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SIR EDWARD ELGAR (1857 – 1934)
Where Corals Lie: A Journey through Songs
Sea Pictures, Op.37 (1897-99)
20:02
Version for Soprano and Piano
1.
I
Sea Slumber Song. Andantino - Tranquillo - Tempo I - Molto tranquillo
4:37
2.
II
In Haven (Capri). Allegretto
1:44
3.
III
Sabbath Morning at Sea. Moderato - Più mosso - Tempo I -
5:01
4.
IV
Where Corals Lie. Allegretto, ma non troppo
3:31
5.
V
The Swimmer. Allegro di molto - Largamente - Poco meno mosso - Tempo I - Largamente
5:10
From 'Sieben Lieder' (1887-94)
13:30
6.
7
The Shepherd's Song (1892), Op.16 No.1. Allegretto
2:43
7.
1
Like to the damask rose (1891). Allegro
3:07
8.
2
Queen Mary's Song ('The Lute Song') (1887, rev. 1889). Moderato - Più lento
3:24
9.
3
A Song of Autumn (c.1892). Poco allegretto
2:42
10.
6
Rondel (1894), Op.16 No.3. Allegretto scherzando
1:32
Two Songs, Op.60 (1909-10)
4:58
Folk-Songs (Eastern Europe, 'Leyrisch-Turasp')
Paraphrased by 'Pietro d'Alba' and Edward Elgar
11.
I
The Torch. To Yvonne. Allegro con fucco - Poco meno mosso -
1:42
12.
2
The River. Allegro con fuoco
3:16
13.
Pleading, Op.48 (1908)
2:29
To Lady Maud Warrender
Andante - Lento - Andante - Lento molto espressivo
14.
The Muleteer's Serenade (1894)
2:26
From Don Quixote
Andante mesto
15.
The Self Banished (c.1875)
3:56
Moderato espressivo - Allegro - Meno mosso - Tranquillo -
Poco più lento - Lento
16.
Speak, Music!, Op.41 No.2 (1902)
2:49
from Two Songs
to Mrs Edward Speyer, Ridgehurst
Allegretto comodo
17.
After, Op.31 No.1 (1895)
2:42
Moderato - Più mosso - Più lento - Lento - Tempo I - Lento
18.
In Moonlight (1904)
2:04
Words by Shelley adapted to the 'Canto popolare'
from the Concert Overture In the South (Alassio), Op.50 (1903-04)
Molto moderato
premiere recording in version with piano
19.
When the spring comes round (1915)
4:55
('Quand nos bourgeons se rouvriront')
from Une voix dans le désert, Op.77
for Speaker and Orchestra
Arranged by the composer for Voice and Piano
Allegretto - Animé - Più lento - Come prima - Più lento -
premiere recording in this version
20.
Pansies (1900)
3:13
Adapted 1900 for Voice and Piano by Max Laistner (1853-1917)
from Salut d'amour, Op.12 (1888)
for Violin and Piano
To Carice
Andantino - Più mosso - Tempo I
Total time: 63:03
Solo:Julia Sitkovetsky soprano
Solo:Christopher Glynn piano
Notes
Working in an era before Arts Council grants, public sponsorship, 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. Making her Chandos début, Julia Sitkovetsky is a British-American lyric-dramatic coloratura soprano with a flourishing, exciting international career. Having trained at the Guildhall School of Music and Drama, she made her professional operatic début at the age of sixteen, at Glyndebourne Festival Opera and English National Opera. Since then, she has appeared all over Europe. In the 2021 / 2022 season, she will return to Semperoper Dresden with her signature role, Queen of the Night, with which she will also make her house début at Komische Oper Berlin. With Roger Vignoles, Julia Sitkovetsky has given recitals at Wigmore Hall and Snape Maltings. In the summer of 2021, with her father, Dmitry Sitkovetsky, she performed songs by Shostakovich at the Internationale Schostakowitsch Tage Gohrisch in Dresden.
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Reviews
Performance *** Recording *****
“…One of the most beautiful item, ‘Queens Mary’s Song’, comes across attractively with a fine lilt in Christopher Glynn’s accompaniment…”
Daniel Jaffé – BBC Music magazine – Christmas 2021
“For many, Janet Baker’s classic reading of Elgar’s song cycle See Pictures remains unsurpassable, but this new disc is nevertheless highly impressive, and Julia Sitkovetsky and Christopher Glynn present readings of great sensitivity and nuance (as they do of the other Elgar pieces which accompany it)…”
Barry Forshaw – cdchoice.co.uk – 4 November 2021
“…Should anyone suspect that her [Skitkovetsky] exotic heritage influences her diction in singing this intensely English repertoire, it doesn’t: and she addresses some of Elgar’s greatest songs (notably the Two Songs, Op. 60, and Pleading) with the full might of a fine coloratura, highly appropriate for pieces that, to the uninitiated, might sound like Puccini. She does a creditable Sea Pictures, too, in their original soprano key (they are routinely performed by mezzos)…”
Simon Heffer – The Daily Telegraph – 9 October 2021
“… She [Sitkovetsky] 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.”
Hugh Canning – The Sunday Times – 3 October 2021
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Julia Sitkovetsky: Where Corals Lie - The songs of Edward Elgar