Ian Bostridge Antonio Pappano - Shakespeare Songs (2016) CD Rip
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Ian Bostridge Antonio Pappano - Shakespeare Songs (2016) CD Rip

Artist: Ian Bostridge & Antonio Pappano
Title: Shakespeare Songs
Year Of Release: 2016
Label: Warner Classics
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 66:54 min
Total Size: 222 MB
WebSite:

Tracklist:

01 - 05] Gerald Finzi: Let Us Garlands Bring, Op.18
06] William Byrd: Caleno Custure Me
07] Thomas Morley: It was a lover and his lass
08] John Wilson: Take, o take those lips away
09] Thomas Morley: O mistress mine
10] Robert Johnson: Where the bee sucks
11] Robert Johnson: Full fathom five
12] Franz Schubert: An Silvia, D891
13] Joseph Haydn: She never told her love, Hob.XXVIa:34
14] Roger Quilter: Three Shakespeare Songs, Op.6 - I. Come away, death
15] Ivor Gurney: Under the Greenwood Tree
16] Peter Warlock: Pretty Ring Time
17] Peter Warlock: Sweet and Twenty
18] Erich Korngold: Four Shakespeare Songs, Op.31 - I. Desdemona's Song
19] Erich Korngold: Songs of the Clown, Op.29 - I. Come away, death
20] Erich Korngold: Songs of the Clown, Op.29 - II. Adieu, good man devil
21] Francis Poulenc: Fancie
22] Benjamin Britten: Fancie
23 - 25] Michael Tippett: Songs for Ariel
26 - 28] Igor Stravinsky: Three Songs from William Shakespeare
29] Anonymous: When that I was but a little tiny boy

Performers:

Ian Bostridge - tenor
Antonio Pappano - piano (1 – 5, 12 – 25)
Elizabeth Kenny - lute (6 – 11)
Adam Walker - flute (26 – 28)
Michael Collins - clarinet (26 – 28)
Lawrence Power - viola (26 – 28)


From the cover of this release, you might think that you're getting a release similar to many others involving songs setting texts by Shakespeare, and indeed you are in part. There's a star tenor, Ian Bostridge, and an accompanist who's also a moderate draw, Antonio Pappano, turning in his baton temporarily for a stint at the keyboard. There are familiar settings by English composers of the 20th century, including Gerald Finzi and Roger Quilter, and one of these, Finzi's gorgeous Let Us Garlands Bring, should be sampled: you may find that it alone is worth the price of admission. Yet actually the album is something different from what it appears, and Bostridge, sounding clear and light in the higher ranges as ever, deserves credit for stretching the concept. First of all, Pappano is not the only accompanist, although you'd never know this from the graphics. On songs by Thomas Morley and other Renaissance composers (there's an odd texted version of a set of keyboard variations by Byrd, possibly one of the first classical compositions based on an Irish air), Bostridge is joined by the fine lutenist Elizabeth Kenny. These songs are common enough, but they aren't always programmed with the likes of Finzi, and the combination emphasizes the influence of the madrigal tradition, Renaissance and beyond, on 20th century song composers. Then, in the last half of the program, Bostridge takes an even more independent step, diverging into non-English repertory. The Three Songs from William Shakespeare of Stravinsky, written in 1953, have been largely ignored in recent years, perhaps because they are transitional works that seem uncomfortable in either the neoclassical or the serialist spheres, with tentative experiments in the latter. But for the Stravinsky lover, this will recommend them, and the songs have an attractive simplicity that fits in well with the rest of the program. There are compact songs by Michael Tippett and a great pair of settings of the same text by Poulenc and Britten that neatly encapsulate the styles of the two. The real find is three of the Four Shakespeare Songs, Op. 31, written in the late 1930s by Erich Korngold just after he fled fascist Austria for the U.S. These are equally influenced by Korngold's basic late Romantic style, his new interest in the Hollywood film music that was paying his bills, and his idealized image of Merrie Olde England, and they're delightful. The whole thing adds up to a fair survey of how the songs in Shakespeare's plays have been heard by composers down through the centuries, and it's well above par for the course. -- James Manheim





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