BRITTEN: THE FOLKSONG ARRANGEMENTS Lorna Anderson - soprano Regina Nathan - soprano Jamie MacDougall - tenor Malcolm Martineau - piano Bryn Lewis - harp Craig Ogden - guitar 2 CDs Hyperion CDD22042 Mid Price

The generation of British composers usually associated with folksong settings is the one that immediately precedes Benjamin Britten; thus it might appear somewhat strange that, being one of the most progressive British talents, he should chose to incorporate traditional melodies into his work long after nationalistic practice had fallen out of fashion. Although he greatly admired Grainger's folksong settings and was a good friend of Moeran, it is important not to associate him directly with the earlier 'pastoral' school. The beauty of his approach to these songs lies in a freshness of harmonic interpretation and an ability to interpret texts musically, hence his reputation as a gifted accompanist. Never feeling completely bound by a tune's implied diatonic or modal harmonies, he displays great imagination without ever sacrificing the inherent simplicity of the genre. For example, in the second half of The Ash Grove, both the right-hand melody and its accompanying harmonies wander subtly away from the vocal line, reflecting the change in emphasis of text from cosy reminiscence to the poet's feelings of sorrow for his beloved's death. The return to a simpler harmonic language for the final two lines is seamless and makes the diversion feel completely natural.

Recording Britten's complete folksong settings is an ambitious undertaking and the results on this re-issue have mixed levels of success. Of the three singers, Lorna Anderson seems to respond most instinctively to the genre and shows a range of vocal guises from the touching sentiment of O can ye sew cushions? to the breakneck speed of Oliver Cromwell. Jamie MacDougall has more sporadic success. In a few numbers, such as The Miller of Dee, his simpler approach works well but on the whole one is left wishing for a slightly more direct and dramatic approach to the text. In a few songs, such as Sally in our alley, he comes closer to this approach but there is not the consistency across the two discs that one would have liked. Furthermore his diction is often lacking, leaving the listener wondering exactly what he is singing about. This is partly understandable where the songs include dialect or require a more regional pronunciation, but one nevertheless should not need to resort to the accompanying booklet in an attempt to understand the text. Regina Nathan features only in Moore's Irish Melodies, the last set on the recording: she has a very attractive and versatile voice but only makes the most of her abilities in the last two songs of the set, The last rose of summer and O the sight entrancing; elsewhere the singing sometimes lacks the intense sincerity that makes Anne Sofie von Otter's recent Deutsche Grammophon recording of folksongs (reviewed in MusicTeachers.co.uk's September 2000 issue of the Online Journal) so irresistible.

The accompaniments are executed throughout the CD with a high level of artistry, and it is obvious why Malcolm Martineau has become such a sought-after accompanist. The dancing textures of The Lincolnshire poacher come alive under his control, and, in songs such as Down by the Sally Gardens, he imbues its simple textures with great feeling. The use of guitar and harp provides an extra dimension of interest, not only for their sheer variety of colour but also by invoking the sound of a self-accompanied folksinger.

This is not a recording to listen to from start to finish in one sitting; it is one that is pleasant to dip into, although rarely dazzling. However, as a study of Britten's imagination and resourcefulness when working within such a restrictive context, it is most enlightening.

Gavin Meredith