These songs are all felicitously set in a very organic fashion, the modern but not dissonant music following the flow of the words naturally, be they rhymed or blank verse, prose poems, or Biblical texts.  Like all good art song composers, Pinkham (1923-2006) chose texts by poets he liked.  He was drawn to A.E. Housman, Emily Dickinson, and especially to one who became his friend, James Wright (1927-1980).  One of his 3 sets of Wright texts included here, Come, Look Quietly, is especially interesting because it combines texts in varied verse forms.  Another, The Green Wall, with a very sparse guitar accompaniment, is actually a re-setting of a totally different mixed chorus and small chamber orchestra work using the same texts done a decade earlier.  Unlike many of the more famous art song composers, however, Schubert and Schumann, for example, he did not write on spec; he only composed for performances or occasions for which he was asked to supply music.  This might seem to present the inherent risk of an unsatisfying result, but Pinkham’s inspiration seems never to have failed him; they are all truly lovely.

For the songs with organ, most of which are sacred (There’s a Dickinson poem in the mix, as well as poems by some famous British poets.), Pinkham used the standard Latin texts of hymns and prayers, but he has written his own melodies rather than relying on the plain chants that have been associated with them through the ages.   We are more accustomed to hearing many of these in choral settings; they have a completely different, more intimate effect as solo works.  They include a setting of “Ubi caritas” that is exquisite.  He also set a group of 8 Psalms, using old translations pre-dating the King James Version that appealed to him, some in verse and some by famous poets, and which are very interesting and attractive.  For example, the 23rd Psalm included uses a translation by English Renaissance poet Sir Philip Sydney.  There is also an interesting set of prose passages, Letters from Saint Paul, that is unusual, different from run-of-the-mill Biblical settings, more declamatory than melodic although not chant-like.

The performances are all as lovely as the works themselves.  Both singers have excellent, clean, clear, crisp diction and they are supported by superb instrumentalists.  Christensen occupies the post that Pinkham himself held for 42 years, and was, in fact, Pinkham’s assistant for the last 2 years of his tenure.  The organ was therefore the one Pinkham played regularly, and in fact helped design when it was built by the C.B. Fisk Company (Op. 44) in 1963-64, incorporating many parts of the 1909 Skinner that was in too bad repair to be restored.  It was the 1st 3-manual mechanical action organ built in the US in the 20th century.  Its Choir division mirrors the church’s original Brattle organ that came there in 1713, the 1st organ ever installed in a church in New England.  A couple of the sets are performed by those for whom they were written, and who also gave the premières.  All of this gives an added historical value to these recordings that further enhances their quality and significance.

Recorded sound is superb.  Vol. I was recorded in New England Conservatory’s Jordan Hall, and Vol. II, in King’s Chapel, both in Boston, and both acoustically superior venues.  The booklets are professional, tasteful, and lovely without being glamorous and glitzy.  They contain an introductory tribute note by Engebreth, a bio of Pinkham, bios with photos of all the artists and production staff, and in Vol. II, the specifications of the organ and the history of the King’s Chapel congregation and building, the latter dating from 1754, the former from 1686.  Texts for all the songs, and translations for those in Latin, are included (There are a couple of typos and a missing “et semper” in the doxology for the “Nunc dimittis”), each set preceded by a brief introductory note, some of those by Pinkham, others by someone connected with the text (the poet in some instances) or with the première of the work (the commissioner or the performer, for example).  Quotes by Pinkham are scattered in the white space throughout, although the repetition of the same ones in both booklets was a bit surprising – and disappointing, because I wanted to hear more from him.

This is the first half (or perhaps 2/5) of the entire project.  Florestan is raising funds to continue, and proceeds of the sales of these 2 volumes will help, especially if purchased directly from Florestan’s website.  The Florestan Recital Project has rendered a real service in undertaking this repertoire and producing this set.  It deserves to sell well, and will thus also make these fine songs better known for more live performances in recital by other artists who might otherwise not be willing to order the music and program them without having heard them.  Nothing would please Pinkham more!  Very highly recommended.

©2008 Marvin J. Ward