O Tuneful Voice
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Baptiste Cardon, James Hook, William Shield, Joseph Haydn, Johann Peter Salomon, William Jackson I, Thomas Linley I, Samuel Arnold, George Frederick Pinto, Stephen (John Seymour) Storace
Label: Hyperion
Magazine Review Date: 12/1991
Media Format: CD or Download
Media Runtime: 74
Mastering:
DDD
Catalogue Number: CDA66497
Tracks:
| Composition | Artist Credit |
|---|---|
| O tuneful voice |
Joseph Haydn, Composer
Emma Kirkby, Soprano Joseph Haydn, Composer Timothy Roberts, Fortepiano |
| Elegy |
Samuel Arnold, Composer
Frances Kelly, Harp Rufus Müller, Tenor Samuel Arnold, Composer |
| (6) Canzonets, Movement: Nature! sweet mistress (Invocation to Nature) |
George Frederick Pinto, Composer
Emma Kirkby, Soprano George Frederick Pinto, Composer Timothy Roberts, Fortepiano |
| (The) Curfew |
Stephen (John Seymour) Storace, Composer
Emma Kirkby, Soprano Frances Kelly, Harp Stephen (John Seymour) Storace, Composer |
| (The) Lark sings high in the cornfield |
Thomas Linley I, Composer
Emma Kirkby, Soprano Thomas Linley I, Composer Timothy Roberts, Harpsichord |
| Minuetto |
George Frederick Pinto, Composer
George Frederick Pinto, Composer Timothy Roberts, Fortepiano |
| Think not, my love, when secret grief |
Thomas Linley I, Composer
Emma Kirkby, Soprano Frances Kelly, Harp Thomas Linley I, Composer |
| (The) Day saw that saw thy beauty rise |
William Jackson I, Composer
Rufus Müller, Tenor Timothy Roberts, Harpsichord William Jackson I, Composer |
| (6) Canzonets, Movement: A shepherd loved a nymph so fair |
George Frederick Pinto, Composer
George Frederick Pinto, Composer Rufus Müller, Tenor Timothy Roberts, Fortepiano |
| Hope and Love |
William Shield, Composer
Emma Kirkby, Soprano Timothy Roberts, Harpsichord William Shield, Composer |
| Ye balmy breezes, gently blow |
William Shield, Composer
Frances Kelly, Harp Rufus Müller, Tenor William Shield, Composer |
| 'Tis only no harm to know it, you know |
William Shield, Composer
Emma Kirkby, Soprano Timothy Roberts, Fortepiano William Shield, Composer |
| (6) Original Canzonettas, Book 2, Movement: Sailor's Song |
Joseph Haydn, Composer
Joseph Haydn, Composer Rufus Müller, Tenor Timothy Roberts, Fortepiano |
| (6) Original Canzonettas, Book 2, Movement: She never told her love |
Joseph Haydn, Composer
Joseph Haydn, Composer Rufus Müller, Tenor Timothy Roberts, Fortepiano |
| (6) Canzonets, Movement: From thee, Eliza, I must go |
George Frederick Pinto, Composer
George Frederick Pinto, Composer Rufus Müller, Tenor Timothy Roberts, Fortepiano |
| Variations on 'Ah, vous dirai-je, maman' |
Jean-Baptiste Cardon, Composer
Frances Kelly, Harp Jean-Baptiste Cardon, Composer |
| (The) Emigrant |
James Hook, Composer
Frances Kelly, Harp James Hook, Composer Rufus Müller, Tenor |
| Time has not thinn'd my flowing hair |
William Jackson I, Composer
Emma Kirkby, Soprano Frances Kelly, Harp Rufus Müller, Tenor William Jackson I, Composer |
| Go, lovely rose |
Johann Peter Salomon, Composer
Johann Peter Salomon, Composer Rufus Müller, Tenor Timothy Roberts, Fortepiano |
| (4) Canzonets, Movement: Soon as the letters (A Canzonett...from Pope's 'AbEloisa') |
George Frederick Pinto, Composer
Emma Kirkby, Soprano George Frederick Pinto, Composer Timothy Roberts, Fortepiano |
| Why still before these streaming eyes |
Johann Peter Salomon, Composer
Emma Kirkby, Soprano Johann Peter Salomon, Composer Timothy Roberts, Fortepiano |
Author: hfinch
Hyperion have mustered an engaging ensemble of forces to re-create a generous and winsome programme of little-known songs and duets from eighteenth-century London. A 1796 Broadwood piano, a Kirkman harpsichord, a single-action 1800 harp, and the voices of Emma Kirkby and Rufus Muller all celebrate the luminaries of Haydn's and Salomon's England—and they, too, are there to bear witness.
Haydn himself is represented by the rare O tuneful voice in which Kirkby shows herself sympathetic to Haydn's expressive melodic line and sighing appoggiaturas. Muller takes over for a straightforward She never told her love and a boisterousSailor's Song. Salomon, unlike the majority of his contemporaries, went straight to some of the best poetry around, and he set Waller's Go, lovely rose with harmonic confidence and melodic breadth. The comparative sophistication of his word-setting is in marked contrast to the folksy chatter of north-countryman William Shield's ditties. Muller and Frances Kelly (harp) obviously enjoy, though, the chirruping of Ye balmy breezes and Kirkby gobbles up delightfully the garrulous 'Tis only no harm to know it, you know.
With mellifluous duets by Gainsborough's friend William Jackson, and a poignant (French) revolutionary lament by James Hook, there is much here for any social historian to enjoy. Purely musically, there are discoveries to be made in shepherd lov'd a nymph (Muller) and in Kirkby's revelation of that composer's powerfully unpredictable setting of Pope's Eloisa to Abelard. I particularly enjoyed, too, her performance of Stephen Storace's The Curfew, a spare and evocative setting of part of Gray's Elegy and, accompanied by Timothy Roberts's harpsichord, Thomas Linley's trilling The lark sings high in the cornfield.'
Haydn himself is represented by the rare O tuneful voice in which Kirkby shows herself sympathetic to Haydn's expressive melodic line and sighing appoggiaturas. Muller takes over for a straightforward She never told her love and a boisterous
With mellifluous duets by Gainsborough's friend William Jackson, and a poignant (French) revolutionary lament by James Hook, there is much here for any social historian to enjoy. Purely musically, there are discoveries to be made in shepherd lov'd a nymph (Muller) and in Kirkby's revelation of that composer's powerfully unpredictable setting of Pope's Eloisa to Abelard. I particularly enjoyed, too, her performance of Stephen Storace's The Curfew, a spare and evocative setting of part of Gray's Elegy and, accompanied by Timothy Roberts's harpsichord, Thomas Linley's trilling The lark sings high in the cornfield.'
O Tuneful Voice
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