This is, apparently,
the third disc from the Hannover Harmonists,
I have not come across the others. They
are however ‘By the Way’ (1992) and
‘Strefzug’ (1998). I’m afraid that we
are supplied with no further details
but the group does have a web site.
They are, I suppose,
the German equivalent of the ‘King’s
Singers’ or the ‘Scholars’ and consist
of six voices, two counter-tenors, two
tenors, a baritone and a bass. With
this CD they even sing the kind of light-hearted
part-songs which the King’s Singers
made something of their own.
Germany does not have
the same kind of choral/cathedral/college
tradition as in England. These men have
emerged according to the booklet notes
(which take the form of an interview
with the choir members) from "the
renowned Hanover Boy’s Choir in which
they had performed for twenty years.
On leaving they formed this present
group in 1988 and have worked together
on a deliberately wide repertoire for
almost fifteen years and have made a
name for itself, not only nationally
but internationally". This CD is
there special present to us.
It seems odd that they
should choose English folk song as the
subject of this amazingly short CD.
They have, in many ways modelled themselves
on English singers and they not only
tackle the music with affection but
also dust down various pieces which
are little known. The interview tells
us that "Many British folk and
traditional songs have a typical melancholic
sound without imparting the feeling
of sorrow and sadness" and that
is what particularly appeals to the
group.
Some are actually arranged
for S.A.T.B so that the counter-tenors
have to disappear into the ozone layer
in some places as for example in John
Rutter’s ‘Swingle-Singers’ inspired
‘It was a lover and his lass’. There
are two Victorian part-songs (a pity
that there aren’t more) of which the
one by Leslie to words by Herrick is
simple and quite delightful. The ‘Waters
of Elle’ reminds me again what a fine
composer Robert Lucas de Pearsall was.
Of course the problem
of pronunciation is bound to emerge
and cause a slight titter. ‘Loch Lomond’
makes no attempt, quite wisely, at a
Scots accent but some words come out
a little oddly. Nevertheless, and I
speak as a singer, if English singers
manage German text as well as the Hannover
Harmonists manage English then we are
doing well especially when things go
at some considerable speed as in the
frantic arrangement of ‘Dashing away
with the Smoothing Iron’.
As for the arrangements
themselves, several work beautifully
and retain the character of the original.
Examples can be found in Peter Knight’s
ideal reworking of the ‘Londonderry
Air’ and in the fun and frolics of ‘Migildi
Magildi’ captured by singers and arranger,
a one-time King’s singer himself, Grayston
Ives. I find the Rutter arrangements
far too sweet and cloying, and I was
glad when his name no longer featured
under the titles in the booklet.
I have to add a sour
note however that surely this music
needs more passion and dynamic contrast.
All the indications are that the singers
have spent hours considering pronunciation
and tuning, speed, articulation, ensemble
and timbre. However they have not discovered
the real earthy nature of English folk
music which quite a number of these
arrangements retain as for example in
‘The British Grenadiers’ and ‘The Girl
I left behind’.
It’s particularly good
to know who the publishers are for each
arrangement the information being given
on the back of the booklet. I wish that
more companies would do this. It’s also
interesting that the final item, Keith
Abbs’ delightful arrangement of an ‘Irish
Lullaby’, is published by King’s Singers
Music Ltd.
All texts are given
in English and not translated whereas
the interview is translated into German
and French which is somewhat inconsistent
or do our European colleagues not need
translations?
Gary Higginson
Hannover Harmonists 
