Singing in the Open Air

On this CD:

1. Lieder-Album für die Jugend (Song Album for the Young) for voice & piano, Op. 79
Composed by Robert Schumann

Conducted by Wolfram Wehnert

2. Frühlingsliebe, for chorus, Op.32/3
Composed by Moritz Hauptmann

Conducted by Wolfram Wehnert

3. Lieder (5) for 4 voices, Op. 81: No. 1, Im Vorübergehen
Composed by Carl Loewe

Conducted by Wolfram Wehnert

4. Das Wandern ist des Müllers Lust
Composed by Karl Zollner

Conducted by Wolfram Wehnert

5. Wanderlust, for chorus, Op.120/3
Composed by Louis Spohr

Conducted by Wolfram Wehnert

6. Sah ein Knab ein Röslein stehn
Composed by Heinrich Werner

Conducted by Wolfram Wehnert

7. An den Wald, for men's chorus
Composed by Michael Haydn

Conducted by Wolfram Wehnert

8. Erlaube mir, feins Mädchen, folk song for voice & piano, WoO 33/2 No.17, Erlaube mir
Composed by Johannes Brahms

Conducted by Wolfram Wehnert

9. Romanzen und Balladen III (5), for mixed chorus, Op.145
Composed by Robert Schumann

Conducted by Wolfram Wehnert

10. Des Sommers letzte Rose, for chorus
Composed by Friedrich Silcher

Conducted by Wolfram Wehnert

11. Lieder (5) for 4 voices, Op 81, No. 4, "In der Marien Kirche", Op. 81/4
Composed by Carl Loewe

Conducted by Wolfram Wehnert

12. Wenn ich ein Vöglein wär, original folk song for female chorus
Composed by Johannes Brahms

Conducted by Wolfram Wehnert

13. Songs and romances (12) for female chorus, Op. 44
Composed by Johannes Brahms

Conducted by Wolfram Wehnert

14. Work(s) Waldesgruß, Op.2/5
Composed by Joseph Rheinberger

Conducted by Wolfram Wehnert

15. The Youth's Magic Horn Five Love Songs, No.4, Heimlicher Liebe Pein
Composed by Gustav Uwe Jenner

Conducted by Wolfram Wehnert

16. Abendfriede, for chorus, Op.52/5
Composed by Joseph Rheinberger

Conducted by Wolfram Wehnert

17. Der König von Thule
Composed by Friedrich Silcher

Conducted by Wolfram Wehnert

18. Es waren zwei Königskinder, folk song arrangement for chorus (8 Folk Songs for chorus, No. 8)
Composed by Max Reger

Conducted by Wolfram Wehnert

19. Romanzen und Balladen I (5), for mixed chorus, Op. 67 Schön-Rohtraut Op.67, No.2
Composed by Robert Schumann

Conducted by Wolfram Wehnert

20. Der Handschuh ("Vor seinem Löwengarten"), ballad for voice & piano, Op. 87
Composed by Robert Schumann

Conducted by Wolfram Wehnert

21. Songs and romances (6) for chorus, Op. 93a
Composed by Johannes Brahms

Conducted by Wolfram Wehnert

22. Romanzen und Balladen II (5), for mixed chorus, Op. 75 Im Walde, Op.75, No.2
Composed by Robert Schumann

Conducted by Wolfram Wehnert

Tracks:

Fruhlingslgruss Op.79 No.4
Fruhlingsliebe Op.32 No.3
Im Vorubergehen Op.81 No.1
Das Wandern Ist Des Mullers Lust
Wanderlust Op.120 No.3
Sah Ein Knab Ein Roslein Stehn
An Den Wald
Erlaube Mir
Der Schmied Op.145 No.1
Des Sommers Letzte Rose
In Der Marienkirche
Wenn Ich Ein Voglein War
Der Fiedler
Waldesgruss
es Knaben Wunderhorn: Funf Liebeslieder No.4, Heimlicher Liebe Pein
Abendfriede Op.52 No.5
Der Konig Von Thule
Es Waren Zwei Koigskinder
Romanzen And Ballads I, Op.27 No.2: Schon Rohtraut
Der Handschuh Op. Post.
Der Bucklichte Fiedler Op.93a No.1
Romanzen And Balladen II, Op.75 No.2: Im Walde

Average customer rating:

A journey into the quiet and brilliant beauties of English song
There is much beauty 'On This Island'
Lovely music, beautifully performed

On This Island

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005COXR
Release Date: 2001-06-12

Amazon.com

The song repertory of the English musical renaissance--from Stanford and Parry through to Howells, Warlock, and early Britten--has largely been the preserve of male singers. So it's a refreshing change to hear a light soprano like Lynne Dawson wash familiar words with fresh, transparent-textured lyricism. Although there's something slightly tremulous and quavering in her vibrato, it's a charming voice and at its best in the folk idiom of Peter Warlock's "Lillygay" songs, the innocent pleasures of Roger Quilter's "My Life's Delight," or Stanford's parodistic settings of Edward Lear (which he produced under the pseudonym Karel Drofnatzski). Whether she has quite the depth of feeling for the pastoral melancholy in so many of the other songs, or quite the sense of irony to bring off Britten's fabulously muscle-flexing cycle On This Island is debatable. But where the voice fails to deliver here and there, the pianist compensates with playing of strength and insight. Malcolm Martineau is the compleat accompanist: a one-man quality assurance, and as expert in his native British music as we all, these days, know him to be in French. --Michael White

Customer Reviews:

A journey into the quiet and brilliant beauties of English song.......2006-07-31

"Impeccable" is one word that comes to mind when contemplating the beautiful and very interestingly used voice of Lynne Dawson. Her voice is that of a lyric soprano, utilising both the lovely shimmer of her voice but also the central vocal core which does not imitate the colour of other sopranos, but takes a vocal course that is simply unique to her own timbre. I have heard Ms Dawson sing some of the most moving things I've ever encountered - for instance, her final two arias as Cleopatra in the oratorio by Handel (not she of the gilded eyelids, but an entirely different Cleopatra), upon hearing that her husband has been killed.

Lynne Dawson is very gifted, both as a singer and as an artist - and she has the unusual sense to be true to her voice rather than attempt to fit into a typical "lyric soprano mould". By avoiding sounding like every other soprano, she emerges as a unique voice, always intelligent, always true to the music she sings. This particular album gave me great pleasure from the first moment, and while it's hard to pick out just one track, let me draw particular attention to "Silent Noon" by Vaughan Williams. It's immeasurably tender and passionate in a wonderfully clean-cut way. I could literally smell the grass and the sweetness of it as I listened to this track.

For a fine album of English songs sung with - yes - impeccable style, beautiful tone and wonderful sympathy, you need look no forther than this recording.

There is much beauty 'On This Island'.......2006-01-29

Though the composers from the Great Britain are highly represented in the 'big works' of the concert repertoire, the songs so loved by the British, remain somewhat insular. Yes, there are superb song cycles by Benjamin Britten and others that enjoy wide performance popularity, but the songs so wedded to the landscape of the British Isles have not often reached beyond the shores. That deficit is superbly corrected in this lovely recital, richly varied in style and time.

The songs include Traditional songs, songs by Peter Warlock, Charles Villiers Stanford, Roger Quilter, Ralph Vaughan Williams, Gerald Finzi, Herbert Howells, Ivor Gurney, Sir Charles H.H. Parry (!), and of course Benjamin Britten whose sole offering is the title song of the album. Each of the composer's works demonstrates that fine sensitivity to the poets' lines. While the selection is varied and not all of the songs are destined for posterity, collectively they offer a fine portrait of British music.

The soloist for this recital is Lynne Dawson, long a member of the Hilliard Ensemble serving as soprano soloist for the many recordings conducted by Stephen Cleobury with the King's College Choir Cambridge. Though not known internationally, Dawson possesses a soprano voice in intense musicality, beauty of sound and agile in execution of all forms of writing. Her superb accompanist is Malcolm Martineau and their collaboration is impeccable. This is one of those albums perfect for quiet times when the purity of simple songs crowds out the bother of the world. Recommended. Grady Harp, January 06

Lovely music, beautifully performed.......2003-10-23

This eclectic collection of British songs is radiantly performed by soprano Lynne Dawson. If you are the kind of music listener who is averse to classical sopranos, then you need to hear this glorious voice and decide if you have been exposed to the wrong ones. Miss Dawson's voice never veers unpleasantly into the warbly vibrato that has marred many a recorded performance. She always maintains a control of pitch that reminds this listener of the great contralto Kathleen Ferrier. This is the kind of recording that you will go back to again and again, finding new favorites as the years go by. Current favorite: her performance of Vaughan Williams's Silent Noon, a heartbreakingly beautiful interpretation.

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