A Shropshire Lad

& other songs by Finzi § Britten § Copland § Blake Fischer Claire Cooper

WINNER OF THE CITY OF MELBOURNE SONG RECITAL AWARD in an intimate song recital that demands source of poetry from folk and traditional, A RECITAL OF great concentration and sensitivity when through Shakespeare and the romantics ENGLISH AND they are constantly being bombarded to the contemporary. Many of the greatest with music in their homes and cars, in British and American composers have AMERICAN FOLK, shops, elevators, restaurants; in fact almost been attracted to the song form and have TRADITIONAL AND anywhere. found inspiration in English language But in the recording and broadcast poetry. ART SONG media the recital seems to have found its saviour. As a bonus to major artists, For years commentators have being the multinational record companies, A SHROPSHIRE LAD trying to tell us that the song recital is a often grudgingly, record recital programs George Butterworth (1885-1916) / dead art form. Nowadays big is better: when the latest all-star opera set is A. E. Housman (1859-1936) the major symphonic repertoire and complete. However, as CDs become grand opera. Chamber and ‘early’ music less prohibitively expensive to produce, The list of Butterworth’s compositions is have loyal followers but, in general, the younger artists no longer have to depend sadly short. Having destroyed many of the larger the musical form, the larger the on contracts with the major record manuscripts of his original compositions audience. Hence the live solo vocal recital companies. And public broadcasting before leaving for the war, he never has become the province of established groups with FM radio band access are returned from the trenches in France. major opera stars. Singing ‘safe’ repertoire, always looking for new talent to showcase The brilliant son of a lawyer and railway it is they who have the drawing power on their programs. company general manager, Butterworth to fill large concert halls with admirers. A truly successful recital is not a became an avid collector of folksong in Admittedly they have developed the vocal collection of songs shunted together the company of Cecil Sharp and Vaughan powers to fill vast halls with sound. like a string of ill-matched freight cars. Williams. While folk-like in their melodic In the past, however, a recital was Given true commitment, atmosphere style, all but one of the six songs from always used as the launching pad for and concentration by both artists and Housman’s A Shropshire Lad, are purely of young singers on the brink of their audience, it can take you on a dramatic Butterworth’s invention. careers. Rather than major operatic roles, and/or emotional journey that will be as Self-published in 1896, Housman’s recital repertoire is more suited to artists satisfying as a symphony, string quartet sixty-three poems are set in a land of lost with developing vocal and dramatic or sonata. And the audience can be one content. This is an imagined Shropshire powers. And the byways of song offer listener in the comfort of a quiet living seen through the eyes of a soldier or a voice interesting opportunities to be room. The solo song recital will survive in young farmer. While it was not until the heard without direct comparison to an some form. horrors of the First World War were being established ‘big name’. But many of the All composers aspiring to important experienced that the poems gained wider smaller venues suitable for recitals are musical thought in song look to the great popularity, Butterworth made his settings no longer available or acceptable to the song cycles of Schubert. They are at the in 1911. concert-going public. pinnacle of the art form. But a well-chosen The journey of this cycle of songs begins The advent of easy access to program of individual songs can achieve a with Loveliest of trees in which a 20-year- entertainment has seen the demise of satisfying line of thought, even philosophy. old lad contemplates the turn of winter small local organizations that were able to At the same time it will show off the voice into spring and the fact that his life is offer professional opportunities to young at its best. finite. With the piano principally capturing artists. It is difficult to interest an audience English speaking composers have a rich the stillness of the scene, Butterworth’s melody meanders with the lads thoughts. achieved a happy relationship. If it is Gifts, a song from the austere religious A ‘traditional tune’, When I was one- he who is alive, and that is more likely, sect, the Shakers. There is gentle irony in and-twenty finds the lad two years later then his happiness is haunted by the this setting. The simple hymn chords that perhaps strumming his guitar as he sings thought that he is benefiting from his could be from a harmonium played at a of his regret at not having taken the advice friends death. From the first questioning Shaker meeting just don’t come down of a wiser man. Our lad has lived and chord, through the bluff and confident in the place just right a phenomenon still learned. Or has he? harmonies accompanying our lads replies, heard in many small country and suburban In Look not in my eyes he struggles to to the unanswered question that is the churches. Tolling bell effects in the second come to terms with his latest bout of love- coda, Butterworth finds the perfect mix of stanza reinforce the religious connection. sickness. Butterworth’s choice of uneven resignation, wistfulness, self-delusion and Also a virtuoso pianist, Copland and changing meter and uncertain tonality irony. Our journey with the Shropshire lad accompanied William Warfield (a famous captures our lads inner turmoil and the is complete. But is his? Porgy) at the first performance of the ambiguity. Housman presents us with his second set of Old American Songs in 1952. At reference to the Grecian lad, Narcissus, the river is to be performed ‘with dignity’ and the jonquil (genus Narcissus). Think OLD AMERICAN SONGS throughout. The slow bass line of this no more, lad finds our lad drowning his Aaron Copland (1900-1990) / hymn tune setting walks with firm steps thoughts in drink. It takes until the end of Various / Traditional at first then more excitedly as we join the the first stanza for Butterworth to settle saints. But the dignity is never lost. As into the key of this song (G sharp minor), Regarded by many as the father of modern befitting a gathering at the throne of God, so drunk is our lad. His second stanza American music, Aaron Copland’s major Copland creates a rich and shining texture begins more confidently but there is a early influence was the great teacher Nadia by gradually weaving extra lines into the moment of introspection as the Think no Boulanger in Paris. While still in Europe in fabric of the music. Capturing the energy more theme returns, augmented this time. the twenties, he developed a recognisable and spirit of the old American Minstrel Apparently regaining his composure, our personal style that often incorporated jazz Shows, Chin-a-ring chaw is a delightfully lad reiterates his philosophical stance. rhythms and blues harmonies. He found upbeat spiritual complete with banjo But now the ground (accompaniment) is inspiration in other, more traditional, imitations by the voice. moving under him. American music as well and became the Our knowledge of the composers fate doyen of his countrys musical life. makes Butterworth’s setting of the four Copland’s first set of Old American Songs LET US GARLANDS stanzas of The lads in their hundreds was arranged in 1950 and first performed BRING chillingly prophetic. Here, he is at his that year at the Aldeburgh Festival by Gerald Finzi (1901-1956) / simplest, most folk-like in both melody his friends Peter Pears and Benjamin William Shakespeare (1564-1616) and harmony. Yet, with the senza rigore Britten. The wistful melody of Long time ago dates from the 1830s. Copland (not strictly) marking, the prosody is This cycle five songs was dedicated to takes his inspiration from the opening ideal and the whole song captures a Finzi’s friend and one-time teacher Ralph words of the ballad to create a gently sense of the prevailing pre-war carefree Vaughan Williams on the occasion of his rocking accompaniment reminiscent of spirit. Is my team ploughing? may set 70th birthday. Finzi’s is an English pastoral a small boat on a lake. It was in his 1943 the listener a further question. Has our voice given to introspection tempered score for the ballet Appalachian Spring, lad died, or is it the ghost of his friend with joy in nature. Treating the songs choreographed by Martha Graham, that questioning him from the grave? If our independently of the context of the lad is dead, he went to his grave having Copland first used the melody ofSimple plays from which they come, Finzi reacts Prelude in D flat (Op.28, No.15). Throughout to the texts in a sensitive yet direct way FOLKSONG Britten’s hauntingly beautiful setting the eschewing Shakespeare’s often bawdy ARRANGEMENTS constant even quavers express the young subtext. Benjamin Britten (1913-1976) / mans longing for a love found and lost Come away, death (Twelfth Night) has the Various / Traditional in Dublin’s popular courting place, the quality of a funeral processional. Yet the Phoenix Park willow tree (genus Salix) text tells us that this death is that of love, A prolific composer in all art-music gardens. Is it a coincidence that D flat not of a life. Finzi responds with a haunting forms, Britten is justifiably famous for is also the published key of The Salley melody underpinned by rich textured his operas and choral works. But he Gardens for medium voice? harmony. In contrast, Who is Sylvia (Two also had a life-long love of the voice in Next taking his inspiration from Gentlemen of Verona) is a light serenade with more intimate settings. His song output Schubert’s Margaret at the spinning wheel, guitar effects in the accompaniment. Fear spans his entire composing career. He Britten incorporates the unceasing no more the heat of the sun (Cymbeline) wrote his first song cycle, Tit for Tat, in movement of the mill wheel into his is part of a funeral scene in the play. The 1928 (re-thought and published in 1968). accompaniment of The Miller of Dee. arching melody over a slow-moving bass Defying the heart problems that took his Here the composer virtually ignores the line and the recitative section show the life less than six months after the first jaunty melody, famous for being one of direct influence of Purcell. It is a moving performance, Britten completed his last the few ‘hawppy’ tunes in the minor mode, lament in which the prosody is carefully solo vocal work in 1975 – Phaedra, a scena and we find ourselves confronted by the worked out so that the rise and fall of the for mezzo soprano (Dame Janet Baker) rough and bitter miller’s dark side as he melody is sensitive to natural speech. and chamber ensemble. Britten gave the lurches around the tavern. Finally he sinks There is laughter and drunkenness in first performances and recorded many of into drunken oblivion. For most of O Waly, the rhythm, melody and harmony of O his songs, the Folksong Arrangements Waly Britten rows us across calm waters. Mistress mine (Twelfth Night). Yet Finzi is amongst them, with his life-long But he masterfully signals the wronged ready when the text expresses a fleeting companion the tenor Peter Pears. lovers emotional changes of temperature serious thought. The cycle concludes Like Copland in his Old American Songs, with increasingly dissonant harmony and with a jolly country song, complete with in the 1940s Folksong Arrangements, Britten the syncopated rhythm of the rocking hey noninos. The jester Touchstone and sought to take traditional melodies of boat. This setting of Oliver Cromwell looks his country wench bride Audrey are the high quality off the village green and into deceptively simple on the page but it subjects of It was a lover and his lass the concert hall. Britten’s ‘composed’ is a virtuoso display for both singer and (As You Like It). Their joy is expressed in accompaniments, rightly or wrongly, pianist. To toss it off with the right amount an exuberant melody over a throbbing legitimised the folksongs and raised them of off-hand panache takes extraordinary syncopated rhythmic accompaniment. into the realm of the art song. In The skill. It is a fitting end to a rewarding Finzi captures the brightness of this Ploughboy we see the ambitious young recital. springtime idyll in his choice of key (E man walking across the pastures. Whether major) and ends with a brilliant flourish. he achieves his fancy we will never know © ROBERT MITCHELL but Brittens merry whistling tune assures October 1999 us that the lad will be happy whatever life brings. In contrast, the ‘Irish Tune’ The Salley Gardens (text by W.B. Yeats) finds Britten looking back to Chopin’s Raindrop GEORGE BUTTERWORTH One the long nights through must lie And brushing your elbow unguessed at and not to be told SIX SONGS FROM Spent in star defeated sighs, They carry back bright to the coiner the mintage of man, ‘A SHROPSHIRE LAD’ But why should you as well as I The lads that will die in their glory and never be old. (1911) A. E. Houseman Perish? gaze not in my eyes. 6 Is my team ploughing? 1 Loveliest of trees A Grecian lad, as I hear tell, One that many loved in vain, Is my team ploughing, Loveliest of trees, the cherry now Looked into a forest well That I was used to drive Is hung with bloom along the bough, And never looked away again. And hear the harness jingle And stands about the woodland ride When I was man alive?” Wearing white for Eastertide. There, when the turf in spring-time flowers, With downward eye and gazes sad, Ay, the horses trample, Now, of my threescore years and ten, Stands a-mid the glancing showers The harness jingles now; Twenty will not come again, A jonquil, not a Grecian lad. No change though you lie under And take from seventy springs a score, The land you used to plough. It only leaves me fifty more. 4 Think no more, lad “Is football playing And since to look at things in bloom Think no more, lad; laugh, be jolly: Along the river-shore, Fifty springs are little room Why should men make haste to die? With lads to chase the leather, About the woodlands I will go Empty heads and tongues a-talking Now I stand up no-more?” To see the cherry hung with snow. Make the rough road easy walking, And the feather pate of folly Ay, the ball is flying, 2 When I was one-and-twenty Bears the falling sky. The lads play heart and soul; The goal stands up, the keeper When I was one-and-twenty Oh, ‘tis jesting, dancing, drinking Stands up to keep the goal. I heard a wise man say, Spins the heavy world around. “Give crowns and pounds and guineas If young hearts were not so clever, “Is my girl happy, But not your heart away; Oh, they would be young for ever: That I thought hard to leave, Give pearls away and rubies Think no more; ‘tis only thinking And has she tired of weeping but keep your fancy free.” Lays lads underground As she lies down at eve?” But I was one-and-twenty, No use to talk to me. 5 The lads in their hundreds Ay, she lies down lightly, She lies not down to weep: When I was one-and-twenty The lads in their hundreds to Ludlow come in for the fair, Your girl is well contented. I heard him say again, There’s men from the barn and the forge and the mill and the fold, Be still, my lad, and sleep. “The heart out of the bosom The lads for the girls and the lads for the liquor are there, Was never given in vain; And there with the rest are the lads that will never be old. “Is my friend hearty, ‘Tis paid with signs a plenty Now I am thin and pine, And sold for endless rue.” There’s chaps from the town and the field and the till and the cart, and has he found to sleep in And I am two-and-twenty, And many to count are the stalwart, and many the brave, A better bed than mine?” and oh, ‘tis true, ‘tis true. And many the handsome of face and the handsome of heart, And few that will carry their looks or their truth to the grave. Yes, lad, I lie easy, 3 Look not in my eyes I lie as lads would choose; I wish one could know them, I wish there were tokens to tell I cheer a dead man’s sweetheart, Look not in my eyes, for fear The fortunate fellows that now you can never discern; Never ask me whose. They mirror true the sight I see, And then one could talk with them friendly and wish them farewell And there you find your face too clear And watch them depart on the way that they will not return. And love it and be lost like me. But now you may stare as you like and there’s nothing to scan; AARON COPLAND Soon we’ll reach the shining river, Brothers hear me out, Old American Songs Soon our pilgrimage will cease, The promised land’s a-come-in’, Soon our happy hearts will quiver Dance and sing and shout, 7 Long Time Ago With the melody of peace. I hear them harps a-strummin’. On the lake where droop’d the willow Long time ago Yes we’ll gather by the river Ching-a-ring ching ching, Where the rock threw back the billow The beautiful, the beautiful river, Ching-a-ring ching ching, Brighter than snow. Gather with the saints by the river Ching-a-ching ching-a-ching That flows by the throne of God, Ching-a-ching Ching-a-ching Dwelt a maid beloved and cherish’d That flows by the throne of God. Ching-a-ring-a ching ching By high and low Ching-a-ring-a ching ching But with autumn leaf she perish’d q0 Ching-a-Ring Chaw Ching-a-ring-a Ching-a-ring-a Long time ago. Ching-a-ring-a ring ching ching, Ching-a-ring-a Ho-a ding-a kum lar-kee Ring ching ching ching chaw. Rock and tree and flowing water Ching-a-ring-a ring ching ching, Long time ago Ho-a ding kum lar-kee Bird and bee and blossom taught her Love’s spell to know. Brothers gather round, Listen to this story, While to my fond words she listen’d ‘Bout the promised land, Murmuring low An’ the promised glory. Tenderly her blue eyes glisten’d Long time ago. You don’ need to fear, If you have no money, 8 Simple Gifts You don’ need none there, ‘Tis the gift to be simple To buy you milk and honey. ‘Tis the gift to be free ‘Tis the gift to come down where you ought to be There you’ll ride in style, And when we find ourselves Coach with four white horses, In the place just right There the evening meal, ‘Twill be in the valley of love and delight. Has one two three four courses.

When true simplicity is gained Ching-a-ring-a ring ching, ching-a ring ching, To bow and to bend we shan’t be ashamed Ho-a ding-ding kum lar-kee, To turn, turn will be our delight Ching-a-ring-a ring ching, ‘Till by turning, turning, we come round right. Ho-a ding kum lar-kee.

9 At the River Nights we all will dance, Shall we gather by the river, To the harp and fiddle, Where bright angel’s feet have trod, Waltz and jig and prance, With its crystal tide forever “Cast off down the middle.” Flowing by the throne of God. When the mornin’ come, Yes we’ll gather by the river All in grand and spendour, The beautiful, the beautiful river, Stand out in the sun, Gather with the saints by the river And hear the holy thunder. That flows by the throne of God. GERALD FINZI qd Fear no more the heat o’ the sun qg It was a lover and his lass LET US GARLANDS BRING op. 18 (1929) from Cymbeline, Act IV, scene 2 (1940) from As You Like It Act V, scene 3 William Shakespeare Fear no more the heat o’ the sun, It was a lover and his lass, qa Come away, come away, death Nor the furious winter’s rages; With a hey, and a ho, and a hey nonino (1938) from Twelfth Night, Act II, scene 4 Thou thy worldly task hast done, That o’er the green cornfield did pass Home art gone, and ta’en they wages; In spring time, the only pretty ring time, Come away, come away, death, Golden lads and girls all must, When birds do sing, hey ding a ding a ding: And in sad cypress let me be laid; As chimney-sweepers, come to dust. Sweet lovers love the spring. Fly away, fly away, breath; I am slain by a fair cruel maid. Fear no more the frown o’ the great; Between the acres of the rye, My shroud of white, stuck all with yew, Thou art past the tyrant’s stroke; With a hey, and a ho, and a hey nonino, O prepare it! Care no more to clothe and eat; These pretty country folks would lie My part of death, no one so true To thee the reed is as the oak; In spring time … Did share it. The sceptre, learning, physic, must All follow this, and come to dust This carol they began that hour Not a flower, not a flower sweet, With a hey, and a ho, and a hey nonino On my black coffin let there be strown; Fear no more the lighting-flash, How that life was but a flower Not a friend, not a friend greet Nor the all-dreaded thunder-stone; In spring time … My poor corpse, when my bones shall be thrown: Fear not slander, censure rash; A thousand thousand sighs to save, Thou has finished joy and moan; And therefore take the present time, Lay me, O where All lovers young, all lovers must With a hey, and a ho, and a hey nonino, Sad true lover never find my grave, Consign to thee, and come to dust. For love is crownéd with the prime To weep there! In spring time … No exorciser harm thee! qs Who is Silvia? Nor no witchcraft charm thee! (1929) from Two Gentlemen of Verona Act IV, scene 2 Ghost unlaid forbear thee! Nothing ill come near thee! Who is Silvia? what is she, Quiet consummation have; That all our swains commend her? And renownéd be they grave! Holy, fair, and wise is she; The heaven such grace did lend her, qf O Mistress mine That she might admiréd be. (1942) from Twelfth Night, Act II, scene 3

Is she kind as she is fair? O Mistress mine, where are your roaming? For beauty lives with kindness. O stay and hear; your true love’s coming, Love doth to her eyes repair, That can sing both high and low: To help him of his blindness; Trip no further pretty sweeting; and, being helped, inhabits there. Journeys end in lovers’ meeting Every wise man’s son doth know. Then to Silvia, let us sing, That Silvia is excelling; What is love? ‘tis not hereafter; She excels each mortal thing Present mirth hath present laughter; Upon the dull earth dwelling; What’s to come is still unsure: To her let us garlands bring. In delay there lies no plenty Then come kiss me, sweet and twenty, Youth’s a stuff will not endure BENJAMIN BRITTEN qj The Salley Gardens ql O Waly Waly Folk Song Arrangements – British Isles Down by the Salley gardens The water is wide, I cannot get o’er My love and I did meet, And neither have I wings to fly qh The Ploughboy She passed the Salley gardens Give me a boat that will carry two A flaxen headed cowboy, With little snow white feet, And both shall row, my love and I. As simple as may be, She bid me take love easy And next a merry ploughboy, As leaves grow on the tree, O, down in the meadows the other day, I whistled o’er the lea; But I being young and foolish Agath’ring flowers both fine and gay, But now a saucy footman With her did not agree. Agath’ring flowers both red and blue, I strut in worsted lace, I little thought what love can do. And soon I’ll be a butler In a field by the river And whey my jolly face. My love and I did stand, I leaned my back up against some oak And on my leaning shoulder Thinking that he was a trusty tree When steward I’m promoted She laid her snow white hand; But first he bended and then he broke I’ll snip the tradesmen’s bill, She bid me take life easy And so did my false love to me. My master’s coffer’s empty, As the grass grows on the weirs, My pockets for to fill. But I was young and foolish, A ship there is, and she sails the sea, When lolling in my chariot And now am full of tears. She’s loaded deep, as deep can be, So great a man I’ll be, But not so deep as the love I’m in: So great a man, so great a man, qk The Miller of Dee I know not if I sink or swim. So great a man I’ll be, There was a jolly miller once You’ll forget the little ploughboy, Lived on the river Dee; O, love is handsome and love is fine, Who whistled o’er the lea, He worked and sung from morn till night, And love’s a jewel while it is new, You’ll forget the little ploughboy No lark more blithe than he. But when it is old, it groweth cold, Who whistled o’er the lea. And this the burden of his song And fades away like morning dew. Forever used to be, I’ll buy votes at elections, “I care for nobody, no, not I, w0 Oliver Cromwell And when I’ve made the pelf, Since nobody cares for me. Oliver Cromwell lay buried and dead, I’ll stand poll for the parliament, Hee-haw – buried and dead, And then vote in myself. I love my mill There grew an old apple tree over his head, Whatever’s good for me, sir, She is to me like parent, child, and wife, Hee-haw – over his head. I never will oppose: I would not change my station When all my ayes are sold off, For any other in life. The apples were ripe and ready to fall; Why then I’ll sell my noes. Then push, push, push the bowl, Hee-haw – ready to fall, I’ll joke, harangue and paragraph, My boys, and pass it round to me, There came an old woman to gather them all, With speeches charm the ear, The longer we sit here and drink, Hee-haw – gather them all. And when I’m tired on my legs, The merrier we shall be.” Then I’ll sit down a peer. Oliver rose and gave her a drop, So sang the jolly miller Hee-haw – gave her a drop, In court or city honour Who lived on the river Dee; Which made the old woman go hippety hop, So great a man I’ll be He worked and sung from morn till night Hee-haw – hippety hop. So great a man, so great a man No lark more blithe than he. So great a man I’ll be, The saddle and bridle, they lie on the shelf You’ll forget the little ploughboy, And this the burden of his song Hee-haw – lie on the shelf Who whistled o’er the lea, Forever used to be … If you want any more you can sing it yourself, You’ll forget the little ploughboy “I care for nobody, no not I, Hee-haw – sing it yourself. Who whistled o’er the lea. Since nobody cares for me, I care for nobody, no not I, Since nobody cares for me.” Baritone Blake Fischer graduated from the Victorian College of the Arts in 1995 with a Bachelor Degree in Music. He has since appeared with the Victoria State Opera, Opera Australia, and in various musicals, including My Fair Lady and Chess. He joined the full-time chorus of Opera Australia in 1997 and has understudied and performed lead roles. Blake and his accompanist rt Song is distinguished from other Claire Cooper won the Song Recital forms of singing by the close attention Award in 1998, which took them to A paid to the mood of the lyrics and the engagements across the country and importance of the accompanying piano. It is a recital of Finzi, Butterworth, Britten an intimate and powerful art form bringing and Copeland songs, broadcast on together poet, composer, pianist, singer and ABC Classic FM. He was also a winner audience member. But the performance of Art in the 1998 Marianne Mathy Award Song is all too rare today. A concern to reverse which enabled him to commence the diminishing numbers of practitioners and his current period of study at the audiences led to the creation of the Song Royal Northern College Of Music in Manchester. Recital Award in 1995 by Mietta O’Donnell © Weaver Artist Management 2000 and Tony Knox under the patronage of the distinguished contralto Lauris Elms. Committee members include Professor John Poynter Claire Cooper (piano) (chair), Michael Bertram, Arnold Bram, Stephen studied with John Winther at the Dee, Margaret Haggart, Daniele Kemp, Tony Canberra School of Music, and Knox, Hartley Newnham, Linnhe Robertson, later at the Hong Kong Academy Mary Ryan, Joan Spiller and Maria Vandamme. for Performing Arts. She spent five Blake Fischer, with his accompanist Claire years as repetiteur and accompanist Cooper, won the Award in 1998. Judges were at the Victorian College of the Arts Margaret Haggart, Maria Vandamme, David and is currently a member of staff at the Faculty of Music, University of Miller, Professor John Poynter. Melbourne as an accompanist. Claire has worked extensively in Melbourne with major music organisations and festivals, and has an extensive and wide-ranging repertoire. Introductory notes: Robert Mitchell Front cover: “The cornfield” by John Constable Last page: “A farm boy watering horses at a brook” by Henry H. Parker Booklet design: Martin Wright Recording engineer: Vaughan McAlley Editing and mastering: Vaughan McAlley Recording studio: Move Records

P 2000 MOVE RECORDS www.move.com.au GEORGE BUTTERWORTH SIX SONGS FROM ‘A SHROPSHIRE LAD’ (1911) A. E. Houseman 1 Loveliest of trees 2’29” 2 When I was one-and-twenty 1’17” 3 Look not in my eyes 1’57” 4 Think no more, lad 1’16” 5 The lads in their hundreds 2’13” 6 Is my team ploughing? 3’25” AARON COPLAND Old American Songs 7 Long Time Ago 2’34” 8 Simple Gifts 1’56” 9 At the River 2’46” q0 Ching-a-Ring Chaw 1’38” GERALD FINZI LET US GARLANDS BRING op. 18 William Shakespeare qa Come away, come away, death 3’18” (1938) from Twelfth Night, Act II, scene 4 qs Who is Silvia? 1’29” (1929) from Two Gentlemen of Verona Act IV, scene 2 qd Fear no more the heat o’ the sun 5’20” (1929) from Cymbeline, Act IV, scene 2 A Shropshire Lad qf O Mistress mine 2’02” (1942) from Twelfth Night, Act II, scene 3 qg It was a lover and his lass 2’29” (1940) from As You Like It Act V, scene 3 Blake BENJAMIN BRITTEN Folk Song Arrangements – British Isles qh The Ploughboy 1’47” Fischer qj The Salley Gardens 2’41” qk The Miller of Dee 1’38” ql O Waly Waly 3’29” Claire w0 Oliver Cromwell 0’42” Cooper