Elgar: Where Corals Lie: A Journey through Songs by Edward Elgar

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She displays a vivid response to the text of Elgar’s cycle, which gives the album its title, and a quite different sound from the usual contralto or mezzo, while Glynn evokes Elgar’s orchestral... — Sunday Times, 3rd October 2021 More…

Release Date: 1st Oct 2021
Catalogue No: CHAN20236
Label: Chandos
Length: 63 minutes

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Elgar: Sea Pictures, Op. 37

Work length20:07

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Julia Sitkovetsky, Christopher Glynn

I. Sea Slumber Song

Track length4:35

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II. In Haven (Capri)

Track length1:44

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III. Sabbath Morning at Sea

Track length5:01

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IV. Where Corals Lie

Track length3:31

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V. The Swimmer

Track length5:16

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Elgar: Sieben Lieder: VII. The Shepherd's Song

Work length2:43

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Julia Sitkovetsky, Christopher Glynn

Elgar: Sieben Lieder: I. Like to the damask rose

Work length3:07

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Julia Sitkovetsky, Christopher Glynn

Elgar: Sieben Lieder: II. Queen Mary's Song (The Lute Song)

Work length3:24

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Julia Sitkovetsky, Christopher Glynn

Elgar: Sieben Lieder: III. A Song of Autumn

Work length2:42

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Julia Sitkovetsky, Christopher Glynn

Elgar: Sieben Lieder: VI. Rondel

Work length1:36

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Julia Sitkovetsky, Christopher Glynn

Elgar: Two Songs, Op. 60: 1, The Torch

Work length1:42

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Julia Sitkovetsky, Christopher Glynn

Elgar: Two Songs, Op. 61: 2, The River

Work length3:21

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Julia Sitkovetsky, Christopher Glynn

Elgar: Pleading, Op.48

Work length2:31

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Julia Sitkovetsky, Christopher Glynn

Elgar: The Muleteer's Serenade

Work length2:28

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Julia Sitkovetsky, Christopher Glynn

Elgar: The Self Banished

Work length3:59

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Julia Sitkovetsky, Christopher Glynn

Elgar: Speak, Music, Op. 41 No. 2

Work length2:52

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Julia Sitkovetsky, Christopher Glynn

Elgar: After (P.B.Marston) Op. 31, No. 1

Work length2:42

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Julia Sitkovetsky, Christopher Glynn

Elgar: Canto Popolare (In Moonlight)

Work length2:06

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Julia Sitkovetsky, Christopher Glynn

Elgar: When The Spring Comes Round

Work length4:55

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Julia Sitkovetsky, Christopher Glynn

Elgar: Pansies

Work length3:13

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Julia Sitkovetsky, Christopher Glynn

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Working in an era before Arts Council grants, public sponso rship, recording royalties, and long-term publishing deals, Elgar had to write for the public demand as much as personal satisfaction. The effort required for his large-scale works was rarely reflected in profitable income, so writing songs could be a useful way to earn money. The England of Elgar’s time favoured popular ballads, sung by well-known singers. These were then sold as sheet music, the singer’s name emblazoned on the cover, for performances given in middle-class homes. There was little demand for lengthy song cycles, or song recitals consisting entirely of ‘serious’ repertoire in the German tradition. As a result, Elgar’s songs are often individual works, sometimes adapting instrumental works into songs (such as ‘Land of Hope and Glory’) when the commercial opportunities arose. Elgar also chose poetry that was popular and straightforward, rather than drawing on the established classical masterpieces. These songs were then transposed into numerous keys to allow performance by any voice type, designed for mass appeal and profitable sales.

Reviews

3rd October 2021

She displays a vivid response to the text of Elgar’s cycle, which gives the album its title, and a quite different sound from the usual contralto or mezzo, while Glynn evokes Elgar’s orchestral colours with his playing.

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