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Home , Always and Everywhere, Amanda Roocroft, A Song of Autumn, Clara Butt, Coronation Ode, Edward Elgar

CHANNEL CLASSICS CCS SA 27507

SIR (1857-1934) REINILD MEES Complete Songs for voice and piano vol. 1 Like most composers, Sir Edward ser was one of constantly importuning Elgar’s first attempts at composition publishers to take small pieces – were with and small chamber a situation that gradually changed and piano pieces, though unlike most in the 1890s as his early works for young composers of his day, strangely chorus and appeared. But Elgar wrote few songs until his various it took Elgar a long time to become love affairs from his mid-twenties established, the SIR onwards. Elgar’s early life as a compo- only appearing when he was 41. EDWARD ELGAR It is doubly interesting then to (1857-1934) encounter so early a song as his setting of Edmund Waller, The Self-Banished, AMANDA ROOCROFT KONRAD JARNOT REINILD MEES which dated from 1875 when he Complete Songs was just 18. It, of course, remained for voice and piano unpublished and unknown until recently when it was printed in the vol. 1 Elgar Collected Edition. In the present selection of Elgar’s songs we move on a dozen years for something more familiar, when the thirty-year old Elgar set Queen Mary’s Song, words by Tennyson. Written in June and July 1887 it was accepted by the publishers Osborn & Tuckwood and revised for publication in 1889. It later became familiar when included by Elgar in the volume of which the now celebrated composer Sir Edward Elgar (‘Lewis Foreman Collection’) published in 1907.

[3] In The Wind at Dawn the 30 year- niments making them as suitable for on account of the inferior verse that he Britten’s Moonlight in . old Elgar set words written by his the respectable drawing room as the chose to set. While they were sung by Elgar’s work originated with the future wife, (‘C. Alice Roberts’ it says concert hall. Also from 1892 the , for whom they were writ- second song of the cycle, to words by on the printed copies), about a year wistful is perhaps ten, they still attracted a big following; his wife. This became (Capri) before they were married. Alice was chiefly of note in that it finds Elgar but later it was not until Dame Janet in , but in fact dated from already a published poet and novelist, setting words by Adam Lindsay Baker’s celebrated recording with Sir two years earlier and had already if a minor one. It was the first time he Gordon, to whom he would return in 1965 and the appeared in the quarterly periodical had set Alice’s verse. However, the in Sea Pictures. Victorian revival of still more recent The Dome for January 1898 as Lute music’s tremendous character and Dry Those Fair, Those Crystal Eyes years that we have been allowed to for- Song. The invention of the new songs impact was not fully revealed until he was written for a charity concert at get the once embarrassing moments in that Elgar composed in the summer of orchestrated it, in his most sumptuous London’s in June the verse and instead relish Elgar’s glo- 1899 is informed by elements derived mature manner, in July 1912. Here we 1899 and published immediately - rious orchestral sound, and soaringly from his wife’s song, and various have nothing less than what is, to all wards in the souvenir volume of the memorable vocal line which at times phrases and textures appear in more intents and purposes, a sixth Sea Charing Cross Charity Hospital anticipates the Angel whose music he than one of the songs, giving a unity to Picture. The song dates from May Bazaar, which explains why it was must even then have been sketching in the cycle. By 11 August the voice and 1888, Elgar sending it to the Magazine soon forgotten. Forgotten, too, because Gerontius. And now that we are more piano version was ready for Elgar to of Music which awarded it a prize within a few months Elgar produced familiar with Mahler’s songs with run through with Clara Butt, and at the and published it almost immediately. his cycle Sea Pictures Op. 37. The orchestra we are in a better position to Festival on the 5 October she However, it was not published Sea Pictures date from a significant consider favourably Elgar’s achieve- had a tremendous success before an separately until 1907, when it had a moment in his emergence as a big name ment in a comparatively new form audience reported as 1,320 though dedication to Ludwig Wüllner, the on the British musical scene. Written when the only widely sung set of seri- even found the concert tenor soloist of the early German for the Norwich Festival in October ous songs with orchestra was Berlioz’s ‘absurdly long’ (it included, among performances and the London 1899, these songs come between the Les Nuits d’Été. With the advantage others, Albani in the Liebestod from premiere of . Enigma Variations and The Dream of of hindsight it is also worth remember- Wagner’s Tristan). The cycle has a The early songs are all noted for Gerontius in his output, and were an ing Garry Humphreys’ comment that distinguished history with piano their characteristic lyricism, though, as instant success, though later they tend- there is uncanny similarity between accompaniment, and back in London in of 1892, ed to be regarded – to my mind unfair- points of orchestral accompaniment in Elgar appeared at the piano to accom- very much of their time, their accompa- ly – as less than first rate Elgar, largely Sea Slumber-Song and the opening of pany Clara Butt in four of the songs.

[4] [5] On 20 October they were sung by her tators have heard Sabbath Morning as indeed it was the first high profile de Possibly Elgar’s high point as a before the Queen at Balmoral. Three sung in Helen’s voice. facto festival of Elgar’s music, not least songwriter came between 1908 and years later Butt crowned her associa- Elgar was now established as a song the . Aligned with 1910. , written in 1908, imme- tion with Elgar’s music by making composer and so it is natural he was Elgar’s music were the words of A. C. diately follows the First in all her own. asked for songs, and able to respond Benson (1862-1925), the author of the Elgar’s output, its noble wide-spanning While Elgar’s music must have been with memorable settings. In 1901 the text of Land of Hope and Glory, the melody, quintessentially Elgar, success- very striking in 1899, we should not Irish plays were all the rage and he Coronation Ode and the two songs to fully synthesising the world of art forget that the 27 year-old Clara Butt wrote There Are Seven That Pull the which Elgar gave the opus number 41 song and the drawing room ballad. was 6’ 2” in height, appeared in a stun- Thread for the play Grania and – and Speak, Music! In the Autumn of 1909 Elgar ning uncorsetted dress, and had an Diarmid by and W. B. completed in August. attempted to produce a song cycle exceptionally powerful voice. She thus Yeats, for which he also wrote a cele- Elgar’s ‘concert ’ – really on words by Sir Gilbert Parker, intro- possessed all the musical and personal brated and incidental an extended of a duced by Elgar’s friend Alice Stuart- charisma to be the star turn despite the music. Elgar’s atmospheric song is sung holiday in Italy – (Alassio) Wortley. Six songs were planned and celebrated singers of an older genera- by the druidess Laban who, norn-like, includes an interlude, Canto Popolar, given the opus number 59 but only tion who appeared in the same concert. sits spinning as the tragedy unfolds. in which a shepherd sings an imagined three completed, of which two are Recent research has suggested that Elgar could always be relied on to rise folksong, first heard on the solo . sung here: Oh, Soft was the Song this work is connected with Elgar’s to the demands of the theatre. In the South was first heard in 1904 and . They were first per- Worcester love for Helen Weaver, The early years of the twentieth and this was soon published separately formed by at the Jaeger who ended their engagement when she century were a fruitful time for Elgar’s in a variety of instrumental arrange- memorial concert on 24 January 1910, emigrated to New Zealand in 1885. It song output and from 1901 we also ments. Elgar fitted words from the elegiac Twilight perfect for the is an interesting speculation whether, have and Shelley’s ‘An Ariette for Music’ to occasion with its sorrowing ‘adieu’ with her as his wife, Elgar would have Come, Gentle Night, the latter written make the song , first ostensibly to the setting sun, but all become the celebrated composer he for a Boosey Ballad Concert. Elgar was published as a supplement to the too clearly to a world lost with the did. I do not have space here to relate seen as a writer of popular songs – French magazine L’Illustration. death of Jaeger. the detailed text to possible Helen allu- classy perhaps, but still popular. sions, but it is worth remembering the 1902 was the year of the Corona- Lewis Foreman © 2007 context of a long sea voyage in the tion of King Edward VII, to which 1880s and noting that several commen- Elgar contributed various works,

[6] [7] Amanda Roocraft – soprano , Sir Charles Mackerrras Amanda Roocroft has secured an inter- and Sir . A noted national reputation as one of Britain’s recitalist, she has performed at Lon- most exciting singers, in opera, concert, don’s , Queen Elizabeth and in recital. She graduated from Hall, the Amsterdam, the Royal Northern College of Music. the Musikverein in Vienna, New A celebrated opera singer, she enjoys York’s Lincoln Center, La Monnaie a close relationship with the Royal in Brussels and in Munich, Frankfurt, Opera House Covent Garden, the Paris, Valencia and Lisbon. In 2007 , the Glynde- Amanda Roocroft received the bourne Festival, and the Bavarian State Laurence Olivier Award for her ‘Out- Opera in Munich where her roles have standing Achievement in Opera’ as included Fiordiligi in Così fan Tutte, Janacek’s Jenufa with English National Countess in Le Nozze di Figaro, Donna Opera. Called ‘perhaps the best perfor- Elvira in , Desdemona in mance of her career’, ‘world class’ and Otello, Amelia in Simon Boccanegra, a ‘performance memorable even by her Mimi in La Boheme, Eva in Die Meis- own high standards’, her involving tersinger; the title roles in Madama portrayal was heart-wrenching and Butterfly, Katya Kabanova and Jenufa, devastatingly moving. Ginevra in and Cleopatra in Giulio Cesare. In concert Amanda Roocroft has Konrad Jarnot – appeared with leading Konrad Jarnot studied with Rudolf throughout Europe and North America Piernay at the Guildhall School of with conductors including Sir Simon Music and Drama where he received Rattle, , Mariss Jansons, the Gold Medal in 1997. In 1996 he , Sir , was awarded the Decca Prize of the Daniele Gatti, Sir , Sir Awards and in 2000

[8] [9] he won the First Prize at the Inter- Gesellen) Mozart (songs by Leopold, Aeneas (Dido and Aeneas) in London, has recorded a number of interesting national ard Competition in Munich. Wolfgang Amadeus and Franz Xaver Harlekin (Ariadne auf Naxos) in Gar- cds: The Complete Songs of Ottorino He subsequently studied with Dietrich Mozart), Strauss (baritone version of misch, Pelléas (Pelléas et Mélisande) in Respighi, Franz Schreker and Karol Fischer-Dieskau. He is particularly Vier letzte Lieder), Zilcher, Ravel (bari- Innsbruck, Tambourmajor (Gurlitt’s Szymanowski. Currently she is record- known as a recitalist. Previous recital tone version of Shéhérazade), Brahms Woyzeck) in Madrid and Amfortas ing all song cycles by appearances have included the Richard (Die schöne Magelone) and Duparc. (Parsifal) in Monte-Carlo and Frank- with the German baritone Jochen Strauss Festival in Garmisch, the He has worked with many conductors furt. In June 2007 Konrad Jarnot made Kupfer, playing a historical grand Beethoven Festival in Bonn and the including , Marek his Covent Garden piano dating from Schumann’s time. Schwetzingen Festival. He has worked Janowski, , Jesus debut as Don Fernando (Fidelio), con- All of her cds have received extremely with many pianists including Helmut Lopez-Cobos, , Ulf ducted by . good reviews in Gramophone, Fono Deutsch, Irwin Gage, Hartmut Höll, Schirmer, Jonathan Nott, Gustav Forum, Musica, Luister and other mag- Reinild Mees, Wolfram Rieger and Kuhn, , Peter azines. In 2004 Reinild Mees won the Alexander Schmalcz. Forthcoming con- Schreier and Helmut Rilling and Reinild Mees – piano Szymanowski-Award and the Medal cert engagements include his debuts at with such orchestras as the Concert- After extensive piano studies with Merit of Polish Culture for her achieve- the Wigmore Hall, Concertgebouw gebouw Orchestra, Israel Philharmonic Gérard van Blerk (Amsterdam), ments in promoting the song repertoire Amsterdam, Konzerthaus Vienna, Orchestra, Orchestre National de Malcolm Frager (usa) and Noël Lee of Karol Szymanowski. Recently the Konzerthaus Berlin, Alte Oper Frank- France, Orchestre de la Suisse (Paris) the Dutch pianist Reinild Mees Szymanowski cds won the Fryderyk furt, Teatro Real Madrid, Tonhalle Romande, Orchestra Sinfonica di concentrated her activities on accompa- Award, the most prestigious music Zurich, Théâtre des Champs-Elysees Milano, Mozarteum Orchester Salz- nying singers and instrumentalists in award in Poland for the best recording Paris, Théâtre de la Monnaie in burg and in Germany with the recital. High-ranking artists such as of Polish music. As a vocal coach Brussels, Megaron Athens, Palau de la Gewandhaus Orchester , the Elly Ameling, Gérard Souzay and Reinild Mees has taught at the Amster- Musica Valencia, Opera City Hall Bamberger Symphoniker, Münchener Sandor Végh helped her refine and dam and Utrecht Conservatory, the Tokyo, Kennedy Center Washington, Rundfunkorchester and Bayerisches perfect her talents in this demanding European Centre for Opera and Vocal Lincoln Center New York and at the Staatsorchester. métier. Today Reinild Mees is a much Art (Ghent) and the Opera Studio Rheingau, Schleswig Holstein and His opera roles include Guglielmo sought-after accompanist for song in Amsterdam. In addition to accom- Ludwigsburg Festivals. (Così fan Tutte) in Savonlinna, Onegin recitals and duo concerts. She performs panying masterclasses for Elisabeth His numerous recordings include discs (Eugen Onegin) in Baden-Baden, regularly in radio and television broad- Schwarzkopf, , Galina of Mahler (Lieder eines fahrenden Yeletzky (Pique Dame) in , casts. For Channel Classics Records she Vishnevskaja, Grace Bumbry and other

[10] [11] famous singers she played as an official 1 The Self-Banished (1875) But vow’d I have and never must accompanist for a number of inter- Edmund Waller (1606-1687) Your banish’d servant trouble you; national competitions. For if I break, you may mistrust In order to promote the revival of the It is not that I love you less The vow I made to love you too. beautiful songs, mainly from the inter- Than when before your feet I lay: bellum, which have been neglected But to prevent the sad increase 2 Oh, Soft was the Song Op. 59 No. 3 since the Second World War, Reinild Of hopeless love, I keep away. (1909) Mees founded the 20th Century Song from ‘At Sea’ by Sir Gilbert Parker Foundation. This foundation aims to In vain! alas! for ev’rything (1862-1932) bring back these musical treasures to Which I have known belong to you, the public by producing (semi-staged) Your form does to my fancy bring Oh, soft was the song in my soul, and soft song recitals with special themes: And makes my old wounds bleed anew. beyond thought were thy lips, Spotlights concerts. And thou wert mine own, and Eden recon- Who in the Spring from the new Sun, quered was mine: Already has a fever got, And the way that I go is the way of thy Too late begins these shafts to shun, feet, and the breath that I breathe Which Phoebus thro’ his veins has shot. It hath being from thee, and life from the life that is thine! Too late he would the pain assuage, To shadows thick he doth retire; About with him he bears the pain And in his tainted blood the fire.

Absence is vain for ev’rything Photographers: That I have known belong to you, Anthony Roocroft (Amanda Roocroft) Your form does to my fancy bring Holger Jacoby (Konrad Jarnot) And makes my old wound bleed anew. Catherine Reijans (Reinild Mees)

[12] [13] 3 In Moonlight (1904) 4 Pleading Op. 48 No. 1 (1908) 5 There Are Seven That Pull the Thread 6 Twilight Op. 59 No. 6 (1909) from ‘To Jane’ by Arthur Leslie Salmon (b. 1865-?) (1901) after ‘Spinning Song’ by from ‘The Twilight of Love’ (1792-1822) William Butler Yeats (1865-1939) by Sir Gilbert Parker (1862-1932) Will you come homeward from the hills of As the moon’s soft splendour Dreamland, There are seven that pull the thread. Adieu! and the sun goes awearily down, O’er the faint cold starlight of heav’n Home in the dusk, and speak to me again? There is one under the waves, The mist creeps up o’er the sleepy town, Is thrown, Tell me the stories that I am forgetting, There is one where the winds are wove, The white sails bend to the shudd’ring mere, So thy voice most tender Quicken my hope, and recompense my pain? There is one in the old grey house And the reapers have reaped, and the night is To the strings without soul has given Where the dew is made before dawn. here. Its own. Will you come homeward from the hills of One lives in the house of the sun, Though the sound o’erpowers, Dreamland? And one in the house of the moon, Adieu! and the years are a broken song, Sing again, with thy sweet voice revealing I have grown weary, though I wait you yet; And one lies under the boughs The right grows weak in the strife with A tone Watching the fallen leaf, the faith grown Of the golden apple tree, wrong, Of some world far from ours, fainter, And one spinner is lost. The lilies of love have a crimson stain, Where music and moonlight and feeling The mem’ry smoulder’d to a dull regret. Holiest, holiest seven And the old days never will come again. Are one. Put all your pow’r on the thread Shall the remembrance die in dim forgetting That I’ve spun in the house tonight. Adieu! Some time shall the veil between All the fond light that glorified my way? The things that are, and that might have been, Will you come homeward from the hills of Be folded back for our eyes to see, Dreamland, And the meaning of all be clear to me. Home in the dusk, and turn my night to day?

[14] [15] SEA PICTURES (1899) 8 In Haven (Capri) Op. 37 No. 2 The waters around me, turbulent, 10 Op. 37 No. 4 , née Roberts The skies, impassive o’er me, (1835-1906) 7 Sea Slumber-Song Op. 37 No. 1 (1848-1920) Calm in a moonless, sunless light, Hon. Roden Berkeley Wriothesley As glorified by even the intent The deeps have music soft and low Noel (1834-1894) Closely let me hold thy hand, Of holding the day glory! When winds awake the airy spry, Storms are sweeping sea and land; It lures me, lures me on to go Seabirds are asleep, Love alone will stand. Love me, sweet friends, this sabbath day. And see the land where corals lie. The world forgets to weep, The sea sings round me while ye roll Sea murmurs her soft slumber-song Closely cling, for waves beat fast, Afar the hymn unalter’d, By mount and mead, by lawn and rill, On the shadowy sand Foam flakes cloud the hurrying blast And kneel, where once I knelt to pray, When night is deep, and moon is high, Of this elfin land; Love alone will last. And bless me deeper in your soul That music seeks and finds me still, “I, the Mother mild, Because your voice has falter’d. And tells me where the corals lie. Hush thee, O my child, Kiss my lips and softly say Forget the voices wild! “Joy seaswept, may fade today And tho’ this sabbath comes to me Yes, press my eyelids close, ’tis well; Love alone will stay.” Without the stolèd minister, But far the rapid fancies fly Isles in elfin light And chanting congregation, To rolling worlds of wave and shell, Dream, the rocks and caves God’s Spirit shall give comfort. And all the land where corals lie. Lull’d by whisp’ring waves, 9 Op. 37 No. 3 HE Who brooded soft on waters drear, Veil their marbles bright, from ‘A Sabbath on the Sea’ (1839) Creator on creation. Thy lips are like a sunset glow, Foam glimmers faintly white by Elizabeth Barrett Browning Thy smile is like a morning sky, Upon the shelly sand (1806-1861) He shall assist me to look higher, Yet leave me, leave me, let me go Of this elfin land; Where keep the saints, with harp and And see the land where corals lie. The ship went on with solemn face; song, Sea-sound, like violins, To meet the darkness on the deep, An endless sabbath morning. To slumber woos and wins, The solemn ship went onward. And, on that sea commix’d with fire, I murmur my soft slumber-song, I bow’d down weary in the place; Oft drop their eyelids raised too long Leave woes, and wails, and sins, For parting tears and present sleep To the full Godhead’s burning. Ocean’s shadowy might Had weigh’d mine eyelids downward. Breathes good night!” The new sight, the new wond’rous sight! [16] [17] 11 Op. 37 No. 5 The skies were fairer, the shores were firmer 12 The Wind at Dawn (1888) 13 In the Dawn Op. 41 No. 1 (1902) from ‘The Swimmer’ The blue sea over the bright sand roll’d; Caroline Alice Elgar, Arthur Christopher Benson by (1833-1870) Babble and prattle, and ripple and murmur, née Roberts (1848-1920) (1862-1925) Sheen of silver and glamour of gold. With short, sharp, violent lights made vivid, And the wind went out to meet with the sun Some souls have quickened, eye to eye, To southward far as the sight can roam, So, girt with tempest and wing’d with thunder At the dawn when the night was done, And heart to heart, and hand in hand; Only the swirl of the surges livid, And clad with lightning and shod with sleet, And he racked the clouds in lofty disdain The swift fire leaps, and instantly The seas that climb and the surfs that comb. And strong winds treading the swift waves As they flocked in his airy train. They understand. Only the crag and the cliff to nor’ward, under The rocks receding, and reefs flung The flying rollers with frothy feet. And the earth was grey, and grey was the Henceforth they can be cold no more; forward, One gleam like a blood-shot sword-blade sky, Woes there may be, ay, tears and blood, Wail’s wreck’d seaward and wasted swims on In the hour when the stars must die; But not the numbness, as before shoreward The sky-line, staining the green gulf crimson, And the moon had fled with her sad, They understood. On shallows sheeted with flaming foam. A death-stroke fiercely dealt by a dim sun wan light, That strikes thro’ his stormy winding sheet. For her kingdom was gone with night. Henceforth, though ages roll A grim, grey coast and a sea-board Across wild wastes of sand and brine, ghastly, O brave white horses! you gather and gallop, Then the sun upleapt in might and in power, Whate’er betide, one human soul And shores trod seldom by feet of men The storm sprite loosens the gusty reins; And the worlds woke to hail the hour, Is knit with mine. Where the batter’d hull and the broken Now the stoutest ship were the frailest shallop And the sea stream’d red from the kiss of his mast lie, In your hollow backs, on your high-arch’d brow, Whatever joy be dearly bought, They have lain embedded these long years manes. There was glory and light enow. Whatever hope my bosom stirs, ten. I would ride as never man has ridden The straitest cell of secret thought Love! when we wander’d here together, In your sleepy, swirling surges hidden, To his tawny mane and tangle of flush Is wholly hers. Hand in hand thro’ the sparkling To gulfs foreshadow’d thro’ strifes forbidden, Leapt the wind with a blast and a rush; weather, Where no light wearies and no love wanes. In his strength unseen, in triumph upborne, Ay, were I parted, life would be From the heights and hollows of fern and Rode he out to meet with the morn! A helpless, heartless flight along heather, Blind tracks in vales of misery God surely lov’d us a little then. And sloughs of wrong.

[18] [19] Nay, God forgive me! 15 Dry Those Fair, Those Crystal Eyes 16 Always and Everywhere (1901) 17 Like to the Damask Rose (1892) Life would roll like some dim moon thro’ (1899) ‘Song’ by Dr. Henry King, Frank H. Fortey from the Polish of in score poem is attributed to Simon cloudy bars; Bishop of Chichester and chaplain to Count Zygmunt Krasinski Wastell (1560-1635), possibly by But to have loved her sets my soul James I (1592-1669) (1812-1849) William Alabaster (1567-1640) Among the stars. Dry those fair, those crystal eyes, O say not, when my earthly days are o’er, Like to the damask rose you see, Which like growing fountains rise That I have only caused thee sorrows sore; Or like a blossom on a tree, 14 Speak, Music! Op. 41 No. 2 (1902) To drown their banks; For I have wreckt my own life, even more, Or like a dainty flow’r of May, Arthur Christopher Benson (1862-1925) Grief’s sullen brooks Always and Ev’rywhere. Or like the morning of the day, Would better flow in furrow’d looks; Or like the sun, or like the shade, Speak, music, and bring to me Thy lovely face was never meant O say not, when on earth I no more dwell, Or like the gourd which Jonas had, Fancies too fleet for me, To be the shore of discontent. That I have numbed thy young heart’s E’en such is man whose thread is spun, Sweetness too sweet for me, joyous swell; Drawn out and cut, and so is done. Wake, voices, and sing to me, Then clear those wat’rish stars again, I, too, have quaffed the Poison-Cup of Hell, The rose withers, the blossom blasteth, Sing to me tenderly; bid me rest. Which else portend a lasting rain; Always and Ev’rywhere. The flower fades, the morning hasteth, Lest the clouds which settle there The sun sets, the shadow flies, Rest! ah, I am fain of it! Prolong my winter all the year, But say, when soft the grasses o’er me wave, The gourd consumes, the man he dies! Die, Hope! small was my gain of it! And thy example others make That God is kind to hide me in the grave; Song, take thy parable, In love with sorrow for thy sake. For both my life and thine I did enslave, Like to the grass that’s newly sprung, Whisper, that all is well, Always and Ev’rywhere. Or like a tale that’s new begun, Say that there tarrieth Or like a bird that’s here today, Something more true than death, But say, O say! when my last hours depart, Or like the pearled dew of May, Waiting to smile for me; bright and blest. That my poor life was one long frenzied Or like an hour, or like a span, smart; Or like the singing of a swan, Thrill, string: echo and play for me For I have loved thee, though with bitter E’en such is man who lives by breath, All that the poet, the priest cannot say for me; heart, Is here, now there, in life and death. Soar, voice, soar, heavenwards, and pray for me, Always and Ev’rywhere. The grass withers, the tale is ended, Wondering, wandering; bid me rest. The bird is flown, the dew’s ascended;

[20] [21] The hour is short, the span not long; 19 A Song of Autumn (1892) 20 Come, Gentle Night (1901) The swan’s near death, Man’s life is done! Adam Lindsay Gordon (1833-1870) C. Clifton Bingham (1859-1913)

“Where shall we go for our garlands glad Come, gentle night! 18 Queen Mary’s Song (1887) At the falling of the year Upon our eyelids lay thy fingers light; from Act V, Scene 2 of ‘Queen Mary’ When the burnt-up banks are yellow and For we are tired, and fain aside would lay (1888) by Lord Alfred Tennyson sad The cares and burdens that surround the day. (1809-1892) When the boughs are yellow and sere? Where are the old ones that once we had Come, peaceful night! Hapless doom of woman happy in And when are the new ones near? Thy courierstars already glitter bright; betrothing, What shall we do for our garlands glad And we who labour, both unblest and blest, Beauty passes like a breath and love is At the falling of the year?” Are weary of our work, and long for rest. lost in loathing: Low! my lute: Speak low, my lute, but say “Child! can I tell where the garlands go? Come, holy night! the world is nothing. Can I say where the lost leaves veer? Long is the day, and ceaseless is the fight; Low! lute, low! On the brown-burnt banks, when the wild Around us bid thy quiet shadows creep, winds blow And rock us in thy sombre arms to sleep! Love will hover round the flowers when When they drift thro’ the dead-wood they first awaken; drear? Love will fly the fallen leaf, and not be Girl! when the garlands of next year glow overtaken; You may gather again, my dear; Low, my lute! O low my lute! we fade But I go where the last year’s lost leaves go and are forsaken. At the falling of the year.” Low, dear lute, low!

[22] [23] CCS SA 27507 Please send to Veuillez retourner: CHANNEL CLASSICS RECORDS The 20th Century Song Foundation but also by the recording of their Waaldijk 76, 4171 CG (Stichting 20ste-eeuwse ), settled in Complete Songs – a cd series issued by Herwijnen, the Netherlands Phone: (+31.418) 58 18 00 Amsterdam (The Netherlands), aims at Channel Classics Records that has an Fax: (+31.418) 58 17 82 fanning the flames of enthusiasm for the important documentary value. In order extensive repertory of songs written du- to appeal to a larger audience, a new Where did you hear about Channel Classics? Comment avez-vous appris l'existence de Channel ring the last century. Many of these, form of recital has been developed: Classics? especially those composed between the ‘spotlights concerts’. The 20th Century Review Critiques Store Magasin World Wars, have fallen into oblivion. Song Foundation presents a series of Radio Radio Advertisement Publicité The Foundation tries systematically to various programmes which strike a dif- Recommended Recommandé Other Autre champion these masterpieces by uniting ferent note, the music being enhanced by musicians, scholars, concert halls, cd- light effects, declamation, direction, the Why did you buy this recording? Pourquoi avez-vous acheté cet enregistrement? producers and the public. Recently com- exposition of photographs or the projec- Artist performance L'interpretation Reviews Critique posers such as Franz Schreker, Ottorino tion of slides. Sound quality La qualité de l'enregistrement Price Prix Respighi and Karol Szymanowski were Packaging Présentation spotlighted, not only in the concert hall www.songfoundation.com What music magazines do you read? Quels magazines musicaux lisez-vous?

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previous recordings I would like to receive the CHANNEL CLASSICS CATALOGUE/SAMPLER ccs 1209 Schreker: Complete Songs, vol.1 ccs 14398 Schreker: Complete Songs, vol.2 Name Nom Address Adresse ccs 9396 Respighi: Complete Songs, vol.1 ccs 11998 Respighi: Complete Songs, vol.2 City/State/Zipcode Code postal et ville Country Pays ccs 14998 Respighi: Complete Songs, vol.3 ccs 19398 Szymanowski: Complete Songs for voice and piano (4cd) Please keep me informed of new releases via my e-mail:

[24] production cables Channel Classics Records Van den Hul* in co production with mixing board 20th Century Song Foundation Rens Heijnis, custom design producers Reinild Mees, C. Jared Sacks Mastering Room recording engineer, editing Speakers C. Jared Sacks b+w 803d series cover design Amplifier Ad van der Kouwe, Manifesta, Rotterdam Classe 5200 liner notes Cable* Lewis Foreman Van den Hul editor booklet *exclusive use of Van den Hul cables Brian Galliford The integration and The second® recording location Muziekcentrum Frits Philips Eindhoven recording date September 2007 Special thanks to: Thuiskopiefonds Technical information ICF microphones Kattendijke/Drucker Stichting Bruel & Kjaer 4006, Schoeps digital converter Mr. Barry Collett dsd Super Audio / Meitnerdesign ad/da Mr. Lewis Foreman Pyramix Editing / Merging Technologies Mr. Martin Anderson speakers Mr. Brian Galliford Audiolab, Holland Mr. Caspar Wintermans amplifiers Mr. Matthieu van Gelderen Van Medevoort, Holland Ms. Renee ter Braake

for our complete catalogue visit www.channelclassics.com

[27] SIR EDWARD ELGAR (1857-1934) AMANDA ROOCROFT soprano KONRAD JARNOT baritone REINILD MEES piano Complete Songs for voice and piano vol. 1

Amanda Roocroft 10 Where Corals Lie Op. 37 No. 43.26 1 The Self-Banished (1875) 3.54 11 The Swimmer Op. 37 No. 56.17 2 Oh, Soft was the Song Op. 59 No. 3 (1909) 1.34 Amanda Roocroft 3 In Moonlight (1904) 2.08 12 The Wind at Dawn (1888) 2.56 4 Pleading Op. 48 No. 1 (1908) 2.16 13 In the Dawn Op. 41 No. 1 (1902) 2.25 5 There Are Seven That Pull the 14 Speak, Music! Op. 41 No. 2 (1902) 2.27 Thread (1901) 2.11 15 Dry Those Fair, Those Crystal 6 Twilight Op. 59 No. 6 (1909) 2.39 Eyes (1899) 1.30 16 Always and Everywhere (1901) 3.12 Konrad Jarnot Sea Pictures (1899) Konrad Jarnot 7 Sea Slumber-Song Op. 37 No. 15.12 17 Like to the Damask Rose (1892) 3.38 8 In Haven (Capri) Op. 37 No. 21.35 18 Queen Mary’s Song (1887) 3.32 9 Sabbath Morning at Sea 19 A Song of Autumn (1892) 3.04 Op. 37 No. 35.28 20 Come, Gentle Night (1901) 3.04

Total time 64.11