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Editorial Reviews. About the Author. Maurice Leonard is a top television producer and a distinguished biographer. He was born in Surrey, and studied drama at.
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Find Book Refresh this form. For Mahler with all his command of pathos is nevertheless not a major composer, whereas the St Matthew Passion is widely agreed to be one of the world's greatest musical creations. Kathleen herself once said to a leading music critic, 'You've never heard me sing if you haven't heard me in Bach'.
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To reconstruct the joy of her early performances one needs to combine in imagination effects from different records; for instance, in 'Have mercy, Lord, on me' one must add the beauty of tone from the very early Decca K reissued as the 45 rpm disc to the greater rhythmic and emotional intensity of the performances under Dr Jacques Decca AK and K These two again have different merits, and only the latter gives the heart-searching crescendo on the word 'Lord' at the beginning, which one never knew her to miss out in an actual performance.
By an unlucky coincidence the St Matthew records were made in the summer of in the very same week that she was singing in Orpheus at Glyndebourne.
Hence her voice showed some signs of fatigue and anxiety in the long recording sessions, and I remember her seeming to wage a veritable war against the microphone — although during the lunch intervals she was sufficiently relaxed to be seen squirting cherry stones at the tenor soloist There are many fine things in her singing in this set, for example the moving expressiveness of the recitative 'O gracious God, behold the Saviour standeth bound' Decca AK But elsewhere one does miss some of her familiar beauties of phrasing. Which is only to say that the value of records is greater as a reminder of live performances than as a substitute for them.
The Albert Hall used to suit her voice exceptionally well, never putting an 'edge' on the tone in the way that small halls or recording studios can do.
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She could fill it effortlessly in forte passages; and she was a lovely singer to sit behind among choir or orchestra, since one had the curious impression that she sang through the back of her head as much as through the front of it — that where most singers are like a torch beam focussed narrowly on the audience she was like a globe of light radiating in all directions. One gains from being present at recording sessions some idea of the patience and emotional self-discipline which are required of the front-rank executant.
There are endless hitches and repeats; one of Kathleen's most exacting St Matthew arias had to be done four times running.
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How tired she would look at times while waiting for that ominous repeat signal — and yet as soon as she reached the microphone, the song she was about to sing was once again the most important thing in the world. I have never felt from any performer a greater sense of concentration, as though the entire resources of her personality were being lavished upon what she was doing.
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The result was that the song somehow came across as a whole, with each part perfectly phrased and proportioned to the architecture of the rest. This is the essence of pure classical style, which I believe she realised most fully in her early work with Dr Jacques; and while there are other styles and other worlds of feeling, it may have answered to something in her own nature: for her friend Bernie Hammond said of her attitude to her illness 'she had a wonderful sense of proportion'. That there was a profound correspondence between her singing and her personality has of course been felt by many of those who have written about her.
There are signs that this has increased the difficulty of assessing her achievement. Because of the great demonstration of public feeling since she died, I have sometimes heard it speculated that she was admired more as a person than as a musician. Yet when her greatness as a person is considered it seems inseparable from the message which she conveyed in her work.
Ferrier, Kathleen (–) | leondumoulin.nl
Everywhere she went and of all that she sang — as Gerontius's consoler in face of death, as Orpheus pleading his way with music past the Furies into the Blessed Isles — people said the same thing: this girl is sincere, she seems to mean it from her heart. She seems to be burning to tell us that the things she cares for are the best things in creation, stronger and more lasting than anything that can lay siege to them, stronger than ugliness or pain or death.
And so long as they listened, people believed that it was true; and then perhaps they came away and said to themselves: 'But after all, it's music'.