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Monckton: Songs from the shows

Ronald Corp Audio CD
4.3 out of 5 stars  See all reviews (6 customer reviews)
Price: 30.04 & FREE Delivery in the UK. Details
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Frequently Bought Together

Monckton: Songs from the shows + The Monckton Album + The Geisha (New London Light Opera Chorus, New London Orchestra, Ronald Corp)
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Product details

  • Conductor: Ronald Corp
  • Composer: Lionel Monckton
  • Audio CD (31 Mar 2008)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B0014IBZLA
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 167,933 in Music (See Top 100 in Music)

1. Charming weather
2. All Down Piccadilly
3. Under the deodar
4. Yo ho, little girls, yo ho!
5. Try again, Johnnie
6. The sly cigarette
7. The boy guessed right
8. When I Marry Amelia
9. Keep Off the Grass
10. Maisie
11. Liza Ann
12. My cinnamon tree
13. Pearl of sweet Ceylon
14. A simple little string
15. Beautiful Bountiful Bertie
16. The Temple Bell
17. A bad boy and a good girl
18. The little grey bonnet
19. Tony, from America
20. Two Little Sausages
See all 22 tracks on this disc

Product Description

Catherine Bott, soprano - Richard Suart, baryton - New London Orchestra - New London Light Opera Chorus - Ronald Corp, direction

Customer Reviews

4.3 out of 5 stars
4.3 out of 5 stars
Most Helpful Customer Reviews
24 of 24 people found the following review helpful
5.0 out of 5 stars Neglected Shows Shine Again 6 April 2008
By Albion
Format:Audio CD
This is something rather special. Following on from Hyperion's marvellous complete recording of 'The Geisha' by Sidney Jones (1896), here we have a comprehensive and beautifully performed selection of songs and duets by Jones' contemporary Lionel Monckton (1861-1924). Writing for shows at the Gaiety, Daly's and other London theatres, Monckton provided hit after hit in enormously successful musical comedies from 'The Shop Girl' (1894) to 'The Quaker Girl' (1910) and beyond. It is difficult now to imagine just how successful these productions were, several running for two years and more.

The selection on this disc is exemplary in its variety and coverage: rollicking numbers are set alongside the sentimental, comic against romantic. Each one is a real gem, but particular highlights are 'Try again, Johnnie' (A Country Girl, 1902), 'The Boy Guessed Right' (A Runaway Girl, 1898), 'When I Marry Amelia' (The Toreador, 1901), 'My Cinnamon Tree' (The Cingalee, 1904), 'Two Little Sausages' (The Girls of Gottenberg, 1907) and 'Moonstruck' (Our Miss Gibbs, 1909).

Catherine Bott and Richard Suart lead us through the unfamiliar territory with great panache and a true understanding of just how to deliver this material. Catherine Bott, in particular, creates an enormous range of characters, from the cynicism of 'Try again, Johnnie' to the feigned innocence of the Yorkshire lass 'Mary' (Our Miss Gibbs). Ronald Corp is at the helm and conducts with his customary skill, clearly loving this repertoire and conveying that enthusiasm to the listener. Orchestra and chorus contributions and likewise superb (if, as might well be the case, the original orchestrations haven't survived, these are wonderfully idiomatic reconstructions).

All in all, a truly splendid tribute to a 'lost' composer and a scandalously neglected genre. Perhaps a similar disc devoted to Monckton's collaborator Ivan Caryll (1861-1921) should now be considered.
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7 of 7 people found the following review helpful
5.0 out of 5 stars Two Little Sausages and Other Delights 1 April 2010
Format:Audio CD|Verified Purchase
Once in the window of a ham and beef shop
Two little sausages sat;
One was a lady and the other was a gentleman -
Sausages are like that.

Of course. And so begins the gently comic tale of 'Two Little Sausages' - one of the delights to be found in 'Lionel Monckton: Songs from the Shows'.

We all know that Edwardian Summers were bathed in golden sunshine - this is a truth universally acknowledged - before the horrors of the First World War had even been dreamt of.

Listening to these treasures from Lionel Monckton's light operas confirms that the Edwardians and their successors knew how to enjoy themselves. Big time. They certainly had good tunes a-plenty, a fair portion of them coming from Monckton's pen in the wealth of musical comedies that graced the West End in the early years of the 20th century.

Before you ask 'Lionel Monckton, who he ?' please remember that everything is cyclical. Monckton is not 'forgotten' - he's just not particularly fashionable, except with amateur opera groups who still trundle out 'The Arcadians', and usually ruin it.

Monckton's light operas are not rivals to Gilbert & Sullivan - nor were they ever meant to be. G & S celebrated and satirised the previous century in their own inimitable way, and Sullivan's music is altogether more 'serious' than Monckton's could ever be; but Monckton was blessed with some excellent librettists and lyricists (listen to the words of 'Maisie' and 'Two Little Sausages' to realise that he himself wrote some high-camp gems) and his shows ran and ran. If anything, his work paved the way for Ivor Novello and Noel Coward, who perfected the English musical comedy of the 1920s and '30s.
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12 of 13 people found the following review helpful
4.0 out of 5 stars Fascinating repertoire from Edwardian England 15 May 2008
Format:Audio CD
Mr Sands in his review has set out the historical background to this release and I second his view that this is a very important release. It throws light on a long-forgotten part of Britain's musical heritage and it is easy to imagine turn-of-the-century Londoners humming these tunes as they went about their lives. The performers are all well inside the idiom. Catherine Bott is better known for her baroque singing, but her light, characterful soprano suits this music admirably. The baritone, Richard Stuart, is new to me but his delivery is spot-on and it comes as no surprise to read in the booklet notes that he is an old Gilbert & Sullivan hand.

If I have any reservations about this music, it is that the pattern of the songs is very similar: solo introduction (sometimes with a short interjection from the chorus), solo verse which is then repeated word for word by the chorus, a final orchestral recapitulation. This format makes the songs very easy on the ear but somewhat repetitive to listen to. Also, whilst the tunes are emminently hum-able some of the lyrics are truly ghastly and, given the excellent clarity of diction from both singers and the choir, can at times grate on repeated listening (a typical example is "All down Piccadilly" with its irritating refrain of "I just simply shilly-shally shally-shilly").

Those points aside, however, this is a worthwhile release and Hyperion and its artists deserve nothing but praise for resurrecting this music.
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