WHITHER MUST I WANDER? Three Shakespeare Songs, Op.6 Roger Quilter (1877-1953) i ENGLISH SONGS BY VAUGHAN WILLIAMS, Come away, Death [2.36] o O Mistress mine [1.29] FINZI & QUILTER p Blow, blow, thou Winter Wind [2.33] a Silent Noon (From The House of Life) Ralph Vaughan Williams [4.06] Songs of Travel Ralph Vaughan Williams (1872-1958) s Linden Lea Ralph Vaughan Williams [2.32] 1 The Vagabond [3.04] d Blackmwore by the Stour Ralph Vaughan Williams [2.03] 2 Let Beauty Awake [1.38] Total timings: [65.09] 3 The Roadside Fire [2.19] 4 Youth and Love [3.27] 5 In Dreams [2.51] DAVID JOHN PIKE BARITONE 6 The Infinite Shining Heavens [2.15] ISABELLE TRÜB PIANO 7 Whither must I wander? [3.34] www.signumrecords.com 8 Bright is the ring of words [1.40] 9 I have trod the upward and the downward slope [1.41] From Five Mystical Songs Ralph Vaughan Williams Life’s Journey Home 0 I got me flowers [2.36] ‘For my part, I travel not to go anywhere, but to go. I travel for When Fernand Weides, Director of Luxembourg’s q Love bade me welcome [5.36] travel’s sake. The great affair is to move; to feel the needs and radio 100,7, invited me to record a song cycle, w The Call [2.13] hitches of our life more nearly; to come down off this featherbed of civilisation and find the globe granite underfoot and strewn we had in mind one of the masterpieces by Let us garlands bring, Op.18 Gerald Finzi (1901-1956) with cutting flints.’ Schubert or Schumann that are treasured in the e Come away, come away, death [4.08] German-speaking world and beyond. On reflection Robert Louis Stevenson, however, and as a Canadian-British baritone in r Who is Silvia? [1.28] Travels with a Donkey in the Cévennes, 1879 my adopted Luxembourg, I was drawn to put t Fear no more the heat o’ the sun [6.24] our own mark on repertoire that is well known y O Mistress Mine [2.09] Cover Image - Lighthouse at Rattray Head, Aberdeenshire, built by David Alan Stevenson, 1895. in English-speaking parts of the world u It was a lover and his lass [2.47] Photograph by Sébastien Grébille but performed less frequently elsewhere. What

- 3 - better place to start than with Ralph Vaughan took him well beyond the coast of Scotland Vaughan Williams’ Five Mystical Songs are songs offer manic contrast with ‘It was a lover Williams whose works paved the road from on an astonishingly adventurous, bohemian settings of poems from George Herbert’s and his lass’ presenting a frivolous, if slightly the previous English parlour song tradition to and artistically-inspiring odyssey. He first celebrated collection The Temple. The five naughty tonic of optimism to end the cycle. a mature art song culture. sought broader horizons in continental Europe, songs are normally performed by baritone, Quilter’s Three Shakespeare Songs include lighter most famously by canoe (An Inland Voyage, choir and orchestra; however, for this recording, interpretations of ‘Come away, Death’ and Vaughan Williams’ works, from hymns to his 1878) and donkey (Travels with a Donkey in the we have selected three which are well suited ‘O Mistress mine’ which have also become grand symphonies and of course, the songs Cévennes, 1879) through France and Belgium, to piano and solo voice. ‘I got me Flowers’ and favorites of the English songbook. which we have chosen for this recording, distill where he was to meet his future American wife ‘The Call’ are superb examples of Vaughan the British countryside into a quintessential, and step children. It was to join his new found Williams’ ability to elaborate simple tunes, To round out our programme we come back luxuriant and nostalgic musical form. His Songs family that he started a westward path first to plainsong and hymns into moving messages to Vaughan Williams, starting with ‘Silent of Travel, which have found their permanent New York, then to San Francisco. Ultimately, of faith and mysticism. Herbert himself wrote Noon’, taken from his House of Life cycle by place in the English songbook, and which are and quite remarkably, he ventured further to that music was ‘not a science only, but a divine Rosetti. This song transports me to the even referred to by some as the British Samoa, where he was to spend the rest of his voice’, a view that Vaughan Williams and many English countryside in June, high on the downs Winterreise, were an obvious point of departure life, revered by the islands’ natives. His Songs of us share. ‘Love bade me welcome’, through its overlooking the shires, poppies nodding in for us. The songs are settings from Robert of Travel, a collection of poems written over his rhapsodic mystical romanticism, demonstrates fresh corn fields, slumbering with my girl. A Louis Stevenson’s collection of poems by the eclectic lifetime, evoke sentimental memories of that transcendence and conveys the essence more luxuriant evocation of the English same name, recounting the literal and allegorical things very Scottish therefore, but also need of the Christian message like few other works. countryside is hard to imagine. The ever popular experience of the vagabond’s adventures, to be heard in the enigmatic context of the ‘Linden Lea’ and more jovial ‘Blackmwore by trials, disappointments, joys and resolve. They South Pacific, with its own infinite shining Gerald Finzi’s Let us garlands bring is an obvious the Stour’ are ‘Dorset’ songs, although therefore easily evoke reflections of our own lives. heavens, and where Stevenson likely pondered accompaniment to the Vaughan Williams songs, contrivances, inasmuch as they were the some regrets, but also the satisfaction of not least because Finzi dedicated them product of two gentleman scholars at Key to Stevenson’s life journey was his rejection having found his new home. Stevenson’s life to his great mentor on the occasion of his Cambridge. They anticipate the nostalgic of the rather sensible option of completing his story resonates with me, having myself 70th birthday. This year marks the 70th themes of homeward journeys in the engineering studies at Edinburgh University taken up a musical vocation after following anniversary of that dedication at the National Songs of Travel, and are early examples and taking up the family lighthouse building a more conventional path, and, after having Gallery. In war-torn London, the tolling bells of of Vaughan Williams’ fascination with and business (the cover of this booklet shows left the familiarities of my origins, found ‘Come away death’ and the equally sombre eventual invaluable efforts to preserve the Rattray Head, built by Robert Louis’ cousin, comfort and satisfaction as a foreigner and elegiac but accepting ‘Fear no more the English folk tradition. David Alan Stevenson in 1895). Instead, he amongst warmly welcoming natives in my heat o’ the sun’ must have been particularly began his extraordinary life of letters, and travel newly adopted homeland. moving for that first audience. The remaining By David John Pike, Kingston, Canada, 12 October 2012.

- 4 - - 5 - Vaughan Williams, Quilter and Finzi of Elwes survives in the British Library. Perhaps one of his most popular pieces ever since. compositions and indeed, after the death of a key difference between the two composers Settings of William Barnes were followed by Vaughan Williams’ close friend Gustav Holst in Ralph Vaughan Williams and Roger Quilter was the extent to which Vaughan Williams settings of Dante Gabriel Rossetti, including a 1934, Vaughan Williams, in his turn, included were born five years apart, in 1872 and 1877 became imbued with the spirit of English cycle entitled The House of Life, which included Finzi in the circle of friends on whom he tried respectively, and died five years apart, in 1958 folksong whereas Quilter’s roots lay closer to ‘Silent Noon’, and a cantata Willow Wood. out his major new compositions. lt was therefore and 1953. They were thus contemporaries. the mainstream German artsong. His attention then moved on to the poetry natural that Finzi wanted to mark his friend’s However, though they knew each other and of Robert Louis Stevenson and the cycle Songs 70th birthday by dedicating a new work to occasionally corresponded, they were not close Once he left college, Vaughan Williams spent of Travel quickly established itself as a major him, his cycle of Shakespeare songs Let us friends. They both had similar well-to-do family time in Berlin studying with Max Bruch in work in the vocal repertoire. Vaughan Williams’ garlands bring. Finzi wrote to the composer’s backgrounds, the one deriving money through 1897-98 and on his return set about establishing next inspiration was Walt Whitman, whose first wife Adeline telling her of his intention his mother from the well-established Wedgwood himself as a composer. Apart from the Five words he set in Toward the Unknown Region which she warmly welcomed, though she china business, the other from stockbroking Mystical Songs which were written in 1911, the for chorus and orchestra (1907), and then the requested the omission of any reference to in the City of London, but as composers they songs on this disc were written in the period work which put Vaughan Williams’ name firmly her husband’s age in the dedication which were very different. Quilter went in 1896 to 1901-1904 when he was gradually finding his on the English musical map, A Sea Symphony reads ‘For Ralph Vaughan Williams on his study at the Conservatory at Frankfurt and individual voice. Songs by new English composers of 1909. birthday, Oct 12th 1942.’ The cycle includes thereafter became known as a composer of songs. were eagerly welcomed by the major singers one of Finzi’s best loved settings, ‘Fear no more His group of Three Shakespeare Songs were written of the day who wanted a respite from Vaughan Williams was a fairly young composer the heat to the sun’, and was first performed early in his career in 1905. Vaughan Williams Edwardian drawing room ballads. Moreover, with two symphonies to his name when the at a lunchtime concert at the National Gallery on the other hand went to the Royal College of encouraged by Stanford, the newer composers First World War started. When it finished he had on Vaughan Williams’ actual birthday by Music in London for a year and then to developed their compositional techniques to become one of the senior British composers, Robert lrwin accompanied by Howard Ferguson. Cambridge University to study History before pay particular attention to the rhythm and though looking back over his life we can now returning for a final two years at the Royal stresses of the English language, very see how far he was a late developer, for the lt was only a few days later, on 24th October, College of Music to study composition under different from the flow of French or German. greater part of his career still lay before him. that Vaughan Williams wrote to Roger Quilter Charles Stanford. A bond between them was A new periodical, The Vocalist, published So it was that the 22-year old Gerald Finzi in thanking him for birthday good wishes and their friendship with the singer Gervase Elwes ‘Linden Lea’, ‘Blackmwore by the Stour’ and 1923 introduced himself to Vaughan Williams, saying ‘I value it very much when my fellow who had taken Quilter under his wing, and for ‘Whither must I wander?’ (later incorporated now a major figure in English music. There craftsmen wish me well – because you know how whom Vaughan Williams wrote his cycle On into Songs of Travel) in its first three issues. was a quick rapport between the two and a things are done & must so often be amazed at Wenlock Edge. A warm letter of condolence ‘Linden Lea’ was thus Vaughan Williams’ firm friendship grew. The younger man would my want of “metier”. In that in spite of this you from Vaughan Williams to Quilter on the death first published work and indeed has remained seek the opinion of the older on his new find something to praise in my works gives me

- 6 - - 7 - great pleasure – especially from one like you TEXTS White as meal the frosty field - Let her wake to the kiss of a tender friend, who have the whole craftsmanship of your Warm the fireside haven - To render again and receive! exquisite art at your fingers’ ends.’ lt was a 1 - 9 Songs of Travel Not to autumn will I yield, great loss to Vaughan Williams and his second Texts by Robert Louis Stevenson (1850-1894) Not to winter even! 3 The Roadside Fire wife, Ursula, when Finzi died prematurely in 1956. In their turn they visited his widow, Joy, at 1 The Vagabond Let the blow fall soon or late, I will make you brooches and toys for your delight, Ashmansworth just a few days before Vaughan Let what will be o’er me; Of bird-song at morning and star-shine at night. Williams himself died on 26th August 1958. Give to me the life I love, Give the face of earth around, I will make a palace fit for you and me, Let the lave go by me, And the road before me. Of green days in forests, and blue days at sea. By Hugh Cobbe, OBE. Give the jolly heaven above Wealth I ask not, hope, nor love, And the byway nigh me. Nor a friend to know me. I will make my kitchen, and you shall keep Formerly Head of Music Collections at the British Library, Bed in the bush with stars to see, All I ask, the heaven above your room, Hugh Cobbe is editor of Letters of Ralph Vaughan Williams Bread I dip in the river - And the road below me. Where white flows the river and bright blows 1895-1958. He is Director of the Vaughan Williams Charitable Trust, Chairman of the RVW Trust, of the National Folk Music There’s the life for a man like me, the broom, Fund and of the Gerald Coke Handel Foundation, and a Past There’s the life for ever. 2 Let Beauty Awake And you shall wash your linen and keep your President of the Royal Musical Association. body white Let the blow fall soon or late, Let Beauty awake in the morn from In rainfall at morning and dewfall at night. Let what will be o’er me; beautiful dreams, Give the face of earth around Beauty awake from rest! And this shall be for music when no one else And the road before me. Let Beauty awake is near, Wealth I seek not, hope nor love, For Beauty’s sake The fine song for singing, the rare song to hear! Nor a friend to know me; In the hour when the birds awake in the brake That only I remember, that only you admire, All I seek, the heaven above And the stars are bright in the west! Of the broad road that stretches and the And the road below me. roadside fire. Let Beauty awake in the eve from the Or let autumn fall on me slumber of day, 4 Youth and Love Where afield I linger, Awake in the crimson eve! Silencing the bird on tree, In the day’s dusk end To the heart of youth the world is a highwayside. Biting the blue finger. When the shades ascend, Passing for ever, he fares; and on either hand,

- 8 - - 9 - Deep in the gardens golden pavilions hide, 6 The Infinite Shining Heavens Home was home then, my dear, full of kindly faces, Still they are carolled and said - Nestle in orchard bloom, and far on the level land Home was home then, my dear, happy for the child. On wings they are carried - Call him with lighted lamp in the eventide. The infinite shining heavens Fire and the windows bright glittered on the After the singer is dead Rose and I saw in the night moorland; And the maker buried. Thick as stars at night when the moon is down, Uncountable angel stars Song, tuneful song, built a palace in the wild. Pleasures assail him. He to his nobler fate Showering sorrow and light. Now, when day dawns on the brow of the moorland, Low as the singer lies Fares; and but waves a hand as he passes on, Lone stands the house, and the chimney-stone In the field of heather, Cries but a wayside word to her at the garden gate, I saw them distant as heaven, is cold. Songs of his fashion bring Sings but a boyish stave and his face is gone. Dumb and shining and dead, Lone let it stand now the friends are all departed, The swains together. And the idle stars of the night The kind hearts, the true hearts, that loved the And when the west is red 5 In Dreams Were dearer to me than bread. place of old. With the sunset embers, The lover lingers and sings, In dreams unhappy, I behold you stand Night after night in my sorrow Spring shall come, come again, calling up the And the maid remembers. as heretofore: The stars stood over the sea, moorfowl, The unremembered tokens in your hand Till lo! I looked in the dusk Spring shall bring the sun and rain, 9 I have trod the upwards and the avail no more. And a star had come down to me. bring the bees and flowers; downward slope Red shall the heather bloom over hill and valley, No more the morning glow, no more the grace, 7 Whither must I wander? Soft flow the stream through the even flowing hours. I have trod the upward and the downward slope; enshrines, endears. Fair the day shine as it shone on my childhood; I have endured and done in days before; Cold beats the light of time upon your face Home no more home to me, whither must I wander? Fair shine the day on the house with open door. I have longed for all, and bid farewell to hope; and shows your tears. Hunger my driver, I go where I must. Birds come and cry there and twitter in the chimney And I have lived and loved, and closed the door. Cold blows the winter wind over hill and heather: But I go for ever and come again no more. He came and went. Perchance you wept a while Thick drives the rain, and my roof is in the dust. 0 - w From Five Mystical Songs and then forgot. Lov’d of wise men was the shade of my roof-tree, 8 Bright is the ring of words Texts by George Herbert (1593-1633) Ah me! but he that left you with a smile The true word of welcome was spoken in the door: forgets you not. Dear days of old with the faces in the firelight: Bright is the ring of words 0 I got me flowers Kind folks of old, you come again no more. When the right man rings them, Fair the fall of songs I got me flowers to strew thy way; When the singer sings them. I got me boughs off many a tree:

- 10 - - 11 - But thou wast up by break of day, “Truth, Lord, but I have marr’d them: let my shame e - u Let us garlands bring, Op.18 r Who is Silvia? And brought’st thy sweets along with thee. Go where it doth deserve.” Texts by William Shakespeare “And know you not,” says Love, “Who bore the (1564-1616) Who is Silvia? what is she, The Sun arising in the East, blame?” That all our swains commend her? Though he give light, and the East perfume; “My dear, then I will serve.” e Come away, come away, death Holy, fair, and wise is she; If they should offer to contest “You must sit down,” says Love, “and taste my The heaven such grace did lend her, With thy arising, they presume. meat.” Come away, come away, death, That she might admirèd be. So I did sit and eat. And in sad cypress let me be laid; Can there be any day but this, Fly away, fly away, breath; Is she kind as she is fair? Though many suns to shine endeavour? w The Call I am slain by a fair cruel maid. For beauty lives with kindness. We count three hundred, but we miss: My shroud of white, stuck all with yew, Love doth to her eyes repair, There is but one, and that one ever. Come, my Way, my Truth, my Life O, prepare it! To help him of his blindness; Such a Way, as gives us breath: My part of death, no one so true And, being helped, inhabits there. q Love bade me welcome Such a Truth, as ends all strife: Did share it. And such a Life, as killeth death. Then to Silvia let us sing, Love bade me welcome; yet my soul drew back, Not a flower, not a flower sweet, That Silvia is excelling; Guilty of dust and sin. Come, my Light, my Feast, my Strength On my black coffin let there be strown; She excels each mortal thing But quick-eyed Love, observing me grow slack Such a Light, as shows a feast: Not a friend, not a friend greet Upon the dull earth dwelling: From my first entrance in, Such a Feast, as mends in length: My poor corpse, where my bones shall be thrown: To her let us garlands bring. Drew nearer to me, sweetly questioning Such a Strength, as makes his guest. A thousand thousand sighs to save, If I lack’d anything. Lay me, O, where t Fear no more the heat o’ the sun Come, my Joy, my Love, my Heart: Sad true lover never find my grave, “A guest,” I answer’d, “worthy to be here:” Such a Joy, as none can move: To weep there! Fear no more the heat o’ the sun, Love said, “You shall be he.” Such a Love, as none can part: Nor the furious winters rages: “I, the unkind, ungrateful? Ah, my dear, Such a Heart, as joys in love. Thou thy worldly task hast done, I cannot look on thee.” Home art gone, and ta’en thy wages. Love took my hand, and smiling did reply, Golden lads, and girls all must, “Who made the eyes but I?” As chimney sweepers come to dust.

- 12 - - 13 - Fear no more the frown o’ the great, What is love? ‘tis not hereafter; And therefore take the present time, Freeze, freeze, thou bitter sky, Thou art past the tyrant’s stroke: Present mirth hath present laughter; With a hey, and a ho, and a hey nonino, That dost not bite so nigh Care no more to clothe and eat; What’s to come is still unsure: For love is crownèd with the prime As benefits forgot: To thee the reed is as the oak: In delay there lies no plenty, In springtime, the only pretty ring time, Though thou the waters warp, The sceptre, learning, physic, must; Then come kiss me, sweet and twenty, When birds do sing, hey ding a ding a ding: Thy sting is not so sharp All follow this, and come to dust. Youth’s a stuff will not endure. Sweet lovers love the spring. As friend remembered not. Heigh-ho! sing, heigh-ho! unto the green holly... Fear no more the lightning flash. u It was a lover and his lass i - p Three Shakespeare Songs Nor the all-dreaded thunderstone. a Silent Noon Fear not slander, censure rash; It was a lover and his lass, i Come away, death Thou hast finished joy and moan. With a hey, and a ho, and a hey nonino, Your hands lie open in the long fresh grass, All lovers young, all lovers must, That o’er the green cornfield did pass, As before…. The finger points look through like rosy blooms: Consign to thee, and come to dust. Your eyes smile peace. In springtime, the only pretty ring time, o O Mistress mine The pasture gleams and glooms No exorcisor harm thee! When birds do sing, hey ding a ding a ding: ‘Neath billowing skies that scatter and amass. Nor no witch-craft charm thee! Sweet lovers love the spring. As before…. All round our nest far as the eye can pass, Ghost unlaid forbear thee! Are golden king-cup fields with silver edge Nothing ill come near thee! Between the acres of the rye, p Blow, blow, thou Winter Wind Where the cow-parsley skirts the hawthorn hedge. Quiet consummation have; With a hey, and a ho, and a hey nonino, ‘Tis visible silence, still as the hour-glass. And renowned be thy grave! Those pretty country folks would lie, Blow, blow, thou winter wind, Thou art not so unkind Deep in the sun-searched growths the dragon fly y O Mistress Mine In springtime… As man’s ingratitude; hangs like a blue thread loosened from the sky: Thy tooth is not so keen, So this wing’d hour is dropt to us from above. O Mistress mine, where are you roaming? This carol they began that hour, Because thou art not seen, Oh! clasp we to our hearts, for deathless dower, O, stay and hear; your true love’s coming, With a hey, and a ho, and a hey nonino, Although thy breath be rude. This close-companioned inarticulate hour That can sing both high and low: How that a life was but a flower Heigh-ho! sing, heigh-ho! unto the green holly: When twofold silence was the song of love. Trip no further pretty sweeting; In springtime, the only pretty ring time, Most friendship is feigning, most loving mere folly: Journeys end in lovers’ meeting, When birds do sing, hey ding a ding a ding: Then, heigh-ho, the holly! Every wise man’s son doth know. Sweet lovers love the spring. This life is most jolly.

- 14 - - 15 - s Linden Lea d Blackmwore by the Stour An’ if you look’d ‘ithin their door, Text by William Barnes (1801-1886) Text by William Barnes to see em in their pleäce, A-doën housework up avore Within the woodlands, flow’ry gladed, The primrose in the sheäde do blow, their smilen mother’s feäce; By the oak trees’ mossy moot, The cowslip in the zun, You’d cry “Why if a man would wive The shining grass blades, timber shaded, The thyme upon the down do grow, an’ thrive ‘ithout a dow’r, Now do quiver underfoot; The clote where streams do run; Then let en looken out a wife And birds do whistle overhead, An’ where do pretty maïdens grow in Blackmwore by the Stour.” And water’s bubbling in its bed; an’ blow, but where the tow’r And there for me, the apple tree Do rise among the bricken tuns, Do lean down low in Linden Lea. In Blackmwore by the Stour. David John Pike When leaves, that lately were a-springing, If you could see their comely gait Now do fade within the copse, an’ pretty feäces’ smiles, Baritone David John Pike has a widely varied And painted birds do hush their singing, A-trippèn on so light of wäight repertoire covering early music, oratorio, Up upon the timber tops; an’ steppen off the stiles! symphonic, opera and commissioned works. In And brown leaved fruit’s a-turning red, A-gwaïn to church as bells do swing, his native Canada, in the UK and across Europe, In cloudless sunshine overhead, An’ ring ‘ithin the tow’r, he has worked with leading ensembles including With fruit for me, the apple tree You’d own the pretty maïdens pleäce Glyndebourne Festival Opera, Academy of St. Do lean down low in Linden Lea. is Blackmwore by the Stour. Martin-in-the-Fields, London Philharmonic and the Schweizerkammerchor under the direction Let other folk make money faster If you from Wimborne took your road of Dutoit, Jurowski, Marriner, Mehta, Rattle and In the air of dark-room’d towns; to Stower or Paladore, Zinman. He now has a growing reputation as an I don’t dread a peevish master, An’ all the farmers’ housèn shewed operatic and concert soloist. Though no man may heed my frowns. their daëters at the door, I be free to go abroad, You’d cry to bachelors at hwome Mr. Pike recently made his role debut to rave in numerous opera in concert productions and Or take again my homeward road “Here come, ‘ithin an hour reviews as Marcello in Puccini’s La Bohème in galas, sang oratorios by Bach, Haydn, Handel To where, for me, the apple tree You’ll find ten maïdens to your mind, Bamberg, Germany, covered Curio in Glyndebourne’s and Mozart in Canada, Germany and Luxembourg, Do lean down low in Linden Lea. in Blackmwore by the Stour.” production of Handel’s Giulio Cesare, appeared and gave a series of recitals of English song,

- 16 - - 17 - featuring works by Vaughan Williams. Other at the Metropolitan Opera. He recently sang in ISABELLE TRÜB We would like to acknowledge and express our gratitude recent engagements include performances of master classes with British tenor Ian to the following organisations and individuals without Mozart and Fauré Requiem Masses in Germany Bostridge and the great Amercian baritone, Born into a family of professional musicians, whose valuable support, this project would not have and Luxembourg, his debut at La Philharmonie Sherrill Milnes. Mr. Pike studies with celebrated pianist Isabelle Trüb has collaborated regularly been possible. de Luxembourg performing Martinu’s Prophecy American bass Daniel Lewis Williams of the with renowned artists such as Pierre Fournier, radio 100,7 of Isaiah, the title role in Mozart’s Don Giovanni, Bayerische Staatsoper. He previously studied Janos Starker, Marçal Cervera, Bruno Giuranna, The Vaughan Williams Charitable Trust Schaunard in la Bohème in Canada, Mahler’s with Theresa Goble at the Guildhall School of Shmuel Ashkenasi, Maxim Vengerov and Le Centre ArcA, Bertrange, Luxembourg Kindertotenlieder at Dorchester Abbey, UK, and Music and Drama, London and William Perry at Joseph Silverstein throughout Europe and Conservatoire de la Ville de Luxembourg concerts featuring works of Vaughan Williams the Royal Conservatory of Music, Toronto. the USA. During her many years spent in Fonds culturel national, Luxembourg and Finzi, and Handel’s Messiah in London Switzerland and Australia, she was in much Fernand Weides with the Orchestra of St. John’s under John David John Pike lives with his family in Luxembourg. demand as both teacher and chamber Hugh Cobbe, OBE Lubbock. Upcoming appearances include musician. Since 2009 she has served on Handel’s Messiah in Germany with l’Arpa www.davidjohnpike.com the staff of the Conservatoire de Musique de Cover Image - Lighthouse at Rattray Head, Aberdeenshire, Festante baroque orchestra (Munich), open air la Ville de Luxembourg and has continued built by David Alan Stevenson, 1895. opera galas with the Orchestre Philharmonique to perform extensively in duo with cellist Niall Photograph: Sébastien Grébille du Luxembourg, Brahms’ Requiem in England, Brown as well as with other renowned artists. Tracks 1-12 & 18-20 - Recorded January 2011, Conservatoire de la Ville de his début as Scarpia in a new production of Luxembourg, Steinway D Tracks 13-17 & 21-23 - Recorded April 2011, Centre ArcA, Bertrange, Tosca for Pacific Opera Victoria, and further Luxembourg, Steinway C oratorio, opera and festival performances in Canada, UK, Belgium, France and Germany. Recorded and engineered by Maurice Barnich Design and Artwork - Woven Design www.wovendesign.co.uk

P 2012 The copyright in this recording is owned by Signum Records Ltd. Mr. Pike was selected to participate in English © 2012 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. National Opera’s Operaworks programme for Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact 2008/2009, designed to develop professional Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance singers’ skills early in their operatic careers. Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, He also participated in the International Vocal or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Arts Institute’s programme at l’Université de Montréal in 2008 and at Virginia Tech in 2011 SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] under Joan Dornemann, Assistant Conductor www.signumrecords.com

- 18 - - 19 - ALSO AVAILABLE on signumclassics

On Wenlock Edge: Songs of Farewell: Songs by Vaughan Williams, Venables & Gurney Choral works by Parry, Tavener, Sullivan, Andrew Kennedy, tenor Bennett, Elgar, Howells & Vaughan Williams Dante Quartet, Simon Crawford-Phillips Tenebrae SIGCD112 SIGCD267

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD314 BLACK Job Title: Whither Must I Wander

SIGNUM WHIThER MUST I WANDER? CLASSICS SIGCD314 DAVID JOHN PIKE ‡ ISABELLE TRÜB

Songs of Travel Ralph Vaughan Williams (1872-1958) WANDER? I MUST WHIThER 1 The Vagabond [3.04] 6 The Infinite Shining Heavens [2.15] 2 Let Beauty Awake [1.38] 7 Whither must I wander? [3.34] 3 The Roadside Fire [2.19] 8 Bright is the ring of words [1.40] 4 Youth and Love [3.27] 9 I have trod … [1.41] 5 In Dreams [2.51]

from Five Mystical Songs Ralph Vaughan Williams 0 I got me flowers [2.36] w The Call [2.13] q Love bade me welcome [5.36]

Let us garlands bring, Op.18 Gerald Finzi (1901-1956) TRÜB ISABELLE / PIKE JOHN DAVID e Come away, come away, death [4.08] y O Mistress mine [2.09] DAVID JOHN PIKE / ISABELLE TRÜB r Who is Silvia? [1.28] u It was a lover and his lass [2.47] t Fear no more the heat o’ the sun [6.24]

Three Shakespeare Songs Roger Quilter (1877-1953) i Come away, Death [2.36] p Blow, blow, thou Winter Wind [2.33] o O Mistress mine [1.29] a Silent Noon (From The House of Life) Ralph Vaughan Williams [4.06] s Linden Lea Ralph Vaughan Williams [2.32] d Blackmwore by the Stour Ralph Vaughan Williams [2.03]

Total timings: [65.09] WHIThER MUST I WANDER?

LC15723

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