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Robin Milford: Piano Music and Songs
Catalogue Number: TOCC0009
Editor’s choice – Gramophone
My Lady’s Pleasure
Phillida Bannister, contralto The music of Robin Milford (1903-59) taps into that distinctly English vein of pastoral melancholy. Lying on a continuum between the work of his friends Gerald Finzi and Ralph Vaughan Williams, Milford’s voice is nonetheless unique: lyrical, gentle, unemphatic – quietly individual. The dark lyricism of the songs on this CD, reflecting the composer’s troubled life, offers a striking contrast with the buoyant, folksong-inspired dances for solo piano – Milford at his happiest. Booklet texts (PDF) |
Track Listing, MP3 Downloads and Streaming Samples
| Track No. | Track Title / Details | Duration | Sample | Add to Cart | |
|---|---|---|---|---|---|
| DOWNLOAD COMPLETE ALBUM | 78:18 | ||||
| 1-3 | My Lady’s Pleasure, for piano (1925) Robin Milford, composer Raphael Terroni, piano (first recording) |
6:16 | |||
| 1 | Pastorale | 2:35 |
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| 2 | Gavotte | 1:50 |
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| 3 | Jig | 1:51 |
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| 4-5 | Four Hardy Songs (Hardy) (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
4:35 | |||
| 4 | No. 2, ‘The Colour’ | 2:10 |
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| 5 | No. 4, ‘Tolerance’ | 2:25 |
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| 6 | Cradle Song (Blake) (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
3:11 |
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| 7 | Daybreak (Donne) (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
1:52 |
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| 8-13 | Reputation Square, for piano (1925) Robin Milford, composer Raphael Terroni, piano (first recording) |
13:35 | |||
| 8 | Matthew’s and Welch’s | 2:11 |
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| 9 | Reputation Square | 2:17 |
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| 10 | George’s, and the New Wells Hornpipe | 1:36 |
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| 11 | Trim the French | 2:37 |
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| 12 | Jack in his Trousers | 1:38 |
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| 13 | Jupiter in the Clouds | 3:16 |
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| 14-16 | Four Songs (Bridges), Nos. 1, 2 and 4 (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
8:56 | |||
| 14 | No. 1, ‘So Sweet Love Seemed’ | 2:36 |
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| 15 | No. 2, ‘Elegy’ | 3:56 |
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| 16 | No. 4, ‘Love on my Heart’ | 2:24 |
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| 17-18 | Four Seasonable Songs, Nos. 2 and 4 (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
2:52 | |||
| 17 | No. 2, ‘Summer. Pleasure It Is’ (Cornish) | 0:49 |
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| 18 | No. 4, ‘Winter. This Endris Night’ (Anon) | 2:03 |
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| 19-21 | Prelude, Air and Finale (on a well-known mordent), for piano (1925) Robin Milford, composer Raphael Terroni, piano (first recording) |
10:42 | |||
| 19 | Prelude | 3:13 |
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| 20 | Air | 3:28 |
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| 21 | Finale | 4:01 |
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| 22-30 | Swan Songs (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
21:30 | |||
| 22 | No. 1, ‘Song of St Mary the Virgin (The Magnificat)’ | 4:08 |
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| 23 | No. 2, ‘The Song of Simeon (The Nunc Dimittis)’ | 1:28 |
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| 24 | No. 3, ‘Idleness’ (Young) | 1:40 |
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| 25 | No. 4, ‘Christmas Day’ (Young) | 2:23 |
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| 26 | No. 5, ‘In Cornwall’ (Ridler) | 2:32 |
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| 27 | No. 6, ‘Expectans Expectavi’ (Ridler) | 1:43 |
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| 28 | No. 7, ‘The Holy Tide’ (Tennyson) | 2:40 |
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| 29 | No. 8, ‘The Glance’ (Herbert) | 2:25 |
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| 30 | No. 9, ‘Sleep’ (Williams) | 2:31 |
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| 31 | Jenifer’s Jingle, for piano (1925) Robin Milford, composer Raphael Terroni, piano (first recording) |
3:05 |
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| 32 | Days and Moments (1925) Robin Milford, composer Phillida Bannister, contralto Raphael Terroni, piano (first recording) |
1:44 | |||
| 32 | II. Autumn: No. 4, ‘An Epitaph’ (Walter de la Mare) | 1:44 |
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Artists
Robin Milford, composer
Phillida Bannister, contralto
Raphael Terroni, piano
Reviews
Robin Milford came from a quintessentially English stable. Taught by Vaughan Williams, Holst and Henry Ley, and a friend of Gerald Finzi, he could have shared their prominence, but in a sense he came too late. His music has been undeservedly neglected, so this CD is a welcome display of his beautifully crafted, solidly made and yet light and flexible piano music, played with real sparkle by Raphael Terroni. Phillida Bannister has a tougher job with the songs, which often reflect Milford’s darker, suicidal nature.
Stephen Pritchard The Observer
this is a most handsomely performed, recorded and presented collection representing the lyric pastel-shaded English pastoralism with which Milford's scores are imbued
Rob Barnett MusicWeb International
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