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Carolyn Sampson, Iestyn Davies & Joseph Middleton - Lost Is My Quiet (2017)

Classic | Author: SELMER | 12-01-2018, 06:33
Carolyn Sampson, Iestyn Davies & Joseph Middleton - Lost Is My Quiet (2017)
Artist: Carolyn Sampson, Iestyn Davies & Joseph Middleton
Title Of Album: Lost Is My Quiet
Year Of Release: 2017
Label: BIS Records
Country: UK
Genre: Classical
Quality: FLAC (*image + .cue, log, artwork)
Bitrate: Lossless
Time: 79:04 min
Full Size: 313 MB


Henry Purcell (1659–95)
01] Sound the trumpet
02] Lost is my quiet
03] If music be the food of love (third version)
04] Music for a while
05] No, resistance is but vain
06] Celemene

Felix Mendelssohn Bartholdy (1809–47)
07] Ich woll't, meine Lieb' ergosse sich, Op.63 No.1
08] Gru?, Op.63 No.3
09] Volkslied, Op.63 No.5
10] Maiglockchen und die Blumelein, Op.63 No.6
11] Scheidend, Op.9 No.6
12] Neue Liebe, Op.19 No.4
13] Three Duets, Op.77 - 1. Sonntagsmorgen
14] Three Duets, Op.77 - 2. Das Ahrenfeld
15] Three Duets, Op.77 - 3. Lied aus 'Ruy Blas'

Robert Schumann (1810–56)
16] Three Duets, Op.43 - 1. Wenn ich ein Voglein war
17] Three Duets, Op.43 - 2. Herbstlied
18] Three Duets, Op.43 - 3. Schon Blumelein
19] Nachtlied, Op.96 No.1
20] Stille Liebe, Op.35 No.8
21] Der Einsiedler, Op.83 No.3
22] Auftrage, Op.77 No.5
23] So wahr die Sonne scheinet, Op.37 No.12

Roger Quilter (1877–1953)
24] It was a lover and his lass, Op.23 No.3
25] Weep you no more, sad fountains
26] Music, when soft voices die, Op.25 No.5
27] Drink to me only with thine eyes
28] Love's philosophy, Op.3 No.1
29] Love calls through the summer night

The idea of a countertenor in songs by Mendelssohn and Schumann may seem odd, and even unrecognizable to the composers themselves. But first of all, check your prejudices: countertenor Iestyn Davies is fully idiomatic in the Purcell songs (as filtered through Britten), and only slightly less so in the neo-Elizabethan tunes of Roger Quilter, so one might just as easily complain about similar programs where a female contralto was used. Second, Davies neatly avoids the issues that have plagued the few countertenors who have ventured into music of the 19th century. He doesn't force his voice into places it doesn't want to go, instead relying mostly on the gentle, foghorn-like quality it has in its large sweet spot, and thus setting its timbre off from that of soprano Carolyn Sampson. You might say that, except for the solo pieces, Davies puts Sampson at center stage, but this would ignore the intelligence of his performance. Sampson, at any rate, has never sounded better. Getting your attention with an added octave ornament in Purcell's Sound the Trumpet (sample this unless you don't want to spoil the surprise), she plows through the program in fine style, as comfortable in the German repertory as in English. Creamy-voiced, humorous, and possessed by now of a good deal of interpretive depth, she has emerged as one of the major stars on the English vocal scene, specializing in but not restricted to Baroque repertory. With accompanist Joseph Middleton beautifully attuned to what's happening here, this is a delightful and offbeat vocal recital. -- James Manheim

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