Kitty Whately soprano
Julius Drake piano
CHANDOS CHAN 20390
One of my prize possessions is an LP, The Far Away Princess, a collection of songs by Madeleine Dring, issued in 1982. In the notes the then soloist, Robert Tear, remarked that Dring is ‘one of the best unknown English song writers’. Strangely the situation now does not seem to have changed much, which to my mind is plainly ridiculous. So, this new issue, containing 20 of Dring’s 50-odd numbers is most welcome.
There is just one overlap in the programmes of the LP and the new CD, the ‘Four Night Songs’, about which more anon.
Dring (1923-1977) was a talented allrounder, and received lessons at the RCM from Howells, RVW and Gordon Jacob.
She was initially busy providing songs and ditties for the theatre and the BBC, quickly providing, when necessary, witty, catchy items on demand. I suspect that the fluency thus achieved was helpful when writing more serious material.
Her husband, the famous oboist Roger Lord, has written that her ‘gift for assimilating what she liked from other composers and then producing something utterly original, something entirely the work of Madeleine Dring, and none other….’
To my ears, she evinces in these songs an entrancing, sophisticated feeling for subtle harmonies, ok – there are sometimes echoes of Finzi and Poulenc, but these are scarcely recognisable. I was so intrigued by the most memorable work here (the Night Songs) that I equipped myself with the printed score. I found that much of the invention was really quite dissonant, but not arbitrary, and was always coming from, and leading to, somewhere.
The poet of these songs was Michael Armstrong. His verse is sometimes heart-breakingly emotional, and anyone susceptible to ‘cupid’s darts’ will easily and ruefully recognise the sentiments.
Dring’s bitter-sweet music is quite unforgettable here.
Dring was clearly attached to verse of 16th and 17th century poets, which again tend to centre on romantic conflicts. A lot of familiar names are here – Shakespeare (of course!), Sidney, Dryden, etc. As is usual, it is probably better not to listen all in one go, as there is a lot to take in, consider and enjoy. Maybe starting with the Shakespeare settings would be a sensible way in.
An utterly charming postscript is Dring’s take on a Cole Porter song In the Still of the Night. Roger Lord’s comment above rings absolutely true here.
The recording (in Potton Hall) is excellent. Given the demands, Ms Whately’s intonation is excellent, and Julius Drake’s accompaniment is wonderfully subtle and supportive. There is even a short acknowledgement in the final section of the notes that he wishes to thank ‘the late Roger Lord … who introduced him to (these) marvellous songs…’.
Review by Geoffrey Atkinson