This
is a very interesting programme, varied and colourful, mixing
the known with the less well known. Until I played this disk
Alec Roth had only been a name to me. Now I have had the pleasure
of hearing his music. Roth’s settings are all of verse by
Vikram Seth, but as I do not know Seth’s verse I have no idea
if these poems are typical of his work. What I can tell you
is that they are very lyrical and welcome musical setting.
Roth has, very sensibly, set the words without embellishment,
allowing them to speak for themselves with the emotion heightened
by simple, but urgent, accompaniment. The third song of Romantic Residues – a cycle of nine songs
– for instance, starts with an harp
part of haiku-like sparseness which grows into a joyous dance
with the singer whistling – what a magnificent stroke this
is – then delicate recitative. Many composers have problems
setting contemporary verse but Roth isn’t worried by the task
he has set himself. Setting lines such as:
After
a long and wretched flight
That stretched from daylight into
night,
Where babies wept and tempers shattered
And the place lurched and whisky
splattered
Over my plastic food, I came
To claim my bags from Baggage Claim.
to
music of such passion, and humour in the final line, is the
hallmark of this work. The only recent song cycle I can think
of which is as lyrical and intense as this is Jonathan Dove’s
All You Who Sleep Tonight – which also draws on poems
from the same collection as this work. The cycle and single
song are real finds and they receive committed performances
– Romantic Residues was written for these performers
so there can be no doubt as to the advocacy of the performance.
The
four Britten folksong settings – two originally written with
harp accompaniment, the others arranged from piano accompaniment
– are well known and O Waly Waly works especially well
in this new guise.
Howard
Skempton sets three poems with utmost simplicity – simplicity
has always been an hallmark of Skempton’s style – and these
songs have a clarity and directness all too often missing
from contemporary works. The setting of Housman’s From
far, from eve and morning is treated without fuss or embellishment
and will come as a surprise, but a welcome one, to all who
know other settings of this poem. It is always a pleasure
to hear Howard Skempton’s music and these brief songs are
a fine example of his ever maturing style. The work was written
for the performers on this disk so here we have another creator
recording.
The
great American/ French harpist Carlos Salzedo made an fine
arrangement of Ravel’s Sonatine for piano for flute,
cello and harp – no easy task as the Sonatine is pure
piano music. Here his job was somewhat easier – arranging
Ravel’s Cinq mélodies populaires grècques for harp accompaniment.
These songs are much lighter with harp than with piano and
are most attractive. The Caplet sonnets, published
in the final year of his life, are as approachable as are
the Skempton songs, and as easy to assimilate. Two encores,
slight pieces, but enjoyable nonetheless, bring this most
enjoyable disk to a conclusion.
James
Gilchrist is a fine singer, with a clean, clear, what I would
call, English voice. His diction is excellent and he knows
how to interpret the words he is singing. His partner, Alison
Nicholls, is a fine artist and she brings much colour and
poetry to her playing. Jaime Martin’s brief contributions
are most welcome.
These
are fine performances and this disk is a must for all interested
in contemporary British song – the Roth and Skempton songs
should be in all collections – and contemporary singing, for
this is how it should be done. Full marks for an enterprising
collection. The notes, though not extensive are helpful and
the sound is outstanding.
Bob
Briggs
