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The World Feels Dusty

Songs by Barber, Chausson, Copland, Debussy and Wallen

Dame Sarah Connolly (mezzo-soprano), Joseph Middleton (piano)

The World Feels Dusty

Awards:

The Chausson is infallibly paced, both musicians instinctively knowing where a phrase is heading and where each moment of intensity lands. The orchestrally conceived piano writing shimmers,...

The World Feels Dusty

Songs by Barber, Chausson, Copland, Debussy and Wallen

Dame Sarah Connolly (mezzo-soprano), Joseph Middleton (piano)

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Awards:

The Chausson is infallibly paced, both musicians instinctively knowing where a phrase is heading and where each moment of intensity lands. The orchestrally conceived piano writing shimmers,...

About

Dame Sarah Connolly and Joseph Middleton present a richly rewarding programme of art songs from a variety of composers. The recital opens with Chaussons Pome de lamour et de la mer, which took almost a decade to compose and shows Wagners influence on the younger composer. Composed in 1935 on a study trip to Rome, Barbers Three Songs set poems by James Joyce and portray three love affairs. Debussys Trois Chansons de Bilitis set the erotic poems of Pierre Lous, which were all the rage in Paris at the turn of the century.

Aaron Copland completed his Twelve Poems of Emily Dickinson in 1950, but declared that they should not be seen as a set but as twelve individual works. Connolly here includes Ive heard an organ talk sometimes and The world feels dusty, the latter giving the album its title. The programme concludes with the premire recording of Errollyn Wallens Night Thoughts: a cycle of four songs commissioned by Leeds Lieder, and first performed by Dame Sarah and Joseph, the cycles dedicatees. Setting two of her own poems alongside one by Emily Dickinson and lines from Shakespeares Macbeth, the cycle took its inspiration from Howard Hodgkins painting Night Thoughts.

Contents and tracklist

No. 1a, La fleur des eaux. L'air est plein d'une odeur exquise de lilas
Track length4:22
No. 1b, La fleur des eaux. Et mon cœur s'est levé par ce matin d'été
Track length2:21
No. 1c, La fleur des eaux. Quel son lamentable et sauvage
Track length3:23
No. 2, Interlude
Track length2:10
No. 3a, La mort de l'amour. Bientôt l'île bleue et joyeuse
Track length2:07
No. 3b, La mort de l'amour. Le vent roulait les feuilles mortes
Track length2:51
No. 3c, La mort de l'amour. Comme des fronts de morts nos fronts avaient pâli
Track length2:29
No. 3d, La mort de l'amour. Le temps des lilas et le temps des roses
Track length4:14
No. 1, Rain Has Fallen
Track length2:45
No. 2, Sleep Now
Track length2:46
No. 3, I Hear an Army
Track length2:30
No. 1, La flûte de pan
Track length2:49
No. 2, La chevelure
Track length3:22
No. 3, Le tombeau des naïades
Track length2:55
No. 4, The World Feels Dusty
Track length1:58
No. 10, I've Heard an Organ Talk Sometimes
Track length2:02
No. 1, Sleep
Track length3:26
No. 2, Bright Lights
Track length3:23
No. 3, There's a Certain Slant of Light
Track length4:17
No. 4, Night Thoughts
Track length1:37

Spotlight on this release

Awards and reviews

November 2025

The Chausson is infallibly paced, both musicians instinctively knowing where a phrase is heading and where each moment of intensity lands. The orchestrally conceived piano writing shimmers, Middleton moulds the Franckian harmonic soul-searching with conspicuous care, and Connolly's command of colour is sovereign.

October 2025

This is a delicious recital, and one worth listening to the old-fashioned way: a proper programme that takes you somewhere on its journey through the tracks.

12th September 2025

Chausson’s Poème de l’Amour et de la Mer has more often been recorded with orchestra; with piano it unavoidably loses some of its oceanic glitter and heft, but Middleton plays this sweeping, Wagner-inspired music in full colour, and Connolly is a powerful narrator, her rich tone subtly hollowed out for the fleeting moments of bleakness.
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