”

He also notes the French influence. “I think that time with Ravel was very important, and that Vaughan Williams did the right thing going to him. The orchestration, the colours and the way he subdivides the string sections – it’s amazing stuff and I’m sure that is the French influence.”

As a coupling to the London Symphony Brabbins chooses two vocal pieces, Elizabeth Watts singing Sound Sleep and Orpheus With His Lute, and then conducts the Royal College of Music Brass Band in the Variations. “The songs are very lovely, they’ve never been recorded – and there is something similar to go on the Sea Symphony disc. I have to say that for me the real thrill was doing the brass band variations, and of course now you know my background you can see that.”

“It just occurred to me that I played that piece as a boy and had never conducted it. I said to Simon Perry, how about it, and he said yes, if that’s what you want to do! I had just got this position at the Royal Northern College, and for them it’s quite a treat, for the students to prepare and record something under the conditions we did was wonderful. It’s top quality stuff, the producer Andrew Keener is a genius to work with, so educationally it was brilliant, and they get on to a successful disc, so it’s a win-win situation! For me getting that on there was great, because it takes me back to my roots.”

His own compositions have come to light at a similar time. “As an aside, James MacMillan has got a festival up in Ayrshire, and he asked me if I would conduct a brass band in the festival that’s just gone. I thought it over, and by the third beer I said yes! I hadn’t conducted a brass band for 30 years, and it was like going home. It was the Dalmellington Band, one of the top bands in Scotland, and it was so thrilling to go back and hear that sound, to feel the enthusiasm, the joy they get. It’s nice to go back to your roots.

When James asked me we came up with a few pieces – Eric Ball’s Resurgam, Herbert HowellsSuite from Pageantry, and a world premiere from Jay Capperauld and the Mendelssohn Hebrides Overture. It was alright, once I got them not to play too loudly! I also mentioned to James that in 1980-81 I wrote two very short pieces for brass band that have never been played. I ran through one and the band couldn’t play it at the time. They’ve been in my attic for 30 years, and I sent it to James and he said we’d do them! So there were two Brabbins premieres…and someone was there and they want to publish them, which is great! It was a terrific experience all round.”

Recently Brabbins has brought the music of Sir Michael Tippett back into the spotlight, and he reflects briefly on the composer. “I knew him a little, I did a few projects with him in the latter years of his life. I knew his music, and I met him quite a few times and Meirion Bowen, his partner, who was a Guardian critic – I knew him quite well. Poor Tippett disappeared once he died, apart from the obvious pieces. So a few years ago with Steven Osborne we did the Piano Concerto, and I’ve done A Child Of Our Time – we staged it with ENO and I’ve done it in concert. I’ve not done any major repertoire apart from this, so I suggested we do a Tippett Symphony cycle. The BBC Scottish Symphony Orchestra were willing to program them, two last season and two this, and I can tell you it’s going to be good. I’ve got a copy of the first disc, and I think it’s as good as any of the other recordings. I think it will be very well received. That music is very difficult, and it needs a bit of time to get to know. The orchestra really took it to heart. We have just done the Third in concert and they really loved it. That’s quite a feat.”

“The most exciting part of the project is the ‘rediscovery’, the Symphony in B flat, which is a new discovery for me too. An academic friend alerted me to it, and we looked – and I thought we should do it! However there was a clause in his will that we had to overcome, so I asked the trustees and the Tippett Foundation, and in the end they decided on balance that it would be better for that piece to be heard, especially by people who knew Tippett. The thought being to get it out while his friends are still around! It’s a significant piece, around half an hour, and if I understand correctly it had a lot of performances, more than a handful at least. When Schott’s the publishers took him on, I think it was in the 1950s, and he decided to withdraw it. I can see what he means, but historically it is an interesting thing.”

You can hear the Symphony in B flat on the BBC iPlayer here

British music is a huge part of Brabbins’ life, and he is combining it with his work for English National Opera. “Yes, and with repertoire that has been neglected for a little too long. We’re talking about bringing back some British pieces which haven’t been done for a while. It’s a great company with an amazing history, and a wonderful orchestra and chorus. Sadly it’s had trials and tribulations in other areas, so I’m hoping we can have a period of some stability and re-establish what the company is really about, which is making great music and getting the dramas on stage, which we do well! The Barber of Seville, Aida, Rodelinda – they have had fantastic quality of voices, all of them. Marnie is really good too.”

Is there any more British orchestral music he is keen to do? “There are people around I would like to have a look at”, he says, “and not necessarily British! I’ve got scores at home of the symphonies of Gavril Popov, they’re just enormous, and there are interesting people out there. Myaskovsky I would like to do. I’ve done all the Bruch violin music, and I’d like to record the symphonies.

Over the years, for many years, I recorded what I was asked to record. Now I can say I’d like to record this, what do you think? They’re not going to say yes to a Beethoven cycle, I’d do those in concert. I should be doing stuff that other people aren’t doing and that I can do as well as anybody. I would love to do the Elgar Symphonies, all three of them, at some point. I did the First, 15 years ago, and it was a mistake. We didn’t have time, the orchestra didn’t know it and it wasn’t ideal. I’d love to do it again. It was with the Brussels Philharmonic Orchestra. They’re a fine orchestra but Elgar needs to be in your blood before you record it.”

Elgar has an increased international appeal now – but he is not the only British composer to enjoy elevated status. “I tell you where they love Vaughan Williams is Japan”, says Brabbins. “I’ve done the Antarctica and the London Symphonies, and they love it. It’s the pentatonic quality!”

Finally, what is his relationship with London in comparison to Vaughan Williams’ own? “The first time I came to London was to see Tutankhamun at the British Museum,” he recalls, “and I remember seeing someone like Houdini near the Tower of London, completely chained up. I must have been a little boy…but then I came to London to live in 1977, to go to Goldsmiths, and I lived here until 1989. I met my wife in 1977. I did 2 years as a postgraduate, she did a year, she went off to Germany to work (she’s a violinist) and she came back. We got a flat in London, in Wimbledon, in 1984, and lived there – although in 1986 I went off to Russia for two years. We decided to move out just before our first child was born. I live very near to Down Ampney, fifteen miles away in Gloucestershire. It’s a very musical county – we’ve had Howells and Holst, Elgar’s up the road, Finzi lived in Painswick, there is Vaughan Williams of course – it’s everywhere!”

You can read more about Martyn Brabbins at his website. The recordings of Vaughan Williams’ A London Symphony and Tippett’s Symphonies nos. 1 & 2 are both available now from Hyperion.