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Track(s) taken from CDA67528

Three Songs, Op 2


Gerald Finley (baritone), Julius Drake (piano)
Recording details: December 2005
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: November 2007
Total duration: 1 minutes 13 seconds

Cover artwork: Sunset, Montclair (detail) (1892) by George Inness (1825-1894)
Private Collection, David Findlay Jnr Fine Art, NYC, USA / Bridgeman Art Library, London


'Performances of this calibre emphasise Barber's stature in the mainstream of 20th-century song composers … Finley and Drake are impeccable (as are the Aronowitz Quartet in Dover Beach) … this is another outstanding Hyperion release that does credit to Barber in what will soon be a run-up to his centenary' (Gramophone)

'Gerald Finley is golden in tone, persuasive in phrasing, and unfailingly responsive to the sound and sense of the words. Julius Drake once more proves a strong and imaginative partner, and a quartet from the Aronowitz Ensemble makes a promising recording debut … a very satisfying recital' (BBC Music Magazine)

'The indefatigable Gerald Finley, who makes even the most straight-laced song shine … Julius Drake is his ever percipient partner, while the strings of the Aronowitz Ensemble provide an atmospheric backing for the most famous of these songs, Dover Beach' (The Daily Telegraph)

'The performances are outstanding. Canadian baritone Finley is in top form, showing total command of his voice with stunning hushed singing and ringing top notes. Drake is his reliable accompanist … everything about this recording is terrific' (American Record Guide)

'Baritone Gerald Finley and pianist Julius Drake follow their outstanding disc of songs by Charles Ives with a collection devoted to a very different American composer. Samuel Barber's particularly personal brand of romanticism seems so natural and unforced, it's unnecessary to attach the prefix 'neo-' to it. Barber's gifts for elegant, melodic writing and his own early experiences as a singer (he once contemplated a career as a baritone) made him a natural songwriter, and two of the works here—the 10 settings of medieval Irish texts that make up his Hermit Songs Op 29, and the magically rapt version of Matthew Arnold's Dover Beach—are among his finest achievements in any genre. The Mélodies Passagères, composed in the early 1950s for Pierre Bernac and Francis Poulenc, are a homage to French song; three other settings of James Joyce and some of Barber's songs to American texts are also included. Finley is a wonderfully persuasive advocate for all these songs, and shows that the best of them rank among the greatest of the 20th century' (The Guardian)

'Finley captures the 'eternal note of sadness' that the poet Matthew Arnold hears on the wave-dragged shingle on Dover Beach … Finley and Drake make an excellent partnership throughout' (The Times)

'In my book, Samuel Barber is one of the finest of all songwriters of the 20th century … every human emotion … is astutely conveyed. Gerald Finley knows this well, and here sings some of Barber's finest … ably assisted by the pianist Julius Drake, Finley communicates with finesse every poetic nuance, his golden baritone allied to rare poetic intelligence' (The Sunday Times)

'Having served the songs of Charles Ives with enormous distinction, the partnership of baritone Gerald Finley and pianist Julius Drake shift artistic gear to explore works by one of America's greatest tunesmiths. Samuel Barber's lyrical writing and subtle feeling for expressive shading were matched in his songs by a Britten-like aptness for word-setting, which ideally suits Finley's compelling blend of emotional conviction and vocal sensibility. On the strength of his interpretation of the Hermit Songs alone, regardless of his majestic readings of Barber's Rilke settings and Dover Beach, Finley enables this album to command its price as one of the year's finest vocal releases. Unmissable' (Classic FM Magazine)

'Finley’s best work … this disc has an admirable program … Finley makes a firm and pleasing sound and he can command the nuances when necessary … Julius Drake’s accompaniments strike me as right and are a pleasure to hear' (Fanfare, USA)

'A CD of Barber's songs may, on the surface, seem like too much of a good thing, until you listen to Finley's magisterial survey … using his handsome baritone to explore the Britten-esque lyricism of the Hermit songs and the Francophone poetry of his Mélodies passagères' (Financial Times)

'Hearing the Hermit Songs in a man's voice, this man's voice, is little short of a revelation … there's a world of feeling in these 10 songs, and Finley, accompanied throughout by pianist Julius Drake in a way that would make Barber proud, burrows deeply into every niche … I held my breath before 'Sure on this shining night', my favorite Barber song of all, an ecstatic setting of a rapturous James Agee poem that's harder to bring off than its simple, swelling lines would suggest. Finley hit it out of the park' (Bay Area Reporter, USA)

'[Finley's] warm timbre, technical facility, fluid, natural phrasing, and conscientious expression brings an easy, unforced clarity to the texts, ideally characterizing each song without distracting mannerisms or undue dramatic inflections … it would be hard to imagine performances more purely beautiful, sensitive, and true to the music and poetry than Finley's' (Classics Today)
Barber had a lifelong enthusiasm for Celtic, especially Irish literature: like the British composers Bax and Moeran he identified strongly with Ireland and its people—their humour, their melancholy, their love of words—and considered himself a sort of Irishman ‘in spirit’. He retained a great affection for the writings of James Stephens and James Joyce. His earliest published songs (the Three Songs Op 2, published in 1936) combine two settings of Stephens with a poem from A E Housman’s A Shropshire Lad. The unforced naturalness of their utterance and the sheer charm of their appeal is enhanced by the clear textures and simple, grateful piano parts. The carefree ditty of Stephens’s The Daisies is followed by a plangent B minor setting of Housman’s With rue my heart is laden. More ambitious—indeed frankly dramatic—is the second Stephens setting, Bessie Bobtail, with its melancholy dragging rhythm (the piano’s figures in contrary motion have a drum-like effect), breaking out at last in tragic appeal. The bleak mood is confirmed by the piano’s chorale-like postlude in D minor, marked ‘with eloquence’.

from notes by Calum MacDonald © 2007

Toute sa vie durant, Barber fut un passionné de littérature celte, irlandaise surtout: à l’instar des compositeurs britanniques Bax et Moeran, il s’identifia fortement à l’Irlande et à ses habitants—leur humour, leur mélancolie, leur amour des mots—, se considérant comme une sorte d’Irlandais «en esprit». Il garda une grande affection pour les écrits de James Stephens et de James Joyce. Ses toute premières mélodies publiées (les Three Songs, op. 2, édités en 1936) mettent en musique deux textes de Stephens et un poème extrait de A Shropshire Lad de A.E. Housman. Le naturel jamais forcé de leur expression et leur attrait absolument charmant sont rehaussés par les textures limpides et les parties de piano simples, agréables. La chanson insouciante de The Daisies (Stephens) cède la place à la plaintive With rue my heart is laden (Housman) en si mineur. Bien plus ambitieuse, voire franchement dramatique, la seconde mise en musique d’un texte de Stephens, Bessie Bobtail, arbore un rythme traînant, mélancolique (les figures pianistiques en mouvement contraire produisent un effet de tambourinement), qui éclate finalement en une supplique tragique—un climat de désolation confirmé par le postlude pianistique de type choral, en ré mineur (marqué «with eloquence»).

extrait des notes rédigées par Calum MacDonald © 2007
Français: Hypérion

Barber begeisterte sich lebenslang für keltische und besonders irische Literatur; wie die britischen Komponisten Bax und Moeran identifizierte er sich stark mit Irland und seinem Volk—seinem Humor, seiner Melancholie, seiner Liebe für Worte—und betrachtete sich selbst als eine Art Irländer „im Geiste“. Er hatte eine große Zuneigung zu den Schriften von James Stephens und James Joyce. Seine frühesten veröffentlichten Lieder (die 1936 erschienenen Drei Lieder op. 2) vereinen zwei Vertonungen von Stephens mit einem Gedicht aus A Shropshire Lad von A.E. Housman. Die unforcierte Natürlichkeit ihres Ausdrucks und der reiche Charme ihrer Ansprache wird durch die klaren Strukturen und schlichte, dankbare Klavierstimmen verstärkt. Dem unbekümmerten Liedchen für Stephens’ The Daisies folgt die traurige h-Moll-Vertonung von Housmans With rue my heart is laden. Die zweite Stephens-Vertonung, Bessie Bobtail, ist ambitiöser—sogar ausgesprochen dramatisch—und ihr melancholisch schleppender Rhythmus (die Klavierfigurationen in Gegenbewegung haben einen trommelhaften Effekt) bricht zuletzt in tragischer Eindringlichkeit aus. Die trostlose Stimmung wird durch das „mit Beredtsamkeit“ überschriebene choralhafte Nachspiel in d-Moll bestätigt.

aus dem Begleittext von Calum MacDonald © 2007
Deutsch: Renate Wendel

Other albums featuring this work

Housman: A Shropshire Lad
CDD220442CDs Dyad (2 for the price of 1)
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