583 Jane's Minstrels

Page 1 My Own Country Soprano JANE MANNING JANE'S MINSTRELS conductor ROGER MONTGOMERY Songs and Music by Roger Quilter, Peter Warlock Frank Bridge, Ethel Smyth Page 2 Page 3 best, his style is finely balanced between light ballad more surprising for being the work of a woman in the My Own Country and art song, and Warlock, notably, acknowledged his male-dominated musical scene of her time, it has been debt to this kind of utterance, as did a number of Smyth's misfortune that her larger than life English song composers of the time, laced as it is with personality, splendidly represented in her extensive a French harmonic poise. Unlike Bridge, however, autobiographical writings, and her leading role in the Jane Manning ~ soprano Quilter hardly developed in manner or substance suffragette movement, have continued to divert throughout his long composing life, although , with his attention from the music. Susanne Stanzeleit ~ violin I Three Pastoral Songs of 1920, he proved still capable Marina Gillam ~ violin II of investing the well-tried style with a fresh impulse. To the unprejudiced ear, this undervaluing of Dorothea Vogel ~ viola Smyth's music may well seem incomprehensible, Adrian Bradbury ~ cello Ethel Smyth (1858-1944) belonged to a rather especially when becoming acquainted with her Four different musical world. Although still productive Songs for Voice, Flute, Harp, String Trio and Dominic Saunders ~ piano during the 1920s, she reached her seventieth year Percussion, composed in 1907. By this time, a certain Robert Manasse ~ flute before the end of the decade, at which point increasing Gallic grace had been incorporated into Smyth's Emily Pailthorpe ~ oboe/cor anglais deafness brought her composing to an end. Born a Germanically-based language, and the music flows generation before Bridge and Quilter, into a military with ease and individuality in broadly-conceived Dov Goldberg ~ B flat and E flat clarinet family which disapproved of her musical aspirations, paragraphs. The majestic progress of the first song, Martin Lawrence ~ horn she fought doggedly to achieve her artistic aims, and, Odelette, is deeply touching, and must be one of the Lucy Wakeford ~ harp like Quilter, ended up studying in Germany, where she composer's finest achievements, a noble love song of Roger Montgomery ~ conductor met and impressed, among others, the notoriously ambivalent feeling, with words by the French caustic Brahms. Her style shares little with the other 3 symbolist Henri de Régnier, translated by Alma composers, and we can hear traces of Strauss and even Strettell. To a delicately melancholy flute theme with Wagner, as well as Brahms, in her first pieces. anxious harp figuration, the lover confesses he would The generosity of her creative impulse found its not have allowed his feelings to develop if he had One of the richest and most productive periods in then, with probably much agony of mind occasioned ideal outlet in large-scale works, and she broke on to known himself better, but the loved one has accepted twentieth century English music, the 1920s, saw the by the War, he ventured far from the easygoing the London musical scene in 1891 with her Mass in D, his dangerous offering, and the textures clear composition of 3 of the works on this disc. The Edwardiansim of his previous work, and radically her most ambitious concert work, where something of magically to reveal cello harmonics, arpeggiated harp, youngest of the composers involved, the intellectually transformed himself. the spirit of Beethoven can be discerned. and high string tremolandos, in one of Smyth's precocious Philip Heseltine, (1894-1930), later to His grandeur of vision and deeply probing If Smyth had yet to find true individuality of style inspirational sonorities. In The Dance, the flute adopt the pseudonym Peter Warlock, had, without sensibilities compelled him to undertake a most here, the vigour and confidence of the writing unfolds an elegant and highly decorated line over the much formal training, discovered a language to courageous journey, and, forfeiting his former appeal, astonished her audience. harp's insistent rhythm, as the dancer pursues a dream embody his intense poetic vision towards the end of he embarked during the twenties on a series of through the autumn evening shades. Eventually the the First World War, and produced well over a hundred chamber and orchestral pieces which declared Ultimately, Smyth's reputation was destined to rest accompanying flute skips and falters at the songs of astonishing expressive and stylistic variety allegiance to the European modernists of his time. on her work for the theatre, where her fine sense of strangeness of the dance steps. To music of hymn-like during the next decade, only silenced by what was drama and orchestral colour came into its own. Her concentration, Chrysilla presents the poet's prayer for almost certainly his suicide. Two years Bridge's senior, Roger Quilter (1877- masterpiece was probably the opera, The Wreckers, his goddess to banish time from his death-bed. Instead, 1953), an exquisite craftsman though far more limited and this and her other five operas did not lack for he wants his lost youth to draw near, bringing love, By the time of Warlock's emergence, Frank Bridge artist, had also found himself earlier after studying in successful performances both abroad and at home painful though it is . This is the cycle's moment of (1879-1941) had already been writing superbly Frankfurt, establishing a new genre of recognisably during her lifetime, this at a time, moreover, when calm, and it leads to the wild drinking song of tailored late-Romantic music for over a decade, but English song with Love's Philosophy of 1905. At its there were no established opera companies in this Anacreontic Ode. Contrasting the mad frenzy of country. In spite of these solid musical successes, the drinking wine to the gods with the madness of Page 2 Page 3 best, his style is finely balanced between light ballad more surprising for being the work of a woman in the My Own Country and art song, and Warlock, notably, acknowledged his male-dominated musical scene of her time, it has been debt to this kind of utterance, as did a number of Smyth's misfortune that her larger than life English song composers of the time, laced as it is with personality, splendidly represented in her extensive a French harmonic poise. Unlike Bridge, however, autobiographical writings, and her leading role in the Jane Manning ~ soprano Quilter hardly developed in manner or substance suffragette movement, have continued to divert throughout his long composing life, although , with his attention from the music. Susanne Stanzeleit ~ violin I Three Pastoral Songs of 1920, he proved still capable Marina Gillam ~ violin II of investing the well-tried style with a fresh impulse. To the unprejudiced ear, this undervaluing of Dorothea Vogel ~ viola Smyth's music may well seem incomprehensible, Adrian Bradbury ~ cello Ethel Smyth (1858-1944) belonged to a rather especially when becoming acquainted with her Four different musical world. Although still productive Songs for Voice, Flute, Harp, String Trio and Dominic Saunders ~ piano during the 1920s, she reached her seventieth year Percussion, composed in 1907. By this time, a certain Robert Manasse ~ flute before the end of the decade, at which point increasing Gallic grace had been incorporated into Smyth's Emily Pailthorpe ~ oboe/cor anglais deafness brought her composing to an end. Born a Germanically-based language, and the music flows generation before Bridge and Quilter, into a military with ease and individuality in broadly-conceived Dov Goldberg ~ B flat and E flat clarinet family which disapproved of her musical aspirations, paragraphs. The majestic progress of the first song, Martin Lawrence ~ horn she fought doggedly to achieve her artistic aims, and, Odelette, is deeply touching, and must be one of the Lucy Wakeford ~ harp like Quilter, ended up studying in Germany, where she composer's finest achievements, a noble love song of Roger Montgomery ~ conductor met and impressed, among others, the notoriously ambivalent feeling, with words by the French caustic Brahms. Her style shares little with the other 3 symbolist Henri de Régnier, translated by Alma composers, and we can hear traces of Strauss and even Strettell. To a delicately melancholy flute theme with Wagner, as well as Brahms, in her first pieces. anxious harp figuration, the lover confesses he would The generosity of her creative impulse found its not have allowed his feelings to develop if he had One of the richest and most productive periods in then, with probably much agony of mind occasioned ideal outlet in large-scale works, and she broke on to known himself better, but the loved one has accepted twentieth century English music, the 1920s, saw the by the War, he ventured far from the easygoing the London musical scene in 1891 with her Mass in D, his dangerous offering, and the textures clear composition of 3 of the works on this disc. The Edwardiansim of his previous work, and radically her most ambitious concert work, where something of magically to reveal cello harmonics, arpeggiated harp, youngest of the composers involved, the intellectually transformed himself. the spirit of Beethoven can be discerned. and high string tremolandos, in one of Smyth's precocious Philip Heseltine, (1894-1930), later to His grandeur of vision and deeply probing If Smyth had yet to find true individuality of style inspirational sonorities. In The Dance, the flute adopt the pseudonym Peter Warlock, had, without sensibilities compelled him to undertake a most here, the vigour and confidence of the writing unfolds an elegant and highly decorated line over the much formal training, discovered a language to courageous journey, and, forfeiting his former appeal, astonished her audience.

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