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Hyperion Records

Click cover art to view larger version
Front illustration by Roland Piper (b?)
Track(s) taken from CDH55433
Recording details: January 1996
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: May 1996
Total duration: 6 minutes 4 seconds

'This disc offers a sympathetic, endearing portrait of a composer too often valued for his wackiness and eccentricity alone' (Classic CD)

'Unquestionably an important and relishable release' (Hi-Fi News)

'A capella singing at its very finest' (Soundscapes, Australia)

'Ce superbe album vient confirmer l'extraordinaire intuition de Grainger pour l'écriture chorale. La perfection des solistes, des choeurs et des ensembles instrumentaux permet d'apprécier dans ces moindres nuances le sauvage raffinement de Grainger' (Diapason, France)

Shallow Brown
First line:
Shaller Brown you're goin' ter leave me
composer
completed 17 December 1910; No 3 of Sea Chanty Settings
author of text

Introduction
Shallow Brown was composed between August and 17 December 1910 and is based on a sea-chanty collected from the singing of John Perring of Dartmouth by H E Piggott and Grainger on 18 January 1908. In Grainger’s words: ‘[Perring] was a remarkably gifted deep-sea sailor songster and said that this song was supposed to be sung by a woman standing on the quay to Shallow Brown as his ship was weighing anchor. Perring did not know why Brown was called “Shallow”—“unless it was that he was shallow in his heart”, as he added. My setting aims to convey a suggestion of wafted, wind-borne, surging sounds heard at sea.’ Although a woman’s voice would make sense to the story, chanties are almost always the prerogative of men singing on board a ship. This is one of Grainger’s most powerful settings, evoking as it does the wildness of the sea and the intensity of human loss; one can almost feel the spray of the ocean and taste the salt water. Grainger is said to have swooned with intense excitement when he played the shimmering accompaniment on the piano and on one particular occasion it caused a female admirer to faint at his feet.

from notes by Barry Peter Ould 1996

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