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Track(s) taken from CDA67227

Limmerich ohne Worte, Op 372

composer
composer

Malcolm Martineau (piano)
Recording details: August 2000
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: May 2001
Total duration: 0 minutes 51 seconds
 
1

Reviews

'A top British soprano shines in a recital that should appeal well beyond her shores. The programme is delightful, and so are the performances' (Gramophone)

'The programme is well chosen, with familiar songs alongside some that have been unjustly neglected. Dawson’s performances are wholly intelligent, nicely phrased and display deep musical understanding: her account of Howells’s King David is particularly mesmerizing. She is most fortunate to have Malcolm Martineau as her accompanist: he is one of the finest currently before the public, and they are rewarded with an excellent, beautifully balanced recording … this recital will give much pleasure' (International Record Review)

'Taken with the unusual repertory and Lynne Dawson’s unusually fine singing, this becomes an easily recommended introduction to the world of English song' (American Record Guide)

'The most delectable recital of English song … a generous sequence of brief, tuneful songs that are totally charming, from Armida's Garden by Parry to Ivor Gurney's rapt setting of John Fletcher' (The Guardian)

'A rare and rich recital … the real joy of this recital is to hear Dawson's soprano thrilling to the expressive flexibility of her own language, particularly where the glorification of the voice is fused with linguistic excitement' (The Times)

'What a treat it is to hear [Dawson] singing English so expressively … Nothing is lovelier than her haunting unaccompanied singing of Vaughan Williams' (The Sunday Times)

'The really marvellous thing about the singing is that it captures a bubbly, warm, human individuality – a kind of vocal English rose' (Manchester Evening News)
The ironic Limmerich ohne Worte (Op 372) as an ‘anti-setting’ (for piano alone) makes reference to Mendelssohn’s unique invention:

Our composer admits that this song without words is of well-known origin, but he supplies it as a specimen pattern or model, to which any poem of the Limerick type can be sung. He calls attention to the fact that this procedure is frequently followed in this country in the case of Hymns; poems of very varied sentiments being adapted to the same tune; and suggests, not without a touch of satire, that it may save trouble to use this theme for Lear’s entire collection.

from notes by Jeremy Dibble 2001

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