Writing songs brought out the best in Samuel Barber. He had an ear for good texts and responded to them concisely and precisely, an impression reinforced by this double CD, which brings together all the songs he is known to have written. These include 19 that haven’t been recorded before, many dating from Barber’s earliest days as a composer – but that is no drawback when you consider that he was still a student when he made his masterly setting of Matthew Arnold’s poem Dover Beach.
It’s the baritone Julian Van Mellaerts who sings Dover Beach here, with the Navarra Quartet, in a performance that has considerable immediacy if not the vocal velvet that, say, Thomas Hampson has brought to it on disc. Van Mellaerts is one of 10 UK-based singers assembled here by the pianist Dylan Perez, a team headed by the tenor Nicky Spence and soprano Mary Bevan, who makes poised work of the Hermit Songs. It also includes a number of rising names: William Thomas, Soraya Mafi, Samantha Clarke, Jess Dandy. One of the recording’s pleasures is the way the songs come to life through 10 different characters, but with Perez as a constant, eloquent presence (he plays on all the songs save Dover Beach).
As a characterful overview of Barber’s songwriting – and equally as a snapshot of emerging vocal talent – this is a very rewarding collection. The unfamiliar songs include a setting of Shelley’s Music, When Soft Voices Die that’s no worse for a touch of reverence, a lovely setting of Frost’s Stopping By Woods on a Snowy Evening, and a harmonically fussy but interesting Au clair de la lune. It culminates in what’s claimed as the first recording of the voice and piano version of Knoxville: Summer of 1915, not with the usual soprano soloist but with Spence, who is becoming one of the most engaging and communicative singers around.
This week’s other pick
Countertenor Jakub Józef Orlinski’s Farewells likewise plays with our expectation of which voice should sing what. Temporarily setting the world of baroque music aside, Orliński has teamed up with the pianist Michał Biel for a whole programme of Polish art song by Szymanowski, Moniuszko, Tadeusz Baird and others. And yes, there are moments when you miss the heft a fruity mezzo-soprano or baritone could bring to a certain note or phrase, but Orliński’s commitment and directness win through, showcasing some real gems.
