Roth Romantic Residues
Composer and poet are perfectly united in attractive song cycles
View record and artist detailsRecord and Artist Details
Composer or Director: Howard Skempton, Gabriel Fauré, Alec Roth, Traditional, Maurice Ravel, Camille Saint-Saëns, Marcel-Lucien Tournier, André Caplet
Genre:
Vocal
Label: Hyperion
Magazine Review Date: 9/2008
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: CDA67725
Tracks:
Composition | Artist Credit |
---|---|
From California |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Jaime Martin, Flute James Gilchrist, Tenor |
Romantic Residues |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp James Gilchrist, Tenor |
(The) Salley Gardens |
Traditional, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Traditional, Composer |
O waly waly |
Traditional, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Traditional, Composer |
Bugeilio'r Gwenith Gwyn, 'Watching the White Wheat |
Traditional, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Traditional, Composer |
David of the White Rock, 'Dafydd y Garreg Wen' |
Traditional, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Traditional, Composer |
Three Songs For Jennie |
Howard Skempton, Composer
Alison Nicholls, Harp Howard Skempton, Composer James Gilchrist, Tenor |
Morceau de Concours |
Gabriel Fauré, Composer
Alison Nicholls, Harp Gabriel Fauré, Composer Jaime Martin, Flute James Gilchrist, Tenor |
(5) Mélodies populaires grecques, Movement: Chanson de la mariée |
Maurice Ravel, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Maurice Ravel, Composer |
(5) Mélodies populaires grecques, Movement: Là-bas, vers l'église |
Maurice Ravel, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Maurice Ravel, Composer |
(5) Mélodies populaires grecques, Movement: Quel galant m'est comparable |
Maurice Ravel, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Maurice Ravel, Composer |
(5) Mélodies populaires grecques, Movement: Chanson des cueilleuses |
Maurice Ravel, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Maurice Ravel, Composer |
(5) Mélodies populaires grecques, Movement: Tout gai! |
Maurice Ravel, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Maurice Ravel, Composer |
Quand reverrai-je hélas |
André Caplet, Composer
Alison Nicholls, Harp André Caplet, Composer James Gilchrist, Tenor |
(2) Sonnets, Movement: Doux fut le trait (wds. Ronsard) |
André Caplet, Composer
Alison Nicholls, Harp André Caplet, Composer James Gilchrist, Tenor |
(Une) Flûte invisible |
Camille Saint-Saëns, Composer
Alison Nicholls, Harp Camille Saint-Saëns, Composer Jaime Martin, Flute James Gilchrist, Tenor |
(La) Lettre du jardinier |
Marcel-Lucien Tournier, Composer
Alison Nicholls, Harp James Gilchrist, Tenor Marcel-Lucien Tournier, Composer |
Composer or Director: Alec Roth
Genre:
Vocal
Label: Signum
Magazine Review Date: 9/2008
Media Format: CD or Download
Media Runtime: 0
Catalogue Number: SIGCD124
Tracks:
Composition | Artist Credit |
---|---|
Thoughts While Travelling at Night |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Greiving for the Young Prince |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
(The) Visitor |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
(A) Fine Lady |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Dreaming of Li Bai |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Moonlit Night |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
(An) Autumn Meditation |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
(The) Old Cypress Tree at the Temple of Zhu-ge Liang |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Spring Scene in Time of War |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
To Wei Ba |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Who Has Lived Away from the Court |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Ballad of the Army Carts |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Canción de la Luna |
Alec Roth, Composer
Alec Roth, Composer Morgan Szymanski, Guitar |
Danza de la Luna |
Alec Roth, Composer
Alec Roth, Composer Morgan Szymanski, Guitar |
Chinese Gardens |
Alec Roth, Composer
Alec Roth, Composer Alison Nicholls, Harp Mark Padmore, Tenor Morgan Szymanski, Guitar Philippe Honoré, Violin |
Author: John Steane
These are attractive works, the Songs in Time of War probably striking deepest though in an utterly non-ponderous, unpretentious way. The music takes interesting turns, as when a cynical blues passage emerges from the timeless observation that “the great are always paid in disuse and neglect”. The resources of voice and instruments are imaginatively exploited.
And the performances (by the “creator” artists) are excellent. On the Hyperion disc Roth shares with Britten, Ravel and others, the whole working together as an unusual and delightful programme. I would nevertheless be inclined to give priority to the Signum disc, where you come to know him more fully, and where, I think, you have in Mark Padmore the better-suited singer. The instrumentalists all make a special contribution and benefit from their close association with the works. Alison Nicholls, the fine harpist, writes informative notes for Hyperion, while Roth confines himself modestly to matters of fact in his introduction for Signum. And if, for many of our readers, the recitals constitute an introduction to this composer, it is one which I should say they will not regret following up.
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