The Complete Songs of Virgil Thomson for Voice and Piano



"This set is as important to the history of American art song as the Barber recordings of Cheryl Studer and Thomas Hampson two decades ago." - BBC Music

[read full BBC MUSIC review (pdf)]

"Just when you think Thomson was a cynical manipulator of threadbare Americana, he comes up with something so simple and lovely that you can’t be sure of your own suspicions. This set is full of these moments, especially a generous selection of lullabies, written as gifts to friends who had recently had children. Lasting a minute or less, these lullabies seem to contain everything that is enigmatic about Thomson in concentrated form: his lyrical gift, his economy of means and his complicated relationship to simplicity and innocence. They make this collection worth the investment."

- Gramophone Review

[read full review in Gramophone Review]

“Thomson was one of the most literarily sophisticated composers of the century”

“This is a major release, a gift that fills in a serious gap of recorded American music history.”

- Fanfare Magazine

[read full review in Fanfare Magazine (pdf)]

"This compilation is a testament to the priceless work accomplished by Thomson in his time as well as a labor of love on the part of Engebreth and d'Amato, and certain to be a treasured addition to any music lover's library of the works of this prolific composer."

- South Shore Critic

[read full South Shore Critic review]

"Every so often a recording comes along that represents not only high artistic achievement but also a landmark contribution to musical culture. The new collection from the Florestan Recital Project for the New World label is one: a 3-CD set of the complete songs for voice and piano by American composer Virgil Thomson."

- Boston Globe

[read full Boston Globe review]

"Why have I been discussing the works rather than the performances? Because all four singers are so accomplished, so precise, so free of artifice, and so intent on doing right by Thomson and making the words clear that you hear the compositions first, the interpretations second. I suspect that’s what Thomson would have wanted. Indeed, the diction is so uniformly excellent that New World could have spared providing complete texts, although I’m glad they didn’t! The pianists adhere faithfully to Thomson’s markings and eschew the expressive 'hairpins' and phrase taperings that caused the composer to yell at more than a few well-meaning accompanists."

- The Classics Today

[read The Classics Today review]

"You can hear the weird, the wild and the wonderful in these songs... "...There is great variety, and these very fine performances make about as good a case for them as imaginable."

- American Record Guide

[read full American Record Guide (pdf)]







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