Settings by
Grainger, Holst, MacMillan, Moeran, Warlock, Vaughan Williams, and others.
Hilary Campbell, Blossom Street. Naxos
8.573069.
No, it’s not the song by Men at Work. Nor is it part of
the refrain from The Drifters’ “Under the Boardwalk.” It’s an album of classic
British folk music, arranged for choir by various famous British composers.
Hilary Campbell, founder and director of the chamber choir
Blossom Street, laments the dearth of British folk song on the concert
platform, despite the public’s continued interest in the subject and the number
of prominent British composers who have contributed to the field. Obviously,
the present album is her attempt to amend this issue. Certainly, one could not
find a better advocate of the genre.
In addition to leading the Blossom Street choir, Ms.
Campbell is a freelance musician based in London, the Musical Director of the
Music Makers of London, office choirs at L’Oreal and Hearst Magazines, Choral
Director at Blackheath Conservatoire, and Assistant Conductor of Barts Choir.
She is also the 2012-13 Meaker Fellow at the Royal Academy of Music, the first
choral conductor so honored. Busy woman.
As far as concerns the Blossom Street choir, there appear
to be between ten and twenty-three members. I say that because a booklet
picture shows ten of them, and underneath the picture the booklet lists
twenty-three: six sopranos, five altos, six tenors, and six basses. I suppose
the number varies depending on the material they’re singing.
Of course, the composers on the album didn’t actually
originate the folk songs for which they are famous. They collected them,
arranged them, reset them, reinterpreted them, what have you. A folk song by
definition is one that originates among the common people of a country and is
passed on by oral tradition from one generation to the next, often existing in
several different forms. Only these days, modern composers have often made
their own folk-song arrangements the standards by which we have come to know
them.
Anyway, Down by the
Sea is a collection of folk and folklike songs with a nautical theme, all
about sailors and whalers and often the girls they left behind. It begins with
the tune you can hear an excerpt from below, “Lassie, Wad Ye Loe Me?” arranged
by James MacMillan. Folk songs and poems are often big on dialect. See Robert
Burns. The choir sing it like angels. Not only is there a remarkable smoothness
to their presentation, there is a commendable integration of voices. The
singers combine as one, strong and flexible, never losing focus. The four
sections of the choir come through splendidly, each a distinct segment of the
whole but with such seamlessness that you never notice them as separate
entities unless forcing yourself to do so.
And so it goes through fifteen selections. Composers
represented include the aforementioned MacMillan, plus Alexander Campkin, Ralph
Vaughan Williams, Judith Bingham, Peter Warlock, John Duggan, Percy Grainger,
Hilary Campbell, Gustav Holst, John Byrt, Stuart Murray Turnbull, Paul Burke,
Kerry Andrew, Andrew Bairstow, and E.J. Moeran. Moreover, seven of the songs make their debut on the album with
world-première recordings.
Favorites? The opening number, to be sure. In addition,
Warlock's "Yarmouth Fair," a snappy ditty; Grainger's setting of a
traditional Scottish melody, "Mo Nighean Dubh" ("My Dark-Haired
Maiden"), a really sweet love song; Holst's "Awake, Awake" in
which the sopranos hold forth with wonderful supporting accompaniment from the
others; Byrt's jaunty "Among the Leaves So Green, O." The last half
dozen items on the program become quite hushed, the choir most evocative and
atmospheric. Then the album closes with
Moeran's "The Sailor and Young Nancy," a fairly traditional folk tune
from Norfolk about a sailor bound for the West Indies saying good-bye to his
love, whom he promises to marry upon his return...if ever.
If there is any minor complaint I have about the album, it
is that its fifteen tracks add up to less than an hour of music. I understand
that rehearsing and recording more numbers would have cost more money, but,
still, a CD can hold up to eighty minutes, making this disc’s fifty-five
minutes seem a bit short. Just sayin’.
Naxos recorded the songs at St. Philip’s Church, Norbury,
London in November 2012. The acoustic lends the choir plenty of reverberant
air, making them sound like an even bigger group than they are. Yet the
resonance takes little away from the clarity of the voices, just adding a
greater degree of mellowness and space to the proceedings. The high end (upper
midrange, actually) can sound a touch bright at times, but it is not especially
distracting and probably contributes to the choir's overall definition. So,
while it may be a tad too reverberant and occasionally too bright for some
listeners, it is probably a fairly accurate representation of the singers in
this church environment.
To listen to a brief excerpt from this album, click here:
JJP
