Elgar<\/a> introduces us to Shakespeare\u2019s fat knight with a lurching, lolloping theme in the cellos, bassoons and bass clarinet. What follows is a 30-minute \u2018symphonic study\u2019 of a character that fascinated the composer, based around Sir John Falstaff\u2019s antics in Henry IV, Parts I & II<\/i> (though not The Merry Wives of Windsor<\/i>).<\/span><\/strong><\/p>\n Elgar\u2019s orchestration is at its most brilliantly inventive as, roving between London, Kent and Gloucestershire, our eponymous hero variously boasts and preens, gets into a skirmish, gets drunk, falls asleep, heads into battle, is cruelly cold-shouldered, loses heart and, finally, dies \u2013 a course of events that is interrupted by two \u2018interludes\u2019, in which he dreams of better times and places. The lumbering awkwardness of Falstaff\u2019s theme, which appears in various guises throughout, is in contrast with the self-confidently striding, and distinctly Elgarian, march of his ultimately fickle friend, Prince Hal.<\/span><\/p>\nThe best recordings of Elgar\u2019s Falstaff<\/em><\/h2>\nAdrian Boult (conductor)<\/span><\/h3>\nLondon Philharmonic Orchestra (1973)<\/span><\/strong><\/p>\nWarner Classics (download\/stream only)<\/i><\/span><\/strong><\/p>\nELGAR PACKS A LOT <\/span>into half an hour. When Falstaff is not slurring his speech to the amusement of others in the Boar\u2019s Head (a star moment for the bassoon), setting up ambushes or leading his aging warriors into battle at Gaultree Forest, there are also moments of reflection, wistfulness and, after his rejection by Prince Hal, pathos. Add to this the lyricism of the first \u2018dream\u2019 interlude and the medieval dance for pipe and tabor in the second, and there is plenty for a conductor to negotiate.<\/span><\/p>\nAdrian Boult was as closely associated with this work as anyone. Of his three recordings with the London Philharmonic Orchestra, go for that from 1973 ahead of the two from the 1950s, not least because of its superior recorded sound. Not everything is immaculately presented \u2013 some of the string playing in particular is a bit wayward \u2013 but Boult more than makes up for that with his sense of drama and sheer fun. While evidently revelling in conveying the stodgy character of Falstaff himself, Boult nonetheless keeps things moving at a lively pace, lingering only where necessary. Skirmishes crash and flash vividly, the Boar\u2019s Head scene is a riot, and reminiscences sigh with real wistfulness. Above all, this is a genial Falstaff in whose company you would gladly spend time.<\/span><\/p>\n <\/div>
J<\/span>ohn Barbirolli (conductor)<\/span><\/h3>\nThe Hall\u00e9 (1964)<\/span><\/strong><\/p>\nWarner Classics<\/strong><\/i><\/span><\/p>\n\nThere is little to choose in this work between Sirs Adrian Boult and John Barbirolli, two great knights of British conducting and supreme Elgarians both. Each brings excitement, charm and jolliment in equal measure and, ultimately, it depends whether you are more inclined towards the London pub or the Gloucestershire orchard \u2013 Boult is rowdier in the former, while Barbirolli plunges us back more convincingly into times past in the latter, as his wind players cavort merrily through the dance for pipe and tabor. Barbirolli\u2019s solo violinist in the first interlude could perhaps be just a little more melodious \u2013\u00a0Falstaff seems in a bit of a hurry to get his drunken dream over and done with \u2013 but it\u2019s a small gripe.<\/span><\/p>\n <\/div>
\u00a0<\/p>\n
Alexander Gibson (conductor)<\/span><\/h3>\nRoyal Scottish National Orchestra (1979)<\/span><\/strong><\/p>\nChandos CHAN6607<\/i><\/span><\/strong><\/p>\nFalstaff<\/i> is by its very nature a work of constantly changing tempos, moods and themes, as Elgar moves the eponymous knight rapidly from one situation to another. Stitching all this together into one seamless narrative is no small challenge, and\u00a0it\u2019s a piece that can all become disjointed and episodic. Hats off, then, to Scottish conductor Alexander Gibson who, while not always hitting the peaks of excitement of Boult and Barbirolli or matching the pathos of Mark Elder (see below), does a masterful job as storyteller. From Falstaff\u2019s opening boasts to his final breath, there are no longeurs nor is any moment over-indulged in \u2013 it\u2019s an engaging listen throughout. Much of the playing is sublime, and his Prince Hal is as supremely regal as any.<\/span><\/p>\n <\/div>
Mark Elder (conductor)<\/span><\/strong><\/h3>\nThe Hall\u00e9 (2004)<\/span><\/strong><\/p>\nHall\u00e9 CDHLL7505<\/i><\/span><\/strong><\/p>\nMention must be made here of Elgar\u2019s own fleetfooted recording, made with the LSO in 1932 and available on the Naxos label. As with most recordings in which composers conduct their own works, it\u2019s a fascinating reference point, though the crackly, claustrophobic recorded sound rules it out as a serious contender. A slightly po-faced bassoon soloist, meanwhile, mars an otherwise engaging version from David Lloyd-Jones and the English Northern Philarmonia, again on Naxos. And so my final choice goes instead to a second Hall\u00e9 recording, this time with Sir Mark Elder holding the reins. If Elder sets out in slightly deliberate fashion \u2013 I\u2019d prefer a more care-free approach \u2013 he handles the final moments quite brilliantly, lending a sympathetic ear as, to the sound of swooping downward strings, Falstaff slumps off into despondency. It\u2019s beautifully paced and surprisingly moving.<\/span><\/p>\n <\/div><\/body><\/html>\n
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