Composer: Roger Quilter
Works: Slumber Song (from “Where the Rainbow Ends”), Where Go the Boats (from “Child Songs, op. 5), Now Sleeps the Crimson Petal, op. 3/2, Weep You No More, op. 12/1, Old English Popular Songs (arranged): Down By the Sally Gardens, Drink to Me Only, Ye Banks and Braes; The Fair House of Joy, op. 12/7, To Daisies, op. 8/3, Love’s Philosophy, Over the Mountains
Performers: Bryn Terfel (baritone), Malcolm Martineau (pianoforte), Stephen Ryde-Weller (treble), Nicholas Richardson (treble), Kathleen Ferrier (contralto), Ernest Lush (pianoforte), Julian Lloyd Webber (violoncello), John Lenehan (pianoforte), Benjamin Luxon (baritone), David Willison (pianoforte), Elly Ameling (soprano), Rudolf Jansen (pianoforte), Jennifer Vyvyan (soprano), Phyllis Spurr (pianoforte)
Recording: DECCA 470 195-2
Label: DECCA
Roger Quilter occupies a unique position in the realm of English art song, a genre that flourished in the early twentieth century amid the burgeoning influences of composers such as Benjamin Britten and Gerald Finzi. In this compilation, the focus rests on Quilter’s delicate lyricism and the emotional depth he imbued in his works, particularly evident in the selections featuring prominent artists like Bryn Terfel and Kathleen Ferrier. The repertoire encompasses a wide spectrum of Quilter’s output, showcasing not only his original compositions but also his arrangements of traditional English songs, which have become staples in the concert repertoire.
The performances within this collection are exemplary, each artist bringing their distinctive interpretative flair while remaining true to the essence of Quilter’s style. Terfel’s baritone voice in “Now Sleeps the Crimson Petal” reveals an impressive control and warmth, articulating the nuanced text with a sensitivity that draws the listener into the contemplative world Quilter painted with his music. The piano accompaniment by Malcolm Martineau is equally commendable; his touch is both subtle and supportive, allowing the vocal line to soar without overshadowing it. This balance is particularly effective in “Weep You No More,” where the interplay between voice and piano becomes a conversation steeped in melancholy.
Ferrier’s contributions to this recording are particularly noteworthy, as her interpretations of “Down By the Sally Gardens” and “Drink to Me Only” remain some of the most celebrated in the canon. Her rich timbre and emotional investment breathe life into these arrangements, capturing the essence of longing and nostalgia inherent in the texts. The engineering quality of these recordings is commendable, with a clarity that allows the listener to appreciate the textures of the piano and the nuances of vocal expression. The slight reverberation in the recording space enhances the intimate atmosphere while avoiding any muddiness in sound, a commendable feat given the number of different recording dates and conditions.
As we compare these interpretations with notable recordings from the past, such as those featuring the legendary tenor Peter Pears or the baritone Benjamin Luxon, it becomes evident that this DECCA release not only preserves historical performances but also provides a fresh perspective on Quilter’s oeuvre. The variety in voices and styles represented here offers a comprehensive view of his artistry, while the inclusion of lesser-known works alongside popular favorites invites both seasoned listeners and newcomers alike to explore the richness of his melodic language.
The compilation serves as a testament to Quilter’s enduring legacy, one that continues to resonate in the concert hall. Each track is a reminder of the beauty and intricacy of English song, with Quilter’s works standing as a bridge between traditional folk influences and classical sophistication. This recording is not merely a collection; it is an invitation to engage with the emotional landscape Quilter so masterfully crafted, ensuring that his music remains vibrant and relevant in the modern repertoire.
