Search MusicWeb Here Custom Search     International mailing Up to 40% off

Searching Musicweb Monthly index Recordings of the Year Label index Masterwork index Series index Search engines Review Archive Classical Downloads Jazz Concerts Nostalgia Books Film music Resources Composer pages National discographies Online books Piano Trio Survey Gerard Hoffnung Arthur Butterworth's columns Philip Scowcroft's British light music collection Interviews Programme notes Other material Articles Seen & Heard Jazz reviews Message Board Announcements About Musicweb About Musicweb Contact Musicweb Contributors What they say about us Visitor stats Site Map

Founder: Len Mullenger

Buy through MusicWeb for £6.99 postage paid World-wide. Immediate delivery You may prefer to pay by Sterling cheque to avoid PayPal. Contactfor details Purchase button

Thomas LINLEY, The Younger (1756-1778) A lyric ode on the Fairies, Aerial Beings and Witches of Shakespeare ‘The Shakespeare Ode’ (1776): (Overture: Andante — Allegro [5:58]; Minuetto [1:55|; PART I: O guardian of that sacred land [4:27]; Tis thine alone [1:00]; Come then, O Fancy, bend thy bow [2:24]; At Shakespeare's happy birth [1:20]; And now is come the fated hour [1:59]; Be Shakespeare born! [2:13]; So spake the god [0:26]; There in old Arden's inmost shade [3:09]; And as before his purged eyes [0:24]; Thy hand his youthful footsteps led [3:50]; Some drive the clam'rous owl away [1:59]; Some drive the clam'rous owl away [2:48]; PART 2: But oh! what sudden gloom [1:42]; By the pale light of yon blue fire [0:37]; See, through the glimmering darkness [0:18]; What howling whirlwinds rend the sky! [1:48]; For whom, at yonder livid flame [1:13]; Whither ye beldames do ye roam? [4:03]; The tempests cease [3:14]; No more the elves, with printless pace [0:30]; Ariel, who sees thee now? [3:59]; No more shalt thou upon the sharp north run [0:24]; For who can wield like Shakespeare's skilful hand? [4:52]; Yet, Fancy, once again on Britain smile [3:20] Julia Gooding and Lorna Anderson (sopranos); Richard Wistreich (bass); The Parley of Instruments Baroque Orchestra and Choir/Peter Holman; Paul Nicholson rec. 25-27 March 1992, St Paul’s Church, New Southgate, London. DDD Originally issued on Hyperion CDA66613 HYPERION HELIOS CDH55253 [60:03]

In his review of the original release of this recording in 1993, Stanley Sadie commented in the Gramophone that this is "Very enjoyable, unpretentious music: a disc well worth trying." This quotation from his review is on the back cover of this re-issued CD. The disc went on to win the Gramophone Editor’s Choice. Sadie’s review, however, was otherwise somewhat condescending and he commented that "this is minor music of the age of Haydn and Mozart, decidedly conservative and (let us admit) provincial in idiom; and, of course, it hardly begins to rise to the scale of its subject — how indeed could it?" Damning with faint praise? As Grove informs us, Linley "was one of the most precocious composers and performers that have been known in England. He gave evidence of exceptional musical ability at a very early age and was soon studying music with his father. He played a concerto at a concert in Bristol on 29 July 1763, when aged just 7". Born in the same year as Mozart, the Ode was written in 1776 when he was only 20 and shows a remarkable technical and compositional assurance reflecting a transition in style from Purcell via Handel and Boyce through to Arne. With great misfortune for English music he died the following year in a boating accident at Grimsthorpe Castle in Lincolnshire – "one of the greatest losses that English music has suffered" (Grove). The 1824 edition of A Dictionary of Musicians, writing about this very ode, went so far as to state "Neither Purcell nor Mozart ever gave stronger proof of original genius than could be traced in this charming ode". This "Shakespeare Ode" contains exquisite and tuneful music, always fresh and original, which, as the Dictionary of Musicians pointed out "keeps the attention alive from the first bar of the overture to the close of the ode". Listen, for instance to the solo soprano aria "Come, then O fancy" or the duet for two sopranos "For who can wield like Shakespeare’s skillful hand". The choruses "O guardian of that sacred land" and "Yet fancy once again" have an assurance and grandeur which belies the age of the composer. Yes, they do have definite echoes of Purcell and Handel, but are in no way derivative; Linley, alas, did not live long enough to develop a completely individual style. The performance is exemplary and it is wonderful to have the re-issue at mid-price. A masterful composition brought to life in a masterful performance! So, I would agree with the view that this is very enjoyable music but not that it is any way minor or unpretentious. Mozart may have been right when he told Michael Kelly in 1784, six years after Linley’s death, that Linley was …. "a true genius and had he lived he would have been one of the greatest ornaments of the musical world". Highly recommended! Em Marshall   Advertising on Musicweb Donate and keep us afloat   New Releases Nimbus Podcast Obtain 10% discount Special offer 50% off Musicweb sells the following labels Acte Préalable (THE Polish label) Altus 10% off Atoll 10% off CRD 10% off Hallé 10% off Lyrita 10% off Nimbus 10% off Nimbus Alliance Prima voce 10% off Red Priest 10% off Retrospective 10% off Saydisc 10% off Sterling 10% off Follow us on Twitter Subscribe to our free weekly review listing sample Sample: See what you will get Editorial Board MusicWeb International Founding Editor    Rob Barnett Senior Editor John Quinn Seen & Heard Editor Emeritus    Bill Kenny Editor in Chief    Vacant MusicWeb Webmaster    David Barker MusicWeb Founder    Len Mullenger

Return to Index

Reviews from previous months Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin Board Please paste in the first line of your comments the URL of the review to which you refer.