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Remember Your Lovers Light of the World Britten Abroad Songs by Tippett, Britten, Purcell & Andrew Swait Susan Gritton, Mark Padmore, Pelham Humfrey Tewkesbury Abbey School Iain Burnside John Mark Ainsley & Iain Burnside SIGCD068 SIGCD122 SIGCD066

Sir Michael Tippett’s great masterpieces - Now and again a choir director finds he has an ’s legacy of songwriting Boyhood’s End and The Heart’s Assurance - are exceptional voice at his disposal. Andrew Swait stretches far beyond the shores of his native coupled here with some of his editions of songs was only ten years old when this disc was - these exquisite settings of a wide by , and Benjamin Britten’s made - his voice was the original inspiration array of European poem are amongst the most companion piece to Boyhood’s End - Canticle 1. for the disc - and it features his outstandingly distinctive and finest examples of his art, each Superbly performed by John Mark Ainsley and colourful tone quality and musicianship. written specifically for a much-loved and Iain Burnside, an added treat is the favoured artist. performance of Tippett and Bergman’s edition of Pelham Humfrey’s setting of ’s A Hymn to God the Father.

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Songs of Innocence I was particularly keen to make this CD as I he would be happy to sing with me on the CD, and wanted a newer record of my treble voice: it has he agreed. 1. I wonder as I wander John Jacob Niles, arr. Benjamin Britten [4.09] changed significantly since my previous recordings 2. In the mornin’ Negro spiritual [2.11] as a chorister. I also wished to promote items Mr Bowman’s voice had been one of the first I had 3. Diaphenia Benjamin Britten [1.56] which are not normally associated with the heard in recordings and live concerts. Later, as a 4. The Owl Benjamin Britten [1.27] standard treble repertoire. Through my association chorister, I was lucky enough to sing with him when 5. Witches’ Song Benjamin Britten [0.43] with Andrew Plant, The Britten–Pears Foundation he was a soloist in performances of and 6. Chamber Music V Benjamin Britten [1.23] generously supported the creation of the recording the St John Passion. The chance to work with him 7. The Rainbow Benjamin Britten [2.21] and allowed me the immense privilege of made the prospect of the disc better than I could 8. The Oxen Benjamin Britten [2.43] recording unpublished works by Britten, therefore have imagined. 9. Little Sir William Trad. arr. Benjamin Britten [2.53] 10. Cradle Song Michael Berkeley [1.41] greatly increasing the documental importance 11. The bayly berith the bell away Peter Warlock [2.32] of this CD. Above all, it was great fun making this recording. 12. Tell me, lovely shepherd William Boyce, arr. Elizabeth Poston [3.08] I hope you enjoy it. 13. The Flanders & Swann, arr. Andrew Plant [3.48] I first met Dr Plant when he gave a lecture on 14. Ca’ the yowes Trad., arr. Benjamin Britten [3.37] English Song as part of an exhibition of Jane 15. Silent worship , arr. Maurice Jacobson [1.49] Mackay’s paintings at my old choir school, The 16. Who is Silvia? [1.45] Abbey School, Tewkesbury. In the spring of 2007 he 17. Caleno custure me Trad. arr. Andrew Plant [2.10] asked me to sing at The Britten–Pears Library to 18. Dirge for Fidele [3.34] launch the first joint publication by Jane Mackay 19. Summer Sunset Roger Quilter [1.57] 20. Slow March Charles Ives [1.37] andResponses himself, to TheBritten’s Turn Opera.of the Screw: Visual 21. Tom Bowling , realised by Benjamin Britten [4.54] James Bowman 22. Matthew, Mark, Luke and John John Jeffries [1.16] wrote the introduction to this book and was 23. My bed is a boat Malcolm Williamson [3.01] present at the launch. I enjoyed performing the 24. Sure on this shining night Samuel Barber [2.27] music very much, my time at Aldeburgh, being 25. Sweet and low Malcolm Williamson [2.29] able to rehearse at Britten’s own pianos in the

Total Timings [61.48] Library as well as in his drawing room. Everything on that occasion confirmed the wish that this Andrew Swait Treble • James Bowman Counter Tenor repertoire would be a central part of the solo CD I

Andrew Plant Piano wanted to do. I asked Mr Bowman at the time if In concert in Kiev © Scott Alyea www.signumrecords.com - 3 - 128booklet 13/5/08 10:43 Page 5

Songs of Innocence with the art of James Bowman, writing for his minor third from the original. The cadence at the voice in Canticle IV ‘Journey of the Magi’ and his end of each verse implies a modulation to the than Roses last opera, Death in Venice. He also made a dominant but the masterstroke is reserved for the The initial impetus for this CD came from Andrew schooldays and his time of tutelage under Frank transposition of his Purcell realisation Sweeter final bars, where three ghostly calls from the Swait, the latest in a line of distinguished boy Bridge. It is fascinating to trace how rapidly the specifically for James. hidden bird (or are they perhaps distant bells?) singers, who was extremely keen to investigate young composer absorbed his mentor’s teachings close the song quizzically on remote and unresolved repertoire rarely sung by a treble. We began but it should not be thought for a moment that Diverse, confident and splendidly paced, the four chords of the supertonic seventh. Diaphenia (3) rehearsing together during the few glorious they represent the boy’s entire output over songs exhibit a sound harmonic sense, effective followed between 4 and 8 September, a more summer days of 2007, in two environments eighteen months. Indeed, it is salutary to reflect and economical piano writing and a natural conventional essay which nonetheless employs eminently suited to the exploration of English that by the time the first was completed, such understanding of vocal theatre. All these qualities some delicate keyboard writing over a wide song: The Britten–Pears Library at Aldeburgh, and masterpieces as the Quatre Chansons Françaises are most evident in the earliest, Witches’ Song (5), compass and displays the composer’s burgeoning a large Victorian farmhouse set in spacious were already six months behind him. In allotting the first eight lines from the third ‘Charm’ in Ben melodic powers. Britten assigned it to a tenor Song to his Diaphenia grounds overlooking the Malvern Hills. Andrew’s these items to treble and counter tenor, it should Jonson’s The Masque of Queens. Britten, always a voice. It is now generally believed that Constable immense enthusiasm and advanced sight-singing be remembered that the composer himself was by lover of nocturnes, set them to a restlessly swirling is the author of the poem (fully titled Damelus’ abilities enabled us to work through a great no means averse to recasting his music for accompaniment with Schubertian oscillations ) although it is sometimes quantity of music, most of which he then seized different singers. The haunting ‘Corpus Christi from minor to major, although Mendelssohn’s attributed to Henry Chettle c.1560-c.1607. Pears with alacrity and added to an overflowing pile carol’ from his choral work was Hexenlied also comes to mind. It is here would later sing Francis Pilkington’s setting from marked YES, DEFINITELY. During the inevitable later adapted for the boy alto John Hahessy, who transposed down a tone from the original, since his Booke of Songs or Ayres (1605) but the poem sifting, the programme underwent a subtle recorded it with Britten. Also included on that disc the eerie vision is most suitable for a singer who was also set by William Denis Browne, Ernest metamorphosis to ‘Song in English’, in order to was the composer’s The Birds (contemporary with was the definitive Oberon of his time. This song Farrar and E.J. Moeran. James Joyce’s collection accommodate immoveable items by the American the four early songs on this CD) and items from was written on 21 February 1929; a few months Chamber Music comprises thirty-four transparently Charles Ives and the Australian Malcolm Friday Afternoons, for which he was joined by later, between 6 May and 16 June, came Tennyson’s beautiful miniatures, of which Arthur Symons Williamson. Central to the project were unpublished another treble from his choir at Westminster The Owl (4), the fifteen-year-old composer wrote: ‘They are like a whispering clavichord that student works by the young Britten, who at the Cathedral: Britten’s godson, Michael Berkeley. evidently revelling in the young poet’s cheerful someone plays in the evening when it is getting time of their composition was not much older than Hahessy also recorded Britten’s Canticle II evocation of early morning activities. The vocal dark. They are full of ghostly old tunes, that were the boy now singing them into life for the first time. ‘Abraham and Isaac’, with Pears and the line of this setting, founded on rising and falling never young, and will never be old…’ Joyce hoped composer, after the untimely death of Kathleen scales, covers almost two octaves. One suspects that some of the poems would be put to music in These early songs were all written within a few Ferrier, for whom the part had originally been that a more mature hand might well have revised due course; in 1925, Frank Bridge obliged months of each other, during the composer’s written. Britten was, of course, supremely familiar one or two phrases and it is here transposed up a (apparently the first English composer to do so)

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Songs. Sure on this shining night and set the fifth of them as Goldenhair. This song music or perhaps of house-singing at school when funereal offerings commissioned on the demise of modest accompaniment for practical purposes’ was almost certainly Britten’s model and he such events were more frequent than now. Despite neighbourhood animals. Slow March (20), written and excluded it from his seminal collection, 114 later recorded it with Pears, thereby perhaps its higher origins, a similar atmosphere pervades in 1887 when Ives was fourteen, is an affecting (24) written in acknowledging the debt. His own setting, entitled Silent worship (15), an adaptation of a solo aria tribute to the family dog and bears the heading September 1938 and later collected as the third of more prosaically Chamber Music V (6), is marked ‘Non lo dirò col labbro’ from Handel’s opera ‘Inscribed to the Children’s Faithful Friend’; Four Songs, op. 13, is a setting of an untitled, for soprano or tenor but sung here transposed of 1728. The English words by Sir Arthur Harmony Ives, the composer’s future wife, later heart-easing text from James Agee’s first collection down a minor third. Britten’s song is much more Somervell are spurious additions to one of his wrote that it was indeed sung occasionally by of poetry, Permit Me Voyage. It is undoubtedly one restrained than Bridge’s but his teacher’s favourite melodies, but the accompaniment is the local children. While the text is a joint effort of the great songs of twentieth-century America influence may be seen in the declamatory vocal work of Maurice Jacobson, sometime composition between Ives’s uncle (one Lyman Brewster) and and has been compared favorably to nocturnes line and opulent late-Romantic harmonies. These pupil of Busoni, Stanford and Holst, pianist to other members of the family, the immediately by Schubert or Schumann, to which indeed it attributes also recall the works of John Ireland, Kathleen Ferrier and doyen of J. Curwen & Sons. appealing melody is framed by a slightly bears some resemblance in its gently pulsing although the song was written between 28 July simplified quotation from the ‘Dead March’ in accompaniment, exquisite modulations and canonic and 3 August 1930, just a few weeks before the Vaughan Williams’s Dirge for Fidele (18) to words Handel’s oratorio . This is therefore one of the interplay between voice and piano. There is textual composer left Gresham’s School and began from Cymbeline, is also an early work and earliest examples of Ives’s propensity for affinity too with Agee’s Knoxville: Summer of 1915, studies with Ireland at the . although not published until some years incorporating music from disparate sources into a work also written in 1938, which Barber would The Rainbow (7) is one of his earliest published afterwards, it was probably written in 1895 when his work. In the mornin’ (2) although dating from later set for soprano and orchestra. works, the second of Three Two-part Songs written the composer was 22. Its tranquil melody is 1929 (when Britten was writing his student in 1932 to words by . The other contrasted by a chant-like section at ‘No exorcisor works), is surely typical of the Revivalist repertoire By 1938 the great recital partnership of Pears and two songs in the set feature strict canonic writing harm thee’, although both words and music that Ives would have heard in and around New Britten was about to begin, for which many of the for the voices but here, apart from some wordless acquire much greater solemnity when removed England when he became a professional organist composer’s realisations and arrangements were imitative writing at the end of the song, that form from Shakespeare’s convoluted tragi-comedy, in in Danbury, Connecticut in the same year that he made. Britten transforms his material in is reserved for the piano. Its texture, in which ‘Fidele’ – actually Imogen, the daughter of wrote Slow March. It was sung to him by a family unexpected ways, propelling traditional elements augmentation at one point, creates a sparkling Cymbeline, in disguise – fakes her death by accident friend, Mary Evelyn Stiles, who had heard it from into the realm of art song. All the songs in his first tracery, a backdrop for the arching melody evoking and awakes shortly after the obsequies for her are her father. Her nuances and phrasing appear volume of folksong arrangements are dedicated to de la Mare’s poem. Charles Wood is also noted for ended. Compared to Britten, Charles Ives was a to have been an important element in his American friends. Little Sir William (9) is inscribed his canonic two-part songs but Who is Silvia? (16) relatively late developer, although his first arrangement. Ives did not know the spiritual before ‘To William Mayer’, the husband of Elizabeth Mayer is less well known. Written in 1891, it is a composition, written at the age of thirteen, was and therefore chose his own title for it, as opposed whose family cared for Pears and Britten during straightforward and uncomplicated setting, also a little dirge, in this case to commemorate to Give me Jesus, by which it is more usually much of their time in America. Its earliest-known somewhat redolent of the composer’s church the household cat. It was swiftly followed by other known; however, he regarded it simply as ‘a performance by the duo was at the Cosmopolitan

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Club at 122 East 66th Street, New York, on 11 arrangement was a regular feature throughout his similar sentiments. Equally appropriate to a boy is stopped – before the latter-day shepherds, doubtful December 1940. The macabre tale of the boy- recital partnership with Pears – their earliest Malcolm Williamson’s My bed is a boat (23), which but hopeful, resume their meditations and trace their martyr has other counterparts in folksong: he is in performance so far traced was given on 11 together with Sweet and low (25) displays the imagined steps to join the beasts kneeling before fact more usually known as Little Saint (or Sir) September 1942 at St Mary-le-Tower, Ipswich – but composer’s expert craftsmanship, his employment the Christ-child. In 1971, Britten set a similar text Hugh of Lincoln, although apparently St William of copyright difficulties long delayed its commercial of straightforward yet melting harmonic sidesteps as his fourth Canticle: T.S. Eliot’s Journey of the Magi. Norwich suffered a similar fate. Britten’s setting recording and publication, although a live always at the service of his considerable melodic has a boisterous, carefree accompaniment recording was made in 1963 during a recital in gifts. These two items are perhaps the finest from Also from the 1960s are Michael Berkeley’s brief incorporating a deliciously catchy tag between Leningrad, with Pears in glorious voice. Britten left their respective cycles. From a Child’s Garden to but delightful Cradle Song (10) originally a choral verses, until the movement is suddenly arrested the melody completely unadorned but reflected its words by Robert Louis Stevenson, was commissioned piece but performed here as a solo song with the mid-flow as the boy’s ghost speaks. Much has modalBowling contours in a single instrumental line to inEnglish 1967 byLyrics Alun Hoddinott for the Cardiff Festival composer’s blessing; and, in complete contrast, been written about the composer’s leitmotif of form a prelude, a postlude and three interludes, of Twentieth Century Music and first performed by The Slow Train (13) by , from innocence corrupted but it remains true that in all slightly varied and subtly illustrative. Tom Robert Tear and John Ogdon on 24 April 1968. Six their ‘At the Drop of Another Hat’. This setting this ‘curious story’, he foreshadowed his (21) is from Charles Dibdin’s ‘table was completed in early 1966 and acutely touching response to the ‘Beeching axe’ opera The Turn of the Screw based on the novel entertainment’ entitled The Oddities of 1789 and premiered in Manchester by Nancy Evans and the mourns not only the passing of a mode of by Henry James, which is also centered on a was written to commemorate his brother Tom, who composer in April that year. Britten’s The Oxen (8) transport but the end of a way of life. It therefore schoolteacher who is at least partly responsible was lost at sea. Britten made only slight was written shortly afterwards in 1967, in carries, as William Plomer put it in his own poem for a boy’s death. The words of Ca’ the yowes (14) variations to Dibdin’s accompaniment, leaving the response to a request by Peter Pears’s sister for The Last Train, ‘a weightless load of dissolving are by Burns, who collected the tune in 1787, but harmony basically unchanged. Although it is the East Coker W.I. It is built around a series of associations’, although some of the stations Britten’s arrangement from his fifth volume of known that Pears and Britten included the original slow-moving chords of sevenths, perhaps to suggest mentioned have since been happily re-opened. folksongs remains surprisingly little-known. The song in their recitals for many years before, the the trudging of the shepherds, while further Their talismanic names, chosen of course for their influence of Percy Grainger is apparent in its first documented performance in Britten’s realisation descriptive touches appear above and below this aural resonance rather than any practical understated harmonies, with carefully-voiced was given on 22 June 1959 at the Jubilee Hall, motif. The first of these, the striking of midnight, timetabled routes between them, might also chords and some glorious changes to the major Aldeburgh. A most moving eulogy, its subject- recalls the clock depicted in another sleepless represent some of the vanished American railroad key in the final refrain. When Britten arranged matterBowling now immediately recalls Britten’s great night, as described in the final song of Britten’s junctions perhaps once known by Ives and his I wonder as I wander (1) he thought that it too was opera Billy Budd, whose fictional setting in 1797 1965 Pushkin cycle, The Poet’s Echo. Also made colleagues. The arrangement is dedicated to the a traditional melody; however, although much is almost contemporary with the song. Tom audible are the soft noises and moving of the joint memory of , whose haunting indebted to an Appalachian tune, it is in fact an gains further in poignancy when sung by cattle, the starry firmament and the pealing bells poem inspired several walks along old railways, original work by the American composer and a boy: a midshipman aboard HMS Indomitable at ‘our childhood used to know’ – under which the and , who was gracious enough to folksong collector, John Jacob Niles. Britten’s after Billy’s death would surely have expressed piano repeats its little figure as if Time has approve my elaborations.

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Peterthe bell Warlock away rarely wrote a more beautiful recorded here is that of Warlock, who certainly should not be allowed to overshadow his superb cadence than that which closes The bayly berith knew the text. His close friend Elizabeth Poston workmanship. Summer Sunset (19) is replete with (11) a perfect leave-taking to the wasshepherd an expert on the music of William Boyce, yet his inimitable charm and dreamy harmonies. poem’s euphonious, bewitching words which so her straightforward realisation of Tell me, lovely Quilter also wrote the words, although under the attracted him. He had no idea of their meaning (12) from his serenata of 1743, pseudonym of ‘Romney Marsh’, so becoming but this mattered little, since most of his has one curious anomaly. Boyce’s original air is a literally at one with his beloved landscape. Like contemporaries were similarly baffled. The verse fairly swift dance-like movement, yet Poston’s Quilter, John Jeffreys (b 1927) has often drawn on is almost certainly a composite creation, possibly arrangement is marked ‘Andante sempre con moto Elizabethan, Georgian and early twentieth-century blending Christian imagery such as the sun piacevole’. A comparison of Poston’s text with texts. His restrained yet expressive language is a John shining through the glass – a mediaeval metaphor Boyce’s original in the authoritative edition by Ian perfect counterpart to Matthew, Mark, Luke and for Christ within the Virgin – with other Marian Bartlettflocks I lonely(Musica stray Britannica / Without aLXVIII guide) and is losehighly my (22), a little orison of moving simplicity and epithets (the Rose, the Lily) and the reverie of a revealing.way. Boyce’s second verse begins: Lest by the quietYoung, assurance. One of eighteen brief reflections child about to be married: having spent his last of childhood, collectively entitled When I Was night in his mother’s bower, he awakes at dawn Poston’s is identical but for the first word: it is given an artless melody that seems to but complains he is too young to love. In this Left by the flocks… The substitution of a single have always existed, exquisitely harmonised, the conjectural scenario, the floral references might letter has therefore transformed a light-hearted pace deliberate and unhurried. Variants of the also pertain to the coats of arms of the two families warning into a forsaken lament. Was this the traditional verse, sometimes known as the White about to be joined. Caleno custure me (17) is result of mis-transcription somewhere, perhaps Paternoster, may be found throughout Europe and another slightly mystical poem from the sixteenth- through confusion between different forms of the a version with an inventory of fourteen angelic century, although the title is not Latin but may be letter s? If so, it seems unlikely that Poston was to guards was incorporated into Humperdinck’s a corrupted line of Irish, Cailín ó Chois tSiúre mé, blame: she worked extensively in the British Hansel and Gretel. It is singularly appropriate that ‘I am a girl from the [River] Suir-side’ or perhaps Library and elsewhere and was a scrupulous a CD that celebrates Britten should close with a the Gaelic, Cailinog a stuir me, ‘Young love, my editor. As the word ‘Left’ appears on three of her short group that evokes two of the composer’s treasure’. The tune is referred to in Henry V and manuscripts of the setting, one of which has in most treasured conditions: night and silence. appearsPleasant in Delights a number of Renaissance publications, addition the attribution ‘Words anon’, we have including Clement Robinson’s A Handfull of followed her lead. © Andrew Plant 2008 of 1584, to a poem described as ‘A Sonnet of a lover in the Praise of his Lady’. Once A particularly English pastoralism is characteristic again, the principal influence on the arrangement of the works of Roger Quilter, yet his ripe nostalgia

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TEXTS 2. In the mornin’ Loves the sun’s life-giving power, 5. Witches’ Song Negro spiritual (before 1850) For, dead, thy breath to life might move me. Words by , from Masque of Queenes (1609) 1. I wonder as I wander Accompaniment by Charles Ives (1929) Music by Benjamin Britten (1929) Words: traditional American Melody collected by John Jacob Niles, Diaphenia, like to all things blessed, from Songs of the Hill Folk (1934), arranged by Benjamin Britten In the mornin’ when I rise, When all thy praises are expressed, The Owl is abroad, the Bat and the Toad, (1940-41?) Give me Jesus! Dear joy, how I do love thee! And so is the Cat-a mountain, You can have all the world, but As the birds do love the Spring, The Ant and the Mole sit both in a hole, I wonder as I wander out under the sky Give me Jesus! Or the bees their careful king. And Frog peeps out o’ the fountain; How Jesus our Saviour did come for to die Then in requite, sweet virgin, love me. The Dogs, they do bay, and the Timbrels play, For poor or’n’ry people like you and like I, ‘Twixt the cradle and the grave, The Spindle is now a-turning; I wonder as I wander out under the sky. Give me Jesus! 4. The Owl The Moon it is red, and the Stars are fled, You can have all the world, but Words by Alfred, Lord Tennyson (c.1830) But all the Sky is a burning. When Mary birthed Jesus ‘twas in a cow stall Give me Jesus! Music by Benjamin Britten (1929) With wise men and shepherds and farmers and all, 6. Chamber Music V On high from God’s heaven the star’s light did fall 3. Diaphenia When cats run home and light is come, Words by James Joyce, from Chamber Music (1907) And the promise of the ages it did then recall. Words attrib. Henry Constable and Henry Chettle (c.1600) And dew is cold upon the ground, Music by Benjamin Britten (1929) Music by Benjamin Britten (1929) And the far-off stream is dumb, If Jesus had wanted for any wee thing, And the whirring sail goes round, Lean out of the window, A star in the sky or a bird on the wing Diaphenia, like the daffadowndilly, And the whirring sail goes round; Goldenhair, Or all of God’s angels in heaven for to sing, White as the sun, fair as the lily, Alone and warming his five wits, I heard you singing He surely could’ve had it, for he was the King! Heigh ho, how I do love thee! The white owl in the belfry sits. A merry air. I do love thee as my lambs I wonder as I wander out under the sky Are beloved of their dams. When merry milkmaids click the latch, My book is closed; How Jesus our Saviour did come for to die How blest were I if thou wouldst prove me. And rarely smells the new-mown hay, I read no more, For poor or’n’ry people like you and like I, And the cock hath sung beneath the thatch Watching the fire dance I wonder as I wander out under the sky. Diaphenia, like the spreading roses, Once or twice* his roundelay, On the floor. That in thy sweets all sweets encloses, Once or twice his roundelay; Fair sweet, how I do love thee! Alone and warming his five wits, I have left my book, I do love thee as each flower The white owl in the belfry sits. I have left my room, * ‘Twice or thrice’ in Tennyson’s original

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For I heard you singing 8.Miscellaneous The Oxen Verses 9. Little Sir William ‘Go home, go home my mother dear Through the gloom, Words by Thomas Hardy, from Moments of Vision and Somerset folk song arranged by Benjamin Britten (c.1940) And prepare my winding sheet, (1917) For tomorrow morning before eight o’clock, Music by Benjamin Britten (1967) Singing and singing Easter day was a holiday You with my body shall meet. A merry air. Of all days in the year, Christmas Eve, and twelve of the clock. Lean out of the window, And all the little schoolfellows went out to play ‘And lay my Prayer Book at my head, “Now they are all on their knees,” Goldenhair. But Sir William was not there. And my grammar at my feet, An elder said as we sat in a flock That all the little schoolfellows as they pass by By the embers in hearthside ease. 7. The Rainbow Mama went to the Schoolwife house May read them for my sake.’ Words by Walter de la Mare, from Songs of Childhood (1902) And knockèd at the ring, We pictured the meek mild creatures where Music by Benjamin Britten, no 2 of Three Two-part Songs (1932) Saying, ‘Little Sir William, if you are there, 10. Cradle Song They dwelt in their strawy pen, Pray let your mother in.’ Words by Martin Luther (1535), translation printed in Edinburgh (1578) I saw the lovely arch Nor did it occur to one of us there Music by Michael Berkeley (late 1960s, rev. 1976-77) Of Rainbow span the sky, To doubt they were kneeling then. The Schoolwife open’d the door and said: The gold sun burning ‘He is not here today. O my deir heart, young Jesus sweit, As the rain swept by. So fair a fancy few would weave He is with the little schoolfellows out on the green Prepare thy cradle in my spreit, In these years! Yet, I feel, Playing some pretty play.’ And I shall rocke thee in my hert, In bright-ring’d solitude If someone said on Christmas Eve, And never mair from thee depart. The showery foliage shone “Come; see the oxen kneel Mama went to the Boyne water One lovely moment, That is so wide and deep, But I shall praise thee evermoir, And the Bow was gone. “In the lonely barton by yonder coomb Saying, ‘Little Sir William, if you are there, With sangis sweet unto thy gloir, Our childhood used to know,” Oh pity your mother’s weep.’ The knees of my heart shall I bow, I should go with him in the gloom, And sing that richt Balulalow! Hoping it might be so. ‘How can I pity your weep, mother, And I so long in pain? For the little pen knife sticks close to my heart And the schoolwife hath me slain.

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11. The bayly berith the bell away 12. Tell me, lovely shepherd I’ll travel no more from Littleton Badsey to Openshaw. 14. Ca’ the yowes Words anonymous (XVI cent.) Words by Edward Moore (1741) At Long Stanton I’ll stand well clear of the doors Words collected and adapted by Robert Burns (1790) Music by Peter Warlock (1919) Music by William Boyce from Solomon (1742), arranged by no more. Music arranged by Benjamin Britten (1951) Elizabeth Poston (1943) No whitewashed pebbles, no Up and no Down The maydens came: From Formby, Four Crosses to Dunstable Town. Ca’ the yowes to the knowes, Tell me, lovely shepherd, where I won’t be going again Ca’ them where the heather growes, Thou feed’st at noon thy fleecy care. When I was in my mothers bower. On the Slow Train. Ca’ them where the burnie rowes, I hade all that I wolde. Direct me to the sweet retreat My bonnie dearie. That guards thee from the mid-day heat. The Bayly berith the bell away, On the Main Line and the Goods Siding The lylly, the rose, the rose I lay. The grass grows high Hark the mavis evening sang, Left by the flocks I lonely stray At Dog Dyke, Tumby Woodside Sounden Clouden’s woods amang; Without a guide and lose my way. The sylver is whit, rede is the golde And Trouble House Halt. Then a-folding let us gang, The robes thay lay in fold. Where rest at noon thy bleating care? My bonnie dearie. Gentle shepherd, tell me where. The Baylly berith the bell away, The Sleepers sleep at Audlem and Ambergate. The lylly, the rose, the rose I lay. No passenger waits on Chittening Platform or We’ll gang down by Clouden’s side, 13. The slow train Cheslyn Hay. Through the hazels spreading wide And through the glasse wyndow shines the sone. Words and music by Michael Flanders and Donald Swann (1963), O’er the waves that sweetly glide arranged by Andrew Plant (1989) No one departs, no one arrives How shuld I love & I so young? From Selby to Goole, from St Erth to St Ives. To the moon sae clearly. The Bayly berith the bell away, Miller’s Dale for Tideswell… They’ve all passed out of our lives Fair and lovely as thou art, The lylly, the rose, the rose I lay. Kirby Muxloe… On the Slow Train, on the Slow Train. Thou hast stol’n my very heart; Mow Cop and Scholar Green… Cockermouth for Buttermere…on the Slow Train. I can die but canna part, My bonnie dearie. No more will I go to and Mortehoe Armley Moor, Arram… On the slow train from and Pye Hill and Somercotes… Ca’ the yowes to the knowes, Road. Windmill End…on the Slow Train. Ca’ them where the heather growes, No churns, no porter, no cat on a seat Ca’ them where the burnie rowes, At Chorlton-cum-Hardy or Chester-le-Street. My bonnie dearie. We won’t be meeting again On the Slow Train.

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15. Silent worship 16. Who is Silvia? 17. Caleno custure me Fear no more the lightning-flash, Words by Sir Arthur Somervell Words by William Shakespeare, from Words anonymous (XVI cent.) Nor th’all-dreaded thunder-stone; Music by George Frideric Handel from Tolomeo (1728), arranged by The Two Gentlemen of Verona (c.1592) Traditional melody arranged by Andrew Plant (1984) Fear not slander, censure rash; Maurice Jacobson Music by Charles Wood (1891) Thou hast finisht joy and moan: When as I view your comely grace, All lovers young, all lovers must, Did you not hear My Lady Who is Silvia? what is she, Caleno custure me, Consign to thee, and come to dust. Go down the garden singing That all our swains commend her? Your golden hair, your angel’s face, Blackbird and thrush were silent Holy, fair, and wise is she; Caleno custure me. No exorcisor harm thee! To hear the alleys ringing… The heavens such grace did lend her, Nor no witchcraft charm thee! That she might admired be. My soul with silence moving sense, Ghost unlaid forbear thee! Oh saw you not My Lady Caleno custure me, Nothing ill come near thee! Out in the garden there Is she kind as she is fair, - Both wish of God with reverence, Quiet consummation have, Shaming the rose and lily For beauty lives with kindness? Caleno custure me. And renowned be thy grave! For she is twice as fair. Love doth to her eyes repair, To help him of his blindness; Long life and virtue you possess, 19. Summer Sunset Though I am nothing to her And, being help’d, inhabits there. Caleno custure me, Words by ‘Romney Marsh’ (1938) Though she must rarely look at me To match those gifts of worthiness, Music by Roger Quilter (1938) And though I could never woo her Then to Silvia let us sing, Caleno custure me. I love her till I die. That Silvia is excelling; Silver flows the river, She excels each mortal thing 18. Dirge for Fidele Golden gleams the sky; Surely you heard My Lady Upon the dull earth dwelling: Words by William Shakespeare, from Lovely day of summer, Go down the garden singing To her let us garlands bring. Cymbeline (1623) You must bid goodbye. Silencing all the songbirds Music by Ralph Vaughan Williams (1895?) And setting the alleys ringing… Don a veil of silver, Fear no more the heat o’ the sun, Crown your head with gold, Nor the furious winter’s rages; But surely you see My Lady Ere the night has fallen Thou thy worldly task hast done, Out in the garden there Deep and dark and cold. Home art gone, and ta’en thy wages: Rivaling the glittering sunshine Golden lads and girls all must, With a glory of golden hair. As chimney-sweepers, come to dust.

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Dying day of summer, Tom never from his word departed, 23. My bed is a boat 24. Sure on this shining night Lay you gently down His virtues were so rare; Words by Robert Louis Stevenson, from Words by James Agee, from Permit Me Voyage (1934) With your shroud of silver His friends were many, and true-hearted, A Child’s Garden of Verses (1885) Music by Samuel Barber, no. 4 of Four Songs, Music by Malcolm Williamson, from op.13 (1938) And your golden crown. His Poll was kind and fair: From a Child’s Garden (1968) And then he’d sing so blithe and jolly, - Sure on this shining night 20. Slow March Ah! many’s the time and oft; My bed is like a little boat; Of star-made shadows round, Words by Lyman D. Brewster and others (c.1887) But mirth is turn’d to melancholy, Nurse helps me in when I embark; Kindness must watch for me Music by Charles Ives (1887 or 1888, rev. 1921) For Tom is gone aloft. She girds me in my sailor’s coat This side the ground. And starts me in the dark. One evening just at sunset we laid him in the grave; Yet shall poor Tom find pleasant weather, Although a humble animal his heart was true The late year lies down the north. When He who all commands At night I go on board and say and brave. All is healed, all is health. Shall give, to call life’s crew together, Good night to all my friends on shore; All the family joined us, in solemn march and slow, High summer holds the earth. The word to pipe all hands. I shut my eyes and sail away, From the garden place beneath the trees and Hearts all whole. Thus Death, who kings and tars despatches, And see and hear no more. where the sunflowers grow. In vain Tom’s life hath doff’d; Sure on this shining night For, though his body’s under hatches And sometime things to bed I take, I weep for wonder 21. Tom Bowling His soul is gone aloft. Words and music by Charles Dibdin, from As prudent sailors have to do; Wand’ring far alone The Oddities (1789) Perhaps a slice of wedding-cake, Of shadows on the stars. Realised by Benjamin Britten (before 1959) 22. Matthew, Mark, Luke and John Perhaps a toy or two. Words anonymous Music by John Jeffries, from When I was Young (1950) Here, a sheer hulk, lies poor Tom Bowling, All night across the dark we steer: The darling of our crew; But when the day returns at last, Matthew, Mark, Luke and John, No more he’ll hear the tempests howling, Safe in my room, beside the pier, Bless the bed that I lie on: For death has broach’d him to. I find my vessel fast. Four angels by my bed, His form was of the manliest beauty, Two at the foot and two at the head; His heart was kind and soft; Two to hear the prayers I say, Faithful below, Tom did his duty Two to keep all harm away. And now he’s gone aloft.

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25. Sweet and low BIOGRAPHIES Words by Alfred, Lord Tennyson, from The Princess (1847) Music by Malcolm Williamson, no. 4 of Six English Lyrics (1966) Andrew Swait Treble

Sweet and low, sweet and low, Andrew Swait was born in 1994. From the ages of Wind of the western sea, six to eleven he was a chorister at the Abbey Low, low, breathe and blow, School Tewkesbury, where his life was punctuated Wind of the western sea! with concerts, recordings and, most importantly Over the rolling waters go, for Andrew, the daily sung services at Tewkesbury Come from the dying moon, and blow, Abbey. In 2005, at the age of ten, he was featured Blow him again to me; in a TV documentary about his life as a chorister While my little one, while my pretty one, sleeps. andWorld. by the end of that year he appeared for the first time on CD as principal soloist on Light of the Sleep and rest, sleep and rest, Upon the very sad closure of the The Abbey Father will come to thee soon; School in July 2006, Andrew participated in the Rest, rest on mother’s breast, Choir’sAbbey, final CD, Choral from Tewkesbury Father will come to thee soon. released in 2006. He acknowledges that all Father will come to his babe in the nest, his achievements, present and future, are largely Silver sails all out of the west due to the privilege of having had a proper choral Under the silver moon: training since he began school and he hopes that Sleep, my little one, sleep, my pretty one, sleep. his work will focus much needed attention on the importance of providing that same opportunity of choral training for other boys.

In July 2006 he was delighted to accept an invitation to record a small part on The King’s Singers’ CD Landscape and Time, which received

great acclaim on its release the following year by © Emily Louise Swait

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Signum Records. In September 2006 Andrew was Andrew Plant Piano James Bowman awarded a music scholarship to Cheltenham Counter Tenor College Junior, which has supported him since Andrew Plant studied the piano in Leeds and then and where he continues his academic studies and received his doctorate from The James Bowman has been one of the world’s and work as a chorister. In October that year he University of Birmingham, where he collaborated leading counter tenors for over forty years; his was a finalist in the Chorister of the Year with Jan Smaczny and Stephen Banfield and career spans opera, oratorio, contemporary music competition and featured in a BBC broadcast from was a visiting lecturer in twentieth-century and solo recitals. He began singing as a chorister Westminster Abbey. In May 2007 he was invited by English music. Now based at The Britten–Pears at Ely Cathedral and later entered New College, Universal Records to join the classical boy-band Foundation, he pursues a duo career as a Oxford with a choral scholarship. After leaving The Choirboys. Produced by Steve Abbott and musicologist and practical musician. He enjoys a Oxford, he joined the choir of Westminster Abbey. under the direction of Martin Neary, their fruitful partnership with James Bowman, As the result of an audition, he was invited by Christmas disc The Carols Album, entered the appearing regularly throughout the UK and Benjamin Britten to sing at the opening concert of Classic FM charts at no. 7 and was nominated for broadcasting live on Radio 3. Andrew has also the new Queen Elizabeth Hall in London in March the Classical Brit Awards, 2008. accompanied Lynne Dawson, Nigel Dixon, Michael 1967, and this marked his London debut. George, Stefan Holmström, Julie Kennard, Ed Lyon Andrew has also been invited to perform as a andGrove Ralph Dictionary McDonald of andMusic given and first Musicians, performances New HeMidsummer was soon Night’sin demand Dream on both the opera stage soloist with the City of Birmingham Choir, ofDictionary works by Britten,of National Colin BiographyMatthews and Giles and the concert platform, appearing at the Cheltenham Bach Choir, Oriel Singers and Swayne. He has contributed to the revised New Aldeburgh Festival and Sadlers Wells in 1967 (A © Nigel Luckhurst Regency Voices. He has performed at Tewkesbury ), at Glyndebourne in Abbey, Gloucester Cathedral and in Aldeburgh, and other Among his future plans are further solo recitals 1970 (La Calisto ), the in Beijing, Munich, Krakow and Kiev. In March 2008 publications, and works closely with artist Jane with James Bowman, including the premiere of a 1971 (Semele) and the Royal Opera in 1977 he was invited by Deutsche Grammophon to record Mackay, with whom he co-founded Sounding Art song cycle by Joseph Phibbs; Die schöne Müllerin (Taverner). in Prague with the Russian soprano Anna Netrebko Press. He is a keyboard player for Opera East and with Jonathan Bungard; an appearance with viola and the Czech Philharmonic and to perform in May Jubilee Opera and maintains a strong interest in player Simon Rowland-Jones; a project of English Among his numerous opera engagements abroad, 2008, at the Royal Albert Hall for the Classical education, teaching particularly at St George’s song with Quintessential Voices; and work with mention should be made of Paris (L’Opéra, L’Opéra Brit Awards. School, Windsor Castle. other singers of the younger generation, notably Comique, Théâtre du Châtelet, Le Théâtre des the counter tenors James Laing and Tom Williams. Champs Elysées), , Milan; , Venice; and the Festival of Aix-en-Provence. In Australia he has appeared at the Sydney and

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honoured him with admission to ‘L’Ordre des Arts et des Lettres’. In the same year he was awarded the Medal of Honour of the City of Paris.

James Bowman has made over 150 recordings with all the major record labels, under such directors as Britten, Harnoncourt, Mackerras,

Leppard, Hogwood, Bruggen and Pinnock. He has This recording was supported by The Britten–Pears Foundation recorded Messiah four times, under Willcocks, The artists would like to thank Simon Campion, Colin Matthews and Joseph Phibbs Koopman, Dorati and Parrott. Many of his Thanks to Cheltenham College for their support and use of the Thirlstaine Long Gallery for the two long days of recording recordings have been with The King’s Consort for Recorded at Cheltenham College, Cheltenham, UK, 11 August & 8 September 2007 Hyperion, recording all the Purcell odes, church Producer - Adrian Peacock Engineers - Mike Hatch & David Hinitt music and solo songs, as well as various solo Editor - David Hinitt discs of music by Bach, Handel, Vivaldi, Pergolesi, Cover Image - Shutterstock Inlay card photo - Griggs Hasse, and Dowland. Design and Artwork - Woven Design www.wovendesign.co.uk

James Bowman has given the world premiere of ‘Slow Train’ reproduced by permission of the Estates of Michael Flanders & Donald Swann 2008. Any use of Flanders & Swann material, large or small, should be referred to the Estates at [email protected] many important contemporary compositions, P 2008 The copyright in this recording is owned by Signum Records Ltd. including works by Benjamin Britten, Michael C 2008 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render Tippett, Peter Maxwell Davies, Richard Rodney the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Bennett, Robin Holloway, Geoffrey Burgon, Michael Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, © Jane Mackay © Jane electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Nyman, Alan Ridout and Tarik O’Regan. In May Melbourne Opera houses and in the USA at Dallas, 1996 he received the Honorary Degree of Doctor of SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK Wolftrap, San Francisco and Santa Fe. Music from the University of Newcastle upon Tyne, +44 (0) 20 8997 4000 E-mail: [email protected] and was made CBE in the 1997 Queen’s Birthday www.signumrecords.com His concert career is equally wide-ranging. In Honours. He is also an Honorary Fellow of New Europe he is well known as a recitalist, with a College, Oxford and in October 2000 became a large following. He has sung at every major festival Gentleman of Her Majesty’s , St. in France and in 1992 the French government James’s Palace.

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