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Songs for Strings 138Mm138mm 6,5 Audio Inlay Outerpage Code: AIS00001 outside 170 gsm glossy artpaper Scale 1:1 Bleed (min. 3mm) Design Area (Logos and text have to be placed at least 3mm inside of cutting line.) Cutting line Folding line CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Outerpage MAGENTA Customer AVIE 151mm YELLOW Catalogue No. AV 2391 BLACK 6,5 Job Title: Donald Fraser – Songs for Strings 138mm138mm 6,5 Gramophone lauded his recent orchestration of Elgar’s Piano Quintet on AVIE (AV2362), declaring ‘Fraser’s richly upholstered orchestration works a treat yet also manages to be astutely appreciative of English Symphony Orchestra · English Chamber Orchestra Donald Fraser SONGS FOR STRINGS the simmering passion and sense of loss’. Here the arranger frames both well-loved and lesser-known English Symphony Orchestra · English Chamber Orchestra Donald Fraser SONGS FOR STRINGS compositions by Elgar and others on the lush, pellucid canvas of a string orchestra. Songs for Strings Arranged and conducted by Donald Fraser 1 The Queen’s Hall after an improvisation by Edward Elgar 4.02 2 Time Stands Still John Dowland 3.31 3 Ground in C minor Henry Purcell 3.29 4 Crucifixus Antonio Lotti 3.15 5 Fugue in G minor Nicola Antonio Porpora 3.22 6 Largo Antonio Vivaldi 3.57 118mm 7 Lord Lovat’s Lament David Fraser 4.28 8 Nuages gris (Grey Clouds) Franz Liszt 3.53 9 Canon Alexander Scriabin 3.56 10 Valse (in the manner of Borodin) Maurice Ravel 3.04 11–13 3 Songs Edward Elgar: Pleading · A Child Asleep · Queen Mary’s Lute Song 13.40 14 Epilogue for Strings Donald Fraser 4.25 15 Sonnerie (The Bells of St Genevieve) Marin Marais 4.36 English Chamber Orchestra (1, 11–13) · English Symphony Orchestra (2–10, 14) Total time: 58.43 Booklet enclosed · Mit deutscher Textbeilage · Brochure incluse AV2391 AV2391 ൿ 2013 (1, 11–13) & 2018 (2–10, 14–15) The copyright in this sound recording is owned by FraserMusic Interactive / Donald Fraser Ꭿ 2018 FraserMusic Interactive / Donald Fraser donaldfraser.com Marketed by Avie Records avie-records.com Manufactured and printed in Austria ASCAP STEREO DDD AV2391 Songs for Strings Arranged and conducted by Donald Fraser 1 The Queen’s Hall after an improvisation by Edward Elgar 4.02 2 Time Stands Still John Dowland 3.31 3 Ground in C minor Henry Purcell 3.29 4 Crucifixus Antonio Lotti 3.15 5 Fugue in G minor Nicola Antonio Porpora 3.22 6 Largo Antonio Vivaldi 3.57 7 Lord Lovat’s Lament David Fraser 4.28 8 Nuages gris (Grey Clouds) Franz Liszt 3.53 9 Canon Alexander Scriabin 3.56 10 Valse (in the manner of Borodin) Maurice Ravel 3.04 11–13 3 Songs Edward Elgar: Pleading · A Child Asleep · Queen Mary’s Lute Song 13.40 14 Epilogue for Strings Donald Fraser 4.25 15 Sonnerie (The Bells of St Genevieve) Marin Marais 4.36 English Chamber Orchestra (1, 11–13) English Symphony Orchestra (2–10, 14) Recording: 31 July 2013, Studio No.1, Abbey Road (1, 11–13); ൿ 2013 (1, 11–13) & 2018 (2–10, 14–15) 5 April 2018, Studio No.2, Abbey Road, London, UK (2–10, 14); The copyright in this sound recording is owned 27 May 2018, The Barn Studio, Shirland, Illinois, USA (15) by FraserMusic Interactive/Donald Fraser Recording engineer & mastering: Simon Kiln Ꭿ 2018 FraserMusic Interactive/Donald Fraser Recording producer: Donald Fraser frasermusic.net · donaldfraser.com Publisher: FraserMusic Interactive (ASCAP) englishchamberorchestra.co.uk · eso.co.uk Photography: Catherine Havens (p.21) Marketed by Avie Records avie-records.com Design Paul Marc Mitchell for WLP Ltd DDD 2 PRELUDE 1 Edward Elgar The Queen’s Hall 4.02 This is a new work based on an improvisation by Elgar at the piano. In 1929 he recorded five such improvisations at the Queen’s Hall in his idiosyncratic style of piano playing, described by George Bernard Shaw as ‘… a touch that is peculiar to yourself … which struck me the first time I heard you larking about with a piano’. This improvisation was based around a tune by Rossini: one composer adding his own style to that of another. I have titled this piece ‘The Queen’s Hall’. Arrangements of vocal compositions were crucial to the early history of instrumental music. Thus, vocal polyphony of the late Middle Ages and the Renaissance was intabulated (transcribed so as to suggest finger positions rather than pitches) for the use of lute players… literally… Songs for Strings 2 John Dowland Time Stands Still 3.31 This represents the earliest kind of ‘arrangement’ in that the vocal lines were printed as lute intabulation for instruments. Each repeat of the stanzas has been ‘embellished’ to give a kind of latter-day musical commentary on this early work, showing it and other works of the period to be the basis of so much great British string writing to come, the Fantasia on a Theme of Thomas Tallis by Vaughan Williams being the most well known. 3 Henry Purcell Ground in C minor 3.29 Music of the baroque period contains many ‘hidden treasures’. Sometimes they remain hidden to many until they appear in a new guise. The now famous Pachelbel canon was composed for 3 violins and basso continuo and began its ‘rise to fame’ a"er a more romantic version recorded by the Jean-François Paillard Chamber Orchestra in 1968. It was customary for the continuo players of this period to improvise and fill out the accompaniment, an arrangement that in fact may have changed at every performance. My arrangement of this Purcell work is a realisation for strings and contains musical ideas that I would have improvised if I were playing the continuo part. 3 4 Antonio Lotti Crucifixus 3.15 This moving piece is well known to choral singers everywhere. The 8 parts transcribe very well for strings. Lotti was known to both Bach and Handel, who had scores of his music in their libraries. 5 Nicola Antonio Porpora Fugue in G minor 3.22 This dynamic work is full of chromatic writing – an exciting piece that is another of those ‘hidden treasures’ that really comes to life on strings. 6 Antonio Vivaldi Largo 3.57 This is an arrangement of the beautiful slow movement from the Concerto for 2 Cellos (RV 531). Bach was also an arranger of Vivaldi’s concertos, the best-known of these being Vivaldi’s Concerto for 4 Violins (No.10 from L’Estro Armonico, Op.3 – RV 580) which Bach arranged as a Concerto for 4 Keyboards (BWV 1065), albeit in a di#erent key from the original to facilitate a more practical fingering for the players. 7 David Fraser Lord Lovat’s Lament 4.28 Many composers have arranged folk tunes in their careers. Beethoven, Haydn and Hummel were all engaged by the Edinburgh publisher George Thomson to make arrangements of Scottish and Irish folk tunes and airs. Here is my arrangement of a piece written by an ancestor of mine, a certain David Fraser, Piper to the Lord Lovat, head of the Fraser clan. Unfortunately the Lord was captured by the English in 1746 at the Battle of Culloden. Sadly he was executed as a traitor, the last person to be beheaded at the Tower of London I believe. His piper lived until 1812. Many of the songs and airs were gathered in the field (as Bartók and Vaughan Williams would do) by another distant relative of mine, Captain Simon Fraser. 8 Franz Liszt Nuages gris (Grey Clouds) 3.53 Humphrey Searle, my composition professor at the Royal College of Music, introduced me to this pre-Impressionist, atonal work when I was a student. Liszt, of course, made many arrangements and transcriptions of a variety of works by Wagner, Bach and Beethoven. 9 Alexander Scriabin Canon 3.56 This little-known, youthful work by the Russian composer at just 12 years of age consists of a simple, plaintive melody and its canon. 4 10 Maurice Ravel Valse (in the manner of Borodin) 3.04 This is one of several of Ravel’s short compositions written in the style of other composers. In high school my music teacher would get me to improvise on simple themes in the style of various composers. Later I was to arrange many of the tunes from Disney movies in the style of a number of di#erent classical composers for an earlier recording of mine. Edward Elgar 3 Songs The first arrangements I would make of Elgar were at the request of Yehudi Menuhin, in that instance for a tour of America with only a string orchestra. I have subsequently arranged and orchestrated many of Elgar’s works for both instrumental and choral forces, among them the Piano Quintet and Sea Pictures. The following are string arrangements of three of his songs. 11 Pleading 3.16 The loving and supportive relationship between Elgar and his wife, Alice, is well known. I begin this with a viola solo, representing her yearning for him to ‘come homeward from the hills of dreamland’ followed by a duo passage with viola and cello: the two of them together. The piece ends with a cello solo as a lament for Elgar a"er Alice’s death. 12 A Child Asleep 6.16 The words of the song, about a child’s passing, are sad. I had all the strings play with mutes, as Elgar had himself done in his piece Dream Children. 13 Queen Mary’s Lute Song 4.08 Strings here play pizzicato as a representation of the lute accompanying the melody.
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