In celebration of its 20th anniversary, British label NMC commissioned songs from native composers for presentation in this 4-CD set. The main requirement was that the songs, 110 in all, be based on the theme “Britain”, an idea that the composers interpreted very freely as they used source material ranging from British poetry to schoolbook rhymes, whiskey recipes, bank brochures, and even road rage insults.
Of the nearly 100 composers included, probably only Mark-Anthony Turnage, Harrison Birtwistle, Thea Musgrave, Peter Maxwell Davies, Tarik O’Regan, and Colin Matthews are recognizable outside of the U.K. Matthews, who happens to be NMC’s executive producer, contributed 14 instrumental arrangements of Thomas Morley’s Galliard, which function as interludes between groups of songs. These range from out-of-tune piano to full neo-renaissance ensemble.
As you would expect, there is a wide variety of musical styles (but all within the “classical” genre). The performing forces range from solo to duet to small ensemble. There’s a good bit of atonality, but happily it does not predominate (as it likely would have had NMC commissioned this project as a celebration of its founding in 1989). Emily Howard’s prickly Wild Clematis in the Winter and Anthony Payne’s thorny Ghost Train are the most potent examples. More often however, the songs straddle the borderline of tonality, such as the eerie Out of Town by Rachel Leach, and Robin Holloway’s rhapsodic Go Lovely Rose, which is reminiscent of Berg’s early songs. Likewise, O’Regan’s Darkness Visible bears the distinct influence of late Britten.
Given the project’s genesis I supposed I shouldn’t be surprised to hear substantial amounts of countertenor (never a favorite voice of mine), as in David Sawer’s clarion The Source (along with two sopranos and bells) and Simon Bainbridge’s a cappella Sonnet XVII. There are some truly lyrical contributions as well, such as Julian Grant’s Know thy Kings and Queens and Howard Skempton’s Silence on Ullswater, in which the tenor sings a lovely melody in unison with harp.
Of course, a collection of this size and scope would not be complete without the purely avant-garde. Witness Johnathan Cole’s Tss-k-haa, a silly recital of sibilants, and Luke Stonehem’s 25, which follows John Cage’s example of music from ambient sound.
The collected performers are all highly accomplished and fulfill their assignments with impeccable musicianship and professionalism. The recording quality also is first-rate. As a whole, the NMC Songbook makes for an engaging musical experience for the song enthusiast–I should say British song enthusiast. If you are such, and you know who you are, you’ll find much stimulation and satisfaction in this set. [7/30/2009]
