GRAHAM FITKIN STRING QUARTETS 1980s to the early 1990s, were written for STRING QUARTETS GRAHAM FITKIN monotimbral ensembles, including Log, Line and Loud (1989-1991), a triptych of pieces 1 Servant [13.09] 5 String [9.10] Graham Fitkin is a prolific and his composed for the sextet Piano Circus, 2 Inside [24.42] 6 Pawn [20.28] substantial catalogue of compositions, assembled Stub (1991) for saxophone quartet, Hook (1991) 3 A Small Quartet [2.13] over the last thirty years or so, ranges wide for a quartet of marimbas, Fract (1989) for 4 Another Small Quartet [1.59] Total timings: [71.43] over many different mediums, including over piano duo, Vent (1994) for four clarinets and two dozen orchestral scores, two chamber a number of pieces for the scoring of four , numerous pieces for ensembles large and players at two , the earliest manifestation small, works for solo and multiple pianos, music of Fitkin’s own performing group. His use of www.signumrecords.com for his own nine-piece band and collaborations single timbre scoring for these works allows with his partner, the Scottish harpist Ruth Wall. him to focus properly and intently on structure Ever since my painful and ultimately aborted a rate these days that the idea of things not Fitkin has lived most of his life on the Penwith and on matters of pitch and rhythm and to attempts to play the violin as a teenager I have changing raises the spectre of potential luddism. peninsula, in the far west of Cornwall. Born not be overly distracted by colouristic resources. viewed composing for string quartets with a degree And that surely would never do. But on listening there in 1963, he left to study at Nottingham To a certain extent one can relate this to the of wariness. But I’ve always enjoyed listening to to them recently I thought how little had University and then on to the Royal Conservatory strategy of the American minimalists, Steve them. The medium seems to me changed. Of course there are differences in harmonic of The Hague, where he was one of the first Reich and Philip Glass, in their early works, in to thrive in contexts of both poignant intimacy or language, melodic stridency, architectural handling, British students of the Dutch composer Louis which the use of groups of similar or identical extrovert forceful information overload. (And indeed and the quartets focus on slightly different Andriessen. On returning to the UK he lived for instruments clearly articulates process and that all those delicate shades in between.) I feel it has things but at their core I feel the same desire for a short time in London before moving back to this articulation of process is more important a strength of purpose that I relish, an honest control and the idea of freedom versus rigour Cornwall at the start of the 1990s. than anything else in the piece. But creative homogeneity to it, a good wide pitch range and quite are evident in all of them. And the uncertainty too. artists evolve over time and Fitkin’s later frankly the ability to play decent long sustained This disc contains all the music that Fitkin compositional explorations have invariably notes or short pizzicati. It’s been all too tempting. I am indebted to The Sacconi Quartet for their has so far composed for string quartet: six moved the focus away from the pure monotimbral hard work, focus and lovely playing, to Raphael works written between 1992 and 2007. It has canvases of his early music. Since the mid These quartets were written between 1992 and Mouterde for his patience and meticulous ears, previously been remarked upon elsewhere 1990s his large orchestral output shows him 2007 and over those fifteen years I would have and to Signum and Steve Long for their support that he has shown a fondness for ensembles embracing all the colour an orchestra can throw expected a certain amount of change in their in releasing this album. Thank you. which essentially consist of a single timbre. at him. In a fairly recent work, Intimate Curve sound. After all, everything else changes at such © Graham Fitkin A great many of his early works, from the mid (2015), the competing timbral resources of the

- 2 - - 3 - orchestra are central to the architecture of the Servant (1992) and Pawn (2004). There’s 1993 he provided a programme note for the is no exact repetition of anything - lending piece. A rich timbral palette of another sort is something very compelling about a number premiere of his ensemble piece Ardent. Fitkin the music an uncertain, uneasy feeling. Defined also to the fore in his two collaborative of players fixated on the same complex rhythmic wrote the following about the changing partly by register and - unusually for Fitkin - albums with Ruth Wall. Performing as Fitkin line, all endeavouring not to fall out of step characterisation of his music: partly by the differing amounts of vibrato Wall, the focus of this duo is the marriage of with any of the others. In Servant, commissioned deployed, the slow chord sequences in the both digital electronica and analogue synthesizers by the Smith Quartet and also existing in the Much of my music starts in a certain way opening section occupy a time span of nearly with the distinctive sound of Wall’s three harps. composer’s own arrangement for string orchestra and doesn’t deviate from those parameters 10 minutes before the first loud intervention. made in 1998, the string quartet presents set up at the opening. For instance if the And when this comes it really is an intervention... But certain projects allow him to return now the opening material in strict rhythmic unison piece is loud and fast then so be it for the short, stabbing chords appearing periodically and again to single timbre ensembles and as if it were one instrument. Gradually whole thing. Ardent was the first piece in out of nowhere. The loud accented material the string quartet is perhaps the ultimate the texture opens out, the ensemble splitting which I decided to incorporate different gradually takes over - always in rhythmic unison monotimbral beast. It is given a large pitch into two parts, then three and so on. The piece parameters (maybe different emotional slants) - and evolves into something more constant, range by the variety of the instruments involved traces an evolving polyphony and the in the same piece. eliminating the presence of the opening and also great scope for colouristic inflection individual sections are strongly defined by their material, propelled by obsessive rhythmic by the use of pizzicato, different uses of relationship with the original unison material. As with the gradual shift from an initial fixation figures, until it is all abruptly pulled back and vibrato and by the various positions of the bow At the end of this 13-minute single movement, on single timbre ensembles, here too Fitkin’s gives way to a reprise of the opening music. and finger on the strings and fingerboard. the perspective of the single instrument approach has evolved over the years. Both But there is no easy conclusion, this is not Despite all that it remains an ensemble made makes a concluding return. In Servant Fitkin Pawn and Inside start softly, with music that comforting music by any stretch of the up of four instruments of the same type uses rhythmic unison as a jumping off point is slow and sustained, but then the music imagination. As the composer observes in his own and therefore exists within a certain defined for the evolution of the piece but in Pawn, in both quartets becomes faster, louder, very programme note, it is really quite bleak. timbral bandwidth. This gives Fitkin ample a BBC commission for the Duke Quartet at rhythmic and animated and finally returns to opportunity to concentrate on a favourite the Cheltenham Festival, he is bolder in his a version of the original slow material, in more The ending of Inside (2006), which was technique: rhythmic unison. It’s something he explorations; during its 20-minute span the truncated form. There’s a rough overall ABA commissioned by the Elysian Quartet, seems has used throughout his output to great effect quartet almost never deviates at all from a structure to the two pieces but this is reached much more conclusive. In part this is due to - witness the opening of the percussion quintet state of rhythmic unison. in different ways. The chordal sequences in the cadential nature of the main material in Partially Screaming (2013) or the ensemble Pawn break down into different types, which the slow sections: a three-note stepwise falling work Mistaken Identity (2006) for one of his Pawn and Inside (2006) are examples of a alternate and work in tandem with each other. figure which seems always to be resolving. finest deployments of rhythmic unison - and particular type of formal structure sometimes The harmony and pacing of the chords is Compared to Pawn, the structure of Inside it is central to two of the works on this disc, found in Graham Fitkin’s more recent work. In constantly evolving in small increments - there seems somewhat more conventional; the music

- 4 - - 5 - starts to change character about a quarter that he was writing at the time. His debut polyphony that is fluid and elastic. There is a GRAHAM FITKIN of the way through the piece after which CD ‘Flak’, released in the early 1990s by Factory quite startling change of texture around two the composer embarks upon an extended Classical, shows this contrast very clearly; thirds of the way through where the predominant Graham Fitkin lives and works as a composer kaleidoscopic ‘middle’ section with sharply if it had been released on vinyl there would argument is suddenly and brutally interrupted in Cornwall. defined blocks of rhythmic energy rotating have been a clear side one / side two dichotomy, by some climactic arpeggiation; just as round each other. Fitkin controls the pacing with the first ‘side’ featuring his highly suddenly it returns to where it was before Graham has collaborated with many performers of and sequence of events in a masterly way, rhythmic and multi-layered music for multiple that happened and the texture runs its course new music including Nederlands Blazersensemble, racking up the tension to level after level as pianos, contrasting on the other hand with a before drifting off. There’s no evidence that Yo-Yo Ma, , Smith Quartet, 10:10 this section progresses. ‘side’ of solo piano miniatures. The two quartets Fitkin regards the Cornish landscape and Ensemble, Piano Circus, Ensemble Bash and on this disc are very brief indeed, just a couple culture as a tangible influence on his work. Sacconi Quartet. Graham Fitkin’s tendency is to avoid multi- of minutes each. They are built on fleeting, But this writer at least finds it impossible to movement structures. Servant, Pawn and Inside uncertain gestures which are put through a disregard the feel of an elemental, ‘English Between 1994 and 1996 Graham was resident are all examples of the most common structural number of harmonic changes or alterations. The mystic’ type of music in String and was composer with the Royal Liverpool Philharmonic type in his output, a single span of music ground covered in the short two-minute span reminded of a certain Englishness or mystic lasting anything from seven or eight minutes seems huge, the music managing to demonstrate pastoralism from the mid to late 20th Century... to half an hour. Many of his works are a certain degree of forward momentum while there are moments where it’s not a million composed as extended single movements remaining essentially static. miles away from Michael Tippett. There really is like this. A Small Quartet (1993) and Another nothing quite like String in Graham Fitkin’s output. Small Quartet (1994), both written for the String (2007), composed for and premiered Smith Quartet, are examples of another by the Sacconi Quartet at Wigmore Hall (11th © Laurence Crane structural type that he regularly employs, March 2008), is another single span of music the standalone miniature. In the late 1980s but in the way it behaves it is something else he started to produce short pieces for piano, altogether. It avoids the composer’s usual each a few minutes long, informed to a predilection for block structures and sharply large extent by such as Satie and defined materials and instead concentrates Skempton. Reflective in mood, pithy in utterance, on an elusive counterpoint, in which the they were often written for concerts of his composer loops a number of short phrases work to provide contrasting moments to the against each other. Lines and sections bleed predominantly hard driving rhythmic music into each other, creating a texture of blurred © Lottie Davies

- 6 - - 7 - Orchestra. Since then commissions have ‘Mindset’ for the Royal Ballet. 2012 saw a SACCONI QUARTET venues, in recordings and on radio broadcasts. come from the Halle, BBC Philharmonic, Tokyo new commission for the London Olympics, a new The Sacconi is Quartet in Association at the Symphony Orchestra, RSNO, Athens Camerata, for the ROH in collaboration with Jasmin Ben Hancox violin Royal College of Music and Associate Artist at BBC Symphony Orchestra. Vardimon and work for aerial theatre company Hannah Dawson violin the Bristol Old Vic. Ockham’s Razor with Ruth Wall. In 2013 he Robin Ashwell viola Graham has worked frequently with composed for Les Percussions Claviers de Cara Berridge cello The Quartet has given over twenty world choreographers and dance companies including Lyon and wrote a new orchestral work to celebrate premières and British premières, including Shobana Jeyasingh Dance Company, Wayne 2014 European City of Culture, Umea in Sweden. works by Graham Fitkin, Jonathan Dove, McGregor’s Random Dance, Pacific Northwest John McCabe, György Kurtág, Paul Patterson, Ballet, New York City Ballet, San Francisco In 2015 Graham was commissioned by RLPO Simon Rowland-Jones, John Metcalf and Robin Ballet, Bi-Ma, Sidonie Rochon, Munich Ballet and for a new concerto for orchestra ‘Intimate Holloway, and they performed as the solo string National Ballet of Portugal. He won the Curve’ and toured the FitkinWall album LOST quartet on Paul McCartney’s hit song Come International Grand Prix Music for Dance Award in UK and Italy. The following year he composed Home. The Quartet has been joined on stage by in 2000. new work for the Royal Aeronautical Society countless musicians including Pekka Kuusisto, and St George’s Bristol, and recorded two Freddy Kempf, Melvyn Tan, Simon Crawford- Over the past 20 years Graham has directed albums with his own band, before touring the UK. Phillips, Vladimir Ashkenazy, Guy Johnston, educational and community projects including Alasdair Beatson, Tom Poster, Matthew Rose,

3 UK PRS Composer residencies, 9 regional The first performance of his new Recorder © Emilie Bailey Bellowhead’s Jon Boden and actor Timothy West. community projects, university seminars, Concerto took place in May 2017 with Sophie masterclasses and directed workshops in UK, Westbrooke and BBC National Orchestra of Performing with style and commitment, the The Quartet’s Sacconi Chamber Music Festival Japan, Italy and Soweto. Wales. Also in 2017 he was commissioned to Sacconi Quartet is known throughout the world in Folkestone is an established event in the compose a new orchestral and choral work for its creativity and integrity of interpretation. cultural calendar and is expanding year on Recent works include Circuit, a double concerto for the Three Spires 40th Anniversary based on Formed in 2001, its four founder members year with challenging programming and for two pianos and orchestra, Lens for Janine Sir Humphry Davy. continue to demonstrate a shared passion for exciting collaborations. Firm believers in the Jansen and Twenty Six Days for 10:10 at string quartet repertoire, infectiously reaching importance of bringing chamber music to the HCMF. From 2007 to 2009 he was Composer in out to audiences with their energy and next generation, the Sacconi Quartet dedicates Residence with . enthusiasm. The Quartet enjoy a highly much passion, time and energy to education 2011 highlights included a Cello Concerto for successful international career, performing work. They regularly lead workshops and Yo-Yo Ma at and a new production regularly throughout Europe, at London’s major give school and family concerts as part of

- 8 - - 9 - the Sacconi Chamber Music Festival outreach The name Sacconi Quartet comes from the programme and the CAVATINA Chamber Music Trust. outstanding twentieth-century Italian luthier and restorer Simone Sacconi, whose book In Damascus, their CD of music by Jonathan The Secrets of Stradivari is considered an Dove including In Damascus, commissioned by indispensable reference for violin makers. Ben the Quartet, and featuring Mark Padmore and Hancox plays a 1932 Sacconi violin and Robin This recording was made with the generous Charles Owen, hit the Classical Top Ten and Ashwell a 1934 Sacconi viola, both made in New support of the Oak Foundation. was chosen as Gramophone Magazine’s York. Hannah Dawson plays a 1927 Sacconi Recording of the Month: “This important violin made in Rome, and Cara Berridge plays a release cannot be recommended too highly.” Nicolaus Gagliano cello from 1781. Ben, Hannah The Quartet’s recording of Beethoven Op. 132 & Cara have all been generously loaned these and Mendelssohn Op. 13, the fi rst commercial instruments by the Royal Society of Musicians, pairing of these closely related works, was a charity which helps musicians in need, for Recorded at All Saints Church, East Finchley, UK on 26-28 July and 5th December 2016. released on Sacconi Records in 2016, and which they are extremely grateful. Robin is received a 5-star review in Classical Music. The indebted to Ellen Solomon for the use of his viola. Producer & Editor – Raphaël Mouterde Recording Engineer – Mike Hatch previous release, a disc of Czech quartets, was Recording Assistant – Michael Gerrard received with widespread critical acclaim and www.sacconi.com Cover Image – iStockphoto is regularly broadcast on BBC Radio 3 and Design and Artwork – Woven Design www.wovendesign.co.uk Classic FM. The Quartet’s debut recording of Haydn’s Op. 54 quartets was praised in the P 2017 The copyright in this sound recording is owned by Signum Records Ltd press and both their Ravel and Haydn CDs © 2017 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd were featured in The Full Works programme Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored on Classic FM. They have also recorded for in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Signum, NMC and Champs Hill Records, and SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. their 2006 Naxos recording of Finzi’s song +44 (0) 20 8997 4000 E-mail: [email protected] cycle By Footpath and Stile with baritone www.signumrecords.com Roderick Williams was well received in all the national broadsheets and BBC Music Magazine.

- 10 - - 11 - ALSO AVAILABLE on signumclassics

24 Lies Per Second Jonathan Dove: In Damascus Powerplant Sacconi Quartet SIGCD313 Mark Padmore tenor SIGCD487

“Sixty minutes of aggressive, percussive . Consuming “The beauty of the piece, for tenor and string quartet, is its this brilliantly engineered disc through headphones is ultimately restraint. It doesn’t sensationalise, get maudlin, moralise or exhausting, but it’s a journey you’ll be glad to have made... politicise. The words are direct and the music respects that. Mostly bracing, stimulating music, brilliantly played and The performance does, too: clear, focused playing from the recorded.” The Arts Desk Sacconi Quartet and lucid, unswerving narrative from tenor Mark Padmore.” The Guardian

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

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SIGNUM CLASSICS

GRAHAM FITKIN STRING QUARTETS FITKIN

STRING QUARTETS STRING 1 Servant [13.09] 2 Inside [24.42] 3 A Small Quartet [2.13] 4 Another Small Quartet [1.59] 5 String [9.10] 6 Pawn [20.28]

Total timings: [71.43] QUARTET SACCONI

Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, United Kingdom. P 2017 Signum Records DDD SIGCD518 © 2017 Signum Records SIGCD518 www.signumrecords.com 24 bit digital recording 6 35212 05182 5