Sea Pictures - Elgar - Janet Baker
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- Опубликовано: 9 сен 2024
- Sea Pictures Op.37 - Edward Elgar - Janet Baker
Elgar (1857-1934) - Sea Pictures
Programme notes by © Paul Serotsky:
Hovering on the threshold of the Twentieth Century, the Sea Pictures were premiered in October 1899 by the legendary Clara Butt. Elgar's mastery of the Oratorio did not extend into the relatively intimate form of song. The fifty or so he wrote for voice and piano generally resulted from something more mundane than artistic imperative: it was, at the time, the “done thing”. And it was a “nice little earner”. Nevertheless, we can expect, and indeed do find, that this peerless oratorio composer brought to his songs the same sensitivity to textual implications and that, while his piano accompaniments were at best workmanlike, his use of orchestral resources in the Sea Pictures is well up with his considerable best.
Even in 1899, the sea still largely represented the “Great Unknown”, navigable only in frail ships. Elgar's chosen texts often relate to the dichotomy of fear and fascination. Sometimes, when the singer represents humanity, as observer or participant, the orchestra will reflect the dispassionate deep, neither friend nor foe but something of both, almost synonymous with the “Hand of God”. It should go without saying that the following are my personal impressions only - yours may be very different!
The five songs fall into a pattern: while the first apparently takes the sea's “viewpoint”, the second and fourth, and third and fifth form two pairs of opposing human sentiments.
1. Sea Slumber Song: The “Sea-Mother” lulls her fractious “child” to sleep, to an accompaniment kept appropriately light, gently rocking save for the second and last verses where deep, throbbing waves are suggested.
2. In Haven: To a feathery accompaniment, the voice sings of the transcendence of Love over blind elemental forces, Elgar's wife's tiny poem hinting that “together, we can face anything”. Elgar's articulation of the asymmetrical verse endings is miraculous.
3. Sabbath Morning at Sea: At the cycle's centre, we confront the Grand Mystery. Aboard a lonely vessel, the voice submissively contemplates first the contrast of untroubled sky and turbulent surface, then God, who created both Sea and Man. Elgar provides a suitably solemn treatment, with sombre treading and aspiring “nobilmente”.
4. Where Corals Lie: The singer is seduced away from mortal love by the pervasive lure of the sea (the “land where corals lie” is, of course, beneath the waves). The orchestra reflects the emotional undercurrents by veering between detached accompaniment and more entwined counterpoint.
5. The Swimmer: A lurid picture of the damage the savage sea does to men is juxtaposed with recollection of a past when the sea was a friendlier companion. The singer seems to conclude that Man has lost God's love, and reacts with a foolhardy challenge, obliquely similar to Waldemar's in Schoenberg's contemporaneous Gurrelieder, perhaps a startling sentiment for a traditionalist? Here Elgar unleashes his orchestra, even hurling in a tamtam (a rare gesture from him) at the crux of the final climax.
*** A note on copyright. The sheet music is out of copyright and in the public domain. The soundtrack is used with permission and cannot be monetized by SheetMusicVideo. The adverts you see are placed on behalf of the record company by RUclips which shares the revenue between the two organisations.
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Elgar had absolutely zero business writing this, reaching across time and space with Janet's voice to rip my heart out and throw it in the ocean.
The audacity. I am, as the kids say, shooketh.
No one ever sang these songs better.
Absolument sublime voix et magnifique musique orchestration.
Fascinant de pouvoir suivre avec la partition.
A wonderous tribute of music to the sea. Astonishing and mesmerizing! Thank you Elgar and Baker.
0:04 - I. Sea Slumber Song
5:06 - II. In Haven
7:12 - III. Sabbath Morning at Sea
13:30 - IV. Where Corals Lie
17:41 - V. The Swimmer
A sublime recording of this classic beautifully sung by Dame Janet Baker.
Dame Baker singing Where Corals Lie never fails to move me to tears. Thank you for posting, and with the score to boot! Much appreciated. Cheers!
Dame Janet, not Dame Baker!
music at its most sublime, poetic, far beyond mere charm.
I’ll be performing this March 2025 in Seattle with the Skagit Symphony.
Sin lugar a dudas me he ido donde en el mar se encuentran los corales más allá de las tempestades ¡Hermoso!
Just awesome!❤
I know this isn't news to anyone, but Janet Baker is the best
It isn’t news, but when you hear her voice you must say it again.
@@nikispanikiI’m a young mezzo soprano aspiring for big opera dreams, Dame Janet Baker is the BLUEPRINT
Fantástica Janet Baker! Fantástico Edward Elgar! Thanks for sharing.
Go and see it this weekend performed by the Elgar Sinfornia (24 Oct at St Andrews Church Holborn). Dame Janet Baker will be there to be presented with the Elgar Medal.
Beautiful! Predivno. Savršeno, ako tako šta postoji.
A truly wonderful recording, and being able to read the sheet alongside is very nice. Thank you a lot!
Thanks for sharing this beautiful music!
Sublime.
Baker was and is still marvelous in this music . What it must be like to experience this in a concert hall ! When you look at the sentimental poor lyrics for 3rd Song Baker's declamation saves its empty sentiments.
So grateful for this. I’ve been looking for great contralto pieces to perform so hopefully I can do one of these next semester!
Wonderful!
Mesmerisingly beautiful
Thanks so much for posting!
Lovely
Cool
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Oh I wonder why Elgar writes “through strifes forbidden” whereas written versions of the poem read “through straits forbidden”. The poet is Australian and the way they pronounce “straits” probably sounded like “strifes”. “Straits” makes more sense. Just a thought. I love Sea Pictures.!!
An ideal couple: Baker and Elgar!
14:03 Only Elgar can take the royalties of a D major scale. How can a scale sound so Elgarian??
My desert
A beautiful cicle, really simple, but very very beautiful... About the interpretation i just don't like the fake pianissimos... Janet Bakers dinamic are away to low in these recording. I don't really love when conductor demand small singing even on studio because IS NOT as beautiful has a opera like song (A TRUE sound).
Interesting remark. Isn't it either a fake pianissimo OR small singing? Or do you think both were used in these recordings?
I get what you’re saying but it was always a part of what I loved about this recording. She doesn’t overpower the beauty of the song.
This cycle is not as simple as it sounds. You can see it here : there are incessant modulations. As for the small voice, there are not many options to achieve a pianissimo on a high note. She chooses the right option (if not the only one possible!) and she shows everywhere great artistry, and a wide vocal and emotional range performed smoothly. Maybe you don't like perfection, which I understand. But this perfection is heartfelt.