HarmoniousThe

EchoSONGS BY SIR ARTHUR SULLIVAN MARY BEVAN • KITTY WHATELY soprano mezzo-soprano BEN JOHNSON • ASHLEY RICHES tenor bass-baritone DAVID OWEN NORRIS piano Courtesy of David B. Lovell Collection

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Photograph by Ottawa, Topley, Canada

Sir Arthur Sullivan, Ottawa, 1880 Sir Arthur Sullivan (1842 – 1900)

Songs

COMPACT DISC ONE

1 King Henry’s Song (1877)* 2:23 (‘Youth will needs have dalliance’) with Chorus ad libitum from incidental music to Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) Andante moderato Recording sponsored by Martin Yates

3 2 The Lady of the Lake (1864)† 3:25 from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’, Op. 4 (or The Masque at Kenilworth) (1864) Libretto by Henry Fothergill Chorley (1808 – 1872) Allegro grazioso

3 I heard the nightingale (1863)‡ 2:59 Dedicated to his Friend Captain C.J. Ottley Allegretto moderato

4 Over the roof (1864)† 3:04 from the opera The Sapphire Necklace, or the False Heiress Libretto by Henry Fothergill Chorley Allegretto moderato Recording sponsored by Michael Symes

4 5 Will He Come? (1865)§ 4:05 Dedicated to The Lady Katherine Coke Composed expressly for Madame Sainton Dolby Moderato e tranquillo – Quasi Recitativo – Tranquillo un poco più lento Recording sponsored by Michael Tomlinson

6 Give (1867)† 4:56 Composed and affectionately dedicated to Mrs Helmore Allegretto – Un poco più lento – Lento Recording sponsored by John Thrower in memory of Simon and Brenda Walton

7 Thou art weary (1874)§ 5:00 Allegro vivace e agitato – Più lento – Allegro. Tempo I – Più lento – Allegro. Tempo I – Stringendo il tempo – Più lento – Slower

5 8 The moon in silent brightness(1868) ‡ 2:21 Serenade Andante quasi Allegretto Recording sponsored by Robin Gordon Powell

9 O fair dove! O fond dove! (1868)§ 4:35 To Miss Rachel Scott Russell Allegro moderato – Un poco più lento – Tempo I – Un poco più lento – Tempo I – Andante Recording sponsored by William Parry

10 The snow lies white (1868)‡ 3:04 (‘It’s O my love, my love!’) Dedicated to The Lady Edith Fergusson Composed expressly for Mr Sims Reeves Allegro moderato – Un poco meno mosso – Animato – Un poco meno mosso – Tempo I Recording sponsored by Clifton Coles

6 11 Looking Back (1870)* 4:34 Composed expressly for and dedicated to Madame Trebelli [ ] – Un poco più lento e con molta tenerezza – Très largement Recording sponsored by Christopher O’Brien

12 Looking Forward (1873)* 6:32 Sequel to Looking Back Allegro moderato – Quasi Recitativo – A tempo Allegro – Più tranquillo – Lento, con molta espressione Recording sponsored by William Parry TT 47:30

7 COMPACT DISC TWO

1 The Maiden’s Story (1867)‡ 4:19 Composed and dedicated to Mrs Quintin Twiss Allegro moderato – A tempo più lento – Più lento

2 Living Poems (1874)§ 3:42 Dedicated to the Countess of Shrewsbury Composed expressly for Miss Edith Wynne Allegretto non troppo vivo – Un poco più lento

3 The Sailor’s Grave(1872) † 4:57 Moderato – Maestoso Recording sponsored by Jamie Findlay

8 4 Let me dream again (1875)§ 4:57 Composed expressly for Madame Christine Nilsson Andante espressivo – Un poco più lento – [Tempo I] – Un poco più lento Recording sponsored by Steven Skinner

5 Other Days (late 1890s)* 3:04 Allegretto – A tempo un poco lento – Tempo I Recording sponsored by Doreen Harris

6 Little Maid of Arcadee (1871)‡ 2:54 from the operetta Thespis, or The Gods Grown Old Libretto by Sir William Schwenck Gilbert (1836 – 1911) Allegretto moderato Recording sponsored by Andrew Crowther

7 The Distant Shore(1874) § 4:32 Allegro comodo – Animato – Slower Recording sponsored by Nicio Vega Jr

8 The love that loves me not (1875)‡ 3:07 Dedicated to Mrs D.B. Grant Andante moderato ed espressivo Recording sponsored by Valerie Bailey

9 9 A Shadow (1884)‡ 3:58 Composed expressly for Madame Patey Andante – Più vivo – Lento come prima

10 The Lost Chord (1877)§ 4:15 Andante moderato – Grandioso Recording sponsored by Elaine Richardson

11 The Absent-Minded Beggar (1899)* 5:44 with Chorus ad libitum Allegro moderato ed energico. Tempo di Marcia – Tempo giusto Recording sponsored by Rev. Peter S. Gale TT 46:03

Mary Bevan soprano† Kitty Whately mezzo-soprano§ Ben Johnson tenor‡ Ashley Riches bass-baritone* David Owen Norris piano

The four soloists assume the part of Chorus where indicated.

10 David Owen Norris, at Sigismund Thalberg’s piano Victoria Cadisch Victoria

Mary Bevan Sullivan: The Harmonious Echo

Note on the composer sentiment now chimes anew with the spirit Sir Arthur Sullivan (1842 – 1900) was – and of the age. Their preoccupation with death probably still is – the most famous of all from disease, in particular, is put into an British composers of the nineteenth century. unwelcome new focus. An ever-growing In his own time he was revered as a composer concern with social justice casts a sympathetic of oratorios: Queen Victoria, having heard light upon the poetry of Adelaide Procter, The Golden Legend at a performance by Royal as we learn that the themes which she Command (quite literally) at the Albert explored so frankly – infant malnutrition, Hall, urged him to compose a grand opera. relationships cut short by early death – were The result, Ivanhoe, achieved 155 consecutive familiar to her through her relief work in performances (in an opera house especially nineteenth-century slums: work which, built for it) – still an unchallenged record for according to her friend Charles Dickens, a new grand opera. But then, The Mikado, caused her own early death from tuberculosis. Sullivan’s most successful collaboration with All five of Sullivan’s Procter settings are W.S. Gilbert, notched up 672 performances included on this disc. in its first production, and within nine Sullivan’s endlessly fertile melodic gifts months of its opening night, there were 150 certainly withstand comparison with any different productions in existence. other song composer. His emotional range Sullivan had been a remarkable treble is colossal: his last three songs, a setting soloist at the Chapel Royal, and his deep of Kipling (included on this disc) and understanding of the voice contributed to two of Tennyson (on our earlier two-disc his operatic and choral successes. His many set: CHAN 10935(2)), prove the point. songs were equally successful. The twentieth The Absent-Minded Beggar was commissioned century was not comfortable with certain by the Daily Mail to raise funds for the Victorian themes, and Sullivan’s songs fell dependents of soldiers fighting in the Boer into neglect: but the very sincerity of their War. Sullivan worked hard at it:

13 It puzzled me to compose Gilbert’s – a good metaphor for Sullivan’s song-writing, I have a song to sing, O, but that was which explores urgent Victorian emotional child’s play compared to the task of and moral concerns in music of passion and setting Kipling’s lines, beauty. Their subjects can loosely be grouped he wrote, and the result is a stirring yet subtle as Courtship, Marriage and Children, Change march, reflecting Kipling’s wry barrack-room and Decay, and Supernatural Consolation; but humour. The two Tennyson settings were also these themes scarcely do justice to the darkness commissions, from a publisher in Cincinnati. of Procter’s lullaby to a starving child (Thou O swallow, swallow is the apotheosis of the art weary) or H.F. Lyte’s astonishing picture, patter-song, miraculously grafted onto a enthusiastically depicted by Sullivan, of the sea supremely pianistic accompaniment of great giving up its dead (The Sailor’s Grave). harmonic sophistication, while Tears, idle tears moved Sullivan to positively Wagnerian Notes on the songs intensity. The image chosen for our cover, just as in COMPACT DISC ONE our first set of recordings, links Tennyson and Millais. In 1830, Tennyson devoted a poem King Henry’s Song to Mariana, a character from Shakespeare’s ‘King Henry’s Song’ comes from the Measure for Measure. Millais painted her in incidental music for a production of 1851. The words Tennyson gives her: Henry VIII, by William Shakespeare ‘My life is dreary, (1564 – 1616) in collaboration with John He cometh not,’ she said; Fletcher (1579 – 1625), at the Theatre Royal She said, ‘I am aweary, aweary, in Manchester in 1877. I would that I were dead!’ resonate in some of the poems which Sullivan The Lady of the Lake chose to set. Our title comes from the second ‘The Lady of the Lake’ was written for stanza of The Lost Chord, where the chord is Kenilworth, ‘A Masque of the Days of described as follows: Queen Elizabeth’, Op. 4, to a libretto by It seem’d the harmonious echo Henry Chorley (1808 – 1872), produced at From our discordant life. the Birmingham Festival in September 1864.

14 The twenty-two-year-old Sullivan wrote to his Will He Come? father: Will He Come? was ‘Composed expressly I wish so much that I could persuade you for Madame Sainton Dolby’. The poem is by to run down tomorrow by the 2.45. You Adelaide Anne Procter (1825 – 1864). This could return the same night, or I would song (1865), the first of five solo settings of find you a bed somewhere. You see, 1st: words by this poet, transformed Sullivan’s You will never have another opportunity finances. Sullivan wrote: of hearing the work performed in such I was getting on, but by this time I a magnificent style again; 2nd: It is a had come to the conclusion that it great event in my career, and one which was a pity for the publishers to have I should like you to witness. Do come all the profit. My next songWill He (with Fred [Arthur’s brother]), there’s Come? went to Messrs. Boosey, on the a dear. understanding that I was to have a royalty on every copy sold. And oh! the I heard the nightingale difference to me! I did very well with I heard the nightingale was ‘Sung by Mr. Sims Will He Come? and never sold a song Reeves at the Monday Popular Concerts’, outright afterwards. and published in 1863. The words are by the Herbert Sullivan, Fred Sullivan’s son and Reverend C.H. Townsend (1798 – 1868) – Arthur’s first biographer (and heir), adds: disappointingly not a relative of the architect of Once the royalty was assured, the flood exactly the same name. of songs continued.

Over the roof Give ‘Over the roof’ was written for The Sapphire Give, the second of the Procter settings, Necklace, the first opera that Sullivan composed from 1867, was ‘Sung by Miss Edith Wynne’ (about 1864), to a libretto by Chorley. It and dedicated to Mrs Helmore, the wife of was never produced. The overture and some Sullivan’s master at the Chapel Royal. extracts were performed at Crystal Palace in 1867, when ‘Over the roof’ (sung by Edith Thou art weary Wynne) was encored. The third Procter song, Thou art weary, was

15 ‘Sung by Madame Antoinette Sterling’ and Festival at which Mr Santley premiered published in 1874. I wish to tune my quiv’ring lyre (included in our earlier selection). The moon in silent brightness Sullivan published the ‘Serenade’ The moon Looking Back in silent brightness in 1868. The words were Looking Back was ‘Composed expressly written by Reginald Heber (1783 – 1826), for and dedicated to Madame Trebelli’, Bishop of Calcutta, and the author of the and published in 1870. Louisa M. Gray hymn ‘Holy, Holy, Holy!’, who while still (c. 1830 – 1911), who wrote the poem, was at Oxford was encouraged as a poet by the author of ‘improving’ books for children, Sir Walter Scott (1771 – 1832), a family friend. such as Nelly’s Teachers and What They Learned. Madame Trebelli sang this song at O fair dove! O fond dove! Buckingham Palace in 1870. Sullivan dedicated his setting of O fair dove! O fond dove!, by Jean Ingelow (1820 – 1897), Looking Forward to Rachel Scott Russell in 1868, in pursuit Looking Back was so successful that Sullivan of an unsuccessful love affair, forbidden composed a companion, Looking Forward, by her family. Rachel took ‘Fair Dove’ as a which appeared in 1873, described as a ‘Sequel nickname. Herbert Sullivan reports that the to Looking Back; Sung by Miss Edith Wynne’. song ‘took the drawing rooms by storm’, and it makes an appearance in Agatha Christie’s 1958 novel Ordeal by Innocence, though the COMPACT DISC TWO composer is not named. The Maiden’s Story The snow lies white The Maiden’s Story was published in 1867. The snow lies white (‘It’s O my love, my love!’) Emma Embury (1806 – 1863), who wrote the was ‘Composed expressly for Mr Sims Reeves’. poem, was a pioneer of female literature in This further Ingelow setting was sung at the the United States, particularly admired for Gloucester Musical Festival of 1868 by Sims the moral content of her work. The song is Reeves, accompanied by Sullivan – the same dedicated to the wife of Quintin Twiss, who

16 played Cox in an early performance of Cox and Charles François Panard was born at Box, in May 1867. Courville, near Chartres, in 1674 [sic], and died in Paris in 1765. He was the Living Poems first to introduce into songs a satire on Living Poems was ‘Composed expressly for Miss morals, a gay and inoffensive satire. Edith Wynne’. The manuscript of this setting The translator is Harry Graham of words by Henry Wadsworth Longfellow (1874 – 1936), a professional soldier (1807 – 1882) is dated 11 July 1874. remembered for his Ruthless Rhymes and for many operatic translations, including Franz The Sailor’s Grave Lehár’s ‘You are my heart’s delight’ (‘Dein Sullivan published The Sailor’s Grave in ist mein ganzes Herz’, from Das Land des 1872. It is a setting of a poem by Henry Francis Lächelns). It is said that his style influenced Lyte (1793 – 1847) who also wrote the words P.G. Wodehouse. His dates suggest that this of Abide with Me and Praise, My Soul, the King song comes comparatively late in Sullivan’s of Heaven. output.

Let me dream again Little Maid of Arcadee Let me dream again was ‘Composed expressly ‘Little Maid of Arcadee’ was originally written for Madame Christine Nilsson’. Published for Thespis, Sullivan’s first collaboration with in 1875, it sets words by B.C. Stephenson W.S. Gilbert (1836 – 1911), produced at (1839 – 1906), the librettist of Sullivan’s Christmas-time 1871. When it was published little-known opera The Zoo, performed the as a song, some slight alterations to the words same year. were made, usefully indicating the difference between a theatre and a drawing-room: the Other Days ‘little maid’ no longer sits ‘on’ the cousin’s knee, How Chappell & Co. came to publish the song but ‘by’ it, for instance. Other Days as late as 1943 is not clear. The publishers included the original French poem The Distant Shore of C.F. Panard (1689 – 1765), with a note that In the score, Sullivan notes that The Distant begins: Shore was ‘Sung by Mr Edward Lloyd’.

17 The love that loves me not I wrote The Lost Chord in sorrow at my The Distant Shore (1874) and The love that brother Fred’s death, don’t burlesque it. loves me not (1875), along with the duet The song, the quintessence of Sullivan, Sweethearts (1875, included on our earlier delves deep into his musical foundations set), are the only settings which Sullivan made as a chorister: the solemn contrapuntal of verses by Gilbert that have no theatrical introduction, in six real parts; the opening connexion. 1875 was the year of Trial by Jury, vocal incantation, quoting the choral their second collaboration, and the first with Responses of Evensong; and, above all, Richard D’Oyly Carte as manager. In their Sullivan’s inspired identification of the Lost subtle ways, both songs maintain Gilbert’s Chord as a cadence in the ancient Mixolydian usual topsy-turvy approach to telling a story. mode (not so much ‘one chord of music’, but certainly ‘the sound of a great Amen’ – it is A Shadow heard immediately after the first occurrence A Shadow was ‘Composed expressly for of that phrase, and Sullivan knows better Madame Patey’ in the course of a summer than to repeat such a master-stroke in the night in 1884, at Stagenhoe, the home of the second stanza). 14th Earl of Caithness, tutor to the Prince of After Fred’s death, Sullivan could do Wales. It is the last of the Procter settings. nothing for months – which may have cost us a delightful collaboration, as it was at this The Lost Chord time that Lewis Carroll approached him to The most successful English song of the write some Alice in Wonderland songs. nineteenth century, The Lost Chord featured on several of the very first gramophone The Absent-Minded Beggar recordings. Sullivan sketched it at the The Absent-Minded Beggar was first deathbed of his beloved brother, in January performed at the Alhambra Music Hall in 1877. The lapidary nature of its images, Leicester Square on 13 November 1899. In his unusual even for Procter, who was the most diary Sullivan wrote: popular poet after Tennyson, marked the Went to Alhambra to rehearse ‘ song as a candidate for parody from its earliest Ab. M. Beg.’ In the evening – Packed days. Sullivan wrote to one offender: house – wild enthusiasm. All sang

18 chorus! I stood on the stage and Maurrant (Weill’s Street Scene) at Opéra de conducted the encore – funny sight! Monte-Carlo, Elvira (L’italiana in Algeri) at And he wrote to Rudyard Kipling Garsington Opera, Barbarina (Le nozze di (1865 – 1936): Figaro) at The Royal Opera, Covent Garden, Your splendid words went, and still go the title role in Luigi Rossi’s Orfeo with every night with a swing and enthusiasm The Royal Opera at Shakespeare’s Globe, which even my music cannot stifle. It has La Musica and Euridice (Monteverdi’s Orfeo) been a great pleasure to me to set words with The Royal Opera at the Roundhouse, of yours. and the soprano part in David Bruce’s This was not the only music-hall success The Firework Maker’s Daughter with Opera that Kipling enjoyed with a musical knight. North and ROH2. In concert she recently In 1917, Elgar conducted his Fringes of the performed baroque programmes with the Fleet at the Coliseum. Academy of Ancient Music and Orchestra © 2021 David Owen Norris of the Age of Enlightenment, Fauré’s Requiem with the Philharmonia Orchestra, the Concert Suite from Maxwell Davies’s A winner of the Young Artist award of the Caroline Mathilde at the BBC Proms, and Royal Philharmonic Society and the UK Mendelssohn’s Symphony No. 2 Lobgesang Critics’ Circle Award for Exceptional Young with the City of Birmingham Symphony Talent in music, the soprano Mary Bevan Orchestra. A dedicated recitalist, she has MBE is a former Harewood Artist at English appeared at the Oxford Lieder Festival and National Opera and an Associate of the Royal the Wigmore Hall, as well as in an Asian tour Academy of Music. She has recently sung Yum- with The English Concert. Her discography Yum (The Mikado), Zerlina (Don Giovanni), includes recordings of songs by Ludwig Susanna (The Marriage of Figaro), Despina Thuille and Mendelssohn, Handel’s (Così fan tutte), Papagena (The Magic Flute), The Triumph of Time and Truth and Ode Second Niece (Peter Grimes), Rebecca (Nico for St Cecilia’s Day with Ludus Baroque, Muhly’s Two Boys), and Eurydice (Orpheus in Vaughan Williams’s Pastoral Symphony the Underworld) at English National Opera, (No. 3) and Schubert’s music for Rosamunde Merab (Saul) at the Adelaide Festival, Rose with the BBC Philharmonic, and Hadley’s

19 Fen and Flood with the Bournemouth On the operatic stage she has recently sung Symphony Orchestra. During the 2020 / 21 Isabella (Bernard Herrmann’s Wuthering season, she will return to the Royal Danish Heights) and Kate (Owen Wingrave) at Opéra Opera, as Marzelline (Fidelio) and for the national de Lorraine, in Nancy, Paquette production LIGHT Bach Dances, and also (Candide) at Bergen Nasjonale Opera and make her début at the Bolshoi Theatre, The Grange Festival, Mother / Other Mother as Dalinda (Ariodante). In concert, she in the world première of Mark-Anthony will appear in the world première, at the Turnage’s Coraline, produced by The Royal Concertgebouw Amsterdam, of Sir James Opera at the Barbican, Dorabella (Così MacMillan’s Christmas Oratorio and perform fan tutte) at Opera Holland Park, Nancy Rout, by Sir Arthur Bliss, with the London (Albert Herring) at The Grange Festival, Philharmonic Orchestra. Mary Bevan was and Hermia (A Midsummer Night’s Dream) awarded an MBE in the Queen’s birthday at Festival d’Aix-en-Provence as well as in honours list in 2019. Bergen and Beijing. She has appeared in Vasco Mendonça’s The House Taken Over in The mezzo-soprano Kitty Whately trained Antwerp, Strasbourg, Luxembourg, Bruges, at Chetham’s School of Music, the Guildhall and Lisbon, and further sung Rosina (Il School of Music and Drama, and the barbiere di Siviglia) and Stewardess (Flight) International Opera School of the Royal at Opera Holland Park, Dorabella with College of Music. Having won both the English Touring Opera, and Ippolita / Pallade Kathleen Ferrier Award and Royal Overseas (Cavalli’s Elena) at Festival d’Aix-en- League Award in the same year, she attended Provence. In high demand as a recitalist the prestigious Academy of the Verbier and concert artist, she made her début Festival where she appeared as Cherubino with the Berliner Philharmoniker singing (Le nozze di Figaro) and in Beethoven’s Mendelssohn’s A Midsummer Night’s Choral Fantasy. As a BBC New Generation Dream, and has sung with most of the Artist from 2013 to 2015 she made recordings UK’s major orchestras, in repertoire such with the BBC orchestras, commissioned a as Handel’s Messiah, Mozart’s Requiem, new song cycle from Jonathan Dove, and Elgar’s The Dream of Gerontius, De Falla’s made several appearances at the BBC Proms. El sombrero de tres picos, Ravel’s Shéhérazade,

20 Canteloube’s Chants d’Auvergne, and St John Passion with the Oxford Bach Mahler’s Das Lied von der Erde. Kitty Soloists, and Britten’s War Requiem with Whately has given recitals at the Wigmore the Thames Philharmonic Choir. An Irish Hall and Edinburgh, Cheltenham, Leeds tour with the guitarist Sean Shibe spanned Lieder, Oxford Lieder, and Buxton festivals. repertoire from Bach to Irish folksongs. He also stepped in to perform Jacquino Representing England, the acclaimed tenor in the second act of Fidelio and Beethoven’s Ben Johnson won the Audience Prize in the concert trio Tremate, empi, tremate, Op. 116 BBC Cardiff Singer of the World competition with The Hallé. He recently gave two in 2013. He is a former BBC Radio 3 New Schubertiade recitals with the pianist Maria Generation Artist, winner of the Kathleen João Pires at the Belgais Center for Arts in Ferrier Award in 2008, a Wigmore Hall Portugal. During the 2020 / 21 season he Emerging Talent in 2011, and was an English has performed in Handel’s Messiah with the National Opera Harewood Artist from 2013 Academy of Ancient Music at the Barbican, to 2015. On the operatic stage he has recently and will sing Eumete (Il ritorno d’Ulisse in sung Tamino (Die Zauberflöte) at Welsh patria) with Longborough Festival Opera National Opera and Don Basilio (Le nozze and Flute (A Midsummer Night’s Dream) at di Figaro) at The Grange Festival, in addition The Grange Festival, record music by Vaughan to Nebuchadnezzar (The Burning Fiery Williams with The Hallé, and give a series Furnace) at Scottish Opera. His international of performances of Schubert’s Winterreise career has seen him perform Lysander with the pianist Louis Schwizgebel. The large (A Midsummer Night’s Dream) at Bergen discography of Ben Johnson includes, for Nasjonale Opera, Oronte (Alcina) with Chandos, recordings of Szymanowski’s Love The English Concert, Martin The( Tender Songs of Hafiz and Symphony No. 3 with Land) at Opéra de Lyon, and Don Ottavio the BBC Symphony Orchestra under (Don Giovanni) at Opéra national de Edward Gardner, Bliss’s The Beatitudes Bordeaux, Glyndebourne Festival Opera, and with the BBC SO under Sir Andrew Davis, English National Opera. Equally active on the Dame Ethel Smyth’s Mass in D with the concert platform, he has performed Handel’s BBC SO under Sakari Oramo, and songs by Messiah with La Nuova Musica, Bach’s Sir Arthur Sullivan.

21 The bass-baritoneAshley Riches studied Rex) with the Berliner Philharmoniker, English at King’s College, Cambridge and Mahler’s Lieder eines fahrenden Gesellen with the Guildhall School of Music and Drama the BBC Philharmonic, Mussorgsky’s Songs and was later a Jette Parker Young Artist and Dances of Death with the BBC National at The Royal Opera, Covent Garden and a Orchestra of Wales, European tours of BBC Radio 3 New Generation Artist. On King Arthur, The Fairy Queen, Acis and the operatic stage he has sung Figaro and Galatea, and Messiah with Paul McCreesh Count Almaviva (Le nozze di Figaro), the and the Gabrieli Consort, European tours title role in Don Giovanni, Guglielmo (Così of the St Matthew Passion, Benvenuto fan tutte), Escamillo (Carmen), Marcello Cellini, and La Damnation de Faust with the and Schaunard (La bohème), the Pirate Monteverdi Choir, and tours of the King (The Pirates of Penzance), Claudio St Matthew Passion and Messiah with the (Agrippina), Achilla (Giulio Cesare), Nick Academy of Ancient Music. In recital, he has Shadow (The Rake’s Progress), Tarquinius collaborated with pianists such as Graham (The Rape of Lucretia), the title role in Owen Johnson, Iain Burnside, Julius Drake, Joseph Wingrave, Ibn-Hakia (Iolanta), and Brander Middleton, Anna Tilbrook, James Baillieu, (La Damnation de Faust) at houses such as Simon Lepper, Gary Matthewman, and The Royal Opera, English National Opera, Sholto Kynoch. His discography includes Glyndebourne Festival Opera, Garsington Wonderful Town with the LSO and Simon Opera, the Grange Festival, Opera Holland Rattle, Poulenc’s Chansons gaillardes with Park, Opéra national de Lorraine, and Graham Johnson, the St John Passion, Potsdamer Winteroper. Highlights on the St Matthew Passion, and Messiah with concert platform include performances the AAM, St Matthew Passion with the in Berlioz’s Lélio with Sir John Eliot Monteverdi Choir, and Purcell’s King Arthur Gardiner in Carnegie Hall, New York and (Recording of the Year at the 2020 BBC Bernstein’s Wonderful Town with the London Music Magazine Awards) with the Gabrieli Symphony Orchestra under Sir Simon Consort. For Chandos, he has recorded songs Rattle, a European tour of Giulio Cesare by Sir Arthur Sullivan with David Owen and Agrippina with Les Talens Lyriques Norris. When not singing, Ashley Riches under Christophe Rousset, Créon (Oedipus enjoys the Times Crossword.

22 The first winner of the Gilmore Artist Award, comprehensive selection from Jane Austen’s David Owen Norris has played concertos own music collection, and, on Elgar’s piano, all over North America and Australia, and a double-disc set of songs and transcriptions. made several appearances at the BBC Proms. He has been a familiar face on music A television programme entirely devoted television since 1990, when he presented to his work on Elgar’s Piano Concerto has The Real Thing?: Questions of Authenticity on been shown frequently. He has also recorded BBC2, and notably gave six series of Chord concertos by Mozart, J.C. Bach, Constant of the Week on Proms Extra. His popular Lambert, Montague Phillips, Joseph Horovitz, Radio 4 Playlist series is often repeated, and and Richard Arnell, as well as his own Piano he has a long history with Radio 3 on which Concerto in C. His solo recitals have featured his contributions to Building a Library are works by Brahms, Schubert, Poulenc, Bax, keenly relished. He is the composer of an and Elgar, among others; he has recorded all oratorio, Prayerbook, a Piano Concerto in the piano works by Elgar, as well as several C, a Symphony, song cycles, a cantata, a reconstructions and transcriptions. He began radio opera, and much else. A Fellow of the his career as an accompanist, to such artists Royal College of Organists, Royal Academy as Dame Janet Baker, Sir Peter Pears, and of Music, and Society of Antiquaries of Jean-Pierre Rampal. He also plays early pianos London, as well as an Honorary Fellow of and has championed the repertoire, composed Keble College Oxford, David Owen Norris as early as around 1770, in London, for the is Professor of Musical Performance at the square piano. On early pianos he has recorded University of Southampton and Visiting Schubert’s Winterreise and first song cycle, the Professor at the Royal College of Music and Ludwig Gotthard Kosegarten Liederspiel, a Royal Northern College of Music.

23 Sara Porter

Kitty Whately Sullivan: The Harmonious Echo

Anmerkungen zum Komponisten seiner Opern und Chorwerke maßgeblich Sir Arthur Sullivan (1842 – 1900) war bei. Seinen zahlreichen Liedern war der berühmteste britische Komponist ähnlicher Erfolg beschieden. Im zwanzigsten des neunzehnten Jahrhunderts – diese Jahrhundert waren gewisse Themen der Einschätzung gilt auch heute noch. In seiner viktorianischen Ära weniger gefragt, und Zeit wurde er vor allem für seine Oratorien die Lieder gerieten in Vergessenheit; heute geschätzt – nachdem Queen Victoria eine jedoch wird die Aufrichtigkeit der in ihnen Aufführung von The Golden Legend in der zum Ausdruck gebrachten Empfindungen Royal Albert Hall gehört hatte, die (im mit dem Geist des Viktorianischen Zeitalters wörtlichen Sinne) auf königliche Anweisung wieder geschätzt. Vor allem die Beschäftigung erfolgt war, drängte sie ihn, eine große Oper mit todbringenden Krankheiten erfährt zu schreiben. Das Resultat, Ivanhoe, erzielte hier besondere Aufmerksamkeit, die nicht 155 aufeinanderfolgende Aufführungen (in unbedingt willkommen ist. Das stetig einem eigens hierzu errichteten Opernhaus) – wachsende Interesse an sozialer Gerechtigkeit für eine neu komponierte große Oper immer wirft ein mitfühlendes Licht auf die Gedichte noch ein ungebrochener Rekord. Doch von Adelaide Procter. Wir erfahren, dass dann brachte es The Mikado, Sullivans die von ihr so offen erkundeten Themen – erfolgreichste Kooperation mit W.S. Gilbert, Mangelernährung bei Säuglingen, durch gleich mit der ersten Inszenierung auf 672 frühen Tod abgerissene Bindungen – ihr Darbietungen, und innerhalb von neun aufgrund ihres humanitären Einsatzes in den Monaten nach der Uraufführung gab es Slums des neunzehnten Jahrhunderts vertraut bereits 150 verschiedene Produktionen. waren; dieses Engagement führte laut ihrem Sullivan war ein bemerkenswerter Freund Charles Dickens zu ihrem eigenen Knabensopran in der Chapel Royal frühen Tod durch Tuberkulose. Alle fünf gewesen, und seine fundierte Kenntnis der Procter-Vertonungen Sullivans sind auf dieser menschlichen Stimme trug zum Erfolg CD enthalten.

25 Sullivans unendlich fruchtbare melodische Wie bereits in unserer ersten Aufnahme Erfindungsgabe hält jeden Vergleich mit zieht das für unser Cover ausgewählte Bild anderen Liedkomponisten aus. Seine eine Verbindung zwischen Tennyson und emotionale Bandbreite ist kolossal, wie seine Millais. Tennyson verfasste 1830 ein Gedicht drei letzten Lieder – eine Vertonung von über Mariana, eine Gestalt aus Shakespeares Kipling (auf der vorliegenden CD enthalten) Measure for Measure, und 1851 schuf Millais und zwei von Tennyson (siehe unser ein Bild von ihr. Die Mariana von Tennyson Doppelalbum CHAN 10935(2)) – zugeschriebenen Worte: belegen. The Absent-Minded Beggar war ‘My life is dreary, ein Auftragswerk für dieDaily Mail zur He cometh not,’ she said; Unterstützung der Angehörigen von Soldaten, She said, ‘I am aweary, aweary, die im Burenkrieg kämpften. Sullivan tat sich I would that I were dead!’ mit dem Auftrag nicht leicht: Gilberts I have a song to sing, O “Mein Leben ist trostlos, zu komponieren, bereitete mir Er kommt nicht”, sagte sie; Kopfzerbrechen, doch das war ein Sie sagte, “ich bin so müd, so müde, Kinderspiel im Vergleich mit der Ich wünscht ich wäre tot!” Aufgabe, Kiplings Text zu vertonen, hallen in einigen der Gedichte nach, die schrieb er. Das Ergebnis ist ein aufwühlender Sullivan zur Vertonung auswählte. Unser und zugleich subtiler Marsch, der Kiplings Titel entstammt der zweiten Strophe von trockenen Kasernenhumor reflektiert. The Lost Chord, wo der Akkord wie folgt Auch die beiden Tennyson-Vertonungen beschrieben wird: waren Auftragswerke, für einen Verleger It seem’d the harmonious echo in Cincinnati. O swallow, swallow ist die From our discordant life. Apotheose des Patter Songs, die sich auf wunderbare Weise über einer überragenden Er klang wie das harmonische Echo Klavierbegleitung von großer harmonischer Unseres misstönigen Lebens. Komplexität entwickelt, während Tears, Eine ausgezeichnete Metapher für Sullivans idle tears Sullivan zu geradezu Wagnerscher Liedschaffen, dessen von Leidenschaft und Intensität inspirierte. Anmut geprägte Musik zentrale Themen

26 der viktorianischen Gefühlswelt und Moral wurde im September 1864 im Rahmen erkundet. Die Themen lassen sich in etwa des Birmingham Festivals uraufgeführt. unter den Rubriken Liebeswerben, Heirat und Im Vorfeld der Aufführung schrieb der Kinder, Wandel und Verfall sowie jenseitiger zweiundzwanzigjährige Sullivan an seinen Trost gruppieren; allerdings werden diese Vater: Sujets kaum der Düsternis von Procters Ich wünschte mir so sehr, dass ich dich Wiegenlied für ein verhungerndes Kind überreden könnte, morgen mit dem (Thou art weary) gerecht, oder H.F. Lytes Zug um 2.45 Uhr herzukommen. Du von Sullivan begeistert umgesetzter könntest abends noch zurückfahren Schilderung des Meeres, das seine Toten oder ich würde irgendwo ein Bett für preisgibt (The Sailor’s Grave). dich finden. Weißt du, zum einen wird es nie wieder eine Gelegenheit geben, Anmerkungen zu den Liedern das Werk in einer solch prachtvollen Inszenierung zu hören, und zum anderen CD 1 ist dies ein wichtiges Ereignis in meiner Laufbahn und ich würde mich freuen, King Henry’s Song wenn du es miterleben könntest. Bitte “King Henry’s Song” ist der komm (zusammen mit Fred [Sullivans Zwischenaktmusik für eine erstmals 1877 Bruder]), sei so lieb. am Theatre Royal in Manchester inszenierte Produktion des von William Shakespeare I heard the nightingale (1564 – 1616) in Zusammenarbeit mit John I heard the nightingale wurde “von Mr. Sims Fletcher (1579 – 1625) geschaffenen Dramas Reeves in den Monday Popular Concerts Henry VIII entnommen. gesungen” und 1863 veröffentlicht. Der Text stammt von Reverend C.H. Townsend The Lady of the Lake (1798 – 1868) – leider nicht mit dem “The Lady of the Lake” entstand für gleichnamigen Architekten verwandt. Kenilworth, “A Masque of the Days of Queen Elizabeth”, op. 4 auf ein Libretto von Over the roof Henry Chorley (1808 – 1872); das Werk “Over the roof” schrieb Sullivan für

27 The Sapphire Necklace, die erste Oper, die Herbert Sullivan, Fred Sullivans Sohn und er (um das Jahr 1864) auf ein Libretto Arthurs erster Biograph (und Erbe), fügt hinzu: von Chorley schuf. Das Werk kam nie zur Nachdem die Beteiligung geklärt war, Aufführung. Die Ouvertüre und einige entstand eine Flut weiterer Lieder. Auszüge wurden 1867 im Crystal Palace gegeben und “Over the roof” (präsentiert von Give Edith Wynne) wurde noch einmal als Zugabe Give, die zweite Vertonung eines Gedichts gesungen. von Procter, entstand 1867. Das Stück wurde “von Miss Edith Wynne gesungen” und ist Will He Come? Mrs. Helmore gewidmet, der Gattin von Will He Come? wurde “eigens für Madame Sullivans Chorleiter an der Chapel Royal. Sainton Dolby komponiert”. Das Gedicht stammt von Adelaide Anne Procter Thou art weary (1825 – 1864). Dieses 1865 entstandene Lied, Die dritte Vertonung eines Texts von Procter, die erste von fünf solistischen Vertonungen Thou art weary, wurde “von Madame nach Worten der Dichterin, sollte Sullivans Antoinette Sterling gesungen” und 1874 finanzielle Situation grundsätzlich verändern. veröffentlicht. Er schrieb: Ich kam voran, aber ich war inzwischen The moon in silent brightness zu dem Urteil gelangt, dass es eine Sullivan veröffentlichte die “Serenade” Schande sei, dass die Verleger den The moon in silent brightness im Jahr 1868. Die ganzen Profit einheimsten. Mein Worte schrieb Reginald Heber (1783 – 1826), nächstes Lied, Will He Come?, ging zu Bischof von Calcutta und Autor der Hymne Messrs. Boosey mit der Bedingung, “Holy, Holy, Holy!”, der noch in seiner Zeit in dass ich für jedes verkaufte Exemplar Oxford von Sir Walter Scott (1771 – 1832), Tantiemen erhalten würde. Und welch einem Freund der Familie, in seinen ein Unterschied für mich! Will He dichterischen Ambitionen bestärkt wurde. Come? war sehr einträglich und ich habe seither nie wieder ein Lied einfach O fair dove! O fond dove! direkt verkauft. Seine im Jahr 1868 entstandene Vertonung

28 von O fair dove! O fond dove!, auf einen Text Nelly’s Teachers and What They Learned. von Jean Ingelow (1820 – 1897), widmete Madame Trebelli sang dieses Lied 1870 im Sullivan Rachel Scott Russell, in die er Buckingham Palace. unglücklich verliebt war – ihre Familie untersagte die Verbindung. Rachel übernahm Looking Forward “Fair Dove” als Spitznamen. Herbert Sullivan Looking Back war so erfolgreich, dass Sullivan berichtet, dass das Lied “die Salons im Sturm noch ein Schwesterstück komponierte, eroberte”; das Stück taucht auch in Agatha Looking Forward, das 1873 im Druck Christies 1958 erschienenem Roman Ordeal erschien und als “Fortsetzung von Looking by Innocence auf, allerdings ohne Erwähnung Back; vorgetragen von Miss Edith Wynne” des Komponisten. angekündigt wurde.

The snow lies white The snow lies white (“It’s O my love, my CD 2 love!”) wurde “eigens für Mr. Sims Reeves komponiert”. Diese weitere Vertonung The Maiden’s Story eines Texts von Ingelow trug Sims Reeves, The Maiden’s Story wurde 1867 veröffentlicht. begleitet von Sullivan, im Jahr 1868 auf Emma Embury (1806 – 1863), von der das dem Gloucester Musical Festival vor – bei Gedicht stammt, war in den Vereinigten dieser Gelegenheit gab Mr. Santley die Staaten eine Pionierin auf dem Gebiet der Uraufführung von I wish to tune my quiv’ring Frauenliteratur und wurde besonders für den lyre (in unserer früheren Auswahl enthalten). moralischen Gehalt ihrer Werke geschätzt. Das Lied ist der Ehefrau von Quintin Twiss Looking Back gewidmet, der in einer frühen Aufführung Looking Back wurde “eigens für Madame von Cox and Box im Mai 1867 den Cox Trebelli komponiert und ihr gewidmet”; spielte. das Stück erschien 1870 im Druck. Louisa M. Gray (um 1830 – 1911), von der Living Poems das Gedicht stammt, war eine Autorin Living Poems wurde “eigens für Miss Edith “erbaulicher” Bücher für Kinder, zum Beispiel Wynne komponiert”. Das Manuskript dieser

29 Vertonung von Worten des Dichters Henry in Courville nahe Chartres geboren Wadsworth Longfellow (1807 – 1882) ist auf und starb 1765 in Paris. Er führte als den 11. Juli 1874 datiert. Erster in seinen Liedern die satirische Behandlung moralischer Werte ein, eine The Sailor’s Grave fröhliche und harmlose Art von Satire. Im Jahr 1872 veröffentlichte Sullivan Übersetzt wurde der Text von Harry Graham The Sailor’s Grave, die Vertonung eines (1874 – 1936), einem Berufssoldaten, an den Gedichts von Henry Francis Lyte wir uns heute vor allem wegen seiner Ruthless (1793 – 1847), der auch die Worte zu Abide Rhymes erinnern und wegen zahlreicher with Me und Praise, My Soul, the King of Übersetzungen von Opernlibretti, darunter Heaven lieferte. auch Franz Lehárs “You are my heart’s delight” (“Dein ist mein ganzes Herz” aus Das Land Let me dream again des Lächelns). Sein Stil soll P.G. Wodehouse Let me dream again wurde “eigens für beeinflusst haben. Grahams Lebensdaten Madame Christine Nilsson komponiert”. Das lassen vermuten, dass dieser Song recht spät in 1875 veröffentlichte Werk vertont Worte Sullivans Schaffen anzusiedeln ist. von B.C. Stephenson (1839 – 1906), dem Librettisten von Sullivans wenig bekannter Little Maid of Arcadee Oper The Zoo, die im selben Jahr uraufgeführt “Little Maid of Arcadee” komponierte wurde. Sullivan ursprünglich für Thespis, seine erste Zusammenarbeit mit W.S. Gilbert Other Days (1836 – 1911); das Werk kam in der Wie es dazu kam, dass der Verlag Chappell Weihnachtszeit des Jahres 1871 zur & Co. das Lied Other Days erst im Jahr Aufführung. Für die Liedfassung wurden einige 1943 veröffentlichte, ist nicht bekannt. Die kleinere Änderungen im Text vorgenommen, Verleger gaben der Publikation das originale die wohl dem Unterschied zwischen dem französische Gedicht von C.F. Panard Theater und einem privaten Salon geschuldet (1689 – 1765) bei, zusammen mit einer sind; so sitzt das “kleine Mädchen” zum Beispiel Anmerkung, die beginnt: nicht mehr “auf ” dem Knie des Cousins, Charles François Panard wurde 1674 [sic] sondern “neben” ihm.

30 The Distant Shore der frühesten Schallplattenaufnahmen. Sullivan vermerkte in der Partitur von Sullivan entwarf das Stück im Januar 1877 The Distant Shore, dass das Stück “von am Sterbebett seines geliebten Bruders. Die Mr. Edward Lloyd gesungen” wurde. lapidare Metaphorik – ungewöhnlich selbst für Procter, deren Beliebtheit als Dichterin The love that loves me not fast an Tennyson heranreichte – machte das The Distant Shore (1874) und The love that Lied von Beginn an zu einem Kandidaten loves me not (1875), sind neben dem Duett für Parodien. Einem der Missetäter schrieb Sweethearts (1875, in unserer früheren Sullivan: Auswahl enthalten), die einzigen Vertonungen Ich habe The Lost Chord in Trauer Sullivans von Versen aus Gilberts Feder, die über den Tod meines Bruders Fred keine Verbindung zur Bühne haben. In das geschrieben, also parodieren Sie es nicht. Jahr 1875 fiel ihre zweite Zusammenarbeit, Das für Sullivan überaus typische Lied Trial by Jury; zugleich war dies das erste Jahr, in beruft sich auf seine frühesten musikalischen dem Richard D’Oyly Carte das Management Grundlagen aus der Zeit als Chorknabe: Die innehatte. Beide Lieder weisen die für Gilbert feierliche kontrapunktische Einleitung in typische verworrene Erzählweise auf. sechs realen Stimmen; die vokale Invokation zu Beginn, die das Chor-Responsorium des A Shadow Evensong zitiert; und vor allem Sullivans A Shadow, “eigens für Madame Patey geniale Identifizierung des “verlorenen komponiert”, entstand an einem Sommerabend Akkords” als Kadenz im alten mixolydischen des Jahres 1884 auf Stagenhoe, dem Anwesen Modus (weniger “ein einzelner musikalischer des 14. Earl of Caithness, Lehrer des Prince of Akkord” als vielmehr “der Klang eines Wales. Dies ist Sullivans letzte Vertonung eines großen Amen” – er erklingt unmittelbar nach Gedichts von Procter. dem ersten Auftreten dieser Formulierung und Sullivan hütet sich, einen solchen The Lost Chord meisterlichen Einfall in der zweiten Strophe Das erfolgreichste englische Lied des zu wiederholen). neunzehnten Jahrhunderts, The Lost Nach Freds Tod war Sullivan monatelang Chord, findet sich auf einer ganzen Reihe unfähig zu arbeiten – wodurch wir wohl

31 um eine wundervolle Kooperation gebracht Und an Rudyard Kipling (1865 – 1936) worden sind, da genau in dieser Zeit Lewis schrieb er: Carroll sich an den Komponisten wandte und Ihre herrlichen Worte vermitteln einen ihn bat, einige Lieder zu Alice in Wonderland schwungvollen Enthusiasmus – und zu schreiben. tun dies noch immer allabendlich –, den selbst meine Musik nicht The Absent-Minded Beggar mindern kann. Es war mir ein großes The Absent-Minded Beggar wurde am Vergnügen, einen Text von Ihnen zu 13. November 1899 in der Alhambra vertonen. Music Hall am Londoner Leicester Square Dies sollte nicht der einzige Music-Hall- uraufgeführt. In seinem Tagebuch hielt Erfolg bleiben, den Kipling mit einem Sullivan fest: musikalischen Ritter teilte. 1917 dirigierte Ging ins Alhambra, um “Ab. M. Beg.” zu Sir Edward Elgar seine Fringes of the Fleet im proben. Abends – volles Haus – höchste Coliseum. Begeisterung. Alle sangen den Chor mit! Ich stand auf der Bühne und dirigierte © 2021 David Owen Norris die Zugabe – seltsamer Anblick! Übersetzung: Stephanie Wollny

32 Chris Gloag Chris

Ben Johnson Sullivan: L’Écho harmonieux

Note sur le compositeur identique. Le vingtième siècle n’étant pas Sir Arthur Sullivan (1842 – 1900) était – à l’aise avec certains thèmes victoriens, les et reste probablement – le plus renommé mélodies de Sullivan furent négligées; mais des compositeurs anglais du dix-neuvième leur profonde sincérité concorde de nouveau siècle. De son vivant il était révéré comme avec l’esprit du temps. Le sujet de la mort compositeur d’oratorios: la reine Victoria, par maladie, tout particulièrement, y est une ayant entendu The Golden Legend lors d’une préoccupation remise désagréablement en exécution à la demande de Sa Majesté (au sens point de mire. Quant à la poésie d’Adelaide tout à fait littéral) à l’Albert Hall, le pressa Procter que Sullivan mit en musique, un souci de composer un grand opéra. Ivanhoe, la grandissant de justice sociale vient la parer réponse de Sullivan à son souhait, atteignit d’une douce lumière lorsque nous apprenons le chiffre impressionnant de 155 exécutions que les thèmes qu’elle explora avec tant de consécutives (dans un lieu spécialement conviction – la malnutrition infantile, les construit pour sa représentation) – un record liens brisés par des décès prématurés – lui incontesté pour un grand opéra à peine étaient familiers du fait de ses activités d’aide composé. Mais alors, pour The Mikado, le aux habitants des quartiers défavorisés: un fruit le plus réussi de sa collaboration avec travail qui, selon son ami Charles Dickens, W.S. Gilbert, 672 exécutions de sa production fut la cause de son décès précoce de la initiale furent enregistrées, et dans les tuberculose. Les cinq mises en musique de neufs mois qui suivirent sa création, 150 poèmes de Procter par Sullivan sont toutes productions différentes virent le jour. reprises sur ce disque. Sullivan avait été soprano solo Le talent mélodique infiniment fertile remarquable à la Chapel Royal et sa profonde de Sullivan supporte certainement la compréhension de la voix contribua au succès comparaison avec celui de tout autre de ses œuvres opératiques et chorales. Ses compositeur de pièces du genre. Sa palette nombreuses mélodies connurent un succès émotionnelle est d’une extrême richesse: ses

34 trois dernières mélodies, une mise en musique à Millais. En 1830, Tennyson consacra un de Kipling (reprise sur ce CD) et deux autres poème à Mariana, un personnage de Measure de Tennyson (figurant dans notre précédente for Measure de Shakespeare. Millais en fit série de deux disques: CHAN 10935(2)), son portrait en 1851. Dans certains poèmes en attestent. The Absent-Minded Beggar fut que Sullivan choisit de mettre en musique commandé par le Daily Mail pour recueillir résonnent les mots que Tennyson lui prêta: des fonds destinés à venir en aide aux familles “My life is dreary, des soldats engagés dans la guerre des Boers. He cometh not,” she said; Sullivan y travailla avec ardeur et écrivit: She said, “I am aweary, aweary, Je fus perplexe à l’idée de mettre en I would that I were dead!” musique I have a song to sing, O de Gilbert. Mais quel jeu d’enfant comparé “Ma vie est morne, au travail de composition qu’exigeaient Il ne vient pas”, dit-elle; les lignes de Kipling. “Je suis triste, triste”, dit-elle, Le résultat est une marche émouvante “J’aimerais dormir d’un éternel et subtile, reflétant le comique troupier sommeil!” sardonique de Kipling. Les deux mises Notre titre vient de la deuxième strophe de en musique de Tennyson étaient aussi The Lost Chord, où l’accord est décrit comme des commandes, émanant elles d’un suit: éditeur de Cincinnati. O swallow, It seem’d the harmonious echo swallow représente l’apothéose de la From our discordant life. chansonnette, miraculeusement greffée sur un accompagnement extraordinairement Cela ressemblait à l’écho harmonieux pianistique d’une grande sophistication Des discordances de la vie. harmonique, tandis que Tears, idle tears – une métaphore illustrant bien l’écriture amena Sullivan à une intensité réellement mélodique de Sullivan, qui explore certaines wagnérienne. préoccupations émotionnelles et morales L’illustration choisie pour la couverture prioritaires de l’ère victorienne en une de ce CD relie, comme dans le cas de notre musique superbe et passionnée. Les sujets première série d’enregistrements, Tennyson peuvent être rassemblés en différents groupes:

35 les fréquentations amoureuses, le mariage et Je voudrais tellement te persuader de les enfants, le changement et le déclin, ainsi venir demain par le train de 2 h 45. que la consolation par le surnaturel; mais Tu pourrais rentrer le soir même, ou je ces thèmes restituent à peine la désolation trouverais pour toi un lit quelque part. qu’expriment la berceuse de Procter pour Car vois-tu, premièrement, tu n’auras un enfant affamé Thou( art weary) ou la jamais plus l’occasion de voir l’œuvre surprenante image du poème de H.F. Lyte, représentée avec tant de magnificence, et dépeinte avec éloquence par Sullivan, de la deuxièmement, c’est un grand événement mer rendant ses victimes (The Sailor’s Grave). dans ma carrière, et j’aimerais que tu puisses le vivre. Viens s’il te plaît (avec Notes sur les mélodies Fred [le frère d’Arthur]), ça me ferait tellement plaisir. DISQUE COMPACT 1 I heard the nightingale King Henry’s Song I heard the nightingale fut “Chanté par “King Henry’s Song” vient de la musique Mr. Sims Reeves aux Monday Popular de scène composée pour une production, en Concerts” et publié en 1863. Le texte est du 1877, de Henry VIII de William Shakespeare révérend C.H. Townsend (1798 – 1868) – (1564 – 1616) en collaboration avec John qui n’est malheureusement pas un parent de Fletcher (1579 – 1625), au Theatre Royal à l’architecte du même nom. Manchester. Over the roof The Lady of the Lake “Over the roof” fut écrit pour The Sapphire “The Lady of the Lake” fut écrit pour Necklace, le premier opéra que composa Kenilworth, “A Masque of the Days of Sullivan (vers 1864), d’après un livret de Queen Elizabeth”, op. 4, d’après un livret Chorley. L’œuvre ne fut jamais produite. de Henry Chorley (1808 – 1872), exécuté au L’ouverture et quelques extraits furent Birmingham Festival en septembre 1864. exécutés au Crystal Palace en 1867, et c’est à Sullivan qui avait alors vingt-deux ans écrivit cette occasion que “Over the roof” (chanté à son père: par Edith Wynne) fut bissé.

36 Will He Come? Thou art weary Will He Come? fut “Composé expressément La troisième mélodie sur un texte de Procter, pour Madame Sainton Dolby”. Le poème est Thou art weary, fut “Chantée par Madame d’Adelaide Anne Procter (1825 – 1864). Cette Antoinette Sterling” et publiée en 1874. mélodie (1865), la première de cinq mises en musique solos de textes de cette poétesse, The moon in silent brightness transforma les finances de Sullivan. Il écrivit: Sullivan publia la “sérénade” The moon in silent J’avançais, mais à ce stade j’étais arrivé à brightness en 1868. Le texte est de Reginald la conclusion qu’il était regrettable que Heber (1783 – 1826), évêque de Calcutta et les éditeurs retirent l’entièreté du profit auteur de l’hymne “Holy, Holy, Holy!”, qui de l’opération. Ma prochaine mélodie alors qu’il était encore à Oxford fut encouragé Will He Come? fut confiée à à écrire de la poésie par Sir Walter Scott MM. Boosey étant entendu que je (1771 – 1832), un ami de la famille. toucherais des droits sur tout exemplaire vendu. Et quelle différence pour moi! O fair dove! O fond dove! Will He Come? fut une bonne affaire, Sullivan dédia sa mise en musique de et jamais plus je ne vendis une mélodie O fair dove! O fond dove! de Jean Ingelow ensuite sans penser à la juste répartition (1820 – 1897) à Rachel Scott Russell en 1868, des droits. en ayant à l’esprit une histoire d’amour qui Herbert Sullivan, le fils d’Arthur et son fut sans lendemain, car la famille de Rachel premier biographe (et héritier), ajouta: s’y opposa. Elle adopta “Fair Dove” comme Une fois la question des droits réglée, les surnom. Herbert Sullivan raconte que la mélodies continuèrent à affluer. mélodie “fut comme un ouragan dans les salons”, et elle est évoquée dans le roman de Give 1958 d’Agatha Christie Ordeal by Innocence, Give, la deuxième mise en musique d’un texte sans toutefois que soit cité le nom du de Procter, qui date de 1867, fut “Chantée par compositeur. Miss Edith Wynne” et dédiée à Mrs Helmore, l’épouse du chef de chœur de Sullivan à la The snow lies white Chapel Royal. The snow lies white (“It’s O my love, my love!”)

37 fut “Composé expressément pour Mr. Sims Embury (1806 – 1863), qui écrivit le poème, Reeves”. Cet autre mise en musique d’un texte fut une pionnière de la littérature féminine aux de Ingelow fut chantée au Gloucester Musical États-Unis et fut admirée tout particulièrement Festival de 1868 par Sims Reeves, accompagné pour le contenu moral de son œuvre. La par Sullivan – le festival lors duquel Charles mélodie est dédiée à l’épouse de Quintin Twiss Santley créa I wish to tune my quiv’ring lyre qui joua le rôle de Cox dans une représentation (repris dans notre précédente sélection). de Cox and Box qui eut lieu en mai 1867 déjà.

Looking Back Living Poems Looking Back fut “Composé expressément Living Poems fut “Composé expressément pour pour Madame Trebelli et lui est dédié”; la Miss Edith Wynne”. Le manuscrit de cette mise mélodie fut publiée en 1870. Louisa M. Gray en musique d’un texte de Henry Wadsworth (vers 1830 – 1911) qui écrivit le poème, était Longfellow (1807 – 1882) est daté du 11 juillet aussi l’auteure de livres “éducatifs” pour 1874. enfants, tels Nelly’s Teachers and What They Learned. Madame Trebelli chanta cette The Sailor’s Grave mélodie à Buckingham Palace en 1870. Sullivan publia The Sailor’s Grave en 1872. C’est une mise en musique d’un poème de Looking Forward Henry Francis Lyte (1793 – 1847) qui est aussi Looking Back eut tant de succès que Sullivan l’auteur du texte de Abide with Me et Praise, lui composa un compagnon, Looking My Soul, the King of Heaven. Forward, qui parut en 1873 et fut décrit comme “Sequel to Looking Back; Sung by Let me dream again Miss Edith Wynne”. Let me dream again fut “Composé expressément pour Madame Christine Nilsson”. Publiée en 1875, cette mélodie met DISQUE COMPACT 2 en musique un texte de B.C. Stephenson (1839 – 1906), auteur du livret de l’opéra peu The Maiden’s Story connu de Sullivan The Zoo, exécuté la même The Maiden’s Story parut en 1867. Emma année.

38 Other Days modifications du texte, indiquant utilement Comment Chappell & Co. furent amenés à la différence entre un théâtre et un salon: la éditer, en 1943 seulement, la mélodie Other “little maid”, par exemple, n’est plus assise Days reste un peu un mystère. Les éditeurs “sur” les genoux du cousin, mais à côté de lui. inclurent le poème français original de C.F. Panard (1689 – 1765), en précisant que: The Distant Shore Charles François Panard est né à Dans la partition, Sullivan indique que Courville, près de Chartres, en 1674 [sic] The Distant Shore fut “Chanté par Mr Edward et décéda à Paris en 1765. Il fut le Lloyd”. premier à introduire dans des mélodies une satire de mœurs, mais une satire The love that loves me not joyeuse et inoffensive. The Distant Shore (1874) et The love that loves Le traducteur est Harry Graham me not (1875), ainsi que le duo Sweethearts (1874 – 1936), un soldat professionnel resté (1875, repris dans notre série précédente), dans les mémoires pour ses Ruthless Rhymes et sont les seules mises en musique que fit pour de nombreuses traductions opératiques, Sullivan de poèmes de Gilbert qui n’ont notamment “Je t’ai donné mon cœur” de pas de connexion avec le théâtre. 1875 fut Franz Lehár (“Dein ist mein ganzes Herz”, l’année de Trial by Jury, la deuxième œuvre dans Das Land des Lächelns). Son style qu’ils écrivirent ensemble, et la première avec aurait influencé P.G. Wodehouse. Les dates Richard D’Oyly Carte comme imprésario. indiquent que cette mélodie fait partie des À leur manière, subtile, les deux mélodies œuvres relativement tardives de Sullivan. continuent à se distinguer par la confusion habituelle de Gilbert lorsqu’il raconte une Little Maid of Arcadee histoire. “Little Maid of Arcadee” fut écrit à l’origine pour Thespis, la première œuvre écrite par A Shadow Sullivan en collaboration avec W.S. Gilbert A Shadow fut “Composé expressément pour (1836 – 1911), produite aux alentours de Madame Patey” au cours d’une nuit d’été Noël en 1871. Lorsque la pièce vit le jour en à Stagenhoe en 1884, dans la demeure du tant que mélodie, ce fut avec quelques légères 14ème comte de Caithness, précepteur du

39 prince de Galles. C’est la dernière mise en que “le son d’un grand Amen” – entendu musique d’un poème de Procter. immédiatement après la première apparition de cette phrase, et Sullivan peut mieux faire The Lost Chord que de répéter un tel coup de maître dans le La mélodie anglaise qui eut le plus de succès deuxième couplet). au dix-neuvième siècle, The Lost Chord fut Après le décès de Fred, Sullivan fut reprise sur plusieurs des tout premiers disques incapable de faire quoi que ce soit pendant phonographiques. Sullivan l’esquissa en des mois –, et c’est ce qui nous priva sans janvier 1877, au chevet de son cher frère qui doute de ce qui aurait été une merveilleuse était mourant. La nature lapidaire de ses collaboration avec Lewis Carroll qui images, inhabituelle même pour Procter, la l’approcha, dans ces moments difficiles personnalité la plus populaire après Tennyson justement, pour lui demander de composer dans l’univers de la poésie, fit de la mélodie des mélodies pour Alice in Wonderland. une candidate pour la parodie dès ses premiers jours. À un de ses détracteurs, Sullivan The Absent-Minded Beggar adressa ces mots: The Absent-Minded Beggar fut créé à J’ai écrit The Lost Chord attristé par la l’Alhambra Music Hall au Leicester Square, le mort de mon frère Fred, n’en faites pas 13 novembre 1899. Dans son journal, Sullivan une œuvre burlesque. écrit: La mélodie, la quintessence même de Je suis allé à l’Alhambra pour répéter Sullivan, explore en profondeur les fondations “Ab. M. Beg.” Dans la soirée – salle de ses connaissances musicales de choriste: comble –, l’enthousiasme était délirant. l’introduction contrapuntique solennelle, Tous chantèrent en chœur! J’étais sur en six véritables parties; l’incantation vocale scène et dirigeais le “bis” – curieuse introductive, citant les Responses of Evensong atmosphère! (réponses chorales aux solistes lors de l’office Et il écrivit à Rudyard Kipling (1865 – 1936): des vêpres), et, surtout, l’identification Tes mots splendides ont transporté et inspirée par Sullivan du “Lost Chord” transportent encore tous les soirs le comme une cadence dans le mode mixolydien public, et même ma musique ne peut ancien (moins “un accord musical unique” apaiser leur enthousiasme. Cela a été

40 un grand plaisir pour moi de mettre en dirigea ses Fringes of the Fleet au Coliseum musique des lignes dont tu es l’auteur. Theatre. Ce ne fut pas le seul succès de music-hall que connut Kipling avec un compositeur fait © 2021 David Owen Norris chevalier, car en 1917, Elgar (anobli aussi) Traduction: Marie-Françoise de Meeûs

David Owen Norris, at the Turner Sims auditorium, University of Southampton

41 Debbie Scanlan Debbie

Ashley Riches COMPACT DISC ONE All goodly sport To my comfort, 1 King Henry’s Song Who shall me let? Henry Youth will needs have dalliance, Chorus Of good or ill some pastance; For idleness Company methinks the best, Is chief mistress All thoughts and fancies to digest, Of vices all; For idleness Then who can say Is chief mistress But mirth and play Of vices all; Is best of all? Then who can say But mirth and play Henry Is best of all? Company with honesty Is virtue; and vice to flee; Chorus Company is good or ill, For idleness But ev’ry man hath his free will. Is chief mistress The best I sue, Of vices all; The worst eschew; Then who can say My mind shall be But mirth and play Virtue to use; Is best of all? Vice to refuse I shall use me. Henry Pastime with good company Chorus I love, and shall until I die; For idleness Grudge who will, but not deny, Is chief mistress So God be pleas’d this life will I; Of vices all; For my pastance, Then who can say Hunt, sing and dance; But mirth and play My heart is set, Is best of all?

from Henry VIII (1613) by William Shakespeare (1564 – 1616) and John Fletcher (1579 – 1625) 43 2 The Lady of the Lake Now I wake to life and glory, I have slept beneath the water, With my lilies on my brow, On my quiet bed of green, To forget that rude old story, As the great Magician’s daughter, For the golden days are now! Who hath dreamed, unheard, unseen. from Kenilworth, ‘A Masque of the Days of Queen Elizabeth’ Since the times of brave King Arthur, (or The Masque at Kenilworth) (1864) When the Knight was used to roam Henry Fothergill Chorley (1808 – 1872) In the search of wild adventure, And the Lady wept at home.

3 But I wake to life and summer, I heard the nightingale With my lilies on my brow, I heard the nightingale so sadly singing For there’s joy for each new comer, On a thorn above; And the merry days are now. Ah, I said, how thou art grieving! No! sigh’d she, I love! I have dreamed beneath the water, On my quiet bed of green, Her the stock-dove now was joining, While, above me, storm and slaughter By sad notes the soul to move; Have passed, though heard, unseen. Ah, I said, how thou art pining. No, wail’d she, I love! But the secrets I have treasured, Will my lake to none betray, So it is with me; you see me rage and weep, For below they hide in twilight, And anguish prove; Though above you have the day; Ah! you say how much you suffer. No, indeed! I love! Rev. Chauncy Hare Townshend (1798 – 1868)

44 4 Over the roof 5 Will He Come? Over the roof, and over the wall, ‘I can scarcely hear,’ she murmur’d, Grow, grow, the jessamine grow, ‘For my heart beats loud and fast, For ever and ever more white and tall, But surely, in the far, far distance, No matter if dwelling be high or low. I can hear a sound at last.’ For let palace be lofty and moat be wide, It is only the reapers singing, And mailed the bridge, and lordly the tow’rs, As they carry home their sheaves; There is love can prevail over pomp and pride, And the evening breeze has risen, Like the cherishing beauty of those sweet And rustles the dying leaves. flow’rs. Love, love, love, ‘Listen! there are voices talking,’ Love will be master under the Sun, Calmly still she strove to speak, While the woods grow, and the waters run. Yet her voice grew faint and trembling, And the red flush’d in her cheek. Down by the meadow, down to the sea, It is only the children playing, Flow, flow, the river will flow, Below, now their work is done, The turf may be green, or wither’d the tree, And they laugh that their eyes are dazzled But the heat is the same and the cold below. By the rays of the setting sun. For whatever the season around that deep stream, Fainter grew her voice, and weaker Be it snow-white winter or summer hot, As with anxious eyes she cried: There is love, tho’ a wand’rer as some might ‘Down the avenue of chestnuts, dream, I can hear a horseman ride.’ Who passes and passes yet changes not. It was only the deer that were feeding, Love, love, love, In a herd on the clover grass, Love will be master under the Sun, They were startled and fled to the thicket, While the wood grows, and the waters run. As they saw the reapers pass.

from The Sapphire Necklace, or the False Heiress (1864) by Henry Fothergill Chorley

45 Now the night arose in silence, Give thy heart’s best treasure – Birds lay in their leafy nest, From fair nature learn; And the deer couched in the forest, Give thy love and ask not, And the children were at rest; Wait not a return! There was only a sound of weeping, And the more thou givest From watchers around a bed, From thy little store, But rest to the weary spirit, With a double bounty Peace to the quiet Dead! God will give thee more! Adelaide Anne Procter (1825 – 1864) Adelaide Anne Procter

6 Give 7 Thou art weary See the rivers flowing Hush! I cannot bear to see thee Downwards to the sea, Stretch thy tiny hands in vain; Pouring all their treasures Dear, I have no bread to give thee, Bountiful and free, Nothing, child, to ease thy pain. Yet to help their giving When God sent thee first to bless me, Hidden springs arise; Proud and thankful, too, was I; Or, if need be, showers Now, my darling, I, thy mother, Feed them from the skies! Almost long to see thee die. Sleep my darling, thou art weary, Watch the princely flowers God is good, but life is dreary. Their rich fragrance spread, Load the air with perfumes, Better thou shouldst perish early, From their beauty shed – Starve so soon, my darling one, Yet their lavish spending Than in helpless sin and sorrow Leaves them not in death, Vainly live as I have done. With fresh life replenished Better that thy angel spirit By their mother earth! With my joy, my peace were flown, Than thy heart grow cold and careless, Reckless, hopeless, like my own.

46 Sleep my darling, thou art weary, 9 O fair dove! O fond dove! God is good, but life is dreary. Methought the stars were blinking bright, And the old brig’s sails unfurl’d; I am wasted, dear, with hunger, I said, ‘I will sail to my love this night, And my brain is all opprest; At the other side of the world.’ I have scarcely strength to press thee, I stepp’d aboard – we sailed so fast – Wan and feeble, to my breast. The sun shot up from the bourne; Patience, baby, God will help us. But a dove that perch’d upon the mast, Death will come to thee and me. Did mourn, and mourn, and mourn. He will take us to his heaven, O fair dove! O fond dove! Where no want or pain can be. And dove with the white breast! Sleep, my darling, thou art weary, Let me alone, the dream is my own, God is good, but life is dreary. And my heart is full of rest. Adelaide Anne Procter My true love fares on this great hill, Feeding his sheep for aye; I look’d in his hut, but all was still, 8 The moon in silent brightness My love was gone away. The moon in silent brightness I went to gaze in the forest creek, Rides o’er the mountain’s brow; And the dove mourn’d on apace; The mist in fleecy whiteness No flame did flash, nor fair blue reek, Hath clad the vale below. Rose up to shew me his place. O last love! O first love! Above the woodbine bower My love with the true heart! Dark waves the trysting tree: To think I have come to this, your home, It is, it is the hour! And yet we are apart. Oh come, my love, to me! Bishop Reginald Heber (1783 – 1826) My love! he stood at my right hand, His eyes were grave and sweet; Methought he said, ‘In this fair land, O is it thus we meet!

47 Ah, maid, most dear, I am not here, Ay, she is true, my lady is true! I have no place – no part – And that’s the best of it all; No dwelling more by sea or shore, And when she blushes my heart so yearns But only in thy heart!’ That tears are ready to fall. O fair dove! O fond dove! And it’s O my love, my love! Till night rose over the bourne, And it’s O my dear, my dear! The dove on the mast as we sailèd fast, It’s of her that I’ll sing till the wild woods Did mourn, and mourn, and mourn. ring, Jean Ingelow (1820 – 1897) When nobody’s nigh to hear. Jean Ingelow

10 The snow lies white The snow lies white and the moon gives light, 11 Looking Back I’ll out to the freezing mere, I heard a voice long years ago, And ease my heart with one little song, A voice so wondrous sweet and low, For none will be nigh to hear. That trembling tears unbidden rose And it’s O my love, my love! From the depths of love’s repose, And it’s O my dear, my dear! It floated thro’ my dreams at night, It’s of her that I’ll sing till the wild woods And made the darkest day seem bright, ring, It whispered to my heart, ‘My love,’ When nobody’s nigh to hear. And nestling there, forgot to rove. O my love, I loved her so, My love is young, she is young, is young, My love that loved me years ago. When she laughs the dimple dips; We walk’d in the wind, and her long locks But ere our summer pass’d away, blew That gentle voice was hush’d for aye, Till sweetly they touch’d my lips. I watched my love’s last smile, and knew, And I’ll out to the freezing mere, How well the angels loved her too, Where the stiff reeds whistle so low, Then silent but with blinding tears, And I’ll tell my mind to the friendly wind I gathered all the love of years, Because I have lov’d her so. And laid it with my dream of old Where all I loved slept white and cold.

48 O my love, I loved her so, ‘Hark!’ he whisper’d, ‘a voice I hear My love that loved me years ago. Thro’ the wind it murmurs low, Louisa M. Gray (c. 1830 – 1911) And creeps to my heart so near, As a voice did years ago.

‘’Tis thine, my love, it woos me above 12 Looking Forward To thy home where the weary rest, Only a tress of hair And I patiently wait, till at Heav’n’s bright He had stol’n one morning bright, gate But the old man dash’d from his cheek a tear, I shall see thee ’mong angels blest. And murmur’d a name to him so dear, And O! ’t will be sweet when yonder we meet, As he kiss’d it and gaz’d thro’ the night. Till then, love, good night, good night!’ ‘Canst thou see me, my darling,’ he cried, Louisa M. Gray ‘From thy home with the angels now As I watch where so oft by my side Thou hast smil’d on me years ago? COMPACT DISC TWO ‘I’m sad and lone, now thou art gone, And oft is my heart like to break; 1 The Maiden’s Story Since from Heav’n they came, my angel to The maiden sat at her busy wheel, claim, Her heart was light and free, And left me to weep and wake; And ever in cheerful song broke forth But O! ’t will be sweet when yonder we meet, Her bosom’s harmless glee. Till then, love, good night, good night.’ Her song was in mockery of love, And oft I heard her say, Only a wither’d flow’r ‘The gather’d rose and the stolen heart She had worn ’mong her ringlets bright; Can charm but for a day.’ But the old man tenderly laid it by With the tress he cherish’d with many a sigh, I look’d on the maiden’s rosy cheek And again look’d far thro’ the night, And her lips so full and bright, And I sigh’d to think that the traitor love, Should conquer a heart so light.

49 But she thought not of future days of woe, Come to me, O ye children... While she caroll’d in tones so gay, ‘The gather’d rose and the stolen heart Ah! what would the world be to us Can charm but for a day.’ If the children were no more? We should dread the desert behind us A year pass’d on, and again I stood Worse than the dark before. At the humble cottage door, The maid sat at her busy wheel What the leaves are to the forest But her look was blithe no more. With light and air for food, A big tear stood in her downcast eye, Ere their sweet and tender juices And with sighs I heard her say, Have been harden’d into wood, ‘The gather’d rose and the stolen heart Can charm but for a day.’ That to the world are children; Emma Catherine Embury (1806 – 1863) Thro’ them it feels the glow Of a brighter and sunnier climate Than reaches the trunks below.

2 Living Poems Come to me, O ye children! Come to me, O ye children! And whisper in my ear For I hear you at your play. What the birds and the winds are singing And the questions that perplex’d me In your sunny atmosphere. Have vanished quite away; For what are all our contrivings, Ye open the eastern windows And the wisdom of our books, That look towards the sun, When compar’d with your caresses Where thoughts are singing swallows, And the gladness of your looks? And the brooks of morning run. Ye are better than all the ballads In your hearts are the birds and sunshine, That ever were sung or said; In your thoughts the brooklets flow, For ye are living poems, But in mine is the wind of Autumn And all the rest are dead. And the first fall of the snow. Come to me, O ye children... Henry Wadsworth Longfellow (1807 – 1882) 50 3 The Sailor’s Grave And when the last trump shall sound, There is in the wide lone sea And tombs are asunder riv’n, A spot unmark’d but holy Like the morning sun from the wave thou’lt For there the gallant and the free bound, In his ocean bed lies lowly. To rise and shine in Heaven! Henry Francis Lyte (1793 – 1847) Down, down, within the deep, That oft to triumph call’d him, He sleeps a calm and pleasant sleep, With the salt waves washing o’er him. 4 Let me dream again The sun is setting and the hour is late, He sleeps serene and safe Once more I stand beside the wicket gate, From tempest or from billow The bells are ringing out the dying day, Where the storms that high above him chafe The children singing on their homeward way, Scarce rock his peaceful pillow. And he is whisp’ring words of sweet intent, While I, half doubting, whisper a consent. The sea and him in death They did not dare to sever, Is this a dream? then waking would be pain! It was his home while he had breath, Oh, do not wake me, let me dream again! ’Tis now his rest for ever. The clock is striking in the belfry tower, Sleep on, thou mighty dead! And warns us of the ever fleeting hour, A glorious tomb they’ve found thee – But neither heeds the time which onward The broad blue sky above thee spread, glides, The boundless waters round thee. For time may pass away but love abides. I feel his kisses on my fever’d brow, No vulgar foot treads here; If we must part, ah! why should it be now? No hand profane shall move thee; But gallant fleets shall proudly steer, Is this a dream? then waking would be pain! And warriors shout above thee. Oh! do not wake me, let me dream again! Benjamin Charles Stephenson (1839 – 1906)

51 5 Other Days Les Vieillards When we were young Dans ma jeunesse To the wind our cares we flung; On se divertissait, Love’s gayest songs were sung; Chacun se trémoussait, There was no repining, Avec grâce on dansait, Stars were shining, Dans un bal on faisait We allowed each cloud a silver lining! Admirer son adresse: ’Tis not so today, ah, no! Aujourd’hui ce n’est plus cela; Lovers’ happy singing Ce n’est qu’indolence, Sets no echoes ringing; Langueur, négligence, Songs of lamentation Les grâces, les danses Suit this generation, Sont en décadence, As, sad and slow, Et le bal va They croon their woe! Cahin, caha!

Oft times we sigh Dans ma jeunesse For those happy days gone by L’homme sombre et prudent, When marriage was a tie Au plaisir moins ardent, And, by vows recited, Se bornait sagement, Pledged and plighted Et ce menagement Man and wife were then for life united! Retardait sa vieillesse: ’Tis not so today, ah, no! Aujourd’hui ce n’est plus cela; Bonds that tied us tightly Honteux d’être sage, We discard so lightly! Le libertinage Now the nuptial tether Dès quinze ans l’engage; Holds two hearts together À vingt il fait rage, A year or so, À trente il va Then off they go! Cahin, caha!

52 In days of old Dans ma jeunesse All the men were brave and bold, Les femmes, dès vingt ans, And maidens, so we’re told, Renonçaient aux amants: While their hearts beat fast, De leurs engagements With eyes downcast, Les devoirs importants Would hail each gallant male as lord and Les occupaient sans cesse: master! Aujourd’hui ce n’est plus cela; ’Tis not so today, ah, no! Plus d’une grand’mère Weaker sex or stronger S’efforce de plaire, We define no longer! Et vent encore faire Sister now or brother: Un tour à Cythère: Which is which or t’other La bonne y va We cannot know, Cahin, caha! So like they grow! Charles-François Panard (1689 – 1765) Jocelyn Henry Clive (Harry) Graham (1874 – 1936)

6 Little Maid of Arcadee Little maid of Arcadee, Sat by Cousin Robin’s knee, Thought in face and form and limb, Nobody could equal him. He was rich and she was fair, Truth, they made a pretty pair; Happy little maiden she! Happy maid of Arcadee!

Moments sped as moments will, Rapidly enough, until After, say, a month or two, Robin did as Robins do –

53 Fickle as the month of May, The maiden dried her eyes, Jilted her and ran away, And a smile shone over her face, Wretched little maiden she! For she saw bright hope in the changing skies Doleful maid of Arcadee! As the Wind flew off apace. And she bade the kind Wind good speed, To her little home she crept, ‘Hurry, oh Wind,’ said she, There she sat her down and wept, ‘Oh, say that I love him indeed and indeed,’ Maiden wept as maidens will, And the Wind cried over the sea, Grew so thin and pale and ill, ‘Be of good cheer, dear heart, Till another came to woo, I fly to that distant shore, Then again the roses grew. Thy lover I’ll tell thou lovest him well, Happy little maiden she! Ever and evermore.’ Happy maid of Arcadee! The Wind tore over the wave, from Thespis, or The Gods Grown Old (1871) Sir William Schwenck Gilbert (1836 – 1911) Scatt’ring the ocean spray, But alack! the lover he flew to save He met on his homeward way, And his good ship sank in the gale, 7 The Distant Shore And ev’ry soul beside, A maiden sat at her door, And the Wind came sobbing to tell the tale, And sighed as she looked at the sea: And the maiden drooped and died. ‘I’ve a dear, dear love on a distant shore Be of good cheer, poor heart, A-dying for news of me.’ At rest on a distant shore, And the Wind was listening near, Where thou and thy love walk hand in hand And saw that the maid was fair, Ever and evermore. So the kind Wind whispered a hope in her ear Sir William Schwenck Gilbert As he played with her bright brown hair, ‘Be of good cheer, sweetheart, I fly to that distant shore, Thy lover I’ll tell thou lovest him well, Ever and evermore.’

54 8 The love that loves me not What lack the tender flow’rs? When the cold shadows gloam A shadow is on the sun. On the broad ocean’s span, What lack the merry hours Silent and sad I roam That I long that they were done? Far from the haunts of man, Only two smiling eyes And there by the cold gray sea, That told of joy and mirth, Oh, let my thoughts go free, They are shining in the skies! To dream of the love that loves me not, I mourn on earth! Dear one, to dream of thee. What lacks my heart that makes it There is a mournful song, So heavy and full of pain? Sung by the list’ning wave, That trembling hope forsakes it ‘Come to the silent throng, Never to come again. Down in my deep sea grave!’ Only another heart, And there by the cold gray sea, Tender and all mine own, That singeth alone to me, In the still grave it lies, It sings of the love that loves me not; I weep alone. Dear one, it sings of thee. Adelaide A. Procter Sir William Schwenck Gilbert

10 The Lost Chord 9 A Shadow Seated one day at the organ, What lack the valleys and mountains I was weary and ill at ease, That once were green and gay? And my fingers wander’d idly What lack the babbling fountains? Over the noisy keys; Their voice is sad today. I know not what I was playing, Only the sound of a voice, Or what I was dreaming then, Tender and sweet and low, But I struck one chord of music, That made the earth rejoice Like the sound of a great Amen. A year ago.

55 It flooded the crimson twilight, Will you kindly drop a shilling in my little Like the close of an Angel’s Psalm, tambourine And it lay on my fever’d spirit, For a gentleman in khaki ordered South? With a touch of infinite calm, He’s an absent-minded beggar and his It quieted pain and sorrow, weaknesses are great, Like love overcoming strife, But we and Paul must take him as we find It seem’d the harmonious echo him. From our discordant life, He is out on active service, wiping something off a slate, It link’d all perplexed meanings, And he’s left a lot o’ little things behind him! Into one perfect peace, And trembled away into silence, Duke’s son, cook’s son, son of a hundred As if it were loth to cease; kings I have sought, but I seek it vainly, (Fifty thousand horse and foot going to Table That one lost chord divine, Bay!), Which came from the soul of the organ, Each of ’em doing his country’s work And enter’d into mine. (And who’s to look after the things?); Pass the hat for your credit’s sake, and pay, It may be that Death’s bright Angel, pay, pay! Will speak in that chord again; It may be that only in Heav’n, Chorus I shall hear that grand Amen. Duke’s son, cook’s son, son of a hundred Adelaide A. Procter kings (Fifty thousand horse and foot going to Table Bay!), Each of ’em doing his country’s work 11 The Absent-Minded Beggar (And who’s to look after the things?); Voice Pass the hat for your credit’s sake, and pay, When you’ve shouted ‘Rule Britannia’, pay, pay! When you’ve sung ‘God Save the Queen’, When you’ve finished killing Kruger with your mouth,

56 Voice Voice There are girls he married secret, asking no There are families by thousands, far too proud permission to, to beg or speak, For he knew he wouldn’t get it if he did. And they’ll put their sticks and bedding up There is gas and coals and vittles, and the the spout, house-rent falling due And they’ll live on half o’ nothing, paid ’em And it’s more than rather likely there’s a kid. punctual once a week, There are girls he walked with casual, they’ll ’Cause the man that earned the wage is be sorry now he’s gone, ordered out. For an absent-minded beggar they will find He’s an absent-minded beggar, but he heard him, his country’s call, But it ain’t the time for sermons with the And his reg’ment didn’t need to send to find winter coming on; him: We must help the girl that Tommy’s left He chucked his job and joined it, so the job behind him! before us all Is to help the home that Tommy’s left behind Cook’s son, Duke’s son, son of a belted Earl, him! Son of a Lambeth publican – it’s all the same to-day! Duke’s job, cook’s job, gardener, baronet, Each of ’em doing his country’s work groom, (And who’s to look after the girl?); Mews or palace or paper shop, there’s Pass the hat for your credit’s sake, and pay, someone gone away! pay, pay! Each of ’em doing his country’s work (And who’s to look after the room?); Chorus Pass the hat for your credit’s sake, and pay, Cook’s son, Duke’s son, son of a belted Earl, pay, pay! Son of a Lambeth publican – it’s all the same to-day! Chorus Each of ’em doing his country’s work Duke’s job, cook’s job, gardener, baronet, (And who’s to look after the girl?); groom, Pass the hat for your credit’s sake, and pay, Mews or palace or paper shop, there’s pay, pay! someone gone away!

57 Each of ’em doing his country’s work Cook’s home, Duke’s home, home of a (And who’s to look after the room?); millionaire Pass the hat for your credit’s sake, and pay, (Fifty thousand horse and foot going to Table pay, pay! Bay!), Each of ’em doing his country’s work Voice (And what have you got to spare?); Let us manage so as later we can look him in Pass the hat for your credit’s sake, and pay, the face, pay, pay! And tell him, what he’d very much prefer, That, while he saved the Empire his employer Chorus saved his place, Cook’s home, Duke’s home, home of a And his mates (that’s you and me) looked millionaire out for her. (Fifty thousand horse and foot going to Table He’s an absent-minded beggar, and he may Bay!), forget it all, Each of ’em doing his country’s work But we do not want his kiddies to remind him, (And what have you got to spare?); That we sent ’em to the workhouse while their Pass the hat for your credit’s sake, and pay, daddy hammered Paul, pay, pay! So we’ll help the homes our Tommy’s left behind him! Rudyard Kipling (1865 – 1936)

58 Also available

CHAN 10935(2) Sullivan Songs sr

59 Also available

CHAN 10794(2) Sullivan The Beauty Stone sr

60 Also available

CHAN 10578(3) Sullivan Ivanhoe sr

61 You can purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Royalties Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

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Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

62 Steinway Model D Concert Grand Piano (592 087) courtesy of Potton Hall Piano technician: Jon Pearce

Part of David Owen Norris’s early piano research project

This recording is generously sponsored by the Sir Arthur Sullivan Society.

Recording producer Jonathan Cooper Sound engineer Jonathan Cooper Assistant engineer Patrick Friend (30 November 2020) Editor Jonathan Cooper A & R administrator Sue Shortridge Recording venue Potton Hall, Dunwich, Suffolk; 10 and 11 August (Kitty Whately, Ben Johnson, and Ashley Riches) & 30 November (Mary Bevan) 2020 Front cover Mariana in the Moated Grange (1851) (oil on panel) by Sir John Everett Millais (1829 – 1896), now at Tate Britain, London / Bridgeman Images Back cover Photograph of David Owen Norris, performing at the Stetson Chapel, Kalamazoo College, Michigan Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen P 2021 Chandos Records Ltd C 2021 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

63 SULLIVAN: SONGS – Bevan / Whately / Johnson / Riches / Owen Norris CHAN 20239(2) 4:15 4:19 4:57 4:57 3:07 3:42 2:54 4:32 5:44 3:04 3:58 TT 46:03 England • Essex •

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This recording is Sullivan Society. by the Sir Arthur (1867)

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(1872) (1874) generously sponsored § ‡ (1877) (1874) (late 1890s) (1884) Chandos Records Ltd Chandos Records 2-disc set 2021 Chandos Records Ltd The Maiden’s Story Story Maiden’s The Living Poems Grave Sailor’s The meLet dream again Other Days Little Maid Arcadee of Shore Distant The loves love that The me not A Shadow Chord Lost The Beggar Absent-Minded The COMPACT DISC TWO DISC COMPACT p

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CHANDOS ‡ § (1868)‡ (1864)

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(1873 † * mezzo-soprano bass-baritone

(1874) tenor soprano (1870) (1865) (1864)

† (1867) Over the roof Will He Come? Give Thou art weary moonThe in silent brightness O fairfond O dove! dove! The LadyThe the Lake of MARY BEVAN BEVAN MARY KITTY WHATELY JOHNSON BEN ASHLEY RICHES NORRIS OWEN DAVID Looking Forward The snow lies snow The white Looking Back COMPACT DISC ONE DISC COMPACT Song Henry’s King I heard the nightingale SIR ARTHUR SULLIVAN SULLIVAN SIR ARTHUR

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Songs

SULLIVAN: SONGS – Bevan / Whately / Johnson / Riches / Owen Norris CHAN 20239(2)