MANUEL ENSEMBLE

Anna Stokes flute Louisa Tuck cello John Reid piano

Kapustin Gaubert Schumann Borne Farrenc Piazzolla

Anna Stokes founded the Emanuel Ensemble in 2001 which has since gone on to perform in recitals at the Purcell Room’s ‘Fresh’ concert series, the Wigmore Hall, St Martin-In-The Fields, Kensington Palace, St James’s Palace, National Gallery, V & A Museum, Conway Hall, Leeds International Festival, Schubert Society of Britain, Lansdowne Club, Champs Hill, Cadogan Hall, Villa D’este (Lake Como) and for numerous UK Concert Societies. The Emanuel Ensemble is dedicated to exploring music old and new, focusing predominantly on works for combinations of flute, cello & piano and flute, violin, viola & cello. www.emanuelensemble.co.uk MANUEL ENSEMBLE SELECTED WORKS FOR FLUTE, CELLO AND PIANO Anna Stokes, Louisa Tuck, John Reid Just as Astor Piazzolla stood to the Tango in Argentina, so in a sense does the NIKOLAI KAPUSTIN Russian, Ukrainian-born Nikolai Kapustin stand to Jazz in Russia, speaking jazz as his Trio, Op.86 natural language and seeking to extend its role in both popular and concert music. 01 i Allegro molto Kapustin was born in Gorlovka, Ukraine in 1937 and studied piano at the Moscow 02 ii Andante Conservatory with the great Alexander Goldenweiser (friend of Scriabin, Rachmaninov 03 iii Allegro giocoso and Tolstoy), graduating from his class in 1961. Though his training was thorough and 04 PHILIPPE GAUBERT traditional in the Russian classical manner, Kapustin had been interested in jazz from Pièce Romantique his teens, and already in the 1950s he had formed a jazz quintet, and played with Yuri Saulsky’s Central Artists’ Club Big Band in Moscow. Later, he toured throughout the ROBERT SCHUMANN USSR with the Oleg Lundstrem Jazz Orchestra. He has been a prolific composer, Adagio and Allegro in A flat major, Op.70 principally for solo piano though there are also concertos, orchestral works and 05 Adagio i chamber music. Despite the obvious (and infectious) jazzy feel of his music, Kapustin 06 ii Allegro views himself as a composer rather than a jazz musician. He is on record as saying ‘I FRANÇOIS BORNE was never a jazz musician. I never tried to be a real jazz pianist, but I had to do it 07 Fantaisie Brillante sur Carmen because of the composing. I’m not interested in improvisation – and what is a jazz LOUISE FARRENC musician without improvisation? All my improvisations are written out, of course, so Trio Op.45 for Flute (or violin) , Cello & Piano they became much better; it improved them.’ Kapustin’s works, then, though they may 08 i Allegro deciso - Più moderato ed espressivo occasionally sound like improvisations, are fully notated, fully developed compositions 09 ii Andante in his own distinctive jazz style, which distils elements from such jazz greats as Art 10 iii Scherzo Tatum, Oscar Peterson, Errol Garner, with whom Kapustin feels a close affinity. 11 iv Finale - Presto Kapustin wrote his Trio for flute, cello and piano, Op.86 in 1998: it was at that time ASTOR PIAZZOLLA the first chamber work he had written for more than two players, and has since 12 La Muerte del Ángel become one of his most popular works outside of his solo piano output. There are three movements. The first is an energetic affair, seemingly improvisatory but in fact Emanuel Ensemble: Anna Stokes - flute Louisa Tuck - ‘cello John Reid - piano Recorded in the Music Room, Champs Hill, West Sussex, 17th & 18th August 2010 [01 –06, 08 –12]; working out its themes and motifs both thoroughly and fantastically, with walking 22nd May 2011 [07] basses, hypnotic ostinatos and also excursions and side-turnings that give all the Produced and Engineered by Alexander Van Ingen Edited by Dave Rowell Mixed & Mastered by Alexander Van Ingen all for Six Music Productions (www.sixmp.net) Cover image: “Trail”, a part of the Paintings In Hospitals collection, by Helen Lindon, www.helenlindon.com instruments solo spots and the chance to assume various characters. The languidly The romantic ambience of the music of Robert Schumann (1810 –1856) makes a nostalgic opening of the central slow movement introduces a theme which remains the striking contrast to Kapustin’s jazz cool. His Adagio and Allegro in A flat major, Op.70, principal focus of the music, varied in turn by all three instruments; after a slightly was in fact conceived for horn and piano – and specifically the more agile valved horn, faster and more capricious central section, the theme returns for further romantic of which Schumann was an early champion, rather than the natural horn of Waldhorn treatment before the end. The finale is a breezy, highly rhythmic workout for all three that was still in use when he wrote his work (and which would still be much favoured players, containing the most virtuosic writing in the work and rounding it off with an by Schumann’s younger contemporary Brahms). This is one of a cluster of works for insouciant and irresistible display of animal vitality. wind instruments written in 1849. At this time Schumann had the idea of composing ‘His music is neo-classic, but threatened with modernism’, was the curious comment substantial works of so-called Hausmusik that amateur players could use to further that the critic André Coeuroy applied to Fauré’s younger contemporary Philippe their skills at home, though the Adagio and Allegro presupposes an extremely skilled Gaubert (1879 –1941). Gaubert was a refined and civilized member of the Impressionist amateur: this is a notable display-piece whose range of chromatic notes shows it was movement in France who is chiefly remembered – though he wrote in many genres – by intended from the first for the newer type of horn. As was his practice with his other his compositions for the flute, his own instrument: at the Paris Conservatoire in the wind-instrument pieces, Schumann published alternative versions for strings, either 1890s he studied with the legendary flautist Paul Taffanel (1844 –1908) and during his violin, viola or cello with piano: it is the last we hear on this disc. career served as principal flautist in several of the Paris orchestras – eventually Requiring considerable virtuosity in its concluding portion, and the ability to project becoming, like Taffanel, Professor of Flute at the Paris Conservatoire. dreamy Romantic feeling in its opening (the piece was originally entitled Romanza und The Pièce Romantique was composed in 1904 and is redolent of the lyric charm that Allegro ), this is a perfect two-part structure, almost a Schumann trademark, of a kind was Gaubert’s speciality, in music that may remind us at one moment of Fauré, at the which he explored throughout his instrumental œuvre. The Adagio (actually marked next of Debussy, and yet retains a certain politesse of its own. Solo cello, against a Langsam, mit innigen Ausdruck ) may remind us of one of Schumann’s more wistful chordal piano accompaniment, gives out the soulful main theme. The melody is taken songs, and requires stamina to sustain the lyrical phrases. The Allegro (actually marked up by the flute and extended in duet with the cello, the music rising to an ecstatic, Rasch und feurig ) is a vigorous rondo, impulsive and indeed fiery in mood, using the pastoral climax. The flute is to the fore in the central episode, which has something full range of the instrument in rapid figuration, which alternates this vivacious music of the air of an antique dance. The cello is the subordinate partner and abetter here, with slower, more lyrical episodes, notably an Etwas ruhiger in B major that develop but it leads us, via a little mini-cadenza, into a brief, elaborated and embellished motifs first heard in the Adagio, thus binding the diptych into a unity. return of the opening theme before the movement dies away in a mood of eventide The extended, bravura Fantaisie Brillante on themes from Bizet’s Carmen was composed contentment. in 1900 by the flautist and composer François Borne (1840 –1920), who was for many years principal flautist in the orchestra of the Grand Theatre at Bordeaux, eventually As her music is being progressively rediscovered, it begins to look as though Louise becoming professor of flute in the Conservatoire at Toulouse. Borne devoted much of Farrenc (1804–1875) was the most important woman composer of the first half of the his time to developing the design of the flute, writing articles to publicize his 19th century. However admirable the creative gifts of Clara Schumann and Fanny innovations; he had a share in the invention of many devices to improve the Boehm- Mendelssohn, the fact remains that the lady from Paris was more productive, more system flute still in use today, including the split-E mechanism found on many modern ambitious, worked on a larger scale and in a wider range of genres, and wrote music flutes. Borne composed several fantasies on themes from popular operas, of which the of comparable quality that scintillates with life and wit. Perhaps there is nothing in Carmen fantasy is by far the best known. The work exploits the entire range of the her output that can convey the pathos and emotional depth of, for instance, some of flute, in accordance with Borne’s aim of writing pieces that demonstrated what the Clara Schumann’s late Romanzen. But on the other hand Clara wrote no symphonies instrument was capable of, while challenging the technique and expressive abilities of (Farrenc wrote two), and her sole (superb) Piano Trio stands as her only concerted the performer. The Fantaisie Brillante uses several of the best-known themes from chamber piece, while Farrenc turns out to have adorned the genre with several works Carmen and creates variations on these motifs, highlighting both musical and of similar size and importance. She was clearly a cultured artist – and a fortunate technical aspects of flute performance. Perhaps with his tongue in his cheek at times, one, married to a music publisher. Like her elder contemporary and compatriot George Borne produces almost a synopsis of Bizet’s opera, with the central evocation of the Onslow, with whom she shares some stylistic characteristics, Farrenc was a post- celebrated Habanera, extended in increasingly flashy variations, as an undoubted classical composer whose forms and phraseology generally hark back to the age of high-point, in a composition perhaps essentially intended for the salon but also Beethoven, if not necessarily to Beethoven himself. Thus the E minor Trio , for enjoyable for its feats of instrumental transformation and metamorphosis. example, is in one sense a very ‘old-fashioned’ work for its time. But since we have Borne begins with the music of Carmen’s first entrance in the opera. A plunge into an left its time far behind it is likely to appeal on other grounds than up-to-dateness. ominous C minor, with dramatic piano tremolo writing, introduces the ‘Fate’ theme Farrenc had an individual sensibility, adeptly balancing sentiment and seriousness, from the Act I Prelude. As the music develops we encounter a brief reference to the and her craftsmanship borders on the masterly. Perfectly successful in her own day, chorus in Act I where soldiers and townspeople greet the appearance of Carmen. The and a respected editor of early music as well as Professor of Piano at the Paris flute then sings the famous Habanera theme, the piano imitating the original Conservatoire from 1842, she seems to have been almost immediately forgotten after orchestral setting, and the bravura variations follow. These build up the excitement for her death, and it’s heartening that her œuvre is now being revived. the ‘Gypsy Dance’ from Act II of the opera. This too is treated to brilliant variations Louise Farrenc’s Trio in E minor, Op.45 for flute, cello and piano, composed during and then, just as the work seems to be drawing to an end, the minor key is replaced 1861 –2, was her last chamber work. She dedicated it to the flautist Louis Dorus by the major with a triumphant statement of the one famous theme so far unheard, (1812 –1890), who had become Professor of Flute at the Paris Conservatoire a short the ‘Toreador Song’, which becomes the basis for a finale of vertiginous bravura. while before, in 1860. (It was Dorus who taught Taffanel, who taught Gaubert.) Opening with a very brief Allegro deciso fanfare, the first movement settles down, Più one of the most original exponents of the tango, Latin America’s most celebrated moderato ed espressivo , to a full classical sonata form (with exposition repeat), dance; at the same time he longed to write symphonic and chamber works. He studied superbly written for all three instruments and showing Farrenc’s considerable with Alberto Ginastera in Buenos Aires and Nadia Boulanger in Paris and eventually, contrapuntal artistry in its discreet touches of canon. The vigorous development despite much opposition, effected a fusion of classical concert forms with the sinuous section puts the themes through their paces, with a moment of lyrical pathos as the rhythm and passion of tango. Enormously prolific (over 1000 pieces!), with works flute, unaccompanied, leads into the recapitulation and the stormy coda. The Andante ranging from concertos and orchestral suites to a multitude of dance numbers, slow movement, in C major, opens as if a sentimental romance for the flute over a Piazzolla was truly to the tango what Johann Strauss II was to the waltz. placid accompaniment. But a gruff and stormy interruption, led off by cello and piano In 1962 Piazzolla composed the incidental music for El Tango del Ángel , a theatre plunges us into C minor; the thundery weather recedes, however, and the cello takes piece by Alberto Rodriguez Nuñoz. The play is a spiritual drama in which an angel over the songful main theme with delicate triplet decoration from the flute. The arrives in a poor, run-down neighborhood of Buenos Aires on a mission to heal the elegiac final bars provide the merest hint of the storm clouds from earlier. spirits of its inhabitants – but instead is killed in a vicious knife-fight with a local A restless and swift-moving Scherzo , Vivace , returns us to E minor, with urgent villain. The climax of the play, and of Piazzolla’s music, is La muerte del Ángel (The rhythmic writing for all three players. The trio section moves to E major for a suavely Death of the Angel) – a piece that Piazzolla performed many times in his concerts in lyrical cello tune, taken up by the flute. The Scherzo returns da capo in the minor, but its original form for his quintet (bandoneón, violin, piano and acoustic and electric the movement diverts into the major for a reminder of the trio section’s melody before bass), and which he and others have arranged for a multitude of different ensembles. a curt dismissal. The Presto finale starts off with a rapid, running flute theme in even We hear it here as a trio for flute, cello and piano. This remarkable piece is a three- quavers, immediately adopted by the piano as a background to other figures. This voice fugue based on a jagged, aggressive theme that is dissonantly bandied about even-quaver chatter provides much of the motive power for the movement, though among the three instruments. The furious activity stills for a slower, sinuous central Farrenc also produces a blithe transition theme and a highly expressive second subject section that has an air of dark sentimentality. The fugue theme resumes – though the of real pathos led off by the cello and developing into a passionate duet with the writing is no longer strictly fugal – and comes to a decisive, thrusting close. flute. The rest of the movement develops these different elements in a spirited show of inventiveness and effervescent spirits, turning soon to E major and bringing the Notes g 2011 by Malcolm MacDonald proceedings to an end in high good humour. Astor Piazzolla (1921 –1992) enshrines the intimate relations of popular and classical in Argentinian concert music. As a bandoneón virtuoso and band-leader he became BIOGRAPHIES

ANNA STOKES Anna Stokes is an established orchestral and chamber musician. She has worked with numerous orchestras including the London Philharmonic Orchestra, Royal Scottish National Orchestra, BBC Concert Orchestra, Northern Sinfonia, Brandenburg Sinfonia, London Concert Orchestra, Bournemouth Symphony Orchestra and Arts Symphonic. She has also toured the UK extensively with singers Russell Watson and Aled Jones and has performed as part of the Queen’s Jubilee Celebrations and Investitures at Buckingham Palace and Windsor Castle. As a soloist, Anna has given performances for the Qatar Foundation in Doha, at the Beethovenhaus in Bonn, the Cheltenham International Festival, for UK concert societies and performed concertos and solo works by Bach, Chaminade, Mozart, Quantz, Reinecke and Rouse. In 2006 –2008 she was selected to participate in the Sir James Galway International Masterclass series and in 2007 was awarded a gold Nagahara headjoint for ‘Best Performer’ by popular vote. Anna has featured on CD releases with artists including Aled Jones, Isabel ‘The Choirgirl’ and Camilla Kerslake. Awards include the Marc Rich Scholarship for Artistic Achievement, Haynes International Flute Competition Prize Winner (2007), LPO ‘Future Firsts’ (2006 –7) Solti Foundation and EMI Sound Foundation. Anna has also given workshops in the UK, Hong Kong and Qatar. Anna began studying the flute with Athanasios Kalimeris, and was subsequently awarded a scholarship to the Purcell School of Music where she learnt with Anna Pope for five years. She was later awarded a Foundation Scholarship to the Royal College of Music where she studied with Susan Milan and Stewart McIlwham, graduating in 2004 with First Class Honour; since when she has received private tuition from Celia Chambers and coaching from a number of flautists including Sir James Galway, Paul Edmund Davies, Susan Thomas, Kenneth Smith and Sebastian Bell as well the composer, Jindrich Feld. Anna plays on a Brannen-Cooper flute that was awarded to her by the Foundation for Sport and the Arts. www.annastokes.com LOUISA TUCK Since her appointment as Section Leader: Cello at the Northern Sinfonia in 2007, Louisa Tuck has established herself as one of the most sought-after young chamber musicians and guest principal cellists in the UK. She is a regular guest leader with the Scottish Chamber Orchestra, the BBC Scottish Symphony Orchestra (which has included their complete Proms season), Bournemouth Symphony Orchestra, Royal Philharmonic Orchestra and The John Wilson Orchestra. Louisa has recorded as a soloist with Naxos and Virgin Classics and this disc marks her first solo and chamber music recording with Champs Hill Records. As a soloist she has appeared at the Wigmore Hall, Royal Albert Hall, Spoleto Festival (Italy), Spitalfields, Soundwaves, IMAI, and the Norfolk & Norwich and Chipping Camden Festivals. Louisa was featured on a DVD of masterclasses at the Wigmore Hall given by the veteran cellist Bernard Greenhouse. Other recent performances and projects have included Hindemith Kammermusik in London’s St. Martins-in-the-Fields and performances of Stravinsky, Dutilleux and Colleridge-Taylor with the Nash Ensemble. She has broadcast live on BBC Radio Two, Three, Four and Classic FM, and is regularly invited to perform in the USA at the International Musical Arts Institute chamber music festival. Having studied with Paul Watkins and Philip Sheppard at the Royal Academy of Music, Louisa was recently made an ARAM there. She has received awards from the Musicians Benevolent Fund and the Countess of Munster Trust, and gratefully acknowledges Mark Ptashne’s generous support throughout her career. s e e

R She plays on a rare Italian cello dated 1752 made by Jacobus Cordanus. a l r a

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