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Track(s) taken from CDA67644

In Flanders fields

composer
1917; revised 1919
author of text
1915; In Flanders fields

Gerald Finley (baritone), Julius Drake (piano)
Recording details: February 2007
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: February 2008
Total duration: 2 minutes 58 seconds

Cover artwork: Early Spring Afternoon, Central Park (1911) by Willard Leroy Metcalf (1858-1925)
Brooklyn Museum of Art, New York / Bridgeman Art Library, London
 
1
In Flanders fields  [2'58]

Other recordings available for download

Robin Tritschler (tenor), Malcolm Martineau (piano)

Reviews

'Outstandingly well sung and played, equally well recorded, and highly recommendable to all lovers of fine songs and fine singing' (BBC Music Magazine)

'This is a highly successful follow-up to Gerald Finley and Julius Drake's first Ives recital from 2005. Here there is the same sort of mix, from familiar songs such as The Circus Band and Watchman! to an early requiem for the family cat and the intriguing title song, Romanzo, di Central Park, with its obbligato violin part atmospherically played by Magnus Johnston. Finley is his usual charismatic self, at home as much in the hymnody as the parody, and he is careful not to over-sentimentalise the more homely numbers while injecting pathos into the war songs. Drake projects Ives's often complex accompaniments with clarity and style' (The Daily Telegraph)

'The programme has been selected and sequenced with care … the booklet includes not just texts but also comments by Calum MacDonald about every single song. Hyperion always gets these things right; even the cover art is a bull's-eye. Finley and Drake give no cause for complaint either … the engineers have done their work well. Finley and Drake are perfectly balanced and they perofrm in an environment of intimate warmth' (International Record Review)

'Finley is a wonderfully assured interpreter … perfectly registering their switchback changes of mood and presenting their occasional lapses into sentimentality with total conviction. More than any other performers on disc, Finley and Drake establish these songs, with all their quirks and flights of fantasy, among the most important of the 20th century in any language' (The Guardian)

'Gerald Finley has everything and more in his darkly full-bodied voice to match the often formidable technical and expressive requirements of Ives's songbook—reinforced by Drake's elastic, expressive piano … this is a must-buy album' (The Times)

'The variety of songs recorded here is extraordinary … Gerald Finley's warm baritone sits right inside Ives's soundworld, while Drake refuses to be fazed by the idealistic piano writing' (Classic FM Magazine)

'Listening to a collection such as this reveals genuine delights of phrase and harmony. These are, by and large, not songs for 'showy' singers, yet several of the numbers more citational of popular song do demand some verbal panache, which the Canadian bass-baritone can certainly supply, along with fine-honed dynamic control and a warm, solidly delineated tone … Drake, very sensitive as to tempo and mood, proves willing to haul out the trombones when needed' (Opera News)

'It's the best kind of fun. The astonishing range Ives exhibits in the 30 songs on the disc—some comic, others serious—is astonishing. Finley, in even better voice than on the Barber CD, and Drake, relishing Ives' complexities, dig deep into them all' (Bay Area Reporter, USA)

'Gerald Finley's second disc of Ives songs is every bit as wonderful as the first. Finley is the perfect song recitalist … he can sound dreamy, tender, raucous, heroic, and serene, all without ever disfiguring his timbre or letting the pitch waver. Julius Drake offers accompaniments that are as perfect and knowing as the singing, and the engineering couldn't be better … this is magnificent—vocal recitals don't come any better' (ClassicsToday.com)
In Flanders fields is another 1917 ‘war song’, very different in temper from He is There!. It sets—at his business partner Julian Myrick’s request—a poem by John McCrae, who had been medical referee for their insurance firm, Mutual Life, in Montreal. Myrick had it premiered at a luncheon for Mutual managers at the Waldorf Hotel. The audience was understandably nonplussed, and Ives was distressed by the poor performance, and he revised the song in 1919. It partly derives from a lost march of 1899 and is a dirge for the war dead, opening with a bitter fanfare and containing sardonic references to Columbia, Gem of the Ocean, God Save the King, the Marseillaise and several other national tunes.

from notes by Calum MacDonald © 2008

In Flanders fields («Dans les champs des Flandres») est un autre «chant de guerre» de 1917, au tempérament bien différent de celui de He is there!. À la demande de son associé Julian Myrick, Ives mit en musique un poème de John McCrae, qui avait été arbitre médical pour leur compagnie d’assurances, Mutual Life, à Montréal. Myrick créa cette œuvre au Waldorf Hotel, lors d’un déjeuner organisé pour les directeurs de la compagnie. L’auditoire fut, on le comprend, dérouté et Ives, tourmenté par cette piètre interprétation, révisa son chant en 1919. C’est un chant funèbre pour ceux qui sont morts à la guerre; en partie issu d’une marche de 1899 aujourd’hui perdue, il s’ouvre sur une fanfare amère et renferme de sardoniques allusions à des airs nationaux comme Columbia, Gem of the Ocean, God save the King et la Marseillaise.

extrait des notes rédigées par Calum MacDonald © 2008
Français: Hypérion

In Flanders fields ist ebenfalls ein „Kriegslied“ von 1917, aber in einer ganz anderen Stimmung als He is there!. Es vertont—auf Wunsch seines Geschäftspartners Julian Myrick—ein Gedicht von John McCrae, der ein medizinischer Gutachter für ihre Versicherungsfirma Mutual Life in Montreal gewesen war. Myrick veranstaltete die Uraufführung während eines Lunches für Vorstandsmitglieder von Mutual im Waldorf Hotel. Das Publikum war verständlicherweise verblüfft, aber Ives war über die schlechte Aufführung unglücklich und revidierte das Lied 1919. Es beruht teilweise auf einem verlorengegangenen Marsch von 1899 und ist ein Klagelied für die Kriegstoten: es beginnt mit einer bitteren Fanfare und enthält sardonische Anspielungen auf Columbia, Gem of the Ocean, God Save the King, die Marseillaise und mehrere andere Nationallieder.

aus dem Begleittext von Calum MacDonald © 2008
Deutsch: Renate Wendel

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