℗ 2022 SOMM Recordings
| Released | January 21, 2022 |
| Duration | 1h 06m 02s |
| Record Label | SOMM Recordings |
| Catalogue No. | SOMMCD0646 |
| Genre | Classical (Art Song) |
One Hundred Years of British Song, Vol. 3
James Gilchrist, Nathan Williamson
Available in 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
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Let the Florid Music Praise (Version for Tenor & Piano)
Peter Dickinson; James Gilchrist; Nathan Williamson |
4:08 | |||
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4 W.H. Auden Songs
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1.2
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No. 1, Look, Stranger
Peter Dickinson; James Gilchrist; Nathan Williamson |
3:16 | |||
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1.3
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No. 2, Eyes Look Into the Well
Peter Dickinson; James Gilchrist; Nathan Williamson |
2:20 | |||
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1.4
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No. 3, Carry Her Over the Water
Peter Dickinson; James Gilchrist; Nathan Williamson |
2:38 | |||
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1.5
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No. 4, What's in Your Mind?
Peter Dickinson; James Gilchrist; Nathan Williamson |
1:16 | |||
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5 Betjeman Songs
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1.6
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No. 1, A Bay in Anglesey
Madeleine Dring; James Gilchrist; Nathan Williamson |
3:37 | |||
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1.7
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No. 2, Song of a Nightclub Proprietress
Madeleine Dring; James Gilchrist; Nathan Williamson |
2:47 | |||
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1.8
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No. 3, Business Girls
Madeleine Dring; James Gilchrist; Nathan Williamson |
2:25 | |||
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1.9
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No. 4, Undenominational
Madeleine Dring; James Gilchrist; Nathan Williamson |
1:26 | |||
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1.10
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No. 5, Upper Lambourne
Madeleine Dring; James Gilchrist; Nathan Williamson |
2:42 | |||
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The Little That Was Once a Man
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1.11
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No. 1, In Someone Else's Poem
Nathan Williamson; James Gilchrist; Nathan Williamson |
2:03 | |||
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1.12
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No. 2, 4am
Nathan Williamson; James Gilchrist; Nathan Williamson |
2:17 | |||
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1.13
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No. 3, Not Being the Ordinary Way
Nathan Williamson; James Gilchrist; Nathan Williamson |
1:33 | |||
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1.14
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No. 4, Not Being Misunderstanding
Nathan Williamson; James Gilchrist; Nathan Williamson |
2:26 | |||
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1.15
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No. 5, Moon at Rest
Nathan Williamson; James Gilchrist; Nathan Williamson |
6:03 | |||
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The Unlit Suburbs
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1.16
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No. 1, The Submerged Bar
John Woolrich; James Gilchrist; Nathan Williamson |
1:01 | |||
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1.17
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No. 2, Rat Town
John Woolrich; James Gilchrist; Nathan Williamson |
0:55 | |||
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1.18
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No. 3, The Ghost Choir
John Woolrich; James Gilchrist; Nathan Williamson |
0:43 | |||
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1.19
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Intermezzo
Nathan Williamson; Nathan Williamson |
4:46 | |||
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The Eye of the Blackbird
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1.20
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No. 1, Twenty Snowy Mountains
Geoffrey Poole; James Gilchrist; Nathan Williamson |
2:16 | |||
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1.21
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No. 2, The Autumn Wind
Geoffrey Poole; James Gilchrist; Nathan Williamson |
0:52 | |||
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1.22
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No. 3, I Was of Three Minds
Geoffrey Poole; James Gilchrist; Nathan Williamson |
1:26 | |||
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1.23
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No. 4, Which to Prefer
Geoffrey Poole; James Gilchrist; Nathan Williamson |
2:36 | |||
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1.24
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No. 5, Icicles
Geoffrey Poole; James Gilchrist; Nathan Williamson |
2:14 | |||
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1.25
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No. 6, I Know Noble Accents
Geoffrey Poole; James Gilchrist; Nathan Williamson |
1:57 | |||
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1.26
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No. 7, Out of Sight
Geoffrey Poole; James Gilchrist; Nathan Williamson |
2:12 | |||
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1.27
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No. 8, He Rode Over Connecticut
Geoffrey Poole; James Gilchrist; Nathan Williamson |
1:22 | |||
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1.28
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No. 9, Evening All Afternoon
Geoffrey Poole; James Gilchrist; Nathan Williamson |
2:45 | |||
SOMM Recordings announces the third and final volume of the enthusiastically received One Hundred Years of British Song, with tenor James Gilchrist and pianist Nathan Williamson. Focusing on songs written since 1950, Volume 3 celebrates what Williamson’s booklet note describes as “astonishment at the depth of expressivity of the poetry and music”. Receiving first recordings are John Woolrich’s settings of Irish poet Matthew Sweeney, The Unlit Suburbs, a deadpan yet evocative exercise in “alternative realism”, and Geoffrey Poole’s stylistically wide-ranging The Eye of the Blackbird, with texts from Virginia Woolf, traditional Nigerian poems, Wallace Stevens, the Tibetan Book of the Dead and Requiem Mass. Also on album for the first time are Williamson’s own song-cycle setting poems by Bryan Heiser composed especially for James Gilchrist, The Little That Was Once a Man, and solo-piano miniature, Intermezzo. Peter Dickinson’s early, accomplished Four W.H. Auden Songs and dramatic and intense yet positive and joyful Let the Florid Music Praise, and Madeleine Dring’s characterful Five Betjeman Songs, the product of a “fascinating and multi-faceted artistic personality”, complete the release.
88.2 kHz / 24-bit PCM – SOMM Recordings Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -5.60 -13.51 to -0.10 | -29.34 -39.41 to -20.58 | -24.64 -35.20 to -16.60 | 14 11 to 16 | |
| 1 | Let the Florid Music Praise (Version for Tenor & Piano) | -0.10 | -25.17 | -19.1 | 15 |
| 2 | No. 1, Look, Stranger | -3.49 | -27.31 | -21.9 | 14 |
| 3 | No. 2, Eyes Look Into the Well | -3.11 | -25.82 | -20.6 | 13 |
| 4 | No. 3, Carry Her Over the Water | -5.34 | -29.58 | -25.3 | 15 |
| 5 | No. 4, What's in Your Mind? | -5.36 | -26.32 | -21.9 | 13 |
| 6 | No. 1, A Bay in Anglesey | -6.97 | -31.26 | -27.7 | 16 |
| 7 | No. 2, Song of a Nightclub Proprietress | -3.50 | -27.44 | -23.8 | 15 |
| 8 | No. 3, Business Girls | -6.50 | -33.34 | -29.7 | 13 |
| 9 | No. 4, Undenominational | -3.00 | -23.45 | -19.8 | 13 |
| 10 | No. 5, Upper Lambourne | -8.02 | -29.62 | -26.2 | 13 |
| 11 | No. 1, In Someone Else's Poem | -6.30 | -29.94 | -24.6 | 14 |
| 12 | No. 2, 4am | -1.33 | -25.76 | -20.0 | 15 |
| 13 | No. 3, Not Being the Ordinary Way | -2.34 | -24.32 | -19.7 | 14 |
| 14 | No. 4, Not Being Misunderstanding | -0.10 | -20.58 | -16.6 | 13 |
| 15 | No. 5, Moon at Rest | -3.43 | -29.06 | -23.7 | 15 |
| 16 | No. 1, The Submerged Bar | -6.68 | -29.96 | -25.4 | 15 |
| 17 | No. 2, Rat Town | -5.50 | -31.67 | -28.0 | 13 |
| 18 | No. 3, The Ghost Choir | -8.40 | -32.80 | -28.6 | 12 |
| 19 | Intermezzo | -10.29 | -34.02 | -29.5 | 14 |
| 20 | No. 1, Twenty Snowy Mountains | -11.55 | -36.00 | -29.2 | 14 |
| 21 | No. 2, The Autumn Wind | -7.13 | -25.57 | -20.4 | 11 |
| 22 | No. 3, I Was of Three Minds | -7.04 | -29.48 | -23.5 | 13 |
| 23 | No. 4, Which to Prefer | -13.49 | -37.14 | -32.6 | 14 |
| 24 | No. 5, Icicles | -1.81 | -29.43 | -24.8 | 13 |
| 25 | No. 6, I Know Noble Accents | -3.60 | -27.34 | -22.9 | 14 |
| 26 | No. 7, Out of Sight | -13.51 | -39.41 | -35.2 | 14 |
| 27 | No. 8, He Rode Over Connecticut | -0.10 | -23.16 | -19.3 | 15 |
| 28 | No. 9, Evening All Afternoon | -8.79 | -36.62 | -30.0 | 16 |