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The Complete C W Orr Songbook Volume 1

Mark Stone (baritone) & Simon Lepper (piano)

Stone's baritone is not the most colourful, subtle or supple of instruments. Nevertheless, it's undoubtedly dedicated to the clear projection of both music and text.

The Complete C W Orr Songbook Volume 1

Mark Stone (baritone) & Simon Lepper (piano)

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This release includes a digital booklet

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Stone's baritone is not the most colourful, subtle or supple of instruments. Nevertheless, it's undoubtedly dedicated to the clear projection of both music and text.

About

This is the first CD in a 2CD series which is the first ever complete recording of C W Orr’s songs for voice and piano. C W Orr is considered to be one of the greatest English song composers of the twentieth century and this collection includes 14 premiere recordings. This volume includes his largest group of Housman songs. The booklet contains full texts and extensive notes on each song.

Contents and tracklist

No. 1. Along the Field
Track length2:58
No. 2. When I Watch the Living Meet
Track length3:17
No. 3. The Lent Lily
Track length1:54
No. 4. Farewell to Barn and Stack and Tree
Track length4:51
No. 5. Oh Fair Enough Are Sky and Plain
Track length2:54
No. 6. Hughley Steeple
Track length3:13
No. 7. When Smoke Stood Up From Ludlow
Track length2:58
No. 1. Tis time, I Think, By Wenlock Town
Track length1:51
No. 2. Loveliest of Tress, The Cherry
Track length3:34

Awards and reviews

January 2013

Stone's baritone is not the most colourful, subtle or supple of instruments. Nevertheless, it's undoubtedly dedicated to the clear projection of both music and text.

December 2012

The variety of Orr's settings is remarkable, although many of them have an underlying air of melancholy or nostalgia...Stone, the excellent baritone who has planned and sings this comprehensive recital so impressively, is obviously thoroughly at home in this repertoire...I recommend these two discs strongly to all lovers of English song and even more to singers

16th February 2012

[Orr's] style owed more to the 19th-century German Lied tradition, to Schumann and Wolf especially, and to the post-Wagnerian chromaticisms of Delius than it did to the gentle modality of the pastoralists...There's a muscularity about Orr's songs, sometimes a fierceness, that is quite distinctive...[Stone] sings with the same care for the words and their meaning familiar from his earlier surveys of Butterworth and Delius.
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