In 2007, EMI finally resolved the decades-old debate among collectors as to which is the better recording of
Elgar's oratorio The Dream of Gerontius --
John Barbirolli's with the
Hallé Orchestra from 1964 or
Adrian Boult's with the
New Philharmonia from 1975. It did this by releasing
Barbirolli's Gerontius coupled with
Boult's 1966 recording of
Elgar's The Music Makers, which had previously been released coupled with
Boult's own Gerontius. The debate had been fierce on both sides of the issue, particularly because both sides admitted both recordings were superlative.
Barbirolli's party praised his ardent sentimentality, his sweeping drama, and the sheer choral-orchestral splendor of the
Hallé Orchestra and Chorus, as well as his great good luck in having
Janet Baker as a magnificently moving Angel of Death.
Boult's party acclaimed his stern spirituality, his commanding structures, and the radiant colors and luminous textures of the
New Philharmonia Orchestra and Chorus in addition to a tremendous cast of soloists in
Nicolai Gedda,
Helen Watts, and
Robert Lloyd. By attaching
Boult's masterful recording of The Music Makers with the
London Philharmonic Orchestra & Chorus and, once again,
Baker as the soloist, EMI has essentially split the difference. For longtime fans of The Dream of Gerontius, this coupling is wholly superfluous since they will already have both these recordings plus
Benjamin Britten's,
Richard Hickox's, and
Colin Davis', along with either or both of
Sargent's recordings. For those who don't already know the work, this coupling is a fine place to start -- and if they come to love the work, there are always the recordings of
Britten,
Boult,
Hickox,
Davis, and
Sargent to investigate. EMI's '60s stereo sound is rich, warm, deep, and detailed.