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Tag: Carolyn Sampson

Carolyn Sampson, Tapiola Sinfonietta & Pascal Rophe – Canteloube – Chants d’Auvergne (2021) [Official Digital Download 24bit/96kHz]

Carolyn Sampson, Tapiola Sinfonietta & Pascal Rophe – Canteloube – Chants d’Auvergne (2021)
FLAC (tracks) 24bit/96kHz | Time – 01:08:31 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS

That Ba”il`ero, a shepherd’s song from the highlands of Auvergne sung in the Occitan dialect of the area, should become a favourite with singers ranging from Victoria de los Angeles to Sarah Brightman by way of Ren’ee Fleming and Karita Mattila, is all because of Marie-Joseph Canteloube de Malaret. As a budding composer in Paris in the 1900s, Canteloube was unable to interest himself in the various musical cliques and currents. Instead he looked for inspiration in Auvergne in central France where he was born, starting to collect the songs of the farmers and shepherds that lived in the mountainous region. But he did so as a composer rather than a musicologist, and between 1923 and 1954 he published a total of thirty Chants d’Auvergne, arranged, harmonized and sumptuously orchestrated.

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Carolyn Sampson & Joseph Middleton – A Soprano’s Schubertiade (2018) [Official Digital Download 24bit/96kHz]

Carolyn Sampson & Joseph Middleton – A Soprano’s Schubertiade (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 01:17:25 minutes | 1,22 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front cover | © BIS

Ably written around the figure of the woman in Schubert’s Lieder, this new album by Carolyn Sampson and Joseph Middleton uses verse from poets Helmina von Chézy, Marianne von Willemer, or poems with a female protagonist, like Goethe’s Mignon and Gretchen; Ellen in Walter Scott’s Lady of the Lake by Walter Scott, translated into German. The album closes with the mother of mothers, on the famous Ave Maria. Dubbed “the best British soprano of early music by far” by the press in her own country, this English diva has a rare versatility, which allows her to move from the extreme difficulty of Semele (Handel) to Stravinsky’s Noces, by way of Bach, which she sings with outstanding representatives of such different aesthetics as Masaaki Suzuki, Philippe Herreweghe and Riccardo Chailly.

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Carolyn Sampson, Minnesota Orchestra & Osmo Vanska – Mahler: Symphony No. 4 in G Major (2019) [Official Digital Download FLAC 24bit/96kHz]

Carolyn Sampson, Minnesota Orchestra & Osmo Vänskä – Mahler: Symphony No. 4 in G Major (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 59:24 minutes | 938 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS

In Gustav Mahler’s first four symphonies many of the themes originate in his own settings of folk poems from the collection Des Knaben Wunderhorn (The Boy’s Magic Horn). A case in point, Symphony No. 4 is built around a single song, Das himmlische Leben (The Heavenly Life) which Mahler had composed some eight years earlier, in 1892. The song presents a child’s vision of Heaven and is hinted at throughout the first three movements. In the fourth, marked ‘Sehr behaglich’ (Very comfortably), the song is heard in full from a solo soprano instructed by Mahler to sing: ‘with serene, childlike expression; completely without parody. The symphony is scored for a typically large, late-romantic orchestra (though without trombones and tuba) and an extensive percussion section which includes sleigh bells as well as glockenspiel. However, Mahler mostly deploys his forces with a transparency and lightness more akin to chamber music or eighteenth-century models like Mozart or Haydn. The Fourth has become one of his best-loved symphonies, and is here performed by Minnesota Orchestra and Osmo Vänskä, joined by the angelic voice of English soprano Carolyn Sampson.

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Carolyn Sampson – From 5 Continents – Choral Music & Songs (2020) [Official Digital Download 24bit/96kHz]

Carolyn Sampson – From 5 Continents – Choral Music & Songs (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:54 minutes | 1,14 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © SOMM Recordings

Somm Recordings is delighted to announce the release of an intriguing new recording, introducing the melodious, rhythmically vibrant choral music and songs of Penelope Thwaites. Featuring 19 premiere recordings, From Five Continents celebrates a lifetime of making music around the world to showcase Thwaites’ distinctive compositional signature. The disc’s centrepiece, a moving new Missa Brevis, is coupled with four Psalm settings, songs influenced by the sounds of Indian and African music, folk-styles from the Americas and an evocation of the vast Australian outback.

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Carolyn Sampson & Freiburger Barockorchester – Bach – Cantata, BWV 199 (2020) [Official Digital Download 24bit/96kHz]

Carolyn Sampson & Freiburger Barockorchester – Bach – Cantata, BWV 199 (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 23:28 minutes | 434 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © harmonia mundi

In each of the works he composed at Weimar (1708-17), the young Johann Sebastian introduces bold experiments at every turn, ever in search of renewed possibilities of musical expression and thus of an expansion of the conventional formal and stylistic canon.

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Carolyn Sampson, Joseph Middleton – Album fur die Frau (2021) [Official Digital Download 24bit/96kHz]

Carolyn Sampson, Joseph Middleton – Album für die Frau (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:15 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS

For the first four years of their marriage, Robert and Clara Schumann kept a joint diary, a project which Robert described as “a record of our wishes and our hopes, and the means whereby we may convey to one another any requests we may have to make, for which words may not suffice…”. In the imaginative recital “Album für die Frau”, Carolyn Sampson and Joseph Middleton combine songs by both composers into something similar – the depiction of a relationship seen through the eyes of both parties.

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Carolyn Sampson & Joseph Middleton – The Contrast: English Poetry in Song (2020) [Official Digital Download 24bit/96kHz]

Carolyn Sampson & Joseph Middleton – The Contrast: English Poetry in Song (2020)
FLAC (tracks) 24-bit/96 kHz | Time – 01:20:50 minutes | 1,33 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BIS

Song composition has been a constant in British music since the lute and consort works of the early seventeenth century. By 1900, it had developed into a sophisticated genre embraced by almost all serious composers. The music on this amply-filled disc illustrates the diversity of British song-writing and its transformation over a century: from Vaughan Williams’s Orpheus and his Lute (ca 1901) to HuwWatkins’s Five Larkin Songs, composed in 2010 for Carolyn Sampson, who performs them here. Together with Joseph Middleton, her partner on several acclaimed recital discs, she has devised a highly contrasting programme bookended by two groups of songs by William Walton – A Song for the Lord Mayor’s Table from 1962, celebrating the diversity of London, and three songs from Façade, the ‘entertainment’ with which the young composer gained both fame and notoriety in 1923.These frame settings by Ralph Vaughan Williams, Roger Quilterand Frank Bridge of poetry by writers from Shakespeare and Shelley to Keats and Yeats. In comparison, the anti-romantic poems by Philip Larkin have been described as marked by ‘a very English, glum accuracy’. Huw Watkins (b. 1976) has selected texts from across Larkin’s output, catching the various moods – ranging from a certain unsentimental nostalgia to the poet’s seemingly habitual pessimism – in settings that often carry a bittersweet sting in the tail.

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Carolyn Sampson & Joseph Middleton – Reason in Madness (2019) [Official Digital Download 24bit/96kHz]

Carolyn Sampson & Joseph Middleton – Reason in Madness (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 01:12:06 minutes | 1,13 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BIS

Throughout history, men have feared madwomen, burning them as witches, confining them in asylums and subjecting them to psychoanalysis – yet, they have also been fascinated, unable to resist fantasizing about them. For their new album, Carolyn Sampson and Joseph Middleton have created a programme that explores the responses of a variety of composers to women whose stories have left them vulnerable and exposed. As a motto they have chosen an aphorism by Nietzsche: ‘There is always some madness in love, but there is also always some reason in madness.’

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Carolyn Sampson, Freiburger Barockorchester & Petra Mullejans – Bach: Cantatas for Soprano (2017) [Official Digital Download 24bit/96kHz]

Carolyn Sampson, Freiburger Barockorchester & Petra Müllejans – Bach: Cantatas for Soprano (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:03:04 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © harmonia mundi

The three Bach cantatas presented on this album belong to the composer’s Weimar period (where he lived and worked from 1708 to 1717), written between 1711 and 1714. Bach was still a young composer then, but the full body of his artistry is already present, and one can but shake the head in disbelief: where did the fellow find the source of such intense emotion, such harmonic and melodic boldness? The beginning of “Weichet nur, betrübte Schatten” (“Yield now, troubling shadows”) unfolds a succession of harmonies which seem to have no logical link with each other, some kind of non-tonality – this being the way the composer describes in music the aforementioned lugubrious shadows. Arias alternately heartbreaking and tender, instrumental inventiveness, you name it, Bach has it. Soprano Carolyn Sampson, accompanied by the Freiburger Barockorchester (together with baritone Andreas Wolf for the cantata “Tritt auf die Glaubensbahn”), lends her voice with dedication to the music, combining the teachings of historically informed performance with a solid sense of emotion, indispensable for such masterpieces.

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