ALICE’S ADVENTURES IN WONDERLAND An Alice without words FOOL’S PARADISE “[Alice’s Adventures in Wonderland] is a book of that extremely rare kind, which will belong to all the generations to come until the language becomes obsolete.” Sir Walter Besant, 1897 Suite from Alice’s Adventures in Wonderland 1 Prologue [6.48] Joby Talbot’s ballet scores for Alice’s Adventures 2 The Mad Hatter’s Tea-Party [3.08] in Wonderland and Fool’s Paradise were 3 Alice Alone [4.18] both created in collaboration with celebrated 4 The Croquet Match [5.33] choreographer , who first approached Talbot after hearing his piano trio 5 Setting Up the Courtroom [2.46] The Dying Swan. This latter work was originally 6 The Queen of Hearts’ Tango [2.09] commissioned by the in 7 The Cheshire Cat [2.56] 2002 as a new score for the 1917 silent film of 8 The Flower Garden Part I [7.00] the same name by Russian director Evgenii 9 The Flower Garden Part II [4.44] Bauer, itself illustrating the assorted trials of Fool’s Paradise a delicate ballerina in monochrome peril. The 0 Part I [4.58] score’s yearning propulsion and exquisite q Part II [10.40] dissonances evidently suggested to Wheeldon a greater kinetic potential, and so The Dying w Part III [6.51] Swan for piano trio blossomed into Fool’s e Part IV [5.19] Paradise for string orchestra and a new life in Total timings: [67.12] ballet, premiering with New York-based dance company Morphoses at Sadler’s Wells Theatre in London in September 2007. JOBY TALBOT ROYAL PHILHARMONIC ORCHESTRA CONDUCTOR Artists of in Fool’s Paradise © Andrej Uspenski www.signumrecords.com - 3 - Later the following year, Wheeldon was offered of the world down the rabbit-hole, so Talbot “Bob” in this case is the acclaimed production prospect of writing music for a picture that could the opportunity to choreograph a new full-length found himself at once overjoyed and overanxious designer Bob Crowley, whose own career has not exist without his music. narrative work for The Royal Ballet. His choice at the prospect of mobilising the experiences successfully spanned all manner of theatrical of Alice’s Adventures in Wonderland was instant, of an impressively varied career to meet this genres and who brought to Alice an ingenious Lewis Carroll’s illogical confection having towering brief. combination of exuberance and sophistication been as much a favourite of his own childhood – a description that could as comfortably apply as of so many before and since. The potential Several things reassured him: previous works to both Wheeldon and Talbot’s contributions. for movement offered up by the author’s wild for dance had been well received; a revisiting of A diverse creative history and the accompanying and witty imagination was irresistible, and the book suggested myriad exciting ideas; and sense of possibility it engenders are common besides, Wheeldon is an English alumnus of though he had not written for narrative dance, to all three, and liberated Alice’s development The Royal Ballet – what better fit than this there was plenty of screen scoring experience from the constraints of classical expectation. very English story? While he was confident to refer to – though this latter comfort proved And yet, one strand of Talbot’s history was, in the that ballet would lend itself admirably to the fickle. The greatest encouragement, however, context of this new challenge, quickly exposed task, the matter of conjuring Wonderland’s wordy was Christopher Wheeldon and the memory as something of a false friend: “I thought that world without recourse to language demanded of an enjoyable first collaboration. Which was writing a narrative ballet would be more like an approach that would be at the very least as well when Talbot found himself all but writing film music than it turned out to be,” playful, if not quite hare-brained. Wheeldon’s locked into the choreographer’s New York he admitted ahead of the production’s 2011 next move was no more equivocal: he enlisted apartment for several days with fellow captive premiere. “Within an hour-long film score, only another Englishman – Joby Talbot. Nicholas Wright, the dramatist and, for about ten minutes of music will ever really the purposes of Alice, scenographer. Talbot appear in the foreground to drive the narrative. Talbot has been quoted several times since as explains: “We had the most wonderful few The rest fits behind dialogue, provides saying, with varying degrees of tremor, something days flagging up possible insurmountable atmospheric underscore or catches an emotional to the effect that to have rejected such an offer problems and finding ways to surmount them. moment. In ballet, the music is absolutely would have been as nonsensical as the story It was a case of problems posing themselves, in the foreground all the time: quite literally, he was being asked to tell. Alice was to be the Chris thinking of a way to present them the orchestra is between the audience and first full-length narrative ballet score commissioned choreographically, me thinking how to present them the people dancing on stage. So there’s not

by The Royal Ballet in almost 20 years, and musically, and Nick – and then Bob – thinking an easy second in it. As the composer, you’re © just as the heroine herself is equally delighted how to present them visually and theatrically.” never off the hook.” Even with this realisation Christopher Wheeldon and Joby Talbot during the first orchestral and terrified by the magical, brutal eccentricities assimilated, Talbot was staring down the rehearsals for the Royal Ballet’s production of Alice.

- 4 - - 5 - Armed with the precious scenography and its which sees an adolescent Alice embarking on an position here than in Carroll’s original. “We see under Barry Wordsworth detailed timings, Talbot sat down to begin. He innocent romance that occupies the narrative people from her point of view,” Talbot explains, at the Royal Opera House, Covent Garden, on was sitting for some time: “One always expects driver’s seat; and a notion of why it was “which means Alice can be grumpy, happy, sad 28 February 2011; a sold-out first run followed. a moment where it all starts to flow. You know that Wheeldon had appointed him to the or lonely or exhausted or confused. I could The North American premiere by the National that the first few minutes will be like pulling role: “Fool’s Paradise had elements of creaky have fun with that musically; if Alice were just Ballet of Canada and its orchestra, under teeth but then gradually it will start to come Edwardian tea dance music, but developed amused on the sidelines I’d soon run out of David Briskin, took place on 4 June 2011 at together.” Fortunately some teeth remained in a very modern way with arithmetical games. musical ideas. All these themes come back the Four Seasons Performing Arts Centre in by the time the Muse descended into a That may have been a facet of my music to tell the story, and sometimes what you are Toronto, to a reception so enthusiastic that Shoreditch studio, at which Talbot was working that appealed to Chris – given that his own hearing is only one strand in a whole group of it made Alice the company’s highest-grossing on another production: “I locked myself in a work is steeped in classical ballet, but permeated musical games that are going on.” production on record. Wheeldon, Talbot and room with a piano for an hour and came up by a very fresh sensibility – and when I sat Crowley, along with these two eminent with Alice’s theme, the White Rabbit’s theme, down to write Alice I was mindful of the things All of this orchestral colour requires skilful companies, had delivered what all concerned the opening music and a whole lot more, all that he’d liked about that previous score. So manipulation, not only to avoid a cacophonous were hoping for: a ballet with as much for scribbled on the backs of spare bits of music Alice contains melodic or harmonic gestural blur but to wrangle it into a pit of proportions the balletomane as for the uninitiated, and that were lying around. I started putting the elements which wouldn’t seem out of place less Wonderland and more opera house. “I their children. themes together, then created a strange, shifting, in a 19th-century ballet score, yet the whole thing wanted the score to have that massive variety bitonal tick-tock for Wonderland.” is filtered through a minimal, arithmetical prism.” and scale, but you are limited by what can be squeezed into the pit: at the first orchestral Once entered, Wonderland revealed itself to The prism is strung together with themes, rehearsal I was amazed to see that everything Talbot much in the way one would imagine – of which Carroll’s vivid – if not quite profound I’d asked for was actually there. There’s an capriciously, generously yet exasperatingly: – characterisations were amply suggestive. awful lot of percussion.” The orchestrations “Narrative ballet is made up of small set Beyond themes and instrumental pairings for were completed by Talbot along with long-time pieces that have to concern themselves with particular characters – the celesta with the collaborator and friend Christopher Austin, illogical, unmusical considerations. You have White Rabbit; the oboe d’amore for the exotic who also conducts the Royal Philharmonic to fool people into thinking that all these Caterpillar; a (literally) highly-strung solo violin Orchestra in this recording. miniatures are joined together, so it was like for the similarly taut Queen of Hearts – Talbot building a house with just one room, then created a number of motifs for the changing The world premiere of Alice’s Adventures in adding another, then another…” The two moods of Alice, whose perspective on her Wonderland was given in a gala performance guiding elements were the updated storyline, bizarre surroundings occupies a more central by The Royal Ballet and the Orchestra of the

- 6 - - 7 - Suite from Alice’s Adventures in Wonderland 2 The Mad Hatter’s Tea-Party. 3 Alice Alone Rabbit, has been assigned the task of making the courtroom just so for Her Majesty, who 1 Prologue, the garden of the deanery of We arrive directly from four o’clock in the deanery Alice feels – and indeed is – lost in Wonderland, naturally shall preside. The White Rabbit – and Christ Church, Oxford, 1862. to the incessant chiming of tea-time in unable to find the Knave, and longing for indeed, Lewis Carroll – have thus far been denoted Wonderland. Here the Mad Hatter cavorts with her sisters. by the celesta, but here we see another side A tea party is being set at a long table, while his crazed friend the March Hare, and with of him: a more dynamic and daring character Alice Liddell and her two sisters sit at the the Dormouse, whose sleepy theme threatens 4 The Croquet Match than we might have imagined, heralded by feet of family friend Lewis Carroll, who tells the caffeinated Mad Hatter’s fun. It is by now sleigh bells, percussion, brass and high woodwind them a story. Maids and footmen come and some time since Alice fell down the rabbit- Alice has progressed to the Queen of Hearts’ that give way to a brief but bold timpani solo. go, bringing plates of delicious food from the hole, caught a glimpse of a beautiful garden croquet ground, where the formidable monarch house. On one of these plates are piled freshly- of flowers and Jack’s Wonderland incarnation battles it out against the jealous Duchess, 6 The Queen of Hearts’ Tango baked jam tarts, and following close behind is as the fugitive Knave, and encountered the both wielding their flamingo mallets and their baker and the tea-party’s tense hostess, twitchy White Rabbit and the maniacal Duchess, hedgehog croquet balls with gleeful malice. The White Rabbit’s bravado vanishes when Alice’s mother, whose highly-strung theme we so she hardly seems fazed by this new The Queen’s scordatura theme and the low and the Queen arrives and promptly throws her hear for the first time. This scordatura violin development. That is, until she is abandoned menacing music of the Duchess intertwine weight around in a bombastic tango, complete solo, tuned a semitone sharp, shall appear by the mercurial trio. with increasing fervour, while Alice looks on with unprovoked psychotic conniptions and again in Wonderland as a character with a in puzzlement. Before long the Knave appears narcissistic trances. striking resemblance to Mother. The girls are and sweeps Alice into a clandestine dance, sent inside to change, and Mrs Liddell sets echoing their meeting as Alice Liddell and Jack about instructing the maids. When Alice in the deanery garden. When they are discovered emerges, Jack the gardener’s boy has appeared. by the Queen, the Knave is arrested and all They dance playfully and he gives Alice a red seems lost until the Cheshire Cat materialises rose recently cast aside by her mother. She to distract the assembled company, while purloins a jam tart for him in return, but is Alice slips away after him. apprehended by Mrs Liddell, who is infuriated not only by the theft of the tart, but because 5 Setting Up the Courtroom she can abide only white roses. The church © Johan Persson clock strikes four: tea is ready, and Jack © Johan Persson The Knave’s trial is set to take place, and the is banished. Steven McRae as the Mad Hatter. Queen of Hearts’ conflicted servant, the White Zenaida Yanowsky as the Queen of Hearts and artists of The Royal Ballet. - 8 - - 9 - 7 The Cheshire Cat 8 - 9 The Flower Garden JOBY TALBOT

Christopher Wheeldon and Bob Crowley’s vision Alice at last finds her way into the place that Joby Talbot was born in Wimbledon in 1971. of a giant, modular puppet comes to life as has been eluding her all along: the beautiful He studied composition privately with Brian the grinning symbol of Wonderland, whose flower garden, and the arms of the Knave, Elias, and subsequently at Royal Holloway and eerie, disjointed appearance is reflected in the with whom she joyfully reprises the pas de deux Bedford New College, and the Guildhall School purring flutes and French horns that support of their first meeting in the deanery garden, a of Music and Drama with Simon Bainbridge. undulating lines of high woodwinds. Alice’s whole world away – or so it seems. need for direction is only compounded by the Talbot’s career comprehends a range of styles Cat, who points her this way, then that, then Notes © Elizabeth Seymour, 2012. and purposes, including concert works as diverse both, after having come apart altogether in as a trumpet concerto (Desolation Wilderness, an especially powerful sneeze. Lauren Cuthbertson as Alice and Sergei Polunin as Jack/The Knave. 2006) for and the Royal Liverpool Philharmonic Orchestra; a 60-minute a cappella choral journey along the Camino de Santiago for Nigel Short’s (Path of Miracles, 2005); arrangements of songs by Detroit rock duo alongside existing works for acclaimed choreographer Wayne McGregor’s (2007) at The Royal Ballet; and, also at The Royal and the National Ballet of Canada, the music for Alice’s Adventures in Wonderland (2011), the first full-length narrative ballet score to be commissioned by The Royal Ballet in almost 20 years.

In addition, Talbot has written the madrigal The Wishing Tree (The King’s Singers, 2002); the orchestral Sneaker Wave (BBC National Orchestra of Wales, 2004) and an arrangement © Johan Persson © Johan Persson

- 10 - - 11 - of Purcell’s Chacony in G Minor (BBC Symphony orchestral arrangements of pop songs with Highlights in 2012 included the first performance Orchestra, 2011) for the BBC Proms. Worlds, young musicians, alongside writing the largely of Martin Creed’s Work No. 1375; premiere Stars, Systems, Infinity was commissioned in electronic score. performances of Daniel Patrick Cohen’s new 2012 by the as an score for Hitchcock’s The Pleasure Garden as addition to Holst’s , for the second of Albums include The Dying Swan (2002, Black part of the Cultural Olympiad (and subsequently their immersive orchestral experiences, ‘Universe Box Music), Once Around the Sun (2005, Sony as part of the Rio Film Festival to an audience of Sound’. BMG), Path of Miracles (2005, Signum Classics), of 6000 on Copacabana Beach); and two Aluminium (2006, XL Recordings), Genus concerts in Denmark for the 80th birthday of Tide Harmonic (2009), a work for large (2007, Dear Oh Dear!/ant-zen) and Tide Per Nørgård in the presence of the composer. ensemble, began life as the score for Eau by Harmonic (2011, Signum Classics). choreographer Carolyn Carlson and CCN Roubaix. Austin teaches composition, orchestration and Other significant works written or adapted CHRISTOPHER AUSTIN conducting at the Royal Academy of Music. for dance include Fool’s Paradise (2007) In 2009, his work there, in collaboration with for Christopher Wheeldon and Morphoses, Christopher Austin is one of the UK’s foremost the music critic Paul Morley, was the subject an arrangement of Talbot’s 2002 silent conductors of contemporary music and he has of a two-part BBC documentary called How to film score The Dying Swan; Genus (2007) given more than 90 world and territorial first Be a Composer. His work as an orchestrator and Entity (2008) for Wayne McGregor and performances, demonstrating his extraordinarily includes Alice’s Adventures in Wonderland for the and Random Dance wide musical sympathies. Premieres by such The Royal Ballet and Elysian Fields for the respectively; and Chamber Symphony (2012) figures as John Adams, Luke Bedford, Peter . for the Residentie Orkest in Nederlands Maxwell Davies, Tansy Davies, Michael Finnissy, Dans Theater’s Chamber by choreographer , Poul Ruders, Bent Sørensen and Medhi Walerski. Joby Talbot feature alongside collaborations with Michael Nyman, John Cale and The Divine Talbot also has considerable experience Comedy. Recent work includes debuts with writing for the screen, including BBC2 comedy the Opéra de Rouen, Århus Sinfonietta, City series , and feature of London Sinfonia and Chroma, alongside films The Hitchhiker’s Guide to the Galaxy (2005), reinvitations from the , (2007), Franklyn (2008) and BCMG and the Royal Philharmonic Orchestra. Hunky Dory (2011), for which he developed © Katie Vandyck

- 12 - - 13 - ROYAL PHILHARMONIC leadership of Artistic Director and Principal Central to the RPO’s thriving concert schedule Frequently found in the recording studio, the ORCHESTRA Conductor Charles Dutoit, the Orchestra is its prestigious annual series at Southbank Orchestra records extensively for film and maintains and builds on a demanding schedule Centre’s . At the Orchestra’s television as well as for all the major commercial Patron: HRH The Duke of York, KG of performances, tours, community and education London home Cadogan Hall, the intimate record companies. Artistic Director and Principal Conductor: work, and recordings. and luxurious surroundings provide the perfect Charles Dutoit concert atmosphere in an idyllic location. www.rpo.co.uk Throughout its history, the Orchestra has been Completing the Orchestra’s London programme Formed in 1946 by Sir Thomas Beecham, directed by distinguished conductors including of concerts, the iconic Royal Albert Hall the Royal Philharmonic Orchestra (RPO) has Rudolf Kempe, Antal Doráti, André Previn, provides the ideal setting for a varied series of enjoyed more than 65 years of success, giving Vladimir Ashkenazy and Daniele Gatti. Today monumental performances, ranging from first-class performances of a wide range of the Orchestra continues to enjoy the support large-scale choral and orchestral works to musical repertoire all over the world with artists of high-ranking conductors such as Pinchas themed evenings of familiar repertoire. of the highest calibre. Under the inspired Zukerman, Grzegorz Nowak and Daniele Gatti. The Orchestra offers a comprehensive regional touring programme, with established residencies in Croydon, Northampton, Lowestoft, Reading, Crawley, Ipswich, High Wycombe, Aylesbury and Dartford. Internationally the Orchestra is in high demand, undertaking several major tours each season. Recent tours have included performances in the USA, Canada, China, Russia, Azerbaijan, Spain, Italy, Germany and Japan.

The Orchestra’s vibrant community and education programme, RPO resound, involves specially trained musicians from the Orchestra, alongside accomplished project leaders, delivering pioneering projects where music is used as a powerful and inspirational force. © Robert Taylor

- 14 - - 15 - THE ORCHESTRA Trumpet Tuba Celeste Vocals Mike Allen Piccolo trumpet Kevin Morgan Rob Clark Grace Davidson The Royal Philharmonic Orchestra Adam Wright Joanna Forbes L’Estrange **Concertmaster/soloist Dan Newell Timpani Percussion Martha McLorinan *Soloist Brian Thomson Matt Perry Stephen Quigley Kate Tretheway Martin Owens Alice’s Adventures in Wonderland Trombone Harp Gerald Kirby Matthew Knight Suzy Willison-Kawalec Nigel Charmin First Violin Viola Benjamin Cunningham Tom Watmough Philip Dewhurst Emma Ramsdale Robert Farrer Clio Gould** Helen Kamminga John Holt Anthony Pike Duncan Riddell Liz Varlow Clare Tyack Bass Trombone Piano Melissa Foreshaw Laura Holt Eb Clarinet Roger Argente Kate Shipway Naoko Keatley Andrew Sippings Flute Tom Watmough Andrew Klee Jonathan Hallett Emer McDonough Kay Chappell Clive Howard Julian Coward piccolo Bass Clarinet Fool’s Paradise Anthony Protheroe Helen Picknett Helen Keen Anthony Pike Erik Chapman Pam Ferriman Russell Gilbert Piccolo Bassoon First Violin Jennifer Christie Clive Howard Double Bass Rosemary Wainwright Cello Helen Keen Paul Boyes Clio Gould Charlotte Ansbergs Helen Picknett Anthony Alcock Cindy Foster Tim Gill Fraser Gordon Duncan Riddell** Stephen Payne Michelle Bruil David Broughton Chantal Webster Oboe Tamas Andras Charles Nolan David Gordon Second Violin Roberto Sorrentino John Anderson Contra Bassoon Andrew Klee Stephen Kear Cello Benjamin Cunningham Andrew Storey William Heggart Leila Ward Fraser Gordon Kay Chappell Colin Callow Tim Gill* John Holt Jake Rea Shinko Hanaoka Anthony Protheroe Vicky Lyon Chantal Webster Clare Tyack Elen Hâf Richards Emma Black Cor Anglais French Horn Erik Chapman Cindy Foster William Heggart Jennifer Christie Anna Mowat Leila Ward Laurence Davies Ram’s horn Russell Gilbert Shinko Hanaoka Piano Charlotte Ansbergs David Lale Jonathan Durrant Jonathan Lee Viola Emma Black Joby Talbot* Siân McInally Oboe D’amore Phil Woods Rosemary Wainwright Helen Kamminga* Anna Mowat Stephen Payne Double Bass Leila Ward Mike Kidd Liz Varlow David Lale Charles Nolan Anthony Alcock Hugh Seenan Second Violin Andrew Sippings Jonathan Few Stephen Kear David Broughton Clarinet Andrew Storey Jonathan Hallett Harriet Davies David Gordon Michael Whight Elen Hâf Richards Laura Holt

- 16 - - 17 - Recorded at Henry Wood Hall, London, from 10-12 November 2012.

Alice’s Adventures in Wonderland orchestrated by Joby Talbot and Christopher Austin. Producer - Joby Talbot Recorded - Mark Wyllie & Andrew Mellor Recording Assistant - Craig Jenkins Joby Talbot would like to thank the following Mixed - Mark Wyllie people very much: Mastering - Mike Hatch, Floating Earth Cover image - Lauren Cuthbertson as Alice, © Manuel de los Galanes, courtesy of the Royal Opera House Christopher Wheeldon, Bob Crowley, Nicholas Steve Long and all at Signum and Floating Earth All production images provided courtesy of The Royal Opera House. Design and Artwork - Woven Design www.wovendesign.co.uk Wright, Natasha Katz and Jackie Barrett • • Jeremy Holland-Smith, Daniel Cohen, Ben Quoted interviews in programme note by John Snelson and Igor Toronyi-Lalic. Barry Wordsworth and the Orchestra of the Foskett, Daniel McCallum and Danny Saleeb • Royal Opera House • David Briskin and the Gavin Higgins • Rob Farrer • Gill Graham, James National Ballet of Canada Orchestra • Dame Rushton, Howard Friend, Rosie Moore and all at

Monica Mason, Kevin O’Hare, Jeanetta Laurence Chester Music • John Mortimer • Erich Sargeant Suite from Alice’s Adventures in Wonderland and all at The Royal Ballet • Karen Kain, • Simon Fuller and Adam Harvey at Music © 2012 Chester Music Ltd Gerard Roxburgh, Ray Tizzard and all at the Sales in Bury-St-Edmunds • Tony Rickard and the Fools Paradise National Ballet Of Canada • Christopher library of the Royal Opera House • Brian Elias • © 2007 Chester Music Ltd Austin • Ian Maclay and all at the Royal Nigel Godrich • My wonderful and ever-supportive P 2013 The copyright in this recording is owned by Signum Records Ltd. Philharmonic Orchestra • Andrew Stevens family: Maurice, Claire, Matthew, Jean, Charlotte, © 2013 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. and Charles Strickland at Henry Wood Hall • Luke and, most of all, Liz. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]

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- 18 - - 19 - ALSO AVAILABLE on signumclassics

Talbot: Path of Miralces Talbot: Tide Harmonic Tenebrae, Nigel Short Joby Talbot SIGCD078 SIGCD260

“Joby Talbot has been making quite a name for himself “… an engrossing concept album about water, evoked in its various recently. Path of Miracles can only add to that reputation: it’s elemental states across a five-part suite bookended with a brief a real achievement.” orchestral torrent supplanted by the resonant ringing of Tibetan International Record Review temple bowls.” The Independent

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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