PETER CROSSLEY-HOLLAND: COLLECTED SONGS British Heritage Series Forsyth Brothers, 2000 SDH 01 £14.95

This collection of songs forms part of Forsyth's British Heritage Series, volumes that cover a broad spectrum of British music from the last hundred or so years, from well-known composers such as Delius and Balfour Gardiner, to more obscure figures such as Dorothy Pilling and Humphrey Procter-Gregg. The volume contains 24 songs, of which only fifteen are scored for voice and piano; the rest utilise a diverse range of instrumental accompaniments including cello, recorder and harp.

Crossley-Holland's background as an ethnomusicologist shines through in many of the songs. This is sometimes on an obvious level, such as in the pentatonic melodic shapes that permeate Fairy Workers, but elsewhere on a subtle level, such as through his use of modal harmonies or his use of texts that reflect themes of nature. In songs such as Caedmon's Hymn and Le Départ de l'âme, his choice of accompanying instruments (harp and recorder respectively) evokes the atmosphere of folk music in a way that a piano cannot.

Harmonically and stylistically, the music shows many traits that place it firmly in a British sound-world; the modal chromaticism of Ireland, Orr and Rubbra are stamped over much of the piano writing, and, in this respect, one could not regard the compositions as innovative. That is not to say, however, that they are uninteresting. The chief task of the songwriter is to get inside the text and draw out the inflections and moods it conveys, and, in this respect, the composer shows admirable ability. For example, the long, slow piano introduction of Into the Twilight, with its 'measured tread', creates a sense of world-weariness that sets the scene magically for the singer's opening words 'Outworn heart in a time outworn…'.

Vocally, the songs are probably suited to a more advanced voice, as the flexible phrasing and sudden leaps onto pianissimo top notes in songs such as The Nightingales requires a technical ability beyond the scope of most young singers. That said, there are songs such as Cradle Song, When the Woods were Green and the unaccompanied Two Songs for a Baptism that are simple and direct enough for most performers to cope with.

Any singer with a liking for English song would do well to investigate this composer's work; in particular, the songs using accompaniments other than the piano would add a refreshing touch to any recital programme if suitable players were available.

Gawain Meredith