Composer: Roger Quilter (1877-1953)
Works: Slumber Song, Where go the boats, Now sleeps the crimson petal, Weep you no more, Down by the Salley Gardens, Drink to me only, Ye Banks and Braes, Now sleeps the crimson petal, The Fair house of joy, To Daisies, Love’s Philosophy
Performers: Bryn Terfel (baritone), Malcolm Martineau (piano), Stephen Ryde-Weller (treble), Nicholas Richardson (treble), Bournemouth Symphony Orchestra (conducted by David Hill), Grimethorpe Colliery Band (conducted by Elgar Howarth), Kathleen Ferrier (contralto), Ernest Lush (piano), Julian Lloyd Webber (cello), John Lenehan (piano), Benjamin Luxon (baritone), David Willison (piano), Elly Ameling (soprano), Rudolf Jansen (piano)
Recording: Various sessions recorded between 1951 and 1995
Label: DECCA
Roger Quilter occupies a peculiar niche within the English art song repertoire, often overshadowed by contemporaries such as Vaughan Williams or Britten. His lyrical gifts and melodic inventiveness are showcased in this collection, which juxtaposes his works with those of John Ireland and Edmund Rubbra. The compilation is an eclectic mix, featuring a blend of songs and orchestral music that, while seemingly disparate, offers a glimpse into the rich tapestry of British song during the early to mid-20th century. The inclusion of renowned artists like Kathleen Ferrier and Bryn Terfel anchors the disc, yet one cannot help but question the coherence of such a varied selection.
The performances are a mixed bag, reflecting the varied interpretive choices of the artists involved. Bryn Terfel, for instance, approaches Ireland’s “Sea Fever” with a dramatic flair that strays into exaggerated territory. His interpretation exploits the text’s poetic imagery, yet the resulting dynamics often veer towards the theatrical, risking moments of inaudibility that dilute the song’s inherent beauty. In contrast, the Bournemouth Symphony Orchestra, under David Hill, provides a vibrant backdrop for Ferrier’s exquisite rendering of Rubbra’s Psalms. Here, Ferrier’s burnished contralto navigates the settings with a masterful blend of warmth and precision, particularly in Psalm 23, where her phrasing transcends mere vocalization, reaching a profound spiritual resonance.
Recording quality varies significantly across the disc. The Rubbra Psalms, recorded during Ferrier’s final radio recital in 1953, stand out for their clarity and emotional depth, despite minor surface noise. These performances are crucial, as they capture an artist at the peak of her powers, delivering both the austerity and ecstasy that Rubbra demands. In contrast, some of the Quilter selections, particularly those featuring Terfel, suffer from a lack of finesse; the engineering choices, while competent, do not always serve the music well. One can draw a marked distinction between the warmth of Ferrier’s recordings and the more sterile presentation of the later sessions.
Benjamin Luxon’s interpretation of “Now sleeps the crimson petal” offers a refreshing contrast to Terfel’s more ostentatious style. Luxon’s sensitivity to the text allows for a nuanced delivery that highlights Quilter’s melodic lines with exquisite care. His ability to balance expressiveness with technical precision sets a standard for interpreting these songs. Elly Ameling’s contributions are equally commendable; her rendition of “Weep you no more” showcases a beautiful timbre, even if some moments feel slightly less idiomatic.
The historical context of this compilation cannot be overlooked, as it encapsulates a pivotal era in British music, bridging traditional song forms with the burgeoning modernism of the 20th century. While the disc may not serve as an essential addition for specialists in British music, it does provide a valuable snapshot of the interpretive landscape of its time, particularly through the lens of Kathleen Ferrier’s unrivaled artistry.
the collection feels like an opportunity missed. While it features undeniably significant contributions from revered artists, the disparate nature of the works and the unevenness of the performances result in a compilation that lacks the cohesiveness one might hope for. The presence of Ferrier elevates the listening experience, yet one cannot escape the sense that the compilation could have been more thoughtfully curated to reflect the richness of Quilter’s oeuvre and its place within the larger context of British song.
