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CD: CD Baby

Twisted Folk
Scarborough Fair (arr. Evan Antonellis) [3:50]
My Bonny, Bonny Boy (arr. Evan Antonellis) [3:00]
Molly Bann (arr. Reiko Füting[1:46]
Cold Blows the Wind (arr. Reiko Füting[3:13]
I Wonder As I Wander (arr. Reiko Füting) [2:26]
Lay Me Low (arr. Nils Vigeland) [1:53]
Precept and Line (arr. Nils Vigeland) [2:12]
Love And Blessing (arr. Nils Vigeland) [2:35]
At the River (arr. Aaron Copland) [3:06]
Simple Gifts (arr. Aaron Copland) [1:26]
Long Time Ago (arr. Aaron Copland) [3:05]
The Foggy Dew (arr. Vincent Raikhel) [2:28]
Boulavogue (arr. Vincent Raikhel) [3:51]
Kerry Dance (arr. Matthew Hough) [1:41]
In the Bright Mohawk Valley (arr. Matthew Hough) [2:40]
Tis the Last Rose of Summer (arr. Christopher Cerrone) [1:43]
Drink To Me Only With Thine Eyes (arr. Christopher Cerrone ) [2:03]
Shenandoah (arr. Reiko Füting) [2:48]
Danny Boy (arr. Reiko Füting) [3:19]
How Can I Keep From Singing (arr. Reiko Füting) [3:04]
Rachel Payne (soprano)
Reiko Füting (piano)
No recording details
Private CD [52:21]

Experience Classicsonline

This is an enjoyable disc, one that taps into well-known folksongs via the compositional mediations of graduates and professors of Manhattan School of Music, and of Aaron Copland, three of whose settings are performed.
Rachel Payne is the soprano and her colleague Reiko Füting, not only pianist but the arranger of six settings. The tone, as it were, is set by the mellifluous and gentle setting of Scarborough Fair but the same arranger, Evan Antonellis, ensures contrast in his two settings by writing an energetic surging piano accompaniment for My Bonny, Bonny Boy that adeptly recedes into limpidity. Füting has taken Berio’s folksongs as his own model and there’s a terse piano commentary in Molly Bann and an appropriately spare I Wonder As I Wander.
The Nils Vigeland settings are of the Shaker songs; Lay Me Low pushes the voice quite high, Precept and Line is a busy setting for solo piano, and Love And Blessing is quite punchy. Of the Copland settings Long Time Ago is rather beautifully done; the other two famous settings are pliantly realised. The Foggy Dew is (arr. Vincent Raikhel and he allows harp-like sonorities via using the piano’s strings. The percussive interjections are strong, even militaristic here in places, whilst the voice goes serenely on. Boulavogue is accompanied by more ‘pots and pans’ percussion, rather less successfully, unfortunately. Tis the Last Rose of Summer, (arr. Christopher Cerrone, has some Ivesian undercurrents one feels, and the same arranger’s Drink To Me Only With Thine Eyes is attractively portrayed.
The arrangers here pursue in general an Ives to Copland to Berio approach. Those who allow percussive colour generally do so with tact and discrimination though sometimes things run away with themselves; the dichotomy between the canonic nature of these folksongs and the means available subtly to subvert or inter-textualise them can be hard to resist. Payne and Füting are fine ambassadors for this ‘new’ music and have clearly established a first class ensemble; fortunately they’ve been well recorded into the bargain.
Jonathan Woolf  







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