감미로운 음악: 영국합창곡 1890-1950 - The Cambridge Singers

There Is Sweet Music: English Choral Songs 감미로운 음악: 영국합창곡 1890-1950 The Cambridge Singers 1. Partsongs (8), Op.119, No.3, The Blue bird 　 Album Title: There Is Sweet Music: English Choral Songs 1890-1950 Performer: Nicholas Sears, The Cambridge Singers Conductor: John Rutter Composer (Various): Benjamin Britten, Frederick Delius, Edward Elgar, Gustav Holst, E. J. Moeran, Charles Villiers Stanford, English & Irish Traditional Audio LP: 1986 Audio CD (December 17, 1992) SPARS Code: DDD Label: Collegium Records Total time 57:24 평온과 아름다움, 그리고 목가적인 서정성으로 대변되는 근대 영국 작곡가들이 편곡한 민요 선율과 그들이 만들어낸 달콤한 멜로디를 담은 합창곡 모음. 자극적이고 원초적인 쾌락만을 추구하는 작금의 음악풍토에 한 줄기 위안으로 자리매김 할 참으로 샘물 같은 노래들... 그러나 영국인들의 달콤함은 이탈리아나 프랑스인들의 달콤함과는 사뭇 다르다. 색으로 표현하자면 무채색같은 달콤함으로 캠브리지 싱어즈는 영국적인 뉘앙스를 아름답게 살려 품위 있는 합창을 들려준다. 특히 영국 캠브리지 합창단의 무반주 허밍으로 부르는 '아, 목동아(Londonderry Air)'의 독특한 감흥은 옷깃을 여미게 할 만큼 숭고하게 귓전에 오래도록 맴돈다. - 음반 소개글에서 1. Partsongs (8), Op.119, No.3, The Blue bird 4:02 Composed by Charles Villiers Stanford with Cambridge Singers To Be Sung Of A Summer Night on The Water, Two Unaccompanied Part Songs (2) for chorus, RT IV/5 4:34 Composed by Frederick Delius with Cambridge Singers, Mark Padmore 2. To be sung of a summer night on the water I 2:16 3. To be sung of a summer night on the water II 2:18 4. Partsongs (4) for chorus, Op. 53, No 1, There Is Sweet Music 5:34 Composed by Edward Elgar with Cambridge Singers 5. Partsongs (3) for chorus, Op. 18 My Love Dwelt In A Northern Land 4:21 Composed by Edward Elgar with Cambridge Singers Three Shakespeare Songs (3) for chorus 6:39 Composed by Ralph Vaughan Williams with Cambridge Singers 6. (1.) Full Fathom Five 3:20 7. (2.) The Cloud-Capp'd Towers 2:18 8. (3.) Over Hill, Over Dale 1:01 9. The Sailor and Young Nancy, for chorus 3:06  Folk-song arrangements Composed by E. J. Moeran with Cambridge Singers 10. Brigg Fair, folk song 2:57 arranged by Percy Grainger Composed by English Traditional with Philip Sheffield, Cambridge Singers 11. Londonderry Air (Danny Boy), folk song 3:25 arranged by Percy Grainger Composed by Irish Traditional with Cambridge Singers 12. The Three Ravens, folk song 4:52 arranged by Edward T.Chapman Composed by English Traditional with Nicholas Sears, Cambridge Singers 13. My Sweetheart's Like Venus 1:54 Composed by Anonymous arranged by G.Holst with Cambridge Singers 14. The Oak and the Ash (North Country Maid), folk song 3:05 arranged by Edward Bairstow Composed by English Traditional with Cambridge Singers 15. Quick! We Have But A Second for chorus 0:46 Composed by Charles Villiers Stanford (arranged) with Cambridge Singers Five Flower Songs (5), for chorus, Op. 47 11:05 Composed by Benjamin Britten with Cambridge Singers 16. (1.) To Daffodils 1:38 17. (2.) The Succession Of The Four Sweet Months 2:04 18. (3.) Marsh Flowers 2:32 19. (4.) The Evening Primrose 2:36 20. (5.) Ballad Of Green Broom 2:15 There is Sweet Music: English Choral Songs 1890-1950 The Cambridge Singers Charles Villiers Stanford The Blue Bird; Quick we have but a second (arr.) Frederick Delius: Two Unaccompanied part-songs Edward Elgar: There is sweet music; My love dwelt in a Northern Land Ralph Vaughan Williams: Three Shakespeare Songs E.J. Moeran: The Sailor & young Nancy (arr.) Percy Grainger: Brigg Fair (arr); Londonderry Air (arr.) Edward T Chapman: The three ravens (arr.) Gustav Holst: My sweetheart's like Venus (arr.) Edward Bairstow: The oak and the ash (arr.) Benjamin Britten: Five Flower Songs The Cambridge Singers: directed by John Rutter Recorded in the Great Hall of University College School, London, February 1986 COLLEGIUM RECORDS CSCD 505 [56.27] Love Peace Freedom 　 　 John Rutter There Is Sweet Music: English Choral Songs 1890-1950 The very first piece on this excellent CD makes it special for me. It is my all time favourite piece of choral music - one of my 'Desert Island Discs' if ever there was one. It is The Blue Bird from the pen of Charles Villiers Stanford. Now there is still a residual school of thought that decries this composer's name. He is accused of being as 'dry as dust' (along with his near contemporary Hubert Parry). He is charged with being unoriginal - Brahms with an Irish accent and he is accused of lacking inspiration. Now any of these criticisms could be levelled at Stanford and also at many other composers. Much music - even by the 'greats' - does, often, lack sparkle and pizzazz. Not every composer breaks new ground and not every composition is free from derivation. It is a very different thing to use existing musical languages than to deliberately indulge in pastiche. As for inspiration, one cannot but recall the old adage about 1% inspiration and 99% perspiration. Stanford compose a lot of music. Some of it is probably best left to the specialist; it was music of its time. However the more I hear of this great man's music the more I appreciate it. We have excellent recordings of the seven symphonies, the two piano concertos, the Requiem and many songs and choral pieces. All of these works reveal hidden depths and suggest that they may well be lost treasures. But no work by Stanford is, I believe, more perfect than his setting of Mary Coleridge's (1861-1907) verse the Blue Bird. I give the words here:- The lake lay blue below the hill, O'er it as I looked, there flew Across the waters, cold and still, A bird whose wings were palest blue. The sky above was blue at last, The sky beneath me blue in blue A moment, ere the bird had passed, It caught its image as it flew. Now the programme notes reckons this is second class verse. I suppose it does not attain the highest heights of English Poetry. But there is something compelling about these words. Perhaps some of the effect is explained by later imagery. The Americanism, if such it be, of being 'blue'. The wartime song so beloved of a generation, 'There'll be Bluebirds over the White Cliffs of Dover', has perhaps tinged these words with a feeling that was not present in its original. So there is a creation of colour and effect in these words - it is a 'blue' study. I can never decide if it is warmth I feel on reading these words or a slight chill. A blue-sky possibly means a warm day but ice is also blue. And perhaps the lover's heart is chilled by his beloved passing over the blue seas into the blue yonder? Yet this poem is taken by Stanford and is turned into a glorious miniature - a perfect fusion of words and music. He creates an unbelievable atmosphere. No other piece of music has this feeling; this magic. There is a combination of coolness and warmth - of sunlight and cloud. Yet it was only one of six settings as part of his Op. 119; the other five are no longer well known. If this was the only work that we remembered Charles Villiers Stanford for, he would be well worth remembering. As it happens there are many other fine and inspired works to get to know. As an aside I suggest the wonderful Second Piano Concerto in C minor (a truly English Rach 2!) and the fine Songs of the Fleet. And then there is the delightful part-song on this CD 'Quick we have but a second'. The Cambridge Singers & John Rutter conductor Now I have had my eulogy on The Blue Bird I must note that there is much other fine music on this excellent CD. In fact it makes a good introduction to the English Choral Tradition - an excellent sampler of all that is best in a genre excelled at in the United Kingdom. There are original works here and of course a number of arrangements of folk songs. Much of this music is within the ability of amateur choral societies. This was perhaps one of the driving forces of English Choral Music. The nineteenth century, in spite of many cynical views held even today, produced a great upsurge in musical interest. There were glee clubs, choral societies, and brass bands and much home-spun piano playing and solo singing. It was a time when there was a discovery of older repertoire but also a need for material that was largely 'popular.' Here we find the arrangements of songs like the Oak and the Ash and the Londonderry Air being given by composers like Edward Bairstow and Percy Grainger and being taken up by the amateur societies. And then who was Edward T Chapman? Then there were the original works. Elgar contributed much to this genre including the works given here: There is Sweet Music and My love dwelt in a Northern Land. Perhaps they do not represent his finest achievement. They do not compare to Gerontius or the Cello Concerto. Yet they are creations which exhibit the care and craftsmanship, which were characteristics of his music. The Three Shakespeare Songs by Ralph Vaughan Williams were written for the amateur choral tradition. Vaughan Williams dedicated much of his career encouraging amateur music making. These songs are good examples of his choral style. Of course Delius wrote for the choral medium as well. There are a number of recordings of his part-songs. However perhaps none have the sheer poetry and magic of the first of the Two Unaccompanied Part-songs. This is magical stuff. Britten of course is renowned for his settings of English poetry. Not only original works but many folk-song settings as well. Britten did not write in the received cathedral or choral society style as such. Yet his Five Flower Songs are fine miniatures, which reveal the consummate skill and artistry of the composer. They were written as a Silver Wedding Anniversary present for two friends. This is a good introduction to the English Choral Tradition. Although the music was recorded some fifteen years ago it is still fresh. Perhaps I would have liked a little more than 56 minutes worth of music. It seems a wee bit skimpy. Anyone who loves this kind of music can easily think of a dozen pieces that could have been recorded to give a bit more value. Written By John France 잘생긴 꾀꼬리 꽃미남 리차드강 어리버리 돈키호테.