Songs of Love and Death

Editorial Reviews
Amazon.com
Christoph Prégardien has a beautiful voice, well-trained and evenly produced over a considerable range, sweet and clear at the top and with a pleasant baritonal quality in the low register. But critics have sometimes questioned his interpretive skills, finding his singing colorless, with little depth of characterization or feeling. That is the case here to some extent--for instance, his delivery of Schubert's "Der Leiermann" fails to convey the haunting tragedy of the song. But for this disk Prégardien has chosen material that is for the most part quiet and lyrical in nature and doesn't ask for much in the way of expressive depth, and the results are lovely; his clear diction and thoughtful phrasing make these songs a pleasure to hear. Prégardien is accompanied by the very skillful guitarist Thomas Hoppstock, who presumably made the arrangements of the original piano parts; they provide an intimate setting that supports and complements the voice well. For these pieces, at least, Prégardien is very much worth hearing, and the disc is warmly recommended. --Alex Morin

Tracks:

The Cloud Messenger, H111: 'O Thou, Who Com'st From Heaven's King' - G. HOLST
The Cloud Messenger, H111: 'Tarry Not, O Cloud, Tarry Not. Rushing Northward ...' - - G. HOLST
The Cloud Messenger, H111: 'Tarry Not, O Cloud, Tarry Not.' - G. HOLST
The Cloud Messenger, H111: 'Tarry Not, O Cloud. Bow Thy Head' - - G. HOLST
The Cloud Messenger, H111: 'When The Dancers Are Weary ...' - G. HOLST
The Hymn Of Jesus, H140: Prelude - - G. HOLST
The Hymn Of Jesus, H140: The Hymn - G. HOLST
Ave Maria, H49 - G. HOLST
The Evening-watch, H159 - G. HOLST

Tracks:

Seven Part-Songs, H162: Say Who Is This? - Gustav Holst
Seven Part-Songs, H162: O Love, I Complain - Gustav Holst
Seven Part-Songs, H162: Angel Spirits Of Sleep - Gustav Holst
Seven Part-Songs, H162: When First We Met - Gustav Holst
Seven Part-Songs, H162: Sorrow And Joy - Gustav Holst
Seven Part-Songs, H162: Love On My Heart From Heaven Fell - Gustav Holst
Seven Part-Songs, H162: Assemble, All Ye Maidens - Gustav Holst
A Choral Fantasia, H177 - Gustav Holst
City Of London Sinfonia: A Dirge For Two Veterans, H121 - Gustav Holst
Ode to Death, H144 - Gustav Holst
This Have I Done For My True Love, H128 - Gustav Holst
Four Part-Songs: O Lady, Leave That Silken Thread - Gustav Holst
Four Part-Songs: Soft And Gently - Gustav Holst
Four Part-Songs: The Autumn Is Old - Gustav Holst
Four Part-Songs: Winter And The Birds - Gustav Holst

Customer Reviews:

More than just choral works.......2006-04-20

These choral works from Gustav Holst are as striking as the Planets. They are like two dozen angels singing with heavenly glory. A Choral Fantasia, The Cloud Messenger and The Hymn of Jesus are excellent; superb playing from the London Symphony, breathtaking and articulate singing from the Chorus. Ode to Death & A Dirge for Two Veterans are absolutely haunting. The Part-songs are worth the listen, and the Ave Maria and the Motets sound fresh and fabulous.

If you are a fan of Holst's Planets, then you'll be an immediate fan of his choral works once you start listening to The Cloud Messenger.

Get This For the Hymn of Jesus.......2002-09-07

How many of you are sick of the Planets! I know I am, as marvelous as I find that work. Holst was a much more varied and talented composer than that work reveals. On this disc you can hear a wide variety of Holst's choral music and judge for yourself.

I can only comment on half this disc, as I own the Cloud Messanger and the Hymn of Jesus only in an earlier incarnation. The Cloud Messanger is a massive work based on an Hindu text. It is of variable quality...Holst himself flet that it was not wholy a success and supressed further performances of it in his lifetime. But the passages that are good are stunning indeed, and Hickox and crew make a strong case for the work.

The reason to get this CD is for the Hymn of Jesus. This is the best performance of the best work that Holst composed. The Hymn of Jesus is based on Holst's own translation of a passage from the Gnostic Gospel of Thomas ( some sources claim the Acts of John as the origin of this text, but I'm pretty sure I have it in my copy of the Gospel of Thomas, which had recently been discovered at the time.)These Gnostic texts so intrigued Holst that he studied Greek just to be able to read it in the original. The work begins with a beautiful, atmospheric prelude based on two Sarum chants, Panea Lingua and a resplendant Vexilla Regis in the boy choir. Then there is a massive choral invocation to God and the Hymn is sung. This text is also known as the Round Dance of Jesus, and Holst goes for the dance in the piece, with a splendid section in 5/4 which must have frightened the Edwardian audience at the work's premiere. Tightly organized and stunning in it's choral effects, this version of the work surpasses even the fine old recording by Sir Charles Grove.

I can't comment on the performances of the other works on the second disc, but know that the Ode to Death is haunting and the Choral Fantasia is a major work worth hearing. But the reason to buy this album is for the Hymn. It's a stunning and neglected masterpiece in the English choral tradition.

An important record of lesser known choral works . . ........2000-08-08

. . . but I wish they'd used a large choral force.

My primary interest in this CD was the recording of the relatively recently re-discovered (1984) major choral work "The Cloud Messenger." From Holst's "India" period, this is a stunningly beautiful "painting" of the Khalidasa 6th Century A.D. lyric poem, "Meghaduta" ("Cloud Messenger"), the lament of an exiled yaksa who is pining for his beloved on a lonely mountain peak. When, at the beginning of the monsoon, a cloud perches on the peak, he asks it to deliver a message to his love in the Himalayan city of Alaka. Most of the poem consists of a description of the landmarks, cities, and terrain on the cloud's route to Alaka, interspersed with admonishments to the cloud to "Tarry not!" It is only at the end that we are finally aware of the message itself -- one intended to comfort the yaksa's wife in her loneliness.

I had the privilege of singing the U.S. premiere of this work in 1996 with Masterworks Chorale in San Mateo, CA, a chorus of about 150 auditioned singers. This work needs such a large choral force, and a conductor who can deal with the inherent drama in the text. We had both, and the performance was a stunning success. (It was the final work on a program that opened with Debussy's "La damoiselle Elue" for women's voices and mezzo-soprano and soprano soloists; and Brahms' "Alto Rhapsody" for men's voices and mezzo-soprano soloist. "The Cloud Messenger" also includes a mezzo-soprano soloist.)

My biggest complaint with this recording is the dynamics. The entire work seems to be performed at about mf+, occasionally venturing into f and mp. Unfortunately, this doesn't do justice to the drama. The opening, for example, needs to grow from the first ppp gentle raindrops, building as the cloud builds in strength, to a glorious ff choral introduction of the main character, the cloud: "O Thou, who com'st from heaven's king! scion of a noble race! who wearest wondrous forms at will!"

There are parts of this work that beg for a lush warm sound; what we hear on this recording is the British "boy choir" sound in the treble range, while the men have a warmer (albeit somewhat watered down) tone. This is a highly sensuous work, full of luscious ripe sensual imagery: "Where e'er thou goest, lonely wives, who pine in solitude with close-bound hair, will arise and go along the road. Thou bringest home their absent husbands, who will loosen their tresses and fill their hearts with joy!" The "flat" sound of pre-pubescent boys just doesn't do this music, or mature text, justice.

That said, however, this is an important recording of a little-known work. You'll get the feeling of the piece, a sense of the promise. Let's hope that a large chorus paired with a sensitive conductor will have an opportunity at another recording of this in the not-too-distant future (Atlanta? Chicago?).

Contrast this with "The Hymn of Jesus" -- Hickox fares much better with this material, playing up the dance rhythms (Holst knew what he was doing -- at the climax of the piece, the words are: "Ye who dance not, know not what we are knowing.") It really is a first-rate performance of this work.

Other works deserving special mention are "Dirge for Two Veterans," in which one can hear hints of "Mars" from "The Planets"; "Ode to Death," a setting of Walt Whitman's "When Lilacs Last in the Dooryard Bloom'd," which contains allusions to "Saturn." The Four Partsongs on the second disk are among Holst's earliest works, written in 1894, when he was barely 20 yrs old and in his second year at the Royal College of Music; and the Choral Fantasia is among his later choral works, written in 1931.

Tracks:

Konchakovna's Cavatina
Young Maiden's Song (Field Of The Dead)
Joan's Aria
Voina's Arioso
Varvara's Limericks And Dance
Jocasta's Aria
Lullaby
Serenade
Trepak (Russian Dance)
The Field-Marshal

Customer Reviews:

Don't miss it!.......2004-03-31

Ewa Podles' voice is incredibly rich, her technic is astonishing and she sings so expressively that really brings tears in my eyes. She is definitely a diva and performs these wonderful pieces the way they should be performed. The booklet includes libretto with English translation, which is very helpful for those who don't speak Russian. However, the music and the performance are so emotive that can touch you even if you do't know the words.

Delectable!.......2003-01-15

This disc is altogether delectable. With few exceptions, Russian opera is little known or appreciated in this country. Perhaps, if it always had interpreters as stupendously capable as Ewa Podles, the story might be different. She is a true contralto, and, as such, more than capable of bringing appropriate power, flexibility and idiomatic darkness to these largely unfamiliar arias. Even more impressively, she uses her magnificent talent to get inside the character of each piece. The result is a virtuoso variety of texture. The sumptuous richness of her sound makes even the finest counter-tenors seem rather thin-voiced. Do not let the unfamiliarity of most of the pieces put you off. Full translations are provided, with the Russian being helpfully rendered in Roman letters. So, let this superrb and thrilling singer introduce you to some very fine music.

TODO LO QUE ELLA CANTE ESTÁ BIEN.......2002-09-07

Una voz tan impresionante como la de esta mujer, me deja sólo agradeciendo que exista, o que haya existido alguna vez, y que haya respirado, al mismo tiempo que yo, en este planeta. Por lo tanto, recomiendo absolutamente todo material que ella grabe. Es un placer, un poco de luz en medio de tanta oscuridad.

She's back!.......2002-07-01

The first time I heard Ewa Podles was in a live performance of Verdi's "Requiem". After that I've been buying all her records and trying to hear her live. I still don't understand how she is still ignored by the major record companies...
This CD of russian arias could not be rated less than extraordinary: if the voice itself wasn't enough - and it is more than enough - the interpretation would.

Vaughan Williams: Ten Blake Songs & Linten Lea

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Vaughan Williams: Ten Blake Songs & Linten Lea

Manufacturer: Meridian
ProductGroup: Music
Binding: Audio CD

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Peter Lieberson: Neruda Songs

ASIN: B000003XAG
Release Date: 1993-09-18

Tracks:

Linden Lea
O My Deir Hert
Epitaph For Amy
Searching For Lambs
The Lawyer
The Prism Of Life
Love For Love
The Sky Above The Roof
Three Sonnets Of Cecil Day Lewis: For Infants, Time Is Like A Humming Shell
Three Sonnets Of Cecil Day Lewis: Our Youth-Time Passes Down A Colonnade
Three Sonnets Of Cecil Day Lewis: To Travel Like A Bird
How Can The Tree But Wither?
Ten Blake Songs: Infant Joy
Ten Blake Songs: A Poison Tree
The Piper
London
The Lamb
The Shepherd
Ah! Sunflower
Cruelty Has A Human Heart
The Divine Image
Eternity
Full Moon
Sleep
Elegy On The Death Of Cock Robin
My Own Country

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THE SHAPE OF THINGS TO COME
a voice teacher and early music fan

George Frideric Handel: Esther

Manufacturer: CORO
ProductGroup: Music
Binding: Audio CD

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Oratorios | Opera & Vocal | Styles | Music

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Handel: Jeptha
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Handel: Joseph and his Brethren / Robert King
Samson

ASIN: B0001B0A94
Release Date: 2004-06-01

Tracks:

Overture Andante - Larghetito - Allegro
Recitative Habdonah/Haman: " 'Tis greater far to spare"
Aria Haman: " Pluck root and branch from out the land"
Recitative Persian Officer: "Our souls with ardour glow"
Chorus: "Shall we the God of Israel fear?"
Recitative First Israelite: " Now persecution shall lay by her iron rod"
Aria: " Tune your harps to cheerfull strains"
Chorus: " Shall we of servitude complain"
Aria Israelite Woman: " Praise the Lord with cheerful noise"
Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
Aria Second Israelite: " Sing songs of praise, bow down the knee"
Chorus: " Shall we of servitude complain"
Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
Chorus: "Ye sons of Israel mourn"
Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
Chorus: "Ye sons of Israel mourn"
Andante
Allegro
Adagio
Allegro

Tracks:

Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
Aria Mordecai: " Dread not, righteous Queen, the danger"
Recitative Esther: "I go before the King to stand"
Aria Esther: " Tears assist me, pity moving"
Chorus: " Save us, O Lord"
Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
Recitative Esther: " If I find favour in thy sight"
Aria Ahasuerus: " How can I stay when love invites?"
Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
Chorus: " Virtue, truth and innocence"
Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
Chorus: " He comes, he comes to end our woes"
Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
Arioso Haman: " Turn not, a Queen, thy face away"
Aria Esther: " Flatt' ring tongue, no more I hear thee!"
Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
Aria Haman: " How art thou fall'n from thy height!"
Chorus: "The Lord Our enemy has slain"

Album Description

Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.

"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".

Customer Reviews:

THE SHAPE OF THINGS TO COME.......2007-01-26

Esther is the first of Handel's oratorios by a good many years, written when he was 33 and enjoying the patronage of the Duke of Chandos. When he later became his own impresario and was running into trouble as a composer and producer of Italian operas he turned to oratorio as a strategic alternative, but at this early date his concern was to deliver staged entertainments for the Duke, and Esther, contemporary with the work that later gained the title Acis and Galatea, seems to have been just an unusually serious specimen of its type.

As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.

Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.

There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.

My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.

a voice teacher and early music fan.......2006-04-04

Handel began composing the oratorio 'Esther' in 1718. There is some confusion as to who actually worte the libretto for it, but the story follows very closely the biblical story of Esther in the Book of Esther in the old testament. The story tells of a plot of Haman, the Agagite (Michael George-bass) jealous and powerful vizier of King Xerses (Ahasuerus-Tom Randle-tenor) of Persia(485-464), to destroy in a single day all the Jews living in the Roman Empire. He is moved to this out of hatred for the Jewish servant Mordecai (Mark Padmore-tenor),who for religious motives refuses to render him homage. The day of the proposed massacre is determined by lot. Meanwhile, Esther,niece and adopted daughter of Mordecai, is chosen Queen by King Xerses. She averts the pogrom planned against her people and has the royal decree of extermination reversed against Haman and the enemies of the Jews. Mordecai replaces Haman, and together with Esther, works for the welfare of their people. As you can see this makes for an interesting Oratorio, which it truly is!
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.

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A truly awesome voice!
What a fabulous Tenor!!!!!

A Richard Crooks Serenade

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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Richard Crooks in Songs and Ballads
Only a Rose: The Art of Richard Crooks In Song
The Stanford Archive Series: Richard Crooks

ASIN: B000001HKI
Release Date: 1998-02-17

Tracks:

The Student Prince: Ser: Overhead The Moon Is Beaming - Richard Crooks/Lewis James
Ah, Sweet Mystery Of Life
The Song Of Songs
When You're Away
Rio Rita
Only A Rose
Because
I Bring A Love Song - Richard Crooks/Edna Kellogg
Vienna, City Of My Dreams
Only My Song
Gipsy Moon
Macushla
Smilin' Through
If I Should Send A Rose To You
The Holy City - Richard Crooks/Herbert Dawson
Songs My Mother Taught Me - Richard Crooks/Frederick Schauwecker
Beautiful Dreamer - Richard Crooks/Frank La Forge
Oh, Susannah! - Richard Crooks/The Balladeers Male Qt/Frank La Forge/Ralph Colicchio
Ah, May The Red Rose Live Alway - Richard Crooks/Frank La Forge
Jeanie With The Light Brown Hair - Richard Crooks/Frank La Forge
Ser - Richard Crooks/Frederick Schauwecker
Be Thou Faithful Unto Death

Customer Reviews:

A truly awesome voice!.......2000-06-02

"A Richard Crooks Serenade" is a marvelous sampling of one of the greatest singers America had produced in the 30's and 40's. One gets to witness that honey Crooks sound in such classics as Ah, "Sweet Mystery of Life" (catch that magnificent High C at the end), "Macushla", the three Stephen Foster songs, and "If I should Send a Rose to You" (sort of Crook's theme song). This entire CD is a gem, but some REAL standouts are "The Holy City", "Because", "Be Thou Faithful Unto Death" (from the seldom performed St Paul by Mendelssohn). "Be Thou Faithful" will literally tug at your heartstrings. The "Serenade" from The Student Prince is a masterpiece of fine singing (Crooks, by the way, was Romberg's original choice for the lead role in this operetta). Crooks' voice literally pours out in this recording of "Serenade", culminating in two excellently placed High C's (the only real serious competition to Crooks on this song, in my opinion, is the great Mario Lanza). Crooks was one of the primo American Tenors of the 30's/40's era, displaying a technique and style that was unmatched, and after examining this CD, one will surely understand why. By all means, treat yourself to this recording and see what truly great singing is all about.

What a fabulous Tenor!!!!!.......2000-05-24

If one has not had the oportunity of hearing the great voice of Richard Crooks, they have really missed out. Richard Crooks possessed an intense lyricism that is unmatched today. Crooks' "Serenade" from The Student Prince is sheer perfection (singing it in the original key, not lowered a whole step, like most Tenors), culminating on two very vibrant High C's. It is interesting to note that Crooks was Romberg's original choice for the role of Karl Franz (the lead) in the Student Prince, but, due to opera commitments, was unable to debut the role. This is a performance rivaled only by the great Mario Lanza. Other musical highlights on this CD are "Macushla", "Song of Songs", "The Holy City", and "Ah Sweet Mystery of Life". "Ah May the Red Rose live Alway" is sure to bring a tear to one's eye. A nuance on "Ah Sweey Mystery of Life" finds Crooks soaring up to a High C at the end (a feat one finds no other Tenor attempting on any other recording) and with Crooks, it works well. Crooks' "Because" is the standard by which all others are measured. One of the real finds on this disk is Crooks' "Be Thou Faithful unto Death" from the rarely performed "Paul" by Felix Mendelssohn. What heartfelt singing this truly is. Crooks genuinely excelled in this music and one simply MUST purchase this CD to listen to a true master. So if one is not that familiar with the incomparable voice of Richard Crooks, treat yourself and puchase this recording now! This collection is pure enjoyment from the Student Prince "Serenade" to the final selection "Be Thou Faithful unto Death". A real gem.

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a voice teacher and early music fan
Songs that Never Fade
Heavenly, introspective, definitely the most soulful songs!

Vaughan Williams: Over hill, over dale

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Vaughan Williams - Along the Field on Wenlock Edge · Merciless Beauty · Ten Blake Songs, and others / Ainsley · The Nash Ensemble
Vaughan Williams - Serenade to Music · Five Mystical Songs · Fantasia on Christmas Carols · Flos Campi / Sixtieen Soloists · Thomas Allen · Nobuko Imai · Corydon Singers · ECO · Matthew Best
Vaughan Williams: Willow Wood
Vaughan Williams: Complete Concertos
Vaughan Williams: Dona Nobis Pacem/Four Hymns/Toward The Unknown Region/O Clap Your Hands/Lord, Thou Hast Been Our Re

ASIN: B000002ZVP
Release Date: 1995-11-21

Tracks:

Over Hill, Over Dale: Loch Lomond
Over Hill, Over Dale: Three Shakespeare Songs: Full Fathom Five
Over Hill, Over Dale: Three Shakespeare Songs: The Cloud-Capp'd Towers
Over Hill, Over Dale: Three Shakespeare Songs: Over Hill, Over Dale
Over Hill, Over Dale: Alister McAlphine's Lament
Over Hill, Over Dale: An Acre Of Land
Over Hill, Over Dale: The Seeds Of Love
Over Hill, Over Dale: Ca' The Yowes
Over Hill, Over Dale: Five English Folk Songs: The Dark-Eyed Sailor
Over Hill, Over Dale: Five English Folk Songs: The Spring Time Of The Year
Over Hill, Over Dale: Five English Folk Songs: Just The Tide Was Flowing
Over Hill, Over Dale: Five English Folk Songs: The Lover's Ghost
Over Hill, Over Dale: Five English Folk Songs: Wassail Song
Over Hill, Over Dale: The Winter Is Gone
Over Hill, Over Dale: Mannin Veen
Over Hill, Over Dale: Bushes And Briars
Over Hill, Over Dale: Down Among The Dead Men
Over Hill, Over Dale: Three Elizabethan Partsongs: Sweet Day
Over Hill, Over Dale: Three Elizabethan Partsongs: O Mistress Mine
Over Hill, Over Dale: Three Elizabethan Partsongs: The Willow Song
Over Hill, Over Dale: Greensleeves
Over Hill, Over Dale: Rest
Over Hill, Over Dale: Heart's Music
Over Hill, Over Dale: Come Away, Death
Over Hill, Over Dale: The Turtle Dove

Amazon.com

Even without his highly regarded symphonies, various instrumental works, and monumental and influential work on the revision of the English Hymnal, Vaughan Williams would have made a major impact on 20th-century music with his many original choral works and his folksong arrangements. In fact, Vaughan Williams's folksong-collecting work was one of the more important contributions ever made to English music. This disc offers a wonderful collection of a cappella choral pieces, including some of Vaughan Williams's finest folksong arrangements. Besides "Ca' the yowes," "Full fathom five," "Greensleeves," and "The Turtle Dove," the program includes rarely heard masterpieces such as "Alister McAlpine's Lament," which brilliantly captures the mood of the song with serene, sensual harmonies and gently flowing vocal lines. The Holst Singers seem born to this music, giving us the music's full flavor without ever overplaying it. --David Vernier

Customer Reviews:

a voice teacher and early music fan.......2006-07-21

Ralph Vaughan-Williams loved "the lilt of the chorus at the music hall...children dancing to a barrel organ, the rousing fervor of a Salvation Army Hymn, St.Paul's and a great choir singing at one of its festivals...the Welshmen striking up one of their own hymns...the cries of street pedlars, the factory girls singing their sentimental songs." This disc somehow reflects all of these influences. I think it makes him a true folksong specialist!!!The music included herein covers the whole of the composer's long career-from "The Willow Song"written when he was eighteen, to "Heart's Music",composed three years before his death at the age of eighty-six. The Holst Singers along with the two soloists:Ian Bostridge (tenor) and Michael George (bass)are very excellent in their renditions. The choir is perfection in balance, diction, ensemble and emotional content. Bostridge with his sweet and pure tenor almost moves one to tears especially in "Greensleeves" and "Ca'the yowes". And Michael George was also very moving in his solo:"Loch Lomond". It is as if the entire performing group were aware of a statement made by Vaughan-Williams before his death: "if the roots of your art are firmly planted in your own soil, and that soil has anything to give you, you may still gain the whole world and not lose your own souls."

Songs that Never Fade.......2005-11-21

A selection of the best of RVW's folksong arrangements performed with insight and restraint by the Holst Singers, with help from soloists like the incomparable Ian Bostridge. Vaughan William's respect for these folksongs is evident in his exquisite settings, which reveal their depth and subtlety, without obscuring their simplicity.

This is a recording to cherish.

Heavenly, introspective, definitely the most soulful songs!.......2003-03-16

This collection of English and Scottish folk songs moved me to tears and made me experience a plethora of emotions over and over again. The beautiful melodies flowing from this CD conjure up melacholy, joy, sadness and wonder. They crystalise the most common human experiences and the mystery of existence into certain folksong idioms that, once listened to, will stick in your ears and stir your heart strings for a long time.

Salute to Vaughan Williams for documenting, preserving and arranging these gems of English and Scottish heritage. Holst singers performe splendidly. Their discipline and professionalism, and a sense of artistic direction shine through.

I highly recommend this CD along with John Rutter's "The Lark in the Clear Air" for all the sensitive people who take interest in classical music and traditional folk songs.

I wish I can give this CD 10 stars!

Tracks:

La Belle Bame sans Merci
Sleep
I Will Go With My Father A-Ploughing
The Cloths of Heaven
To Gratiana Dancing and Singing
To Lucasta, On Going To The Wars
Twilight Fancies
Orpheus With His Lute
Jillian of Berry
Cradle Song
The Dance Continued
Linden Lea
Silent Noon
My Love's An Arbutus
The Death of Queen Jane
No Longer Mourn For Me
Since We Loved
The Sally Gardens
Rest, Sweet Nymphs
Come Away, Death
Now Sleeps The Crimson Petal
Bold William Taylor
Brigg Fair
The Little Turtle Dove

Customer Reviews:

THE SORT OF MUSIC THAT BOSTRIDGE'S VOICE WAS MADE FOR.......2002-10-09

Ian Bostridge has one of the most beautiful voices on record, and he has consistently shown courage and wisdom in selecting material that will extend and develop his gifts. Not all of this material has been a perfect match for his young and soaring tenor voice, notably some of Schubert's more dramatic "lieder". In contrast, nothing could be more perfectly suited to his voice than this generous and beautiful collection of traditional English poetic settings by Britten, Finzi, Grainger, Warlock and others.

Bostridge brings more than just a beautiful tone and a subtle musical phrasing to these songs. The challenge any intepreter of English songs has to face is that, in contrast with the pure syllables of most continental languages, the complex vowels of "Southern British English" are formidably difficult to render attractively in song. It's not just a question of singing them prettily. Think how accurately the pronunciation of a word like "house" or "bath" can betray someone's geographical and social background; our vowels are a caste-mark as well as a means of communication. But somehow Bostridge himself, in his fruitful partnership with Julius Drake, manages to transcend our socio-linguistic divisions and deliver these songs in a way that places no barrier between the listener and the music.

The material is wonderful in its own right - a collection of lilting pastoral airs and occasional boisterous ditties. They are at one and the same time ancient and modern, embracing at once the mutual cross-fertilisation between classical and "pop" sensibilities that has always underpinned the best of English music. Even the most trivial of these songs (e.g. "Jillian of Berry") are memorable, and some of them (notably Sir Charles Stanford's chilling musical setting of the Keats' poem, "La Belle Dame Sans Merci") would not have been beneath Schubert himself.

It has been fashionable over the generations to belittle British classic music. "The land without song" England was dubbed, as the sleeve notes poignantly remind us. This CD is a healthy reminder that the global success of English popular music in the latter four decades of the 20th century did not appear out of nowhere; it was built on a solid foundation of past accomplishment that it was for too long fashionable to dismiss. Highly recommended.

Artistry beyond measure.......2002-09-20

This disk is a wonderful treasure. "To Gratiana Dancing and Singing" is an exquisite song that you should not go another day without hearing. I am speaking literally.

Mr. Bostridge's interpretation of Browne's song is amazingly compelling. His ability to express goes beyond that of most other singers - even some great ones. He notes the problems in singing in English (the "extra" vowels, the English vs. German approach to word painting, etc.) and I have to say he triumphs on this disk.

As he also notes, this is NOT a recording of a recital program nor are the songs "English" in nationality - the songs are just set to texts in the English language. I had not heard of some of these composers, but I am enthusiastic in saying that every song on this disk has something very nice to recommend it - at least at the voice and hands of Ian Bostridge and Julian Drake.

I must say a few words about Mr. Drake's playing. Overall he is simply incredible. He has a beauty of tone and a singing style that is not in anyway mere accompaniment. It really isn't even a partnership. It is a unity of artistry that creates this single entity, a song. There aren't many that can pull this off and Mr. Drake should be treasured for this ability. Just amazing artistry.

Please get every disk that Mr. Bostridge and Mr. Drake have done together. You will thank me for recommending this if you didn't know this already. Feel free to email me with your thoughts on this disk or any comments you have about Bostridge and Drake.

Perfectly Enjoyable.......2002-02-09

I already liked Ian Bostridge, but I thought "English songs" would be rather light and without substance. But I have fallen in love with this CD and never tire of it! I was already an admirer of Vaughan Williams, Britten, Finzi, Warlock and Delius, and I'm glad for this introduction to other composers as well. Also, much beautiful poetry is chosen, from Shakespeare, Yeats, Rossetti, Keats, and others, and each is treated with careful consideration by the composer, *partnering* music with poetry rather than simply enhancing or overshadowing the lyric. Bostridge seems to have the perfect voice for this music, light and charming when appropriate, heart-breaking at other times, always an engaging storyteller. He obviously understands intimately each word and note that he sings. The listener can hear his facial expressions and body language! The English Songbook is a beautiful collection of excellent craftsmanship, and one of the best CDs I have.

Do Not Be Deceived By His Look Of Innocence.......2001-10-14

Just look at Ian on the cover photo of this CD. He's sitting there looking coy, playing with his finger, hair a little mussed, with a very cute boyish smile, as if to say, "I didn't do anything wrong mommy, honest." Well he has done it this time.

This CD was my first exposure to Ian Bostridge. I bought it because I was very surprised to know that one of my favorite poems, the Cloths of Heaven by Yeats, was set to music. I spent 17 bucks for one song, and ended up cashing in on 23 others.

To Gratiana Dancing and Singing quickly became a favorite, as did Bold William Taylor. This last one was my first realization of Ian's gift of storytelling. Somehow he is able to make his voice sound like a woman, namely Sally Gray, and the narrator, and the macho Captain, all in the same song. The multiple personalities come out to play similarly in The Death of Queen Jane. I am lulled into quiet reflection and relaxation when Ian sings the Cradle Song.

Check out his CDs of Schubert Lieder, also accompanied by Julius Drake. Ian may be even more at home in German than he is in his native English! Julius is at home with Schubert, especially the water songs, and we are at home listening to this wonderfully weird, warm voice paired with masterful piano playing.

One of the best English-Song CD's available.......2001-09-12

Unlike the reviewer "A music fan from California, USA" I realize that this is not a recital program of music (as even noted in the liner). This is though, an unequaled collection of some of the most beautiful English Songs ever. Ian is on top of his game and J Drake plays, well, I don't have the words. He never fails to impress with his skills. Each key under each finger sings! Back to Ian. As a professional tenor, I am in awe of his voice. It is tender, moving, all the things you want in a good recitalist, and (unlike any of the opera tenors I can think of) it is note perfect. Yes, there are times when his voice seems a little light for the song he may be performing, but it is passionate and caries the pathos of each note/word he sings. BUY THIS CD - you will love it for ever!

Average customer rating:

Flora Gave Me Fairest Flowers

Manufacturer: Collegium
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000952VP
Release Date: 2003-08-01

Tracks:

Thomas WEELKES: Hark, all ye lovely saints above
William BYRD: Though Amaryllis dance in green
John BENNET: Round about in a fair ring
Thomas TOMKINS: Adieu, ye city-prisoning towers
Thomas WILBYE: Flora gave me fairest flowers
Thomas VAUTOR: Sweet Suffolk owl
Thomas WEELKES: As Vesta was from Latmos hill descending
William BYRD: Lullaby
William BYRD: This sweet and merry month of May
Thomas MORLEY: Now is the month of maying
John FARMER: A little pretty bonny lass
Thomas MORELY: Fyer, fyer!
Thomas TOMKINS: Too much I once lamented
Thomas MORLEY: My bonny lass she smileth
Thomas WEELKES: Ha ha! this world doth pass
Michael EAST: Quick, quick, away, dispatch
Orlando GIBBONS: Dainty fine bird
John DOWLAND: Come again! Sweet love doth now invite
Thomas VAUTOR: Mother, I will have a husband
Thomas WILBYE: Draw on, sweet night
Robert RAMSEY: Sleep, fleshly birth
Thomas WILBYE: Weep, weep, mine eyes
Thomas WEELKES: Death hath deprived me
Orlando GIBBONS: The silver swan
Thomas WILBYE: Adieu, sweet Amaryllis

Album Description

"an absolute joy" - Music and Musicians Hi-Fi News and Record Review Record of the Month The sixteenth-century madrigal was an Italian form. The term `madrigal' was loosely applied to a wide variety of music, but generally denoted a polyphonic setting for four or more voices of an amorous or pastoral text which was closely depicted in the music. Thomas Morely transplanted the form into England in the 1590s; this marked the beginning of the brief but brilliant flowering of the English madrigal. Between the 1590s and the early 1620s, twenty composers published a total of 36 books of madrigals, after which the form virtually disappeared. Some of these composers, such as Morely and Weelkes, followed the Italian model closely; others, such as Byrd and Gibbons, mostly stayed with the simpler English form of the consort song, where the tune remains in one voice, word-painting is not used, and strophic form is preferred to the continuous structure of the madrigal proper. Among the twenty-one items selected for this recording there are examples of several types of piece,! ranging from true Italianate madrigals such as Too much I once lamented, via more popular `balletts' such as Fyer, fyer!, to the simple part-songs like A little pretty bonny lass. The variety, imagination, and inspired blending of poetry and music characteristic of the best of the `English Madrigal School' afford a particular kind of delight in performance, shared equally by singer and listener