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Track(s) taken from CDA67450

To fair Fidele's grassy tomb

composer
The Second Volume of Lyric Harmony, London, 1746
author of text
Cymbeline IV:ii

Catherine Bott (soprano), The Parley of Instruments, Peter Holman (conductor)
Recording details: October 2003
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: April 2004
Total duration: 4 minutes 1 seconds
 
1
To fair Fidele's grassy tomb  [4'01]

Reviews

'The Parley of Instruments, Rachel Brown, director Peter Holman and the Hyperion recording team all deserve applause' (Gramophone)

'With the programme arranged by play rather than chronology, creating an alluring stylistic variety within its 100-or-so-year span, and excellent sound, music for Shakespeare doesn't come much better than this' (BBC Music Magazine)

'I'm sure that if it wasn't for the pioneering series of recordings named The English Orpheus we would find ourselves less the richer for the discoveries this series has brought to our notions of English musical heritage' (The Organ)

'Programmed with Peter Holman's usual ingenuity and originality' (Goldberg)
There was a revival in interest in Shakespeare on the stage around 1740, prompted by the revolution in Shakespearean acting initiated by Charles Macklin and David Garrick. Macklin was lucky to have Thomas Arne available to provide music for his Drury Lane productions: Arne’s settings of songs for As You Like It (1740), The Merchant of Venice (1741), The Tempest (1740 and 1746) and Cymbeline (1744) have never been surpassed or forgotten since they were written. Arne tended to use either the strophic form, with a simple almost folk-like melody, as in ‘To fair Fidele’s grassy tomb’, or the ‘pleasure gardens’ form of two sections enclosed by opening and closing ritornelli, as in ‘When daisies pied and violets blue’, ‘When icicles hang on the wall’ and, most memorably, ‘Where the bee sucks, there lurk I’. Arne is also notable for his simple but effective orchestration, using two- or three-part strings with a flute where necessary to imitate birds.

from notes by Peter Holman 2004

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