Scott / Farmer - Songs of Cyril Scott - COMPACT DISCS [CD]
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A composer who writes songs arguably allows us into a very personal side of his or her character. An instrumental composition gives us access to a composer's imagination and invention as far as the composer chooses to let us see, but a song shows a composer's highly personal response to a text - we hear how the composer reacts to another facet of creativity. We are not confined to the composer's own thoughts, and the best songs take us into a composer's creative mind. Cyril Scott's compositional style reflected the color and richness of his ideas. The songs on this cover a period from his early 20s to when he was about 40. A few of Scott's songs became extraordinarily popular they undoubtedly overshadowed the rest of his work. In many of his songs, he explored and developed his harmonic language, and set the mood and character of the text, so that the best can be explored at many levels. Some of them seem simple, but hide, as Edmund Rubbra, a composer and a student of Scott, put it, 'a good deal of artifice'. Repeated listening allow their richness of detail to sink in, and they become more and more rewarding. Album Tracks 1. Pierrot and the Moon Maiden 2. Daffodils, Op. 68, No. 1 3. Spring Song 4. Don't Come in Sir, Please! Op. 43, No. 2 5. Willows, Op. 24, No. 2 6. In a Fairy Boat, Op. 61, No. 2 7. Lovely Kind and Kindly Lovely, Op. 55, No. 1 8. Scotch Lullabye, Op. 57, No. 3 9. The Watchman 10. Water-Lilies 11. Voices of Vision, Op. 24, No. 1 12. Sundown 13. Autumn's Lute 14. A Valedictition, Op. 36, No. 1 15. Lullaby, Op. 57, No. 2 16. The Unforeseen, Op. 74, No. 3 17. A Lost Lost, Op. 62, No. 1 18. Night Song 19. Sorrow, Op. 36, No. 2 20. Love's Aftermath 21. Looking Back 22. Meditation 23. An Old Song Ended 24. The Valley of Silence, Op. 72, No. 4
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- GenreClassicalDescriptionA composer who writes songs arguably allows us into a very personal side of his or her character. An instrumental composition gives us access to a composer's imagination and invention as far as the composer chooses to let us see, but a song shows a composer's highly personal response to a text - we hear how the composer reacts to another facet of creativity. We are not confined to the composer's own thoughts, and the best songs take us into a composer's creative mind. Cyril Scott's compositional style reflected the color and richness of his ideas. The songs on this cover a period from his early 20s to when he was about 40. A few of Scott's songs became extraordinarily popular they undoubtedly overshadowed the rest of his work. In many of his songs, he explored and developed his harmonic language, and set the mood and character of the text, so that the best can be explored at many levels. Some of them seem simple, but hide, as Edmund Rubbra, a composer and a student of Scott, put it, 'a good deal of artifice'. Repeated listening allow their richness of detail to sink in, and they become more and more rewarding. Album Tracks 1. Pierrot and the Moon Maiden 2. Daffodils, Op. 68, No. 1 3. Spring Song 4. Don't Come in Sir, Please! Op. 43, No. 2 5. Willows, Op. 24, No. 2 6. In a Fairy Boat, Op. 61, No. 2 7. Lovely Kind and Kindly Lovely, Op. 55, No. 1 8. Scotch Lullabye, Op. 57, No. 3 9. The Watchman 10. Water-Lilies 11. Voices of Vision, Op. 24, No. 1 12. Sundown 13. Autumn's Lute 14. A Valedictition, Op. 36, No. 1 15. Lullaby, Op. 57, No. 2 16. The Unforeseen, Op. 74, No. 3 17. A Lost Lost, Op. 62, No. 1 18. Night Song 19. Sorrow, Op. 36, No. 2 20. Love's Aftermath 21. Looking Back 22. Meditation 23. An Old Song Ended 24. The Valley of Silence, Op. 72, No. 4ArtistSCOTT / FARMERTitleSongs of Cyril ScottFormatCDLabelLyrita
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A composer who writes songs arguably allows us into a very personal side of his or her character. An instrumental composition gives us access to a composer's imagination and invention as far as the composer chooses to let us see, but a song shows a composer's highly personal response to a text - we hear how the composer reacts to another facet of creativity. We are not confined to the composer's own thoughts, and the best songs take us into a composer's creative mind. Cyril Scott's compositional style reflected the color and richness of his ideas. The songs on this cover a period from his early 20s to when he was about 40. A few of Scott's songs became extraordinarily popular they undoubtedly overshadowed the rest of his work. In many of his songs, he explored and developed his harmonic language, and set the mood and character of the text, so that the best can be explored at many levels. Some of them seem simple, but hide, as Edmund Rubbra, a composer and a student of Scott, put it, 'a good deal of artifice'. Repeated listening allow their richness of detail to sink in, and they become more and more rewarding. Album Tracks 1. Pierrot and the Moon Maiden 2. Daffodils, Op. 68, No. 1 3. Spring Song 4. Don't Come in Sir, Please! Op. 43, No. 2 5. Willows, Op. 24, No. 2 6. In a Fairy Boat, Op. 61, No. 2 7. Lovely Kind and Kindly Lovely, Op. 55, No. 1 8. Scotch Lullabye, Op. 57, No. 3 9. The Watchman 10. Water-Lilies 11. Voices of Vision, Op. 24, No. 1 12. Sundown 13. Autumn's Lute 14. A Valedictition, Op. 36, No. 1 15. Lullaby, Op. 57, No. 2 16. The Unforeseen, Op. 74, No. 3 17. A Lost Lost, Op. 62, No. 1 18. Night Song 19. Sorrow, Op. 36, No. 2 20. Love's Aftermath 21. Looking Back 22. Meditation 23. An Old Song Ended 24. The Valley of Silence, Op. 72, No. 4
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