a song more silent new works for remembrance

Sally Beamish | Cecilia McDowall Tarik O’Regan | Lynne Plowman

Portsmouth Grammar School Chamber Nicolae Moldoveanu It was J. B. Priestley who first drew attention Hundreds of young people are given the to the apparent contradiction on British war opportunity to participate as writers, readers, memorials: the stony assertion that ‘Their Name singers and instrumentalists, working in Liveth for Evermore’ qualified by the caution collaboration with some of our leading ‘Lest We Forget’. composers to create works that are both thoughtful and challenging in response to ideas It is a tension which reminds us of the need for of peace and war. each generation to remember the past and to express its own commitment to a vision of peace. E. E. Cummings’ poem these children singing in stone, set so evocatively by Lynne Plowman, The pupils of Grammar School are offers a vision of “children forever singing” as uniquely placed to experience this. The school images of stone and blossom intertwine. These is located in 19th-century barracks at the heart new works for Remembrance are an expression of a Garrison City, once the location of Richard of hope from a younger generation moved and the Lionheart’s palace. Soldiers have been sent inspired by “a song more silent”. around the world from this site for centuries. It has been suggested that more pupils lost their James Priory Headmaster 2008 lives in the two World Wars than at any other school of comparable size. Today, as an inscription on the school archway celebrates, it is a place where girls and boys come to learn and play.

On Remembrance Sunday each year the school performs a concert in St Thomas’s which, thanks to the imagination of my predecessor Dr Timothy Hands and the continuing support of the Governing Body, includes an annual commission of a new work for Remembrance, in partnership with our Associate Musicians, the London Mozart Players.

3 Liturgical section and the Making Music Award. Ave Maris Stella was at Christ Church, Oxford. Dominus Dutton Epoch released a CD of her choral work Ave Maris Stella was commissioned for Illuminatio Mea is to be seen in one of the three in the autumn of 2004 (CDLX 7146) and a CD Portsmouth Grammar School Chamber Choir, stained glass panels of the school’s Boer War of orchestral and chamber music in autumn and first performed at the PGS Remembrance Memorial window in Portsmouth Cathedral. 2005 (CDLX 7159). Three Antiphons have been Concert in November 2001. The text has a recorded by an international trumpet ensemble special significance for Portsmouth with its The work begins with tranquility. The consisting of players from the Philharmonic great naval heritage; the central section “They introduction expands the main melodic shapes and Vienna Philharmonic and were released on that go down to the sea in ships” is particularly over rich chords placed between the melody the Brass Classics label recently. Her works are poignant today as we remember those who notes, to a glorious suspension, which is then regularly broadcast on BBC Radio. have lost their lives at sea. echoed in the inner parts, and becomes a key feature of the opening section. The choir enters In 2006 she was selected from a large list of The composer explains that the piece takes its with a glowing richness, and the sopranos break composers by the Bournemouth Sinfonietta basic inspiration from some words of Woodrow free from the depths of the texture, rising to a Cecilia McDowall Choir to compose a choral and instrumental Wilson which she chanced on following a visit to soaring melody of naturally resolving suspensions. Educated at Edinburgh and London Universities work, Five Seasons, whose brief was to ‘celebrate see the Cathedral and talk about the commission: At “solve vincla”, the second verse of the original and Trinity College of Music, Cecilia McDowall the organic landscape’. This exciting and unique “The freedom of the seas is the sine qua non of words, the music becomes unsettled as it moves won several prizes for composition, including the project, which was premiered in Sherborne Abbey peace, quality and co-operation.” The decision to a minor key and the intensity builds to Chappell Prize. She has a distinctive style which in November 2006, involved the composer and was taken, however, to keep the sources for the another powerful climactic suspension at the speaks directly to listeners, instrumentalists the novelist and poet, Christie Dickason, taking text of the piece to the Biblical or liturgical, and top of the tenors’ and sopranos’ range. and singers alike. Her choral output has been up mini residences at five organic farms (under to draw on artifacts in the Cathedral, especially described as having a ‘freshness, brightness and the auspices of the Soil Association). the stained glass windows commemorating As the music subsides again, a recitative soprano fidelity’ about it, combining flowing melodic those who lost their lives in war. The work itself solo penetrates the texture, a distant beacon of lines and occasionally astringent harmony with The Dutton label recorded a further CD (CDLX makes use particularly of the Cathedral’s ample sound to fill the air, preparing for the tempest rhythmic vitality. She studied composition with 7197) of McDowall’s choral work in 2007 with acoustic, with phrases in the choral parts that that is to follow. The central section of the piece Joseph Horovitz, Robert Saxton and Adam Gorb. the City of Canterbury Chamber Choir and the require the resonance to carry the sound, even is undercut by excited syncopated rhythms in Joyful Company of Singers. when the choir are not singing. the accompaniment, as the voices announce the Her music has been commissioned and theme based on a descending modal scale. The performed by leading choirs, including the BBC Cecilia acted as composer ‘not in residence’ at Verse 1 of Psalm 26 is the motto of Oxford feeling of raging waters and the stormy wind, Singers, ensembles and at festivals nationwide. Portsmouth Grammar School, working with University, Dominus Illuminatio Mea (The Lord is “ventus tempestatis”, is enhanced by the contrast She was short-listed for the 2005 British pupils from a variety of local schools, during the my Light) and is associated with the Founder of between the more lyrical phrases of the choir Composer Awards in two categories, the academic year, 2001-2002. the Grammar School, Dr William Smith, who against the agitated, turbulent accompaniment. 4 5 The anguish of the men is marked by the return Cecilia McDowall - Ave Maris Stella 11:38 of the descending modal scale, before the thrill of the storm subsides, as the choir decrescendos 1|Ave maris stella, Hail, Star of the sea, and the energetic accompaniment slowly comes Dei Mater alma, Nourishing mother of God, to a halt. The soprano solo heard originally is Atque semper Virgo, And ever a virgin, echoed briefly, before the minor key passage Felix coeli porta. Auspicious gate of heaven. from the opening returns, and the last verse brings back the very opening music, filled with Solve vincla reis, Release the chains of the guilty, suspensions that build the tension right through Profer lumen caecis Bring light to the blind, to a powerful closing climax. Mala nostra pelle, Take away our sins, Bona cuncta posce. For all blessings pray. In October 2001, the magazine Classical Music devoted a full-page article to a study of this (Ave Maris Stella) new piece. “When the choir of Portsmouth Grammar School starts to sing, and the London Dominus illuminatio mea et salutare meum. The Lord is my light and my salvation. Mozart Players pick up their instruments on 11 Dominus fortitude vitae meae quem The Lord is the strength of my life; of whom November”, the magazine commented, “let us formidabo? shall I be afraid? hope that the world will be laying down its arms and reflecting on why we still look back on (Psalm 26/27) Armistice Day of 1918.” In 2006, Aled Jones reviewing the work on Radio 3 described it as Qui descendunt in mare navibus They that go down to the sea in ships; “wonderful”. facientes opus in aquis multis And occupy their business in great waters; Ipsi viderunt opera Domini These men see the works of the Lord: Jamie Henderson Et mirabilia eius in profundo And his wonders in the deep. Dixit et surrexit ventus tempestatis For at his word the stormy wind ariseth. Ascendunt in coelum et descendunt in abyssos They are carried up to the heaven and down again to the abyss.

Clamabunt autem ad Dominum in tribulatione So when they cry out unto the Lord in their trouble:

6 7 Sua et de angustia educet eos He delivereth them out of their distress Lynne Plowman’s second opera, House of the Statuet turbinem in tranquillitatem. For he maketh the storm to cease. Gods, also with a libretto by Martin Riley and commissioned by MTW, takes its characters (Psalm 106/107) from Irish mythology. Combining eerily atmospheric music with twisted comedy music Dominus illumination mea et salutare meum. The Lord is my light and my salvation. hall numbers, this opera, for adult audiences, was taken on a highly successful UK tour in Vitam praseta puram, Display a pure life, 2006. The Brighton Argus described it as "totally Iter para tuum: Prepare your way and utterly absorbing...one of the finest modern Ut videntes Jesum, Till we find Jesus, operas I have seen"; The Telegraph: "gripping Semper collaetemur. Joy for evermore. throughout...it grabbed me instantly...bags of character, atmosphere, humour and originality": Sit laus Deo Patri, Praise to God the Father, The Guardian: “Plowman is a mistress of Summo Christo decus, Glory to Christ the great, Lynne Plowman theatrical effect". Spiritui Sancto, The Holy Spirit, Lynne Plowman is a composer and flautist Tribus honor unus. One honour in three. based in Wales. Her compositions include opera, Lynne Plowman has a long-standing relationship orchestral works, chamber music, choral pieces with the London Mozart Players, which began in (Ave Maris Stella) and music for theatre. 2000 when Lynne was Composer in Residence at Wingfield Arts in Suffolk. There, the LMP gave In 2003, she was awarded the British Composers the première performance of The Return of King Award for Stage Works, for her first opera, Raedwald (for bass-baritone and ensemble), and Gwyneth and the Green Knight. Created for they have continued to champion her work family audiences with the librettist, Martin Riley since then. The Stargazer, for tenor and strings, and performed by Music Theatre Wales, it was was commissioned to celebrate the ’s described as “one of the most brilliantly residency in East Lindsey - it has been performed accomplished new operas I have heard for many by them on many occasions and recorded on a year” (The Times), “one of the most CD. Supported by the Arts Council of Wales, entertainingly theatrical of all recent British Lynne's most recent project for the LMP is the operas” (Opera Now) and “a perfect new opera” creation of a new live film score to the classic (The Independent). silent movie, The Cabinet of Dr Caligari, for a première and UK tour in 2009. 8 9 In addition to her busy composing choir, orchestra and organ, with optional children’s The female soloists echo the children and the Lynne Plowman - Cries Like Silence 14:36 commitments, Lynne Plowman is also an choir, brass band, electric guitars and bass drums. music ends with the distant rumble of guns. experienced flautist, teacher and animateur of 2|these children singing in stone a creative music projects in schools and colleges. The piece opens with the beginning of the E. E. The orchestration of the piece is strongly silence of stone these In this capacity she has worked for companies Cummings poem: “these children singing in stone influenced by the architecture of Portsmouth little children wound with stone including , Welsh National Opera, a silence of stone, these little children are stone Cathedral. Ideally the performers should use the flowers opening for Music Theatre Wales, California State University, flowers opening forever”. The female soloists whole building, with the audience surrounded ever these silently lit the Cheltenham International Festival of Music weave lyrical melodic lines over the gently rising by the various ensembles. tle children are petals and the Vadstena Academy, , among harmonies of the choir and orchestra. This is their song is a flower of others. Lynne is a tutor of composition at the followed by a passage sung by the children’s My intention was to compose a work which always their flowers Royal Welsh College of Music and Drama where choir: “children of stone with blossoming eyes would challenge and excite the accomplished she was recently awarded an Honorary know if a little tree listens forever to always young musicians from Portsmouth Grammar of stone are Fellowship, and is Resident Composer for Young children singing forever”. The lyricism of E. E. School, contrasting dynamic and dramatic silently singing Composer of Dyfed, a scheme which brings Cummings is suddenly interrupted by a sinister, story-telling with poignant and lyrical music – a song more silent composition workshops and tutorials to schools aggressive motif in the organ and lower strings. a work to mark Remembrance Day, and to than silence these always in West Wales. comment on all times of war. Crow’s Account of the Battle is urgently told to children forever Cries Like Silence the audience by the choir and soloists. I have Lynne Plowman singing wreathed with singing Commissioned by Portsmouth Grammar School tried to set the text in a way which enhances its blossoms children of for their 2006 Remembrance Day concert in directness and drama. They reach the stark stone with blossoming Portsmouth Cathedral with some funding from conclusion that “what was left looked round at eyes the PRS Foundation, Cries Like Silence is a what was left”. know if a musical setting of ’ dark and visceral lit tle poem Crow’s Account of the Battle and E. E. A slow lament follows, building over a repeating tree listens Cummings’ gentle and mystical these children harmonic sequence, to reach a climax on the singing in stone. These two poems, set side-by- line “Blasting the whole world to bits was too like forever to always children singing forever side, create a tension between a poignant slamming a door, too like dropping in a chair, a song made expression of innocence and a shocking exhausted with rage”. The sounds of the battle of silent as stone silence of description of the violent horrors of war. fade away and the children’s choir repeat their song innocent song. The work is scored for four solo singers, SATB (E.E. Cummings, these children singing in stone) 10 11 There was this terrific battle. Reality was giving its lesson, Exhausted with rage The noise was as much Its mishmash of scripture and physics, Too like being blown to bits yourself As the limits of possible noise could take. With here, brains in hands, for example, Which happened too easily There were screams higher groans deeper And there, legs in a treetop. With too like no consequences. Than any ear could hold. There was no escape except into death. Many eardrums burst and some walls And still it went on--it outlasted So the survivors stayed. Collapsed to escape the noise. Many prayers, many a proved watch, And the earth and the sky stayed. Everything struggled on its way Many bodies in excellent trim, Everything took the blame. Through this tearing deafness Till the explosives ran out As through a torrent in a dark cave. And sheer weariness supervened Not a leaf flinched, nobody smiled. And what was left looked round at what was left. The cartridges were banging off, as planned, (Ted Hughes, Crow’s Account of the Battle, The fingers were keeping things going Then everybody wept, from CROW) According to excitement and orders. Or sat, too exhausted to weep, The unhurt eyes were full of deadliness. Or lay, too hurt to weep. The bullets pursued their courses And when the smoke cleared it became clear Through clods of stone, earth and skin, This had happened too often before Through intestines, pocket-books, brains, hair, And was going to happen too often in the future teeth And happened too easily According to Universal laws Bones were too like lath and twigs And mouths cried "Mamma" Blood was too like water From sudden traps of calculus, Cries were too like silence Theorems wrenched men in two, The most terrible grimaces too like footprints Shock-severed eyes watched blood in mud Squandering as from a drain pipe And shooting somebody through the midriff Into the blanks between the stars. Was too like striking a match Faces slammed down into clay Too like potting a snooker ball As for the making of a life-mask Too like tearing up a bill Knew that even on the sun's surface Blasting the whole world to bits They could not be learning more or more to Was too like slamming a door the point. Too like dropping in a chair 12 13 and a Radcliffe Institute Fellowship at Harvard. growing up in Croydon and, secondly, as a largely responsible for the infamous ‘edginess’ O’Regan is currently working on an operatic percussionist, when I had the opportunity to that pervades daily life there. With this in mind, version of Joseph Conrad’s ‘Heart of Darkness’, première Alan Ridout’s Percussion Concertino I set to work on this piece for Remembrance in collaboration with the artist Tom Phillips, with the LMP), this new piece is important to Sunday, already knowing that musical works which is in development with American Opera me in another way. connected with commemoration or memorial Projects in New York and OperaGenesis at the are often suitably pensive and slow. Royal Opera House, London. The concept of a new work that encompasses both amateur and professional performers on an I wanted to start with that concept, but to bring In 2006 his debut disc, VOICES, was released equal footing is vital if new performers and, in some of that City ‘edge’ that has been such a to wide critical acclaim, heralding O’Regan as indeed, audience members are to be encouraged large influence in my life over the past two ‘one of the most original and eloquent of young into the realm of ‘classical’ music. It is relatively years. The result is that the first movement is British composers’ (Observer, London). This was rare for a commission to permit such an quiet and gentle (a moment of recollection), followed by Scattered Rhymes on the Harmonia opportunity for its very first performance and I while the second is much faster and vibrant (the Tarik O’Regan Mundi label, which was described as ‘stunning’ am, thus, very excited by the prospect. texts here dealing with transmigration and the Born in London in 1978, two-time British on BBC Radio 3 CD Review and ‘typically future). Put simply, And There Was a Great Calm Composer Award winner Tarik O'Regan was unfaultable’ by BBC Music Magazine. His music And There Was a Great Calm, commissioned by begins looking back and ends gazing forward. educated at Oxford University, completing his has been recorded on the Sony Classical, Portsmouth Grammar School with financial postgraduate studies at Cambridge. Described Harmonia Mundi, Avie, Collegium and Metier support from the PRS Foundation, was I gratefully acknowledge the assistance of Bruce as ‘exquisite and delicate’ (Washington Post) labels; it is published exclusively by Novello & composed for Portsmouth Grammar School Ruben and Judith Clurman, as well as that of my with ‘a gritty freshness unlike that of anyone Company Ltd. Chamber Choir and the London Mozart Players parents, with the collation of the texts. else’ (Independent, London), his compositions conducted by Nicolae Moldoveanu. The title of have been performed internationally by the And There Was A Great Calm this work is taken from Thomas Hardy’s poem Tarik O’Regan BBC Symphony Orchestra, , of the same name, written at the signing of the Estonian Philharmonic Chamber Choir and Tarik O’Regan wrote in 2005… Armistice on 11 November 1918; a couplet Los Angeles Master Chorale. I am delighted and honoured to have been from which is set, in a moment of tranquillity, commissioned by Portsmouth Grammar School in the second movement. O’Regan divides his time between New York to compose a work for the school’s Chamber City and Trinity College, Cambridge, where he Choir and the London Mozart Players. Beyond Relatively new to living in New York, I am much is Fellow Commoner in the Creative Arts. He has the very personal reason that it was the locally- more aware of the independent, vibrant cultural held the Fulbright Chester Schirmer Fellowship based LMP that introduced me to the repertory plurality that exists today; it’s probably the in Music Composition at Columbia University of orchestral music (first as a schoolboy, single most dazzling facet of the City and is 14 15 Tarik O’Regan – And There Was A Great Calm Movement II: From Heaven Distilled A Clemency In 1990 she received an Arts Council Composer’s Bursary, and moved from London to Scotland, 3|Movement I: As We Remember Them 12:46 Each shall arise in the place where their life where she and cellist Robert Irvine founded the [spirit] departs. Chamber Group of Scotland with co-director In the rising of the sun and at its going down, James MacMillan, and where her career as a we remember them. (‘Bundahis-Bahman Yast’; Indian Bundahishn composer really began to flourish. In September In the blowing of the wind and in the chill of (ninth century) [adapted]) 1993 she received the prestigious Paul Hamlyn winter, we remember them. Foundation Award for outstanding achievement In the opening buds and in the rebirth of spring, [So] Why then should I be afraid? I shall die in composition, and in 1994 and 1995 was Sir we remember them. once again to rise an angel blest. ’ assistant on the SCO In the blueness of the sky and in the warmth of composers’ course in Hoy. The course was re- summer, we remember them. (‘Masnavi I Ma’navi’; Mathwani of Jalalu-‘d’Din established in 2007 as part of the St Magnus In the rustling of the leaves and in the beauty Rumi (thirteenth century)) Festival, with Beamish and Alasdair Nicolson as of autumn, we remember them. co-directors. When [we’re] weary and in need of strength, we Our birth is but a sleep and a forgetting; Sally Beamish is known internationally as a remember them. The Soul that rises with us, our life’s Star, concert composer. She has received commissions Her orchestral output is considerable, including When [we’re] lost and sick at heart, we Hath had elsewhere its setting. from the USA, Japan, Australia, Scandinavia and two symphonies, and the concerto form is a remember them. And cometh from afar. Europe, and her music has been broadcast continuing source of inspiration to her; she has So long as we live, they too shall live, for they worldwide. written concertos for most instruments, are part of us. ((William Wordsworth (1770-1850), from Ode: including the more unusual percussion (for As we remember them. Intimations of Immortality (1807)) Although she always considered herself primarily ) and accordion (for James Crabb). a composer, for a decade her career centred on (Roland B. Gittelsohn (1910-1995), from The Calm fell. From heaven distilled a clemency; the viola, particularly as a member of the Raphael She has an ongoing relationship with the Gates of Repentance (1978)) There was peace on earth, and silence in the sky. Ensemble, with whom she made four discs of Swedish label BIS, who have recorded seven string sextets. She was Principal Viola in the discs of her music. 2007 saw the release of her And the Heav’nly Quire stood mute, (Thomas Hardy (1840-1928), from And There London Mozart Players from 1985-87, and this 2nd viola concerto with ; And silence was in Heav’n. Was a Great Calm – on the Signing of the relationship continued some years later with a and 2008 the violin concerto with Anthony Armistice (1918)) commission from , then principal, Marwood, flute concerto with Sharon Bezaly, and (John Milton (1608-1674), from Paradise Lost, for a concerto which was premièred by Philip 1st Symphony, conducted by Martyn Brabbins Book III (1667)) with the LMP at the 1995 Proms under with the Royal Scottish National Orchestra. . 16 17 Beamish is also active in writing for non- The Lion And The Deer 26:02 one poem overlaps the two works, and this is Falcon, the bird that can see the path to the professional forces, as well as for theatre. The the opening Hoopoe, which closes the Four Divine, is a double fanfare for counter tenor and stage musical, Shenachie, written with Donald Texts: From Divan e Hafez, translated by Jila Songs from Hafez cycle for Leeds, and, in a more trumpet. The choir provide wordless texture, and Goodbrand Saunders, was premièred by her Peacock, and selected from War and Conflict: developed version, opens and closes The Lion the strings long solo lines, using intervals typical local amateur theatre company in 2006 and by members of Year 7 at Portsmouth Grammar and the Deer. In Islamic mythology the hoopoe of Persian chants. reached the finals of the Highland Quest, a School is the love messenger between Solomon and Cameron Mackintosh competition with Eden Sheba, the male and female aspects of the Lion, the most optimistic of the movements, is Court Theatre. I Hoopoe (a) Divine countenance. the choral climax of the piece, with bright tonal II Deer colour and celebratory cymbals and gongs. In 2000, Beamish won a “Creative Scotland” III Falcon Like Jila Peacock’s ‘shape poems’, each of my Award from the , which IV Lion settings reflects a bird or animal alluded to in Horse, symbol of fidelity, is underpinned by wild enabled her to develop her oratorio for the V Horse the poem. The solo counter tenor part was and relentless timpani hooves, but contrasts 2001 BBC Proms (Knotgrass Elegy: librettist VI Hoopoe (b) written for Michael Chance, and the with dreamy, measured vocal writing, and Donald Goodbrand Saunders), premièred by orchestration is founded on a small string overlapping choral echoes. The central section the BBC Symphony Orchestra and Chorus, with Sally Beamish writes… orchestra, with trumpet and cello soloists. features trumpet and harp, pausing for a Sir . When Jila Peacock sent me her ‘shape poem’ moment before launching into the final gallop calligraphies – Persian texts by Hafez, the The first song, Hoopoe, is a solo for counter towards the end of the movement, and fading She has written several scores for film and 14th century metaphysical poet of Iran, they tenor, with the refrain ‘I will send you’, echoed into the distance. television, one of which won a Scottish Bafta in immediately suggested music. Each bird or by the choir. The trumpet, strong and lyrical, 2003 for Best Composer. animal, fashioned from Hafez’s texts, was rides over the text, and the call of the bird is In the final song, which is a continuation/ accompanied by Jila’s own translation, and heard in glissando string solos. conclusion of the opening Hoopoe, the trumpet Recent projects include a third viola concerto, together we began to plan how these might and timpani are silent. The former declamatory for and the Scottish Ensemble, form a musical work. The second, for choir, suggests the gentle trumpet solos have become more gentle, and a Chamber Concerto for the Rascher footfall of a deer, with steady, soft timpani reflective solo cello lines. Saxophone Quartet. 2009 sees further In 2006 I was asked by Leeds Lieder to write beats, and steady, canonic choral writing. The concertos, including a cello concerto for cellist a song cycle for and Roger colours are dark and pensive, using only the Through the six songs runs another strand. with the Minnesota Orchestra Vignoles, and also by Portsmouth Grammar lower strings. The music is coloured by rustling By placing Hafez’ words in the context of conducted by Osmo Vanska. School to write a choral work for their annual bamboo chimes and rain stick. The harp writing Remembrance Day, I hoped to reflect an Remembrance Day concert. These two offers is inspired by Classical Iranian setar music, with ultimate human goal – a theme of enduring seemed to link together, and I felt that both repeated notes and fast flourishes. love. I asked Claire Jepson, the Head of English were ideal vehicles for Jila’s translations. Only at Portsmouth Grammar School, if she would 18 19 get the youngest pupils in the Senior School to Sally Beamish – The Lion And The Deer Take comfort in the cup and banish fear of The battle rages think about war, and then express their friend or foe Over barren wasteland reflections. This came to involve discussion of 4|Hoopoe (a) 4:27 For the last has fled and the first is to come But fighting for what? haikus. Several of the pupils experimented with this form and I have used extracts from this O Hoopoe of the east wind, A sandstorm that will come How many bells must ring writing in counterpoint to the Hafez texts. Many To Sheba I shall send you. To deliver death To rouse you from your daze? of these lines (shown in italics, and spoken by Take heed from where to where children) echo the same sentiment – that of the I shall send you Rejoice you lonely seeker of the scented path Pity a bird like you futility of conflict, and the desire for harmony Out of the wilderness the perfumed deer is Imprisoned in a cage. amongst mankind. In the imagery of Hafez, the Pity a bird like you come lion is Apollonian, or Mars, in contrast to the Lodged in a well of sorrow. Spread your wings and sing deer: Venus, or Love. From here, to the nest of devotion 6|Falcon 4:23 From the Tree of Paradise.’ I shall send you Sally Beamish ‘When all is said and done, In war, Whispering in the winds What have you gained? Everyone loses Each dawn and dusk, And no end in sight Convoys of sweet invocations The falcons of the path repose content as flies, I shall send you Such is the sweetness of this world. 7|Lion 3:52

Row by row the poppies grow Bullets fizz like wasps You blow away the hats of worldly status And no one tends them. planting their stings And shatter the coronets of power with royal ease In the heart of men. 5|Deer 2:55 The grace of your stride wins the cherished orb But I have seen the lightning flash from Sinai, Subdues the houri and outshines the fairy’s fire The Clouds of spring bear witness to these And I can bring you brands of burning bush. troubled times With the eyes of a deer you tame the lion of Though rainy tears deliver Daffodil and Rose Row by row the poppies grow the sun And no one tends them. And the fold of your brow razes the arc of Jupiter The sky was falling The noise hurt my ears, help, I The caravan has left you Incense streaming from your hair shames Can’t see through my tears. Sleeping in the wilderness. The hyacinth’s perfumed curls 20 21 As the Persian songs of Hafez Is there such a thing as “fair play”? Love’s face Hannah Seal Outsing the eloquent nightingale Who can decide that? Reveals the joy of all Creation Jason Swift Christopher Weekes Shouts all around; I 9|Hoopoe (b) 6:22 In the God-reflecting mirror Patrick Wheelan Close my eyes and block out sound I shall send you Huan Xie The Boy is running John Bilton Cries are around me The Boy’s feet are Black with Pain In quest of love Jamie Diamond The loud noises deafen me There is no near or far but only now Billie Downer No one comes for me. The legions of despair Joshua Gibbs- Cannot destroy that inner jewel, The haiku extracts used in The Lion And The Deer James Hicks 8|Horse 4:03 As my own dear life in tribute were selected from contributions made by the Megan Kendall I shall send you following members of Year 7 at Portsmouth George Laver The rose opens crimson Grammar School: Sophie Leaver And the nightingale is drunk with love. War: Gunshots, fighting death, Timothy Mills No winning, just losing, lives, Lucy Cole Luciano Odey-Sole Our time of joy comes tied to care, Crying, then, silence. Alexander Cranfield Emma Ralph As bliss was bound to loss at time’s dawn. Benjamin Frei Philippa Robertson Even Solomon’s splendour, Bring me the cup. Katherine Godfray Edmond Rostand His horse of the winds, For my inner voice is calling: Daniel Grinsell Charlotte Rowden The language of the birds ‘Endure this grief, for the balm Kirsten Hall Chloe Sellwood Are lost with the wind. I shall send you’ Edward Hands Andrew Shakel Katie Hussleby Madeline Shand Each shining arrow soars a while War is horrible Dylan Hyatt Duncan Soppitt But must return to dust. People die for no reason Andrew Jones Benjamin Wilcockson So do not waver from the path It will kill us all Robyn McBride James Woolas Love life now, Claire Monfared James Milburn For oblivion completes all design. Rubbish tip of death Jonathan Munro Ben Ireland Emma O’Leary O Hafez, rejoicing in the beauty of your pen, But fighting for what? Oliver Price See how we pass your words from heart to heart! Georgina Prosser Michael Robinson 22 23 and the school’s current high reputation began Soprano Ruth Ingamells Matthew Morgan to be established. Francesca Reid Katherine Hawnt Robin Lucas Arabella Peniston Alexandra Stevenson Douglas Barrett Former pupils of the school include a number Kathryn Ashe Katie Reid Warren Trevelyan Jones of distinguished authors, actors, musicians, Sandra Mackenzie Bridget Clay Oliver Jones scientists, civil servants, scholars, judges, Emma-Clare Yeates Philippa Clay Markus Schuck physicians, and members of the Armed Forces, Laura Bone including an Archbishop, a translator of Homer, Victoria Holden Alto Bass the inventor of Viagra, and three winners of the Verity Thorburn Joanna Mattock Zane Gray Victoria Cross. Hayley Smith Adam Pinkney Andrew Hadfield Eleanor Williams Rachel Barrett Edward Kay The introduction of co-education in 1991 Lika Petitt Jessica Davies Simon Halstead was of particular benefit to the Chamber Choir, Rosie Simson Claire Rowden James Halstead and it has since made a number of recordings Georgina Melville Charlotte Wing Luke Fisher Portsmouth Grammar School Chamber Choir and broadcasts, and has performed regularly Hilary Wilkinson Camilla Flint Matthew Arnold Director - Andrew Cleary with professional including the Alice Moore Charlotte Peniston Max Miller Bournemouth Sinfonietta, the Bournemouth Abigail Harris Katie Hasler Jack Bell Portsmouth Grammar School is one of the Symphony Orchestra and the London Mozart Yvonne Eddy Susannah Taylor Max Williams country’s leading co-educational schools, with Players. YiRu Hall Grace Howson Edmund Saddington a national reputation for the quality of its Pamela Kamel Richard Holt James Fox academic, pastoral and extra-curricular provision. Harriet Summers Ian Gallosi Andrew Martin Philippa Grundy Duncan Horn The school was founded in 1732 by Dr William Jennifer Easton Lucy Moffitt Smith, Mayor of Portsmouth and Physician to Gemma Battye the Garrison. Its early history was not always Lauren Smith Tenor distinguished: when Nelson left Portsmouth for Annabel Simson Benjamin Stewart Trafalgar, his blind eye was fortunately turned Annaliese Speller Benedict West towards the school which then possessed a Isobel Miller Francois du Plessis Headmaster but, such was his unpopularity, no Suzannah Hance Robert Smith pupils. By the 1870s, the Governing Body Phoebe Miller Thomas Doig deemed that the school required re-foundation Shalini Raman Samuel Moffitt 24 25 Andrew took postgraduate studies at the Royal Children’s Choir and Readers College of Music with Nicholas Danby, and was (Cries Like Silence) (The Lion and the Deer) Assistant Organist at St. Martin-in-the-Fields Portsmouth Grammar The Choristers of Church, London where he made recordings with Junior School Choir St Thomas’s Cathedral, Frederick Dennis the BBC and directed the St Martin's Scholars Portsmouth Samuel Evans and the early music ensemble Nuove Musiche. Director Ian Webber Director Price Benjamin Frei Katherine Godfray He has worked at Pangbourne College, Oundle Isobel Appleby Harry Boorman Kirsten Hall School and Dean Close School before moving Madeleine Butcher Jeremy Cairns-Todd Sally Hall in 2005 to Portsmouth. Zachary Choppen Oliver Chubb Edward Hands Louisa Dassow Thomas Cleary Mary Harding Alexander Evans Charlie Creswell-Hogg Benjamin Ireland Hannah Evans Avi Das Sophie Leader Samuel Gardener William Forrest Cameron Roberts Andrew Cleary Daniel Godfray Charlie Haestier Charlotte Rowden Andrew Cleary is Director of Music at Andrew Gorvin Christopher Howard Katherine Sage Portsmouth Grammar School. He is Assistant Graihagh Guille Ben Ireland Chloe Sellwood Sub-Organist at Portsmouth Cathedral, Director Mary Harding William Ireland Duncan Soppitt of Portsmouth Cathedral Girls’ Choir (Cantate), Philippa Harris Oliver Laking and conductor of Portsmouth Festival Choir. Georgina Houston Elias Lederer Sophie Locke-Cooper Finley McBride A chorister at and St Albans’ Lucy Murphy Thomas Perrin Cathedral, Andrew studied organ with Harry Todd Newman James Smith Bramma and , and worked Shivani Patel Guy Snowball with the St Albans Chamber Opera and Emily Preece Hugh Summers National Youth Music Theatre. In 1987 Andrew David Richardson Gulliver Trim became at Harry Staley Robert Weekes and the University of East Anglia, where he Emily Tandy read Music and worked with the Norwich Jessamie Waldon-Day Philharmonic Chorus, Wymondham Choir and Sophie Whitehead the Cathedral Consort. 26 27 series of concerts in the Hall and undertaking 1st Violins Harp Trombones many education and community activities David Juritz Leader Ian White throughout the Borough. Susanna Candlin Jeremy Gough Clare Sterling Organ Ian Fasham The LMP is the associate orchestra of The Anvil, Maya Magub Basingstoke, Turner Sims Hall, Southampton Dorina Markoff Timpani and Portsmouth Grammar School and has Catherine van de Geest Flute (doubling percussion) relationships with the Yehudi Menuhin School Robert Manasse Scott Bywater and Royal Holloway University College in 2nd Violins Egham. The LMP is also the resident orchestra David Angel Oboes Percussion for the rural communities in East Lindsey and Andrew Roberts Christopher O’Neal Tim Barry South Holland in Lincolnshire. Jeremy Metcalfe Katie Clemmow Nik Knight Steven Rouse Angus Cook Rebecca Shorrock Clarinets London Mozart Players Angela Malsbury Founded by Harry Blech in 1949 as the UK’s Violas Margaret Archibald (doubling first chamber orchestra, the London Mozart Cian O’Duill bass clarinet) Players is regarded as one of the world’s finest Michael Posner ensembles, bringing together outstanding Graeme McKean Bassoons musicians from the UK to perform music of Rachel Robson Gavin McNaughton the highest quality. Internationally renowned Robert Porter (doubling contra for its live performances, its CD recordings Cellos bassoon) and its innovative education and community Sebastian Comberti programme, it has specialised in definitive Julia Desbruslais Horns performances of the core classical repertoire. Sarah Butcher Christopher Newport In recent years it has also given many world Ben Chappell Tony Catterick premières especially of British composers. Bass Trumpets Supported by Croydon Council, the LMP has Andrew Davis Paul Archibald been resident orchestra of Fairfield Hall and the Tim Amherst Peter Wright Borough of Croydon since 1989 performing a Simon Cheney 28 29 Sophie Bevan Soprano Alexandra Stevenson Soprano di Lammermoor and Maddalena / Rigoletto songs to new works, with many world premieres Sophie Bevan recently Alexandra began her vocal (Castleward Opera), Miss Catchall / Vera of Las commissioned especially for him including graduated from the Benjamin training at Portsmouth Vegas (OTC, Dublin), Lisetta / Il mondo della works by Bennett, Goehr, Tavener, Costello and Britten International Opera Grammar School in 1999, luna (Opera Della Luna), Dorabella / Così fan Beamish. Recent engagements have included School where she studied with where she did extensive solo tutte (Samling Foundation), Second Lady / the St. John Passion at the Easter Lilian Watson. During her time work with the London Mozart The Magic Flute (Opera Holland Park), Nicklaus / Festival with Sir Simon Rattle and the Berlin there she sang the title role in Monteverdi’s Players and the Portsmouth Cathedral Choir. At The Tales of Hoffmann (Mid Wales Opera) and Philharmonic, the title role of Solomon with the L’Incoronazione di Poppea and Susanna in Edinburgh University, Alexandra had principal both Concepcion / L’heure espagnole and Zulma Mozarteum Orchester and Ivor Bolton in Mozart’s Le Nozze di Figaro. roles in Savoy Opera productions, including / L’Italiana in Algeri (Opera Project), Regular Salzburg and with Tafelmusik in Toronto, and the Mabel in The Pirates of Penzance, and had a solo concert work includes Beethoven Choral title role in Rinaldo for Opera Australia. He has Born in Somerset in 1983, Sophie became a recital in Edinburgh’s Usher Hall. Now working Symphony with the London Mozart Players and recorded extensively, receiving a Grammy award soloist at the age of 13 singing for various choral in London, she studies with Ashley Stafford at Messiah at the Royal Albert Hall, as well as for his participation in Handel's Semele for societies. At 18 Sophie gained a place at the the Royal College of Music and on Birkbeck’s appearances with the Guildford Philharmonic Deutsche Grammophon. Royal College of Music and during her time there Opera Diploma course. Her recent solo work has Orchestra, the Northern Sinfonia, the OAE, the she won the Junior Kathleen Ferrier competition included Vivaldi’s Gloria and Schubert’s Mass in Scottish Chamber Orchestra, the Ten Tors Ben Johnson Tenor and on leaving the college was awarded the G, which she performed with the London Orchestra and the Ulster Orchestra. Ben Johnson trained at the Queen Mother Rose Bowl for excellence Mozart Players as part of Portsmouth Festivities, RCM and the presented by HRH The Prince of Wales. when she deputised for Catherine Bott. She also Michael Chance Countertenor International Opera School works as a jazz singer, performing regularly with Michael Chance has where he studied with Neil Sophie’s concert repertoire ranges from signed artist Joe Stilgoe and with her own established a worldwide Mackie and Tim Evans Jones, Handel’s Samson to Tavener’s Sollemnitas in quartet at London's Pigalle Club. reputation as one of the with whom he continues to work. He is fast Conceptione Immaculata Beatae Mariae Virginis foremost exponents of the becoming one of the most sought-after Mass which she premiered in Zurich in Carolyn Dobbin male alto voice in all areas of interpreters of oratorio, song and opera in the December 2007. Sophie is an Associate artist Mezzo-Soprano the classical repertoire, and is in equal demand UK and Europe. He is the winner of the 2008 with the Classical Opera Company with whom Irish mezzo-soprano Carolyn as an opera, concert and recording artist. His Kathleen Ferrier Award, the first outright male she made her debut in January Dobbin trained at the Royal appearances in oratorio and recital have taken winner for thirteen years. He has been a regular 2008. Current and future engagements include Scottish Academy of Music him to concert halls all over the world including collaborator with the London Mozart Players, Garsington Opera, Welsh National Opera and and Drama and on the Young Carnegie Hall, Concertgebouw, Musikverein, most recently reviving Lynne Plowman’s tenor . Artist Programme of OTC, Dublin. Operatic Neue Gewandhaus, Berlin's Philharmonie and cycle The Stargazer with them on tour. engagements have included Chloe All That London's Wigmore Hall with a variety of Money Can Buy (The Opera Group, Alisa / Lucia programmes, ranging from Elizabethan lute 30 31 Dawid Kimberg Baritone Müllerin, Schumann, Wolf, Brahms, Finzi, Britten, His recent engagements include conducting the recorded for several record companies including, Dawid was born in Vaughan Williams, Fauré and Duparc. Royal Opera House Orchestra, Royal EMI, Harmonia Mundi, Hyperion and RCA. Johannesburg and moved to Dawid has graduated from both the Benjamin Philharmonic Orchestra, City of Birmingham London where he received a Britten International Opera School and the Symphony Orchestra, Hallé Orchestra, BBC A keen interest in historically informed scholarship for the Royal National Opera Studio. This year Dawid joined National Orchestra of Wales, Ulster Orchestra, performance has resulted in participation with College of Music to study Glyndebourne on Tour to perform the role of Royal Scottish National Orchestra, Melbourne many of London’s period instrument groups, singing with Ryland Davies. Morales in Carmen. Dawid Kimberg is a Hazard Symphony Orchestra, National Philharmonic frequently appearing as principal cello with the Chase Young Associate Artist. Warsaw, Prague Radio Symphony, Tokyo Orchestra of the Age of Enlightenment and His many performances include the St John Symphony Orchestra and Iceland Symphony soloist with the Hanover Band. Research into Passion, St Matthew Passion, Mass in B minor, Nicolae Moldoveanu Orchestra. He has conducted Don Giovanni for early cello repertoire has led to several recitals Magnificat by Bach, Messiah, Samson and Dixit Conductor Welsh National Opera, Coppelia for The Royal being recorded by the BBC. He founded the Dominus by Handel, Mass in C and Requiem by Nicolae Moldoveanu was born Ballet (available on DVD) and Onegin for the successful record label, Cello Classics. Mozart, Haydn's Nelson Mass and Creation, in Romania and studied violin Teatro San Carlo Naples. Fauré’s Requiem, Tippett's A Child of our Time, and piano as a child. He went Paul Archibald Trumpet Dvorak's Stabat Mater and the complete choral on to study conducting in Sebastian Comberti Cello Paul's first appointment was as works of Duruflé, many of these performances Great Britain and Switzerland where he now Born in London, Sebastian Co-Principal Trumpet in the taking place in major concert venues like Cadogan lives in Zurich as a Swiss citizen. Upon Comberti studied in Italy with Orchestra of the Royal Opera Hall and Symphony Hall, Birmingham. In 2006 he graduating from the he Amedeo Baldovino and later House, Covent Garden. In 1980 gave the first performance of Lynne Plowman’s was awarded the Ricordi Conducting Prize. In with Derek Simpson and Sidney he relinquished this position to Cries like Silence in Portsmouth Cathedral. 1997 he was elected an Associate of the Royal Griller at the Royal Academy of concentrate on work with his group, the English Academy of Music. Music, from where he graduated in 1977. Brass Ensemble and to perform with the Philip Operatic roles include Count Almaviva in Le Jones Brass Ensemble and the London Sinfonietta. Nozze di Figaro and Ottone in L'Incoronazione di In 1994 Nicolae Moldoveanu was appointed In 1976 he became a founder member of the Poppea for the Benjamin Britten International Arts Council Young Conductor to the Bochmann Quartet. In 1983 he was appointed In 1984 Paul was a prize winner at the Toulon Opera School, Duke in Romeo & Juliette by Bournemouth Orchestras. Subsequently, he was principal cello with the London Mozart Players, Prix de Concours, a major international trumpet Gounod for British Youth Opera, and Bruno in offered the post of Resident Conductor, which since when he has appeared on numerous competition, which laid the foundations of his Parthenogenesis by James MacMillan performed he took up in 1996. In 1998 Nicolae occasions as soloist, as well as being an active career as a soloist. He has since performed as in . Moldoveanu was appointed Principal Conductor member of the LMP Chamber Ensemble. soloist with many of Britain's finest orchestras of the English Sinfonia. From 2002 to 2007 including the London Philharmonic, In recital Dawid has performed songs by Nicolae Moldoveanu was Associate Guest As a member of several chamber groups, Bournemouth Symphony, London Mozart Schubert, including performances of Die Schöne Conductor with the London Mozart Players. including the re-formed Divertimenti, he has Players, and the . 32 33 Paul is now actively involved in every aspect of Sally Beamish Photo – Steve Richards musical performance; chamber music with Michael Chance Photo – Gerald Place Remembrance Concert 2007 Photos – Peter Langdown English Brass, orchestral music with the London Other photos - Ross Young Photography Mozart Players, commercial music, having performed on many film soundtracks with icons Booklet Front & Back Covers: Gassed by John Singer Sargent reproduced by kind permission of the Imperial of popular culture such as Sir Paul McCartney War Museum. and Sir Bob Geldof and teaching, as a Director The texts of Cecilia McDowall’s Ave Maris Stella are of Wind, Brass & Percussion at the Guildhall taken from the Vesper hymn to the Virgin Mary, Ave maris School of Music and Drama. stella (Hail, Star of the sea) and two Psalms in the Vulgate: Psalm 106, They that go down to the sea in ships, Paul also edits two series of brass music for and Psalm 26, The Lord is my light. This last Psalm is associated with the Founder of the Grammar School, Brass Wind Publications and runs three brass Dr William Smith, who was at Christ Church, Oxford. courses across the UK. Paul is also artistic Dominus Illuminatio Mea, the Oxford University motto, director of Brass Classics, a recording label can be seen in one of the three stained glass panels of the school’s Boer War Memorial window in Portsmouth dedicated to the brass repertoire. Cathedral, commemorating those who lost their lives.

A Crow’s Account of the Battle from CROW by Ted Hughes is used in Lynne Plowman’s work Cries Like Silence with the kind permission of Faber and Faber Ltd and the Ted Hughes Estate.

This recording has been made possible by the generous “these children singing in stone a”. Copyright 1939, (c) bequest of Mr Michael H. Roberts, a former pupil of 1967, 1991 by the Trustees for the E.E. Cummings Trust, Portsmouth Grammar School. from COMPLETE POEMS: 1904 -1962 by E.E. Cummings, edited by George J. Firmage. Used by permission of P 2008 Portsmouth Grammar School Liveright Publishing Corporation. © 2008 Portsmouth Grammar School All texts for Tarik O Regan’s And There Was A Great Calm Recorded on 12th and 13th November, 2007 in the are in the public domain, with the exception of As We Church of the Hospital of St Cross, Winchester, by kind Remember Them from The Gates of Repentance permission of the Trustees. (copyright ©1978) for which permission has been kindly Recording Engineer: Ken Blair given, without fee, by the Central Conference of American Co-Engineer: James Shannon Rabbis and the Union of Liberal and Progressive Synagogues. Recording Producer: Rachel Smith Audio Editors: Ken Blair and Alastair Lodge Sally Beamish’s The Lion and the Deer is published by Design: Annabel Clements Norsk Musikforlag. 34