Kathryn Rudge (mezzo-soprano), Gary Pomeroy (viola) & James Baillieu (piano, below)
Howells Come sing and dance (1927)
Quilter Go, lovely rose (1922), Now sleeps the crimson petal (1897), Music, when soft voices die (1926)
William Charles Denis Browne To Gratiana, dancing and singing (1913)
Howells Peacock Pie Op.33 (1919)
Ivor Gurney Sleep (1914); Most holy night (1920); The Fields are full (pub. 1928); By a bierside (1916)
Bridge Three songs with viola [Far, far from each other; Where is it that our soul doth go?; Music when soft voices die] (1903-06)
Listen to the BBC broadcast here
Written by Ben Hogwood
Kathryn Rudge has a special affinity with English song, and in particular the music of Herbert Howells. I remember an especially moving account of his most famous song King David at the Wigmore Hall a few years back, and here she and pianist James Baillieu enjoyed the open-air sonorities of his song Come sing and dance (from 1:26 on the broadcast).
Howells is one of several English composers who excelled in the form of song, but who are not heard often in concert programs, so it was gratifying to see these two BBC Radio 3 New Generation Artists trying something different.
Roger Quilter was the most celebrated song composer of the five here, and the selection of three of his most famous songs was lovingly performed. Go, lovely rose (from 6:02), Now sleeps the crimson petal (9:08) an Music, when soft voices die (11:38) all showed off his melodic craft and subtly rapturous word settings, not to mention flowing piano accompaniment that was superbly played by Baillieu.
Most striking of all those here was the biggest rarity, a song by William Denis Browne, who was killed in the First World War. He left a tiny output of music, dying at the age of 27, and this song – To Gratiana dancing and singing (from 13:47) – left a lasting impression with its strong melody and bold, grand piano part.
After the war English composers were attracted to the simple poetry of Walter de la Mare, and Howells delivered a short, six-part song cycle Peacock Pie, setting verses for children. Here it was oddly enchanting, especially the story of Tired Tim (19:37), who took an age to get up the stairs, the strangely charming figure of Mrs MacQueen or the lumbering profile of The dunce (25:35), a kind of march gone wrong. Rudge could perhaps have used more variety in her portrayal of the characters here, but Howells’ invention and distinctive harmonies shone through, especially in the magical Full Moon (26:45).
On to the tragic figure of Ivor Gurney, much of whose output remains unpublished after his tragically early move to the asylum. The quartet of songs here were dramatic in the extreme though – a resigned Sleep (30:51), a protective Most Holy Night (33:50) the heady, summer stillness of The fields are full (39:49) – vividly caught by both performers – and finally the terrible truth of By a bierside. Written in the trenches in France, its coda (43:20) sings of how ‘it is most grand to die’. This was the loudest and most painful music of the concert, but Baillieu’s response was magical, subtly moving the music through the keys to reach a less painful finish.
Finally we heard songs by Britten’s teacher and friend Frank Bridge, a masterful viola player who wrote his own instrument into these three songs, written between 1903 and 1906. In this performance they were highly charged, and could perhaps have done with more light and shade from singer and viola, but these minor gripes were outdone by the enjoyment of Bridge’s turbulent writing in Far, far from each other (47:10), the resignation of Where is it that our soul doth go? (from 51:00) and finally the warmer heart of Music, when soft voices die (54:45).
As an encore Rudge and Baillieu chose perfectly, opting for Alan Robert Murray’s song I’ll walk beside you (58:33), uncannily sharing a wish for a better, more inclusive world.
Kathryn Rudge and James Baillieu made their debut album as a partnership for Champs Hill Records in 2014 – and it complements the songs in this concert perfectly.