Alfred, Lord Tennyson’s poem ‘The Owl’ was set to music by Richard Rodney Bennett as part of his jazzy collection aimed predominantly at children,’The Aviary’.

It is performed here by Ruth Carlyle (voice) and David Barton (piano).

Lyrics:
When cats run home and light is come,
And dew is cold upon the ground,
And the far-off stream is dumb,
And the whirring sail goes round,
And the whirring sail goes round;
Alone and warming his five wits,
The white owl in the belfry sits.

When merry milkmaids click the latch,
And rarely smells the new-mown hay,
And the cock hath sung beneath the thatch
Twice or thrice his roundelay,
Twice or thrice his roundelay;
Alone and warming his five wits,
The white owl in the belfry sits.

The Owl - Richard Rodney Bennett, 1966

Stuart O'Hara & Marianna Cortesi premiere composer Morag Galloway's 'When You Were Seven' as part of the opening weekend of our 2023/24 season.

Poem:
When you were seven,
the kitchen glowed amber in the glass
as you slipped through the soft blue garden
like a blackbird chuckling into dusk.
Air, damp and calm as mushroom, strok’d your skin.
Your skirt grew heavy,
And in the lane,
orange sun, sinking, dazzled your lashes,
lifted shadows through your hair.
Your name cried out behind you,
like a seabird for the sea,
and you thought
“If I don’t go now, when?”
- Ann Heath


Recording by Jude Clark

When You Were Seven (WP)

As part of the Late Music 2023-24 Series opening weekend. 
 Stuart O'Hara & Marianna Cortesi perform MA Composition student George Hetherton's 'First Warm Day' (WP).

Poem:
First warm day
Sun curls along the terraces like a happy drunk
It stumbles over tiny shadows in each splash of moss,
the leaves of weeds, the gutters bright with wet
Daffodils in stunted pots fling their leaves out wide
and bask, heads nodding
at a sky clear as a wine glass
washed and waiting on a filthy sill.

Starlings whistle through yellowed nets
in shiftless windows and,
this warmth seeps, unseen, unexpected
so that paving sighs
and streets stretch out
to rub against another in their sleep.
Today is fragile as cupped earth
rich fallow crumbling away.
Mundane and miraculous
as the sun settling in the city
drifting down through leaves and rooves and blossom
only to warm the concrete,
only to call the bees.
- Ann Heath

Recorded by Jude Clark

First Warm Day (WP)

To celebrate the 70th Anniversary of Dylan Thomas' death, Professor John Goodby and Associate Professor David Lancaster presented the programme 'Singing Dylan Thomas: I sang in my chains like the sea' on Saturday 4th November 2023. The programme consisted of new settings of Dylan Thomas, performed by Christopher O’Gorman (Tenor) & David Pipe (Piano).

Programme Note
1.  For as long as forever is
2. Clown in the Moon
3. Mr Waldo’s Song

My choice of poems for ‘Cwmdonkin Songs’, named after the street in Swansea where Dylan Thomas grew up, offers a range of his poetry; these three short settings attempt to respond with differing musical approaches.  ‘For as long as forever is’ (1938) contains a stream of disconnected images; while their meaning is often quite obscure, they are united through their play on sounds.  ‘Clown in the Moon’ is a modest, romantic piece of juvenilia, sad and wistful, with some outbursts of teenage angst auguring the poet’s later existential concerns. ‘Mr Waldo’s Song’ from Under Milk Wood (1954), a ballad in a much more popular vein, reveals Thomas’s humanity, even his humour, with its joviality and double-entendres. (RS)

1.	For as long as forever is

For as long as forever is 
And the fast sky quakes in the web, as the fox in the wave,  
With heels of birds and the plumed eyes, 
Shakes in its stride the partridge fence and the sea-duck rows,  
And a flame in the wheel jumps the nave,  
As a dozen winds drop the dark by the one moonrise,  
And the stag through a trap grave,  
Forever the hunted world at a snail's gallop goes. 
 
Over the packed nests now, the snare and the she-bear's floes,
Through the cat's mountain and the cave 
By the market and a feather street near the townspires, 
Narrowly time's slow riders shave.  						

2.  Clown in the Moon 

My tears are like the quiet drift
Of petals from some magic rose;
And all my grief flows from the rift
Of unremembered skies and snows.

I think, that if I touched the earth,
It would crumble;
It is so sad and beautiful,
So tremulously like a dream. 

3.  Mr Waldo’s Song
 
In Pembroke City when I was young 
I lived by the Castle Keep
Sixpence a week was my wages
For working for the chimbley sweep.

Six cold pennies he gave me
Not a farthing more or less
And all the fare I could afford
Was parsnip gin and watercress.

Did you ever hear a growing boy
To live so cruel cheap
On grub that has no flesh and bones
And liquor that makes you weep?

Sweep sweep chimbley sweep
I wept through Pembroke City
Poor and barefoot in the snow
Till a kind young woman took pity.

Poor little chimbley sweep she said
Black as the ace of spades
Oh nobody's swept my chimbley
Since my husband went his ways.

Come and sweep my chimbley (2)
She sighed to me with a blush
Come and sweep my chimbley (2)
Bring along your chimbley brush!

Cwmdonkin Songs

Performed on Saturday 4th November by Christopher O’Gorman (TENOR) & David Pipe (PIANO) at Late Music Concerts, York. Programme curated by Professor John Goodby and Associate Professor David Lancaster called 'Singing Dylan Thomas:
I sang in my chains like the sea'.



Ilex or holly is a woody evergreen shrub associated with unconditional love, wise decisions, immortality, tenacity of life, and cycles of growth. Often used as part of Christmas decorations as a symbol of Christ’s crown of thorns and the crimson berries as a symbol of his blood, is used at this time to remind Christians of death and rebirth. In the spring, holly has white four-petaled flowers which could be it’s ‘snowy breast’, a symbol of hope and purity. (HJ)

You hold the ilex by its stem
And touch its petals one by one;
You make them glad and tender them
With lifted fingers to the sun.

The flower will not join the sky;
It was the oracle that told
You how the stem and leaves should lie,
Stem close to white, and leaf to gold.

And now the sun denies it rest,
You will have tears to carry bearer.

The ilex has a snowy breast;
There is not any flower fairer.

Recorded by Jude Clark

You Hold The Ilex By Its Stem (WP)

Eric Thiman (1900-1975) was the son of a Congregationalist Minister and included music for church choirs in his compositions. He is less well known for his songs for solo voice.

Thiman was a Professor of Harmony and Composition at the Royal Academy of Music from 1931; he then went on to become Dean of the Faculty of Music for London University. His interest in harmony and melodic transitions is apparent in the piano parts for his voice and piano compositions.

Whilst his songs are beautiful pieces, Thiman's works have been overshadowed by those of his contemporaries, including Quilter, Ireland, Moeran and Finzi.

The words to 'Madonna and Child' are by Gerald Bullet (1893-1958). Bullet was a man of letters as well as a poet and wrote science fiction under the name Sebastian Fox.

This home recording was made by David Barton (piano) and Ruth Carlyle (voice).

Madonna and Child - Eric Thiman, 1930

Original composition using Scripture from Isaiah 9, 43, and 48. Apologies for some static midway through.

Isaiah Song/I Will Not Remember Your Sins

David Barton's sparkling setting of 'When Icicles Hang' is reminiscent of the light on icicles and fresh snow. The words come from Shakespeare's 'Love's Labours Lost'. They describe a medieval winter, with icicles hanging from the guttering, workers blowing on their hands to keep warm and Joan, the scullery maid, scrubbing the cooking pot.

The image by Nic Carlyle reflects the context for the words. The recording was made by Ruth Carlyle (voice) and David Barton at the Summerfield Recording Studio.

When Icicles Hang - David Barton - studio recording

Elizabeth Barrett Browning's bittersweet poem about love and change was set to music by Becky McGlade. It was published by Oxford University Press in 2021 in 'Oxford Solo Songs: Secular' https://global.oup.com/booksites/content/9780193556805/. Here Ruth Carlyle sings with the accompaniment provided by Michael Higgins as part of the volume.

Five months ago the stream did flow,
    The lilies bloomed within the sedge,
And we were lingering to and fro,
Where none will track thee in this snow,
    Along the stream, beside the hedge.
Ah, Sweet, be free to love and go!
    For if I do not hear thy foot,
    The frozen river is as mute,
    The flowers have dried down to the root:
    And why, since these be changed since May,
         Shouldst thou change less than they.

And slow, slow as the winter snow
    The tears have drifted to mine eyes;
And my poor cheeks, five months ago
Set blushing at thy praises so,
    Put paleness on for a disguise.
Ah, Sweet, be free to praise and go!
    For if my face is turned too pale,
    It was thine oath that first did fail, —
    It was thy love proved false and frail, —
    And why, since these be changed enow,
         Should I change less than thou.

Change Upon Change - Becky McGlade, 2021

Granville Bantock's setting of words by Harold Boulton is prefaced on the score with the words: 'The refrain of this song was actually used recently on a Hebredean Island by a singer who thereby attracted a quantity of seals to gather round and listen intently to the singing.'

The 'Hoiran, oiran, oiran, oiro' of the refrain is certainly evocative. Bantock's setting is performed here by David Barton (piano) and Ruth Carlyle (voice). The painting of the seal is by Nic Carlyle.

Song To The Seals - Granville Bantock, 1930

David Barton wrote the words and music of 'Be a Voice of Hope' in support of The Separated Child Foundation. It is sung here by Ruth Carlyle, with David Barton at the piano, in the solo version, but is scored for unison (or solo) voice(s) and piano, with optional SATB parts. To mark his 40th birthday, and to support The Separated Child Foundation, the score is offered as a free PDF download from the link below. 

In return for making this piece available free, David is encouraging everyone to make a donation to The Separated Child Foundation ( the Just Giving details are in the link below). He emphasises the importance of supporting 'the wonderful work already being undertaken in offering emotional, social and practical support to lone refugee children and young people when they arrive in the UK.'

Further details about the music, links to the score and the fundraising link are here: https://www.davidbartonmusic.co.uk/be-a-voice-of-hope/

Be a voice of hope - David Barton, 2023

The Canadian writer L.M. Montgomery is best known for her novels, particularly the Anne of Green Gables series. Her poems are less well known. The language and style of ‘Come, Rest Awhile’ reflects her love of British authors, particularly Shakespeare, Browning and Scott.

There is also a universal message within the poem of the need to slow down and rest in the moment.

This setting by David Barton was commissioned by Nic and Ruth Carlyle as part of a tribute to Montgomery on the 150th anniversary of her birth. It was recorded by Ruth Carlyle (voice) and David Barton (piano) at the Summerfield Recording Studio. The paintings are by Nic Carlyle and the album cover design is by Clementine Barton.

Come, rest awhile
By L.M. Montgomery

Come, rest awhile and let us idly stray
In glimmering valleys, cool and far away.

Come from the greedy mart, the troubled street,
And listen to the music, faint and sweet,

That echoes ever to a listening ear,
Unheard by those who will not pause to hear – 

The wayward chimes of memory’s pensive bells,
Wind-blown o’er misty hills and curtained dells.

One step aside and dewy buds unclose
The sweetness of the violet and the rose;

Song and romance still linger in the green,
Emblossomed ways by you so seldom seen,

And near at hand, would you but see them, lie
All lovely things beloved in days gone by.

You have forgotten what it is to smile
In your too busy life – come, rest awhile.

Come Rest Awhile - L.M. Montgomery and David Barton, 2024

Gardens are important spaces in the novels of L.M. Montgomery. When she is away from home at college, Emily Byrd Starr finds solace in a garden and Hester Gray’s garden is the space in which Anne Shirley accepts a (second) proposal of marriage from Gilbert Blythe. Gardens in towns are particular places of solace, away from the noise and bustle of the street.

Montgomery’s poem ‘In An Old Town Garden’ reflects this focus on gardens as spaces. The poem covers a range of moods, contrasting the ‘shaded, troubled streets’ with ‘this garden blossom-blest’.

This setting by Tim Knight was commissioned by Ruth and Nic Carlyle as part of a tribute to Montgomery on the 150th anniversary of her birth. It was recorded by Ruth Carlyle (voice) and David Barton (piano) at the Summerfield Recording Studio. The paintings are by Nic Carlyle and the album cover design is by Clementine Barton.


In An Old Town Garden
by L.M. Montgomery

Shut from the clamor of the street
By an old wall with lichen grown,
It holds apart from jar and fret
A peace and beauty all its own.

The freshness of the springtime rains
And dews of morning linger here;
It holds the glow of summer noons
And ripest twilights of the year.

Above its bloom the evening stars
Look down at closing of the day,
And in its sweet and shady walks
Winds spent with roaming love to stray.

Upgathering to themselves the breath
Of wide-blown roses white and red,
The spice of musk and lavender
Along its winding alleys shed.

Outside are shaded, troubled streets
And souls that quest for gold and gain,
Lips that have long forgot to smile
And hearts that burn and ache with pain.

But here is all the sweet of dreams,
The grace of prayer, the boon of rest,
The spirit of old songs and loves
Dwells in this garden blossom-blest.

How would I linger for a space,
And walk herein with memory;
The world will pass me as it may
And hope will minister to me.

In An Old Town Garden - L.M. Montgomery and Tim Knight, 2024

The Canadian novelist L.M. Montgomery lived for much of her life on Prince Edward Island. Her novels, particularly the Anne of Green Gables series, are closely associated with the island – and Maud herself felt most at home in the coastal village of Cavendish, the location she drew upon for the creation of Avonlea in her books.

Montgomery’s poem ‘A Request’ reflects her desire to be buried close to the sea; a request that was met. Death in the poem is a time of rest, not a time to be feared. It is a joyful poem, with powerful word painting and touches of Montgomery’s vivacity and humour. 

Montgomery was proud of her Scottish heritage. The instinctive lilt in her poem has been captured in this setting of ‘A Request’ by Tim Knight. The song setting was commissioned by Ruth and Nic Carlyle as part of a tribute to Montgomery on the 150th anniversary of her birth. It was recorded by Ruth Carlyle (voice) and David Barton (piano) at the Summerfield Recording Studio. The paintings are by Nic Carlyle and the album cover design is by Clementine Barton.

A Request 
By L.M. Montgomery

When I am dead
I would that ye make my bed
On that low-lying, windy waste by the sea,
Where the silvery grasses rustle and lisp;
There, where the crisp
Foam-flakes shall fly over me,
And murmurs creep
From the ancient heart of the deep,
Lulling me ever, I shall most sweetly sleep.
While the eerie sea-folk croon
On the long dim shore by the light of a waning moon.

I shall not hear
Clamor of young life anear,
Voices of gladness to stir an unrest;
Only the wandering mists of the sea
Shall companion me;
Only the wind in its quest
Shall come where I lie,
Or the rain from the brooding sky
With furtive footstep shall pass me by,
And never a dream of the earth
Shall break on my slumber with lure of an out-lived mirth.

A Request - L.M. Montgomery and Tim Knight, 2024

Cover of the song "I'll be there for you" with piano and voice. 
Theme song from the series "Friends".

I'll Be There For You - Cover (Friends Theme)

Cover of Redemption Song, originally performed by Bob Marley

Redemption Song - acoustic cover

Cover of The Power Of Love, originally performed by Celine Dion, one of my favourite artists of all time. Recorded live

The Power Of Love (cover)

The piece is played twice through. The second time, the words of Shakespeare's Sonnet 45 are sung to the top note melody, simply and quietly (as though to oneself or someone close by), matching or just slightly louder than the top piano note.

Linda Catlin Smith, Thought and Desire (live at KM28)

I wrote this song as something of a lullaby to parents. After putting their children to sleep for the night, it's time to rest up and take care of oneself. Candles, warming fire, a cup of teac,etc. (c) 2003 Paul Safar.

One More Lullaby

Ingeniera de Sonido y Productora Musical.
Si eres Artista y estás interesado en hacer tu propia música, Escríbeme! será un placer colaborar contigo y hacer realidad tu sueño.

Lecturer of Music and Education at Sunderland University, composer, cunductor and researcher.  

This selection of work spans my undergraduate and postgraduate degrees and now my professional endeavors.

My work tends to draw upon literature, history, myth etc. with strong programmatic elements.  These are just examples of instrumental works.

Ruth is based in Lichfield, UK, and sings mostly classical and traditional folk music. She also writes lyrics (as Eleanor Ruth Carlyle) and collaborates on new music with David Barton http://www.davidbartonmusic.co.uk/.

She  released her first EP with David Barton in November 2020: ‘Annabel Lee Replies’.

The songs on Ruth’s SoundCloud site are illustrated by her husband Nic Carlyle https://www.twitter.com/carlyle_nic

Ruth was a awarded a Distinction for London College of Music Examinations Grade 8 Classical Singing (100%) in July 2018 and the DipLCM (upper level) in July 2019.

Contemporary composers, performed live.

Concerts of new music on the first Saturday of each month, March to October.

New tracks tagged #voice and piano