Wednesday, 11 July 2018

What lies beneath: America's Cool Modernism

Writing quickly as I can feel the pressure of a deadline. This weekend, Mrs Specs and I made a trip to Oxford to see the exhibition 'America's Cool Modernism: O'Keeffe to Hopper' at the Ashmolean Museum. It turns out we just managed to get ourselves organised in time, as the closing date is Sunday 22 July. So, you have about a week and a half left to go - and if you can, you should.

Here's the description of the show's concept from the Ashmolean's website:

"This is the first exhibition to explore the 'cool' in American art in the early 20th century, from early experiments in abstraction by artists like Georgia O’Keeffe, Arthur Dove and Paul Strand to the strict, clean precisionist paintings of Charles Sheeler and Charles Demuth ... In the Jazz Age of the ‘roaring’ 20s, and the ensuing Great Depression of the 30s, many American artists expressed their uncertainty about the rapid modernisation and urbanisation of their country by producing work that had a cool, controlled detachment and a smooth, precise finish."

I wanted to quote that exactly, for a particular reason. It's a technically and no doubt academically accurate description of the artists in their proper context, of course. But my gut reaction - the way the work made me feel - was anything but cool and detached. To me, many of the pieces were possessed of a broiling energy, something seething beneath the surface - even in their spaces and silences.

Even Georgia O'Keeffe's rendition of a relatively serene East River is framed by industry, bisected in the exact centre of the picture by a smoke-belching chimney.

The exhibition includes several other O'Keeffe works, some of which marshal her swirling floral lines into abstraction. I was particularly struck by a painting actually called 'Black Abstraction' which appears to represent a migraine-like tunnel vision experience. Sweeping black curves around a small disc of light, I could recognise its monochromatic distance - but at the same time, to me it said mental malfunction, turmoil.

While the gallery is bookended to some extent by its 'headline' artists - Hopper's 'about-to-happen' atmospheres dominating the final section - perhaps the greatest pleasures of an exhibition like this are the discoveries you make along the way. Highlights for me included:
  • The 'empty building' paintings of George Ault - especially 'Hoboken Factory'. The factory has two storeys, a lower level which appears to be the original 'traditional' warehouse-style building, but with a glass upper floor on top, presumably a later extension. As the accompanying text points out - the bottom half is in darkness, but the glass section radiates light - and this beneath glowering black clouds. Again, the technique suggests an unsettling, alien quality; so why did I find it fascinating on almost a horror-movie level? I can only say that I felt that light pulsing, so vividly was it rendered. It didn't feel like a mere optical illusion or surreal gesture - more that there was action in that building, something terrible happening that we cannot see.
  • The magnificent etchings of Louis Lozowick, bending the straight lines of New York and Minneapolis into folds and cascades, somehow giving the cities back their three dimensions.
  • More buildings without people from Niles Spencer, but here, like a kind of proto-pop-art Escher. The colours leap from the canvas and the lines / structures create their own movement (staircases, railings, angled roofs) so that your eyes constantly range around the pictures, occupying the scene yourself.
  • The kinetic power and graphic-design sensibility of Charles Demuth - cryptic inscriptions; tilting skyscrapers and citadels; sun, shadow and neon signs. His depiction of a fire truck hurtling towards the onlooker (based on a poem by friend William Carlos Williams, or here, simply 'BILL') - not in any sense a realistic painting but a kind of Impressionist/Vorticist mash-up: the truck itself is an immaculately controlled, but still indistinct red shape - however, its shining 'No. 5' races relentlessly towards you, reaching you in three instantaneous flash-moments. The buildings at the side of the street seem upended in the chaos. Yes, the painting is immaculate - but doesn't its energy simply explode out of the frame?

  • Perhaps the most telling images in the whole show are from Joseph Stella, who seems to sum up the otherworldliness of much of this work by conflating familiar urban sights with explicitly religious symbols: telegraph poles and wires become crosses, windows reflect coloured light, turning them into stained glass. 

Was this movement of sorts an unconscious joint attempt to somehow contain these rapid developments that couldn't necessarily be controlled? The exhibition displays a fantastic tension between art that seems to embrace the change - etchings that show sun-streamed skyscrapers leaning outwards, imposing themselves on the viewer - and that which would almost suppress it - such as the rural yet pristine landscapes of Charles Sheeler and Ralston Crawford.

For me, the 'coolness' of this work was somehow fed through a modernism machine that generated excitement, foreboding, forward thinking, and paranoia. You can keep your distance all you like: the future is still coming for you.

Faster than you think, in fact: remember, the exhibition is only on until 22 July. (The catalogue is affordable, and handsome, with excellent reproductions - but all of this art, with its strange auras, deserves to be seen first-hand.) Here's the Ashmolean website, for more detail.

  • Georgia O'Keeffe, ''East River from the Shelton Hotel', 1928
  • Charles Demuth, 'I Saw the Figure 5 in Gold', 1928 tweeted by the Ashmolean Musuem. Follow them on Twitter here.)

Thursday, 5 July 2018

High Line to skyline

I had never been to New York before, so to me, the place was almost fictional. Does every first-time visitor experience this weird thought process? In some ways, NYC seemed utterly familiar, through hundreds - surely, thousands - of films and photographs. So, when I actually got there, walking its streets and staring up at its skyscrapers, it felt more surreal, as if I was playing a role in my own movie. Virtual and actual reality combined.

Obviously, I snapped away myself, hoping to bottle my own memories so they don't get lost among the New York images that belong to everyone. As regular Specs readers will know, I put my photography on the blog from time to time - whether it's the portraiture work I produce in collaboration with friends, or simply my personal record of trips and travels. I hope that visitors enjoy its occasional appearance as another spoke in the blog's overall music/art/culture wheel.

So this is the first of perhaps a couple of posts recalling our New York trip. Here, I've divided the shots into two groups.

High Line

I took this set of pictures across a couple of visits we made to the High Line, the remarkable elevated park - regenerated from disused rail tracks - above the west side of Manhattan. While the High Line gets busy, its leafy path feels like an oasis of sorts as the daily chaotic routine continues beneath it. The whole route offers surprising and captivating views of brand new, cutting-edge architecture bedding in alongside historic tenement buildings and warehouses - as I hope these pictures show.

("What do you mean, you don't like heights? You're a pigeon, Eddie.")


It's impossible not to photograph it. It doesn't matter if millions of people have done it before, from exactly the same vantage points. (Perhaps some of you have a local view that you're drawn to, and like to snap. For example, if you're familiar with London, you may know Tower Bridge, an iconic landmark crossing the river Thames. From the nearby London Bridge, you get a classic view of it, which I can't help photographing more or less every time I see it. In NYC, whichever way I turned, I had that feeling intensified to what felt like the power of 100. I don't know how New Yorkers go anywhere or get anything done.)

We love a viewpoint, and took as many opportunities to survey the city as we could.

From the roof of the Metropolitan Museum of Art:

From a coach!

From the observation deck of the Empire State Building. (This was around 11pm to midnight. It's open to 2am.)

From the Staten Island Ferry:

From the 'Top of the Rock' - that is, the Rockefeller Centre observation deck:


To be continued...

Sunday, 24 June 2018

Well Met

Specs is on a short break at the moment, enjoying a brief trip to the Big Apple.

It's a fascinating and exciting place. I feel that I'm already amassing significant numbers of New York points, after:
  • accidentally annoying the taxi driver on virtually our moment of arrival;
  • being addressed as 'Big Guy' by the bloke at the MoMA coffee kiosk (charmed, bloke at the MoMA coffee kiosk); and
  • a group of us asking for about five different varieties in the bagel shop and almost causing a sitcom-style meltdown in the kitchen.
Loving every minute, and more pictures to come. However, at the time of drafting, my most recent adventure was getting lost in the Metropolitan Museum of Art...

"This way!"

"No! That way!"

"Young scamp! 'Tis this way after all!"

Eventually, though, one makes it to the roof terrace, and this view - my proper postcard to all of you - is the reward. See you soon!

Sunday, 10 June 2018

Acis high: the return of ENO Studio Live

Writing and posting this as quickly as I can! As I type, 'Acis and Galatea' still has five of its six performances to run, on 11, 12, 13, 15 & 16 June.

Here is the link for booking tickets - and here's why you should go...


Last night, I was at the opening performance of the new English National Opera (ENO) production of Handel's 'Acis and Galatea' - not in their usual home, London Coliseum, but in their rehearsal studios in West Hampstead, Lilian Baylis House. 'A&G' is the first of two operas being performed this year 'between seasons' under the ENO Studio Live banner - the other is Britten's 'Paul Bunyan', playing at Wilton's Music Hall in early September.

ENO Studio Live was launched last year, and the kind souls among you who read this blog regularly may remember my raving about it at the time. The initiative takes the music staff and ensemble out of the Coliseum, and lets them loose on smaller-scale works that give free rein to their imagination, dedication and talent. Let's say your favourite band (and ENO's Chorus & Orchestra are certainly one of mine) are at the level where they only play arenas - and then you suddenly get the chance to see them in a tiny venue or club. That's what ENO Studio Live is like. That's why it's so exciting.

Both of 2017's productions were in Lilian Baylis House: Dove's haunting 'The Day After', sharply contrasted by a riotous staging of Gilbert & Sullivan's 'Trial by Jury'. There was something off-the-leash, almost guerrilla-like about the inventiveness, zeal and commitment of those performances - a real 'this-is-what-we-can-do' statement of intent. Could they repeat that intensity in 2018?

Spoiler alert: Yes. Of course they can. For 'A&G', the experience is even more full-on as the seating is almost - but not quite - in the round: two rows at each side of the stage area with the action taking place on the floor space in between. On arrival, it's already possible to risk sensory overload...

To take a brief step back, into the story: Handel's 'A&G' is a pastoral opera drawn from a tale in Ovid's 'Metamorphoses', featuring a group of nymphs and shepherds enjoying - at first - a peaceful, idyllic existence. The nymph Galatea is loved by both Acis, a shepherd, and Polyphemus, a cyclops or giant. (You might also remember Polyphemus from Homer's 'Odyssey', in classical literature's most famous 'You could take someone's eye out with that' moment.)

Galatea returns Acis's affections and, horrified by Polyphemus's attentions, rejects him outright. Despite the efforts of Acis's friend Damon to calm the situation, the giant snaps when he sees the couple together and murders Acis. Her love undimmed, Galatea transforms Acis into a fountain in a semblance of immortality.

Director Sarah Tipple has staged this version in the present day. Instead of an idealised country paradise, we're at a summer bash held by 'MountainMedia', some kind of PR/marketing concern where everyone is 'across' Instagram, Facebook and Twitter 24/7, wielding phones like extensions of their actual hands, and demolishing the bottomless free bar. The nymphs and shepherds are now boisterous, excitable colleagues on the razzle. Taking my seat, my first thought was: 'This might divide people': everything is vivid, drenched in colour - the electronic screens, the balloons, the bright reds, yellows and greens of the bean bags. The thing is - from the first note, everything starts to work, the effect as 'instant' as the social media being relentlessly sent up.

While giving away the plot is not necessarily an issue with opera - I've already summarised this one here, and it's quite common to read a synopsis before a performance - I do want to talk about some aspects of the production that I found clever and interesting. So, if you're thinking of going and want some surprises, please stop reading here, with my blessing, and come back afterwards!

One gripping feature of the production was that the narrative was kept constantly moving, even though this type of opera - where the aria passages create a kind of stasis with repeated lines and phrases, while the recitative drives the plot - can resist that. The four soloists used much of this time to round their characters out beautifully, and find a complexity to undercut any temptation to see anyone as a straightforwardly black/white, good/evil persona. All are worthy of mention. Matthew Durkan's Polyphemus doesn't turn up halfway through, solely to be mocked: his awkward, clumsy misfit is onstage more or less throughout, silently, visibly wracked by his unrequited passion until he moves centre stage later on. Lucy Hall makes a playful, warm Galatea whose fateful moment of teasing, misjudged interaction with Polyphemus ignites his false hope. Alexander Sprague's Acis is hyperactive, cocky, unpredictable - nailing a character who could clearly be endearing one minute, annoying the next. And in an extraordinarily sensitive performance, Bradley Smith works wonders with Damon, hiding his own secret longing and layering everyone else's pain on top of his own. It feels almost superfluous to point out how beautifully they all sang; as it should be, their voices were completely at one with their acting, and the power and volume - when grief and rage finally take over - was devastating.

I can't overstate how crucial the intimacy between performers and audience is to ENO Studio Live. For most operagoers, to see an onstage facial expression properly is rare - at least, until a DVD comes out, or you attend a cinema relay. But the sonic difference is also key. An environment like this really brings home what matchless communicators we have in the great troupe of actor-singers in ENO's mighty Chorus. In the Coliseum, you can still perceive them all as carefully-realised individuals, making up that unstoppable wall of vocal sound. But here, with all them acting up a storm, every MountainMedia employee is enjoying their own evening, having a whale of a time. As they work the stage area, interacting with each other during the chorus sections, you can discern their separate voices depending on who is nearer to you, or further away - so the balance shifts and the blend changes, while the combined 'whole' remains glorious. I love the idea that the half of the audience on the other side will have heard a distinctly different 'mix' to me. You really are 'in it' that much.

While the staging is inevitably a little surreal (after all, the libretto is still talking about shepherds and monsters), it's completely true to itself. While its most prominent themes - love, lust, jealousy, hurt - are truly ageless and universal, it makes other superbly-realised observations along the way. The gathering's selfies, hashtags and Instagram posts - which ping up onto screens for us all to see once they're captured - start out as fun-fuelled larks. But, just like in the virtual world we're now all too familiar with, we see social media's dark side as a platform to enable insincerity, humiliation, public shaming and, ultimately, even maudlin sentimentality and empty triviality (how Galatea chooses to 'immortalise' Acis in this interpretation is genuinely chilling).

I was also intrigued by the production's commentary on alcohol. Drink is almost the fifth main character. Everyone helps themselves constantly to the bottles of booze in the cooler at the back of the stage (I assume this is just water or pop in real life, otherwise most of the cast are probably still trying to find their way home now). As a result, what starts with letting one's hair down and - in poor old Polyphemus's case - building up some Dutch courage, soon turns nasty and harmful. Brilliantly - for the audience, at least! - the players are of course getting hotter as the action goes on, and we're close enough to see this. This, with the physicality of their performances, makes the air of drunken unpredictability all the more real and tense, even though we already know it won't end well.

At an opening night, you get to applaud the 'behind the scenes' folk too, so I was glad to be there to do that. The movement director for this production is Gemma Payne, who I think deserves a huge amount of credit for choreographing such a visceral piece - whether it's the Chorus's good-natured mayhem early on, to the sudden, desperate, heart-wrenching violence - and its aftermath - towards the end.

Last, but of course not least, the splinter group from ENO's Orchestra, led from the harpsichord by Nicholas Ansdell-Evans, did a fantastic job of playing the score with real delicacy and precision - untouched by the radical treatment of its subject matter a few feet away. If anything, it proves that the music itself is as timeless as the themes. Nothing jarred, every emotion had its moment of expression: the score and the story were held in suspended animation, and so were we.

Monday, 4 June 2018

Lost, found: Sampson, Davies & Middleton at Wigmore Hall

I hardly know where to begin. Or end. I think this is the first time I've found myself starting a write-up in this precise set of circumstances.

If you're a committed classical concertgoer (and I like to consider myself one of those), it's possible to hear certain orchestral works performed reasonably regularly, or see repeat productions of an opera. But in my experience, it's quite difficult to hear the same song recital in the same city more than once. (Many of the same songs scattered, of course, among different programmes and different performers - but that's not the same.) You can spend a rapturous, fleeting hour and a half and then it's gone - if you're lucky, the radio mics are in there, or the artists record a CD of the repertoire. They may take the programme to other venues, other countries but you're extremely fortunate if they come right back and do the whole thing for you again.

But! This has just happened. (With a few tweaks.) During the 2016 Proms, one of the absolute highlights of the season was seeing Carolyn Sampson and Iestyn Davies, accompanied by Joseph Middleton, play one of the Chamber Prom series at Cadogan Hall.

I was excited about the Prom gig because I was already a fan of all three performers. CS and JM had released a debut duo album that I still think is one of *the* great recital CDs, 2015's 'Fleurs', and I'd already seen CS and ID work together in a marvellous performance of Handel's 'Orlando'. Put them on stage together as a team - what could possibly go wrong? Well, nothing, of course. The whole thing was a joy from start to finish.

The programme was a sequence of brilliantly-chosen, finely-balanced duets - with the odd solo number for each singer woven in. There were four sets of songs, grouped by composer, as follows: Purcell (in the 'realisations' created by Benjamin Britten), Mendelssohn, Schumann and Quilter. The broad theme throughout was the destabilising - for good or ill - effects of love, and the whole set has a pleasing symmetry to it, with Britten and Quilter, both looking back to some extent from the 20th century (one for music, the other for words), cradling their two German predecessors.

Quite a lot has happened since then. If - and I realise it's an 'if' - these two singers have been most readily associated with Renaissance/Baroque repertoire, then more recent work sees them casting the net much more widely. For example, CS and JM have continued building up a handsome body of work in art song, following 'Fleurs' with 'A Verlaine Songbook' and now the new record 'A Soprano's Schubertiade'. CS was also an unforgettably affecting Mélisande in Debussy's masterpiece for Scottish Opera. I also saw ID in two searing modern works at the Royal Opera House: Benjamin's 'Written on Skin' and Adès's 'The Exterminating Angel' - his edgy, unpredictable presence doing a great deal to cement the countertenor voice as an utterly contemporary weapon in audiences' minds and ears.

And somewhere in the middle of all that, they recorded and released the Britten / Mendelssohn / Schumann / Quilter set as the CD 'Lost is my Quiet'. As you can imagine, this has been played more or less to the 'melted by laser' point in Specs Towers, the memory of the concert that started it all as present as the sound coming through the speakers. If we were still in vinyl-only days, I think I'd be on my third copy at least.

Now, at Wigmore Hall, we get 'the concert of the album' (very similar, though not identical, to the Prom version) and those of us who were there the first time have the rare opportunity to come full circle. If anything, the performance this time had even more power and panache.

Both singers have a stunning clarity and purity of tone - so while CS's soprano and ID's countertenor remain perfectly distinct, they don't so much blend as 'mesh'. You can always hear both - there's no 'blur' - but they sound inseparable. So in sync are they with the material and each other, that you could be forgiven for assuming that one mind is telepathically controlling the two voices. This particularly comes across in, say, Mendelssohn's 'Ich wollt', meine Lieb' ergösse sich', or Schumann's haunting 'Herbstlied'.

As actor-singers, they generate a pleasurable tension between their 'angelic' registers and the physical expression of the more earthly, sensual subject matter of the songs. CS gives us wide-eyed wonder, tenderness and terror; ID an occasionally wracked, noble presence, at times leaning to the piano as if for support, then unfolding, straightening, to face the listeners, gesturing towards us, recharged. Mendelssohn perhaps provides two of the most striking solo moments, with ID's stately, searching 'Scheidend' contrasted immediately by CS's hyperactive, agile 'Neue Liebe'. The stage is not large, but the eye contact, easy body language and frequent smiles between them speak volumes and communicate their enjoyment of the songs directly to us.

The intimacy of the Wigmore itself - which I really felt, after seeing both CS and ID at 'opera house distance' recently - amplified the whole experience, sound and vision. The superb acoustic also allowed us to fully appreciate how versatile and sympathetic an accompanist JM is - always keeping an ideal balance with the voices whether flying round the keys at breakneck speed (the aforementioned 'Neue Liebe', or Schumann's 'Aufträge') or anchoring some of the steadier tunes with sonorous, rich tones, especially in the bass: with JM a Britten specialist, this comes over strongly in the beautiful Purcell realisations.

I've no idea if I'll ever get the chance to see and hear the 'Lost is my Quiet' programme for a third time! But there is always the disc to return to - if you don't already have a copy, buy with confidence. And for that matter, haste!

Thursday, 31 May 2018

Wigmore Wednesdays

I didn't want to let a couple of recent Wigmore Hall concerts pass by unmentioned on the blog, both providing that much-needed midweek lift on two Wednesday evenings in May. The gigs were completely separate, and in many ways couldn't have been more different (within the parameters of art song). However, both are linked in my mind by how they showcased what brilliant communicators all four of the artists are - it always feels like a particular treat when the performers seem to speak to you as well as sing.

To recall the more recent gig first: Karen Cargill, mezzo-soprano, accompanied by Simon Lepper on piano, gave a performance of French melodies, along with Wagner's Wesendonck Lieder - brilliantly sustaining the theme of intense passion throughout the whole evening.

The bar was set high from the outset, with a superb performance of one of my all-time favourites, Hahn's 'A Chloris'. It's quite a forthright song - a declaration rather than a surrender - and some of the best renditions I've heard resist over-sentimentalising it. So it was here, with SL giving the accompaniment a march-like wilfulness, leaving KC to caress the air above the notes.

As you might expect from someone with so much presence on the opera stage, KC finds the character's emotional centre in every song, and brings them to life visually with seemingly second-nature expressions and body language. Her tone is so warm and generous, yet she controls the dynamics of her voice to spine-tingling effect in the Hall - unafraid to indulge in a low-key smoulder, before unleashing (in Duparc's 'Phidylé', say) its full power for maximum ecstasy. SL is an ideal foil for someone with such a rich sound (check out his Schubert disc with tenor Ilker Arcayürek) - unfailingly delicate, it's as though his piano lines dance 'through' the vocal rather than lie beneath it.

Placing the Wagner at the end of the gig was genius programming - with such a build-up of intensity, we were fully primed for the group of songs that paved the way for 'Tristan und Isolde'. Sure enough, the two themes in particular that made their way into that opera, 'Im Treibhaus' and 'Träume' were unforgettably sublime.

Rewind to the Wednesday before that: I heard Roderick Williams sing Schubert's final song cycle, 'Schwanengesang', accompanied by Iain Burnside. This was something of an event, as RW and IB had performed all three Schubert cycles at Wigmore Hall in a single season - so, it was very much part 3 of a 'trilogy' and had the pleasing atmosphere you might associate with the fulfilment of an ambition.

'Pleasing atmosphere' is perhaps not the phrase you'd associate most readily with 'Schwanengesang'. After the deliberate storytelling of 'Die Schöne Müllerin' and 'Winterreise', it's something of an oddity. While it seems clear Schubert intended the songs to be performed together, there is no real narrative: the cycle is made up of seven songs setting verse by Ludwig Rellstab that mostly deal with absent lovers, then six based on similarly bereft poems by Heinrich Heine. The cycle is now almost always performed with Schubert's very final song, 'Die Taubenpost' (words by Johann Gabriel Seidl), at its close.

The songs that make up 'Schwanengesang' were written very near the end of Schubert's life. He knew time was running out (in the end, it was his publisher who named and issued the cycle after the composer's death). So, it's natural to look for doom and gloom in 'Schwanengesang', and you will find it - perhaps most starkly in the terrifying 'Der Doppelgänger'.

But it seemed to me that RW and IB were onto something a little different, and I heard things in this performance that made me think about the cycle afresh.

RW is renowned as a masterful interpreter of English song. I wonder if performing that repertoire to UK audiences over the years - engaging the listeners head-on, sure in the knowledge they are understanding every word - has fed directly into his approach to Schubert and other art song in different languages. So personable, intimate and involving were his renditions that I felt I was with him every step of the way, feeling every syllable without needing to follow the text in the programme.

He has a baritone's 'heft', as you would expect, but there's also a kind of malleable, warm flexibility to the voice, something that conveys agility, vigour. IB's robust, fleet accompaniment drove them forward, bringing out something assertive in the more upbeat songs ('Frühlinggssensucht', 'Das Fischermädchen') and even charging the immortal 'Ständchen' with a near-spiky electricity.

Schubert died so young that, while his style audibly developed, there is no true 'mature', or even 'late' work, as we would normally understand those terms. In the hands of this duo, the energy that Schubert may have lacked in life is still vibrant in his music: writing against the dying of the light.

(All photos taken from artist or artist management sites. Credits: KC - K.K.Dundas, SL - Robert Workman, RW - Groves Artists, photographer unknown?, IB - Gerard Collett.)

Saturday, 26 May 2018

Twit parade: some (more) of my favourite songs...

In the heady, halcyon days of autumn 2016, I joined in when some of the classical music folk I know and love on Twitter started sharing some of their favourite songs, using the entirely sensible hashtag #SomeOfMyFavouriteSongs. Everyone occupied the hot seat for a week, posting a song a day - then, seven selections later, would hand the baton onto someone else.

I archived my choices in a blog post here, with a few sneaky 'bubbling under' inclusions bringing the playlist up to 10.

This year, we all pitched in for a second round. I still tried to keep to my arbitrary rules (essentially: choose a different composer every day, to avoid just posting Schubert). But even without my trying or consciously thinking about it, I drifted towards a few more selections away from the usual voice/piano template - so this time round, there's two guitars, two orchestras, and a lute.

As before, here are my choices saved for posterity - along with another three extra songs for added value! I hope you enjoy them.


Ireland: 'Sea Fever', performed by Roderick Williams and Julius Drake.

Britten: 'The Big Chariot', performed by Ian Bostridge and Xuefei Wang.

Hahn: 'Néère', performed by Véronique Gens and Susan Manoff.

Schubert: 'Nachtstück', performed by Christoph Prégardien and Tilman Hoppstock.

Cara: 'Fugga pur chi vol amore', performed by Carolyn Sampson and Robert Meunier.

Glass: 'Evening Song', performed by Douglas Parry (from 'Satyagraha').

Adams: 'Batter my heart', performed by Gerald Finley (from 'Doctor Atomic').

Bonus tracks!

Schubert: 'Suleika I', performed by Gundula Janowitz and Irwin Gage.

Chausson: 'L'albatros', performed by Marie-Nicole Lemieux and Daniel Blumenthal.

Simon & Garfunkel: 'For Emily, Whenever I May Find Her'. (This feels to me as much an 'art song' as a pop or folk number. I think it's because it travels exactly where it needs to.)