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VENABLES I.: On the Wings of Love / Venetian Songs (English Song, Vol. 21) (A. Kennedy, Burnside)

Composer(s):Venables, Ian
Artist(s) Hosford, Richard, clarinet • Burnside, Iain, piano • Kennedy, Andrew, tenor
Period(s) Contemporary
Genre Classical Music
Category InstrumentalVocal
Catalogue 8.572514
Label Naxos
Quality   320kbps
Album Price
USD 6.99


Ian Venables is one of Britain’s foremost composers of art-song, and has a significant catalogue of vocal and chamber music to his credit. Writing tonal music in a warm lyric vein, he has a rare gift of being able to ‘locate’ himself, believably, in a different period and absorb from it, both musically and poetically, all its fundamental beauty, while also producing works of astonishing freshness, naturalness and originality. On the Wings of Love are settings by non-English poets, while Love’s Voice sets Venetian poetry by J.A. Symonds. All his songs are sincere expressions of a love of poetry, combined with a profound understanding of musical and poetic tradition.


Review By Philip Lancaster,The British Music Society,March 2011

The last year has been one of great significance for Ian Venables; a year that has by chance coincided with his first as a full time composer. As well as seeing premiere performances at such as Wigmore Hall, it has seen three commercial recordings: a disc of songs and chamber music on Signum Records, including his String Quartet—perhaps one of Venables’s most original works; a disc of chamber music issued by Somm Records, notably including the Piano Quintet; and a disc of song on the ubiquitous Naxos label. This latter disc is the first in Naxos’s English Song Series—a series taken over from Collins Classics upon their demise—to be devoted to the work of a living composer, and it is disc with which I am concerned here.

Review By Record Geijutsu,March 2011


Review By Jeremy Marchant ,Fanfare,March 2011

Andrew Kennedy is in fine voice, unfailingly responsive to the text and the settings, his tone constantly engaging. Iain Burnside makes the most of the accompaniment, which is never showy and always written to support the text and the vocal line. The performances from all three are clearly committed. The recording, made in Wyaston Concert Hall, is fine and texts are provided where out of copyright.


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