BBC's Friday Night is Music Night is the nearest we 
          get nowadays to hearing songs of the late 19th and early 
          20th Century. Of the thousands of once-popular sheet music 
          songs that can still be found in forgotten piano stools only a sprinkling 
          of modern recordings exist, and these are generally with piano accompaniment. 
          Until now good orchestral settings have been thin on the ground. Peter 
          Dawson recorded a number of songs with orchestra on 78rpm records, but 
          their sometimes inferior quality has brought a need for modern orchestral 
          recordings. (It is perhaps surprising that the BBC have not released 
          items from their Friday Night programmes on the various BBC labels.) 
        
An extra dimension is always given to song intended 
          for the piano when played by an orchestra. Orchestration of early British 
          songs was usually carried out by arrangers working internally for publishers 
          like Boosey and Chappell who realised their intrinsic promotional value 
          to enhance sheet music sales. The arrangements are rarely carried out 
          by the composers yet it is likely that a publisher would have always 
          sought their approval. The source of the excellent orchestrations for 
          this modern recording is not mentioned in the notes but they are presumably 
          traditional and are likely to have come from Boosey, Concord, or the 
          BBC library. 
        
 
        Peter Dawson was a well-known bass-baritone who 
          rose to fame in the twenties and thirties with many concert hall and 
          BBC performances. Apart from making records in the acoustic recording 
          days, he was remembered for providing early broadcasts for the Baird 
          television system in the thirties and generally did much to accelerate 
          sheet music sales in the popular songs he sang. It is reported that 
          thirteen million of his records were pressed, he was so popular. 
        
 
        
The selection on this CD are well chosen: they cover 
          a wide range of composers and styles. The Floral Dance, 
          The Kerry Dance and On the Road to Mandalay 
          need no introduction. The orchestral arrangement for On the Road 
          to Mandalay with its florid bridging section between verses is charming 
          and calls for special mention. The Lost Chord is stunningly 
          powerful and reminds us of the British Empire and images found in Mike 
          Leigh's film, Topsy Turvey (on the lives of Gilbert & Sullivan). 
        
There are many songs unfamiliar by name yet known in 
          tune. The songs are sung with good clarity and delivered at a comfortably 
          brisk pace. Lloyd-Jones keeps both singer and orchestra accurately in 
          step. Although I am thankful that Waltzing Matilda wasn't included 
          in the contents list, the absence of favourites like "Leanin'", 
          "Come to the Fair" and "Excelsior" 
          on this well-filled disc are noticed. It is an ideal CD to bring memories 
          of yesteryear flooding back, and is also interesting to hear works of 
          our forgotten British composers whose music regularly turns up in second-hand 
          bookshops. 
        
 
        
Full lyrics are provided in the booklet. It is difficult 
          to decide from the contents list exactly who the librettist is and who 
          the composer: sometimes the librettist appears first, and sometimes 
          second. There are detailed notes on Dawson detailing his 1909-10 Australian 
          tour rather than the songs themselves. (This disc, I should add, is 
          produced in Australia). 
        
 
        
Gregory Yurisich sings with style and precision. 
          He resembles a Robson in timbre, wide compass and powerful delivery. 
          Yurisich has much experience of Verdi and has a wide repertoire of grand 
          opera, making appearances with the Royal Opera and English National 
          Opera at Covent Garden and Edinburgh. His international tours include 
          Hong Kong, Paris, Brussels, Geneva, Melbourne, Sidney and Washington. 
        David Lloyd-Jones, who began in 1959 at the Royal 
          Opera House, Covent Garden needs no introduction: he founded Opera North 
          in Britain and has since worked with Welsh National Opera and appeared 
          at most major festivals. 
        
 
        
The Melba label is new and provides a series of four 
          excellent discs (two by Bonynge). One is Massenet arias and another 
          is R. Strauss songs. A fourth is of British music of an earlier period 
          than this disc, "The Power of Love" and contains arias of 
          Balfe, Sullivan and W. V. Wallace see review. 
        
          Raymond Walker  
          
            
          Available in Australia and New Zealand. For UK availability, email: 
          Raywalker@macunlimited.net