In the 50th anniversary
year of her tragically early death,
it at first seemed perverse of Richard
Caniell, directing genius and factotum
of Guild’s Historical issues, and a
Ferrier devotee, to highlight the Bach
Mass in this issue of broadcast items,
some not previously available. The recording
of the Mass was made by a German collector.
Caniell explains that over two minutes
of the beginning was missing and he
has interpolated the ‘equivalent’ part
from Karajan’s 1952 recording made in
the same venue. The alto’s contribution
to this great work is limited to two
solos and the duet ‘Domine Deus’ (CD1
tr.7) hence my expression of perversity.
Of the solos the greatest is the ‘Agnus
Dei’ (CD2 tr.7) the penultimate part
of the work. However, by the time I
reached it, I was already disconcerted
by Karajan’s variation of tempi, and
found the ‘Agnus Dei’ positively turgid.
How Ferrier holds the line whilst managing
so much colour and expression I don’t
know. On later reading of the usually
informative Guild booklet, I noted that
Derek Adlam states (p.16): ‘In this
movement Von Karajan adopts a tempo
so extraordinarily slow that it is difficult
to think of any other singer who could
have sustained the long phrases so effortlessly,
whilst making perfect sense of them’.
I couldn’t agree more. So maybe as an
illustration of Ferrier’s art and genius
it wasn’t so perverse after all!
Without doubt the highlight
of this three disc issue is the Brahms
(CD2 trs.10-13). Not only are the songs
better recorded than the other items,
but also Ferrier’s singing is of the
highest quality, dripping in feeling.
Some have suggested particular poignancy
in her rendering of ‘O death how bitter
art thou’ (CD2 tr.12). I suggest that
such comments are with the benefit of
that most accurate of vantage points,
hindsight. I focus on the rich resonances
of the voice in all these songs, its
even, pure projection (CD2 tr.10) and
the pure chest note at 2.00 in tr.11,
sung without any ‘plumminess’ in the
tone whatsoever. It is these vocal qualities,
allied to a keen intelligence and innate
musicality, that underpin the insights
in the delivery of these songs. ‘Flash’,
as Sargent was known, allows some stridency
from the orchestra in ‘Though I speak
with the tongues of men’ (tr.13) forcing
Ferrier to put pressure on her voice
thus taking away some of its ethereal
beauty.
Richard Caniell acknowledges
that some parts of the recitals from
Oslo and London, contained on CD3, have
previously been released and admits
(p.26) confusion as to whether Purcell’s
‘From Silent Shades’ was from the Oslo
or London event, whilst Derek Adlam
(p.10) attributes the Jensen aria (CD3
tr.9) to Oslo although the track listing
puts it as London. Whilst Ferrier introduces
the Jensen in English, and the announcer
concludes likewise, there is concluding
applause, as with the other Oslo items,
and which is absent from the London.
No matter; Ferrier’s singing of the
Wolf (CD3 trs.4-7) will please all her
admirers and those who appreciate quality
lieder singing. There is a little surface
noise to be heard, but the recording
is of good overall standard and catches
the voice and accompanying piano well.
The warm audience applause is in no
way intrusive. As to the London recital
one can only admire the range, diction
and expression that the singer brings
to the demands of the Purcell (tr.10)
although there is some distortion at
times as well as tape hiss. However,
these do not disturb the ‘sotto voce’
notes of Stanford’s ‘A soft day’ (CD3
tr.12). Yes, some of these items by
‘lesser’ English composers are musically
trite but they provide a feast of delight
for lovers of Ferrier’s art. She treats
these songs to the full range of her
artistry and vocal skills, for which,
fifty years after her premature death,
we can be forever grateful as we wallow
in gratitude and enjoyment.
If not a perfect selection
as a tribute to Ferrier’s memory, there
is much to enjoy for lovers of her singing.
Commended.
Robert J. Farr
see also review
by Robert Hugill
GUILD GHCD 2260-62 [3CDs: 74.47+65.10+60.23]