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Ian Bostridge, Antonio Pappano - Shakespeare Songs (2016)

Posted By: Designol

Date: 22 May 2024 17:23:11

Grammy® Award winners Ian Bostridge and Sir Antonio Pappano have been working together on the stage and in the recording studio for over 20 years. Together they have produced award-winning recordings and played sold out concert halls all over the world to huge critical acclaim. Now they embark on a project marking the 400th anniversary of the death of William Shakespeare with a new album out in September. Shakespeare Songs celebrates the four centuries of music and performance that his plays and sonnets have inspired.

Shakespeare’s peerless feeling for the music of the English language has inspired countless composers, from those who set the Bard’s verse during his lifetime to musicians as diverse as Britten, Finzi, Korngold and Stravinsky. Ian Bostridge and Sir Antonio Pappano, together with four outstanding chamber musicians, delve into the rich Shakespeare legacy for this brand new recording, marking the playwright’s quarter-centenary with a delectable programme of works written for Jacobean productions, Restoration revivals and the modern concert hall. As guests Ian has invited his friends the lutenist Elizabeth Kenny, and for Stravinsky’s Three Songs flautist Adam Walker, violist Lawrence Power and clarinetist Michael Collins.

Nearly 20 years after Ian Bostridge made his recording debut with a delicate, rhapsodic collection of English song (‘The English Songbook’ – EMI, A/99), the tenor comes full circle with a recording full of Finzi, Quilter, Gurney and Warlock. But, this time round, the pastoral rhapsody is tempered by the sharper edges of companion repertoire from Stravinsky and Tippett – a deliciously eclectic and intelligent collection all bound together by the poetry of William Shakespeare.

As anniversary tributes go, this is a good one. With the help of lutenist Elizabeth Kenny and a starry roster of solo instrumentalists, Bostridge roams not only over four centuries of repertoire (from Byrd and Morley to Tippett) but also right across the music map, exploring responses to Shakespeare by Haydn, Schubert, Korngold, Poulenc and Stravinsky as well as home-grown composers. Inevitably certain texts recur, and the comparisons are fascinating. Take Poulenc’s languorous setting of ‘Fancie’, for example, juxtaposed neatly here with the fretful urgency of Britten’s. We hear ‘Come away, Death’ move from Finzi’s heavy, inevitable tread through Quilter’s more expansive response to the heady, intoxicating lullaby that is Korngold’s treatment.

In the interest of a well-rounded collection, Bostridge shamelessly raids the repertoire of other voice parts. Written for mezzo, Stravinsky’s Three Songs from William Shakespeare come up edgier and more androgynous here in a high voice, an effect that works beautifully for the outer songs, ‘Musick to heare’ and ‘Spring’, but less so for ‘Full fadom five’, where deeper shades and greater weight are needed at the bottom of the range. Even more contentiously, Bostridge also lays claim to Finzi’s great baritone cycle Let us garlands bring. The brooding ‘Come away, Death’ gains an eerie quality in Bostridge’s interpretation and his upper register also lends an uncanny colour to the close of ‘Fear no more’. This is less a replacement for baritone recordings than a curious and fascinating supplement to them.

Bostridge’s sensitivity to text and ability to spin a line right through even the densest of consonant clusters makes for a compelling collection that is strongest in contemporary repertoire, where Pappano’s piano is more capable of matching his expressive extremes than Kenny’s gentle lute.

Review by Alexandra Coghlan, Gramophone

From the cover of this release, you might think that you're getting a release similar to many others involving songs setting texts by Shakespeare, and indeed you are in part. There's a star tenor, Ian Bostridge, and an accompanist who's also a moderate draw, Antonio Pappano, turning in his baton temporarily for a stint at the keyboard. There are familiar settings by English composers of the 20th century, including Gerald Finzi and Roger Quilter, and one of these, Finzi's gorgeous Let Us Garlands Bring, should be sampled: you may find that it alone is worth the price of admission. Yet actually the album is something different from what it appears, and Bostridge, sounding clear and light in the higher ranges as ever, deserves credit for stretching the concept. First of all, Pappano is not the only accompanist, although you'd never know this from the graphics. On songs by Thomas Morley and other Renaissance composers (there's an odd texted version of a set of keyboard variations by Byrd, possibly one of the first classical compositions based on an Irish air), Bostridge is joined by the fine lutenist Elizabeth Kenny. These songs are common enough, but they aren't always programmed with the likes of Finzi, and the combination emphasizes the influence of the madrigal tradition, Renaissance and beyond, on 20th century song composers. Then, in the last half of the program, Bostridge takes an even more independent step, diverging into non-English repertory. The Three Songs from William Shakespeare of Stravinsky, written in 1953, have been largely ignored in recent years, perhaps because they are transitional works that seem uncomfortable in either the neoclassical or the serialist spheres, with tentative experiments in the latter. But for the Stravinsky lover, this will recommend them, and the songs have an attractive simplicity that fits in well with the rest of the program. There are compact songs by Michael Tippett and a great pair of settings of the same text by Poulenc and Britten that neatly encapsulate the styles of the two. The real find is three of the Four Shakespeare Songs, Op. 31, written in the late 1930s by Erich Korngold just after he fled fascist Austria for the U.S. These are equally influenced by Korngold's basic late Romantic style, his new interest in the Hollywood film music that was paying his bills, and his idealized image of Merrie Olde England, and they're delightful. The whole thing adds up to a fair survey of how the songs in Shakespeare's plays have been heard by composers down through the centuries, and it's well above par for the course.

Review by James Manheim, Allmusic.com

Ian Bostridge at Allmusic
Ian Bostridge at Wiki

Antonio Pappano at Allmusic
Antonio Pappano at Wiki

Ian Bostridge (tenor)
Sir Antonio Pappano (piano, tr. 1-5, 12-25)
Elizabeth Kenny (lute, 6-11)
Michael Collins (clarinet, 26-28)
Lawrence Power (viola, 26-28)
Adam Walker (flute, 26-28)

rec. 7-11 February 2016, St Jude-on-the-Hill, London

Tracklist:

Gerald Finzi
Let Us Garlands Bring, Op.18
01. I. Come away, Come away, death (3:39)
02. II. Who is Silvia? (1:27)
03. III. Fear no more the heat o’ the sun (5:34)
04. IV. O mistress mine (1:53)
05. V. It was a lover and his lass (2:38)

William Byrd
06. Caleno Custure Me (3:20)

Thomas Morley
07. It was a lover and his lass (3:27)

John Wilson
08. Take, o take those lips away (2:12)

Thomas Morley
09. O mistress mine (1:11)

Robert Johnson
10. Where the bee sucks (1:12)
11. Full fathom five (3:26)

Franz Schubert
12. An Silvia, D891 (2:35)

Joseph Haydn
13. She never told her love, Hob.XXVIa:34 (3:42)

Roger Quilter
14. Three Shakespeare Songs, Op.6 - I. Come away, death (2:51)

Ivor Gurney
15. Under the Greenwood Tree (1:35)

Peter Warlock
16. Pretty Ring Time (1:17)
17. Sweet and Twenty (1:21)

Erich Wolfgang Korngold
Four Shakespeare Songs, Op.31
18. I. Desdemona's Song (3:08)
Songs of the Clown, Op.29
19. I. Come away, death (2:25)
20. II. Adieu, good man devil (0:45)

Francis Poulenc
21. Poulenc: Fancie (1:27)

Benjamin Britten
22. Britten: Fancie (0:58)

Michel Tippett
Songs for Ariel
23. I. Come unto these yellow sands (1:54)
24. II. Full fathom five (2:06)
25. III. Where the bee sucks (1:04)

Igor Stravinsky
Three Songs from William Shakespeare
26. I. Musick to hear (2:52)
27. II. Full fadom five (2:04)
28. III. Spring (When daisies pied) (2:20)

Anonymous:
29. When that I was but a little tiny boy (2:30)

EAC log

Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 26. January 2017, 23:29

Ian Bostridge, Antonio Pappano / Shakespeare Songs

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TOC of the extracted CD

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Range status and errors

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Extraction speed 5.0 X
Range quality 99.9 %
Test CRC 841089D7
Copy CRC 841089D7
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End of status report

==== Log checksum 4ED0656BFAE996F574B8C5852E27B5EEB3EE5D0BBDBC95CB7323676707186BAA ====

DR log

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-10-15 21:41:57

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ian Bostridge, Adam Walker, Michael Collins, Lawrence Power / Shakespeare Songs
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR16 -6.42 dB -27.68 dB 2:52 26-Stravinsky: Three Songs from William Shakespeare - I. Musick to hear
DR14 -7.14 dB -27.27 dB 2:04 27-Stravinsky: Three Songs from William Shakespeare - II. Full fadom five
DR16 -4.23 dB -24.65 dB 2:20 28-Stravinsky: Three Songs from William Shakespeare - III. Spring (When daisies pied)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 3
Official DR value: DR15

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 438 kbps
Codec: FLAC
================================================================================

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ian Bostridge, Antonio Pappano / Shakespeare Songs
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR15 -3.46 dB -24.86 dB 3:39 01-Finzi: Let Us Garlands Bring, Op.18 - I. Come away, Come away, death
DR13 -0.40 dB -19.58 dB 1:27 02-Finzi: Let Us Garlands Bring, Op.18 - II. Who is Silvia?
DR14 -1.53 dB -23.68 dB 5:34 03-Finzi: Let Us Garlands Bring, Op.18 - III. Fear no more the heat o’ the sun
DR16 -1.10 dB -22.38 dB 1:53 04-Finzi: Let Us Garlands Bring, Op.18 - IV. O mistress mine
DR13 -0.75 dB -19.31 dB 2:38 05-Finzi: Let Us Garlands Bring, Op.18 - V. It was a lover and his lass
DR14 -3.43 dB -22.12 dB 2:35 12-Schubert: An Silvia, D891
DR15 -5.28 dB -27.98 dB 3:42 13-Haydn: She never told her love, Hob.XXVIa:34
DR12 -2.55 dB -21.14 dB 2:51 14-Quilter: Three Shakespeare Songs, Op.6 - I. Come away, death
DR14 -2.93 dB -22.15 dB 1:35 15-Gurney: Under the Greenwood Tree
DR14 -3.45 dB -21.80 dB 1:17 16-Warlock: Pretty Ring Time
DR14 -3.35 dB -22.15 dB 1:21 17-Warlock: Sweet and Twenty
DR15 -6.76 dB -27.93 dB 3:08 18-Korngold: Four Shakespeare Songs, Op.31 - I. Desdemona's Song
DR14 -2.57 dB -26.83 dB 2:25 19-Korngold: Songs of the Clown, Op.29 - I. Come away, death
DR14 -0.49 dB -17.88 dB 0:45 20-Korngold: Songs of the Clown, Op.29 - II. Adieu, good man devil
DR14 -3.06 dB -24.22 dB 1:27 21-Poulenc: Fancie
DR13 -0.62 dB -19.43 dB 0:58 22-Britten: Fancie
DR16 -1.25 dB -23.54 dB 1:54 23-Tippett: Songs for Ariel - I. Come unto these yellow sands
DR13 -15.12 dB -32.69 dB 2:06 24-Tippett: Songs for Ariel - II. Full fathom five
DR13 -6.28 dB -23.79 dB 1:04 25-Tippett: Songs for Ariel - III. Where the bee sucks
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 19
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 438 kbps
Codec: FLAC
================================================================================

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ian Bostridge, Elizabeth Kenny / Shakespeare Songs (1-6)
Ian Bostridge / Shakespeare Songs (7)
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR16 -8.71 dB -31.73 dB 3:20 06-Byrd: Caleno Custure Me
DR15 -5.35 dB -24.58 dB 3:27 07-Morley: It was a lover and his lass
DR13 -4.36 dB -23.07 dB 2:12 08-Wilson: Take, o take those lips away
DR13 -8.04 dB -25.08 dB 1:11 09-Morley: O mistress mine
DR14 -9.07 dB -26.28 dB 1:12 10-Johnson: Where the bee sucks
DR14 -6.94 dB -29.56 dB 3:26 11-Johnson: Full fathom five
DR17 -4.55 dB -26.79 dB 2:30 29-Anonymous: When that I was but a little tiny boy
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 7
Official DR value: DR15

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 438 kbps
Codec: FLAC
================================================================================

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