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Hyperion Records

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At the Piano by Robert Beyschlag (1838-1903)
Anthony Mitchell Paintings, Nottingham / Fine Art Photographic Library, London
Track(s) taken from CDA67374
Recording details: January 2002
Champs Hill, West Sussex, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: June 2003
Total duration: 1 minutes 54 seconds

'Other singers over recent decades have given the songs an airing from time to time, but Thomas Allen is the very man to do it' (Gramophone)

'With piano-playing by that most sensitive of accompanists, Malcolm Martineau, Sir Thomas Allen brings high art to these songs … with an affectionate regard to mood and feeling, and with a touching lyrical sincerity' (The Daily Telegraph)

'A fitting tribute to this repertory that one of the finest operatic voices of our day has chosen to record it' (Classic FM Magazine)

'I must confess that, what with the beauty of Thomas Allen’s voice and the lovely accompaniment of Malcolm Martineau at the piano, a tear welled in my eye more than once. Another distinguished release from Hyperion' (Liverpool Daily Post)

'Hyperion here brings us Sir Thomas Allen caressing 29 well-loved parlour songs with his warm, expressive baritone … Malcolm Martineau provides his usual sympathetic and well-etched pianistic support' (Birmingham Post)

'what quality of nostalgia, and what depth of conviction … Superb performances … Martineau’s carefully moulded accompaniments enhance a glorious enterprise' (Yorkshire Post)

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Introduction
This once hugely popular song demonstrates admirably the value of a telling musical phrase. Its composer was an accompanist and singing teacher, who was born ‘Helen Guy’ and took her artistic name from her birthplace of Hardelot, near Boulogne-sur-Mer. The lyricist ‘Edward Teschemacher’ also wrote under his real name of Edward Frederick Lockton. Among those who made early recordings of this song were John McCormack and (in French) Caruso, both of whom became friends of the composer in London. More recent recordings include one by Perry Como.

from notes by Andrew Lamb 2003

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