Field

This 2CD set is a compilation of original field recordings made by David Attenborough between 1954 and 1963. He travelled to remote parts of the world to find and film exotic animals for the BBC television series Zoo Quest. But he was just as interested in the people he met and their music. Whenever he came across musicians, out came his early portable tape machine . "While I was theoretically looking for pythons, in the evenings I would record different types of music."

British composer Ambrose Field is primarily known for his work in electronic music, much of it using the sounds of the natural world and of industrial and post-industrial society to create gritty and audacious musique concrète soundscapes. On this album, he takes fragments of vocal music by the great fifteenth century Flemish composer Guillaume Dufay and weaves them into allusive electronic landscapes of considerable subtlety.

What does the Earth sound like? In Stations, the 10th volume in the Field Works series, producer Stuart Hyatt approaches that question with a team of scientists working on the EarthScope experiment. Using sophisticated ground recording devices, Field Works has created a new type of music in which human voices sing along with the actual voice of the Earth. Stations features an all-star ensemble of vocalists and instrumentalists, including Hanna Benn, Janie Cowan, Masayoshi Fujita, Stuart Hyatt, Laraaji, Qasim Naqvi, and Brad Weber.

As the pre-eminent forerunners to Chopin’s works in the same genres, the Nocturnes of John Field have few rivals for music well known by history but so seldom heard. They were largely inspired by the slow movements of Classical concertos, Mozart above all, as well as opera arias. From them, Field evolved his own firm concept of a form with rich harmonies and gentle dynamics to suggest the night and dreaming, though in fact he began by giving these pieces traditional names such as Pastorale, Serenade and "Romance. He wrote the 18 works not as a set, but over the course of 15 years, rarely completing more than one and never more than three in a single year. Liszt observed in them ‘The total absence of everything that looks to effect'.

Les compositions de FIELD sont consacrées au piano et préfigure 30 ans après le choix ultérieur de CHOPIN de se consacrer à cet instrument. Les oeuvres de l'Irlandais reflètent fidèlement les principales caractéristiques de son jeu, Spohr, Hummel, Glinka et Liszt témoignèrent de sa délicatesse et de sa vitesse perlée, de son jeu langoureux et apaisant qui remplaçait la vacuité d'une virtuosité à la mode.

Simple melodies appealingly and tenderly hover over richly figured harmonies and seem to drift out into infinity. John Field is the author of these magical nocturnes, and one generation before the much more famous Pole (Chopin) he combined strongly expressive romanticism with an extraordinary keyboard intuition. Stefan Irmer performs on volume 1 of the complete nocturnes of John Field. Field never viewed his works as finished; every time he performed them he added something new to them – inspired by the circumstances, the public, and the atmosphere of the moment. For this reason, some of his nocturnes have been transmitted in significantly different versions. Stefan Irmer rises to this challenging piano adventure: employing musical means from our times, he continues Field's music, adding his own ideas to it. Influences from jazz and tango are also in evidence.

Irish by birth, John Field gained an international reputation as one of the finest pianists of his time, with an influential delicacy and nuance in his playing that is expressed in his innovative and poetically lyrical Nocturnes. Field’s earlier Sonatas are more classical in feel, but their sense of flow and dramatic narrative exhibit qualities that are developed and given added virtuoso panache in his fine Piano Concertos, works admired by Liszt, Chopin and Schumann. ‘Benjamin Frith has done a stellar job in bringing these concertos into the sunlight, brilliantly supported by the Northern Sinfonia under David Haslam’ (Pianist magazine).

For many years, John Field, the Irish composer of wonderful piano music, was unjustifiably neglected by musicians and critics alike. If considered at all, Field, who came between Beethoven and Chopin, was considered at best a transition figure, or at worst a musical curiosity. Nothing could be further from the truth. Field's music is nothing short of a revelation. It is lyrical yet complex, the work of a master musician who could stand with the best of the writers for the piano. Fortunately Field's music is now beginning to be heard more often on classical radio and is more available on recordings. And this one, especially of his Second Piano Concerto, is excellent. .