Stanford: Orchestral Songs. Sharon Carty, mezzo-soprano; Morgan Pearse, baritone; John Andrews, conductor; BBC Concert Orchestra; BBC Singers. Resonus RES10345.
After much listening, I have to say that while the still-underappreciated Charles Villiers Stanford was a fine composer of instrumental compositions, he was especially effective as a setter of sung texts. As someone who concentrates on British music in my research, I may be biased. But Stanford's Stabat Mater, sacred anthems (especially For lo, I raise up), Songs of the Sea, Songs of the Fleet, and other works I could name demonstrate ample musical personality. We're also starting to figure out, thanks in no small part to SOMM's new recording of The Travelling Companion (SOMM CD 274-2), that considerable surprises and delights await us in exploring his operas. This wonderful new disc of orchestral songs only adds to the case of Stanford deserving more respect in the history books and concert halls. Many of these songs are simply enchanting, and do not become less so with sustained hearings.
First, it must be said that what we have here is an assortment. A generous number of Stanford's song collections are represented, but often by only one or a few entries from larger sets. Thus, we don't get all of the Songs from Old Ireland (there are fifty in total!), nor all of the Songs of Erin, Op. 76, nor all of the Bible Songs, Op. 113, etc. etc. But that's okay. The items we have here were well chosen for their charm and beauty. Second, this recording's label of "Orchestral Songs" may be slightly misleading, as many are arrangements from voice(s)-and-piano originals. But don't let that bother you, since everything works just as well (if not better) with orchestra instead.
Since there are 22 separate tracks, I think it best to concentrate on a few of my favorites as a means of recommendation. We do get all three of the Op. 17 (listed as Op. 18 on IMSLP??) Cavalier Songs for baritone, male chorus, and piano, heard in Stanford's orchestration. These are based on poetry by Robert Browning and concern the English Civil War from a Royalist perspective. And they are FUN to listen to! Red-blooded, rousing, and melodious, with delicious idiosyncrasies of harmony and turns of phrase, they anticipate the Songs of the Sea and Songs of the Fleet. Anyone who knows and loves the latter should quickly take to the Cavalier Songs.
But I was hooked right off the bat with the sole selection from the Op. 77 Irish Idylls set, "A Fairy Lough." The poetry by Moira O'Neill conjures an atmosphere of magic and myth, which Stanford is every bit equal to in his setting. I like the voice-piano version, but I LOVE the orchestral setting and think it is an improvement. Also magical are the four arrangements of Irish folksongs included. One wishes for more. Listeners will recognize the melody of Danny Boy in "Emer's Farewell to Cucullain," which Stanford also used to stirring effect in his First Irish Rhapsody for orchestra.
Special mention goes to musicologist Jeremy Dibble, who is the leading Stanford expert. He very capably orchestrated the three Op. 97 Songs of Faith included here, which are united by their Walt Whitman Leaves of Grass texts. He also authored the excellent liner notes. (This reminds me: one of the best arguments for physical recordings over streaming is the written commentary you get with the booklets. The knowledge contained in many of these is more valuable than some realize, especially when top-notch scholars like Dibble provide it.)
Last but not least, plenty of praise goes to the performers. Mezzo-soprano Sharon Carty and baritone Morgan Pearse sound terrific, including when they sing together. John Andrews deftly leads the ensembles and is to be commended for his continued advocacy for repertoire that deserves to be better known. A winner all around, with everyone involved on top of their game. Go and buy this disc.
Highly Recommended
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