Composer: Samuel Coleridge-Taylor
Performer: Elizabeth Llewellyn, Simon Lepper
Format: FLAC (tracks)
Label: Orchid
Release: 2021
Size: 899 MB
Recovery: +3%
Scan: yes
Sorrow Songs (6), Op. 57
01. No. 1, Oh, What Comes Over the Sea
02. No. 2, When I Am Dead, My Dearest
03. No. 3, Oh, Roses for the Flush of Youth
04. No. 4, She Sat and Sang Alway
05. No. 5, Unmindful of the Roses
06. No. 6, Too Late for Love!
Southern Love Songs, Op. 12
07. No. 3, Minguillo
08. No. 4, If Thou Art Sleeping, Maiden
09. No. 2, Tears
African Romances, Op. 17
10. No. 1, An African Love Song
11. No. 2, A Prayer
12. No. 3, A Starry Night
13. No. 4, Dawn
14. No. 5, Ballad
15. No. 6, Over the Hills
16. No. 7, How Shall I Woo Thee
17. Big Lady Moon (from Fairy Ballads)
Songs of Sun and Shade
18. No. 4, Thou Art Risen, My Beloved
19. No. 1, You Lay So Still in the Sunshine
20. No. 2, Thou Hast Bewitched Me, Beloved
21. A king there live in Thule
22. A Lament
Songs (6), Op. 37
23. No. 2, Canoe Song
24. No. 1, You’ll Love Me Yet
25. Life and Death
Known for her vivid portrayals and full, distinctive voice, Elizabeth Llewellyn has established herself internationally as a dramatic and vocal artist of distinction. She has chosen to offer listeners something new by devoting her debut disc to the music of Samuel Coleridge-Taylor, much of it never recorded before. Elizabeth Llewellyn is joined by pianist Simon Lepper, with whom she has collaborated closely in the development of this unique project. To poetry by Christina Rossetti, Coleridge-Taylor’s Six Sorrow Songs and A Lament are almost all world-premiere recordings. The Southern Love Songs evoke styles including Latin music and flamenco, and the African Romances, never recorded until now, are to words by African-American writer Paul Laurence Dunbar. Big Lady Moon is to poetry by West African polymath Kathleen Mary Easmon, and the sensuous Three Songs of Sun and Shade are followed by more previously-unreleased songs: A king there lived in Thule, Canoe Song and You’ll Love Me Yet. The recital ends with Life and Death, in which Coleridge-Taylor anticipates styles that would become popular two decades after his death. This was a composer ahead of his time who, at last, is starting to receive the recognition he deserves.