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Scott / Farmer- Songs of Cyril Scott
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 release 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.
Tracklist:
- Pierrot And The Moon Maiden
- Daffodils, Op. 68, No. 1
- Spring Song
- Don't Come In Sir, Please!, Op. 43, No. 2
- Willows, Op. 24, No. 2
- In A Fairy Boat, Op. 61, No. 2
- Lovely Kind And Kindly Loving, Op. 55, No. 1
- Scotch Lullabye, Op. 57, No. 3
- The Watchman
- Water-Lilies
- Voices Of Vision, Op. 24, No. 1
- Sundown
- Autumn's Lute
- A Valediction, Op. 36, No. 1
- Lullaby, Op. 57, No. 2
- The Unforeseen, Op. 74, No. 3
- A Lost Lost, Op. 62, No. 1
- Night Song
- Sorrow, Op. 36, No. 2
- Love's Aftermath
- Looking Back
- Meditation
- An Old Song Ended
- The Valley Of Silence, Op. 72, No. 4
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 release 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.
Tracklist:
- Pierrot And The Moon Maiden
- Daffodils, Op. 68, No. 1
- Spring Song
- Don't Come In Sir, Please!, Op. 43, No. 2
- Willows, Op. 24, No. 2
- In A Fairy Boat, Op. 61, No. 2
- Lovely Kind And Kindly Loving, Op. 55, No. 1
- Scotch Lullabye, Op. 57, No. 3
- The Watchman
- Water-Lilies
- Voices Of Vision, Op. 24, No. 1
- Sundown
- Autumn's Lute
- A Valediction, Op. 36, No. 1
- Lullaby, Op. 57, No. 2
- The Unforeseen, Op. 74, No. 3
- A Lost Lost, Op. 62, No. 1
- Night Song
- Sorrow, Op. 36, No. 2
- Love's Aftermath
- Looking Back
- Meditation
- An Old Song Ended
- The Valley Of Silence, Op. 72, No. 4