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Track(s) taken from SIGCD293

Serenades

composer
premiered in 2007
author of text

BBC Singers, Paul Brough (conductor)
Recording details: January 2012
Studio 1, BBC Maida Vale, London, United Kingdom
Produced by Michael Emery
Engineered by Susan Thomas
Release date: July 2012
Total duration: 13 minutes 47 seconds
 

Reviews

'A cappella arrangements of songs by Gershwin, Duke Ellington and Cole Porter serve as encores, allowing the BBC Singers to swing in slightly freer style together. Their high standards of execution, under Paul Brough's empathetic direction, grace the entire programme' (BBC Music Magazine)» More
PERFORMANCE
RECORDING

'From being regarded as a member of the British avant garde in the late 1950s, through his performances as a jazz pianist and accompanist, to composing operas for Sadler's Wells and Covent Garden and scores for high-profile British and American movies, Bennett has commuted effortlessly between styles. These unaccompanied choral works, immaculately presented by the BBC Singers conducted by Paul Brough, includes pieces from the last 13 years of that career' (The Guardian)» More

Bennett’s Serenades, a five-movement choral suite, was premiered in a broadcast by the BBC Singers conducted by Stephen Cleoobury in December 2007. Here Bennett sets poems by one of the great eccentrics of English letters, John Skelton (c.1460-1529), sometime ‘poet laureate of Oxford’ and tutor to the future Henry VIII, later Rector of Diss in Norfolk, satirist and lyricist. His ‘Skeltonics’—short three-stressed lines with persistent but irregular rhyming—make his poems particularly apt for lively setting (as Vaughan Williams proved in his Five Tudor Portraits to Skelton poems). Bennett’s Serenades are also mainly portraits of women whom Skelton praised or dispraised in verse. These are the odes by turns lyrical, abusive and playful, to Mistress Margaret Hussey, Mistress Margery Wentworth, the highly inconstant Mistress Anne and Mistress Isabel Pennell. The exception is ‘My Darling Dear’, a ballad of seduction which Bennett sets in such a haunting manner that Skelton’s satire is transmuted into something altogether more romantic.

from notes by Malcolm MacDonald © 2012

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