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Track(s) taken from CDA67516

Walking

First line:
A big October morning
composer
author of text

Gerald Finley (baritone), Julius Drake (piano)
Recording details: November 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: September 2005
Total duration: 2 minutes 34 seconds
 
1

Reviews

'Finley is always essentially a singer—his tone and command of the singing line are a pleasure in themselves. But he also has the absolute mastery of the composer's idioms and, with Julius Drake, his fearless and totally committed pianist, the technical, virtuosic skills to realise his intentions with (amid all the quirks) complete conviction of naturalness' (Gramophone)

'I cannot praise Gerald Finley’s performance too highly. It takes a very special artist to bring such unembarrassed fervour to General Booth Enters into Heaven and to encompass all its extraordinary changes of mood. What a contrast with the intimate and poetic setting of his own words in Berceuse and the magical Tom Sails Away. The whole disc is a revelation of beauty and owes much to Julius Drake’s equally perceptive playing of the piano accompaniments' (The Sunday Telegraph)

'… outstanding. Gerald Finley has a voice of great beauty, but it's always under the control of his penetrating intelligence: he risks bending pitches for expressive effect, and he adapts his golden timbre and almost English diction to the childlike tones of The Greatest Man and the cowboy drawl of Charlie Rutlage. Julius Drake is an equally versatile pianist, adept alike in simplicity and complexity … Overall, a disc offering sustained illumination and enjoyment' (BBC Music Magazine)

'This range calls for a voice of great flexibility, which Finley exhibits in singing that at will can be wickedly humorous, touchingly heartfelt or transcendentally awed. Julius Drake is an ever resourceful accompanist, matching Finley's ability to span Ives's breadth from Victorian ballad style to polytonal modernism' (The Daily Telegraph)

'Gerald Finley and his accompanist Julius Drake are fully able to convey the expressive range of these songs … Finley brings an refreshing refinement to many of these songs, and always cleans his boots thoroughly after tramping around in the great Ivesian outdoors' (International Record Review)

'Listening to this disc is like walking into the perfect bookshop; with reams and reams of unusual volumes to leaf through at leisure, and no one to disturb you … Finley's singing is communicative, assured and colourful, Drake's playing neat and proper. Absolutely brilliant' (The Independent on Sunday)

'Gerald Finley's magnificent, burnished baritone is the ideal instrument for the generous selection presented here … The Canadian baritone's superb diction in three languages is an especial pleasure. A triumph' (The Sunday Times)

'Gerald Finley and Julius Drake flourish in Ives's complex, often contradictory, never dull musical world. Listen to Swimmers and the extraordinary General William Booth, and I swear you'll be hooked' (Classic FM Magazine)

'Gerald Finley, Julius Drake, and Hyperion here give us the best-ever male-voice selection from one of the most astonishing volumes in vocal history … We ordinary citizens have the right to hear the whole Ives songbook, from these artists. So don't stop now, Hyperion' (Fanfare, USA)

'the perfect match of singer to song' (Financial Times)

'Brilliantly sung by Canadian baritone Gerald Finley, it has become the gold standard by which all future recordings of these pieces will be measured. Finley meets the daunting vocal and dramatic challenges with total commitment and superb musicianship' (The Scene Musicale, Canada)

'Ives, an insurance man for whom composing was an avocation, deserves wider recognition as one of the art-song greats. It's flawless, arresting performances like Finley's — and his supremely elegant accompanist, pianist Julius Drake — that will help make this happen' (Toronto Star, Canada)

'As the program unfolds, there's always what you're not expecting next—moments of piety or exultation, sarcasm or simple grief. When you're done, you've heard one of the most stimulating and provocative of song recitals, as well as one of the most varied and difficult' (Opera News)

'Gerald Finley's ebony-rich voice and lively imagination gets a workout in this wide-ranging program … Finley is superb throughout, with alert support from Julius Drake' (Time Out)

'Baritone Gerald Finley combines a glorious sound with great dramatic instinct. At the climax of General William Booth Enters Heaven, you feel he's holding nothing back. But his voice has an exquisite lightness too, and the moments of lyrical ecstasy are beautifully handled. With some great accompanying from Julius Drake, it's a disc crammed with colour and variety' (Metro)
Walking is dated 1902 (but it may be earlier); the words are by Ives. This is an important song in his development, somewhat experimental in its evocations of church bells and different rhythmic pulses over the regular ‘walking’ metre. The central piano interlude depicts a funeral in the valley while a dance goes on at a roadhouse higher up. The act of walking itself is seen as a symbol of the course of life.

from notes by Calum MacDonald © 2005

Datée de 1902 (mais peut-être antérieure), Walking [«Marche»] (sur des paroles de Ives) marque un jalon dans le développement du compositeur – un rien expérimentale avec ses évocations de cloches d’église et ses différents battements rythmiques par-dessus le mètre à la «marche» régulière. L’interlude pianistique central dépeint un enterrement qui se déroule dans la vallée pendant que, plus haut, on danse dans une taverne. L’acte de marcher symbolise en soi le cours de la vie.

extrait des notes rédigées par Calum MacDonald © 2005
Français: Hypérion

Walking [„Wandern“] ist mit 1902 datiert (entstand aber womöglich früher). Die Worte sind von Ives. Walking ist ein wichtiges Lied in Ives’ Entwicklung und wirkt ziemlich experimentell mit seinen Anklängen an Kirchenglocken und mit den unterschiedlichen rhythmischen Pulsen über einem regelmäßig fortschreitenden („wandernden“) Taktschlag. Das Klavierzwischenspiel in der Mitte stellt ein Begräbnis im Tal dar, während in einem Gasthaus weiter oben ein Tanz stattfindet. Das Fortschreiten selber dient als Symbol für den Verlauf des Lebens.

aus dem Begleittext von Calum MacDonald © 2005
Deutsch: Elke Hockings

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