Hyperion Records

Moore, Thomas (1779-1852)  

Thomas Moore

born: 28 May 1779
died: 26 February 1852
country: Ireland

Thomas Moore (1779-1852) was the son of an Irish grocer. He was a published poet by his teens. After training as a lawyer at Trinity College, Dublin, he came to London and made the acquaintance of Byron and other important literary figures. In 1803 he went to Bermuda in an Admiralty post but soon returned via Canada, taking an interest in that country’s folk traditions on the way. His talents as a sweet-voiced singer and accomplished musician enabled him to provide words suited to Irish tunes, mainly from the eighteenth century. Many of these originally had humorous texts, but Moore furnished them with lyrics of deeper significance. These Irish Melodies, issued in instalments between 1801 and 1834, were published by William Power (who had noted the success of George Thomson’s folksong project with Burns, among others) and eventually earned the poet a good deal of money. As something of a multi-national sequel, six instalments of National Melodies were issued by the same publisher between 1818 and 1828, which included the two Venetian poems set in Myrten. For his Lallah Rookh of 1817 he obtained the unheard-of advance of £3000 as well as much public approbation (even though Lady Holland said to the author ‘Mr. Moore, I have not read your Larry O’Rourke; I don’t like Irish stories’). One of this sequence of orient-inspired tales was used by Schumann as the basis of his large choral work, Das Paradies und die Peri, in 1843. As a result of a financial scandal Moore temporarily fled England and lived abroad between 1818 and 1822. He was left as the custodian of Byron’s Memoirs but, together with the publisher John Murray, he burnt these in the interest of protecting Byron’s posthumous reputation. As if to compensate for this tragedy in the history of English literature, in 1830 he brought out his own life of his great friend and contemporary. He had started as a radical and a popular hero of Irish nationalists (whose cause was given a more sympathetic ear in London society as a result of the popularity of the Irish Melodies) but he died in Wiltshire, on a government pension – something of an establishment figure, and the English establishment at that.

Apart from Schumann’s debt to Moore, the names of Weber, Mendelssohn, Jensen, Cornelius and Hindemith may be added to a list of composers charmed by his verse. Slightly less expected is the influence of Moore’s poems on French composers such as Berlioz and Duparc. (Berlioz’s interest in Irish culture had been awoken and inflamed by his passion for the Irish actress, Harriet Smithson.) Such was the success of Berlioz’s setting of Moore’s Irish Melodies (where the piano was given a new and important role that exceeded anything known in the archaic form of the romance) that people spoke of Berlioz’s mélodies as representing a new and special form. It is thus indirectly thanks to Moore that the correct French word for the genre of piano-accompanied art song is not ‘chanson’ (a common error of English-speaking writers who, in using this word, mistakenly refer to lighter song or cabaret), but mélodie.

from notes by Graham Johnson

Albums
'Moore: Thomas Moore's Irish Melodies' (CDA66774)
Moore: Thomas Moore's Irish Melodies
MP3 £6.00FLAC £6.00ALAC £6.00Buy by post £13.99 (ARCHIVE SERVICE) CDA66774  Archive Service   Download currently discounted
'Brahms & Schumann: Voices of the Night' (CDA66053)
Brahms & Schumann: Voices of the Night
'Britten: Complete Folk Song Arrangements' (CDA66941/2)
Britten: Complete Folk Song Arrangements
'Cornelius: The Three Kings & other choral works' (CDA67206)
Cornelius: The Three Kings & other choral works
'Duparc: Songs' (CDA66323)
Duparc: Songs
'Echoes of Nightingales' (CDA67813)
Echoes of Nightingales
MP3 £4.00FLAC £4.00ALAC £4.00Buy by post £10.50 CDA67813  Download currently discounted
'Ives: Romanzo di Central Park & other songs' (CDA67644)
Ives: Romanzo di Central Park & other songs
'Mendelssohn: Songs and Duets, Vol. 1' (CDA66906)
Mendelssohn: Songs and Duets, Vol. 1
'Schumann & Brahms: Voices of the Night' (CDA66053)
Schumann & Brahms: Voices of the Night
'Schumann: The Complete Songs' (CDS44441/50)
Schumann: The Complete Songs
MP3 £35.00FLAC £35.00ALAC £35.00Buy by post £38.50 CDS44441/50  10CDs Boxed set (at a special price)  
'Schumann: The Complete Songs, Vol. 7 – Dorothea Röschmann & Ian Bostridge' (CDJ33107)
Schumann: The Complete Songs, Vol. 7 – Dorothea Röschmann & Ian Bostridge
'Songs my father taught me' (CDA67290)
Songs my father taught me
'Souvenirs de Venise' (CDH55217)
Souvenirs de Venise
MP3 £4.99FLAC £4.99ALAC £4.99Buy by post £5.50 CDH55217  Helios (Hyperion's budget label)  
'Sure on this shining night' (CDA66920)
Sure on this shining night
MP3 £3.50FLAC £3.50ALAC £3.50Buy by post £10.50 CDA66920  Download currently discounted
'The last rose of summer' (CDH55210)
The last rose of summer
MP3 £4.99FLAC £4.99ALAC £4.99Buy by post £5.50 CDH55210  Helios (Hyperion's budget label)  
'The Sea' (CDA66165)
The Sea
Complete works available for download
ANONYMOUS - TRADITIONAL
At the mid hour of night Regina Nathan (soprano), Malcolm Martineau (piano)
At the mid hour of night Invocation, Timothy Roberts (conductor)
Avenging and bright Invocation, Timothy Roberts (conductor)
Avenging and bright Regina Nathan (soprano), Malcolm Martineau (piano)
Believe me if all those endearing young charms Ann Murray (mezzo-soprano), Graham Johnson (piano)
Come o'er the sea Invocation, Timothy Roberts (conductor)
Come, rest in this bosom Invocation, Timothy Roberts (conductor)
Dear harp of my country 'The Farewell to My Harp' Invocation, Timothy Roberts (conductor)
Dear harp of my country! Regina Nathan (soprano), Malcolm Martineau (piano)
Erin! the smile and the tear in thine eyes Invocation, Timothy Roberts (conductor)
Fill the bumper fair! Invocation, Timothy Roberts (conductor)
Fly not yet Invocation, Timothy Roberts (conductor)
How dear to me the hour Invocation, Timothy Roberts (conductor)
How sweet the answer Ann Murray (mezzo-soprano), Graham Johnson (piano)
How sweet the answer Regina Nathan (soprano), Malcolm Martineau (piano)
How sweet the answer Echo makes Invocation, Timothy Roberts (conductor)
O the sight entrancing Ann Murray (mezzo-soprano), Graham Johnson (piano)
O the sight entrancing Regina Nathan (soprano), Malcolm Martineau (piano)
Oft in the stilly night Ann Murray (mezzo-soprano), Graham Johnson (piano)
Oft in the stilly night Regina Nathan (soprano), Malcolm Martineau (piano)
Rich and rare Regina Nathan (soprano), Malcolm Martineau (piano)
Rich and rare were the gems she wore Invocation, Timothy Roberts (conductor)
Sail on, sail on Sarah Walker (mezzo-soprano), Roger Vignoles (piano)
Sail on, sail on Regina Nathan (soprano), Malcolm Martineau (piano)
She is far from the land Invocation, Timothy Roberts (conductor)
Silent, oh Moyle! be the roar of thy water 'The Song of Fiionnulala' Invocation, Timothy Roberts (conductor)
The harp that once, thro' Tara's halls Invocation, Timothy Roberts (conductor)
The last rose of summer Ann Murray (mezzo-soprano), Graham Johnson (piano)
The last rose of summer Ann Murray (mezzo-soprano), Graham Johnson (piano)
The last rose of summer Regina Nathan (soprano), Malcolm Martineau (piano)
The meeting of the waters Ann Murray (mezzo-soprano), Graham Johnson (piano)
The minstrel boy Regina Nathan (soprano), Malcolm Martineau (piano)
The Minstrel-Boy Invocation, Timothy Roberts (conductor)
The valley lay smiling before me 'The Song of O'Ruark, Prince of Breffni' Invocation, Timothy Roberts (conductor)
'Tis believed that this harp 'The Origin of the Harp' Invocation, Timothy Roberts (conductor)
'Tis the last rose of summer Invocation, Timothy Roberts (conductor)
What the bee is to the floweret Invocation, Timothy Roberts (conductor)
HENRI DUPARC  (1848-1933)
Élégie Sarah Walker (mezzo-soprano), Roger Vignoles (piano)
PAUL HINDEMITH  (1895-1963)
Echo Robert White (tenor), Samuel Sanders (piano)
CHARLES IVES  (1874-1954)
A Night Song Gerald Finley (baritone), Julius Drake (piano)
Those evening bells Gerald Finley (baritone), Julius Drake (piano)
ADOLF JENSEN  (1837-1879)
Leis' rudern hier, mein Gondolier, Op 50 No 4 Anthony Rolfe Johnson (tenor), Graham Johnson (piano)
Wenn durch die Piazzetta, Op 50 No 3 Anthony Rolfe Johnson (tenor), Graham Johnson (piano)
EDWARD FRANK LAMBERT  (1868-1925)
She is far from the land Sir Thomas Allen (baritone), Malcolm Martineau (piano)
FELIX MENDELSSOHN  (1809-1847)
Der Blumenkranz Nathan Berg (baritone), Eugene Asti (piano)
Alphabetical listing of all musical works
A Night Song (Ives)
An Celias Baum in stiller Nacht  First line to Der Blumenkranz (Mendelssohn)
At the mid hour of night (Anon/Britten)
At the mid hour of night (Anon/Stevenson)
Avenging and bright (Anon/Britten)
Avenging and bright (Anon/Stevenson)
Believe me if all those endearing young charms (Anon/Moore/Stevenson)
Come o'er the sea (Anon/Stevenson)
Come, rest in this bosom (Anon/Stevenson)
Dear harp of my country 'The Farewell to My Harp' (Anon/Stevenson)
Dear harp of my country! (Anon/Britten)
Der Blumenkranz (Mendelssohn)
Echo (Hindemith)
Élégie (Duparc)
Erin! the smile and the tear in thine eyes (Anon/Stevenson)
Fill the bumper fair! (Anon/Stevenson)
Fly not yet (Anon/Stevenson)
How dear to me the hour (Anon/Stevenson)
How sweet the answer (Anon/Britten)
How sweet the answer Echo makes  First line to Echo (Hindemith)
How sweet the answer Echo makes (Anon/Stevenson)
Leis' rudern hier, mein Gondolier! Die Flut vom Ruder sprühn  First line to Zwei Venetianische Lieder I, No 17 of Myrthen, Op 25 (Schumann)
Leis' rudern hier, mein Gondolier, Op 50 No 4 (Jensen)
Martha (Anon/Moore/Flotow)
Myrthen, Op 25 (Schumann)
Nicht die Träne kann es sagen  No 2 of Trauerchöre, Op 9 (Cornelius)
O the sight entrancing (Anon/Britten)
Oft in the stilly night (Anon/Britten)
Oh! ne murmurez pas son nom!  First line to Élégie (Duparc)
Rich and rare (Anon/Britten)
Rich and rare were the gems she wore (Anon/Stevenson)
Sail on, sail on (Anon/Britten)
She is far from the land (Anon/Stevenson)
She is far from the land (Lambert)
Silent, oh Moyle! be the roar of thy water 'The Song of Fiionnulala' (Anon/Stevenson)
Six Songs, Op 57 (Mendelssohn)
The harp that once, thro' Tara's halls (Anon/Stevenson)
The last rose of summer  Song of Martha (Anon/Moore/Flotow)
The last rose of summer (Anon/Britten)
The last rose of summer (Anon/Moore/Stevenson)
The meeting of the waters (Anon/Moore/Stevenson)
The minstrel boy (Anon/Britten)
The Minstrel-Boy (Anon/Stevenson)
The valley lay smiling before me 'The Song of O'Ruark, Prince of Breffni' (Anon/Stevenson)
The young May moon is beaming, love  First line to A Night Song (Ives)
Those evening bells (Ives)
'Tis believed that this harp 'The Origin of the Harp' (Anon/Stevenson)
'Tis the last rose of summer  First line to The last rose of summer, Song of Martha (Anon/Moore/Flotow)
'Tis the last rose of summer (Anon/Stevenson)
Trauerchöre, Op 9 (Cornelius)
Venezianisches Gondellied  No 5 of Six Songs, Op 57 (Mendelssohn)
Wenn durch die Piazzetta  First line to Zwei Venetianische Lieder II, No 18 of Myrthen, Op 25 (Schumann)
Wenn durch die Piazzetta  First line to Venezianisches Gondellied, No 5 of Six Songs, Op 57 (Mendelssohn)
Wenn durch die Piazzetta, Op 50 No 3 (Jensen)
What the bee is to the floweret (Anon/Stevenson)
Zwei Venetianische Lieder I  No 17 of Myrthen, Op 25 (Schumann)
Zwei Venetianische Lieder II  No 18 of Myrthen, Op 25 (Schumann)
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