Royal Welsh Chamber Players
James Gilchrist tenor
Alice Neary cello
Jâms Coleman piano
RESONUS 10351
This is now the second disc to come my way, from the enterprising Resonus label, of chamber music by Pamela Harrison (1915-1990.) The first was RES10313.
This time we are treated to three song cycles, beginning with The Lonely Landscape, for tenor and piano, six poems by Emily Brontë. It is wonderful that James Gilchrist sings this work as he has such an affinity with British music of this period. This is a very fine cycle, worthy to give its title to this disc.
The music is completely absorbed into the many contrasting moods typical of Brontë, those being storms, lamentation, landscape and night. The piano part is challenging at times but never overpowers the vocal line, which always carries the main interest with clarity but also power. The drama and sometimes desolation of the poems are evocatively captured.
With The Kindling of the Day we have ten settings of Robert Herrick, poems for his lady Julia, taking us from dawn to night. The settings are economical with only occasional lines being repeated, rather like Gerald Finzi. For me, there is a dichotomy between the simplicity of the Elizabethan love poetry and the deep lush of the very English romanticism.
The sheer ‘Englishness’ and an aptness of style can be summed up in the Eight Poems of Walter de la Mare of 1950. Subtitled ‘A Present for Paul’ it was composed just after the birth of her second son, and yes, this poet is one who appeals to children as well as adults. Sady, the poems of this cycle are not given in the booklet.
There are four instrumental items. The lyrical and deftly scored Octetto Pastorale is for winds, and in three movements. Although written in 1983 it has the same atmosphere as heard in the other works.
But you could never describe her music as trifling; just listen to the first work on the disc the Cello Sonata (1947) written for her husband. The language is tonal, modal but also quite searchingly chromatic at times, as in the first movement. Particularly original is the memorable Andantino third movement.
And last, but not really least, are the Four Pieces of 1962, delightful and idiomatic miniatures for each of the four main wind instruments, they are easy listening and are immediately attractive.
All performances are affectionate and totally convincing, the recording spacious and immediate. This is music which deserves to be heard.
Review by Gary Higginson