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Track(s) taken from CDA67528

The Beggar's Song

First line:
Good people keep their holy day
composer
1936
author of text

Gerald Finley (baritone), Julius Drake (piano)
Recording details: December 2005
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2007
Total duration: 2 minutes 7 seconds

Cover artwork: Sunset, Montclair (detail) (1892) by George Inness (1825-1894)
Private Collection, David Findlay Jnr Fine Art, NYC, USA / Bridgeman Art Library, London
 
1

Reviews

'Performances of this calibre emphasise Barber's stature in the mainstream of 20th-century song composers … Finley and Drake are impeccable (as are the Aronowitz Quartet in Dover Beach) … this is another outstanding Hyperion release that does credit to Barber in what will soon be a run-up to his centenary' (Gramophone)

'Gerald Finley is golden in tone, persuasive in phrasing, and unfailingly responsive to the sound and sense of the words. Julius Drake once more proves a strong and imaginative partner, and a quartet from the Aronowitz Ensemble makes a promising recording debut … a very satisfying recital' (BBC Music Magazine)

'The indefatigable Gerald Finley, who makes even the most straight-laced song shine … Julius Drake is his ever percipient partner, while the strings of the Aronowitz Ensemble provide an atmospheric backing for the most famous of these songs, Dover Beach' (The Daily Telegraph)

'The performances are outstanding. Canadian baritone Finley is in top form, showing total command of his voice with stunning hushed singing and ringing top notes. Drake is his reliable accompanist … everything about this recording is terrific' (American Record Guide)

'Baritone Gerald Finley and pianist Julius Drake follow their outstanding disc of songs by Charles Ives with a collection devoted to a very different American composer. Samuel Barber's particularly personal brand of romanticism seems so natural and unforced, it's unnecessary to attach the prefix 'neo-' to it. Barber's gifts for elegant, melodic writing and his own early experiences as a singer (he once contemplated a career as a baritone) made him a natural songwriter, and two of the works here—the 10 settings of medieval Irish texts that make up his Hermit Songs Op 29, and the magically rapt version of Matthew Arnold's Dover Beach—are among his finest achievements in any genre. The Mélodies Passagères, composed in the early 1950s for Pierre Bernac and Francis Poulenc, are a homage to French song; three other settings of James Joyce and some of Barber's songs to American texts are also included. Finley is a wonderfully persuasive advocate for all these songs, and shows that the best of them rank among the greatest of the 20th century' (The Guardian)

'Finley captures the 'eternal note of sadness' that the poet Matthew Arnold hears on the wave-dragged shingle on Dover Beach … Finley and Drake make an excellent partnership throughout' (The Times)

'In my book, Samuel Barber is one of the finest of all songwriters of the 20th century … every human emotion … is astutely conveyed. Gerald Finley knows this well, and here sings some of Barber's finest … ably assisted by the pianist Julius Drake, Finley communicates with finesse every poetic nuance, his golden baritone allied to rare poetic intelligence' (The Sunday Times)

'Having served the songs of Charles Ives with enormous distinction, the partnership of baritone Gerald Finley and pianist Julius Drake shift artistic gear to explore works by one of America's greatest tunesmiths. Samuel Barber's lyrical writing and subtle feeling for expressive shading were matched in his songs by a Britten-like aptness for word-setting, which ideally suits Finley's compelling blend of emotional conviction and vocal sensibility. On the strength of his interpretation of the Hermit Songs alone, regardless of his majestic readings of Barber's Rilke settings and Dover Beach, Finley enables this album to command its price as one of the year's finest vocal releases. Unmissable' (Classic FM Magazine)

'Finley’s best work … this disc has an admirable program … Finley makes a firm and pleasing sound and he can command the nuances when necessary … Julius Drake’s accompaniments strike me as right and are a pleasure to hear' (Fanfare, USA)

'A CD of Barber's songs may, on the surface, seem like too much of a good thing, until you listen to Finley's magisterial survey … using his handsome baritone to explore the Britten-esque lyricism of the Hermit songs and the Francophone poetry of his Mélodies passagères' (Financial Times)

'Hearing the Hermit Songs in a man's voice, this man's voice, is little short of a revelation … there's a world of feeling in these 10 songs, and Finley, accompanied throughout by pianist Julius Drake in a way that would make Barber proud, burrows deeply into every niche … I held my breath before 'Sure on this shining night', my favorite Barber song of all, an ecstatic setting of a rapturous James Agee poem that's harder to bring off than its simple, swelling lines would suggest. Finley hit it out of the park' (Bay Area Reporter, USA)

'[Finley's] warm timbre, technical facility, fluid, natural phrasing, and conscientious expression brings an easy, unforced clarity to the texts, ideally characterizing each song without distracting mannerisms or undue dramatic inflections … it would be hard to imagine performances more purely beautiful, sensitive, and true to the music and poetry than Finley's' (ClassicsToday.com)
The Beggar’s Song to a poem by W H Davies (the author of The Autobiography of a Super-Tramp was used to living rough) is a satire against hypocritical Christians who rest from their labours on the Sabbath: beggars are holier still because they rest every day. The pompous fanfare-figures of the opening soon turn to bright dance rhythms, with a delicious modulation as the beggar-protagonist appeals to the tender hearts of the ladies.

from notes by Calum MacDonald © 2007

The Beggar’s Song, sur un poème de W.H. Davies (l’auteur de The Autobiography of a Super-Tramp, qui eut une vie dure) est une satire contre les chrétiens hypocrites qui se reposent le jour du Seigneur: les mendiants («beggars») sont encore plus saints puisqu’ils se reposent tous les jours. Les pompeuses figures de fanfare initiales se font bientôt rythmes de danse éclatants, avec une délicieuse modulation lorsque le protagoniste-mendiant en appelle au bon cœur des dames.

extrait des notes rédigées par Calum MacDonald © 2007
Français: Hypérion

The Beggar’s Song auf ein Gedicht von W.H. Davies (der Autor von The Autobiography of a Super-Tramp [„Autobiographie eines Vagabunden“] war an ein raues Leben gewöhnt) ist eine Satire gegen scheinheilige Christen, die am Sabbat von ihrer Arbeit ruhen—aber Bettler sind doch heiliger, weil sie jeden Tag ruhen. Die bombastischen Fanfarenfiguren des Anfangs kehren bald zu hellen Tanzrhythmen wieder, mit einer herrlichen Modulation, wenn der Bettler an die milden Herzen der Damen appelliert.

aus dem Begleittext von Calum MacDonald © 2007
Deutsch: Renate Wendel

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