Norman del Mar - Britten: Noye's Fludde (1961) [2018] Hi-Res

• Title: Britten: Noye's Fludde
  
• Year Of Release: 1961 [2018]
  
• Label: HDTT [HDTT7701]
  
• Genre: Classical
  
• Quality: FLAC (Tracks) | 24 Bit/192 kHz
  
• Total Time: 00:48:05
  
• Total Size: 1,9 GB (+3%rec.)
  
• WebSite: Album Preview
  

With the arrival of Benjamin Britten on the international music scene, many felt that English music gained
its greatest genius since Purcell. A composer of wide-ranging talents, Britten found in the human voice
an especial source of inspiration, an affinity that resulted in a remarkable body of work, ranging from
operas like Peter Grimes (1944-1945) and Death in Venice (1973) to song cycles like the Serenade for
tenor, horn, and strings (1943) to the massive choral work War Requiem (1961). He also produced much
music for orchestra and chamber ensembles, including symphonies, concerti, and chamber and solo
works. Britten's father was a prosperous oral surgeon in the town of Lowestoft, Suffolk; his mother was a
leader in the local choral society. When Benjamin's musical aptitude became evident, the family engaged
composer Frank Bridge to supervise his musical education. Bridge's tutelage was one of the formative
and lasting influences on Britten's compositional development; Britten eventually paid tribute to his teacher
in his Op. 10, the Variations on a Theme by Frank Bridge (1937). Britten's formal training also included
studies at the Royal College of Music (1930-1933).
Upon graduation from the RCM, Britten obtained a position scoring documentaries (on prosaic themes like
"Sorting Office") for the Royal Post Office film unit. Working on a tight budget, he learned how to extract
the maximum variety of color and musical effectiveness from the smallest combinations of instruments,
producing dozens of such scores from 1935 to 1938. He rapidly emerged as the most promising British
composer of his generation and entered into collaborative relationships that exerted a profound influence
upon his creative life. Among the most important of his professional associates were literary figures like
W.H. Auden, and later, E.M. Forster. None, however, played as central a role in Britten's life as the
tenor Peter Pears, who was Britten's closest intimate, both personally and professionally, from the late
'30s to the composer's death. Pears' voice inspired a number of Britten's vocal cycles and opera roles,
and the two often joined forces in song recitals and, from 1948, in the organization and administration of
the Aldeburgh Festival.
A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He spent four years in the
United States and Canada, his compositional pace barely slackening, as evidenced by the production of
works like the Sinfonia da Requiem (1940), the song cycle Seven Sonnets of Michelangelo (1940), and
his first effort for the stage, Paul Bunyan (1940-1941). Eventually, the poetry of George Crabbe drew
Britten back to England. With a Koussevitzky Commission backing him, the composer wrote the
enormously successful opera Peter Grimes (1944-45), which marked the greatest turning point in his
career. His fame secure, Britten over the next several decades wrote a dozen more operas, several of
which -- Albert Herring (1947), Billy Budd (1951), The Turn of the Screw (1954), A Midsummer Night's
Dream (1960), Death in Venice (1973) -- became instant and permanent fixtures of the repertoire. He
also continued to produce much vocal, orchestral, and chamber music, including Songs and Proverbs of
William Blake (1965), the three Cello Suites (1961-1964) and the Cello Symphony (1963), written for
Mstislav Rostropovich, and the Third String Quartet (1975).
Britten suffered a stroke during heart surgery in 1971, which resulted in something of a slowdown in his
creative activities. Nonetheless, he continued to compose until his death in 1976, by which time he was
recognized as one of the principal musical figures of the twentieth century.


Tracks:

1. Lord Jesus, think on me (Congregation) 3:09
2. I, God, that all this world hath wroughte (God's Voice, Noye) 2:05
3. Have Done, You Men and Wemen All 2:39
4. Now in the name of God I will begyne (Noye, Noye's Children) 4:18
5. Noye, Noye, take thou thy company (God's Voice, Noye) 6:07
6. Wiffe, come in! why standes thou their? (Noye, Mrs. Noye, Sem, Gossips, Jaffett, Ham) 5:09
7. Ha! Children, Me Thinkes My Botte Removes 8:18
8. Now forty dayes are fullie gone (Noye) 5:10
9. Noye, take thy wife anone (God's Voice, Animals, Noye's Children, Mrs. Noye, Noye) 2:39
10. Noye, heare I behette thee a heste (God's Voice) 1:15
11. The spacious firmament on high (Noye's Children, Noye, Mrs. Noye, Animals, Congregation, God's Voice) 7:17

Personnel:

Conductor – Norman Del Mar
Orchestra – An East Suffolk Children's Orchestra & English Chamber Orchestra
Cello – Terence Weil
Conductor [Assistant Conductor] – Merlin Channon
Double Bass – Stuart Knussen
Leader – Emanuel Hurwitz
Organ – Ralph Downes
Percussion – James Blades
Piano [Piano Duet] – Martin Penny, Viola Tunnard
Recorder – Stanley Taylor
Viola – Cecil Aronowitz
Violin – Ivor McMahon
Vocals [Ham] – Darien Angadi
Vocals [Jaffett] – Stephen Alexander
Vocals [Mrs Ham] – Marie-Thérèse Pinto
Vocals [Mrs Jaffett] – Eileen O'Donovan
Vocals [Mrs Noye's Gossips] – Gillian Saunders, Kathleen Petch, Margaret Hawes, Patricia Garrod
Vocals [Mrs Noye] – Sheila Rex
Vocals [Mrs Sem] – Caroline Clack
Vocals [Noye] – Owen Brannigan
Vocals [Sem] – David Pinto
Voice [The Voice Of God] – Trevor Anthony

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Year 2018 | Classical | FLAC / APE | HD & Vinyl

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