Songs to the Moon by The Myrthen Ensemble

Various composers

The Myrthen Ensemble

Songs to the Moon

Price: € 25.95
Format: CD
Label: Signum Classics
UPC: 0635212044322
Catnr: SIGCD 443
Release date: 10 June 2016
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Label
Signum Classics

UPC
0635212044322

Catalogue number
SIGCD 443

Release date
10 June 2016

Album

Artist(s)

Composer(s)

About the album

The Myrthen Ensemble has been praised for their “irresistible combination of arresting programing and vocal flair assembled around pianist Joseph Middleton.” (BBC Music Magazine) Consisting of Mary Bevan, Clara Mouritz, Allan Clayton, Marcus Farnsworth, and Joseph Middleton, the recently formed ensemble specializes in art-songs and Lieder. All of the tracks on this new release focus around the moon. Composers include Brahms, Barber, Duparc, Faure, and more.

Prachtige liederen geïnspireerd op de maan
Het nog niet zo lang bestaande Myrthen Ensemble brengt rijzende sterren bij elkaar in een wereld van prachtige liederen. Dit album bevat uitvoeringen van Mary Bevan, Clara Mouriz, Allan Clayton, Marcus Farnsworth en Joseph Middleton.

Joseph Middleton schrijft in de introductie van de opname: ‘De maan heeft sinds de oudheid kunstenaars, muzikanten en schrijvers geïnspireerd en de werken op dit album zijn daar een goed voorbeeld van. Sommige liederen zijn troostrijk, andere verleidend in de vorm van serenades en weer andere beelden de maan af als een bedreigende kracht omdat het de zonnestralen doet uitdoven. De eerste disc van dit tweedelige album bevat muziek geschreven door Brahms en Schumann, de tweede bevat een speciale bewerking van Clair de Lune door een aantal van de beste Franse lied componisten, zoals Debussy en Fauré. Iedere disc begint met korte Engelse nachtelijke ouvertures.’

Artist(s)

The Myrthen Ensemble

Described by The Telegraph as 'the crème de la crème of young British-based musical talent', and praised in BBC Music Magazine for their 'irresistible combination of arresting programing and vocal flair assembled around pianist Joseph Middleton', the newly formed Myrthen Ensemble brings together rising stars in the world of art-song and Lieder. The founder members were Mary Bevan, Clara Mouriz, Allan Clayton, Marcus Farnsworth and Joseph Middleton and they very much enjoy working alongside other outstanding young guest singers. The group takes its name from the composition Robert Schumann wrote as a wedding present for his wife Clara in 1840. Myrtles have for centuries been seen as the German symbol of marriage and their modest form seems an apt image for...

Described by The Telegraph as "the crème de la crème of young British-based musical talent", and praised in BBC Music Magazine for their "irresistible combination of arresting programing and vocal flair assembled around pianist Joseph Middleton", the newly formed Myrthen Ensemble brings together rising stars in the world of art-song and Lieder. The founder members were Mary Bevan, Clara Mouriz, Allan Clayton, Marcus Farnsworth and Joseph Middleton and they very much enjoy working alongside other outstanding young guest singers. The group takes its name from the composition Robert Schumann wrote as a wedding present for his wife Clara in 1840. Myrtles have for centuries been seen as the German symbol of marriage and their modest form seems an apt image for the relationship between words and music, singer and pianist, imagination and sound and performer and audience. The vignette the group use to display their name has been designed using the ‘ornamental binding’ which Schumann’s original score carried. Delving into the treasure chest that makes up the canon of the song repertoire, The Myrthen Ensemble explores all areas of art-song through illuminating and thoughtful programming.
In their first seasons together the Myrthen Ensemble enjoyed performances at Snape Maltings as part of an Aldeburgh Festival residency, broadcast for BBC Radio 3, and gave a triumphant launch concert in London: "For sheer joy – for youthful panache and heartfelt commitment – nothing I have experienced musically this year comes near to matching this lovely soirée... there was no mistaking its exceptional musicality – every phrase was coloured and shaped, everything emotionally felt" (Rupert Christiansen, The Telegraph). They have gone on to perform at the Wigmore Hall, as well as for BBC Radio 3 from the Bath MozartFest, Leeds Lieder, Newbury Spring, Norwich and Norfolk, Wimbledon, Northern Aldborough and St Magnus Festivals. Future seasons see them appear at Amsterdam’s Concertgebouw, New York’s Frick Collection, and at the Musée d’Orsay in Paris. The individual members can be heard in the world’s finest opera houses, musical centres and on numerous award-winning recordings.

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Marcus Farnsworth (vocals)

Mary Bevan

Mary Bevan (soprano) read Anglo-Saxon, Norse and Celtic at Trinity College, Cambridge, before training at the Royal Academy of Music in London. She became an Associate Artist of Classical Opera in 2010, and is a winner of the Royal Philharmonic Society’s Young Artist award and the UK Critics’ Circle Award for Exceptional Young Talent in Music. Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Papagena (The Magic Flute), Yum-Yum (The Mikado), Second Niece (Peter Grimes) and Rebecca (in the world première of Nico Muhly’s Two Boys) for English National Opera, where she is a Harewood Artist, Gerechtigkeit (Die Schuldigkeit des ersten Gebots), Tamiri (Il re pastore), Servilia (La clemenza di Tito) and Emma (Thomas Arne’s Alfred)...

Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Papagena (The Magic Flute), Yum-Yum (The Mikado), Second Niece (Peter Grimes) and Rebecca (in the world première of Nico Muhly’s Two Boys) for English National Opera, where she is a Harewood Artist, Gerechtigkeit (Die Schuldigkeit des ersten Gebots), Tamiri (Il re pastore), Servilia (La clemenza di Tito) and Emma (Thomas Arne’s Alfred) for Classical Opera, Zerlina (Don Giovanni) for Garsington Opera, Belinda (Dido and Aeneas) for The English Concert, and – for The Royal Opera – Music/ Euridice (Monteverdi’s L’Orfeo) at the Roundhouse and the title role in Luigi Rossi’s Orpheus at the Sam Wanamaker Playhouse.

Her extensive concert engagements have included Bellezza (Il trionfo del Tempo e del Disinganno) with the Dunedin Consort, a Handel residency with Emanuelle Haïm at the Aix-en-Provence Festival, and Handel’s Messiah with The English Concert and the English Chamber Orchestra, and she has appeared at the BBC Proms, Edinburgh International Festival, Spitalfields Festival and Oxford Lieder Festival. Her recordings include ‘Handel in Italy’ with London Early Opera for Signum Classics, Handel’s The Triumph of Time and Truth and Ode for Saint Cecilia’s Day with Ludus Baroque for Delphian Records, and Ludwig Thuille songs with Joseph Middleton and Mendelssohn songs with Malcolm Martineau, both for Champs Hill Records.

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Composer(s)

Samuel Barber

The American composer Samuel Barber is one of the most celebrated 20th-century composers. He was never a part of the musical avant-garde, and wrote instead pieces in a Romantic idiom, characterized by rich harmonies and complex rhythms. His most beloved work is het lyrical Adagio for Strings, an arrangement of the slow movement of his String Quartet, that can be heard in both concerts and films. His Knoxville: Summer of 1915 for soprano and orchestra is also regularly performed.
Barber became interested in music at an early age, and was very talented indeed. At the age of seven he wrote his first composition, a short piece for piano. Two years later he knew that he was meant to be a composer. During his studies he wrote a number of successful compositions which put him into the spotlight of the American musical life. He made his international breakthrough during his travels through Europe in 1935-1936 with his colleague and partner Gian Carlo Menotti.
Barber’s compositions were performed by leading conductors such as Dimitri Mitropoulos, George Szell and Leopold Stokowski. He also received commissions by famous artists and authorities. Barber was commissioned by the Metropolitan Opera to compose a new opera for the opening of its new building in 1966. The premiere of this work, Antony and Cleopatra, was plagued with technical problems that overshadowed Barber’s music. The critics rejected the work, which sent the composer into a depression. After his recovery he continued to compose till the end of his life.

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Claude Debussy

Claude Debussy was a French composer. He and Maurice Ravel were the most prominent figures associated with impressionist music, though Debussy disliked the term when applied to his compositions. He was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed. Debussy's music is noted for its sensory content and frequent usage of non-traditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant Among his most famous works are his Clair de Lune, his Three Nocturnes...

Claude Debussy was a French composer. He and Maurice Ravel were the most prominent figures associated with impressionist music, though Debussy disliked the term when applied to his compositions. He was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.
Debussy's music is noted for its sensory content and frequent usage of non-traditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant Among his most famous works are his Clair de Lune, his Three Nocturnes and his orchestral piece La Mer.

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Robert Schumann

Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favour of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.
Schumann suffered from a mental disorder, first manifesting itself in 1833 as a severe melancholic depressive episode, which recurred several times alternating with phases of ‘exaltation’ and increasingly also delusional ideas of being poisoned or threatened with metallic items. After a suicide attempt in 1854, Schumann was admitted to a mental asylum, at his own request, in Endenich near Bonn. Diagnosed with "psychotic melancholia", Schumann died two years later in 1856 without having recovered from his mental illness.

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Jules Massenet

Jules Massenet (1842-1912) was one of the most popular opera composers of his age. He was also influential beyond the French boundaries, primarily to Italian opera composers like Puccini and Mascagni. This popularity was not valued by many critics. They accuse him of just wanting to please the audience; he would have unabashedly indulged in exoticism and would only owe his success to his gift to compose beautiful melodies. This not very flattering image has since been outdated. Massenet, composer of such diverse opera’s as Manon, Werther and Thaïs, did not indulge in blind formula work. He learned the libretto by heart before he started and he composed the music in his mind, as a result of which only few composers could surpass him in the clarity and subtlety of his orchestrations and in the nuances of his text settings. Not just his aria’s, but also his recitatives and arioso passages are enchanting. He was a master in the evocation of the couleur locale and is the composer of immortal melodies like the Méditation from Thaïs for violin and orchestra and the Élégie for cello and orchestra.
(Source: Muziekweb.nl)

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Ernest Chausson

Henri Duparc

Henri Duparc is perhaps one of the most efficient composers of music history: with just a handful of works he made himself famous. After all, Duparc was an extraordinary perfectionist; he could work on a single song for years. That was his specialty too: songs, for solo voice and piano accompaniment. In 16 years, Duparc composed 13 songs to his satisfaction, after which he quit composing in 1885, at the age of 37. He settled down in a calm family life and spent his time reading and painting watercolours. This step was partly due to a growing hypersensitivity. The extreme sensitiveness, the perfectionism and the refined artistic taste can all be heard in his songs: these are unique for their...

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Reynaldo Hahn

Peter Warlock

Elizabeth Maconchy

Gabriel Fauré

Gabriel Fauré was a French Romantic composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Nocturnes for piano and the songs Après un rêve and Clair de lune. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.
Fauré's music has been described as linking the end of Romanticism with the modernism of the second quarter of the 20th century. When he was born, Chopin was still composing, and by the time of Fauré's death, jazz and the atonal music of the Second Viennese School were being heard. During the last twenty years of his life, he suffered from increasing deafness. In contrast with the charm of his earlier music, his works from this period are sometimes elusive and withdrawn in character, and at other times turbulent and impassioned.

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