Carolyn Sampson

Pixels Ensemble

Borealis

Bridget Budge

Gál: Music for Voices, Vol. 3

Nachtmusik, Op. 44

4 Part Songs, Op. 61: No. 1, Love Will Find out the Way

4 Part Songs, Op. 61: No. 2, An Epitaph

4 Part Songs, Op. 61: No. 3, To Sleep

4 Part Songs, Op. 61: No. 4, Phillida and Corydon

Of a Summer Day, Op. 77: Prelude

Of a Summer Day, Op. 77: I. To-day

Of a Summer Day, Op. 77: II. Morning

Of a Summer Day, Op. 77: III. Make much of Time

Of a Summer Day, Op. 77: IV. Song of June –

Of a Summer Day, Op. 77: V. Elegy

Of a Summer Day, Op. 77: VI. Scherzo

Of a Summer Day, Op. 77: VII. Hurricane –

Of a Summer Day, Op. 77: VIII. Sunset –

Of a Summer Day, Op. 77: IX. Silver

Stephen Muir

2 Songs, Op. 8: No. 1, Idylle

2 Songs, Op. 8: No. 2, Sterne im Wasser

2 Songs, Op. 63: No. 1, Bey dem Weine

2 Songs, Op. 63: No. 2, Runda

Joseph Middleton

《But I Like to Sing...》以声音的纯粹性与艺术表达的私密性为核心，Carolyn Sampson与钢琴家Joseph Middleton通过这张专辑重塑了古典声乐作品的聆听边界。女高音清透如晨雾的嗓音与钢琴织体精密缠绕，从舒伯特、沃尔夫到布里顿的选曲暗藏一条"自我凝视"的线索——看似轻盈的旋律中渗透着对存在本质的追问。两位艺术家摒弃炫技式表达，转而捕捉音符间隙的情感震颤，当《致音乐》的孤独与《在异乡》的疏离被解构成声音标本，听者将被引向一场关于脆弱与坚韧的精神漫游。

But I Like to Sing...

Roderick Williams

Sounds and Sweet Airs - A Shakespeare Songbook

Allan Clayton

Wolf: Italienisches Liederbuch

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 release, 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.’ Brahms’ Ophelia Songs, composed for a stage production of Hamlet, appear next to those by Richard Strauss and Chausson, while Ophelia's death is described by both Schumann (in Herzeleid) and Saint-Saëns. Goethe’s mysterious and traumatized Mignon appears in settings by Hugo Wolf as well as Duparc, while his ill-used Gretchen grieves by her spinning-wheel in Schubert's matchless setting. Sadness and madness tip into witchery and unbridled eroticism with Pierre Louÿs's poems about Bilitis, set by Kœchlin and Debussy. Sampson and Middleton end their recital as it began, with a suicide by drowning: in Poulenc’s monologue La Dame de Monte-Carlo, the elderly female protagonist has been unlucky at the gambling tables and decides to throw herself into the sea.

Reason in Madness

Bach Collegium Japan Chorus

Bach Collegium Japan and Masaaki Suzuki

Robin Blaze

Robert von Bahr, CEO of BIS Records, writes of this release: “When we finished the Bach Sacred Cantatas there was an emptiness with us all participants, which was - partly - alleviated by the fact that there were several records of secular Cantatas still to be recorded. And now we are at the bitter end of those as well, and there are no more Bach Cantatas to be recorded. After 23 years of a steady diet of Bach Cantatas, to be without them is brutal and cruel. All the better, then, that we have finished on a high point. Carolyn Sampson’s singing in the solo cantata BWV 204 beggars belief - it is as close to Heaven one can hope to come on this Earth. Big words, and yet too small for what she does. This is the crowning glory of a series that has transformed my life and given me so much more fulfillment that I could possibly have hoped for. Thank you, Masaaki and your faithful BCJ, for creating a musical treasure possible to be treasured by a grateful mankind.”


J.S. Bach: Secular Cantatas, Vol. 10

Schubert’s empathy with women is evident in his body of songs, which include songs to, by, about and for women. Devised by Carolyn Sampson and Joseph Middleton, the present recital brings us each of those possibilities and more. The playwright Helmina von Chézy wrote the text to the tender Romanze, intending it for the play Rosamunde, Princess of Cyprus to which Schubert composed incidental music. Another female author, Marianne von Willemer, wrote the two Suleika poems for Goethe, who included them (under his own name) in the collection West-ostlicher Divan. And no less than seven of the other songs on the album are also associated with Goethe, and his characters Mignon (from Wilhelm Meisters Lehrjahre) and Gretchen (from Faust). Schubert was for a while almost obsessed with the mysterious and waif-like Mignon, making several settings of the poems associated with her. Less of an enigma but equally moving, Schubert’s Gretchen sings of awakening desire (Gretchen am Spinnrade) and laments her coming disgrace (Gretchens Bitte). Carolyn Sampson and Joseph Middleton have collaborated on several acclaimed projects for BIS, most recently with the counter-tenor Iestyn Davies as their companion. Here they close their Soprano’s Schubertiade with three settings of poems by Walter Scott, albeit in German translations. The three ‘Ellen Songs’ are from the verse-romance The Lady of the Lake from 1810, with the last one, ‘Schubert’s Ave Maria’, being one of the composer’s best-known and most loved compositions.

A Soprano's Schubertiade

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Gál: Music for Voices, Vol. 3

Song List

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