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You Promised Me Everything
CHERYL FRANCES-HOAD
One Life Stand
for mezzo soprano and piano
1.
Brief Encounter
4:12
2.
The Pros and the Cons
2:10
3.
Tide to Land
6:11
4.
Ante-Natal
2:09
5.
The Shadow Tree
6:14
6.
Rubbish at Adultery
2:05
7.
In the Chill
2:37
8.
The Cycle
4:30
Solo: Jennifer Johnston mezzo-soprano
Solo: Joseph Middleton piano
9.
There Is No Rose
3:39
for a cappella mixed voice choir
Choral: Gonville and Caius College Choir, Cambridge
Conductor: Geoffrey Webber
10.
Don't
3:27
for soprano, piccolo and bass clarinet
Solo: Jane Manning soprano
Solo: Sue Gill bass clarinet
Solo: Robert Manasse piccolo
11.
Psalm 1
5:50
for choir and organ
Choral: Gonville and Caius College Choir, Cambridge
Conductor: Geoffrey Webber
Solo: Nicholas Lee organ
12.
You Promised Me Everything Last Night
2:54
for soprano, piano 4 hands and cello
Solo: Natalie Raybould soprano
Solo: James Young /Joseph Middleton pianos
Solo: Rebecca Knight cello
13.
Nunc Dimittis
3:04
for a cappella mixed voice choir
Choral: Gonville and Caius College Choir, Cambridge
Conductor: Geoffrey Webber
Solo: Rose Wilson-Haffenden soprano
Beowulf
for mezzo soprano and piano
14.
'So'
2:30
15.
'Grendel'
0:54
16.
'For twelve winters'
1:06
17.
'I had a fixed purpose
0:55
18.
'In off the moors'
1:15
19.
'Then his rage'
3:34
20.
'When Hrothgar arrived'
2:59
21.
'Hildeburgh'
2:45
22.
[piano interlude]
1:12
23.
'A lot was to happen'
1:12
24.
'He rippled down the rock'
2:15
25.
'Then he drew himself up'
4:15
26.
'For fifty years'
2:08
27.
'The Geat People'
3:28
Solo: Jennifer Johnston mezzo soprano
Solo: Alisdair Hogarth piano
Total time: 79:30
Recorded on 30th April (tracks 1-8,12) and 16th May 2013 (tracks 10, 14-27)
Notes
RPS Award-winning young British composer Cheryl Frances-Hoad released ’The Glory Tree’ (CHRCD021) on Champs Hill Records in 2011 and the label is delighted to continue to support her remarkable talent
"...what comes out of these pieces....is a voice overflowing not only with ideas, but also with the discipline and artistry necessary to harness them." Kenneth Walton, The Scotsman
This recording of vocal and choral works is a more overt exploration of her fascination with narratives and features an array of young talent including mezzo soprano Jennifer Johnston, pianist Joseph Middleton, Gonville and Caius College Choir, and cellist Rebecca Knight.
One Life Stand takes Schumann’s iconic Lieder cycle Frauenliebe- und Leben (Women’s Lives and Loves) as an inspiration, but updates it with eight poems by the poet and crime-writer Sophie Hannah. Schumann’s original, with verses by Chamisso is iconic, but in the words of Jennifer Johnston ’rather outdated’. One of the outstanding features of One Life Stand is the resourcefulness of its piano writing as it traces the course of a life-dominating relationship from the woman’s point of view from ’Brief Encounter’ to ’Rubbish at Adultery’.
Cheryl wrote There is No Rose when she was just 14 for unaccompanied SATB choir, a magical part song.
Don’t! (2009) might be regarded as a little appendix to One Life Stand. Dedicated to Jane Manning for her 70th birthday, it quickly takes its singer over the top, out of tune, and out of breath as she runs through some urgent injunctions to be observed in the daily attempt to keep the marriage running smoothly.
Psalm No. 1 for SATB choir and organ was commissioned by Gonville & Caius College to celebrate the 800th anniversary of Cambridge University. It won a BASCA British Composer Award in 2010.
For an example of extraordinary vocal bravura one need look no further then the soaring and febrilely falling phrases of You promised me everything last night (2011), for soprano, cello and piano duet, which sets just those six words that make up the title.
The Nunc Dimittis (2000), scored for 21 solo voices, must be one of the most dramatic settings of the familiar words.
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Reviews
" The performance is a triumph, with Johnston’s even-timbered, commanding voice that has just enough edge to make this a very compelling reading. Singer and pianist are at least equal partners in these songs; the vocal line carries the story in austere and sometimes angular style as the pianist employs a wide variety of virtuosic technique to convey much of the meaning. It’s a wonderfully creative counterpoint to Schumann’s cycle..."
Robert Moore - American Record Guide - May/June 2015
Performance **** Recording *****
Helen Wallace - BBC Music magazine - January 2015
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