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View/Download Liner Notes Two Songs from Shakespeare’s ‘Twelfth Night’ Herbert Murrill INTRODUCTION Two Songs from Shakespeare’s ‘Twelfth Night’ Herbert Murrill INTRODUCTION 1 O Mistress Mine 1.24 1 O Mistress Mine 1.24 2 Come Away, Death 3.30 When I began looking into this particular fi eld of I Sing, a fun and energetic setting of three poems 2 Come Away, Death 3.30 When I began looking into this particular fi eld of I Sing, a fun and energetic setting of three poems 3 Autumn Frank Bridge 3.47 repertoire I was rather taken aback and delighted taken from Walt Whitman’s collection ‘Leaves of repertoire I was rather taken aback and delighted taken from Walt Whitman’s collection ‘Leaves of 3 Autumn Frank Bridge 3.47 by the sheer volume and range of material Grass’ (the only non-British texts on this disc). Also 4 Music, When Soft Voices Die Frank Bridge 2.54 by the sheer volume and range of material Grass’ (the only non-British texts on this disc). Also 4 Music, When Soft Voices Die Frank Bridge 2.54 that I’d never come across before! A seemingly recorded here is the heart wrenching The Drowned that I’d never come across before! A seemingly recorded here is the heart wrenching The Drowned 5 The Bee Frank Bridge 1.13 inexhaustible supply of beautiful part songs and Lovers by Judith Bingham that was conceived 5 The Bee Frank Bridge 1.13 inexhaustible supply of beautiful part songs and Lovers by Judith Bingham that was conceived Three Shakespeare Songs Ralph Vaughan Williams settings meant that many of my personal favourites to segue into Stanford’s iconic setting of Mary Three Shakespeare Songs Ralph Vaughan Williams settings meant that many of my personal favourites to segue into Stanford’s iconic setting of Mary 6 Full Fathom Five 3.22 I’d originally earmarked for this recording had to be Elizabeth Coleridge’s poem The Blue Bird. If this 6 Full Fathom Five 3.22 I’d originally earmarked for this recording had to be Elizabeth Coleridge’s poem The Blue Bird. If this 7 The Cloud-Capp’d Towers 2.25 put to one side. As with other Tenebrae recordings doesn’t bring a tear to your eye then nothing will! 7 The Cloud-Capp’d Towers 2.25 put to one side. As with other Tenebrae recordings doesn’t bring a tear to your eye then nothing will! 8 Over Hill, Over Dale 0.57 on the Bene Arte label I’ve aimed to strike a balance 8 Over Hill, Over Dale 0.57 on the Bene Arte label I’ve aimed to strike a balance Four Part-Songs, Op. 54 Edward Elgar between well-known works and some lesser-known Thank you as always go to our wonderful team Four Part-Songs, Op. 54 Edward Elgar between well-known works and some lesser-known Thank you as always go to our wonderful team 9 There is Sweet Music 4.24 gems, old and new, that deserve to be up in lights. of Tenebrae singers and to Richard Baker, whose 9 There is Sweet Music 4.24 gems, old and new, that deserve to be up in lights. of Tenebrae singers and to Richard Baker, whose 10 Deep in My Soul 4.51 generosity made this recording possible. 10 Deep in My Soul 4.51 generosity made this recording possible. 11 O Wild West Wind 3.58 I received a huge amount of help in my research 11 O Wild West Wind 3.58 I received a huge amount of help in my research 12 Owls (An Epitaph) 2.52 from our generous benefactor Richard Baker, 12 Owls (An Epitaph) 2.52 from our generous benefactor Richard Baker, 13 Soft Music Ernest Walker 2.04 himself a former chorister and choral scholar from himself a former chorister and choral scholar from 13 Soft Music Ernest Walker 2.04 King’s College, Cambridge, who has vast personal 14 The Drowned Lovers Judith Bingham 5.43 King’s College, Cambridge, who has vast personal 14 The Drowned Lovers Judith Bingham 5.43 experience of performing many of the works soloist: Martha McLorinan mezzo-soprano experience of performing many of the works 15 The Blue Bird, Op. 119 Charles Villiers Stanford 4.10 included here. It was Richard who introduced me 15 The Blue Bird, Op. 119 Charles Villiers Stanford 4.10 included here. It was Richard who introduced me 16 On Time, Op. 142 Charles Villiers Stanford 5.16 to the two Shakespeare settings by Herbert Murrill. 16 On Time, Op. 142 Charles Villiers Stanford 5.16 to the two Shakespeare settings by Herbert Murrill. Most choral singers will have come across Murrill’s Nigel Short 2016 17 Song of June Jonathan Harvey 4.36 Most choral singers will have come across Murrill’s Nigel Short 2016 17 Song of June Jonathan Harvey 4.36 setting of the Canticles in E major and, like me, The Modern Man I Sing Bob Chilcott setting of the Canticles in E major and, like me, The Modern Man I Sing Bob Chilcott may not be aware of any other output from him. 18 The Runner 2.33 may not be aware of any other output from him. 18 The Runner 2.33 These pieces are exquisite and Murrill’s skill in 19 The Last Invocation 2.50 These pieces are exquisite and Murrill’s skill in 19 The Last Invocation 2.50 balancing wide-spread chords so that every note 20 One’s-Self I Sing 2.14 balancing wide-spread chords so that every note 20 One’s-Self I Sing 2.14 adds to the richness can’t be applauded enough and adds to the richness can’t be applauded enough and deserve to be included in any programme of music Total Timing 65.04 deserve to be included in any programme of music Total Timing 65.04 from this era! There are works from more recent from this era! There are works from more recent times including Bob Chilcott’s The Modern Man www.tenebrae-choir.com times including Bob Chilcott’s The Modern Man www.tenebrae-choir.com 2 3 2 3 Two Shakespeare Songs Moments such as a somewhat stunning ‘Weep’ at this miniature inspiration for Britten’s Ballad of The Cloud-Capp’d Towers is a masterful test-piece Herbert Murrill (1909-1952) the close of Come Away, Death possess a Gallic Green Broom. for choirs to prove their collective tuning skills, richesse and there is a hint of a Walton-esque blues but has also become a favourite for its ravishing Herbert Murrill (1909-1952) fi ts the quintessential fl avour in this example. Three Shakespeare Songs colour-changes reminiscent of progressions in his image of a British organist-composer with another Ralph Vaughan Williams (1875-1958) 6th Symphony. ‘proper job’ in education and broadcasting. Autumn Following his time at Oxford he held a succession Frank Bridge (1879-1941) Ralph Vaughan Williams composed these choral Over Hill, Over Dale is in essence a Scherzo, with some similarities to the choral-scherzo (third of London organist posts, became a professor of Autumn, composed in 1903, sets words by Shelley essays, somewhat reluctantly, as test pieces for movement) of his Sea Symphony. The keen listener composition at the RAM in his early twenties and and is in essence a dirge for the passing of summer the 1951 National Competition Festival of the might recognise the same interval-span on ‘hill’ rose to head of music at the BBC in 1936. His and nature’s blossoming. British Federation of Music. Since then they have formation was conservative – but he strayed from become a fi rm favourite as they combine a world and ‘dale’ as was used in the tolling-bell-effect in a predictable course with commissions for Frank Bridge is remembered largely through of impressionism (from his experience with Ravel) the fi rst song. his most successful student, Benjamin Britten, incidental music for fi lm documentaries and for with a journey through enharmonic wonders, and Four Part-Songs Op. 53 although he did not have a great following as the Group Theatre Company. It is now known tongue-tying tricks of choral enunciation. Sir Edward Elgar (1857-1934) that he served in the war effort as a sergeant a teacher of composition. Certainly his style at Bletchley Park where his musical skills were was quintessentially English-retrospective and Full Fathom Five is a play on the sound of tolling The Four Part-Songs Opus 53, written mainly in additionally put to good use. an attempt at richer and later, more ambitious bells, in multi-divided upper voices while the Rome in 1907, are examples of the large output techniques appears to have gained little attention. basses sing an undulating melody beneath. There of solo and choral songs, over one hundred in The two settings: O Mistress Mine and Come is a little quirk though. If one takes the fi rst four number, which Elgar composed from 1889 to 1909. Music, when Soft Voices Die Away, Death are from Twelfth Night, the former notes of either ‘O taste and see’ or the hymn tune: Frank Bridge There is Sweet Music (text by Tennyson) is an being words of Feste, the jester. The normality of ‘For all the saints’ by the same composer, and sings ambitious experiment in bi-tonality, the women’s O Mistress Mine echoes the conventions of Gerald Music, when Soft Voices Die begins in the sound- them simultaneously, the result is the cluster-chord voices singing in A-fl at while the lower voices Finzi.
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