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Track(s) taken from CKD296

Ludlow and Teme

author of text

James Gilchrist (tenor), Fitzwilliam String Quartet, Anna Tilbrook (piano)
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Recording details: November 2006
Christ's Hospital School, Horsham, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: June 2007
Total duration: 18 minutes 17 seconds

Other recordings available for download

Andrew Kennedy (tenor), Dante Quartet, Simon Crawford-Phillips (piano)
Adrian Thompson (tenor), Delmé Quartet, Iain Burnside (piano)


'James Gilchrist has perhaps a lightish tenor voice for the V.W. Housman cycle but he brings such dramatic power and insight to it and such lyricism to its gentler songs that it matters little. His interpretations of 'Is my team ploughing?' and 'Bredon Hill' are as good as any on disc. The pianist Anna Tilbrook and the Fitzwilliam Quartet are equally superb in evoking the composer's atmospheric instrumental writing. Ivor Gurney's seven wonderful Housman settings, Ludlow and Teme, are also beautifully performed and Gilchrist penetrates to the melancholy of Peter Warlock's The Curlew. Exceptionally fine recording quality' (The Sunday Telegraph)

'And lovely sound is at the core of this recording. Gilchrist sings with a gossamer tone that floats effortlessly through these settings of six A E Housman poems from A Shropshire Lad … he gives 'Is my team ploughing?' that strange question-and-answer-poem, a real narrative drive, and his 'Bredon Hill'—the core of the cycle—is glorious. On Wenlock Edge inspired others to set Housman to music, among them Ivor Gurney, who produced Ludlow and Teme in 1919 using the same piano quintet accompaniment as Vaughan Williams, his teacher at the time. Gilchrist brings the same plangent tone to these songs, and also revels in Peter Warlock's The Curlew and Arthur Bliss's Elegiac Sonnet. This is an excellent collection for lovers of English song' (The Observer)» More

'[Gilchrist's] is a lighter-sounding voice than some of his contemporaries, but it gives him the colouring to negotiate the often folk-like melodic naivety of passages in this music while losing nothing in textual awareness. He has certainly got the expressive range to bring out the anger in Vaughan Williams's vivid setting of 'Is my team ploughing?' at the same time as the growing doom of 'Bredon Hill'. In this latter song, the playing of Anna Tilbrook and the Fitzwilliam Quartet is at its most finely featured, with hazy strings and the ever-more ominous tolling of the bells, and there is equal character in the Bliss sonnet. Gareth Hulse's cor anglais playing is aptly subtle in Warlock's portrayal of Yeats's curlew, and he is matched by the artistry of flautist Michael Cox. In all, an atmospherically recorded and consummately performed disc' (The Daily Telegraph)» More

'Hearing On Wenlock Edge and Ludlow and Teme together, it's the echoes in the Vaughan Williams of Ravel (with whom he'd just finished his studies) that set it apart from Gurney's much less knowing approach, which is arguably closer to the sensibility of Housman's poems. The tenor, James Gilchrist, catches those different emphases superbly. He is equally vivid in evoking Peter Warlock's The Curlew, whose four settings of W B Yeats, with its accompaniment of flute, cor anglais and quartet, are woven into a miniature symphonic poem and inhabit a very different and rather un-English world' (The Guardian)

A year after Ivor Gurney arrived at the Royal College of Music on a scholarship in 1911 to study composition under Stanford, his near contemporary Herbert Howells recalled that he had a ‘wallet bulging with works of many kinds. There were piano preludes thick with untamed chords; violin sonatas strewn with ecstatic crises; organ works which he tried out amidst Gloucester’s imperturbable pillars’. Songs are also likely to have been there, considering his poetic leanings and early vocal settings. By 1914 Gurney had completed his first important collection; Five Elizabethan Songs (originally for the intriguing combination of mezzo-soprano, pairs of flutes, clarinets and bassoons and harp), setting texts by Shakespeare, Nashe and Fletcher. These songs reveal an astonishing confidence and maturity, something that the slow-developing Vaughan Williams simply could not have matched when he was in his twenties.

Before music college, and not long after completing his years as a chorister at Gloucester Cathedral, Gurney discovered A.E. Housman and in 1908 set his On your midnight pallet; the same year attempting Is my team ploughing?, a song he later revised.

As someone who possessed the exceptional gift of being equally talented as both composer and poet, Gurney was naturally drawn to the poetry of others but rarely set his own poems, unlike his fellow Englishman Thomas Campion (1567-1620)—also doubly gifted as poet/composer—whose lute song texts were always taken from his own words. During the war years when life in the trenches made writing music almost impossible it was poetry that pre-occupied Gurney and in 1917 his first collection of poems, Severn and Somme, was published (the second being War’s Embers that followed two years later). However, a handful of songs were written during this period and include In Flanders and Dinny Hill, (with verses written by his school friend Will Harvey) which express a longing for his Gloucestershire. In addition to these songs Gurney set further Housman verses: On Wenlock Edge. This seems to have been conceived in June 1917; a sturdy and so far unpublished setting which is markedly different from Vaughan Williams own arrangement and which was then unknown to Gurney. It is astonishing that since joining the 2nd/5th Gloucester’s with whom he served as a private from February 1915 and his arrival in France in May 1916 Gurney’s creative stimulus was undimmed, and had even ‘sharpened his pen’. Despite having suffered a minor bullet wound on Good Friday in April 1917 (the poet Edward Thomas was killed on Easter Monday) and a gas attack during the Ypres offensive in September, his letters home reveal a cheerful stoicism.

Following his recovery at Bangour hospital in Edinburgh and his discharge from the army, Gurney returned to the Royal College of Music in March 1919 where he now began studying with Vaughan Williams. It is from this period that his creative outpouring was at its most intense, setting over forty songs alone during the second half of 1919. It was at a concert in November 1919 that Gurney discovered his new teacher’s song cycle On Wenlock Edge. So excited was Gurney by this experience that he immediately began work on his own cycle of Shropshire lad poems, and set seven verses for an identical ensemble, completing Ludlow and Teme in just a few weeks. The following March the cycle received its first performance at the home of Gurney’s college friend Marion Scott who recalled that after the performance ‘No composer being forthcoming in spite of repeated calls for him, Gurney was sought, and at length found, bashfully hiding behind the big bookcase at the far end of the back drawing-room.’

Just as the On Wenlock Edge cycle follows no continuous narrative thread or incorporates any musical connections between the songs, neither does Gurney make any attempt in Ludlow and Teme to create a real sense of unity. The songs are, however, linked by their affection for the English countryside and a love of the rural way of life. So strong in character are they with their own individual mood (as well as their considerable vocal demands) that separate performance of these songs can still be effective. When smoke stood up from Ludlow makes an arresting and dramatic beginning; its opening triplet figure perhaps a passing tribute to Vaughan Williams. In the long-limbed lines and quiet intensity of Far in a western brookland Gurney creates an almost unbearable longing for home; its nostalgia, so typical of Housman, raised to an ecstatic level, despite Gurney’s failure to reproduce faithfully Housman’s lines in the right order. Tensions are released in the quicksilver ‘Tis time, I think where the poet wishes to see the spring in Wenlock. The melodic charm of On the idle hill of summer surely refutes Trevor Hold’s assertion that Gurney’s music ‘rambles like an unkempt English hedgerow’. While the accompaniment is a little inelegant the melodic inspiration is as effortless as When I was one and twenty or The Lent lily—a superb marriage of words and music that is amongst Gurney’s finest. According to Vaughan Williams, the Georgian poets ‘had just rediscovered England and the language that fitted the shy beauty of their own country’. He then added, ‘Gurney has found the exact musical equivalent both in sentiment and in cadence to this poetry’.

Gurney composed a little over 300 songs (of which about one hundred have been published) and include a second song cycle to Housman’s verse: The Western Playland, scored for baritone soloist, string quartet and piano. Sadly, his increasingly erratic behaviour and mental instability noted before the war when a friend declared ‘…he did not seem to belong to us’, led to his eventual incarceration in the City of London Mental Hospital, Dartford in December 1922 where he remained there until his death on December 26th 1937.

from notes by David Truslove 2007

Other albums featuring this work

Gurney: Ludlow and Teme & The Western Playland; Vaughan Williams: On Wenlock Edge
Vaughan Williams, Venables & Gurney: On Wenlock Edge & other songs
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