Roderick Williams' rendition of an English song cycle inspired by Schubert's iconic Winterreise is a captivating experience that has been refined over the years, yielding a programme that not only holds its own against the Austrian masterwork but also adds depth and nuance to the genre.
Williams has skillfully curated a playlist that mirrors various aspects of Winterreise. Vaughan Williams' The Vagabond, for instance, shares an unrelenting pace with Schubert's Good Night, while Quilter's Blow, Blow, Thou Winter Wind replicates the frenzied energy of Weathervane. Linden Lea, featuring a folksy melody and woodland imagery reminiscent of its Schubert counterpart, benefits from Williams' sensitive delivery in Dorset dialect.
On other tracks, Williams subtly reworks melodies to evoke connections to Winterreise's songs. Ina Boyle's A Song of Enchantment, for example, captures the enigmatic essence of Schubert's Will-o-the-Wisp, while Britten's Midnight on the Great Western echoes the image of a mail coach from 19th-century Winterreise. Finzi's In a Churchyard transforms the metaphorical graveyard into an actual cemetery, reflecting a more sombre tone than Schubert's Inn.
A notable difference between Williams' and Schubert's approaches lies in their respective song cycles' narratives. Schubert's protagonist leaves behind a recently ended relationship, whereas Williams often explores themes of long-lost loves and the relentless passage of time. This shift imbues the English cycle with an added melancholy that might be seen as a drawback by some but proves to be a compelling aspect in Williams' hands.
Williams brings a wealth of interpretation to the repertoire, injecting fresh insights into familiar pieces through his nuanced phrasing and dramatic presence. He is accompanied by Christopher Glynn's thoughtful piano playing, whose synergy with the singer's voice is particularly evident in Britten's evocative song about a young man on a solitary train journey.
The culmination of these elements yields an enthralling English song cycle that not only pays homage to Schubert's Winterreise but also stands as a testament to Williams' skill and creativity.
Williams has skillfully curated a playlist that mirrors various aspects of Winterreise. Vaughan Williams' The Vagabond, for instance, shares an unrelenting pace with Schubert's Good Night, while Quilter's Blow, Blow, Thou Winter Wind replicates the frenzied energy of Weathervane. Linden Lea, featuring a folksy melody and woodland imagery reminiscent of its Schubert counterpart, benefits from Williams' sensitive delivery in Dorset dialect.
On other tracks, Williams subtly reworks melodies to evoke connections to Winterreise's songs. Ina Boyle's A Song of Enchantment, for example, captures the enigmatic essence of Schubert's Will-o-the-Wisp, while Britten's Midnight on the Great Western echoes the image of a mail coach from 19th-century Winterreise. Finzi's In a Churchyard transforms the metaphorical graveyard into an actual cemetery, reflecting a more sombre tone than Schubert's Inn.
A notable difference between Williams' and Schubert's approaches lies in their respective song cycles' narratives. Schubert's protagonist leaves behind a recently ended relationship, whereas Williams often explores themes of long-lost loves and the relentless passage of time. This shift imbues the English cycle with an added melancholy that might be seen as a drawback by some but proves to be a compelling aspect in Williams' hands.
Williams brings a wealth of interpretation to the repertoire, injecting fresh insights into familiar pieces through his nuanced phrasing and dramatic presence. He is accompanied by Christopher Glynn's thoughtful piano playing, whose synergy with the singer's voice is particularly evident in Britten's evocative song about a young man on a solitary train journey.
The culmination of these elements yields an enthralling English song cycle that not only pays homage to Schubert's Winterreise but also stands as a testament to Williams' skill and creativity.
His version of Ina Boyle's A Song of Enchantment is literally perfect, but then Finzi's In a Churchyard feels like it's trying too hard to be sombre. And what's up with the pacing? It's all over the place... sometimes I'm fully immersed in the music, other times I feel like I need a refresher on the tracklist 
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The way he curates his playlist is genius - it's like he took all the best bits from Winterreise and blended them with some amazing new pieces 
. I love how he reworks melodies to make connections to Schubert's songs, it's so cool to hear those familiar themes in a new light 
. And Williams' delivery is just stunning - his Dorset dialect adds such depth to Linden Lea, I could almost picture the woods around me 
. He has this amazing ability to convey emotion through his singing, it's like he's speaking directly to your soul 
. The piano accompaniment from Christopher Glynn is equally brilliant, they make an incredible team 
. Williams' take on the genre is so refreshing and nuanced - I think he's brought a whole new level of magic to the English song cycle 
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the way he weaves together different styles & emotions is pure genius 
i mean, who wouldn't love a song that's basically a mini odyssey of longing & heartbreak 
and that piano accompaniment by christopher glynn? 
absolute perfection 
I'm totally obsessed with Roderick Williams' rendition of the English song cycle! It's like he took all the magic from Schubert's Winterreise and added his own special sauce 
. I love how he reworks melodies to connect them to Winterreise, it's like he's creating this whole new narrative that's both familiar and fresh at the same time 
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. It's so melancholy and beautiful, it makes me want to curl up with a cuppa and get all nostalgic 
. And let's not forget that piano accompaniment by Christopher Glynn - it's like the perfect match for Williams' soulful voice 
. Roderick Williams has truly outdone himself with this one, and I'm so grateful to have experienced it 
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. Britten's Midnight on the Great Western is also top-notch, the piano accompaniment is just perfect. I reckon Williams brings somethin' special to these classic pieces, it's not just about the notes, it's about the feel and the emotion behind 'em. And when he gets the drama right, man... it gives chills every time 
. What do you think?
plus, his delivery in dorset dialect is everything 
. But, wait a minute, isn't that just saying the same thing as Schubert's stuff? Like, don't get me wrong, it's still awesome, but can't we try something new for once? 
especially in tracks like Linden Lea where he brings this gorgeous folk melody to life in dorset dialect 
and that piano accompaniment by Christopher Glynn is just the icing on the cake 
has anyone else listened to this? 
. I'm also obsessed with his delivery in Dorset dialect - it adds such an authentic touch to Linden Lea #DialectDelight 
And let's be real, who wouldn't want to hear a folksy melody like Linden Lea in Dorset dialect? 
His chemistry with Christopher Glynn on piano is undeniable too - they're like two old friends jamming together! 
. He takes the traditional english songs and makes them feel fresh again 
. The way he weaves together the different melodies and emotions is so clever 
. And that pianist Christopher Glynn, they're like two peas in a pod 
. His music adds this extra layer of depth to Williams' voice. It's not just about singing the words, it's about feeling the whole story 
. I love how he explores themes of lost loves and time passing... it gives me all the feels 
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. The piano accompaniment by Christopher Glynn is top-notch, though – they make a killer team 
but its not like he's reinventing the wheel here. i mean, yeah, he's got some good connections between the pieces, but it's still just Vaughan williams and quilter and finzi being covered by a fancy english singer 
I love how he weaves together different themes and narratives to create something entirely new 