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BENJAMIN BRITTEN: Serenade for Tenor Horn and Strings, Op. 31, Our Hunting Fathers. Two Folksongs.  Ian Bostridge: Tenor. Bamberger Symphoniker, Ingo Metzmacher/Britten Sinfonia Daniel Harding. EMI CDC 556-871-2 57m DDD.

 


Crotchet



I fail to understand EMI's marketing concepts with this one! Picking two already available works from different CDs and packaging them into one is a good thing but when the other two releases remain freely available, then you will obviously undermine the sales potential of your new release. But anyway, there are much riches to be had from this all-Britten/Bostridge issue. The dark Serenade reveals Bostridge's highly cultured penchant for the composer, indeed he is obviously the heir to the great Peter Pears who made the Serenade his own (it was obviously dedicated to him).

Recently I was listening to Jerry Hadley's rather foursquare account of this work on a budget price Nimbus set which confirms that Bostridge is in a different league altogether. He finds great pathos in the 'Dirge' and exquisite tenderness in the charming 'Spinet' whilst the shattering Epilogue leaves one with a sense of hopelessness, almost reminiscent of Owen's war poetry. I was surprised to find Ingo Metzmacher's accompaniment so thoroughly involved but it now is apparent that British music is an international format and it gives must joy to find such cultured music making from a German orchestra.

The other work on disc is 'Our Hunting Fathers' an earlier song cycle based on steep tradition. This time, Bostridge is accompanied by the British Sinfonia, a small chamber-like ensemble which is deeply rooted in the composer school. This gives a more intimate setting to the music especially in the pathos and grim 'Funeral Music' which sounds ever so stark and depressing. Bostridge is definitely in his element, relishing the impressive vocal ranges that Britten throws at him and we can definitely appraise this version as well-nigh definitive.

Two short folksongs are sandwiched between the major works and make good interludes, I was unfamiliar with both and they pleased me immensely. Of course, one cannot discount Pears' Decca versions but for a good modern digital version of both works, Ian Bostridge is the man of the moment in Britten.

Reviewer

Gerald Fenech

Performance:

Sound:

Reviewer

Gerald Fenech

Performance:

Sound:



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