Charles Villiers Stanford - Songs of the Fleet, Op. 117 (1910) скачать в хорошем качестве

Charles Villiers Stanford - Songs of the Fleet, Op. 117 (1910)

Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Irish composer, music teacher, and conductor. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it. Please support my channel: https://ko-fi.com/bartjebartmans Songs of the Fleet, Op. 117 (1909 December – 1910 February) Dedication: for the Jubilee Congress of Naval Architects Librettist: Henry John Newbolt (1862-1938) I. Sailing at Dawn (0:00) II. The Song of the Sou'Wester (5:23) III. The Middle-Watch (8:34) IV. The Little Admiral (16:15) V. Fare Well (19:55) Gerald Finley, baritone and the BBC National Chorus & Orchestra of Wales conducted by Richard Hickox Dates of composition from Dibble, Jeremy (2002), Charles Villiers Stanford: Man, and Musician, page 390. Intended for the Jubilee Congress of Naval Architects planned to be held July 1910, but owing to the death of Edward VII, the Congress was postponed to 1911. (Premiere date 13 October 1910 also confirmed there.) Songs of the Fleet, Op. 117 forms with Songs of the Sea, Op. 91 a cycle of 10 Songs with libretto by Henry John Newbolt According to music critic Geoffrey Crankshaw: "Newbolt was particularly drawn to England's naval traditions and to the lure of the sea in general. His imagery was uncomplicated and his language bracing - just the right material for Stanford's down-to-earth honesty of vision "Some general features of [Stanford's] style are readily grasped: for instance, he favored swift forward movement; rhetoric is present but never overdone. Then, too, his harmonies are lucid - some might say unadventurous, but they are always pertinent to the immediate task of underpinning a key-point in the text. Melodic lines are clean-cut, and the accompaniments are functional and airy in texture." Charles Villiers Stanford’s music is characterized by a blend of traditional forms, lyrical elegance, and influences from both Germanic Romanticism and Irish folk traditions. While he was not a groundbreaking innovator, his works demonstrate craftsmanship, clarity, and a deep sensitivity to text and melody. Below are some key characteristics of his music: Stanford’s time studying in Leipzig and Berlin had a profound impact on his style. His music often reflects the structural discipline and harmonic language of Brahms, Mendelssohn, and Schumann. His symphonies and chamber music display a clear sense of form, counterpoint, and rich, yet restrained, harmonic progressions. One of Stanford’s greatest strengths was his ability to craft memorable, lyrical melodies. This is evident in his choral works, art songs, and instrumental pieces. His melodies often have a vocal quality, reflecting his love of song and his sensitivity to text in vocal music. Stanford is perhaps most famous for his contributions to Anglican church music. His choral works, such as the Magnificat and Nunc Dimittis settings, exemplify a balance between solemnity and beauty, making them staples of the English cathedral tradition. His use of imitative counterpoint and rich, but uncluttered, harmonies gives his choral works both depth and accessibility. As an Irishman, Stanford incorporated elements of Irish folk music into some of his compositions, most notably in his Irish Symphony (Symphony No. 3). This includes the use of traditional Irish dance rhythms and modal melodies. His art songs often set texts by Irish poets, further emphasizing his connection to his homeland. Stanford’s orchestration is skillful and often marked by clarity and balance. He avoids overly dense textures, allowing individual instrumental lines to shine. His orchestral works are often compared to those of Brahms for their richness and cohesiveness. Stanford was a staunch defender of classical forms and structures. He favored sonata form, fugue, and theme-and-variations, showing a preference for tradition over experimentation. While this approach earned, him praise for his technical skill, it also led some critics to view him as conservative and resistant to innovation. Stanford’s music tends to avoid overt emotional extremes, favoring dignity, refinement, and balance. His style reflects a Victorian/Edwardian sensibility, often prioritizing formality over dramatic intensity. In his vocal and choral works, Stanford was highly attentive to the setting of texts. He had a natural ability to match the rhythm and meaning of words with music, making his works particularly effective in conveying emotion and narrative. While Stanford is best known for his sacred music, his secular works, such as his part-songs (The Blue Bird is a famous example), demonstrate a similar sense of lyricism and textual beauty. His operas and art songs also highlight his ability to traverse both sacred and secular musical worlds