The Art of Marian Anderson
View record and artist detailsRecord and Artist Details
Composer or Director: Traditional, George Frideric Handel, Giuseppe Verdi, Jean Sibelius, Franz Schubert, Camille Saint-Saëns
Label: HMV
Magazine Review Date: 4/1986
Media Format: Cassette
Media Runtime: 0
Catalogue Number: EG290016-4
Tracks:
| Composition | Artist Credit |
|---|---|
| (L')Allegro, il penseroso ed il moderato, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Siroe, Re di Persia |
George Frideric Handel, Composer
George Frideric Handel, Composer |
| Messiah, Movement: He was despised |
George Frideric Handel, Composer
(Anonymous) Orchestra George Frideric Handel, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
| (Der) Tod und das Mädchen |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Ave Maria, 'Ellens Gesang III' |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| (6) Songs, Movement: Aus banger Brust (wds. Dehmel) |
Jean Sibelius, Composer
Jean Sibelius, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| (8) Songs, Movement: Slowly as the evening sun (wds. Tavaststjerna) |
Jean Sibelius, Composer
Jean Sibelius, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| I went walking in the summer time |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| (The) Little Shepherdess |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| I don't feel no ways tired |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Deep River |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Were you there when they crucified my Lord? |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Dere's no hiding place down dere |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Ev'ry time I feel de spirit |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| I can't stay away |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Samson et Dalila, Movement: ~ |
Camille Saint-Saëns, Composer
(Anonymous) Orchestra Camille Saint-Saëns, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
| Don Carlos, Movement: Ce jour heureux |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
Composer or Director: Traditional, George Frideric Handel, Giuseppe Verdi, Jean Sibelius, Franz Schubert, Camille Saint-Saëns
Label: HMV
Magazine Review Date: 4/1986
Media Format: Vinyl
Media Runtime: 0
Catalogue Number: EG290016-1
Tracks:
| Composition | Artist Credit |
|---|---|
| (L')Allegro, il penseroso ed il moderato, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Siroe, Re di Persia |
George Frideric Handel, Composer
George Frideric Handel, Composer |
| Messiah, Movement: He was despised |
George Frideric Handel, Composer
(Anonymous) Orchestra George Frideric Handel, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
| (Der) Tod und das Mädchen |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| Ave Maria, 'Ellens Gesang III' |
Franz Schubert, Composer
Franz Schubert, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| (6) Songs, Movement: Aus banger Brust (wds. Dehmel) |
Jean Sibelius, Composer
Jean Sibelius, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| (8) Songs, Movement: Slowly as the evening sun (wds. Tavaststjerna) |
Jean Sibelius, Composer
Jean Sibelius, Composer Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) |
| I went walking in the summer time |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| (The) Little Shepherdess |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| I don't feel no ways tired |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Deep River |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Were you there when they crucified my Lord? |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Dere's no hiding place down dere |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Ev'ry time I feel de spirit |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| I can't stay away |
Traditional, Composer
Kosti Vehanen, Piano Marian Anderson, Contralto (Female alto) Traditional, Composer |
| Samson et Dalila, Movement: ~ |
Camille Saint-Saëns, Composer
(Anonymous) Orchestra Camille Saint-Saëns, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
| Don Carlos, Movement: Ce jour heureux |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Giuseppe Verdi, Composer Lawrance Collingwood, Conductor Marian Anderson, Contralto (Female alto) |
Author:
Marian Anderson's fame was immense and very special: a recently published bibliography, for instance, lists over 1,200 items, books and articles, honours and degrees. But there now exists a generation who never heard her, and one wonders what this present collection of her recordings, mostly from the 1930s, will mean to them.
They will certainly recognize a lovely voice in the opening unaccompanied phrases of Handel'sLass mich wandernd. A fine contralto depth, a beautiful pianissimo, a smooth passage through the registers, a subtlety of shading; these quickly become evident, and in the other Handel song, Ch 'io mai vi possa, a practised fluency, a good trill, and a brightening of tone not regularly associated with contraltos of that period. Then comes the Messiah solo, ''He was despised'', the plodding syllabic heaviness of style, both vocal and orchestral, all too clearly of its period. I rather wish it had been lain to rest, possibly together with one Don Carlos aria (the transposed ''O don fatale'') which magnificent in sheer tone, lacks drama or indeed any very sure sense of what it is all about. Of course, there is surprisingly little for the anthologist to choose from up to 1936. It almost passes belief that having found, in 1928, a voice that recorded so impressively, the company should have made so little use of it, even when the splendid Samson et Dalila arias on the old plum label became one of the mainstays of their catalogue.
The 1936 sessions made amends, however. These brought the Handel songs, some Schubert (the long-phrasedAve Maria, and a performance of Der Tod und das Madchen that is still among the best of all), also, even more remarkable, especially for those days, were songs by Sibelius who was himself one of Marian Anderson's warmest admirers. These and two traditional Scandinavian songs are among the delights of the collection. Best of all remain the spirituals. Here, right from the start with I don't feel no way tired and Deep river, with its exquisitely pure line, the voice is its Freest and most characteristic self. There is magic in the rhythms and phrasing-over of Lord, I can 't stay away—and it is this above all which will present Marian Anderson to a new generation. Excellent transfers.'
They will certainly recognize a lovely voice in the opening unaccompanied phrases of Handel's
The 1936 sessions made amends, however. These brought the Handel songs, some Schubert (the long-phrased
The Art of Marian Anderson
The Art of Marian Anderson
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