Two Little Words

Dame Felicity Palmer mezzo-soprano Simon Lepper Michael Head (1900-1976) Pyotr Ilyich Tchaikovsky (1840-1893) Two Little Words 1. Foxgloves [3:22] 15. Nyet, tol’ko tot kto [3:04] Marshall Palmer (1906-1994) znal, Op. 6, No. 6 2. Music when soft voices die [2:21] 16. Noch’, Op. 73, No. 2 [3:18] Alan Murray (1890-1952) 17. Atchevo?, Op. 6, No. 5 [3:06] 3. ’ll walk beside you [2:33] Dame Felicity Palmer mezzo-soprano Carrie Jacobs-Bond (1862-1946) Madeleine Dring (1923-1977) 4. When you come to the end 18. Song of a Nightclub Proprietress [2:37] Simon Lepper piano of a perfect day [2:49] (b. 1930) 19. Losing my Mind [3:18] Gemma Rosefield ⁴ Joseph Horovitz (b. 1926) John Pritchett (dates unknown) 5. Lady Macbeth [8:31] 20. Siren Song [3:34] May H. Brahe (1884-1956) (1913-1976) 21. Two Little Words [2:08] 6. La Belle est au jardin d’amour [3:00] 7. Quand j’étais chez mon père [2:12] Manuel da Falla (1876-1946) Total playing time [62:33] 8. El Paño Moruno [1:19] 9. Nana [1:51] 10. Polo [1:38]

Franz Schubert (1797-1828) 11. Das Mädchen, D. 652 [2:50] Marshall Palmer About Dame Felicity Palmer: 12. Das zerbrochene Ringlein [3:03] Johannes Brahms (1833-1897) ‘In a league of her own, the magnificent Palmer was unbelievably believable.’ 13. Da unten im Thale [1:55] The Observer Franz Schubert 14. Romanze aus Rosamunde, D. 797 [3:51] About Simon Lepper:

‘Simon Lepper, whose prowess as a pianist is fused with a real sensitivity to words and to the voice, is a rarity indeed.’ The Times Two Little Words sessions, that weekend ranks among the most enjoyable I can remember: leisurely, Simon Lepper and I met some ten years ago. uninterrupted by extraneous noise or He was sent to rehearse with me for a unwanted visitors... except, of course, for twenty-fifth anniversary concert in honour the welcome addition of our ‘cellist on of the Kathleen Ferrier competition and, Sunday morning. soon afterwards, he invited me to join him for some concert dates – and so began our The music represents, for me, pieces that association. In spite of our age difference, hold particular memories Foxgloves was a we ‘clicked’ as people and as musicians, very early art song I learnt as a student at which is, I think, an essential ingredient in the Guildhall School of Music – in my time, the intimate partnership of singer and then, not far from Fleet Street – and which accompanist. I always enjoyed. The German folksong, In einem kühlen Grunde (Das zerbrochene After several years of working together, we Ringlein) I first heard sung by Elisabeth felt it would be very good to put something Schwarzkopf at a Royal Festival Hall recital on disc, as a memory of our work and a when I was an impressionable seventeen- marker, maybe, of my return after many year-old. I earmarked the song and must years working in to the challenging, have mentioned it to my musician father but very fulfilling, song repertoire and when I got home. He researched it and set recitals, which Simon had enabled – and it to music himself. Simon likes the setting encouraged – me to do. It was he who as much as I do and we have enjoyed organised a ‘residency’ at Aldeburgh Music performing it. and one crisp, sunny January weekend, installed in comfortable rented My father was my accompanist – at home – accommodation in Aldeburgh, we drove while I was at the Guildhall, played the organ to Snape each day for sessions in the in the local church and ran choral societies Britten/Pears School hall, which we had and so on. And also composed, writing to ourselves, but for Tony Faulkner, our several songs for me. Alas, he never heard producer, in a separate room with his me perform any of them live, from the recording equipment. audience, so I feel I have somehow put the record straight by including the folksong In my experience over years of recording and a setting of Shelley’s Music, when soft voices die which was composed before I the Shakespeare play and piecing together (with memories for me, from many years ago, was born. He is no longer alive, sadly, to the excerpts from Lady Macbeth’s speeches, of working with Benjamin Britten and Peter hear these recordings. as well as the challenge of bridging the gaps Pears at Snape), in a lovely hall, with ideal between them in this setting of her surroundings and conditions of work... rare The remaining repertoire is a mixture of inexorable descent into madness. Simon and enough. There were the inevitable pressures songs I have particularly enjoyed singing I went through the scena with Joseph Horovitz of that red light going on and getting the over the years: the French folksongs by and learnt much about his conception of the ambitious amount of material we had Benjamin Britten I have always loved; the dramatic piece and the importance of amassed on tape, but also a much more Manuel de Falla too. The Russian repertoire, the pauses which suggest the passage of important ingredient of simply relishing the and the language itself has long appealed to time. I enjoy trying to get at – and into – music we wanted to perform together. me. Schubert has daunted me, in terms of the character of whoever I am playing – and singing and performing it adequately. The exploring the text as fully as possible – in I hope that comes across, in some measure, two songs I dared to include – at the last song and, of course, in operatic work. to those listening to what we did. minute – because I think they are gems. While I feel they could never be as good as The rest of the songs are – I hope – fun, and © 2017 Dame Felicity Palmer I would like them to be, I am very glad we certainly ones we have loved doing together. decided to record them – and resisted the I like comedy and ‘playing the fool’ and a urge to fiddle around with what we had recital of any kind needs some light relief... produced! for everyone.

Years ago, I recorded some Victorian songs I see this as a retrospective compilation, for and still find that, approached honestly want of a better description, with no other and straightforwardly, they ‘speak’ to people real theme – and it could have included and are not just sentimental, dated pieces much more material than is on the disc. It to be, maybe, caricatured, which is how is hard not to reminisce at this stage in my they can sometimes be seen. So there are life and career, now that I have been singing, two of those here too... one way or another, for the best part of fifty years. It has been especially rewarding to The Lady Macbeth scena by Joseph Horovitz return to the song repertoire after being so is a fairly new piece to me, and was suggested much involved in opera for many years. to me as part of an idea Simon had several years ago for a programme he called The disc is a snapshot of one weekend of ‘Women on the Edge’. I enjoyed exploring music-making – in a beautiful part of Suffolk, Texts & Translations Marshall Palmer (1906-1994) Carrie Jacobs-Bond (1862-1946) That I may pour my spirits in thine ear; 2. Music when soft voices die 4. When you come to the end of a perfect day And chastise with the valour of my tongue Michael Head (1900-1976) Music, when soft voices die, When you come to the end of a perfect day, All that impedes thee from the golden round, 1. Foxgloves Vibrates in the memory; And you sit alone with your thought, Which fate and metaphysical aid doth seem The foxglove bells, with lolling tongue, Odours, when sweet violets sicken, While the chimes ring out with a carol gay To have thee crown’d withal. Will not reveal what peals were rung Live within the sense they quicken. For the joy that the day has brought, In Faery, in Faery, Do you think what the end of a perfect day William Shakespeare (1564-1616), from A thousand ages gone. Rose leaves, when the rose is dead, Can mean to a tired heart, Macbeth, Act I, Scene 5 Are heaped for the belovèd’s bed; When the sun goes down with a flaming ray, All the golden clappers hang And so thy thoughts, when thou art gone, And the dear friends have to part? Benjamin Britten (1913-1976) As if but now the changes rang; Love itself shall slumber on. 6. La Belle est au jardin d’amour Only from the mottled throat Well, this is the end of a perfect day, La belle est au jardin d’amour, Never any echoes float. Percy Bysshe Shelley (1792-1822), from Near the end of a journey, too; La belle est au jardin d’amour. Posthumous Poems, 1824 But it leaves a thought that is big and strong, Il y a un mois ou cinq semaines. Quite forgotten, in the wood, With a wish that is kind and true. Laridondon, laridondaine. Pale, crowded steeples rise; Alan Murray (1890-1952) For mem’ry has painted this perfect day All the time that they have stood 3. I’ll walk beside you With colours that never fade, Son père la cherche partout, None has heard their melodies. I’ll walk beside you through the world today, And we find at the end of a perfect day Son père la cherche partout. While dreams and songs and flowers bless your way, The soul of a friend we’ve made. Son amoureux qui est en peine. Deep, deep in wizardry I’ll look into your eyes and hold your hand, Laridondon, laridondaine. All the foxglove belfries stand. I’ll walk beside you through the golden land. Carrie Jacobs-Bond Should they startle over the land, ‘Berger berger, n’as tu point vu, None would know what bells they be. I’ll walk beside you through the world tonight, Joseph Horovitz (b. 1926) Berger, berger, n’as tu point vu. Beneath the starry skies ablaze with light, 5. Lady Macbeth Passer ici celle que j’aime?’ Never any wind can ring them, And in your heart love’s tender words I’ll hide. Glamis thou art, and Cawdor; and shalt be Laridondon, laridondaine. Nor the great black bees that swing them I’ll walk beside you through the eventide. What thou art promised: yet do I fear Ev’ry crimson bell, down-slanted, thy nature; ‘Elle est là-bas dans ce vallon, Is so utterly enchanted. I’ll walk beside you through the passing years, It is too full o’ the milk of human kindness Elle est là-bas dans ce vallon, Through days of cloud and sunshine, joy and tears, To catch the nearest way: thou wouldst A un oiseau conte ses peines.’ The foxglove bells, with lolling tongue, And when the great call comes, the sunset gleams, be great; Laridondon, landondaine. Will not reveal what peals were rung I’ll walk beside you to the land of dreams. Art not without ambition, but without In Faery, in Faery, The illness should attend it: what thou Le bel oiseau s’est envolé, A thousand ages gone. Edward Frederick Lockton (1876-1940), wouldst highly, Le bel oiseau s’est envolé, as Edward Teschemacher That wouldst thou holily; wouldst not play false, Et le chagrin bien loin emmène. Mary Gladys Meredith Webb (1881-1927), And yet wouldst wrongly win... Hie thee hither, Laridondon, laridondaine. from Poems and The Spring of Joy, 1928 Beauty is in the garden of love, Mais je n’en avais guère, No, I had but a few, On the fine cloth in the store Beauty is in the garden of love. je n’avais qu’trois agneaux; I had but three lambs; a stain has appreared; There she has been laid for a month or five weeks. et le loup de la plaine and the wolf from the plain It sells at a lower price, Laridondon, laridondaine. m’a mangé la plus biau. ate the finest of those. because it has lost its value. Troupiaux, troupiaux, ... Flocks of sheep... Alas! Her father looks for her everywhere, Her father looks for her everywhere. Il était si vorace He was so hungry Folksong Her lover is broken-hearted. n’a laissé que la piau, he left only the wool, Laridondon, laridondaine. n’a laissé que la queue, he left only the tail 9. Nana pour mettre à mon chapiau. to put on my hat. Duérmete, niño, duerme, “Shepherd, o shepherd, have you seen her, Troupiaux, troupiaux, ... Flocks... Duerme, mi alma, Shepherd, o shepherd, have you seen her, Duérmete, lucerito Has my beloved passed by here? Mais des os de la bête But the bones of the animal De la mañana. Laridondon, laridondaine. me fis un chalumiau made me a pipe Nanita, nana, pour jouer à la fête, to play at the fair, Nanita, nana. “She is down in the valley, à la fêt’ du hamiau. at the village fair. Duérmete, lucerito She is down in the valley, Troupiaux, troupiaux, ... Flocks... De la mañana. depicting her woes to a bird.” Laridondon, laridondaine. Pour fair’ danser l’village, So the village could dance Go to sleep, Child, sleep, dessous le grandormiau, beneath the great elm, Sleep, my soul, The beautiful bird has flown away, et les jeun’s et les vieilles, young women and old Go to sleep, little star The beautiful bird has flown away, les pieds dan les sabiots. with clogs on their feet. Of the morning. And sorrow carries him off. Troupiaux, troupiaux, ... Flocks... Lulla lullaby, Laridondon, laridondaine. Lulla lullaby, When I lived with my father Folksong Sleep, little star Folksong as an apprentice shepherd, of the morning. he sent me to the moor Manuel da Falla (1876-1946) 7. Quand j’étais chez mon père to look after the sheep. 8. El Paño Moruno Folksong Quand j’étais chez mon père, Sheep, sheep, Al paño fino, en la tienda, apprenti pastoureau, I had but a few. una mancha le cayó; il m’a mis dans la lande, Sheep, sheep, Por menos precio se vende, pour garder les troupiaux. I had none that were fine. Porque perdió su valor. Troupiaux, troupiaux, ¡Ay! je n’en avais guère. Troupiaux, troupiaux, je n’en avais biaux.

10. Polo Franz Schubert (1797-1828) Marshall Palmer I would like to dash as a horseman ¡Ay! 11. Das Mädchen, D. 652 12. Das zerbrochene Ringlein into bloody battle, Guardo una, ¡Ay! Wie so innig, möcht ich sagen, In einem kühlen Grunde to lie around a peaceful fire Guardo una, ¡Ay! Sich der Meine mir ergiebt, da geht ein Mühlenrad, in the field at darkest night. ¡Guardo una pena en mi pecho, Um zu lindern meine Klagen, mein Liebsteist verschwunden, ¡Guardo una pena en mi pecho, Daß er nicht so innig liebt. die dort gewohnet hat. When I hear the mill-wheel turning, ¡Ay! I don’t know what I want – Que a nadie se la diré! Will ich’s sagen, so entschwebt es; Sie hat mir Treue versprochen, most of all I wish to die, Wären Töne mir verliehen, gab mir einen Ring dabei, for then the wheel would instantly be silent. Malhaya el amor, malhaya, Flöß’ es hin in Harmonien sie hat die Treue gebrochen, Malhaya el amor, malhaya, Denn in jenen Tönen lebt es. mein Ringlein brach entzwei. Josef Karl Benedikt von Eichendorff (1788-1857), ¡Ay! from Gedichte, in 7 Romanzen ¡Y quien me lo dió a entender! Nur die Nachtigall kann sagen, Hör’ ich das Mühlrad gehen, ¡Ay! Wie er innig sich mir giebt, Ich weiß nicht, was ich will, Johannes Brahms (1833-1897) Um zu lindern meine Klagen, Ich möcht’ am liebsten sterben, 13. Da unten im Thale Ay! Daß er nicht so innig liebt. Dann wär’s auf einmal still. Da unten im Tale I keep an Ay! Läuft’s Wasser so trüb, I keep an Ay! I would like to say that he is so fervent In a cool valley Und i kann dir’s net sagen, I keep a pain in my breast, and gives in to my wishes a mill-wheel turned; I hab’ di so lieb. I keep a pain in my breast only to ease my fears My darling is gone Ay! that he doesn’t really love me passionately. who lived there. Sprichst allweil von Liebe, Of which I will not tell anyone. Sprichst allweil von Treu’, But if I try to say it, the feeling vanishes; She promised to be faithful Und a bissele Falschheit Love is wretched, wretched, if I had been blessed with the gift of music, and gave me a ring to prove it; Is auch wohl dabei. Love is wretched, wretched, it would flow from me in harmony she has broken her promise Ay! for it lives in every note. and my ring broke in two. Und wenn i dir’s zehnmal sag, And so is the one who brought me to know it! Daß i di lieb, Ay! Only the nightingale can say I would like to travel as a minstrel Und du willst nit verstehn, how fervent he is into the wide world out there, Muß i halt weitergehn. Folksong to ease my fears and sing my tunes that he doesn’t really love me passionately. going house to house.

Friedrich von Schlegel (1772-1829) Für die Zeit, wo du g’liebt mi hast, Sie trat hinein beim Vollmondschein, Dank i dir schön, Sie blickte himmelwärts; Und i wünsch, daß dir’s anderswo “Im Leben fern, im Tode dein!” Besser mag gehn. Und sanft brach Herz an Herz.

Down in the valley there The full moon gleams on the mountains the water flows so wistfully How I missed you so! and I can’t tell you Oh, heart, so sweet! How lovely it is how much I love you. When faithfulness kisses faithfully.

You forever speak of love, What good is May’s sweet loveliness? you forever speak of fidelity, You were my ray of spring sunshine, but a touch of falsehood Light of my night, come, smile at me is always there too. in death just one more time.

And if I tell you ten times, She came into the light of the full moon that I love you, and looked up to heaven and you do not want to comprehend, in life forever, in death, I am yours then I will be forced to move on. And peacefully two hearts broke.

For the time that you have loved me, Wilhelmina Christiane von Chézy, née Klencke I kindly thank you, (1783-1856) and I wish that in another place 0things may go better for you. Pyotr Ilyich Tchaikovsky (1840-1893) 15. Nyet, tol’ko tot kto znal, Op. 6, No. 6 Franz Schubert Nyet, tol’ko tot kto znal sveedanya zhazhdoo, 14. Romanze aus Rosamunde, D. 797 Poymyot kak ya stradala ee kak ya strazhdoo, Der Vollmond strahlt auf Bergeshöhn – Glyazhoo ya vdal’... nyet seel, tooskneyet Wie hab ich dich vermißt! oko... Du süßes Herz! es ist so schön, Akh, kto menya lyubeel ee znal dalyoko! Wenn treu die Treue küßt. Akh, tol’ko tot kto znal s veedanya zhazhdoo, Was frommt des Maien holde Zier? Poymyot kak ya stradala ee kak ya strazhdoo. Du warst mein Frühlingsstrahl! Vsya grood’ gareet... kto znal s veedanya Licht meiner Nacht, O lächle mir zhazhdoo, Im Tode noch einmal! Poymyot kak ya stradala ee kak ya strazhdoo.

No, only the heart that has ached with longing The frail candlelight is faded, Why does the full-blown rose fade in the spring? Time will not stay for all our fond entreating, Will understand how I have grieved, Around me is sombre darkness, Why is the blue violet silent in the grass? And life’s made up of parting and of meeting, how I grieve now. Agony torments my heart Why does the bird’s soaring song sound We laugh and jest awhile and then we sigh, I stare into the distance. With an incomprehensible power. so sorrowful? “It’s time to say Goodbye”. I have no more strength, my eyes grow dim. Why is the dew like a veil on the meadows? Ah, the one who loved me and knew me is Sleep softly shuts Two little words, so full of love and pain, far away! My sad eyes. Why is the sun as bleak and dark as in winter? Oh what a world of meaning they contain; Ah, only the heart that has ached with longing Then my soul Why is the earth more dank and overcast than God be with you until we meet again, Will understand how I have grieved, Crys out to the past. the grave? Till then Goodbye, Goodbye. how I grieve now. Why do I despair and sicken more each day? My heart is burning; only the heart that’s My soul is so weary Why, having abandonded me, have you Helen Taylor (1876-1943) ached with longing With deep sorrow; forgotten me? Will understand how I have grieved, Appear, if only in my dreams, how I grieve now. Oh my distant friend! Madeleine Dring (1923-1977) 18. Song of a Nightclub Proprietress Johann Wolfgang von Goethe (1749-1832) Daniil Maximovich Rathaus (1868-1937) Text by John Betjeman (1906-1984) 16. Noch’, Op. 73, No. 2 17. Atchevo?, Op. 6, No. 5 Merknet slabyy svet svechee... Atchevo pablednela vesnoy Stephen Sondheim (b. 1930) Brodeet mrak oonylyy, pyshno tsvetnaya rosa sama? 19. Losing my Mind Ee taska szheemayet grood’ Atchevo pod zeloynoy travoy S neyponyatnoy seeloy... galoobaya feealka nema? Text by Stephen Sondheim Atchevo tak pechal’no zvoocheet Na pecha’ nyye glaza pesnya pteechkee nesyas’ v nebesa? John Pritchett (dates unknown) Teekho son neeskhodeet... Atchevo nad loogamee veeseet 20. Siren Song Ee s prashedsheem v etot meeg pagrebal’ nym pakrovom rasa? Rech’ doosha zavodeet Text by David Climie (1920-1995) Atchevo v nebe solntse s ootra Eestameelasya ana, kholodna ee temno kak zeemoy? May H. Brahe (1884-1956) Gorestyu gloobokoy, Atchevo ee zemlya vsya syra ee 21. Two Little Words Payavees’ zhe, khot’ va sne oogryumey mageely samoy? Two little words, we use them ev’ry day, O moy droog dalyokeey! Atchevo ya sama vsyo groostney ee Sometimes in earnest, sometimes half in play, balezneney den’ a to dnya? Two little words, often to say, Atchevo, o skazhee mne skarey, Goodbye, goodbye. tyy pakeenov, zabyla menya? P c with Zurich,T Rheingold of Spades Carmélit New Y S Oper includes r As anoper a c r t her successasanartis c Her pioneeringemphasisont c g of theouts which hasearnedherar the r dr the oper Mon r and pow F F o bringthisappr ehear emark ollabor on ar apacity t weeney T elicity P elicity P ener t EnglishNa aris andEnglishNa ama eer tribut t ecit a House,( ev a . Inr ork ( tic fidelityt sal pr tion. ably v er a al hall,shebringsamusic es a erful in almer isr almer (me t ed t o tr ),Ba egular appear tic s di t , ed withman odd ecen , a Ring Cycle t Die W anding Britishsing P tic me ocess, andherw tional Oper aried r elléas etMélisande o Messiaen.E ans o aw oulouse, Chic y t ), TheMetr ag erische St Elektra t y t f erpr e, c alküre oach t orm music,hasde o ev ear ar zz enowned f epert zz o-sopr d winningpr tional Oper oncert pla et , s shehasbeenw o-sopr ery perf , Dialogues des t thr y c a K ) asw o theoper ances a tions acr a andGlyndebourne. aa atya K eput oir onduct opolit ano oughout her tsoper ( ag qually a e, r ano) ork has or herincisiv o ell asw a e ormance, er , hercr , SanFr tf tion asone abanova xt, andits anging fr t theR an Oper a. Shehas orm andin s ofher , or oductions oss a The Queen al and a s, including Das t homeon fined ork edits oy ancisc orking a, , om al e o , in 2011. with thec She w Or P Ra the NashEnsemble,dir song f She r with EnglishNa Ger S Or r Highligh S Philharmonic, PhilharmoniaandLondon Los Ang Mut r James Levine,An ec egular gues ymphon oemes pourMi ches ches t or tle, andr giev ti andZubinMeh ec dings include as madeaDameoftheBritishEmpir or Ar tr tr or , asw eles Philharmonic,NewY ts ofherc a andPierr a andSem ymphon y ded thr omposer . g o R ec t a ell as or t theBBCPr ec tional Oper withtheBBCS ded andt ee celebr t y Or or onio P onsider . Dialogues desCarmélit Elektra y e Boule ds withJohnCons on B t ches a. Shehasbeena ect apanno y able c chk a tr our ed bySirSimon with theWDR a andP oms andwiththe z, inc t a andV ed disk ov ed Messiaen’ , andwiththe ymphon a , Ric ollabor t ork alogue of aul Daniel. s ofFr alery ar t do able and a y tion ench es e s

Photography: Robert Workman

Photography: Tom Lindsey Simon Lepper (piano) complete songs of Jonathan Dove with Kitty Whately and Schubert Songs with Ilker Arcayürek. Simon read music at King’s College, Cambridge before studying collaborative www.simonlepper.com piano with Michael Dussek at the in London.

Specialising in song accompaniment, he has regularly collaborated with singers including Benjamin Appl, Karen Cargill, Stéphane Degout, Angelika Kirchschlager, Sally Matthews, Mark Padmore, Christopher Purves, Elizabeth Watts and Lawrence Zazzo. He performs extensively in venues around the world including Carnegie Hall, the Concertgebouw, the Frick Collection, New York, La Monnaie, Frankfurt Opera and the Wigmore Hall as well as at festivals throughout the UK and in Ravinia, Edinburgh and Verbier.

He is a committed teacher and is currently professor of piano accompaniment and a vocal repertoire coach at the Royal College of Music, London where he also co-ordinates the collaborative piano course. Since 2003 he has been the official accompanist for the BBC Cardiff Singer of

the World Competition. orkman His discography includes Mahler songs with Karen Cargill, two volumes of Debussy Songs

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ogr Phot More titles from Resonus Classics Gemma Rosefield the world premiere performance of Robert Peate’s Knuckles Arches for Cello and Piano Mario Castelnuovo-Tedesco: Shakespeare Sonnets Winner of the prestigious Pierre Fournier at the Presteigne Festival of Music and the Ashley Riches and Emma Abbate Award at Wigmore Hall in 2007, cellist Gemma Arts. Other recent engagements include the RES10141 Rosefield made her concerto debut at the age Dvořák Concerto with the Estonian National of sixteen with the Norwegian Radio and Vello Pähn, and the Elgar ‘[...] Baritone Ashley Riches is an ideal interpreter of this music, with a richness of timbre and a clarity of Symphony Orchestra. She has been Cello Concerto at the Royal Festival Hall enunciation that is absolutely essential. He is described by The Strad on her 2003 with the Philharmonia Orchestra conducted sensitively accompanied by Emma Abbate.’ Wigmore Hall debut as ‘a mesmerising by Christopher Warren-Green. Works have International Record Review musical treasure’, and featured in BBC Music been written for Gemma by David Matthews, Magazine as ‘one to watch’ in 2007. Cecilia McDowall, James Francis Brown, In 2011, Hyperion released a CD of Gemma Julian Dawes, Rhian Samuel, David Knotts Poldowski Reimagined playing the Complete Works for Cello and and Michael Kamen. Ensemble 1904 Orchestra of Sir Charles Stanford with the David Jackson (piano & director) BBC Scottish Symphony Orchestra and As well as the Leonore Trio, Gemma gives Angelique Charlopain () Andrew Manze. some fifty performances a year as cellist of Jeremie Decottignies (double bass) Jazmin Black-Grollemund (soprano) Ensemble 360, Royal Philharmonic Society RES10196 Gemma plays widely throughout the UK, in Medal Winners, 2013. the USA, Russia, Japan, Mexico, Kenya, New Zealand, and throughout Europe. Gemma studied with David Strange at the She played Michael Ellison’s Concerto for Royal Academy of Music and with Ralph Cello and Turkish Instruments with the Kirshbaum at the RNCM. She has also BBC Symphony Orchestra, broadcast on studied with Johannes Goritzki, Gary Hoffman, © 2017 Resonus Limited Radio 3, performed the premiere of a Bernard Greenhouse and Zara Nelsova. She è 2017 Resonus Limited new work for Cello and Choir by Cecilia plays on a cello made in Naples in 1704 by Recorded in Britten-Pears Hall, Snape Maltings, Aldeburgh 30 January-3 February 2015 Producer & Engineer: Tony Faulkner McDowall at Westminster Abbey, gave the Alessandro Gagliano, formerly owned and Executive Producer: Adam Binks UK Premiere of Concello, for Cello and played by the Prince Regent. Recorded at 24-bit/96kHz resolution Orchestra, by Maciej Zielinski at the Presteigne Cover image: Robert Workman

Festival. She was subsequently invited to RESONUS LIMITED – UK perform Concello in Krakow with Sinfonietta Cracovia. In August 2017 [email protected] Gemma will perform Edward Gregson’s www.resonusclassics.com concerto A Song For Chris, as well as giving RES10199