recorded 2016

Sasha Cooke and Julius Drake
Hyperion



The Washington Post:
Liszt’s songs get masterful attention
Cooke and Drake lavish sympathy and understanding on these challenging exemplars of Liszt’s austere, introverted and prophetic late style.

Musicweb International
Today I can only report that this fourth volume in the Liszt cycle is every bit as successful as the previous three. It should be an obligatory buy for every song enthusiast.

Des Tages Laute Stimmen Schweigen
Lasst mich ruhen
Was Liebe sei? (First version), S288/1
Verlassen, S336
Einst (Bodenstedt)
Ich scheide, S. 319
Was Liebe sei? (Second version), S288/2
Die Lorelei (Second version), S532
Wer nie sein Brot mit Tränen aß (2nd version), S297/2
Was Liebe sei? (Third version), S288/3
Mignons Lied (Second Version), S275/2
Sei still, S330
Wieder mocht’ ich dir begegnen
Blume und Duft
Die tote Nachtigall (2nd version), S291/2
Il m'aimait tant, S533
Gebet, S265


order...






recorded 2015

Christoph Prégardien and Julius Drake



WINNER
JAHREPREIS DER DEUTSCHEN SCHALLPLATTENKRITIK 2016

Gramophone Magazine
Christoph Prégardien is still one of the finest, most thoughtful Lieder singers active today...
The tenor also benefits from superlative support from Julius Drake. Well captured in a wide, realistic sonic picture, Drake is responsive and intelligent, his playing full of detail but never stealing the limelight.


Auf der Bruck, D853
Der liebliche Stern, D861 (Schulze)
Im Walde D834
Um Mitternacht D862
Lebensmut D883 (Ernst Schulze)
Im Frühling, D882
An Mein Herz D860
Im Janner 1817 (Tiefes Leid) D876
Über Wildemann D884 (Ernst Schulze)
Dass sie hier gewesen! D775 (Rückert)
Greisengesang, D778
Du bist die Ruh D776 (Rückert)
Im Walde D708
Nacht und Träume, D827
Fischerweise, D881 (Schlechta)
Totengräbers Heimwehe D842 (Craigher)
Der Winterabend (Es ist so still), D938




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recorded 2015

Ian Bostridge and Julius Drake



The Irish Times
5 out of 5 stars
Bostridge’s highly personal style is both intimate and intense, the feelings sometimes bursting out as if they were impossible to contain...
Julius Drake at the piano is a full partner, imbued in and developing the moods of the voice.


Im Frühling, D882
Über Wildemann D884 (Ernst Schulze)
Der liebliche Stern, D861 (Schulze)
Im Janner 1817 (Tiefes Leid) D876
Auf der Bruck, D853
Aus 'Heliopolis' - I D753 (Mayrhofer)
Aus 'Heliopolis' - II D754 (Mayrhofer)
Abendbilder, D650
Ins stille Land, D403
Totengräbers Heimwehe D842 (Craigher)
Auf der Riesenkoppe, D611
Sei mir gegrüsst! D741 (Rückert)
Dass sie hier gewesen! D775 (Rückert)
Die Forelle, D550
Des Fischers Liebesgluck, D933 (Leitner)
Fischerweise, D881 (Schlechta)
Atys D585
Nachtviolen D752 (Mayrhofer)
Geheimnis, D491 (Mayrhofer)
Im Walde D834


order...






recorded 2015

Gerald Finley and Julius Drake
Hyperion



1. Morgens Steh' Ich Auf Und Frage, S290
2. Ein Fichtenbaum Steht Einsam, S309
3. Anfangs Wollt' Ich Fast Verzagen, S311
4. Weimars Toten, S303
5. Wer Nie Sein Brot Mit Tränen Ass, S297
6. Benedetto Sia 'L Giorno
7. Pace Non Trovo
8. I' Vidi in Terra Angelici Costumi
9. Die Fischerstochter, S325
10. Und Wir Dachten Der Toten, S338
11. Die Vätergruft, S281
12. Gastibelza, 'Bolero', S286
13. La Tombe Et La Rose, S285
14. Le Vieux Vagabond, S304
15. Go Not, Happy Day, S335






recorded 2014

Ian Bostridge and Julius Drake
Recorded live at Wigmore Hall, 13 September 2013



Tracks
1. Der Strom, D565,
2. Auf der Donau, D553,
3. Lied eines Schiffers an die Dioskuren, D360
4. Nachtstuck, D672,
5. Viola, D786,
6. Abendstern, D806,
7. Gondelfahrer, D808
8. Auflosung, D807
9. Widerschein, D949,
10. Alinde, D904,
11. Rastlose Liebe, D138,
12. Geheimes, D719,
13. Versunken, D715
14. Der Winterabend, D938,
15. Die Sterne, D939,
16. Strophe aus Die Gotter Griechenlands , D677
17. Encores: An den Mond, D259,
18. Spoken introduction, An den Mond, D296

order...


08 Auflösung, D. 807 - 04 Nachtstück, D. 672






recorded 2014

Gerald Finley and Julius Drake
Hyperion


Gramophone Magazine, March 2014


Nothing is exaggerated; but on an intimate scale Finley and Drake find the nub of the dramatic psychological substance of these songs. As the cycle progresses, the sense of disilIusin and aching despondency becomes all the more unsettling, Finley and Drake finding a still hopelessness in ‘Das Wirtshaus’, the traveller ‘weary to the point of collapse’. With each song shrewdly characterised, this is also a Winterreise in which the long-term narrative is eloquently, poignantly sustained.

The Observer, March 2014


The more quietude Finley brings to each song – as in the early sequence of Erstarrung (Numbness), Der Lindenbaum (The Linden Tree) and Wasserflut (Flood) – the more potent his reading. Julius Drake, accompanying, is equally lyrical, fluent, expressive. Neither lets the music shout. They respond minutely to the shifts from bright to dark, major to minor. The disc lends itself to repeated exploration, a bonus in itself with so familiar a work.

Gramophone Magazine, April 2014


Finley can exercise his lyrical powers in such songs as ‘Der Lindenbaum’, ‘Die Krähe’, ‘Letzte Hoffnung’ or ‘Täuschung’ but it is not a lyrical talent alone: more to the point, it is the spectrum of tonal colouring, inflection and instinctive phrasing which lend this performance of Winterreise such an absorbing sense of inner communion with the soul. Nothing is exaggerated; but on an intimate scale Finley and Drake find the nub of the dramatic psychological substance of these songs. As the cycle progresses, the sense of disillusion and aching despondency becomes all the more unsettling, Finley and Drake finding a still hopelessness in ‘Das Wirtshaus’, the traveller ‘weary to the point of collapse’. With each song shrewdly characterised, this is also a Winterreise in which the long-term narrative is eloquently, poignantly sustained.


order...


01 Schubert_ Winterreise, D 911 - 04 Schubert_ Winterreise, D 911






recorded 2013

Mark Padmore, Iestyn Davies, Marcus Farnsworth, Julius Drake, Lucy Wakeford, Richard Watkins
Wigmore Hall Live, recorded 30 November 2013

Tracks


1. Canticle I: My Beloved Is Mine
2. Canticle II: Abraham and Isaac
3. Canticle V: The Death of Saint Narcissus
4. Canticle IV: Journey of the Magi
5. Canticle III: Still Falls the Rain - The Raids, 1940. Night and Dawn

Nicholas Kenyon in The Observer, 10 November 2013


As what would have been Britten's 100th birthday approaches, here is a reminder of the great things the centenary celebrations have already produced: a wonderful traversal of the five canticles that span so much of Britten's composing life, brought together in a single evening at the Wigmore Hall a year ago. Mark Padmore is in superlative form; the three-voice chanting by him, Iestyn Davies and Marcus Farnsworth is spine-tingling. The whole is underpinned by the resonant piano of Julius Drake. Britten's word-setting – the phrase "set down this" in Journey of the Magi — is peerless and every word is audible in these fine performances.


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recorded 2013

Alice Coote & Julius Drake
Wigmore Hall Live, recorded 26 January 2012

The Guardian
a formidable experience....



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recorded 2012

Gerald Finley & Julius Drake
Hyperion

Four stars: The Guardian

Tracks


Liederkreis Op 39
1. In der Fremde
2. Intermezzo
3. Waldesgespräch
4. Die Stille
5. Mondnacht
6. Schöne Fremde
7. Auf einer Burg
8. In der Fremde
9. Wehmut
10. Zwielicht
11. Im Walde
12. Frühlingsnacht

Sechs Gedichte aus dem Liederbuch eines Malers Op 36,
13. Sonntags am Rhein
14. Ständchen
15. Nichts Schöneres
16. An den Sonnenschein
17. Dichters Genesung
18. Liebesbotschaft

Liederkreis Op 24
19. Morgens steh ich auf und frage
20. Es treibt mich hin
21. Ich wandelte unter den Bäumen
22. Lieb Liebchen, legs Händchen
23. Schöne Wiege meiner Leiden
24. Warte, warte, wilder Schiffmann
25. Berg und Burgen schaun herunter
26. Anfangs wollt ich fast verzagen
27. Mit Myrthen und Rosen






recorded 2012

Angelika Kirchschlager & Julius Drake
Hyperion

Winner of BBC Music Magazine Vocal Award 2013

Gramophone
With Drake ever-sensitive to atmosphere
and harmonic colour...
...Kirchschlager is in her element...
...this recital should open many ears to the richness and variety of his songs


The Guardian
Kirchschlager is exquisite and intensely dramatic by turns... Drake is outstanding throughout.

Tracks


1 Der du von dem Himmel bist S279 First version
2 Ihr Glocken von Marling S328
3 Ein Fichtenbaum steht einsam S309 First setting, first version
4 Vergiftet sind meine Lieder S289 Third version
5 Freudvoll und leidvoll S280 First setting, second version
6 Die drei Zigeuner S320 First version Drei Zigeuner fand ich einmal
7 Über allen Gipfeln ist Ruh’ S306 Third version
8 J’ai perdu ma force et ma vie S327
9 Jeanne d’Arc au bûcher S293 Third version Mon Dieu! J’étais une bergère, quand
10 Es war ein König in Thule S278 Second version
Muttergottes-Sträusslein zum Mai-Monate S316
11 No 1: Das Veilchen Spende, Veilchen, deine Düfte
12 No 2: Die Schlüsselblumen Dort am grünen Hügel glänzen
13 Und sprich S329 Sieh auf dem Meer den Glanz
14 Ihr Auge S310 Second version Nimm einen Strahl der Sonne
15 Im Rhein, im schönen Strome S272 Second version
16 Es muss ein Wunderbares sein S314
17 La perla S326 Second version Sono del mare bianca la figlia
18 Der du von dem Himmel bist S279 Third version







recorded 2011

Pianomania follows Stefan Knüpfer, chief piano technician at Steinway, Vienna and pianist Pierre-Laurant Aimard in their quest for the perfect piano for a recording of Bach's 'Art of Fugue'. Includes interviews with Lang-Lang, Julius Drake and Alfred Brendel.

Directors: Cibis Franck, Lilian Franck
Running time: 93 mins






recorded 2011

Songs by Schubert, Beethoven, Britten and Hahn

Opera News
Matthew Polenzani and Julius Drake display great poise. They evoke recitalists of past generations, unafraid to linger Lehmann- or Moore-like as the phrase strikes them...
Spotless in intonation at all dynamic levels, he has a particularly arresting pianissimo...
...Drake supports him with the most perfectly even arpeggios to be heard on record


Tracks


Franz Schubert
01 Im Frühling – 04.47
02 Fischerweise – 03.08
03 Der Einsame – 04.25
04 Nachtstück – 05.23
05 An Silvia – 03.17

Ludwig van Beethoven: An die ferne Geliebte, Op. 96
06 Auf dem Hügel sitz ich spähend – 02.35
07 Wo die Berge so blau – 01.51
08 Leichte Segler in den Höhen – 01.45
09 Diese Wolken in den Höhen – 00.58
10 Es kehret der Maien, es blühet die Au – 02.53
11 Nimm sie hin denn, diese Lieder – 04.51

Benjamin Britten: Seven Sonnets of Michelangelo, Op. 22
12 Si come nella penna (Sonnet XVI) – 02.05
13 A che più debb’io mai (Sonnet XXXI) – 01.28
14 Veggio co’bei vostri occhi (Sonnet XXX) – 03.36
15 Tu sa’, ch’io so (Sonnet LV) – 01.49
16 Rendete agli occhi miei (Sonnet XXXVIII) – 01.57
17 S’un casto amor (Sonnet XXXII) – 01.15
18 Spirto ben nato (Sonnet XXIV) – 05.29

Reynaldo Hahn: Venezia – Chansons en dialecte Venetien
19 Sopra l’Acqua Indormenzada – 03.10
20 La Barcheta – 03.41
21 L’Avertimento – 01.31
22 La Biondina in Gondoleta – 03.47
23 Che Pecà! – 02.12
24 La Primavera – 02.42

Encore


Traditional
25 Danny Boy – 03.52







recorded 2011

Bejun Mehta & Julius Drake
Harmonia Mundi

The Observer
steps elegantly into the field of early-ish 20th-century English song

Classical Review
Julius Drake’s playing is unfailingly sensitive and beautifully measured

The Guardian
Mehta’s singing is so heart-stoppingly beautiful and musically perceptive

The Scotsman
Julius Drake provides rich-scented accompaniments…

See Press section for reviews in full

Tracks


1 Howells: King David
2 Quilter: It was a lover and his lass
3 Gurney: Down by the salley gardens
4 Vaughan Williams: Silent Noon
5 Britten: Lord, what is man?
6 Britten: Job’s Curse
7 Vaughan Williams: Linden Lea
8 Quilter: Come away, death
9 Quilter: O mistress mine
10 Quilter: Blow, blow, thou winter wind
11 Finzi: At Middle-Field Gate in February
12 Howells: The Widow Bird
13 Berkeley: The Horseman
14 Howells: The Little Boy Lost
15 Stanford: La Belle Dame Sans Merci
16 Vaughan Williams: Bright is the ring of words
17 Finzi: The Sigh
18 Warlock: Jillian of Berry
19 Hely-Hutchinson: Set in the manner of Handel
20 Quilter: Take, o take those lips away
21 Finzi: Since we loved
22 Quilter: Hey, ho, the wind and the rain
23 Purcell arr Tippett: Music for a while






recorded 2011

Gerald Finley & Julius Drake
Hyperion

BBC Music Magazine
"Finley is a fine tale-teller" "Drake is a fine accomplice"

Gramophone
"Romantic ballads, ranging from camp and colourful to utterly spellbinding" "As these pages have said before, it’s a great partnership."

The Times
Performances full of raging fortissimos and ghoulish tremolandos from Finley and his pianist Julius Drake.

The Whole Note
Drake knows how to be pianistically comedic as well as dramatic, romantic as well as impish. His artistic contribution is a significant reason for this disc’s success.

Tracks


1 Ludwig van Beethoven: Aus Goethes Faust, Op 75 No 3 Es war einmal ein König.
2 Carl Loewe: Edward, Op 1 No 1 Dein Schwert, wie ist’s von Blut so rot?
3 Carl Loewe: Die wandelnde Glocke, Op 20. No 3 Es war ein Kind, das wollte nie.
4 Franz Peter Schubert: Erlkönig, D328. Wer reitet so spät durch Nacht und Wind?
5 Robert Schumann: Drei Gesänge, Op 31 No 1: Die Löwenbraut Mit der Myrte geschmückt und dem Brautgeschmeid.
6 Robert Schumann: Romanzen und Balladen I, Op 45 No 1 Der Schatzgräber Wenn alle Wälder schliefen.
7 Johannes Brahms: 49 Deutsche Volkslieder, WoO33 Anonymous – traditional, arr. Johannes Brahms. No 29: Es war ein Markgraf überm Rhein. Gedichte von Eduard Mörike
8 Hugo Wolf: No 44 Der Feuerreiter Sehet ihr am Fensterlein.
9 Gustav Mahler: Wo die schönen Trompeten blasen Wer ist denn draußen und wer klopfet an.
10 Sir Charles Villiers Stanford: La belle dame sans merci O what can ail thee, knight-at-arms.
11 Cyril Scott: Lord Randall O where hae ye been, Lord Randall, my son? Anonymous – traditional, arr. Cyril Scott
12 Sir Arthur Sullivan: The Lost Chord Seated one day at the organ.
13 Louis Emanuel: The Desert Alone in the desert, alone, I’m alone.
14 Cole Porter: The Tale of the Oyster Down by the sea lived a lonesome oyster






recorded 2011

Julius Drake
ATMA Classique

BBC Music Magazine
It’s a treat to hear him take centre stage

Musical pointers
the whole concept is realised to perfection.

The Whole Note
Drake’s songful renderings are restrained and polished

Tornoto.com
This is a scented bubble bath rendered by two sensitive hands at a piano

Tracks


Robert Schumann: Album für die Jugend Op. 68
1 Mignon
2 Melodie

Johannes Brahms: Drei Intermezzi Op. 117
3 No. 1 in E flat major

Felix Mendelssohn: Lied ohne Worte
4 No. 12, Op. 30, No. 6, “Veneziani
5 No. 18, Op. 38, No. 6, “Duetto”

Franz Schubert: Six moments musicaux D. 780
6 No. 2 Andantino in A flat major

7 Franz Liszt: Der Doppelgänger

Edvard Grieg: Lyric peices Vol 3
8 Erotik

Claude Debussy: Suite bergamasque
9 Clair de Lune

Francis Poulenc: Histoire de Babar
10 Berceuse

Leos Janácek: On an overgrown path
11 The Maddona of Friedek

Bela Bartok: Mikrokosmos
12 Melody
13 Like a Folksong
14 Melody in the Mist
15 Nottorno

Benjamin Britten: Holiday diary Op. 5
16 Night

Robert Schumann: Kinderszenen Op. 15
17 No. 12 Kind im Einschlummern


Holiday Diary, Op. 5_ IV. Night






recorded 2010

Matthew Polenzani & Julius Drake
Hyperion

Drake is impassioned when Liszt demands it — which is often. Opera News, February 2011

"Polenzani and Drake create performances that are at once thoughtful, richly atmospheric and never less than compelling." International Record review, November 2010

Five stars: "This stupendous disc..." The Guardian


Tracks


1. Kling leise, mein Lied, S301 First version
2. In Liebeslust, S318
3. Wie singt die Lerche schön, S312 Second version
4. Die stille Wasserrose, S321

Lieder aus Schillers Wilhelm Tell, S292 First version
5. No 1 – Der Fischerknabe Es lächelt der See, er ladet zum Bade
6. No 2 – Der Hirt Ihr Matten, lebt wohl
7. No 3 – Der Alpenjäger Es donnern die Höh’n, es zittert der Steg

8. Der Glückliche, S334 Wie glänzt nun die Welt im Abendstrahl
9. Angiolin dal biondo crin, S269 Third version

Tre sonetti di Petrarca, S270 First version
10. No 1 – Pace non trovo
11. No 2 – Benedetto sia ‘l giorno
12. No 3 – I’ vidi in terra angelici costumi

13. Bist du, S277 Second version Mild wie ein Lufthauch im Mai
14. Es rauschen die Winde, S294 First version
15. Schwebe, schwebe, blaues Auge, S305 Second version
16. Im Rhein, im schönen Strome, S272 First version ossia

To read full reviews see Press section




Tre sonetti di Petrarca No 3 – I’ vidi in terra angelici costumi - Lieder aus Schillers Wilhelm Tell No 3 – Der Alpenjäger Es donnern die Höh’n, es zittert der Steg






recorded 2010

Gerald Finley & Julius Drake
Hyperion

WINNER OF THE 2011 GRAMOPHONE AWARD (Solo Vocal category)



CLASSICAL CD OF THE WEEK: The Telegraph
"Eloquence rooted in sturdy simplicity is what they need, and Finley and Drake hit the right note every time."

FIVE STARS: Financial Times
"music that Finley, now at the peak of his very considerable powers, makes his own with the pianist Julius Drake."

CD OF THE WEEK: The Times
"Drake is his [Finley's] admirable partner in this outstanding enterprise."


Tracks


1 Lemady ‘One midsummer’s morn as I was a-walking‘
2 She’s like the swallow
3 I wonder as I wander
4 Tom Bowling ‘Here, a sheer hulk, lies poor Tom Bowling‘

Songs and Proverbs of William Blake, Op 74
5 No 01: Proverb I ‘The pride of the peacock if the glory of God’
6 No 02: London ‘I wander thro’ each charter’d street’
7 No 03: Proverb II ‘Prisons are built with stones of Law’
8 No 04: The Chimney-Sweeper ‘A little black thing among the snow’
9 No 05: Proverb III ‘The bird a nest, the spider a web’
10 No 06: A Poison Tree ‘I was angry with my friend’
11 No 07: Proverb IV ‘Think in the morning’
12 No 08: The Tyger ‘Tyger! Tyger! burning bright’
13 No 09: Proverb 5 ‘The tygers of wrath are wiser than the horses of instruction’
14 No 10: The Fly ‘Little Fly’
15 No 11: Proverb VI ‘The hours of folly are measur’d by the clock’
16 No 12: Ah, Sun-flower
17 No 13: Proverb VII ‘To see a World in a Grain of Sand’
18 No 14: Every Night and every Morn

Tit for Tat
19 No 1: A Song of Enchantment
20 No 2: Autumn ‘There’s a wind where the rose was’
21 No 3: Silver ‘Slowly, silently, now the moon’
22 No 4: Vigil ‘Dark is the night’
23 No 5: Tit for Tat ‘Have you been catching fish, Tom Noddy?’

24 Um Mitternacht
25 A Poison Tree ‘I was angry with my friend‘

This way to the tomb
26 No 1: Evening ‘The red fox, the sun, tears the throat of the evening’
27 No 2: Morning
28 No 3: Night

29 David of the White Rock ‘Life and its follies are fading away‘
30 Greensleeves ‘Alas, my love, you do me wrong’
31 The Crocodile ‘Now listen you landsmen unto me‘
32 The Deaf Woman’s Courtship ‘Old woman, old woman, are you fond of smoking?‘
33 Bird scarer’s song ‘Shoo all ‘er birds you be so black‘

GF and JD



to read full reviews see Press section







recorded 2010

Natalie Clein and Julius Drake
Hyperion

FIVE STARS Financial Times, August 2010
The final two pieces, Romance lyrique and Adagio, are student works, exuding an innocent romanticism that Clein and Drake capture to perfection.

PERFORMANCE: FIVE STARS
RECORDING: FIVE STARS
BBC Music Magazine, July 2010
"A must-have disc."

FIVE STARS The Telegraph, 25 June 2010
Altogether, an imaginatively planned disc, and one played compellingly.

Tracks


Sonata, Op 8
1 Movement 1: Allegro maestoso ma appassionato
2 Movement 2: Adagio
3 Movement 3: Allegro molto vivace
4 Sonatina
Nine Epigrams
5 No 1: Lento
6 No 2: [untitled]
7 No 3: [untitled]
8 No 4: Moderato
9 No 5: Allegretto
10 No 6: Andantino
11 No 7: Con moto
12 No 8: [untitled]
13 No 9: [untitled]

To read full reviews see Press section







recorded 2009

Christianne Stotijn & Julius Drake
Onyx

WINNER of the Vocal category for the BBC Music Magazine 2010 Awards (see below)

EDITOR'S CHOICE
A real pleasure.
Gramophone, February 2009

DISC OF THE MONTH
As singer and pianist tug telepathically here and there at this delicate music’s tempo, the world seems momentarily to stop turning.
Classic FM magazine, April 2009

PERFORMANCE: FIVE STARS
RECORDING: FIVE STARS
Julius Drake’s focused narratives make us want to hear even more from him.
BBC Music Magazine, March 2009

A second volume, please, and soon! Highly recommended. The Times

Tracks


1 At the Ball op.38 no.3 2.33
2 None but the lonely Heart op.6 no.6 3.30
3 Over burning ashes op.25 no.5 1.47
4 My genius, my angel, my friend! 1.55
5 Lullaby op.16 no.1 3.16
6 Reconciliation op. 25 no.1 5.17
7 The sun has set op.73 no.4 1.41
8 The fearful moment op.28 no.6 3.35
9 Mild stars looked down op.60 no.12 3.26
10 Had I only known op. 47 no.1 4.00
11 The lights were being dimmed op.63 no.5 2.46
12 Not a word, my friend op.6 no.2 3.06
13 Why? op 6, no.5 2.56
14 The Bride’s Lament op.47 no.7 5.47
15 The gypsy song op.60 no.7 2.39
16 Do not believe, my friend op.6 no.1 3.57
17 It was in early spring op.38 no.2 2.38
18 Cuckoo op.54 no.8 2.31
19 Can it be day? op.47 no.6 3.19
20 Again, as before, alone op.73 no.6 2.15

Tchaikovsky Romances has won the Vocal category for the BBC Music Magazine 2010 Awards in a ceremony that took place on 13 April at King's Place, London. You can watch the award ceremony online by clicking: "BBC Music Magazine website" .

To read full reviews see the Press section





order...


At the Ball - Had I only known






recorded 2009

Gerald Finley & Julius Drake
Hyperion

EDITOR'S CHOICE
Evocative performances of these exquisitely crafted miniatures. Gramophone

FIVE STARS
"...the best modern recital devoted to the wonderfully varied world of Ravel’s songs." "Julius Drake’s warm toned playing is, as ever, a perfect foil... Riches indeed. BBC Music Magazine

RECORD OF THE WEEK Sunday Times

"baritone Gerald Finley and pianist Julius Drake pull off another success with this disc of Ravel songs. The Daily Telegraph

"It’s a beautiful disc that startles in ways you don’t always expect." "Drake’s playing is spellbinding." The Guardian

Tracks


Histoires naturelles
1 No 1: Le paon
2 No 2: Le grillon
3 No 3: Le cygne
4 No 4: Le martin-pêcheur
5 No 5: La pintade
6 Ronsard à son âme
Don Quichotte à Dulcinée
7 No 1: Chanson romanesque
8 No 2: Chanson épique
9 No 3: Chanson à boire
10 Un grand sommeil noir
11 Les grands vents venus d’outremer
12 Sur l’herbe
Chants populaires
13 No 2: Chanson française
14 No 3: Chanson italienne
15 No 4: Chanson hébraïque
16 No 5: Chanson écossaise
17 Noël des jouets
Deux épigrammes de Clément Marot
18 No 1: D’Anne qui m’a jecta de la neige
19 No 2: D’Anne jouant de l’espinette
Cinq mélodies populaires grecques
20 No 1: Le réveil de la mariée
21 No 2: Là-bas, vers l’église
22 No 3: Quel galant m’est comparable?
23 No 4: Chanson des cueilleuses de lentisques
24 No 5: Tout gai!
Deux mélodies hébraïques
25 No 1: Kaddisch
26 No 2: L’énigme éternelle

To read full reviews see the Press section




order...


Histoires naturelles: Le paon - Don Quichotte à Dulcinée: Chanson à boire - Un grand sommeil noir






recorded 2008

Lorraine Hunt Lieberson & Julius Drake live from Wigmore Hall in 1999

Tracks


Brahms 8 Lieder und Gesänge, Op. 57
1. Von waldbekränzter Höhe – 2.51
2. Wenn du nur zuweilen lächelst – 2.04
3. Es träumte mir – 3.30
4. Ach, wende diesen Blick – 1.51
5. In meiner Nächte Sehnen – 1.33
6. Strahlt zuweilen auch ein mildes Licht – 1.39
7. Die Schnur, die Perl’ an Perle – 3.07
8. Unbewegte, laue Luft – 4.38

Robert Schumann: 4 songs from Lieder und Gesänge aus Wilhelm Meister, Op. 98a
9. Kennst du das Land
10. Nur wer die Sehnsucht kennt
11. Heiß mich nicht reden
12. So laßt mich scheinen

Robert Schumann: Frauenliebe und -leben Op. 42 (1840)
13. Seit ich ihn gesehen
14. Er, der Herrlichste von allen
15. Ich kann’s nicht fassen
16. Du Ring an meinem Finger
17. Helft mir, ihr Schwestern
18. Süßer Freund, du blickest
19. An meinem Herzen, an meiner Brust
20. Nun hast du mir den ersten Schmerz getan

ENCORES

21. Debussy Fantoches (from Fetes galantes)
22. Handel ‘Angels ever bright and fair’ from Theodora



The Times, 22 November 2008, Rick Jones



The luminous mezzo voice of Hunt Lieberson is beautifully captured here at a Wigmore Hall solo recital in 1999, six years before her death from cancer at the age of 52. Her singing of Schumann's Frauenliebe und -leben is almost unbearably poignant, while the sense of nervous gaiety as a bride prepares for her wedding in Helft mir is tangible. The shimmer on the hanging high notes in Süsser Freund glistens like autumn leaves before they fall. The devastating bleakness in the final song, Nun hast du mir den ersten Schmerz getan, stuns the audience. Julius Drake's piano treads out the death march with ominous restraint.


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Frauenliebe und Leben: Seit ich ihn gesehen






recorded 2008

Gerald Finley & Julius Drake live at Wigmore Hall

Tracks


Tchaikovsky Songs
1. Don Juan's Serenade
2. It was in the Early Spring
3. At the Ball
4. Whether the Day reigns
5. The mild stars shone for us
6. Only one who knows longing
7. As over burning Embers

Musorgsky 'Songs and Dances of Death'
8. Lullaby
9. Serenade
10. Trepak
11. The Field Marshall

Ned Rorem - 'War Scenes'
12. A Night Battle
13. Specimen Case
14. An Incident
15. Inauguration Ball
16. The real War will never get in the Books

17. Announcement
18. ENCORE - Ives: Memories

19. Announcement
20. ENCORE - Rautavvarra: Shall I compare thee

21. Announcement
22. ENCORE - Wolseley Charles: Green Eyed Dragon

“…a really superb recital by this accomplished Canadian bass-baritone and his celebrated accompanist, Julius Drake. In recent years Gerald Finley's voice has developed more character and cutting power, and a fine dramatic edge which suits this emphatic, sometimes shocking programme very well indeed.” BBC MUSIC MAGAZINE

This polished recital, recorded live at Wigmore Hall last October, is mostly taken up with Russian song. In seven works by Tchaikovsky, which include an emotionally sophisticated take on None But the Lonely Heart (here called Only One Who Knows Longing) and a beguiling performance of The Mild Stars Shone for Us, Finlay offers an extraordinary array of rich colours that inevitably turn darker for Musorgsky’s Songs and Dances of Death, chillingly delivered. He follows this with something American: Ned Rorem’s 1969 anti-Vietnam cycle War Scenes, declamatory settings of prose texts by Walt Whitman, making a powerful case for this still pertinent work. But darkness turns effortlessly to light with his beautifully delivered encores, pieces by Charles Ives, Einojuhani Rautavaara and Wolseley Charles.
THE SUNDAY TIMES
Wigmore Hall Live WHLive0025

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Tchaikovsky: The mild stars looked down on us






recorded 2008

Gerald Finley (baritone)
Julius Drake (piano)

Schumann Dichterliebe & other Heine settings

Winner of the 2009 Gramophone Award in Best Solo Vocal category

Romanzen und Balladen IV, Op 64
1 No 3a: Tragödie I
2 No 3b: Tragödie II
Romanzen und Balladen II, Op 49
3 No 1: Die beiden Grenadiere
Romanzen und Balladen I, Op 45
4 No 3: Abends am Strand
Romanzen und Balladen II, Op 49
5 No 2: Die feindlichen Brüder
Romanzen und Balladen III, Op 53
6 No 3a: Der arme Peter I
7 No 3b: Der arme Peter II
8 No 3c: Der arme Peter III
9 Belsatzar, Op 57
Myrthen, Op 25
10 No 07: Die Lotosblume
11 No 21: Was will die einsame Träne?
12 No 24: Du bist wie eine Blume
Vier Gesänge, Op 142
13 No 2: Lehn’ deine Wang’ an meine Wang’
Fünf Lieder und Gesänge, Op 127
14 No 3: Es leuchtet meine Liebe
15 No 2: Dein Angesicht so lieb und schön
Vier Gesänge, Op 142
16 No 4: Mein Wagen rollet langsam
Dichterliebe, Op 48
17 No 01: Im wunderschönen Monat Mai
18 No 02: Aus meinen Tränen spriessen
19 No 03: Die Rose, die Lilie, die Taube, die Sonne
20 No 04: Wenn ich in deine Augen seh’
21 No 05: Ich will meine Seele tauchen
22 No 06: Im Rhein, im heiligen Strome
23 No 07: Ich grolle nicht
24 No 08: Und wüssten’s die Blumen, die kleinen
25 No 09: Das ist ein Flöten und Geigen
26 No 10: Hör’ ich das Liedchen klingen
27 No 11: Ein Jüngling liebt ein Mädchen
28 No 12: Am leuchtenden Sommermorgen
29 No 13: Ich hab’ im Traum geweinet
30 No 14: Allnächtlich im Traume
31 No 15: Aus alten Märchen
32 No 16: Die alten, bösen Lieder


Reviewed: Gramophone 11/2008, Richard Wigmore

A gripping Dichterliebe: Gerald Finley seems to be sweeping the field in song now

In close collusion with the ever-sentient Julius Drake, Gerald Finley gives one of the most beautifully sung and intensely experienced performances on disc of Schumann’s cycle of rapture, disillusion and tender regret. This is a Dichterliebe firmly in the past tense, the poet-lover achingly resigned from the outset. Finley sings the second song, “Aus meinen Tränen”, as if in a trance, and lingers luxuriantly, even masochistically, over the remembered “Ich liebe dich” in “Wenn ich’ in deine Augen seh’”. Yet here and elsewhere some dangerously slow tempi are vindicated by the acuity of his verbal and musical responses. Where most singers, including Christopher Maltman in his fine performance with Graham Johnson (Hyperion, 5/01), end “Im Rhein” in wistful tenderness, Finley infuses his final words with a wry bitterness. The disenchantment of “Ich grolle nicht” (where Drake evokes Cologne Cathedral with a hieratic depth of sonority) is already glimpsed. In the cycle’s latter stages Finley veers between numb reverie and acerbic – and authentically Heine-esque – self-dramatisation. The birds’ assuaging response in “Am leuchtenden Sommermorgen” is magical, barely breathed, the mounting trauma of the funereal dream-song “Ich hab’ im Traum geweinet” chillingly conveyed, the dissolving vision of the penultimate “Aus alten Märchen” relived with ineffable sadness. Adding a cutting edge to his warm, mahogany baritone, Finley imbues the final song with savage irony, before the rueful, healing close. Throughout, Drake’s playing is a model of clarity and acutely observed detail (he is more attentive than most to bass-lines), epitomised in his fluid, exquisitely voiced epilogue.
Singer and pianist are just as compelling in the other Heine settings here. Finley is eerily insinuating in “Mein Wagen rollet langsam” – one of four Dichterliebe discards – where Schumann’s music is in danger of sounding too ingenuous for Heine’s sinister verses; and he and Drake throw themselves into “Lehn’ deine Wang’” with an impulsive ardour I’ve never heard equalled. Finley times and colours the biblical ballad “Belsatzar” with the art of a master dramatist, gives an uncommonly – and effectively – introspective reading of “Die beiden Grenadiere” (even the opening is hushed and anxious), and spins a rapt, dulcet line in the two “flower songs”, “Die Lotosblume” and “Du bist wie eine Blume”. The church acoustic is more resonant than I find ideal for Lieder, though that hardly detracts from a glorious Schumann recital.



Classic FM Magazine

Acclaimed baritone Gerald Finley is both intelligent and gripping, and sings with a tone that has never sounded more luxurious. With in-the-moment honesty, he brings passion, longing, terror, love and bitterness to his interpretations, without ever losing sight of his overall emotional journey. Accompanist Julius Drake partners him with a superb sense of drama and detail'


Andrew Clements
The Guardian, Friday September 5 2008

Gerald Finley and Julius Drake follow a series of outstanding albums of American and English song - Ives, Barber, Stanford - with Finley's first foray on disc into the German Lied, and the results are just as impressive. There may be three-quarters of a century's great interpretations of Dichterliebe already available on disc, but Finley's stands up well against the best of them, including the series spanning a whole career from Dietrich Fischer-Dieskau, who set the benchmark where baritone versions of this song-cycle are concerned. Finley is a much less knowing, more direct performer than Fischer-Dieskau, concentrating less on precise verbal nuance (though his German diction is wonderfully clear) than on more generalised expressive contours, but the effect is still overwhelmingly powerful. Alongside this greatest of all Schumann's song cycles, Finley lines up another 16 settings of the poetry of Heine, and brings them all to life equally vividly, whether it is the over-the-top dramatics of the ballads Die Feindlichen Brüder and Die Beiden Grenadiere, or the tragic triptych of Der Arme Peter.


Metro

Finley is an unforgettable communicator on a grand scale, as anyone who has seen him at one of his frequent Royal Opera appearances knows. But on this disc, he proves himself equally memorable in the more intimate arena of the Lieder recital. That his voice is luxuriously warm, even and smooth almost goes without saying … His in-the-moment honesty is matched note-for-note by pianist Julius Drake, who partners him with a superb sense of drama and detail. It's a recital which can stand comparison with the greatest Schumann recordings'


International Record Review

Drake's accompaniment, so important in the long, often ironic or restorative postludes to many of these songs, scarcely falters, and always sustains with senstivity Finley's bold and unaffected singing'



The Sunday Times CD of the week

Apart from the Op 24 Liederkreis, Finley’s first album of German lieder collects all of Schumann’s settings of Heinrich Heine, including four songs intended for Dichterliebe, but published later as Opp 127 and 142. The Canadian baritone is a little younger, at 48, than Dietrich Fischer-Dieskau was when he recorded his comprehensive Schumann song survey for Deutsche Grammophon (1975-77), but, vocally, he is in his prime. He brings eloquence to the text and maturity to his interpretations, but with a still youthful-sounding voice. Darker and more “bassy” of tone than Dieskau, he is especially impressive in the sardonic and bitter songs: Die beiden Grenadiere (The Two Grenadiers), Ich grolle nicht (I Bear No Grudge), Das ist ein Flöten und Geigen - about the wedding of the poet’s beloved to another man - and the concluding Die alten, bösen Lieder (The bad old songs), in which the operatic cutting edge of his baritone, soaring gloriously at the top, brings dividends. Finley is a gripping narrator, too, in the tale of Belshazzar’s feast (Belsatzar), and can refine his voice to the most arresting of internalised confidences in the love songs to Clare Wieck (most of the music here dates from Schumann’s annus mirabilisof songwriting, 1840). Die Lotosblume, Du bist wie eine Blume, Dein Angesicht so lieb und schön and the doleful songs from Dichterliebe are delivered on a thread of tone, yet Finley, aided by his sensitive and forthright pianist, Julius Drake, never sounds mannered. Let’s hope he goes on to record the Heine and Eichendorff Liederkreise as a sequel to this outstanding disc.

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Die beiden Grenadiere - Am leuchtenden Sommermorgen






recorded 2008

Katarina Karneus (mezzo)
Julius Drake (piano)

Six poems by Henrik Ibsen’, Op 25
1 No 1: Spillemænd ‘Minstrels’
2 No 2: En svane ‘A swan’
3 No 3: Stambogsrim ‘Album lines’
4 No 4: Med en vandlilje ‘With a waterlily’
5 No 5: Borte! ‘Gone!’
6 No 6: En fuglevise ‘A bird’s song’
Sechs Lieder, Op 48
7 No 1: Gruß ‘Leise zieht durch mein Gemüt’
8 No 2: Dereinst, Gedanke mein
9 No 3: Lauf der Welt
10 No 4: Die verschwiegene Nachtigall
11 No 5: Zur Rosenzeit
12 No 6: Ein Traum
Haugtussa ‘The mountain maid’ Op 67
13 No 1: Det syng ‘The singing’
14 No 2: Veslemøy ‘Little maid’
15 No 3: Blåbær-Li ‘Blueberry slopes’
16 No 4: Møte ‘Meeting’
17 No 5: Elsk ‘Love’
18 No 6: Killingdans ‘Goats’ dance’
19 No 7: Vond Dag ‘Hurtful day’
20 No 8: Ved Gjætle-Bekken ‘By the Gjætle brook’
Hjertets melodier ‘Melodies of the heart’, Op 5
21 No 1: To brune Øjne ‘Two brown eyes’
22 No 2: En Digters Bryst ‘A poet’s heart’
23 No 3: Jeg elsker Dig ‘I love you’
24 No 4: Min Tanke er et mægtigt Fjeld ‘My thoughts are like a mighty mountain’
25 Prinsessen, EG133

Richard Wigmore, The Telegraph

Grieg wrote more than 180 songs, of which only a handful, exasperatingly, remain in the repertory. Language is, of course, the source of both their greatness and their neglect. Grieg's aim was to invest the Norwegian art song with the status - national, as well as aesthetic - of the German lied. That he succeeded is borne out by every track of this beautifully programmed disc featuring Swedish mezzo Katarina Karnéus and pianist Julius Drake. We get to hear old favourites like A Swan and I Love You, in the context of the works from which they were subsequently wrenched, along with Haugtussa (The Mountain Girl), a shattering cycle. Karnéus's performances are thrillingly awash with grand passions and high voltage drama. Drake is faultless.
THE GUARDIAN July 08

The lovely Op 48 songs, composed to German texts for the Wagnerian soprano Ellen Gulbranson, sometimes evoke Schumann with a Norwegian accent. Most haunting of all in its melodic and harmonic flavour is the song cycle Haugtussa ("The Mountain Girl"), in which a visionary herd-girl is jilted by her lover and, like Schubert's miller, finds solace in a watery grave.

Swedish mezzo Katarina Karnéus is as eloquent and impassioned an advocate of Grieg as she was of Sibelius in her first recital for Hyperion. Her flavoursome voice can soar and flare thrillingly - say, at the nightmarish climax of Spillemænd, or the final ecstatic abandon of Ein Traum; and her darkly resinous lower register comes into its own in songs such as Borte! ("Gone!") and the anguished Goethe setting Zur Rosenzeit, where she and the ever-responsive Julius Drake vindicate their daringly slow tempo.

Karnéus is a singer of natural warmth and spontaneity who possesses what Grieg called the gift of "reading between the lines" and "interpreting a half-told tale". She despatches Lauf der Welt with a nonchalant chuckle, is insinuatingly seductive in Med en vandelilje ("With a Waterlily"), and brings an intense poignancy of phrasing and colouring, with no false pathos, to the last two Haugtussa songs. A glorious disc.


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Princessen






recorded 2008

Ives Songs, vol 11
Gerald Finley (baritone)
Julius Drake (piano)

1. On the Counter
2. The Circus Band:
3. Two Little Flowers, and dedicated to them
4. Ilmenau
5. A Night Song
6. Down East
7. Premonitions
8. The See’r
9. Songs my mother taught me
10. In the Alley
11. Mists
12. They are there!
13. In Flanders fields
14. The South Wind
15. My native land
16. Watchman!
17. The Children’s Hour
18. Evidence
19. The World’s Wanderers
20. Slow March
21. Omens and Oracles
22. Those evening bells
23. Allegro
24. Evening
25. The Last Reader
26. To Edith
27. At the River
28. A Christmas Carol
29. The Light that is Felt
30. Romanzo, di Central Park


Sarah Unwin Jones, The Times
January 26, 2008

***** Five Stars

The first collection of Charles Ives’s songs by Finley marked him out as a vibrant interpreter of the American iconoclast. This second collection confirms the accolade. Ives had an eclectic palette, from the stomping, mismatched march of The Circus Band to the quiet Ilmenau, a setting of Goethe.

Finley has everything and more in his darkly full-bodied voice to match the often formidable technical and expressive requirements of Ives’s songbook – reinforced by Drake’s elastic, expressive piano. There may be the merest hint of a vocal wobble, every now and then, but it’s all done in quest of interpretation. This is a must-buy album.

Daily Telegraph
'This is a highly successful follow-up to Gerald Finley and Julius Drake's first Ives recital from 2005. Here there is the same sort of mix, from familiar songs such as The Circus Band and Watchman! to an early requiem for the family cat and the intriguing title song, Romanzo (di Central Park), with its obbligato violin part atmospherically played by Magnus Johnston. Finley is his usual charismatic self, at home as much in the hymnody as the parody, and he is careful not to over-sentimentalise the more homely numbers while injecting pathos into the war songs. Drake projects Ives's often complex accompaniments with clarity and style'

BBC Music Magazine
'Outstandingly well sung and played, equally well recorded, and highly recommendable to all lovers of fine songs and fine singing'

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The Circus Band






recorded 2007

Christian Poltera (cello)
Julius Drake (piano)

I. Allegro moderato 00:14:08
II. Andante tranquillo – Piu lento – Tempo I
III. Presto 00:02:37
IV. Lento – Molto allegro00:06:47

Cello Sonata, Woo 47
I. Fliessend
II. Schnell
III. Andantino

6 Songs transcriptions (arr. for cello and piano) 3 Lieder, Op. 7:
No. 3. In der Herberge
No. 3. Winternacht
No. 7. Nachklang
No. 9. Nacht
5 Lieder, Op. 31:
No. 5. Epigramm (arr. for cello and piano)
Das stille Leuchten, Op. 60:
No. 19. Der Reisebecher (arr. for cello and piano)


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recorded 2007

Gerald Finley (baritone)
Julius Drake (piano)

1. There’s nae lark
2. The Beggar’s Song
3. In the dark pinewood
4. Three Songs, Op 2. No 3: Bessie Bobtail
Hermit Songs, Op 29
5. No 01: At St Patrick’s Purgatory
6. No 02: Church Bell at Night
7. No 03: St Ita’s Vision
8. No 04: The Heavenly Banquet
9. No 05: The Crucifixion
10. No 06: Sea Snatch
11. No 07: Promiscuity
12. No 08: The Monk and his Cat
13. No 09: The Praises of God
14. No 10: The Desire for Hermitage
Three Songs, Op 10
15. No 1: Rain has fallen
16. No 2: Sleep now
17. No 3: I hear an army
Mélodies passagères, Op 27
18. No 1: Puisque tout passe
19. No 2: Un cygne
20. No 3: Tombeau dans un parc ‘Dors au fond de l’allée’
21. No 4: Le clocher chante ‘Mieux qu’une tour profane’
22. No 4: Départ ‘Mon amie, il faut que je parte’
Three Songs, Op 2
23. No 1: The Daisies
24. No 2: With rue my heart is laden
Four Songs, Op 13
25. No 4: Nocturne
26. No 3: Sure on this shining night
27. Dover Beach, Op 3 (Barber) ‘The sea is calm tonight’


Gramophone Jan 2008
Recording of the Month
Barber Songs

A Wonderful reminder of Barber's skill as a songwriter, in ideal performances

The Beggar's song. Dover Beach,Op. 3. 10 Hermit Songs,Op. 29. In the dark pinewood. Mélodies passagères,Op. 27. 3 Songs,Op. 2 - No. 1, The Daisies (wds. Stephens);No. 2, With Rue my Heart is Laden (wds. Housman);No. 3, Bessie Bobtail (wds. Stephens) 3 Songs,Op. 10. 4 Songs,Op. 13 - No. 3, Sure on this shining night (wds. Agee);No. 4, Nocturne (wds. Prokosch) There's Nae Lark.

Gerald Finley bar Julius Drake pf
Aronowitz Ensemble Hyperion New CD F CDA67528 (62 minutes : DDD)

This is a pretty stunning achievement. At his most mellifluous and focused, Gerald Finley has beauty of tone to spare. But he is also at his most expressive – hollowing out the voice for the hopelessness of the song “Bessie Bobtail”, letting it splinter with anger at the climax of the brief, furious “Sea Snatch”. Throughout, Julius Drake proves a predictably accomplished, thoughtful partner. The pair move easily and logically from the prettiness of the very early songs through the complexities of the Hermit Songs and the pensive Mélodies passagères. The overwhelming feeling here is of idealism tainted, though never quite shattered, by war, by poverty, by human nature. Finley only gains in power, attaining at points the kind of bitter life-force so well remembered from his performance in Turnage’s anti-war opera The Silver Tassie. It’s also a canny move to place Dover Beach as the final track. It may be an early work, but the introduction of the string quartet (the excellent Aronowitz Ensemble) to close the disc shifts the mood, sending us off in another direction. It comes as a hopeful reminder of the wonder of love, even with a sting in its tail. Entirely appropriate for a bittersweet, marvellous collection.

Classic FM Magazine (Dec issue) - 5 stars
"Having served the songs of Charles Ives with enormous distinction, the partnership of baritone Gerald Finley and pianist Julius Drake shift artistic gear to explore works by one of America's greatest tunesmiths. Samuel Barber's lyrical writing and subtle feeling for expressive shading were matched in his songs by a Britten-like aptness for word-setting, which ideally suits Finley's compelling blend of emotional conviction and vocal flexibility. On the strength of his interpretation of the Hermit Songs alone, regardless of his majestic readings of Barber's Rilke settings and Dover Beach, Finley enables this album to command its price as one of the year's finest vocal releases.
Unmissable."

Andrew Stewart

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I hear an Army - There's nae a Lark






recorded 2007

Songs of Franz Schubert, Hugo Wolf, Claude Debussy, Henri Duparc, Peter Warlock

Schubert
1. Der Wanderer
2. Wandrers Nachtlied 1
3. Rastlose Liebe
4. Wandrers Nachtlied 2

Wolf
5. Der Feuerreiter
6. Der Gartner
7. An die Geliebte
8. Fussreise
9. Der Rattenfanger

Debussy
10. Romance
11. Les cloches
12. Mandoline

Duparc
13. L’invitation au voyage
14. La vague et al cloche
15. Phidylé

Warlock
16. The Fox
17. The Singer
18. Captain Stratton’s Fancy

ENCORE
19. announcement
20. Flaners & Swann Misalliance


"A tour de force of baleful intensity, in which Maltman was superbly aided by his pianist Julius Drake" The Guardian

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Schubert: Der Wanderer






recorded 2007

Joyce DiDonato (mezzo)
Julius Drake (piano)

SPANISH SONG
Manuel de Falla, Enrique Granados, Xavier Montsalvatge, Fernando J. Obradors, Gioachino Rossini

01. El Vito
02. La mi sola, Laureola
03. Al amor
04. Corazon, porque pasais ?
05. El majo celoso
06. Con amores, la mi madre
07. Del cabello mas sutil
08. Chiquitita la Novia
09. Elegia eterna- Tonadillas
10. La maja dolorosa I – Tonadillas
11. La maja dolorosa II – Tonadillas
12. La majo dolorosa III – Tonadillas
13. No lloreis, ojuelos – Canciones amatorias
14. Dedicatoria (Poema en forma de canciones – Joaquin Turina)
15. Nunca olvida
16. Cantares
17. Los dos miedos
18. las locas por amor
19. El pano moruno (Siete canciones populares espanolas- Manuel de Falla)
20. Seguidilla murciana
21. Asturiana
22. Jota
23. Nana
24. Cancion
25. Polo
26. Cuba denttro de un piano (Cinco canciones negras – Xavier Montsalvate)
27. Punto de Habanera
28. Chevere
29. Cancion de cuna para dormir a un negrito
30. Canto negro
31. Canzonetta spagnuola (Rossini)

Gramophone Oct 07
DiDonato relishes the richness of her voice and spins some gorgeous, purely vocal moments in Falla’s Seven Popular Spanish Songs. She is aided by deliciously playful accompaniment from Julius Drake.

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Obradors: Del Cabello mas sutil - Obradors: Chiquitita da Novia - Granados: Elegia Eterna






recorded 2006

URLICHT
GUSTAV MAHLER (1860-1911)

Christianne Stotijn (mezzo)
Julius Drake (piano)

Des Knaben Wunderhorn and other songs

1 Frühlingsmorgen
2 Erinnerung
3 Zu Strassburg auf der Schanz
4 Der Schildwache Nachtlied
5 Wo die schönen Trompeten blasen
6 Scheiden und Meiden
7 Rheinlegendchen
8 Wer hat dies Liedlein erdacht?
9 Ich ging mit lust durch einen grünen Wald
10 Nicht Wiedersehen!
11 Des Antonius von Padua Fischpredigt
12 Urlicht
13 Das Irdische Leben
14 Um Mitternacht
15 Ich bin der Welt abhanden gekommen


The Telegraph - Richard Wigmore 25.11.06

Christianne Stotijn here confirms the promise of her CD debut disc with an even better recital of Mahler. Her warm, rounded mezzo is a lovely instrument, marred just occasionally by an over-intrusive vibrato on high notes; and, throughout this wide-ranging collection, mainly from the Knaben Wunderhorn, songs of parted lovers and doomed soldiers, tender whimsy and religious exaltation, her characterisation is vivid and true.

Stotijn is smiling and affectionate without winsomeness in those idealised Landler, Rheinlegendchen and Wer hat dies Liedlein erdacht, chillingly dramatic in the anguished mother-daughter dialogue of Das Irdische Leben.

Most moving of all are the two final songs, Um Mitternacht, coloured by the deep, crimson glow of her lower register, and a rapt, withdrawn Ich bin der Welt abhanden gekommen. Here and elsewhere pianist Julius Drake is wonderfully imaginative in his one-man evocations of a Mahlerian orchestra.


Sunday Telegraph - Michael Kennedy 19.11.06

The young Dutch mezzo Christianne Stotijn proves herself an extraordinary Mahler singer with this disc of 15 Lieder. She imparts theatrical drama to the Wunderhorn songs, finding an impressive palette of tone-colour with which to illuminate the texts. She comes to each song with a freshness of approach that is as invigorating as it is unusual. There is no lack of humour in Rheinlegendchen while hte great set-pieces Urlicht, Ich bin der Welt and Um Mitternacht - are thrillingly performed, not only by the singer but by the pianist Julius Drake. This is the first recording to be made in the new Menuhin Hall at the Menuhin School, Stoke D'Abernon and the sound is splendid. One of my discs of the year, for a certainty.


BBC CD Review - Hilary Finch 11.11.06

This splendid new Mahler release . [Stotijn's voice is].. sheer joy.. full of wide-eyed childlike sense of wonder.


***** Five stars
Independent on Sunday - Anna Picard 30.10.2006

Christianne Stotijn's second recital disc for ONYX shows just what a difference a matter of months can make in a still developing mezzo-soprano voice. The first song in her all-Mahler programme, Fruhlingsmorgen, gives little indication of the emotional and artistic marathon ahead. Stotijn's voice - rich and suggestive, sly and sorrowful as required, with shades of Janet Baker's gravitas, Lorraine Hunt Lieberson's candour, and Anne Sofie von Otter's playfulness - is tailormade for Mahler's Ruckert Lieder and Des Knaben Wunderhorn. Julius Drake's accompaniment is perfectly
judged, both artists' colouration of these intensely personal songs highly sophisticated. Urlicht indeed!


****
The Times - 13 October 2006 - Geoff Brown

She's Dutch, in her late twenties, and with a mezzo voice this expressive, flexible, and free of faults no wonder her star is rising. After her CD debut with Schubert, Wolf and Berg she plunges into the Wunderhorn Mahler of nature's wonders, darkness and light, and soldiers trembling at midnight. The lyrical radiance of her Urlicht is typical; so is the attention to character in the narrative songs. Julius Drake's piano cradles her skilfully.


***** Five Stars
BBC Music Magazine - December 2006 - David Nice


Hot on the heels of the young Dutch mezzo’s debut disc – warmly welcomed by Hilary Finch in the April issue – comes a Mahler recital of astonishing range and sophistication. Go straight to ‘Rheinlegendchen’ to catch the lighter essence of Stotijn’s approach: every word is coloured and inflected with natural musicianship, but never gets in the way of line or phrasing. Her rock-solid alto range is equally adaptable to the gruff sentinel of ‘Der Schildwache Nachtlied’, an unforgettable withdrawal to a private world in the last verse of ‘Ich bin der Welt’ and the calm assurance of ‘Urlicht’ (programmed here to follow an intriguingly steady treatment of the song which, reworked as the Scherzo of the Second Symphony, also precedes its orchestral incarnation).
If there’s a fault, it’s that at the top of the range the vibrato can be tight under pressure, but characterisation overcomes it in the repeated ‘ades’ of ‘Scheiden und Meiden’. Like her pianist Julius Drake – a subtle impersonator of the birds, bugles and alphorns that haunt the naïve folk world of Mahler’s youthful forays – Stotijn makes every song a gem; it helps that the composer is always himself even in the early settings. The new concert hall of the Yehudi Menuhin School, making its recorded debut, lends warm support to the subtly varied recording.

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recorded 2006

SONGS of VENICE
Recorded live at Wigmore Hall, January 16 2006
JOYCE DIDONATO
JULIUS DRAKE

ROSSINI
REGATA VENEZIANA

HEAD
SONGS OF VENICE

FAURE
CINQ CHANSONS DE VENISE

HAHN
VENEZIANA


Such force, such lustre! Joyce DiDonato’s mezzo-soprano is very impressive … over the 66 minutes there’s enough quiet silky legato and subtle phrasing to delight lovers of the intimate. The jewel is the Venezia set by Reynaldo Hahn. And Julius Drake at the piano spins his own magic”
The Times




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recorded 2005

Lynne Dawson (soprano)
Julius Drake (piano)

Mélodie Francais
Fauré; Poulenc; Hahn; Satie; Chabrier

01. Les Chamins De L’Amour
02. Nr.8: Quand Je Fus Pris Au Pavillon
03. Nr.2: C’est Ainsi Que Tu Es
04. A Chloris
05. Nr.3: Chanson d’Ophélie
06. Nr.1: La Dame d’André
07. L’Île Heureuse
08. Hôtel
09. Nr.4: Mon Cadavre Est Doux Comme Un Gant
10. Nr.6: Hébé
11. Nr.5: Violon
12. Nr.1: Mandoline
13. Le Temps Des Lilas Et Le Temps De Roses
14. Chanson d’Amour op.27 Nr.1
15. Lamento
16. Fancy
17. Villanelle Des Petits Canards
18. Nous Voulons Une Petite Soer
19. To His Guitar
20. Aprés Un Rêve op.7 Nr.1
21. Le Rossignol Des Lilas
22. Nr.4: Voyage À Paris
23. Nr.1: Chanson d’Orkenise
24. Le Secret op.23 Nr.3


Gramophone Aug 2005 – editor’s choice – Patrick O’Connor

Here isabit of surprise. And a delight. A disc from Berlin Classics of essentially Parisian songs, with – Lynne Dawson, more often associated with – the classical repertory, proving herself totally at home with music of the belle époque and the 1930s. She is accompanied by Julius Drake in splendid form.
He seems to find an original way with each song, so that even something as familiar as Chabrier’s L’ule heureuse emerges fresh, and the tiny touches of rallentando and unexpected soft echo effects make one listen to the song as if for the first time. In one or two of the big, dramatic settings such as Chausson’s Le temps des lilas one might ask for a fuller sound than Dawson produces, but her feel for the texts, silvery tone and completely unfussy way with the language bring rewards in every track.
Poulenc gets the lion’s share here. Three of the melodies are to poems by Louise de Vilmorin. In ‘C’est ainsi que tu es’, Drake and Dawson manage to suggest the lover whispering at ‘Voila, c’est ton portrait’, while the solemn ‘Mon cadavre est doux comme un gant’ has a definite foretaste of Carmélites. ‘Violon’ is taken very slowly, bringing out all the erotic tension. In ‘Les chemins de l’amour’ the final verse has just the right mixture of nostalgia and mystery. As for the outrageous ‘Nous voulons une petite soeur’, I suspect this is one of Julius Drake’s favourite songs; many years ago he gave an explosive performance of it with Hugues Cuénod at the Wigmore Hall.

The Hahn songs are all well known, the sprightly rondel ‘Quand je fus pris au pavilion’ contrasting with the reflective A Chloris and the ecstatic Le rossignol des lilas, a poem by the enigmatic composer!

writer Leopold Dauphin. Chausson’s Hébé is something of a rarity, a beautiful evocation of ancient Greece. The three Fauré songs are like episodes in a love story, two Armand Silvestre poems framing Après un réve by Romain Bussine. There are too many good things here to detail: the entire programme is a celebration of the best in French song.

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recorded 2004

Ian Bostridge (tenor)
Julius Drake (piano)
and the Belcea Quartet

Debussy, Claude
Fêtes galantes II L 104

Fauré, Gabriel
La bonne chanson op. 61 Nr. 1-9
Mélodies op. 8 Nr. 1-3
Nr. 1 · Au bord de l´eau · (Prudhomme) auch instr.
Mélodies op. 18 Nr. 1-3
Nr. 1 · Nell · (de Lisle) auch instr.
Mélodies op. 23 Nr. 1-3
Nr. 1 · Les Berceaux · Le long du quai (Prudhomme) auch bearb.
Mélodies op. 39 Nr. 1-4
Nr. 2 · Fleur jetée · Emporte ma folie (Sylvestre)
Mélodies op. 46 Nr. 1-2
Nr. 2 · Clair de lune · Votre âme est un paysage choisi
Mélodies op. 83 Nr. 1-2
Nr. 1 · Prison · Le ciel est

Poulenc, Francis
Poèmes de G. Apollinaire FP 94 Nr. 1-2
Poèmes de G. Apollinaire FP 127 Nr. 1-2
Nr. 1 · Montparnasse
Poèmes de L. Aragon FP 122 Nr. 1-2
Tel jour telle nuit FP 86 Nr. 1-9


EMI Records

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recorded 2003

Alice Coote (mezzo)
Julius Drake (piano)

Mahler: Lieder aus ‘Des Knaben Wunderhorn’
Rheinlegendchen
Nicht wiedersehen!
Das irdische Leben
Urlicht

Haydn: Arianna a Naxos
Largo e sostenuto
Aria – largo
Recitativo
Andante
Adagio
Aria – larghetto
Presto

Brahms: Frauenliebe und -leben Op. 42
Seit ich ihn gesehen
Er, der Herrlichste von allen
Ich kann’s nicht fassen, nicht glauben
Du Ring an meinem Finger
Helft mir, ihr Schwestern
Süsser Freund, du blickest
An meinem Herzen, an meiner Brust
Nun hast du mir den ersten Schmerz getan

Mahler: Rückert Lieder
Liebst du um Schönheit
Ich atmet’ einen linden Duft
Um Mitternacht
Ich bin der Welt

Gramophone - Alan Blythe, Dec 2003
"Sung in idiomatic German, it is already a lovely interpretation, one to which pianist Julius Drake contributes much."
EMI 2003

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Mahler: Ich bin der Welt abhanden gekommen






recorded 2003

Annette Bartoldi (viola)
Julius Drake (piano)


Cello Sonata, Op. 40 (arr. for viola)
I. Allegro non troppo 00:12:02
II. Allegro 00:03:09
III. Largo 00:09:01
IV. Allegro 00:04:24

Viola Sonata, Op. 147
I. Moderato 00:11:20 *
II. Allegretto 00:07:32
III. Adagio 00:15:38

Naxos Records

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recorded 2002

Britten Canticles

Ian Bostridge (tenor)
David Daniels (counter tenor)
Christopher Maltman (baritone)
Julius Drake (piano)
Timothy Brown (horn)
Ailine Brewer (harp)

CANTICLE 1: My Beloved is Mine for high voice & piano, Op. 40
with Ian Bostridge, Julius Drake
CANTICLE II: Abraham and Isaac, for alto, tenor & piano, Op. 51
with David Daniels, Ian Bostridge, Julius Drake
CANTICLE III:Still Falls the Rain, for tenor, horn & piano, Op. 55
with Ian Bostridge, Julius Drake, Timothy (i) Brown
CANTICLE IV: The Journey of the Magi, for countertenor, tenor, baritone & piano, Op. 86
with David Daniels, Ian Bostridge, Julius Drake, Christopher Maltman
CANTICLE V: The Death of St Narcissus, for tenor & harp, Op. 89
with Ian Bostridge, Aline Brewer

The Plough Boy, folksong for voice & piano
The Salley Gardens, for voice & piano
The Foggy, Foggy Dew, for voice & piano
with Julius Drake, Christopher Maltman

There's None to Soothe, for voice & piano
O Waly, Waly, for voice & piano
with David Daniel, Julius Drake

The Ash Grove, for voice & piano
Greensleeves, English folk song
with Ian Bostridge, Julius Drake


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Britten: Canticle 1






recorded 2002

Katarina Karneus (mezzo)
Julius Drake (piano)

Hyperion 2002

6 Songs,Op. 17 - To evening (1898: wds. A. V. Forsman-Koskimies) 6 Songs,Op. 36. 5 Songs,Op. 37. 6 Songs,Op. 50. Belshazzar's Feast,Op. 51 - The Jewish Girl's Song
Katarina Karnéus mez Julius Drake pf

Gramophone 2002/7
A superb recital of Sibelius’s unjustly neglected songs
Sibelius’s songs have taken a long time to come in from the cold. After all‚ the few that are relatively well­known (Black roses and Op 37 No 5‚ ‘The Tryst’) are passionate enough to have come from Italian opera‚ and others which over the years have found a place in the repertoire have a span of phrase and a melodic surge that encourage the voice to rise thrillingly‚ as in ‘The Tryst’s’ predecessor‚ ‘Was it a dream?’. The tingle of a Nordic chill in among this is in fact a further excitement of the blood. Given a voice that can combine the sparkle of sunlight on snow with the dark splendour which lies at the heart of those black roses‚ an entire programme of Sibelius’s songs offers not an austere pleasure but almost a rich indulgence. To those specifications concerning the singer there needs then to be added others about the pianist; and from both artists there must be a ready supply of imagination. Katarina Karnéus and Julius Drake answer these calls magnificently. The voice is firm and resonant‚ purest in quality in the upper D­to­F region and of ample range in both directions. In Julius Drake she has a pianist who extends the normal field of vision‚ and the two work together to great effect. This is now an area where the record catalogue provides plenty of choice‚ and it has been good to see how well the Karnéus­Drake combination survives competition. In the opening song‚ To evening (‘Illalle’)‚ Karita Mattila‚ Soile Isokoski‚ Anne Sofie von Otter and their respective pianists come up for immediate comparison and none is half so good in ‘building’ the verses. Where Mattila‚ golden in tone as she is‚ gives the line simply as repetitions in a sequence‚ and Isokoski‚ with shading and additional refinements‚ does much the same‚ von Otter adds a freedom nearer to the spoken word‚ but still does not ‘build’. Karnéus and Drake work on it with such effective graduations of power and intensity that everything is enhanced – the vocal line‚ the piano’s tremolandos‚ words‚ mood‚ the poem­as­painting‚ the song as miniature epic. In some others – ‘Little Lasse’ in Op 37 and the remarkable ‘Tennis in Trianon’ of Op 36 are examples – von Otter and Bengt Forsberg bring a further sophistication‚ more rightfully placed in the second example than the first. I still wouldn’t hesitate to make this new issue a prime choice if looking for a single disc of 25 to represent Sibelius’ output of roughly 100 songs. Not all the best are here – but in such matters do you really want all the best? Suppose you take to them ‘in a big way’: isn’t it far more satisfying to know that some of the best still remain to be heard?


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Illalle - Var det en drom






recorded 2002

Ian Bostridge (tenor)
Julius Drake (piano)

01 La Belle Dame Sans Merci
02 Sleep
03 I Will Go With My Father A-ploughing
04 The Cloths Of Heaven
05 To Gratina Dancing And Singing
06 To Lucasta, On Going To The Wars
07 Twighlight Fancies
08 Orpheus With His Lute
09 Jillian Of Berry
10 Cradle Song
11 The Dance Continued
12 Linden Lea
13 Silent Noon
14 My Love’s An Arbutus
15 The Death Of Queen Jane
16 No Longer Mourn For Me
17 Since We Loved
18 The Salley Gardens
19 Rest, Sweet Nymphs
20 Come Away, Death
21 Now Sleeps The Crimson Petal
22 Bold William Taylor
23 Brigg Fair
24 The Little Turtle Dove

EMI 2002

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Browne: To Gratiana singing and dancing






recorded 2001

Ian Bostridge (tenor)
Julius Drake (piano)

6 Gesänge aus dem Arabischen:
I. Selim und der Wind
II. Die Gottesanbeterin
III. Ein Sonnenaufgang
IV. Cäsarion
V. Fatumak Klage
VI. Das Paradies
3 Auden Songs
No. 1, In memoriam L.K.A. (1950-1952) (”At peace under tis mandarin, sleep”)
No. 2, Rimbaud (”The nights, the railwayarches, the bad sky”)
No. 3, “Lay your sleeping head, my love”

EMI 2001

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recorded 2001

Paul Agnew (tenor)
Julius Drake (piano)
Gurney: Severn Meadows, Hyperion

1 Epitaph in Old Mode ‘The leaves fall gently on the grass’
2 You are my sky
3 All night under the moon
4 The folly of being comforted
5 By a bierside ‘This is a sacred city, built of marvellous earth’
6 Severn Meadows ‘Only the wanderer knows England’s graces’
7 In Flanders ‘I’m homesick for my hills again’
8 Even such is time
9 Ha’nacker Mill ‘Sally is gone that was so kindly’
10 Bread and cherries
11 Most Holy Night
12 Desire in Spring
13 Nine of the clock
14 A cradle song
Five Elizabethan Songs
15 No 1: Orpheus ‘Orpheus with his lute made trees’
16 No 2: Tears ‘Weep you now more, sad fountains’
17 No 3: Under the greenwood tree
18 No 4: Sleep ‘Come, sleep, and with thy sweet deceiving’
19 No 5: Spring
20 An Epitaph
21 The fields are full
22 Down by the Salley Gardens
23 The cloths of heaven
24 The singer
25 I will go with my father a-ploughing


The Independent - Anna Picard

Ivor Gurney, a composer and poet who survived the First World War and returned to his studies at the Royal College of Music only to degenerate into mental illness, died in 1937 leaving a legacy of 200 songs, one of which, Sleep, has become a classic of English song. Pianist Julius Drake and tenor Paul Agnew's recital of his clever, vulnerable songs is a masterpiece of sensitivity. Drake's touch is more defined than ever; a delicate cartography of Gurney's chromaticism. And Agnew has a warm buttery tone that embraces these songs' subtle lines. A perceptive reading.



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Epitaph in the Old Mode - Sleep






recorded 2001

with Ian Bostridge,

EMI 2001

01 Lied eines Schiffers an die Dioskuren D360
02 Nachtstück (Op.36, No.2)D672
03 Auf der Donau D553
04 Abendstern (Opus.posth.) D806
05 Auflösung (Opus posth.) D807
06 Geheimes (Op. 14 No.2) D719
07 Versunken D715
08 Schäfers Klagelied (Op.3, No.1) D121
09 An die Entfernte D765
10 Am Flüsse
11 Willkommen und Abschied (Op.56, No.1) D767
12 Die Götter Griechenlands D677
13 An die Leier (Op.56, No.1) D737
14 Am See (Op. posth.) D746
15 Alinde (Op.81, No.1) D904
16 Wehmut (Op.22, No.2) D772
17 Über Wildemann (Op.108, No.1) D884
18 Auf der Riesenkoppe D611
19 Sei mir gegrüsst (Op.20, No.1) D741
20 Dass sie hier gewesen (Op.59, No.1) D775
21 Der Geistertanz D494

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Das Paradies






recorded 1999

Sophie Daneman, soprano
Julius Drake, piano

Schumann Lieder
Liederkreis op 39
from Album fur die Jungend op 79
from Myrten op 25

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recorded 1999

with Ian Bostridge.

EMI 1999

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Schumann: Im wündershönen Monat Mai






recorded 1995

Schubert Lieder

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recorded 1995

Schubert Lieder
EMI Classics

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Erlkönig






recorded 1994

With Nicholas Daniel

Virgin 1994

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recorded 1994

with Victoria Soames


Clarinet Classics

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recorded 1987

Derek Lee Ragin, counter tenor
Julius Drake, piano

Henry Purcell (realised Britten)
1] Alleluia
2] Sweeter than roses
3] The Queen’s Epicedium

Britten: Tit for Tat
4] A song of enchantment
5] Autumn
6] Silver
7] Vigil
8] Tit for tat

Henry Purcell (realised Britten)
Three Divine Hymns
9] Lord, what is man?
10] We sing to Him
11] Evening hymn

Britten: Two songs from Friday afternoons Op. 7
12] Fishing song
13] A New Year carol

Three British Folksongs (arr. Britten)
14] There’s none to soothe
15] Little Sir William
16] O waly waly

… a perfectly placed voice of exquisite artistry, consummate good taste and commanding musicianship. In sum: an extraordinary artist.
American Record Guide

… Derek Lee Ragin’s thrillingly stylish rendering of Purcell’s The Queen’s Epicedium was lit by an instinctive dramatic life which makes one impatient to see him on Baroque stages in this country …
The Times, London

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Purcell Alleluia - Britten New Year Carol






recorded 1985

Nicholas Daniel. oboe
Julius Drake, piano

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Howells Sonata, 1st movement







with Ruby Philogene

EMI 1997

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