The personal Roger Quilter : Mark Stone - Songs of Roger Quilter vol 3

Mark Stone and Stephen Barlow present Volume III in their series the Complete Roger Quilter Songbook, on Stone Records. Quilter made more settings of Shakepeare than most others, so Volume I in the series focussed on his Shakespeare settings, while volume II featured his settings of Jacobean poets. In contrast, this third volume highlights Quilter's interest in folk-inspired sources.  This shows a more informal Quilter than the greatly admired art songs, but reveals the intimate side of Quilter's personality. Superb notes enhance this series, which re-assesses the range of Quilter's output.

The Arnold Book of Old Songs was c ollected for Arnold Vivian.  Quilter and his older brother Arnold, for whom their nephew was named, seem to have ben very different personalities, though they were very close.  Arnold was extravert, athletic, tall (6 foot 7) and had served in the Boer War.  He was also part of the circle around Rupert Brooke, whom he helped bury.  Two weeks later, he, too, was killed at Gallipoli.  When the younger Arnold joined the Grenadier Guards at the outbreak of the Second World War,  Quilter expanded a smaller collection published in 1924, for Arnold to sing when he was away.But yet again, tragedy struck, when Arnold was shot in September 1942 while trying to escape from a prisoner of war camp.

The Arnold Songs are based on songs from earlier vernacular songs, which are so well known that they've enetered the mainstream almost as popular song.  Drink to me only with thine eyes is a setting of Ben Johnson, based on Philostratus, the second-century Greek poet,  the tune we know now published in the late 18th century.  Similarly, My Lady Greensleeves was first published in 1600 as a lute song, though there are references to it in Shakespeare's The merry wives of Windsor, suggesting that it was well-known long before. Barbara Allen  was mentioned in Pepys diaries.It is folk song as popular music, a best seller in the ballad-selling broadside trade, enabling its dissemination, with many regional variations,  throughout the English-speaking world.  Quilter's version adapts the tune with great sensitivity.  Delicate piano figures illuminate the name "Barbara Allen", suggesting her beauty: perhaps it even suggests a softer side of her nature, which explains her change of heart. Dramatic chords evoke the "dead bell". Barbara dies, chastened and meek : this is no simple love story.

The Irish songs in the Arnold Bookof Songs also originate from the end of the 18th century. The text for Believe me, if all those endearing young charms could come from two sources in the mid 17th century, but the form suggest traditionl ballad.  The jolly, rythmic Oh ! 'tis sweet to think seems to stem from country dance. All three of the Scottish songs have connections to Robert Burns, who collected and adapted songs as part of his fascination with all things Scottish.  Ye banks and braes is now so famous that it's almost basic repertoire.  Charlie is my darling  refers to  Bonnie Prince Charlie. Though the text is by Lady Nairne, the song may have  had topical appeal for people who knew the Jacobite cause and its brutal suppression at Culloden in 1746.  Quilter's Ca' the Yowes is very different to earlier arrangements, such as the version by Maurice Jacobsen made famous by Kathleen Ferrier, and the version by Benjamin Britten, much more frequently perfomed.  Jacobsens's version is gentle, like a lullaby, while Britten's version is more austere and plaintive, as befits a song which might once have been a lament from harsh times, long ago.  Both Britten and Quilter evoke a sense of abandoned desolation, recognizing the context from which the song might have arisen. Quilter's version is even closer to lament, particularly in favouring a lower, masculine register : the piano part is understated, suggesting, perhaps, the bleak internal landscape. In the final verse, the voice swells in intensity : "I can die but canna part, My bonnie dearie".  The  song is attrributed to Isobel "Tibbie" Pagan (1741-1821)  a colourful character, who owned an alehouse where she wrote poems and sang songs for her customers. Robert Burns heard it sung by a clergyman, who may or not have got it direct.  Burns himself revised his version of the poem three times. (Please read more here). 

Also of interest is Quilter's version of The Rose of Tralee based on  a poem from 1846, set  in the same period. The song is so popular that it has entered into the canon as "traditional song", and may well have antecedents.  Quilter develops the piano part with subtle sophistication : art song without artifice.. Although Quilter has been described by some as a "walled garden", perfect but intensely private, he was well aware of what was happening in the world around him.  Marian Anderson and Quilter were friends,  and he accompanied her in his own songs at her WigmoreHall debut in 1928.  I got a robe was written for the occasion, based on a an arrangement of a spiritual arranged by Harry Burlieigh as Heav'n, heav'n.  Quilter also worked in musicalm theatre, partnering Rodney Bennett (father of Richard Rodney Bennnet) in several popular musicals, of which Where the rainbow ends was successful enough to encouage Quilter to write a light opera The blue boar, premiered as Julia..  Two songs from Songs from "Love at the Inn" suggest a more modest, vaguely pastoral theme.  More substantial  is The Man behind the Plough, Bennett's adaptation of a 19th century French song, which is  included among the four French songs in the Arnold Book of Songs, The Pretty Month of May derived from a composer at the court of Louis XIII. Quilter's Four Songs of Mirza Schaffy  set poems in German based on an Azerbaijani poet who taught languages in Germany.  of these Die helle Sonne leuchtet is lyrical, the piano - Quilter's instrument - radiant, emphasising the glorious crescendo in the final verse.

More personal is Daisies after the rain by a contemprary of Quilter's, Judith Bickle, published in 1951. All his life, Quilter was plagued by ill health, yet survived, unlike his more robust relatives and friends. Like the wild daisies in the poem,  humble blooms can defy odds that fell more showy flowers.  Thus it is appropriate that Stone and Barlow conclude this recording with The Ash Grove, fromThe Arnold Book of Songs. The song as  Llwyn Onn was first published in 1802 in  a collection of Bardic songs called The Bardic Museum, which implies that even then it had early origins.  Texts vary. Quilter set words by Rodney Bennett who understood  very well how their  meaning applied to Quilter's personal life.  The piano line is discreet, intensifying the suppressed emotional anguish.   Once friends gathered in the Ash Grove  "How little we knew, as we laughed there so lightly,/ and time seemed to us to stretch endless away,/The hopes that then shone like a vision so brightly/ Could fade as a dream in the coming of day!"   But memories live on in the  song of a lone bird and the whisper of the wind.   In 1950, Quilter was nearing his own end, so it mattered to him that "there in the Ash Grove my heart be at rest".

Ca' the yowes to the knowes - folk song and art song

New from Stone Records, Part 3 in their Roger Quilter Complete Songs series,  Roger Quilter's Ca' the yowes with Mark Stone and Stephen Barlow.  Quilter's Ca' the yowes comes from a a set named the Arnold Book of Old Songs, written for Arnold Vivian, Quilter's nephew, named after Quilter's brother Arnold, killed at Gallipolli.  Tragically, Vivian, too, was killed, in 1942, shot while attempting to escape from a prisoner of war camp. Quilter's Ca' the Yowes is very different to earlier arrangements, such as the version by Maurice Jacobsen made famous by Kathleen Ferrier, and the version by Benjamin Britten, much more frequently perfomed.  Jacobsens's version is gentle, like a lullaby, while Britten's version is more austere and plaintive, as befits a song which might once have been a lament from harsh times, long ago.  Both Britten and Quilter evoke a sense of abandoned desolation, recognizing the context from which the song might have arisen. Quilter's version is even closer to lament, particularly in favouring a lower, masculine register : the piano part is understated, suggesting, perhaps, the bleak internal landscape. In the final verse, the voice swells in intensity : "I can die but canna part, My bonnie dearie".  The  song is attrributed to Isobel "Tibbie" Pagan (1741-1821)  a colourful character, who owned an alehouse where she wrote poems and sang songs for her customers.  Click HERE for a well researched piece on the evidence of Pagan's life.  It seems she was an outsider, not only because of her looks, but may have been born illegitimate. Nonetheless, the song's origins may well go much further back, to undocumented traditional ballad.  (Pagan wasn't a farmer, nor was she illiterate).  Robert Burns heard it sung by a clergyman, who may or not have got it direct.  Burns himself revised his version of the poem three times. The version in the photo at right was published in 1790.

Ca' the Yowes demonstrates one of the fundamentals of vernacular song, that the music and text are  flexible, depending on the performer or composer.  Furthermore, these songs were being collected, and notated, too, long before the "folk revival" at the turn of the 20th century.  It's just a question of luck which performer happens to be collected, and that doesn't stop good composers and performers from making the most of the material at hand.   

Please also see my piece Morbid Lullabies : ballads, folk song, art song and creative vision 

Roland Hayes sings Roger Quilter

Roland Hayes (1887-1977) was one of the first Black classical singers to reach the big time. His parents were sharecroppers, his mother a former slave. The odds were stacked against him in those days of Jim Crow. But he succeeded.

 "In April 1920, Hayes sailed for London, England, accompanied by Lawrence Brown, his pianist since 1918. Hayes found a new voice teacher and managers who helped him with bookings. For the first year, he performed regularly but found little financial success. Finally, he gave a critically successful recital at Wigmore Hall and was "commanded" to perform before British royalty. This led to engagements in cities across Europe. Most received him warmly, but Hayes had difficulties when he went to Berlin, Germany. He described the performance: Well, I came out on stage, and there was a burst of hissing that lasted about ten minutes. I just stood there, and then I decided to change my program. As soon as it was quiet, I began with Schubert's "Du bist die Ruh." I could see a change come over the hostile faces, and by the end of the song I knew I had won."  - See more at: http://www.afrovoices.com/rhayes.html#sthash.lBnR7Mrq.dpuf

Hayes's repertoire may have been fairly extensive though it seems that he was primarily a recitalist, as many singers were in those days if they didn't do the opera circuit. There's a 2 CD set of his recordings, released by Preiser Records, where he sings early music and baroque as well as Lieder and spirituals. The clip below (not on the Preiser set) was made in 1939/40. It's Roger Quilter's It was a Lover and his Lass, published in 1921, just months after Hayes arrived in Europe. Contemporary new music!

Roger Quilter Shakespeare songs vol 1 Mark Stone

Roger Quilter's songs have special status in the canon of English music. Quilter (1877-1953) stands apart from the British music mainstream.He didn't have a choral or religious background. Independently wealthy, he trained in Germany, not in England. He found his niche in art song early, producing songs of graceful refinement, many of which are central to the English Song repertoire, and are frequently heard in recital and on recording. Until now, however, there has been no complete edition of his songs, so Mark Stone's latest series, The Complete Songs of Roger Quilter, is greatly welcomed.  Get it from Stone Records in hard copy or track by track HERE.

Quilter specialized in song, and set most of his songs to English poetry. In this first volume of this series of four,  Stone and his pianist Stephen Barlow focus on Quilter's settings of Shakespeare. Surprisingly, there are relatively few song settings of Shakespeare, given his status. Quilter set more Shakespeare than most composers. On this disc, we have Five Shakespeare Setting op 30, Three Shakespeare Songs op 6, Two Shakespeare Songs op 32, Five Shakespeare Songs op 23 and four individual settings. Quilter's choices include the extremely well known Come Away Death, Who is Sylvia, and Hark, Hark the Lark., and poems which have attracted few settings, like 'Tis St Valentine's Day.

Like Hugo Wolf, Quilter lets the poetry  shine with beautifully measured poise. Shakespeare's words in their natural language are so lovely that it's unwise to cloak them with excess verbiage. Quilter doesn't need to obfuscate. He gets straight to the point with delicate economy of gesture. Quilter's Hark, Hark the Lark soars to an ecstatic climax in 64 seconds, like an outburst of spontaneous joy, not unlike Wolf's Er Ist's.  Schubert's setting of the German translation, Horch, horch die Lerch, is exquisite, but it's more Schubert than Shakespeare.

Orpheus and his lute, being an anthem to music, has attracted many settings.  Quilter was an almost exact contemporary of Ralph Vaughan Williams and Edward German. In Quilter's setting the piano evokes the rich timbre of the lute, while German's version has a wilder sense of joy. Quilter was a generation older than Ivor Gurney and Gerald Finzi. Quilter's settings of Fear no more the heat of the sun  and It was a lover and his lass differ from RVW's and Finzi's, but all show how the same words can be used with different effects. It's also interesting to compare Quilter's When icicles hang on the wall with Thomas Arne's, 200 years before. Different times, different approaches.

Similarly, compare Quilter's I will go with my father a-ploughing with the setting by Ivor Gurney. Gurney was an outdoorsman, who responded to the poem with a setting evoking the joy of nature. Quilter's version is more circumspect, closer perhaps to the poet Joseph Campbell. Mark Stone includes in this disc Quilter's settings of Rudyard Kipling and Robert Louis Stevenson.  Sound sample below :