HAYDN à l’anglaise NI6174 CAFO MOZART Caf€ Mozart Proprietor Derek McCulloch Emma Kirkby soprano Rogers Covey-Crump tenor Emma Kirkby soprano Rogers Covey-Crump tenor Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Derek McCulloch proprietor Instruments: Four-keyed flute: Rudolph Tutz, Innsbruck 2003, after August Grenser, c1790 Guitar: Nick Blishen, 2001; copy of Lacote, c1820 Square piano: William Southwell, London c1798. Restored by Andrew Lancaster, 2008 Tuning & maintenance: Edmund Pickering Tuning: a’=430; Vallotti Recorded June 7th-9th 2011 in Rycote Chapel nr Thame, Oxfordshire Sound engineer: Anthony Philpot. Producer: Dr Derek McCulloch Music edited and arranged by Ian Gammie & Derek McCulloch Source material: Bodleian Library, Oxford, UK Bodleian Libraries UNIVERSITY OF OXFORD © 2012 Caf€ Mozart Enterprises 64 Frances Rd Windsor SL4 3AJ [email protected] HAYDN à l’anglaise Cover picture: Derek McCulloch (©2012) after George Dance (1794) Haydn’s songs as edited by William Shield Graphics: Rod Lord (www.rodlord.com) ‘Ballads’ adapted from his instrumental music by Samuel Arnold Dedicated to the memory of Roy Thomas († February 2011) Rondos on his Canzonettas by Thomas Haigh Alastair Ross started his musical career as HAYDN à l’anglaise Organ Scholar in New College, Oxford in Caf€ Mozart Proprietor Derek McCulloch the 1960s. In the intervening years he has (a) Emma Kirkby soprano [1,2,3,6,8,10,14,15,17,19,20] established himself as one of the country’s (b) Rogers Covey-Crump tenor [1,2,4,7,9,10,11,13,14,15,18,19,20] foremost continuo players and as a solo (c) Jenny Thomas flute [2,7,8,9,10,13,14,15,19] harpsichordist with a particular affection for (d) Ian Gammie guitar [2,6,7,8,9,10,11,14,15,17,18,19,20] JS Bach. As well as researching repertoire and (e) Alastair Ross square piano [1,2,4,5,9,10,12,13,14,15,16,17,19,20] playing for the Concerto delle Donne (three sopranos and keyboard), he frequently plays 1 Ballad (Duet): The fleeting Hours (a,b,e) 1:14 with Harry Christophers’ Orchestra of The Sixteen 2 Ballad: Morning (a,b,c,d,e) 2:05 on their annual UK Choral Pilgrimage, and 3 Song: Love in Return (a,d) 3:20 in 2011 was their soloist in a performance of 4 Canzonetta: Sailor’s Song (b,e) 2:32 Handel’s organ concerto Op 4/4 at the famous 5 Rondo [Haigh] (e) 4:20 ‘Proms’ in the Royal Albert Hall, London. 6 Song: Too late, Mother (a,d) 2:38 7 Song: An old Story (b,c,d) 2:39 Derek McCulloch studied singing in Stuttgart 8 Song: Contentment (a,c,d) 2:12 in the 1960s, and was at that time Germany’s 9 Song: The manly Heart (b,c,d,e) 4:03 only countertenor. Shortly after his return he 10 Ballad: Youth and Beauty (a,b,c,d,e) 2:57 was appointed alto lay-clerk at St George’s 11 Song: The Comforts of Inconstancy (b,d) 2:43 Chapel, Windsor Castle, and appeared regularly 12 Variations [Haigh] (e) 3:33 on sound radio, television and recordings 13 Ballad: Werter’s Sonnet (b,c,e) 2:25 as soloist with such conductors as Roger 14 Song: The Knotting Song (a,b,c,d,e) 5:11 Norrington and Helmuth Rilling, including 15 Ballad: Peace and Content (a,b,c,d,e) 1:49 in the Flanders Festival and the Aldeburgh 16 Canzonetta: My Mother bids me bind my Hair (a,e) 3:05 Festival. He wrote his doctoral thesis (1990) on 17 Rondo [Haigh] (e) 5:22 Aristocratic Composers in the 18th Century and 18 Song: Molly Carr (b,d) 3:55 continues to explore neglected repertoires of the 19 Ballad: Evening (a,b,c,d,e) 2:57 late 18th century, especially ‘minor’ composers 20 Song: Life is a Dream (b,e; a,d) 3:29 in England and the German-speaking area. Total playing time 62:31 23 Jenny Thomas is interested in all sorts of flutes. Though Willoughby Bertie, the 4th Earl out that: The Major part of the Poetry was She has recorded for radio and TV in UK, of Abingdon, had originally invited written on purpose to suit the measure of Austria, Germany and Hungary and played in Haydn to London in 1783, it was not these elegant Ballads, and in fact only many period orchestras, including the Yorkshire until New Year’s Day 1791 that the three of the poems can claim to be Baroque Soloists, Marches Baroque, Brandenburg composer, and after much hesitation and translations of the Artaria texts, while Baroque Soloists, and the Corelli, Grenser and prevarication, finally set foot on British there are two free paraphrases and the Sweelinck Ensembles. She has made numerous soil, in the words of the Morning Herold remaining seven are unrelated text recordings of 18th century music, both with in January 1785, “the country for which substitutions. Nine of the twelve English Caf€ Mozart and with her own Windsor Box&Fir his music seems to be made”. By the texts have a named poet or translator. Co, including CDs of music from Jane Austen’s time he did arrive various editions of his In 1784 Haydn published a second music collection. music had already appeared in London, set of twelve songs: XII Lieder für primarily via the English publisher das Clavier… Zweiter Theil. Doubtless Longman&Broderip (to mention but encouraged by sales of the first set one) and the Viennese publishing house Longman&Broderip not only issued Artaria. These recordings focus on four a reprint in 1788 of the first collection, Ian Gammie has played and recorded such publications for the British market. but also published an English edition throughout the world, notably with the English of Haydn’s second collection in 1789. Consort of Viols, but also with a whole host of In 1781 Haydn published his first This time the editor is anonymous, as ensembles, including the Deller Consort, the collection of songs: XII Lieder für das are all twelve English texts. All the texts Cambridge Baroque Camerata and the Sweelinck Clavier…1ster Theil. The respected bear some resemblance to the German Ensemble, primarily as a bass viol player. In composer William Shield “adapted” original, though more than half cannot addition, he is a widely known performer on the these to English words under the be really described as ‘translations’ but lute and early and modern guitar forms, as well title: Twelve Ballads, Composed by the are free interpretations of the thematic as being an authority on such diverse figures celebrated Haydn of Vienna, the original material. This anonymous collection as the guitar-loving Samuel Pepys and the Irish accompaniments “for the Harpsichord is misleadingly entitled: XII Original poet/balladeer Thomas Moore. or Piano Forte” remaining virtually English CANZONETTS … by JOSEPH unchanged. This English edition HAYDN. The accompaniments are appeared in 1786. The title page points designated “for the Piano Forte or Harp”. 22 3 The popularity of Haydn’s songs “genuine” songs published in the same Emma Kirkby’s specialism, singing with provoked an interesting development. year, where the songs were described historical instruments and vocal ensembles, In the absence of other original songs by in the title as “ballads”. A footnote to has taken her all over the world, in concerts the Austrian composer, editors looked the title-page of Arnold’s edition gives and recordings. She has contributed to a new to instrumental material (symphonies, the rationale for both sets of vocal awareness of singing styles and repertoire string quartets, keyboard sonatas), adaptations: The beautifull simplicity of the beyond the mainstream of large halls and singled out memorable tunes – and following melodies are so truly vocal, that opera houses, and of the rewards to be found provided them with English texts. Thus the Editor could not resist the impulse of in ensemble, rhetoric and stillness. Emma was another highly regarded composer, Dr adapting them to English Words, trusting, made a Dame in 2007, and awarded the Queen’s Samuel Arnold, issued a collection of as they have been universally admired in the Medal for Music in 2011. The Haydn project, Twelve English Ballads in 1787, “the Music Authors Sonatas &c, they would not be leß reuniting her with colleagues of many years’ the undoubted Composition of HAYDN, acceptable, when joined to elegant Poetry. standing, has been a pure delight. The Words selected and adapted to his Works by Dr Arnold”. These, like the two What is noticeable in the choice of texts song collections above, were published for these vocalised arrangements of by Longman&Broderip. Confusingly instrumental music is that, unlike in Rogers Covey-Crump is a doyen among early issued in the previous year (1786) by the the ‘genuine’ songs, in general the most music singers, be it as a superb Evangelist in publisher Preston was A Second Sett of eminent pastoral poets of the time were Bach’s great Passions or with the world-famous TWELVE BALLADS, the Music by SIGr used: John Cunningham, Thomas Gray, Hilliard Ensemble. He is used to singing to GIUSEPPE HAYDN adapted to English Samuel Johnson, William Shenstone capacity audiences in major venues throughout Words with an Accompaniment for the and Charlotte Smith. Finding texts the world, including to 2000 people in a Harpsichord or Piano Forte. The editor of to set to music and finding texts to packed St Paul’s Cathedral, where the Hilliards this collection remained anonymous, append to existing music were clearly were performing with the Norwegian-Polish and of the implied “first set” of similar felt to be different aesthetic and creative saxophonist Jan Garbarek.