Known to opera audiences worldwide, Camilla Tilling is also a dedicated recitalist. On two previous BIS releases, the Swedish soprano and her musical partner Paul Rivinius have interpreted Strauss as well as Schubert, to critical acclaim: 'Tilling takes her place among the leading Strauss sopranos of the day' (Sunday Times); 'a Schubert recital of rare pedigree' (Gramophone). On her present offering she turns northwards, interpreting songs by Grieg, Sibelius and Wilhelm Stenhammar. The disc takes its title from an early song by Stenhammar, I skogen ('In the forest'), and many of the selected songs are either played out in or depict natural settings, in a manner we are familiar with from Nordic composers.
If you thought that Chris Rea's reasonably priced 11 CD boxset called Blue Guitars, featuring over 130 songs, was a bit too much to take in at one time, then this two CD distillation might be more your style. Here, the best 22 tracks from the box are compiled on two CDs for your sampling pleasure. Includes 'Where the Blues Come From', 'The Soul of My Father's Shadow', 'Lucky Day', 'Who Killed Love' and more.
Václav Jan Krvtitel Tomásek wrote numerous songs and short piano pieces, genres in which his works predate those of his rather more famous near contemporary Franz Schubert by some years. Quite why they are so neglected today is a mystery as this enthralling new album from Renata Pokupic' and Roger Vignoles unfolds twenty-eight songs of a rare appeal. Perhaps we should not be surprised: Tomáek was one of the very few composers of Goethe settings to meet with the great poet's (relatively) undivided approval.
Here is a side of Handel unfamiliar even to those knowledgeable about his music. Most of this CD is devoted to miscellaneous songs in English‚ many of them published in his time on song sheets‚ or in journals‚ or given to friends‚ or intended for use in the theatre. They are‚ generally‚ in a more popular vein than his familiar music‚ and often in the style used by such composers as Arne or Boyce‚ or lesser men‚ in their English songs. The best of them‚ to my taste‚ are the theatre songs: ‘I like the amorous youth’ is a specially charming piece‚ and ‘Love’s but the frailty of the mind’‚ a Congreve setting made for the admired actresssinger Kitty Clive‚ is an exquisite and touching little song‚ especially when sung as beautifully as it is here by Emma Kirkby.
Although pop music enjoyed a larger audience and more expansive industrial structure at the time of rock’s emergence, the rhythm ‘n’ blues genre possessed a richer assortment of the artists who were to mold the new music’s style. Throughout the 1950s and 1960s, the work of these artists provided the strongest and most consistent reason for the quality and appeal of the music itself.