‘Songs of War’ - British Song
Simon Keenlyside (bar) Malcolm Martineau (pf)
Sony Classical 88697 94424-2 Buy now
(73’ • DDD • T)
Ireland Sea Fever. The Vagabond Somervell A Shropshire Lad – There pass the careless people; The street sounds to the soldiers’ tread; Into my heart an air that kills; White in the Moon Vaughan Williams Youth and Love. The Infinite Shining Heavens. Songs of Travel – The Vagabond G Butterworth A Shropshire Lad. Bredon Hill and Other Songs Warlock The Night Traditional The Three Ravens (arr Ireland) Finzi Fear no more the heat o’ the sun Bridge Thy hand in mine Rorem War Scenes – An Incident Gurney When death to either shall come. In Flanders Weill Beat! Beat! Drums!. Dirge for Two Veterans
At first sight, ‘Songs of War’ seems an odd title for this collection of songs by, mostly, 20th-century English composers. In a thoughtful booklet-note, Simon Keenlyside explains. After contrasting the ‘relative peace and stability’ of today with the sacrifices made in war by earlier generations, he cites ‘Sea Fever’ as reflecting ‘something of the restlessness of so many old soldiers once the conflicts are over’.
Perhaps the connection is tenuous but that will hardly impede enjoyment and appreciation of this excellent recital. The composer most generously represented is George Butterworth, who was killed on the Somme in 1916. A Shropshire Lad is here, as is – though, oddly, the title isn’t given – Bredon Hill and Other Songs. One can imagine a more poignant account of the ghostly voice in ‘Is my team ploughing?’ but ‘The lads in their hundreds’ is all the more moving for Keenlyside’s robustness. I was struck by the postlude of ‘Loveliest of trees’: it’s not Hugo Wolf but, as eloquently played by Malcolm Martineau, it does have a kind of Ravelian grace.
There is more Housman in four songs from the 10 of A Shropshire Lad by Arthur Somervell, not placed as a group. The vocal line in the first stanza of ‘Into my heart’ is all on one note: Keenlyside shapes it with feeling, as the piano recalls ‘Loveliest of trees’ (sadly not included here). Peter Warlock’s ‘The Night’ starts with an identical device, again coloured beautifully by the singer. The rest of the programme is equally rewarding and Keenlyside’s diction is perfect.
Richard Lawrence
