Recording Review #49: Stirring Stanford

Partsongs, Pastorals and Folksongs (Music by Charles Villiers Stanford). Harry Christophers, conductor; The Sixteen. Coro COR16207. 

In case my Recording Review #15 didn't make it clear, I'm a big fan of Anglo-Irish composer Charles Villiers Stanford (1852-1924). True, I'm a British music nut and therefore something of an outlier. But I do believe Stanford's stock has been historically undervalued for two reasons: 1. Pleasant as they are (especially the Irish Rhapsodies), Stanford's big instrumental works don't exactly knock the listener's socks off with great daring or originality. And his operas have for long been unknown. As these genres usually receive maximum attention from historians of the Romantic era, CVS has suffered considerable prestige disadvantage; and 2. Even the choral works that show him at his best often do so in an understated manner. Occasionally you get fiery intensity (For Lo, I raise up), or something otherwise rousing ("The Little Admiral" from Songs of the Fleet), but more often Stanford shines in painting softer scenes and emotions. His Stabat Mater, for example, is gently stirring rather than hysterical. It's unsurprising that more dramatic choral works like Verdi's Requiem and Bruckner's Te Deum have received more press.

If your musical palette is for bold flavors, you may not consider the small choral selections on this recording to be much beyond nice. But if you're in a position to be impressed by Stanford's sensitive text setting, and can develop a taste for the pastel colors in which he paints, you'll probably find it all to be as delightful as I do. Where he excels is in fitting delicate musical atmospheres to evocative scenes that are usually of a religious, folkish, natural, and/or historical tint. Again though, this is not necessarily a readily acquired taste. Even Stanford's biographer, Paul Rodmell, is dismissive of the Op. 127 partsongs included here, inexplicably calling them "uninspired" (Rodmell, Charles Villiers Stanford, Routledge, 2002/2017, pg. 268). I, on the other hand, consider them to be immersive in the best sense. Mary Coleridge's moody poetry is a great fit for his gifts. No. 4 ("The Haven") particularly "hits the spot," but all of the others in the set are worthy, too.

Which leads me to point out a fantastic feature of this recording: we get entire sets of songs instead of just selections. Excepting the Op. 79 folk song arrangements, many numbers across the other groups are recorded here for the first time. (Well, the bonus track of Emer’s Farewell to Cucullain is a one-off and not part of a set.) Listening to these pieces as parts of wholes enhances them. Their different characters complement and feed off of one another. I especially felt this with the Six Elizabethan Pastorals (Set I), Op. 49. Just two of its numbers, "Damon's passion" and "Phoebe," receive their premiere recordings here. But they add markedly to the listening experience.

Harry Christophers and The Sixteen perform with spirit and precision. The Stanford Society's support of this venture is most welcome. What's not to like?

Verdict: Warmly Recommended

Recording Review #15: Stunning Stanford

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