Six Studies in English Folk Song (Vaughan Williams) - from CDA68253 - Hyperion Records

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The Nash Ensemble, Paul Watkins (cello), Ian Brown (piano)» More

Reviews

‘[Clarke's] sonata reveals several new facets when played on the cello, the principal one being the new depth and physicality of the sound world. Clein makes the most of that, with a tonal palette that ranges from thick charcoal-black to muted pastels, beautifully controlled and shaped in the service of Clarke’s ardent musical narrative. The first movement is headed Impetuoso and throughout this disc Clein and Hadland never stint on commitment. In the second movement of Bridge’s wartime Cello Sonata, for example, the transition from uneasy calm to jagged, angst-ridden turmoil and on to soaring, impassioned lyricism is handled with poetry and passion. Clein is never afraid to let you hear the rasp of bow on string, and Hadland, too, knows how to make a climax thrillingly sonorous without overwhelming his partner … the acoustic is lucid, natural and intimate’ (Gramophone)

‘Its opening movement seethes and surges in Natalie Clein’s performance [of the Clarke], moving in sweeping arcs of emotion. The middle movement spits and snaps, and you feel the visceral rasp as Clein digs deep into the strings seeking maximum purchase. The huge tremolando crescendo in the finale has an elemental quality in Clein’s and pianist Christian Ihle Hadland’s hands … [Bridge’s Cello Sonata] draws particularly heartfelt playing from Clein and Hadland in the lingeringly regretful opening of the second movement’ (BBC Music Magazine)

PERFORMANCE

RECORDING

‘This is a fine performance [of the Clarke], an excellent companion for the Bridge, and the extra pieces of Vaughan Williams—his Six Studies in English Folk Song—are the icing on the cake’ (BBC Record Review)

‘Clein wields her cello with subtlety—hear the transcendent delicacy that finishes the first movement [of the Clarke], or the exquisitely impassioned intensity of the finale … this is a charming disc with a folky, salon feel at times. If Bridge’s music pales somewhat against that of the more complex textures of the Clarke or the refined elegant lines of the Vaughan Williams, Clein’s heartfelt advocacy makes it a satisfying listen all round’ (Limelight, Australia)» More

‘Clein breathes fiery new life into Clarke’s brilliant Sonata … this effervescent release includes a scintillating rendering of Bridge’s masterful Cello Sonata, together with admirable performances of his Serenade, Spring Song, and Scherzo which are set alight by some impassioned playing from this outstanding duo … here is some high calibre cello and piano playing from highly-skilful, experienced hands and it certainly encapsulates a versatile and formidable chamber music tour de force’ (British Music Society Journal)

‘Natalie Clein and Christian Ihle Hadland lend this darkly passionate, tautly argued music blisteringly eloquent treatment, and they prove to be just as convincing advocates for Frank Bridge's magnificent wartime Cello Sonata … don't miss this one!’ (Classical Ear)» More

‘Natalie Clein proves a dramatic, wholehearted interpreter of the cello version of Rebecca Clarke’s Viola Sonata … the sonata positively sizzles in this performance … if you’re looking for high-octane performances of this repertoire, then make the Clein-Hadland duo your first port of call’ (MusicWeb International)» More

‘Clein's performance [of the Clarke] … asserts itself with real cello playing … she latches on to the correct portamento style for the period, while observing good taste, and she gives a very passionate rendering of the opening movement’ (Classical Source)

'Niet algemeen bekend is dat Clarke het werk [de Altvioolsonate] publiceerde voor altviool of cello. Dat komt vooral omdat er weinig goede cello-opnamen zijn. Daarin is nu verandering gekomen met de opname van celliste Natalie Clein en pianist Christian Ihle Hadland. De cello geeft de Sonate een robuustere klank en laat de taal van Clarke die doorspekt is met chromatiek, verwijde en poly-tonaliteit in deze sonate nog duidelijker en scherper spreken. Wat dat aangaat klin ken de drie korte werken en de Cellosonate van Frank Bridge een stuk milder en lieflijker. Net als de Six Studies in English Folk Song van Vaughan Williams, die de cd besluiten en nog even samenvattend duidelijk maken dat het de Engelse tongval en volksmuziek is die de drie componisten op deze mooi verzorgde cd verbindt' (De Nieuwe Muze, Netherlands)» More

English folksong was crucial in the development of Vaughan Williams’s personal voice, and he incorporated folksongs into a number of works including the operas Hugh the Drover (1912–14) and Sir John in Love (1924–28), as well as the Fantasia on Christmas Carols (1912). He used them extensively too in the hymn collections that he helped edit, The English Hymnal (1906), and Songs of Praise (1925). Another work where folksong provides the basis of the musical material is the Six Studies in English Folksong for cello and piano. They were written for and dedicated to the cellist May Mukle, who gave the premiere with her sister Anne, on 4 June 1926 at the Scala Theatre, London, as part of the English Folk Dance Society Festival.

The studies are all brief and are not simply transcriptions of the folksongs used, but elaborations on them. All but the final study are in slow tempos and the songs they are based on are respectively: ‘Lovely on the Water’ (which is the same melody Vaughan Williams used in the second of his Five English Folksongs under the title ‘The Springtime of the Year’), ‘Spurn Point’, ‘Van Diemen’s Land’, ‘She borrowed some of her mother’s gold’, ‘The Lady and the Dragon’ and ‘As I walked over London Bridge’.

Les chansons populaires anglaises ont joué un rôle essentiel dans l’évolution du langage personnel de Vaughan Williams, et il en a introduit dans plusieurs de ses œuvres, dont les opéras Hugh the Drover (1912–1914) et Sir John in Love (1924–1928), ainsi que dans sa Fantasia on Christmas Carols (1912). Il en a également fait un abondant usage dans les deux recueils d’hymnes qu’il a contribué à éditer, The English Hymnal (1906) et Songs of Praise (1925). Enfin, ces chansons populaires ont servi de fondement au matériau musical des Six Studies in English Folksong (Six études de chansons populaires anglaises) pour violoncelle et piano. Écrites pour la violoncelliste May Mukle, à qui elles sont dédiées, elles ont été créées par cette dernière et sa sœur Anne le 4 juin 1926 au Scala Theatre de Londres, dans le cadre du festival de l’English Folk Dance Society.

Brèves, ces études ne se contentent pas de transcrire les chansons utilisées mais les développe. Toutes, sauf la dernière, sont de tempo lent; les chansons utilisées sont, dans l’ordre: «Lovely on the Water» (mélodie également utilisée par Vaughan Williams dans la deuxième de ses Five English Folksongs, sous le titre: «The Springtime of the Year»), «Spurn Point», «Van Diemen’s Land», «She borrowed some of her mother’s gold», «The Lady and the Dragon» et «As I walked over London Bridge».

Englische Volkslieder waren für die Entwicklung Vaughan Williams’ eigener Stimme ausschlaggebend, und er fügte Volkslieder in mehrere Werke ein, so zum Beispiel in die Opern Hugh the Drover (1912–14) und Sir John in Love (1924–28), sowie in die Fantasia on Christmas Carols (1912). Er nutzte sie auch extensiv in den Gesangbüchern, die er mit herausgab: The English Hymnal (1906) und Songs of Praise (1925). Ein weiteres Werk in dem Volkslieder die Basis des musikalischen Material liefern sind die Six Studies in English Folksong für Cello und Klavier. Sie waren für die Cellistin May Mukle geschrieben und auch ihr gewidmet worden. Zusammen mit ihrer Schwester Anne gab sie im Rahmen des English Folk Dance Society Festival die Premiere am 4. Juni 1926 im Scala Theatre, London.

Die Etüden sind alle kurz, und keine bloßen Bearbeitungen der jeweiligen Volkslieder, sondern Ausarbeitungen. Alle bis auf die letzte haben langsame Tempi, und basieren auf folgenden Liedern: „Lovely on the Water“ (welches dieselbe Melodie ist, wie die, die Vaughan Williams in dem zweiten seiner Five English Folksongs unter dem Titel „The Springtime of the Year“ verarbeitete), „Spurn Point“, „Van Diemen’s Land“, „She borrowed some of her mother’s gold“, „The Lady and the Dragon“ und „As I walked over London Bridge“.

Other albums featuring this work

Vaughan Williams: Chamber Music

The Nash Ensemble

CDA67313Download only

‘Pliant and sympathetic performances of deeply rewarding repertoire. This disc will surely give much pleasure’ (Gramophone)
‘Superb performances’ (Classic FM Magazine)» More

Recording details: December 2017
All Saints' Church, East Finchley, London, United Kingdom
Produced by Simon Kiln
Engineered by Arne Akselberg
Release date: January 2019
Total duration: 8 minutes 9 seconds

Cover artwork: Salt Marsh (1938) by Eric Ravilious (1903-1942)
Private Collection / Photo © The Fine Art Society, London / Bridgeman Images