INTERNATIONAL RECORD REVIEW:
Although belonging to a much younger generation, John Jeffreys (b.1927) could, on stylistic and aesthetic grounds, be counted among the great songwriters of the second English Renaissance – composers like Quilter, Gurney, Ireland, Finzi and Warlock. Jeffreys even follows Warlock’s scholarly interest in the Elizabethan lute song, having published a scholarly “memoir”, as the booklet notes have it, of Philip Rosseter. An important point: like both Rosseter and his friend Thomas Campion, Jeffreys places the intelligibility of the texts above all else. Like theirs (and Finzi’s), his settings are largely syllabic. His sparse, evanescent accompaniments are incredibly evocative and his melodies have a folk-like simplicity that nevertheless releases the fragrant depths of his chosen texts with a seemingly effortless grace.

The selection on this present disc, many of which are recorded here for the first time, spans more than 50 years and features a wide variety of poets. It is organised into six distinct section. ‘Songs of Love’ include a setting of Barry Duane Hill’s enigmatic The Song of Love and (Herrick’s) Passing By, while ‘Settings of Ivor Gurney’ feature a wistful version of Severn Meadows which compares very favourably with Gurney’s. ‘Sacred Texts’ has as it’s a centrepiece Joseph Campbell’s wonderful I am the Gilly of Christ. Jeffreys then goes head to head with Quliter in ‘Settings of Shakespeare’ with a superb O Mistress Mine before the watercolour sketches of ‘Evocations of place and nature’ (here, Wilfred Wilson Gibson’s Black Stitchel and Yeats’s Salley Gardenstake pride of place, the ghost of Gurney just audible in both). She is ever for the new and Jillian of Berry bring the recital to ‘A Jolly End’.

These settings are beautifully realized by tenor James Gilchrist, who has completely mastered the art of chiaroscuro and legato singing without sacrificing clarity of diction. Do you remember his Finzi recital for Linn Records? Here’s more of the same. Anna Tilbrook is, as always, a sympathetic accompanist. Booklet notes by Peter Palmer discuss Jeffreys’s influences and provide commentaries on each song; valuable biographical information (including the fact that, while in the throes of depression, Jeffreys destroyed many of his works, only to painstakingly recompose them once his depression lifted) is also included.

Some might find the overall tone of this disc rather sombre, but I for one incline to wards the melancholy and so found yet another reason for thinking John Jeffreys a true Elizabethan (II) master.
Robert Levett

MUSICWEB (1):
I first became aware of the music of John Jeffreys quite recently when I was invited to review the CD of his songs made a few years ago by Ian Partridge. That disc was swiftly followed by a much more recent collection of his music. Those two discs made me keen to audition this present James Gilchrist collection. The CD arrived just a few weeks ago and not long afterwards it was announced that John Jeffreys had died on 3 September 2010, just four days after the passing of his wife, Pauline. So, by a twist of fate, most of my listening work on this CD took place in the week or so after the composer's death, though I hope that hasn't influenced my judgement.
 
It's particularly pleasing to find that, after Jeffreys's songs had been championed on disc by Ian Partridge, one of the foremost British singers of his generation, James Gilchrist, a leading light among current British singers, has taken them up. Advocacy such as this is great for any composer, and still more so for one whose music has not yet attracted the recognition it deserves. Collectors will be delighted to learn that the Partridge disc contains twenty-four songs and this one has twenty-six yet only seven songs are duplicated.
 
I should just add a word of explanation about the track-listing at the head of this review. John Jeffreys himself produced this recording and selected the groups of songs. I infer from Peter Palmer's very useful notes that the composer may also have given the various groups their titles so I've reproduced them in the list. However, listeners should be aware that these are not formal titles for groups of songs in the sense that any group has, as far as I know, been published under one of these collective titles.
 
In James Gilchrist these present songs have an excellent advocate. His tenor is essentially a light, sweet instrument though he can certainly summon up steel and power when required. Thus the voice is well suited to these songs. In his notes Peter Palmer cites Warlock and Ireland as exemplars for Jeffreys. I wouldn't disagree, though I'd add Ivor Gurney to the list.
 
It will be noted that there are three songs in this collection that set words by Gurney. I've heard Severn Meadows before because it's on the Partridge disc but the other two were new to me. Severn Meadows is Jeffreys's earliest extant Gurney setting, dating from 1962. It's typical of Jeffreys that he would not shy away from a text simply because another composer has set it – nor should he do so – but I have to say that I don't think his setting, good though it is, matches Gurney's own. Gurney's infinitely bitter-sweet song lodges firmly and quickly in the memory, whereas this one doesn't – or hasn't done so far. One weakness in the setting is the piano prelude. It's only ten bars long, apparently, but in this performance it spans 0:44. That's quite a long time in a song that takes 2:18 in all and I rather fear that one is kept waiting too long for the voice to enter. Interestingly, Jeffreys chose the same key – B minor – as Gurney though it appears he didn't know the Gurney song at the time he composed his own setting. I must report, however, that Gilchrist sings the song with great feeling and the music for the second stanza of the poem is very eloquent and melancholy.
 
Severn Meadows is preceded by Horror follows Horror . This is a dark, dramatic minor key setting and the piano part is jagged and dissonant. The song is marked “Taut and angry”. It's a harsh song – rightly so, in view of the words – and it brings out a side in Jeffreys's music that, on my limited acquaintance to date, is new. At the risk of challenging the composer's judgement I think a better order for these three Gurney songs might have been to place this one second in the group, opening with From Omiecourt and ending with Severn Meadows .
 
The Shakespeare group is well chosen. Full Fathom Five is grave and impressive and there's an intriguing harmonic shift at the words “sea change”. When that I was is largely light in character, capturing the spirit of the text, while O mistress mine is an engaging, wistful response to the words. It's not as extrovert a setting of this text as some that I've heard – Roger Quilter's springs to mind – but it's none the worse for that.
 
The first group of seven songs did remind me of a point I've made about the other discs of Jeffreys' music that I've come across. Though they're good songs individually, all of them are of a similar hue in that they're all in moderate tempo and impart a similar overall feeling to the listener. Happily, the other groups on the disc evidenced a very welcome variety of approach. But, as I say, these Songs of Love, as they're termed here, are good. Awake thee my Bessy is a strophic song that's blessed with a truly lovely – and memorable – melody. It has a folk-like quality and it's quintessentially English in character. The song has a touching simplicity and Gilchrist's performance is excellent. She is all so slight is described, aptly, in the notes as a “chaste love song”, which Gilchrist delivers beautifully. Passing By is another touching, essentially strophic song. I think it might have been beneficial had Jeffreys omitted a couple of stanzas of the poem but his setting is enjoyable nonetheless and the ear is caught especially by a lovely yearning melodic phrase with which all but one of the six verses concludes.
 
Among the songs I've not yet discussed The Far Country was written for James Gilchrist. It deserves to take its place on the roll-call of good Housman settings and the music suits Gilchrist's voice to a tee. I liked Jeffreys' approach to the Yeats text, The Salley Gardens . He produces a fine, easeful setting, which flows very well. The metre shifts between 3/4 and 4/4 and that adds to the interest.
 
The group of sacred texts contains some interesting material, not least the songs which open and close the group. The Falcon will be familiar to anyone who owns the Ian Partridge disc. It's strongly atmospheric and spare textures in the piano part support the vocal line. Gilchrist sustains it well, offering very intense singing. What will be new to listeners is Corpus Christi . This, I presume, is a later song in which Jeffreys essentially reworks The Falcon – the words are the same – though the music is not identical, I think. Jeffreys adds a short piano prelude in Corpus Christi and the other substantial difference is that in this setting he repeats at the end the opening refrain “Lullay, lullay”. That, I think, makes for a better conclusion to the song. As in The Falcon , Gilchrist's singing is intense and superbly controlled. Also notable in this group is I am the Gilly of Christ – also offered by Ian Partridge – a powerful song that Gilchrist handles very effectively. Drop, drop slow tears is an excellent working of familiar words. The music is rather spare in character and the song benefits from the restraint and simplicity of the setting.
 
Overall, this is a very good disc indeed. James Gilchrist's singing gives consistent pleasure and he is well supported throughout by Anna Tilbrook. This is the best collection of songs by John Jeffreys that I've heard to date. That's not in any way to decry the excellent Ian Partridge disc but I think the material in this present recital offers greater variety and so, arguably, presents a slightly more rounded picture of Jeffreys' output of songs. These songs deserve the exposure that discs like this make possible. They are in the best traditions of the English song genre and collectors who like that repertoire will find this disc has many rewards.
John Quinn

AMERICAN RECORD GUIDE:
The compositions of John Jeffreys (b.1927) are mainly songs for voice and piano, and of the songs heard on this recording the most recently composed was written in 1981. Eight of the 26 songs are recorded here for the first time. Most of them are in the style of Warlock, Ireland, Vaughan Williams, and Finzi – and they are worthy of comparison to those much better-known composers. Jeffreys picked good texts by Shakespeare, Gurney, Housman, Yeats and some lesser-known poets. The first set of seven songs, Songs of Love , all present gentle, lilting melodies that have a certain sameness to them; but others show a sharper edge and a more strident tonal language. He has an exceptional ability to create a variety of musical expressions that fit the words.

If you are not familiar with Jeffreys and if you like 20 th Century English songs, you will not want to pass this up. Even if you're not familiar with that literature, Gilchrist's voice will win you over. One of the leading English tenors of our time, Gilchrist has a light lyric voice that will remind you of Martyn Hill of Andrew Kennedy – and he's almost as good as them. His voice has a gentleness, warmth and sweetness that is just right for these songs; and his enunciation is impeccable.

His primary [sic... piano?] accompanist, Anna Tilbrook, proves to be an admirable artist as well. Some of these songs were recorded in 1997 by Ian Partridge with his sister Jennifer for Meridian, but neither the recorded sound nor the performance is as good as this. Good notes and texts are supplied.
R Moore

MUSICWEB (2):
What felicity it is to hear a tune again which has made me happy.”

(Jane Austen ‘Emma’)

It is, of course, fashionable at present to quote Jane Austen – but it is appropriate here; music was ‘an innocent diversion’ in her life and writings. Among her music books at Chawton names like Stephen Storace, Charles Dibdin, Arne, Shield, Linley and other songsters appear. It is not inconceivable that, had Jane inhabited a 20 th century drawing room, the name of John Jeffreys would feature amongst the music. His is a gentle voice – reflective – flowing as serenely as the Severn on the covering booklet - although the occasional song in this collection might disturb the waters as does the bore.

This is the fifth disc of Jeffreys’ songs – most of which were resurrected from oblivion in the 1960s before which he destroyed almost all his work. And on this collection there are eight given a first performance. Jeffreys’ music like that of Warlock bridges the Elizabethan and the early 20 th Century – setting such 17 th century lyrics as ‘Passing By’ and ‘Jillian of Berry’ as well as Shakespeare, Gurney, Wilfrid Wilson Gibson and other ‘Georgians’ yet retaining a uniquely individual voice. So acute is his sensitivity to the poems, that he has set several twice, thrice and even four times.

This is music for a quiet evening – in contemplation of some of the less complex emotions aroused by things fine and beautiful – all beautifully sung by James Gilchrist with Anna Tilbrook accompanying.
Colin Scott-Sutherland

ALBION MAGAZINE:
John Jeffreys is in that unrivalled English school of song composition that included Warlock, Moeran, Ireland, Delius, and Finzi, amongst others. In f act, his songs so thoroughly inhabit their sound world that on this disc his version of Passing By is not terribly different from Warlock's setting, and Horror Follows Horror sounds like a pastiche of Finzi. The songs are on the whole delightful, if rather samey; a little more variety within Jeffreys's songs themselves would have been appreciated, as well as some stronger signs of an individual voice. James Gilchrist is the splendid soloist on this disc, his excellent diction and great beauty of tone demonstrated in a wide range of moods, from the power and intensity of I Am the Gilly of Christ to the crooning tenderness of O my Dere Heart.
Em Marshall

GRAMOPHONE:
Not ‘fashionable’ perhaps, but a composer sensitive both to words and music. John Jeffreys’ 80th birthday falls this year. He has the music of the older generations (Ireland, Gurney, Finzi) in his veins, and has his own distinctive individuality. With a few exceptions – almost startling in context – Jeffrey’s songs move at an even, untroubled pace, vocal lines and piano accompaniment modestly simple, though not unfeeling and not banal. Musically, there would seem a conviction that there is still material to harvest quite naturally from the ground that fed his predecessors. In feeling ( this one can only hazard), there is a sense of sympathy with those shadowy yearnings and joys (no doubt known well enough to them inwardly) of poets long out of fashion, biding their time, perhaps, till the scornful generations have passed.

The elders were not men of fashion either. With Housman and Hardy so high in their literary affections, they were not “modern”, yet they caught so surely a flavour of their time, an underlying sadness (and a latent passion) conditioned by the Great Warof 1914. Remarkable, too, that Housman should so unerringly have anticipated it.

The programme includes eight first recordings . Tenor James Gilchrist has a warm voice, and has the support of a fine pianist.
John Steane  (nb this was a joint review of two songs CDs which has been edited to include only comments relevant to this disc.)