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Delius - Songs

Sally Burgess (mezzo-soprano), Bryn Terfel (baritone)

Waynflete Singers, Southern Voices, Bournemouth Symphony Orchestra & Chorus, Richard Hickox

Delius - Songs
Sea Drift is a sublime conjunction of Whitman's poetry and Delius's music describing love, loss and unhappy resignation, with the sea (as Christopher Palmer put it) as 'symbol and agent of...

Delius - Songs

Sally Burgess (mezzo-soprano), Bryn Terfel (baritone)

Waynflete Singers, Southern Voices, Bournemouth Symphony Orchestra & Chorus, Richard Hickox

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Stream now lossless, 44.1 kHz, 16 bit
Sea Drift is a sublime conjunction of Whitman's poetry and Delius's music describing love, loss and unhappy resignation, with the sea (as Christopher Palmer put it) as 'symbol and agent of...

About

Contents and tracklist

I. How sweet the silent backward tracings! (Double Chorus)
Track length4:30
II. I stand as on some mighty eagle's beak (Chorus)
Track length4:40
III.Passage to you! O secret of the earth and sky! (Chorus)
Track length3:32
IV. Joy, shipmate, joy! (Double Chorus)
Track length1:30
V. Now finalè to the shore (Chorus)
Track length3:56
I. A song of the setting sun! (Chorus)
Track length3:23
II. Cease smiling, Dear! a little while be sad (Mezzo-Soprano, Baritone)
Track length4:45
III. Pale amber sunlight falls (Chorus)
Track length4:25
IV. Exceeding sorrow consumeth my sad heart! (Mezzo-Soprano)
Track length3:42
V. By the sad waters of separation (Baritone)
Track length4:48
VI. See how the trees and the osiers lithe (Chorus)
Track length3:34
VII. I was not sorrowful, I could not weep (Baritone)
Track length4:44
VIII. They are not long, the weeping and the laughter (Mezzo-Soprano, Baritone)
Track length3:22

Awards and reviews

2010

Sea Drift is a sublime conjunction of Whitman's poetry and Delius's music describing love, loss and unhappy resignation, with the sea (as Christopher Palmer put it) as 'symbol and agent of parting'. Written in 1903-4 (the same years as Debussy's La mer), it's surely Delius's masterpiece; right from the swaying opening bars its spell is enduring and hypnotic. Hickox in his second recording of the work now gives us the finest recorded post-Beecham Sea Drift. The shaping of the opening falling woodwind figures at a slow tempo more than usually (and very beautifully) portends the sad turn of events; and the climax is broad and superbly co-ordinated. Terfel's bar-by-bar characterisation (and glorious voice), conveys the full expressive range of the role from impassioned appeal to gentle call without artifice; and the choral singing is superb. The whole is recorded with warmth, spaciousness, depth and clarity.
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