Walford Davies: Everyman

Editorial Reviews

All Music Guide - Uncle Dave Lewis
According to Dutton Digital's annotators, one of the most acclaimed British works of the first decade of the twentieth century was Walford Davies' oratorio "Everyman." Premiered in 1904, in an age notable for such works as Elgar's "The Dream of Gerontius," "Everyman" has had exactly two performances in a hundred years' time and has never been recorded, even in part. Dutton Digital has decided "Everyman"'s time has come, and has gone to great expense and effort to locate Davies' virtually lost orchestral score and record this work in its original form with soloists, chorus, and orchestra. Davies' text is the famous anonymous fifteenth century morality play "Everyman," ...
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Editorial Reviews

All Music Guide - Uncle Dave Lewis
According to Dutton Digital's annotators, one of the most acclaimed British works of the first decade of the twentieth century was Walford Davies' oratorio "Everyman." Premiered in 1904, in an age notable for such works as Elgar's "The Dream of Gerontius," "Everyman" has had exactly two performances in a hundred years' time and has never been recorded, even in part. Dutton Digital has decided "Everyman"'s time has come, and has gone to great expense and effort to locate Davies' virtually lost orchestral score and record this work in its original form with soloists, chorus, and orchestra. Davies' text is the famous anonymous fifteenth century morality play "Everyman," which is set in musical language most prevalent among English-speaking classical composers in 1904 -- heavily Germanic in almost every aspect. Conductor and note writer David Drummond acknowledges similarities in Davies' orchestration to Brahms and Richard Strauss, but neglects, or avoids, the single most obvious comparison in the whole work, that to Richard Wagner. Horns call out fanfares, the solo singing is heroic, and the chorus waxes and wanes, sighing away at the ends of phrases. "Everyman" ends with a great big fugue, as one might expect, which places it squarely in the camp of works like Stainer's "Crucifixion" and Horatio T. Parker's "Hora Novissima." It is enjoyable; "Everyman" is a solid piece of music built with good craftsmanship and is very well performed and recorded here. Particularly good is soprano Jennifer Johnston in the role of Knowledge, baritone Pauls Putnins in the title role, and the splendid London Oriana Choir, which sounds great in the two revised 1934 sections of "Everyman." The first of these contains some striking Ivesian chords that are wholly unlike anything found in the rest of "Everyman" and whets one's appetite for Walford Davies' later period music. Yet the political ramifications of "Everyman," and its painful irony in light of forward events, is just so glaringly obvious that it is impossible to ignore. The generation of Englishmen born the age of Walford Davies' children would be cut to pieces in the face of German cannon. Despite his obvious skill as a composer, Davies' handiwork might be seen as worthy of its obscurity for reasons other than of its purely musical qualities. The year 1904 might have to come around again in order for "Everyman" to be considered more than a curious relic of a time so far gone we will nevermore see its like.
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Product Details

  • Release Date: 1/11/2005
  • Label: Dutton Labs Uk
  • UPC: 765387714123
  • Catalog Number: 7141

Tracks

Disc 1
  1. 1–26 Everyman, oratorio - Henry Walford Davies & Michael J. Dutton (62:55)
    Composed byHenry Walford Davies
    Conducted byDavid Drummond
    Performed byLondon Oriana Choir, David Drummond, Pauls Putnins, Elena Ferrari, Jennifer Johnston, Kensington Symphony Orchestra, Andrew Staples
    1. 1Part 1. No. 1. Prelude
    2. 2Part 1. Prologue. I pray you all give your audience
    3. 3Part 1. No. 2. God speaketh. I perceive here in my majesty
    4. 4Part 1. Death - Here am I Almighty God at thy commandment
    5. 5Part 1. No. 3. Arrest of Everyman by Death. I am Death that no man feareth
    6. 6Part 1. Dialogo. Lo, yonder I see Everyman
    7. 7Part 1. No. 4. Everyman's Lament. Alas! / The day passeth, it is almost ago
    8. 8Part 2. No. 1. Everyman's Appeal. Ah whither for succour shall I flee / [Everyman's Appeal] to Kind
    9. 9Part 2. [Everyman's Appeal to Kindred] and Fellowship. Everyman, Good morrow by this day
    10. 10Part 2. Oaths of undying loyalty - Friend, now show to us your mind
    11. 11Part 2. Everyman is forsaken. - Commanded I am to go a journey
    12. 12Part 2. No. 2. The Appeal. Where art thou my goods and riches? / [The Appeal] to Riches. I lie here
    13. 13Part 2. The Tenets of Money - Nay, not so, I am too brittle
    14. 14Part 2. Presto Agitato - Oh! to whom shall I make my moan?
    15. 15Part 2. No. 3. The Appeal to His Good-Deeds. I think that I shall never speed
    16. 16Part 2. The Counsel of Good Deeds - Knowledge shall with you abide
    17. 17Part 2. No. 4. Song of Knowledge. O glorious Fountain that all uncleanness doth clarify
    18. 18Part 2. No. 5. Everyman's Prayer to God. O eternal God, O Heavenly Figure
    19. 19Part 2. Appeal to God - Save me from the power of my enemy
    20. 20Part 2. Everyman's Redemption - Mirror of Joy
    21. 21Part 2. No. 6. Everyman's Comfort. Be no more sad, but everyone rejoice
    22. 22Part 3. No. 1. Everyman's Farewell. Alas I am so faint
    23. 23Part 3. His faculties forsake him - Sweet strength! tarry a little while
    24. 24Part 3. The Commendation. Into thy hands my soul I commend
    25. 25Part 3. No. 2. Epilogue. Now hath he suffered that we all shall endure
    26. 26Part 3. Fugue - He that hath his account whole and sound
  2. 27 Everyman, oratorio: Appendix. God speaketh (1934 revision) - Henry Walford Davies & Michael J. Dutton (2:26)
    Composed byHenry Walford Davies
    Conducted byDavid Drummond
    Performed byLondon Oriana Choir, David Drummond, Kensington Symphony Orchestra
  3. 28 Everyman, oratorio: Appendix. Epilogue (1934 revision) - Henry Walford Davies & Michael J. Dutton (3:17)
    Composed byHenry Walford Davies
    Conducted byDavid Drummond
    Performed byLondon Oriana Choir, David Drummond, Pauls Putnins, Elena Ferrari, Jennifer Johnston, Kensington Symphony Orchestra, Andrew Staples
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Album Credits

Performance Credits
David Drummond Primary Artist
Staples Primary Artist
Ferrari Primary Artist
Drummond Primary Artist
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