Category Archives: Vocal

On Record – Enchanted Places: The Complete Fraser-Simson Settings of A. A. Milne (EM Records)

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Grant Doyle (baritone) and John Kember (piano) with Brian Sibley (narrator)

EM Records EMRCD082 [two discs, 2h29m17s]
Producers Grant Doyle, John Kember Engineer Nick Taylor
Recorded 2019 and 2020 at Porcupine Studios, Mottingham, London

Reviewed by Richard Whitehouse

What’s the story?

EM Records continues its coverage of lesser-known and neglected English music with this complete traversal of A. A. Milne settings by Harold Fraser-Simson, more than appropriate when this year coincides with the centenary of Milne’s first collection of poems for children.

What’s the music like?

One among a notable generation of ‘light music’ composers, Fraser-Simson (1872-1944) had a brief if successful career with his songs and musicals; his musical comedy The Maid of the Mountains enjoyed one of the biggest West End successes during the latter years of the First World War and is still occasionally revived (the complete score was recorded by Hyperion in 2006). Although Simson’s star waned after the mid-1920s, his settings of Milne’s poems from the collections When Were Very Young (1924) and Now We Are Six (1927) have kept his name alive. Along with Milne’s books of short stories, these centre upon his son Christopher Robin and the latter’s nursery toys – above all, his bear Winnie-the-Pooh. They have held their own, moreover, throughout an era when the Disney franchise has continued to grow exponentially.

The songs themselves were published in six books between 1924 and 1929, alongside Milne’s poems with illustrations by Ernest Shepard which had graced the original collections. Private recordings were made at this time by Cicely Fraser-Simson with her husband as pianist, while Christopher Robin recorded several for HMV in 1927, and they have continued to attract the attention of singers both amateur and professional. Nor have the poems lost their appeal for subsequent generations of composers (Oliver Knussen drawing on a selection of them in his 1970 opus Hums and Songs of Winnie-the-Pooh), but Fraser-Simson’s settings have retained their charm along with a pathos accrued over the intervening decades. The present recording features 10 songs recorded for the first time to make this collection complete in all respects.

Does it all work?

Yes, not least given the quality of these performances. A seasoned exponent of opera, Grant Doyle gets to the heart of these settings – his singing of a warmth and precision that offsets any risk of sentimentality. Nor can his diction be faulted – no potential purchaser is likely to be without Milne’s original books but having them to hand is hardly necessary – while John Kember accompanies with subtlety and discretion. Devotee of all things Pooh, Brian Sibley narrates his handful of texts with due feeling for their unforced and often ingenious scansion.

This might not be the only way to realize these settings (a comparably extensive collection by Volante Opera Productions (Prima Facie) features seven singers), but the consistent and characterful nature of Doyle’s approach is its own justification. Those wishing to sample this release should go to The King’s Breakfast (CD2, tracks 26-29), essentially a cantata in which singer, narrator and pianist are joined by four other musicians to deftly imaginative effect, or evergreens Vespers (1, 39) and Buckingham Palace (2, 3) which emerge newly minted here.

Is it recommended?

Yes. The sound has an ideal combination of clarity and definition, while Sibley’s booklet notes on composer, author and project could hardly be bettered as an informed introduction. Put the Disney treatment aside and enjoy these settings for the winsome humour as initially intended.

Listen

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You can explore purchase options for this album at the EM Records website. For more information on the artists click on the names of Grant Doyle, John Kember and Brian Sibley

Published post no.2,091 – Sunday 18 February 2024

On Record – Maltworms and Milkmaids: Warlock and the Orchestra (EM Records)

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Warlock
As Ever I Saw (1918, orch. anon)
An Old Song (1917-23)
Mr Belloc’s Fancy (1921/30, orch. Frederick Bye)
Captain Stratton’s Fancy (1921, orch. Peter Hope)
Serenade (1921-2)
Milkmaids (1923, orch. Henry Geehl)
Adam Lay Ybounden (1922, orch. Reginald Jacques)
Little Trotty Wagtail (1922, orch. David Lane)
The Birds (1926, orch. anon)
The Country-man (1926, orch. Gerrard Williams)
Yarmouth Fair (1924, orch. Kenneth Regan)
Sorrow’s Lullaby (1926-7)
One More River (1925)
Maltworms (1926, with E. J. Moeran)
Capriol (1926-8)
A Sad Song (1926)
Pretty Ring Time (1925)
The First Mercy (1927, orch. Fred Tomlinson/John Mitchell and William Davies)
Three Carols (1923)

Nadine Benjamin (soprano), Ben McAteer (baritone), BBC Singers, BBC Concert Orchestra / David Hill

EM Records EMRCD080 [73’52”] English texts included. Orchestrations by Warlock unless stated
Producer Neil Varley Engineer Robert Winter
Recorded 14-16 January 2022 at the Colosseum, Watford

Reviewed by Richard Whitehouse

What’s the story?

The always enterprising EM Records issues yet another ‘first’ in the guise of this collection featuring the songs with orchestra by Peter Warlock (aka Philip Heseltine), which includes many of those orchestrated by others with two-thirds of them here recorded for the first time.

What’s the music like?

Although his output barely extended beyond a decade and centred largely upon miniatures, Warlock left a substantial legacy of songs whose piano accompaniments mostly respond well when arranged for larger forces. Most of them are divided between soprano and baritone, in which latter Ben McAteer fairly captures their essence – whether the modal poise of the early If Ever I Saw, the heady (slightly forced?) jollity of those ‘fancies’ inspired by Mr Belloc and Captain Stratton, or the deftly barbed humour of Milkmaids. He draws tangible pathos from The Countryman and panache from Yarmouth Fair, with the rumbustious One More River and uproarious The Cricketers of Hambledon duly given their head. A highlight is the first recording of Maltworms, co-written with Ernest Moeran and rendered with suitable levity.

Nor is Nadine Benjamin other than fully attuned to the sentiments of her selection. Hence the soulfulness of A Sad Song or limpidity of Pretty Ring Time, both heard in what are Warlock’s only orchestrations of his solo songs, with The First Mercy an eloquent setting of words by frequent collaborator Bruce Blunt. Most affecting, though, is Sorrow’s Lullaby where soprano and baritone combine for a lengthy and often plangent setting of Thomas Beddoes in which the stark introspection of Warlock’s masterpiece The Curlew is never far beneath the surface.

The BBC Singers make their presence felt in the carol Adam Lay Ybounden and the whimsical Little Trotty Wagtail and winsome The Birds. No compromise is brooked in the rousing Fill the Cup, Philip or wistful choral incarnation of The First Mercy, then a closing trio of carols takes in the capricious Tyrley, Tyrley, the serene Balulalow and the aminated As I Sat Under a Sycamore Tree for a suitably rousing conclusion. Warlock would surely have approved and, had he known of the Singers’ recent travails, doubtless have responded in no uncertain terms.

The BBC Concert Orchestra gives of its best throughout under the astute direction of David Hill, duly coming into its own with the three orchestral pieces that Warlock completed. The evergreen suite Capriol is heard in its seldom heard and appealingly astringent version for full orchestra, the Serenade commemorates Delius’s sixtieth birthday in suitably rapturous terms, and the little-played An Old Song exudes a potent atmosphere as indicates what might have been possible had Warlock felt able to realize his musical ambitions on a larger canvas.

Does it all work?

It does, especially when heard in the continuous sequence as presented here. Warlock might increasingly have fretted about his ability as a composer, but the best of what he did achieve is sure to keep his name alive well beyond the approaching centenary of his untimely demise.

Is it recommended?

It is and not least when the presentation – with full texts, together with detailed notes from David Lane (vice-chairman of the Peter Warlock Society) reflects the always high standards of EM Records. In the words of a latter-day songster, ‘‘a splendid time is guaranteed for all’’.

Listen

Buy

You can explore purchase options for this album at the EM Records website. For more information on the artists click on the names of David Hill, Nadine Benjamin, Ben McAteer, BBC Singers and BBC Concert Orchestra. For more on all things Warlock, click on the name to head to the Peter Warlock Society

Published post no.2,078 – Monday 5 February 2024

On Record – Soloists, Transylvania State Philharmonic Choir & Orchestra / Lawrence Foster – Kodály: Te Deum & Psalmus Hungaricus; Bartók: Cantata Profana & Transylvanian Dances (Pentatone)

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Kodály
Budavári Te Deum (1936)
Psalmus Hungaricus Op.13 (1923)
Bartók
Transylvanian Dances (Erdély táncok) Sz. 96 (1931)
Cantata Profana Sz. 94 (1930)

Luiza Fatyol (soprano, Te Deum), Roxana Constantinescu (mezzo-soprano, Te Deum), Marius Vlad (tenor, Te Deum and Psalmus Hungaricus), Ioan Hotea (tenor, Cantata Profana), Bogdan Baciu (baritone, Te Deum and Cantata Profana), Junior VIP, Children’s Choir (Psalmus Hungaricus), Transylvanian State Philharmonic Choir & Orchestra / Lawrence Foster

Pentatone PTC 5187071 [64’14”] Texts and English translations included

Executive & Recording Producer Job Maarse Balance Engineer & Editing Erdo Groot Engineer Lauran Jurrius
Recorded May 2022, Radio Studio of Radio Cluj, Romania

Written by Ben Hogwood

What’s the story?

Here is a chance to gain an insight into the choral music of two 20th century Hungarian composers known predominantly for their orchestral works. Bartók and Kodály were born just a year apart, and while their music is fiercely proud of their heritage their musical trajectories extend well beyond Hungary. Kodály stayed largely within Europe but brought back influences from Paris, while Bartók reluctantly emigrated to the US in late 1940.

Psalmus Hungaricus was Kodály’s first major post-war composition, in 1923. It is a landmark in his output, using for its text a Hungarian paraphrase of Psalm 55. Kodály uses a tenor soloist for the central dramatic role, the choir taking up their position as commentators. The Budavári Te Deum, completed 13 years later, marks the 250th anniversary of the liberation of Buda Castle from the Turks. While referencing Gregorian chant, Kodály incorporates references to Hungarian melodies and ornamentations in a dramatic setting.

In 1930 Bartók completed his first major work for chorus and orchestra. Cantata profana has Transylvanian roots, and Oana Andreica’s booklet note gives the context of its libretto, starting from two Romanian ‘colinde’ – ballads sung during the Christmas season but with a wide range of subjects well beyond the birth of Christ. Such is the case here, Bartók dramatising a myth of nine sons turned into stags. The cantata charts their fate and their father’s conflicting emotions, expressed by a baritone soloists. The Transylvanian Dances are a complementary addition, a short trio of works for small orchestra containing five traditional songs.

What’s the music like?

The Budavári Te Deum is a thrilling start to the album. This is red-blooded choral writing, Kodály diving in headlong to a high octane first section. He challenges choir’s higher sections, who respond admirably to the loud dynamic, retaining impressive clarity in the part writing. The work’s climactic points are notable for their power and passion.

This performance of the Psalmus Hungaricus has the authentic inflections to the melody, its bracing start turning to contemplation. Tenor soloist Marius Vlad inhabits the full tone and strong line demanded by Kodály, and sung so memorably by Ernst Haefliger in the legendary recording with Ferenc Fricsay. This makes for a fine digital alternative, with the choral response both full-bodied and unified. The meaningful counterpoint between Vlad and the Transylvanian woodwind in the middle section (Te azért lelkem) is especially memorable.

Bartók’s Cantata profana starts ominously, with an underlying menace that grows steadily as the hunt in the story progresses. Again the choral passages are well drilled, especially when in league with the percussion. The passionate tenor solo (Ioan Hotea) and fulsome bass (Bogdan Baciu) prove to be ideal foils, alighting on some spicy chords. There is little consolation at the end, in spite of the relative calm this performance leaves.

The Transylvanian Dances are over in a flash but leave a charming impression, with rustic themes. The recording is much closer, taking the action indoors to the tavern rather than outside in the wilds.

Does it all work?

Very much so. There is an adjustment to be made for the Transylvanian Dances, with the smaller ensemble and closer recording, but the performances justify the means. The choral works are a resounding success, brilliantly performed and with electric singing from the Transylvania State Philharmonic Choir, especially in the high passages. The orchestra match them under Lawrence Foster, who secures incisive rhythms and impressive clarity from such large forces.

Is it recommended?

It certainly is. This is an enterprising and very accessible coupling of three thrilling choral works, revealing fresh insights into the Hungarian composers.

Listen

Buy

For more information on this release and for purchase options, visit the Pentatone website

Online Concert – April Fredrick, Stacey Rishoi, Brennen Guillory, Gustav Andreasson, Colorado MahlerFest Orchestra / Kenneth Woods: Mahler’s Liederabend

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Mahler’s Liederabend: A Recreation of Mahler’s Concert in Vienna on 29th January 1905

Mahler
Des Knaben Wunderhorn – selection (1892-1901)
Kindertotenlieder (1901-4)
Vier Rückert-Lieder (1901)

April Fredrick (soprano), Stacey Rishoi (mezzo-soprano), Brennen Guillory (tenor), Gustav Andreasson (bass), Colorado MahlerFest Orchestra / Kenneth Woods

Macky Auditorium, 1595 Pleasant Street, Boulder CO (Links to concert sections embedded below)
Saturday 20th May 2023

by Richard Whitehouse

In an event as inclusive as Colorado’s MahlerFest, it was happily inevitable the Liederaband Mahler gave in Vienna on 29th January 1905 be recreated and, while the decision to distribute these songs between four singers was not strictly ‘authentic’, it yet emphasized their variety of thought and expression more readily than had one vocalist been present throughout. What remained consistent was the creative zeal of Mahler at a crucial juncture in his composing, as he left behind the fantastic realm of his earlier music for greater realism and even abstraction.

The first half was of seven songs from Des Knaben Wunderhorn, which collection dominated Mahler’s thinking the previous quarter-century. Two of them are ostensibly dialogues, but the absence of a second singer mattered little when April Fredrick rendered that interaction of the yearning woman with her condemned lover in Lied des Verfolgten im Turm so graphically; as too the more wistful imaginings of separated lovers in Der Schildwache Nachtlied. She also underlined the glancing irony of Des Antonius von Padua Fischpredigt and the playful whimsy of Rheinlegendchen with understated assurance. Brennen Guillory pointed up the deadpan humour of Trost im Unglück and if Der Tamboursg’sell felt a little too earnest, the stridency that increasingly borders on aggression of Revelge was bracingly delivered.

Here, as elsewhere, adherence to Mahler’s scoring, with its emphasis on woodwind and brass, brought out its evocative quality which outweighed any passing thinness of tone in the strings. This was even less of an issue during the sparser textures of Kindertotenlieder, whose songs find universal truths in Friedrich Rückert’s intimate ruminations. Gustav Andreasson seemed a little raw of timbre in Nun will die Sonn’ so hell aufgeh’n, though the yearning fatalism of Nun seh’ ich wohl, warun so dunkel Flammen was tangibly conveyed, as too was the aching poignancy of Wenn dein Mütterlein. The bittersweet elegance of Oft denk’ ich, sie sind nur ausgegangen felt slightly undersold, but not those contrasts of In diesem Wetter as this final heads from fraught anguish toward a repose from which all dread has been wholly eradicated.

Kenneth Woods directed the Colorado MahlerFest Orchestra with that unforced rightness evident from his earlier Mahler performances. Never more so than the four Rückert-Lieder which ended this programme – albeit in a discreet but effective reordering from that of 118 years before. Thus, the capricious whimsy of Blicke mir nicht in die Lieder! preceded the deft enchantment of Ich atmet einen Linden duft; Stacey Rishoi proving as responsive to these as to Um Mitternacht, with its crepuscular winds and majestic climax with swirling arpeggios on harp and piano. Fittingly, the sequence closed with Ich bin der Welt abhanden gekommen – the finest of Mahler’s orchestral songs in its rapt serenity, Rishoi’s conveying of Rückert’s otherworldly sentiments more than abetted by Lisa Read’s eloquent cor anglais. If recreating the Liederabend meant no place for Liebst du um Schönheit (now available in a far more idiomatic orchestration by David Matthews), which might have made a pertinent encore), its absence did not lessen the attractions of this enterprising and successful concert.

Click on the name for more information on Colorado MahlerFest 2024, and on the artist names for more on Kenneth Woods, April Fredrick, Stacey Rishoi, Brennen Guillory and Gustav Andreasson

In Concert – Gavin Bryars at 80 @ Barbican Hall & St. Martin-in-the-Fields

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Gavin Bryars Ensemble; David Wordsworth (conductor); Sarah Gabriel (soprano); David James (countertenor); Mahan Esfahani (harpsichord); The Addison Chamber Choir

Barbican Hall, London, 19 December 2023

Gavin Bryars Ensemble; The Choir with No Name; Streetwise Opera

St Martin-in-the-Fields, London, 9 November 2023

by John Earls. Photo credit (c) John Earls

To see Gavin Bryars’ classic Jesus’ Blood Never Failed Me Yet performed twice in the space of six weeks is quite special. But this is the composer and double bassist’s 80th birthday year, and both concerts were celebrations of that milestone.

Jesus’ Blood Never Failed Me Yet is something of a signature composition for Bryars. Many will be familiar with the story of how he was working on a film documentary about people living rough in London in 1971 and was left with an unused tape of a homeless man singing this religious song. He put the 26-second clip on a loop and composed a slowly evolving and haunting orchestral accompaniment that respected the man’s – to use Bryars’ own words – ‘nobility and faith’.

So it was particularly touching to be at a performance on 9th November at London’s St Martin-in-the-Fields church where the Gavin Bryars Ensemble were accompanied by the Choir With No Name, the choir charity for homeless and marginalised people. Starting with the tape of the unnamed man, the ensemble slowly built its accompaniment around it and the choir joined in the refrain to powerful and moving effect.

I should confess that my 1975 Obscure Records version of Jesus’ Blood Never Failed Me Yet has been a long-cherished part of my record collection. It is coupled with The Sinking of the Titanic, a work inspired by the story that the band on the ‘unsinkable’ liner continued to play as it sank in 1912, and was given an absorbing performance in the first half of this concert along with The Open Road, where the ensemble was joined by Streetwise Opera who work with people who have experienced homelessness.

Jesus’ Blood Never Failed Me Yet was also at the centre of another concert by a larger GB Ensemble (extra cello and violas plus piano and percussion) at London’s Barbican Hall on 19th December, where they were joined by the Addison Chamber Choir. Here, the choir were somewhat more refined and restrained in harmonic accompaniment but no less affecting. It was a truly beautiful performance which received a deserved standing ovation.

The Barbican concert also featured Duets from Doctor Ox’s Experiment, five revised duets from Bryars’ 1998 opera sung by soprano Sarah Gabriel and countertenor David James. Whilst musically engaging (particularly the fifth duet) it suffered from the all too familiar issue of not being able to hear Blake Morrison’s libretto clearly enough (the words were printed in the digital programme). There was also a lovely Ramble on Cortona and a dramatic After Handel’s Vesper, a solo harpsichord piece played by Mahan Esfahani. Special mention should be made of James Woodrow on electric guitar whose playing throughout was atmospheric and never obtrusive. Both the concerts concluded joyously with Epilogue from Wonderlawn.

In introducing Jesus’ Blood Never Failed Me Yet at the St Martin-in-the-Fields concert Bryars spoke sincerely about how much the piece still means to him after all these years. These two performances amply demonstrated not only how that unknown man’s voice can still touch one’s heart, but why the piece of music that came from it remains so relevant and powerful today.

John Earls is Director of Research at Unite the Union and tweets / updates his ‘X’ content at @john_earls

For more information click on the names for more on the St Martin-in-the-Fields Charity, Choir With No Name and Streetwise Opera