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The recital begins with Keats and ends with Shakespeare: that can't be bad. But it also begins with Stanford and ends with Parry; what would the modernists of their time have thought about that?... — Gramophone Classical Music Guide, 2010
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Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 27 & 28 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 3 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 2 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 3, 4 & 6 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 3 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 2 & 3 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 28 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 3 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 2 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 2 March 1999, No.1 Studio, Abbey Road, London Show 14 remaining works on this recording Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 2 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 27 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (tenor), Julius Drake (piano), Rick Kerr (vocals) Recorded: 1999-03-06 Recording Venue: 27 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 4 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 6 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 4 & 6 March 1999, No.1 Studio, Abbey Road, London Julius Drake (piano), Ian Bostridge (vocals) Recorded: 1999-03-04 Recording Venue: 4 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 6 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 27 & 28 Feb and 2 March 1999, No.1 Studio, Abbey Road, London Julius Drake (piano), Ian Bostridge (vocals) Recorded: 1999-02-28 Recording Venue: 28 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-02-28 Recording Venue: 28 February 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 4 March 1999, No.1 Studio, Abbey Road, London Polyphony (lead vocals), Stephen Layton (director), Teddy Layton (director), Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 4 March 1999, No.1 Studio, Abbey Road, London Ian Bostridge (vocals), Julius Drake (piano) Recorded: 1999-03-06 Recording Venue: 4 March 1999, No.1 Studio, Abbey Road, London Hide 14 works on this recording
2010
The recital begins with Keats and ends with Shakespeare: that can't be bad. But it also begins with Stanford and ends with Parry; what would the modernists of their time have thought about that? They would probably not have believed that those two pillars of the old musical establishment would still be standing by in 1999. And in fact how well very nearly all these composers stand! Quilter's mild drawing–room manners might have been expected to doom him, but the three songs here – the affectionate, easy grace of his Tennyson setting, the restrained passion of his 'Come away, death' and the infectious zest of 'I will go with my father a–ploughing' – endear him afresh and demonstrate once again the wisdom of artists who recognise their own small area of 'personal truth' and refuse to betray it in exchange for a more fashionable 'originality'.
