Sappho, Shropshire and Super-Tramp – English Art Song

Price range: £12.49 through £22.49

Label:
Catalogue No: DDA 21230
EAN/UPC: 809730123023
Artists: , ,
Composers: , , , , , , , , , , ,
Release Date: January 2018
Genres:
Periods: ,
Discs: 2
Total Playing Time: 156:43 (77:36 / 79:07)

The title ‘Sappho, Shropshire and Super-Tramp’ reflects three major threads (though not all) in this exceptional album of new English art-song made with the English Poetry and Song Society.

Shropshire is represented by several settings from Housman’s ‘A Shropshire Lad’ which has been among the most popular sets of poems for composers since its publication in 1896. From the ancient world, Sappho’s writings were set by Ivor Gurney, recently discovered, edited and published by Richard Carder.

Super-Tramp is the exceptional hobo-turned-gentleman poet W.H. Davies.

Altogether 12 composers and 52 songs, some in cycles and some stand-alone items, make this a feast of new and fascinating work for the song lover. Performed by top soloists Sarah Leonard and Johnny Herford, accompanied by Nigel Foster, who has been described as ‘today’s Gerald Moore’.

Track Listing

    Ivor Gurney (1890-1937): Seven Sappho Songs
  1. 1. Soft was the wind (1:48)
  2. 2. I shall ever be maiden (2:15)
  3. 3. The Apple Orchard (0:55)
  4. 4. Hesperus (2;15)
  5. 5. Love shakes my soul (2:18)
  6. 6. The Quiet Mist (2;18)
  7. 7. Lonely Night (2:09)
  8. William Carnell (b.1938): A Country Lover
  9. 1. O see how thick the goldcup flowers (3:27)
  10. 2. If truth in hearts (2:37)
  11. 3. Bredon Hill (3:36)
  12. 4. Along the field (2:45)
  13. 5. White in the moon the long road lies (2:26)
  14. 6. There pass the careless people (3:51)
  15. Michael Watts (b. 1937): Gypsy Girl
  16. 1. Green eyes (3:12)
  17. 2. Silver sighs (1:59)
  18. 3. I would rather die (1:20)
  19. 4. Remember my eyes (1:57)
  20. 5. If a cold wind comes (2:43)
  21. 6. If you're the light (3:29)
  22. 7. When it's snowing in the serranas (5:27)
  23. Dennis Wickens (b. 1926): This Life
  24. 1. A Greeting (1:59)
  25. 2. The Example (1:56)
  26. 3. The Rain (2:51)
  27. 4. Leisure (2:08)
  28. 5. In the Country (5:09)
  29. 6. This Night (4:46)
  30. 7. The Lonely Dreamer (5;10)
  31. Simon Willink (1929-2015):
  32. Sea and Sky (4:13)
  33. David Crocker (b. 1943):
  34. A Great Time (1:59)
  35. My Whole World (1:46)
  36. Sulyen Caradon (b. 1942):
  37. Silver (2:32)
  38. Brian Daubney (b. 1929):
  39. Bredon Hill (3:56)
  40. Boot and Saddle (1:34)
  41. Because I could not stop for death (2:35)
  42. The Dream-City (4:32)
  43. Waiting Both (2:08)
  44. Graham Garton (b. 1929):
  45. Leisure (5:05)
  46. The Eagle (2:32)
  47. The Song of the Secret (2:45)
  48. The Shade-Catchers (1:23)
  49. Frank Harvey (b. 1939):
  50. Dawn (3:58)
  51. The Convergence of the Twain (4:43)
  52. I so liked spring (1:10)
  53. Remember (5:02)
  54. Robert Hugill (b. 1955):
  55. Voyages III (4:24)
  56. Gitanjali XIII (3:48)
  57. Gitanjali II (4:06)
  58. The Pillar (3:01)
  59. Janet Oates (b. 1970):
  60. Bee: Dance (3:53)
  61. Money (2:13)
  62. The King of China's Daughter (3:18)
  63. The Cupboard (2:18)

Reviews

The Gurnal

A handsomely designed production, well laid out, with composer biographies and all texts given in full – Richard Carder’s initiative has yielded a tangible benefit for those drawn to English art-song… drawing attention to a range of repertoire from a period that is only just making its way into public awareness. It is even in that respect a valuable service. The whole cycle benefits from the appearance of Johnny Herford, a baritone of attractive timbre and excellent, pure enunciation, who engaging personality – like Sarah Leonard’s – enhances many of the settings on the disc.

” —Roderick Dunnett
Fanfare

The songs on this twofer reflect the epitome of the perfect English pastoral mode of expression. Our guides are two fabulous singers. A simply lovely collection.

” —Colin Clarke
British Music Society

[A] generous 2CD collection. The songs are well crafted and… they are pleasant to listen to.

” —Wendy Hiscocks
Fanfare

A splendid compilation on two very generously filled discs, complete with printed texts in the well-written and informative booklet that comes with them. In fact this is an extraordinarily varied and intelligently chosen program featuring a wide range of musical styles. Everything is written very well for the voice, and each song is an apt setting of its chosen poem. This is a set I shall return to often. It is recommended enthusiastically.

” —Henry Fogel
American Record Guide

The singing and accompaniment are top-notch. These performers obviously under¬stand the important role of the poetry in Art Song, so their accounts of these 52 songs display emotional depth and literary understanding. Listeners are sure to find others of interest—there is something for everyone here. Notes on the society, composers, performers, and texts. A lovely production.

” —Robert Delcamp
MusicWeb International

An interesting and enterprising set, celebrating English Art Songs by less well-known composers. The booklet is very detailed, containing information about the Society, together with biographies and full song texts.

” —Jim Westhead
The Chronicle

One of the charms of the CD is the intellectual curiosity it creates, not only in the music but in the subjects it tackles… it sparkles in its own intellectual way. Leonard and Herford are excellent.

” —Jeremy Condliffe
New Classics

The title of this exciting new album, ‘Sappho, Shropshire and Super-Tramp’, reflects three major threads of new English art-song. Spread over two discs, these 52 songs, some in cycles and some stand-alone items, make this a feast of new and fascinating work for the song lover.

” —John Pitt
MusicWeb International

A potpourri of fascinating music. Both Sarah Leonard and Johnny Herford bring considerable skill, magic and understanding to this music. The piano part is well-executed by Nigel Foster. This is an excellent exploration of (mainly) contemporary English art-song, and goes a long way to prove that the genre is alive and well in the early 21st century.

” —John France