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Love Lives beyond the Tomb
Ian Venables

Ian Venables

Love Lives beyond the Tomb

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212061725
Catnr: SIGCD 617
Release date: 24 April 2020
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Label
Signum Classics
UPC
0635212061725
Catalogue number
SIGCD 617
Release date
24 April 2020
Album
Artist(s)
Composer(s)
EN

About the album

As the title suggests, the works on this disc are predominantly reflective in mood although this does not preclude the use of faster-moving music whenever the poetry requires it. Its subject matter celebrates the timelessness of love through the poetry of James Joyce, John Drinkwater, Edward Thomas, John Clare, Robert Nichols and the modern poet Jennifer Andrews; the celebration and commemoration of Queen Elizabeth, The Queen Mother, in Sir Andrew Motion’s remarkable narrative poem Remember This and the collective remembrance of those who died in the First World War: the poetry of Wilfred Owen, Isaac Rosenberg, Siegfried Sassoon, Geoffrey Studdert Kennedy and the less well-known Francis St. Vincent Morris providing the impetus for one of Ian Venables’ most dramatic and profoundly moving cycles.

Artist(s)

Ian Venables

Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song. Described as ‘Britain’s greatest living composer of art song’ (Musical Opinion) and ‘a song composer as fine as Finzi and Gurney’ (BBC Music Magazine), Ian Venables has written over 80 works in this genre, including nine song-cycles.
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Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song. Described as ‘Britain’s greatest living composer of art song’ (Musical Opinion) and ‘a song composer as fine as Finzi and Gurney’ (BBC Music Magazine), Ian Venables has written over 80 works in this genre, including nine song-cycles.

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Mary Bevan (vocals)

Mary Bevan (soprano) read Anglo-Saxon, Norse and Celtic at Trinity College, Cambridge, before training at the Royal Academy of Music in London. She became an Associate Artist of Classical Opera in 2010, and is a winner of the Royal Philharmonic Society’s Young Artist award and the UK Critics’ Circle Award for Exceptional Young Talent in Music. Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Papagena (The Magic Flute), Yum-Yum (The Mikado), Second Niece (Peter Grimes) and Rebecca (in the world première of Nico Muhly’s Two Boys) for English National Opera, where she is a Harewood Artist, Gerechtigkeit (Die Schuldigkeit des ersten Gebots), Tamiri (Il re pastore), Servilia (La clemenza di Tito) and Emma (Thomas Arne’s Alfred)...
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Mary Bevan (soprano) read Anglo-Saxon, Norse and Celtic at Trinity College, Cambridge, before training at the Royal Academy of Music in London. She became an Associate Artist of Classical Opera in 2010, and is a winner of the Royal Philharmonic Society’s Young Artist award and the UK Critics’ Circle Award for Exceptional Young Talent in Music.

Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Papagena (The Magic Flute), Yum-Yum (The Mikado), Second Niece (Peter Grimes) and Rebecca (in the world première of Nico Muhly’s Two Boys) for English National Opera, where she is a Harewood Artist, Gerechtigkeit (Die Schuldigkeit des ersten Gebots), Tamiri (Il re pastore), Servilia (La clemenza di Tito) and Emma (Thomas Arne’s Alfred) for Classical Opera, Zerlina (Don Giovanni) for Garsington Opera, Belinda (Dido and Aeneas) for The English Concert, and – for The Royal Opera – Music/ Euridice (Monteverdi’s L’Orfeo) at the Roundhouse and the title role in Luigi Rossi’s Orpheus at the Sam Wanamaker Playhouse.

Her extensive concert engagements have included Bellezza (Il trionfo del Tempo e del Disinganno) with the Dunedin Consort, a Handel residency with Emanuelle Haïm at the Aix-en-Provence Festival, and Handel’s Messiah with The English Concert and the English Chamber Orchestra, and she has appeared at the BBC Proms, Edinburgh International Festival, Spitalfields Festival and Oxford Lieder Festival. Her recordings include ‘Handel in Italy’ with London Early Opera for Signum Classics, Handel’s The Triumph of Time and Truth and Ode for Saint Cecilia’s Day with Ludus Baroque for Delphian Records, and Ludwig Thuille songs with Joseph Middleton and Mendelssohn songs with Malcolm Martineau, both for Champs Hill Records.


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Allan Clayton (vocals)

Allan Clayton (tenor) is established as one of the most exciting and sought-after singers of his generation. He studied at St John’s College, Cambridge and at the Royal Academy of Music in London. In 2007 he became an Associate Artist of Classical Opera and a BBC New Generation Artist, and his numerous awards include ‘The Queen’s Commendation for Excellence’ at the Royal Academy of Music, the John Christie Award for his Glyndebourne Festival début as Albert Herring, and a Borletti- Buitoni Trust Fellowship. His opera roles have included Ferrando (Così fan tutte) for Glyndebourne Festival Opera, The Royal Opera House, Covent Garden and Opera North, Tamino (Die Zauberflöte) for Welsh National Opera, English National Opera and the Komische Oper, Berlin, Castor...
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Allan Clayton (tenor) is established as one of the most exciting and sought-after singers of his generation. He studied at St John’s College, Cambridge and at the Royal Academy of Music in London. In 2007 he became an Associate Artist of Classical Opera and a BBC New Generation Artist, and his numerous awards include ‘The Queen’s Commendation for Excellence’ at the Royal Academy of Music, the John Christie Award for his Glyndebourne Festival début as Albert Herring, and a Borletti- Buitoni Trust Fellowship.

His opera roles have included Ferrando (Così fan tutte) for Glyndebourne Festival Opera, The Royal Opera House, Covent Garden and Opera North, Tamino (Die Zauberflöte) for Welsh National Opera, English National Opera and the Komische Oper, Berlin, Castor (Castor et Pollux), Lysander (A Midsummer Night’s Dream) and Cassio (Otello) for English National Opera, and Third Angel/ John in George Benjamin’s award-winning opera Written on Skin at the Aix-en-Provence Festival, The Royal Opera, Netherlands Opera and the Bayerische Staatsoper.

He is equally in demand on the concert platform, and recent engagements have included Britten’s Spring Symphony with both the Philharmonia and the City of Birmingham Symphony Orchestra, the title role in Stravinsky’s Oedipus Rex at the BBC Proms, and the Salzburg première of Elgar’s The Dream of Gerontius. A consummate recitalist, Allan has worked with many outstanding pianists, including Paul Lewis, Malcolm Martineau, Roger Vignoles and Julius Drake. His recordings have included Handel’s Messiah with both the Academy of Ancient Music (EMI) and the Britten Sinfonia (Hyperion), Belshazzar with Les Arts Florissants and William Christie, Britten’s St Nicolas with the City of London Sinfonia (Hyperion), Cassio in Verdi’s Otello (LSO Live), and ‘The A-Z of Mozart Opera’ and Der Christ in Mozart’s Die Schuldigkeit des ersten Gebots with Classical Opera and Ian Page (Signum Classics).


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Composer(s)

Ian Venables

Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song. Described as ‘Britain’s greatest living composer of art song’ (Musical Opinion) and ‘a song composer as fine as Finzi and Gurney’ (BBC Music Magazine), Ian Venables has written over 80 works in this genre, including nine song-cycles.
more
Ian Venables studied composition with Richard Arnell at Trinity College of Music, London and later with John Joubert, Andrew Downes and John Mayer at the Royal Birmingham Conservatoire. His works encompass many genres and he has added significantly to the canon of English art song. Described as ‘Britain’s greatest living composer of art song’ (Musical Opinion) and ‘a song composer as fine as Finzi and Gurney’ (BBC Music Magazine), Ian Venables has written over 80 works in this genre, including nine song-cycles.

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Press

Play album Play album
01.
Six Songs, Op. 33: I. The Way Through
03:14
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
02.
Three Songs, Op. 37: III. Aurelia
03:19
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
03.
Eight Songs, Op. 41: VI. Chamber Music III
04:49
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
04.
Three Songs, Op. 37: I. Love Lives Beyond the Tomb
04:21
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
05.
Six Songs, Op. 33: II. It Rains
05:44
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
06.
I Caught the Changes of the Year, Op. 45
03:53
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
07.
Remember This, Op. 40: I. Think of the Failing Body
03:35
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
08.
Remember This, Op. 40: II. In the Swirl of its Pool
02:40
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
09.
Remember This, Op. 40: III. Think of the Flower-Lit Coffin
04:35
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
10.
Remember This, Op. 40: IV. In the Grip of Their Season
03:32
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
11.
Remember This, Op. 40: V. Think of the Standard and its Blaze
04:27
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
12.
Remember This, Op. 40: VI. On the Crest of their Downs
02:42
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
13.
Remember This, Op. 40: VII. Think of the Buried Body Laid
04:58
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
14.
Remember This, Op. 40: VIII. In the Eyes of Our Minds
04:20
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
15.
Through These Pale Cold Days, Op. 46: I. The Send-Off
05:33
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
16.
Through These Pale Cold Days, Op. 46: II. Procrastination
04:27
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
17.
Through These Pale Cold Days, Op. 46: III. Through These Pale Cold Days
05:22
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
18.
Through These Pale Cold Days, Op. 46: IV. Suicide in the Trenches
02:38
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
19.
Through These Pale Cold Days, Op. 46: V. If You Forget
04:29
(Ian Venables) Ian Venables, Mary Bevan, Allan Clayton, Graham J. Lloyd, Mary Bevan, Allan Clayton, Graham J. Lloyd
show all tracks

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