Moeran and song? Well yes, to an extent, but I tend to associate
him more with orchestral works. If this is also your position
then this set comes as a necessary corrective. More to the point
it is a delight to which lovers of English song will return time
and again for renewal and discovery. It’s one of those projects
crying out to be done if only we had known there was a lacuna
to be filled. I should have known - having over the years heard
and taped a number of broadcasts of the songs and encountered
some commercial recordings.
Ian and Jennifer Partridge were on BBC Radio 3 in the 1970s with
the Housman cycle plus
And Wilt Thou Leave Me Thus,
Take
O Take and
The Contented Lover.
This Brown Land
featured in a 1983 recital by Jane Manning and John McCabe
(who was soloist on
Lyrita’s
Rhapsody No. 3). In the 1950s Bushby and Lee broadcast
Far
in a Western Brookland and
Farewell to Barn with Masefield’s
Twilight and
When June is Come. Norma Burrowes and
Keith Swallow gave a memorable reading of
The Four Shakespeare
Songs in 1978 and the year previously so did Philip Langridge.
These were supplemented with occasional broadcasts of vintage
recordings of Heddle Nash and Gerald Moore in
Diaphenia and
Sweet of the Year and Pears – sometimes with Britten and
at others with Viola Tunnard - in
The Merry Month of May and
In An Arbour Green. The
Seven Poems of James Joyce were
broadcast by Ann Murray and Michael Pearce. Most intriguingly
we got to hear Joyce’s
Tilly from Peter and Meriel Dickinson
as part of a superb
Joyce Book documentary in 1983.
This piecemeal picture coupled with Dunelm and Divine Art’s many
Moeran recordings across various CDs can now be seen in a wider
context.
CD 1
Roderick Williams is his usual magnificent self. In colour and
apposite evangelical fervour he takes some trumping. He tackles
the first nine songs on CD 1.
Spring goeth is irradiated
with the sun's contentment yet is not Delian.
When June is
come is blithely belled and spun by both singer and pianist.
Mantle of Blue may also be known as
O Men from the fields
(also set by Bax). Its stilly magic is conjured in the Medtnerian
slow tolling of the piano and in Williams’ inward intoned singing
as if tracing a line of magic – neither under- nor over- stated.
The atmospheric Masefield setting,
Twilight is
very
Housman-like with its references to dead ‘friends’ and ‘beautiful
eyes that the dust has defiled’. Then comes the fine
Ludlow
Town cycle.
When smoke stood up is another delight
in which Moeran combines the dynamic with sappy summer's ooze.
The fine setting of
Farewell to Barn is set a peppy pace
by Williams and Talbot – far faster than C.W. Orr’s equivalent
and utterly masterful song – the latter a virtual operatic scena.
The glower in Williams’ voice is undeniably vivid in conveying
the sense of doom amid the harvest stooks. In
Say Lad,
Moeran comes close to the Stanfordian heroic swashbuckling
ballad – not something he consciously essayed unlike say Ireland
(
Great Things) or Finzi (
Budmouth Dears or
Lyonnesse).
The soprano Geraldine McGreevy sings the brief
The Bean Flower
and
Impromptu in March. She has none of the matron
in her voice. Her tone is splendidly springy and while enunciation
of words is often a problem with sopranos she handles the high
notes with limpid clarity. Adrian Thompson, like Williams, is
a stalwart of British vocal works. His
In Youth Is Pleasure
is most beautifully sung. The song provides a contrasting and
slower, more caressed, version of Warlock's setting of same words
– the latter once recorded by Unicorn with Ian Partridge. What
a delight to hear
The Merry Month of May from Thompson
liberated from the precious, squirmy and mincing tone adopted
in Pears’ classic version. Williams returns then for
A Dream
of Death, a strong and rounded song with a slowly emerging
drama. It has surprising but very pleasing echoes of Medtner in
the piano part. Moeran’s
Come away death is a more sing-song
setting than the better known one by Finzi.
Tracks 15-18 are what you might term Moeran’s
Songs in the
Snug or
Boozer ballads. They’re a world away from the
other songs but reflect another side of Moeran’s character and
one which was to cast an alcoholic curse over his later years.
A similar dichotomy can be found in the life and songs of Peter
Warlock.
Troll the Bowl is a drinking song that begins
amid some very dark storm-clouds. The shadow of Lord Berners and
his music-hall whimsicalities hangs over the ‘shanty’
Can’t
You Dance the Polka with its chorus of “O you New York girls
can't you dance the polka!” It’s performed with gusto and the
occasional squeaky American accent. It’s delivered without a blush
or an excuse - just as it should be. Much the same can be said
- without the transatlantic element - of
Mrs dyer the baby
farmer. The tankard-brandishing
Maltworms – a cooperative
effort between Warlock and Moeran - is a veteran of that old Unicorn
Warlock
Merry-Go-Down LP (UNS249) freshly recorded here.
The Weybridge Male Voice Choir hold nothing back. Brace yourself!
The
Seven Joyce Songs are drawn from the two volumes
Chamber
Music and
Pomes Penyeach. The music moves within and
between worlds of dreamy and strange tonalities. In the Delian
last song,
Now, O Now, in this Brown Land with its slow
incantatory tolling, the piano line looks to Warlock’s
Corpus
Christi. Contrast this with the rushing and chirpy bird flight
and ring-a-ding effervescence of
Bright Cap and the joyous
Eynsford spring-song of
Merry green wood. Williams is superb
in
Pleasant valley with its sunny-bowered Delian summer
garden and in the slow and soft delights of
Rain has fallen.
In
Donnycarney there’s a concession to Irish sentimentality.
In that vein, how long, I wonder, before we get to hear Anthony
Burgess’s splendid Joyce-opera-musical,
The Blooms of Dublin.
CD 2
Williams opens the second disc with a clutch of Housman songs
from 1916. When I came last to Ludlow is full of sangfroid.
All of them are less nuanced and more generalised than the mature
songs but they are still wonderful and steer clear of the Brahms-Stanford
idiom. Much the same can be said of three versions of Oh
Fair enough are sky and plain. I rather like the hesitant
last setting with a minimal piano line which gradually evolves
into something more elaborate; reticent yet still beneficent.
I am so pleased to have these lovely songs including Far
in a Western Brookland – also Bax’s only Housman song.
Adrian Thompson returns for Weep you no more - an iconic
setting linking with Dowland. The long-breathed lines test Thompson's
vibrato as does The Sweet o' The Year. By comparison
The Day of Palms represents Thompson on good form and
attractive voice in a song to which he is well suited. This
is the same poem set by John Ireland under the title Santa
Chiara. It’s a warmly placid and reflective setting. Blue-Eyed
Spring is bright and with a quick youthful pulse which fits
Thompson to a tee; a triumphant if breathlessly breathy success.
The Four English Lyrics, skipping along in confidence,
play to Thompson’s strengths. The two central songs are cut-glass
and slow.
McGreevy sings Rosefrail warmly and the lyrical line
conveys a calming stilly perfection. A chill enters for a return
to James Joyce and Tilly. This is reminiscent of the
Padraic Colum setting from CD 1 - Mantle of Blue. McGreevy
here sounds remarkably like Janet Baker. A very fine song indeed;
so is Rahoon, another ‘Joycerie’ written as Moeran’s
sole entry for The Joyce Book in 1931. The Book (Sylvan
Press, 1933, designed by Hubert Foss and with a Joyce portrait
by Augustus John) also included Watching the Needleboats
at San Sabba (Arnold Bax); A Flower given to my Daughter
(Roussel); She Weeps Over Rahoon (Herbert Hughes);
Tutto e Sciolto (John Ireland); On the Beach at Fontana
(Roger Sessions); Simples (Arthur Bliss); Flood
(Herbert Howells); Nightpiece (George Antheil); Alone
(Edgardo Carducci); A Memory of Players in a Mirror at Midnight
(Eugene Goossens); Bahnhofstrasse (C.W. Orr) and
A Prayer (Bernard van Dieren). Sadly this exclusive luxurious
limited edition seems to have made these songs less accessible
to performers rather than more.
The Shakespeare Songs were well done indeed thirty or
so years ago by Norma Burrowes. However McGreevy is again magnificent
and John Talbot likewise. The Cuckoo goes with the flow
of lightning gold and liquid honey. She gives the cuckoo-call
a real masculine pitch, colouring the call differently each
time. There are similar strengths in the Icicles song where
she gives the “tu whit to whoo” a really tasty howl.
Diaphenia is a work of contrived antiquery much as loved
by peter pears. Here Thompson is best and he conjures a lovely
long lyrical line. Sweet Rosaline is a lovingly rounded
setting. Then come two atmospheric and lilting Seumas O'Sullivan
settings: Invitation in autumn and If there be any
Gods - the latter for McGreevy though the high lines tend
to blunt her enunciation of the words. The Six O'Sullivan songs
are fairly well known if only from broadcasts. They are subtle,
Delian and gaelic-ecstatic and here all sung by McGreevy. Many
of these songs are quite dramatic. The spoken words “Held in
his Hand” in The Poplars draws a similar yet less desolate
shiver to that extracted by the tenor in the famous spoken-whispered
section in Warlock’s The Curlew. A Cottager has
an arpeggiated piano twist similar to an effect also drawn out
by Finzi in several of his Hardy songs. Several of these songs
feature an obsessive little chime figure. The final song rises
to a bell rung delight similar to the dazzling panicked bells
at the apex of O noisy bells be dumb but finishes in
an evocation of the endless blue of the horizon.
It is the curse of these projects - especially with songs -
that while they honestly lay claim to completeness further examples
sporadically turn up. Songs are so easily given to friends,
lovers, and singers here and there. Such is the case here. The
notes tell us quite candidly that an unpublished setting of
The North Sea Ground to a poem (1915) by Cicely Fox Smith
has now turned up. Sadly it could not be included in this collection.
Who knows: there may yet be other examples.
The music is complemented by soundly informed and straight-talking
notes by John Talbot. All sung texts are printed apart from
the Joyce songs - no translation of the texts into other languages
but the notes are there in French and German as well.
This is an essential for all lovers of English song. There are
very few trifling songs here. Even the early ones yield a strong
emotional charge and evince concentration and a lyric talent
out of the ordinary run. We can only hope that the folksong
settings will also be recorded in the fullness of time and that
perhaps any stragglers amongst the Moeran songs can be added
at that time.
With this project completed in such splendour we can hope surely
that Chandos will give us the complete songs by C.W. Orr and
look at recording a series of disc of songs by Michael Head
(why is his Causley-based Cornish Song-Cycle overlooked?),
Mary Plumstead and the complete Housman songs by John Williamson.
Rob Barnett
see also review by
Brian Blyth Daubney
… and now -- Moeran on Chandos Classics
I have taken the Chandos complete songs set as a cue for surveying
a swathe of Moeran works on Chandos. These were issued in the
1980s largely with Handley as conductor though the Cello Concerto
is in the hands of Norman Del Mar with Raphael Wallfisch and
the presumably augmented Bournemouth Sinfonietta.
Originally issued differently coupled these Chandos Classics
discs are each available separately and have been recompiled
to achieve a logical genre symmetry and a more generous playing
time.
The chamber music disc groups an LP from the very early days
of the label and the pianist in the Violin Sonata, John Talbot
is the constant and finely informed pianist in the new songs
set.
The Ulster Orchestra proved themselves beyond question in the
early 1980s with several Bax tone poem discs from Bryden Thomson.
Chandos moved Thomson to the LPO for the rest of the Bax series
after the Fourth Symphony with very mixed results. However not
a foot was put wrong in embracing the Ulster Orchestra for the
Moeran project.
Although not a company tempted by the stack ’em high and sell
’em cheap philosophy they do offer exceptional bargains in tirelessly
good sound.
Ernest John MOERAN
(1894-1950)
Violin Concerto (dedicated to Arthur Catterall) [33:18]; Lonely
Waters (dedicated to Ralph Vaughan Williams) [9:19]; Whythorne's
Shadow (dedicated to Anthony Bernard) [6:30]; Cello Concerto
[28:41]
Lydia Mordkovitch (violin) Ulster Orchestra/Vernon Handley;
Raphael Wallfisch (cello) Bournemouth Sinfonietta/Norman Del
Mar
rec. Christchurch Priory, Dorset, 17 May 1985 (Cello Concerto)
Ulster Hall, Belfast 9 September 1987 and 20-21 August 1989
(other works)
CHANDOS CHAN 10168 X [78:03]
The Violin Concerto is succulently and ripely performed by the
orchestra and with passionate full-throated playing from Mordkovitch.
If we leave historical recordings (Symposium
and Divine
Art) to one side the only real competition here is the older
analogue 1978 recording by John Georgiadis - also with Handley
- on Lyrita.
I keep expecting Tasmin Little and Lorraine McAslan to enter
the lists but nothing so far. Either Mordkovitch or Georgiadis
is delightful but if you want fine digital sound then go for
this Chandos. Lonely Waters is suitably mournful in its
chilly and sighing Delian beauty. It is in the same mood territory
as Bridge’s There is a willow and Goossens’ The Lonely
Tarn. Whythorne's Shadow looks towards Warlock's
Capriol and indeed his own Serenade. Wallfisch
is set back in the sound-stage more than Mordkovitch. This was
the work’s first fully consummated recording. Though affectionate
and soused in historical atmosphere the Lyrita
version by Moeran's widow Peers Coetmore has its roughnesses
and lacks the passionate flow that Wallfisch and Del Mar bring.
The middle movement sounds decidedly Sibelian (Fourth Symphony)
and bleakly so. The finale brings us to close quarters with
Moeran's Irish sympathies in eagerness, skipped dancing and
passionately dug-in tone.
For an alternative review of the Concertos CD: Lance Nixon review
Ernest John MOERAN (1894-1950)
Symphony in G minor [46:29]; Overture for a Masque
[14:27]; Rhapsody for Piano and Orchestra in F sharp major
[17:40]
Margaret Fingerhut (piano)*; Ulster Orchestra/Vernon Handley
rec. Ulster Hall, Belfast 7-9 September 1987 (Symphony and Overture),
8-11 March 1988 (Rhapsody)
CHANDOS CHAN 10169 X [74:03]
The stirring recording quality we have come to expect from Chandos
adds to the musical attractions of this disc. The Symphony is
given a fast tempo by Handley yet without the last element of
goading we experienced last year when Sinaisky sensationally
gave the symphony a Golovanov-style outing with the BBC Phil
at the Proms and later in Manchester (February 2010); surely
a candidate for a BBC Music Magazine cover-mount. Still this
is magical stuff with Handley at the long-sustained peak of
his powers. He is delicate and tense in the enchanted and silvery-slender
Vivace. The finale picks up on that tight and tense bounce
and on the mood of barely suppressed excitement. While the Chandos
technical team do superbly the Decca-Lyrita
people in the 1975 analogue recording by Boult and the NPO still
have the edge. The derided Dilkes version also has plenty going
for it (EMI)
and the Naxos
from the Bournemouth SO and David Lloyd-Jones is excellent.
There's no bad G minor only good versions that appeal more to
some than to others. My first choice remains the Boult not least
for its whoopingly aureate horns as lucidly caught in the final
pages of the first movement. The Handley Chandos is not far
behind and champing at its heels. Now if only Chandos would
record Sinaisky and the BBCPO ... By the way, another Moeran
conductor to be prized is John Longstaff who a couple of years
ago conducted the Symphony with the Sheffield Symphony Orchestra
and made a glorious success of it. To think … how the Moeran
symphony was condemned not so very long ago.
The remaining works include a lovingly done Overture for
a Masque - it is perhaps played a mite breathlessly but
even so it has an unstoppable life of its own. This reminds
me of the version of the Overture I heard Handley do in concert
in Liverpool with the RLPO about eight years ago. It's an exuberant
romp - and that half-halloo-half-warble from the bank of horns
at the end is magnificent. The Rhapsody No. 3 (for piano and
orchestra) is a ‘pocket’ piano concerto - being Moeran's take
on the faintly Rachmaninovian style so popular during the 1940s.
It combines Irish romping, with the pastel subtlety of the John
Ireland concerto and adds a super-romantic Addinsell element
- just so much better. A placid central pool suggests some inland
lough on a soft blue day. Margaret Fingerhut holds the tension
very nicely and caringly engages with the orchestra as in the
fairy chiming at 8.00 onwards. It's a great piece in which to
revel. Such a pity that no recordings of the work survive from
its early champions Harriet Cohen and later Iris Loveridge.
There are two fine modern alternatives in the catalogue but
these enjoy less interesting couplings - these are Una Hunt
on ASV
and John McCabe on Lyrita.
As with all these Chandos Classics revivals the packaging is
exemplary and design decisions down to slender font choices
for the CD are resoundingly successful. These are their third
outing on Chandos: the original issue and two Chandos Enchant
discs of the big orchestral works now deleted. Chandos have
pulled off a similar renaissance for their magnificent Bax orchestral
catalogue.
Ernest John MOERAN (1894-1950)
String Quartet No. 1* in A minor [22:04]; Fantasy Quartet for
Oboe and Strings† in one movement [12:31]; Sonata for Violin
and Piano in E minor [17:55]
Donald Scotts (violin); John Talbot (piano); Sarah Francis oboe†;
English String Quartet (Diana Cummings (violin); Luciano Iorio
(viola) Geoffrey Thomas (cello)); Melbourne String Quartet (Mary
Nemet, Donald Scotts (violins); Marco van Pagee (viola); Henry
Wenig (cello))
rec. St George the Martyr, London, 30 August 1984 (Fantasy Quartet).
Other works recorded by the Australian Broadcasting Commission
in association with the Friends of the Victorian College of
the Arts
CHANDOS CHAN 10170 X [52:48]
Nowadays the Moeran chamber music - built around the two string
quartets - is catered for in princely fashion. There are CDs
of the quartets and other chamber works from Naxos
(Maggini) and ASV - the latter increasingly difficult to track
down.
Chandos’s chamber disc is shorter value than the other three.
Such a pity that they did not have the Piano Trio in their catalogue.
As it is, we get the wonderfully sumptuous Melbourne String
Quartet playing the Quartet for all its worth. It's boisterous
exuberant bouncing music with a lyrically singing velocity and
an outdoors Ravel- and Kodaly-style bustle. The quartet and
the sonata were written during Moeran's time with Ireland as
teacher. These were also the years at Eynsford with Warlock
as drinking companion and reprobate soul-mate. The masterly
single movement Fantasy Quartet is treated to a much more luxurious
recording and one that delivers on transparency and impact.
It matches the effervescence of the music and performance. Dancingly
done Moeran does not turn his back on Curlew-like echoes
of his friendship from some two decades ago. It's a succinct
jewel - no longer than a concert overture. Sarah Francis gives
a magical account. The Violin Sonata is also an Australian product.
The violinist is Donald Scotts, the then leader of the Melbourne
quartet. This Sonata has parallels with those by Ireland, Rootham
and early Howells. Scotts and Talbot deliver a passionate performance
while at times (I, 2:48) reminding me of Rozsa's manner; how
close he comes to Kodaly's Symphony and Summer Evening.
There are remarkable resonances in Kodaly with Moeran. The Lento
is the vehicle for a very potent and high-surging lyricism.
A stomping jig is unleashed in the finale. The spirited performance
and recording on EMI Classics is rather undermined by a less
than vivid recording. By contrast the ABC analogue tape is nothing
less than virile.
Ernest John MOERAN (1894-1950)
Serenade in G; [23:40]; In the Mountain Country - Symphonic
impression [7:06]; Rhapsodies for Orchestra Nos. 1 in F major
[11:54], 2 in E major [12:56]; Nocturne for baritone,
chorus and orchestra [13:26]*; Hugh Mackey (baritone)*; Renaissance
Singers; Ulster Orchestra/Vernon Handley.
rec. Ulster Hall, Belfast, 8-11 March 1988 (Rhapsodies, Serenade);
19-23 February 1989 (In the Mountain Country, Intermezzo and
Forlana movements of Serenade)
CHANDOS CHAN 10235 X [69:22]
This selection of the smaller-scale Moeran is in his characteristic
voice. The Serenade catches Moeran in a gallimaufry of moods.
There's Moeran capering (Prologue or Galop) or soliloquising
(Air) Capriol style or Moeran the robust or abstracted
pastoral pilgrim (Minuet) or Moeran the Warlockian antiquarian
(Rigadoon). Conductor and orchestra in their glory days are
completely at home. In the Serenade they sound so much better
than the old Revolution
LP recorded by the young Handley and the Guildford Philharmonic
with a scorching Bax Tale the Pine Trees Knew.
The earliest work here is the Harty-dedicated In the Mountain
Country with its moods of earnest reflection and countryman's
ecstasy. Those subtle drum-rolls recall Ireland's Forgotten
Rite. This is the only recording of Rhapsody No. 1 -
as also with the previous item. It is the first of three Rhapsodies
- the last a virtual concerto for piano and orchestra - heard
on Chandos
in the hands of Margaret Fingerhut and on Lyrita
with John McCabe. The First Rhapsody is dedicated to John Ireland
whose Mai-Dun
is recalled in the mood of catastrophe at 4.37. This is
self-evidently the work of the composer of the G Minor symphony
– a work still heard at its creative peak on Lyrita
but also superbly done by Handley on Chandos. The Second Rhapsody
has been long familiar from the Boult recording on Lyrita.
Some of us cannot get out of our heads that it belongs with
the Overture
for a Masque simply because it shared an LP side with that
work on Boult's Lyrita LP. It has an expansively romantic theme
which first appears at 1:55 but also is not short of vigour.
If the Serenade is sometimes queasily redolent of Warlock's
Capriol, the Nocturne takes us to the world
of Delius. It is a setting of words by Robert Nichols (one of
whose poems Moeran also set as a song) exploring loveliness,
transience and melancholy in a vein similar to that espoused
by Ernest Dowson. Summer's somnolence, satiation and languor
pulse slowly through this music. Hugh Mackey shapes the notes
with a caress as do the sighing Renaissance Singers.
Rob Barnett
Detailed Contents listing for songs
Ernest John MOERAN (1894-1950)
Complete Solo Songs
CHANDOS CHAN 10596 (2)
CD 1 [50:07]
1 Spring goeth all in white† (Robert Seymour Bridges) 1:21
2 When June is come† (Robert Seymour Bridges) 1:11
3 Mantle of Blue† (Padraic Colum) 1:56
4 Twilight† (John Edward Masefield) 1:48
Ludlow Town† (Alfred Edward Housman)
5 1 When smoke stood up from Ludlow* 3:42
6 2 Farewell to barn and stack and tree 2:37
7 3 Say, lad, have you things to do? 1:28
8 4 The lads in their hundreds 1:51
Two Songs‡ 00:00
9 1 The Bean Flower (Dorothy Leigh Sayers) 2:03
10 2 Impromptu in March (Doreen A.E. Wallace) 1:10
11 In Youth Is Pleasure§ (Robert Wever) 2:20
12 The Merry Month of May§ (Thomas Dekker) 2:01
13 A Dream of Death† (William Butler Yeats) 3:06
14 Come Away, Death† (William Shakespeare) 2:17
15 Troll the Bowl† (Thomas Dekker)
1:23
16 Can’t You Dance the Polka!† (Sea shanty, author anonymous) 1:23
Members of Weybridge Male Voice Choir
17 Mrs Dyer, the Baby Farmer† (Victorian crime ballad, author anonymous) 4:01
Members of Weybridge Male Voice Choir
18 Maltworms† (Attributed to William Stevenson) 2:19
Members of Weybridge Male Voice Choir
Seven Poems by James Joyce† 00:00
19 1 Strings in the earth and air 1:39
20 2 The Merry Green Wood 1:11
21 3 Bright cap 0:46
22 4 The Pleasant Valley 1:25
23 5 Donnycarney 1:23
24 6 Rain has fallen 1:47
25 7 Now, O now, in this brown land 3:59
CD 2 [68:30]
1 When I came last to Ludlow*† 1:17
2 ’Tis time, I think, by Wenlock town† 1:31
3 Far in a western brookland*† 2:30
4 Loveliest of trees*† 1:41
5 Oh fair enough are sky and plain (first version)*† 2:22
6 Oh fair enough are sky and plain (second version)† 2:25
7 Oh fair enough are sky and plain (third version)† 2:46
(Alfred Edward Housman)
8 Weep you no more§ (Sixteenth century, author anonymous) 2:15
9 The Sweet o’ the Year*§ (William Shakespeare) 0:58
10 The Day of Palms§ (Arthur William Symons) 3:18
11 Blue-eyed Spring§ (Robert Nichols) 1:13
12 Rosefrail*‡ 1:18
13 Tilly‡ 2:26
14 Rahoon*‡ (James Joyce) 3:04
Four English Lyrics§
15 1 Cherry Ripe (Thomas Campion) 1:54
16 2 Willow Song (Francis Beaumont and John Fletcher) 1:30
17 3 The Constant Lover (William Browne) 1:32
18 4 The Passionate Shepherd (Christopher Marlowe) 3:15
Four Shakespeare Songs‡
19 1 The Lover and his Lass 1:37
20 2 Where the bee sucks 1:28
21 3 When daisies pied 1:16
22 4 When icicles hang by the wall 1:12
23 Diaphenia*§ (Henry Chettle or Henry Constable) 2:11
24 Rosaline§ (Thomas Lodge) 3:25
25 The Monk’s Fancy§ (Henry .J. Hope) 2:14
26 Invitation in Autumn§ (Seumas O’Sullivan) 4:10
27 If There Be Any Gods‡ (Seumas O’Sullivan) 1:19
Six Poems of Seumas O’Sullivan*‡
28 1 Evening 1:59
29 2 The Poplars 2:13
30 3 A Cottager 2:02
31 4 The Dustman 1:04
32 5 Lullaby 2:29
33 6 The Herdsman 2:36
Geraldine McGreevy soprano‡
Adrian Thompson tenor§
Roderick Williams baritone†
John Talbot piano
24-bit / 96 kHz band
premiere recordings (except*)
Geraldine McGreevy (soprano); Adrian Thompson (tenor); Roderick
Williams (baritone); John Talbot (piano) 
