Review: Songs By Sir Hamilton Harty - Kathryn Rudge, Soprano

Mezzo-soprano Kathryn Rudge and pianist Christopher Glynn present a set of songs by Irish composer Sir Hamilton Harty (1879-1941). Harty was also known as an organist and conductor, leading the London Symphony Orchestra from 1932 to1935. He was particularly known, However, as a skilled accompanist, which is reflected in the musical complexity of his songs’ piano parts. They do not simply complement the vocalist, but have a distinct personal character that adds sophistication to his works.

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“Sea Wrack” (track 1) is an impressive opening: based upon a poem by writer Moira O’Neill (1864-1955), who herself resided in Ireland, it describes two men at sea harvesting seaweed who presumably encounter an accident, leaving one of the “beneath the salt sea” and the other alone on the shore. The duo does very well in capturing the poem’s dramatic arc: Rudge’s voice, resonant and declamatory, holds up to the programmatic accompaniment figures. The piano writing makes an effective use of the piano’s lower register and gradually transforms the instrument into a swirling, powerful sea wave. Though the death is only implied in the conclusion of the poem, we can experience its true poignancy in the way Rudge sings the final words.

Another excellent performance is the Scyth Song (track 2). Rudge’s voice takes on a completely different yet still vibrant character here, sounding calm and hopeful in describing a young girl looking out upon the grass on a summer’s day. Likewise, Glynn’s silky and mellow sound quality is reminiscent of the gentle swinging of the scythe against the grass. His performance adds to the refreshing optimism of the song.

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Many of Harty’s songs describe the sights and scenes of his native country, and the “Song of Glen Dun” (track 7) is one fine example. This was the composer’s first published song, based on another poem by O’Neill. Here, the performers highlight the poem’s duality, one that intermingles the description of a scenic valley in Antrim (Northern Ireland) with the longing that the singer has for her love. There is a presence of different characters from the march-like piano introduction that simultaneously contrasts with and highlights the narrative lyricism of the vocal line.

“Adieu, Sweet Amaryllis” (track 25) is a departure from previous ones that largely feature 19th and 20th-century Irish poetry. The lyrics are thought to be those of English Renaissance composer John Dowland, but the setting is Harty’s. This song is consequently at an interesting stylistic crossroads: despite having Harty’s distinct compositional style, it is evident that he has also taken into account the hymn-like harmonies of a 16th-century madrigal. This, along with Rudge’s emotive performance, amplifies the deep sense of melancholy of the lyrics. Although the piano line is more accompanimental in nature than in other songs, Glynn’s performance is still salient with its sostenuto and lovely gradations of dynamics.

The album also features two of Harty’s solo piano compositions, both written at the turn of the 20th century. “Arlequin and Columbine” (track 5) is a reference to the two famous stock characters of the commedia dell’arte theater genre. Glynn’s performance maintains a lightheartedness throughout, but we can certainly hear the interaction between the graceful Columbine and the humorous and often mischievous Harlequin. “Idyll” (track 16), with its dreamy romance, is a lovely counterpart that balances out the energy of the other solo track. I found the inclusion of these two pieces very nice, as this gives the listener a chance to fully savor Harty’s masterful pianistic writing.

The liner notes are excellent: they not only give background to each of the pieces but also include the poems upon which the songs are based. The recording is rather close, sometimes uncomfortably so, giving an impression of a home rather than a hall performance. Nonetheless, this album is a solid output from Rudge and Glynn and allows listeners to appreciate the vibrancy of Harty’s works.