It was probably Peter Pears, Britten's partner in music and life, who drew the composer's attention to the rich heritage of English folksong and it's attractions, as a way to introduce texture, variety and a lighter tone to their song recitals together during the 1940s. According to the tenor, Britten 'wanted to recreate these melodies with their texts for concert performance, to make them art-songs... he therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song.' Thus the piano parts are no mere accompaniments but highly wrought, deftly illustrative comments on the texts and stories of love and country life. In cases such as The Foggy, Foggy Dew and O Waly, Waly, Britten's arrangements have become better known than any 'original' version; they have assumed the identity of the song in the popular imagination, and the distinctive voice of Pears singing them imprinted itself on the imaginations of countless music-lovers in the second half of the last century. However, the songs retain their place in the concert repertoire of many young singers, often as more than encore material, and they admit a rich variety of interpretative approaches. The tenor Mark Milhofer has previously taken part in Brilliant Classics surveys of the complete song output of Alban Berg (95549) and Francesco Tosti (Vol.1 - 95201), with the Berg attracting particularly enthusiastic praise: 'Totally absorbing... convincingly performed from the first note to the last. Each performer brings sincerity and enthusiasm to this varied repertoire. The recording is ideal' (MusicWeb International).
It was probably Peter Pears, Britten's partner in music and life, who drew the composer's attention to the rich heritage of English folksong and it's attractions, as a way to introduce texture, variety and a lighter tone to their song recitals together during the 1940s. According to the tenor, Britten 'wanted to recreate these melodies with their texts for concert performance, to make them art-songs... he therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song.' Thus the piano parts are no mere accompaniments but highly wrought, deftly illustrative comments on the texts and stories of love and country life. In cases such as The Foggy, Foggy Dew and O Waly, Waly, Britten's arrangements have become better known than any 'original' version; they have assumed the identity of the song in the popular imagination, and the distinctive voice of Pears singing them imprinted itself on the imaginations of countless music-lovers in the second half of the last century. However, the songs retain their place in the concert repertoire of many young singers, often as more than encore material, and they admit a rich variety of interpretative approaches. The tenor Mark Milhofer has previously taken part in Brilliant Classics surveys of the complete song output of Alban Berg (95549) and Francesco Tosti (Vol.1 - 95201), with the Berg attracting particularly enthusiastic praise: 'Totally absorbing... convincingly performed from the first note to the last. Each performer brings sincerity and enthusiasm to this varied repertoire. The recording is ideal' (MusicWeb International).
5028421960098

Details

Format: CD
Label: BRLT
Rel. Date: 02/12/2021
UPC: 5028421960098

Complete Folk Songs
Artist: Britten / Milhofer / Scolastra
Format: CD
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DISC: 1
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1. I Wonder As I Wander
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2. The Salley Gardens
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3. Little Sir William
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4. The Bonny Earl O' Moray
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5. O Can Ye Sew Cushions?
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6. The Trees They Grow So High
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7. The Ash Grove
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8. Oliver Cromwell
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9. The Crocodile
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10. Greensleeves
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11. The Holly And The Ivy
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12. La Noël Passée
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13. Voici Le Printemps
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14. Fileuse
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15. Le Roi S'en Va-T'en Chasse
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16. La Belle Est Au Jardin D'amour
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17. Il Est Quelqu'un Sur Terre
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18. Eho! Eho!
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19. Quand J'etais Chez Mon Père
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20. He Plough Boy
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21. There's None To Soothe
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22. Sweet Polly Oliver
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23. The Miller Of Dee
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24. The Foggy, Foggy Dew
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25. The Stream In The Valley
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26. O Waly, Waly
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27. Come You Not From Newcastle?
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28. Pray Goody
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29. He Deaf Woman's Courtship
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30. At The Mid Hour Of Night
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31. Rich And Rare
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32. Dear Harp Of My Country!
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33. The Last Rose Of Summer
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34. O The Sight Entrancing
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35. Avenging And Bright
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36. Sail On, Sail On
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37. How Sweet The Answer
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38. The Minstrel Boy
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39. Oft In The Stilly Night
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40. Soldier, Won't You Marry Me?
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41. The Brisk Young Widow
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42. Sally In Our Alley
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43. The Lincolnshire Poacher
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44. Early One Morning
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45. Ca' The Yowes
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46. Tom Bowling
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47. Dink's Song
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More Info:

It was probably Peter Pears, Britten's partner in music and life, who drew the composer's attention to the rich heritage of English folksong and it's attractions, as a way to introduce texture, variety and a lighter tone to their song recitals together during the 1940s. According to the tenor, Britten 'wanted to recreate these melodies with their texts for concert performance, to make them art-songs... he therefore takes the tune as if he had written it himself and thinks himself back as to how he would turn it into a song.' Thus the piano parts are no mere accompaniments but highly wrought, deftly illustrative comments on the texts and stories of love and country life. In cases such as The Foggy, Foggy Dew and O Waly, Waly, Britten's arrangements have become better known than any 'original' version; they have assumed the identity of the song in the popular imagination, and the distinctive voice of Pears singing them imprinted itself on the imaginations of countless music-lovers in the second half of the last century. However, the songs retain their place in the concert repertoire of many young singers, often as more than encore material, and they admit a rich variety of interpretative approaches. The tenor Mark Milhofer has previously taken part in Brilliant Classics surveys of the complete song output of Alban Berg (95549) and Francesco Tosti (Vol.1 - 95201), with the Berg attracting particularly enthusiastic praise: 'Totally absorbing... convincingly performed from the first note to the last. Each performer brings sincerity and enthusiasm to this varied repertoire. The recording is ideal' (MusicWeb International).