OUT of the SILENCE ORCHESTRAL MUSIC by JOHN McLEOD

EVELYN GLENNIE PERCUSSION ROYAL SCOTTISH NATIONAL ORCHESTRA

JOHN McLEOD HOLLY MATHIESON CONDUCTORS OUT of the SILENCE: ORCHESTRAL MUSIC by JOHN McLEOD ROYAL SCOTTISH NATIONAL ORCHESTRA

Dame Evelyn Glennie percussion (tracks 2–6) 1 Out of the Silence [16:11]

Percussion Concerto Holly Mathieson conductor (track 1) 2 Cortege with Fanfares – [3:07] John McLeod conductor (tracks 2–12) 3 Scherzo I [8:16] 4 Nightscape (Callanish) [5:38] 5 Scherzo II – [7:11] 6 Aubade with Fanfares [3:06]

7 The Shostakovich Connection [15:28]

Hebridean Dances 8 Going West [1:21] 9 Dance to your Shadow [2:11] 10 The Harp of Dunvegan [1:31] This recording would not have been possible without the generous support of the following: 11 [0:49] Creative , PRS for Music Foundation and the Esmée Fairbairn Foundation, RVW Trust, Barra Love Lilt – Hope Scott Trust, Royal Scottish National Orchestra, Griffin Music, Tim and Helen Sewell 12 The Cockle Gatherer [1:08]

Total playing time [66:04] Recorded on 19-21 June 2017 Cover image: computer artwork by Join the Delphian mailing list: at RSNO Centre, Glasgow Mehau Kulyk / Science Photo Library www.delphianrecords.co.uk/join Producer: Paul Baxter Design: Drew Padrutt Like us on Facebook: premiere recordings Engineer: Mike Hatch (Floating Earth) Booklet editor: John Fallas www.facebook.com/delphianrecords Assistant engineer: Chloe Hatch Session photography © Wojtek Kutyla Follow us on Twitter: 24-bit digital editing: Matthew Swan Delphian Records – Edinburgh – UK @delphianrecords 24-bit digital mixing & mastering: www.delphianrecords.co.uk Paul Baxter Notes on the music John McLeod is a very singular composer, therefore, that his principal mentor was or mutual alignment, and sometimes also metal chimes of different lengths suspended his music unlike anyone else’s even when Lennox Berkeley, his composition teacher at from specific pitches, a device found often from a bar), and her virtuosity increasingly – as happens twice on this album – it takes the (which he had in McLeod’s pieces. But there are other to the fore. It is a truly stupendous – and the work of other composers as part of entered as a clarinettist) and a composer resonances of Lutosławski too, not least a substantial – display piece. its subject matter. Over the years he has whose byword was refinement. McLeod certain resoluteness in his more linear writing. ploughed an independent path, concerned admired that refinement, but what Berkeley The opening movement, ‘Cortege with neither with conforming to nor ignoring any principally did for him was, in his own McLeod’s Percussion Concerto, composed Fanfares’, calls us to order with a feature-rich particular -ism, and seemingly doing so with words, to ‘open my eyes to what being a in 1987 and given its world premiere that year first few bars: a mighty thump on bass drum a self-assurance almost serene. Not that professional composer was all about’. Equally under the composer’s own baton by Evelyn and whip, a brass fanfare call in triplets (with there is anything complacent about him. For instructive was the breadth of work, from Glennie and the National Youth Orchestra tom-toms), an upward whoop on the horns, him every piece is an attempt rather than an all periods, that Berkeley would bring to of Scotland, extensively adopts this device a low-pitched chord shared by woodwind and achievement, even though for his audiences analysis classes; and his consistent efforts to of controlled improvisation. Equally evident, strings and accompanied by tam-tam and that achievement is thrillingly palpable. attend performances of his students’ work though, is the influence of Bartók, first in the timpani, all signalling the dazzlingly varied Indeed, such is his self-questioning that, added, one can be sure, moral support too. work’s arch-like symmetry – the concerto soundscape to come. Orchestral timpani approaching the age of eighty, he took a The professionalism was certainly passed is cast in five movements, with relatively begin the expected funereal beat but are soon long, hard look at his work list and ruthlessly down, and not only in McLeod’s attitude to brief first and final movements and two interrupted, and we hear for the first time an pruned it, withdrawing over twenty pieces the act of composition. He now happily self- substantial and complex Scherzos – but idea important throughout the piece: a rapid, – about a quarter of his output – including publishes and devotes careful attention to also in the placing in the central keystone fanfare-like repeated chord pattern, here played two symphonies. When asked why, his reply promoting his own work, not least through position of a ‘night music’ movement, static first by woodwind, then by brass, and framed is almost matter-of-fact. ‘Well, I suppose his excellent website. and atmospheric, just as we find in Bartók’s and interrupted by a very short swaying motif. it was a sort of epiphany – my eightieth Fourth String Quartet. Thus far the soloist’s contributions have been birthday looming and I just had a clear-out of First among other important influences on him limited to two solo passages, on timpani only. works that I didn’t want to hear again or that are those two giants of the twentieth century, Nevertheless in many ways the concerto She has yet to flourish. didn’t do me justice. Mind you, some of the Shostakovich and Lutosławski. Shostakovich is thoroughly traditional, full of intricate materials were recycled into other pieces, above all, he says, for his imaginative development and cross-reference. Its drama The first Scherzo brings immediate change, so they survived in some form.’ A practical orchestration – and orchestration is something lies in the gradual evolution of the soloist’s for after an impish bassoon introduction craftsman as well, then. at which McLeod truly excels, constantly role. She begins as an equal partner with her opening salvo is on snare drum. Before imagining original and vivid sound worlds. And the orchestra, one of three timpanists, but long a new sound – that of the – is Although it can also be extremely sensual, hearing Lutosławski’s Concerto for Orchestra emerges as dominant, her part steadily introduced, ebulliently counterpointing with McLeod’s music often seems granite-like, in the early 1970s was a real revelation. Most diversifying to include marimba, vibraphone, woodwind in the first passage in free rhythm. boldly coloured, charged with a sometimes obviously influential is Lutosławski’s model of crotales, snare drum, suspended cymbal, Later, tom-toms, and then, in a storming savage energy, and somehow thoroughly controlled improvisation, where individual lines temple blocks, Chinese cymbals, gongs, improvisatory, brass-punctuated cadenza, Nordic. It might seem slightly strange, are unshackled from any metrical regularity cowbells and mark tree (an array of small temple blocks, mark tree, Chinese cymbals, Notes on the music and cowbells, are added to the panoply. But snare drum, and another free passage, where the empathy. Like McLeod, Nielsen showed to Shostakovich’s Fifth Symphony of 1937, the movement ends quietly, leading us to the the brass section has a considerable say. But little desire to fit himself in to any perceived that epic and courageous response to ‘just central ‘Nightscape (Callanish)’, named after the climax is the final improvisatory cadenza, western, or even Nordic, musical lingua franca, criticism’ by Stalin’s musical apparatchiks. Yet the 5000-year-old standing stones on the played on gongs, Chinese cymbals, temple if such exists. And the title? ‘The more deeply McLeod’s work is no political commentary. Scottish island of Lewis. blocks, tom-toms and cowbells. I probed into Nielsen, the more I became Rather, it seeks to express the musical aware of how much the state of silence connection between himself and Shostakovich This still centre of the work begins with an Six fortissimo gong strokes end the movement crops up.’ This substantial work takes the form but also to connect two disparate themes aggregated string chord, pianissimo and con definitively, and the final ‘Aubade’ opens with of an imaginary conversation between the which occur in Shostakovich’s work: the sordino, before the sensual sounds of harp, the rapidly repeated chords and swaying motif, two composers. Sometimes it is animated, achingly expressive tune from the slow celesta and tam-tam decorate the soloist’s now played by woodwind and sounding like sometimes dense, sometimes lyrical (there is movement in the symphony, and the twelve- vibraphone, with the eerie flexatone soon an excited dawn chorus. Orchestral timpani a beautiful passage for solo viola), but always note motif, spare and otherworldly, played added. A faint horn call adds to the magic, come to the increasingly joyful party, and full of striking ideas and colours. The work unaccompanied by the cello at the beginning and solo clarinet joins vibraphone in a passage then the soloist’s assertive timpani bring her includes overt references to Nielsen’s Fourth of his Twelfth Quartet of 1968. The theme from in free rhythm. Crotales supplement the full circle. Brass join in as the work reaches Symphony and Clarinet Concerto, interjections the Fifth Symphony is used as the foundation soloist’s ever-expanding palette, and once its conclusion, the solo timpanist enjoying a McLeod describes as ‘ripostes’. Its beginning for a set of variations, while the twelve-note more we hear the soft horn. And so on, every final flourish before an exuberant orchestral – its emergence from silence – is announced figure forms the basis of the introduction brushstroke executed with exquisite deftness whoosh into the stratosphere. with a single, distant ting of a Tibetan bell, and of interludes written as free-rhythmed, until the final, hushed string chord and and it concludes with two piccolos comically unsynchronised passages. Listeners who resonating orchestral tam-tam. Nearly three decades separate the concerto disputing with each other but getting fainter know the Fifth Symphony will surely identify from the newest work on this disc, Out of and fainter, as if exhausted, until the only the many moments of gestural and colouristic Momentum – though not perpetual – is the Silence, which was commissioned by sound they make is the clicking of keys. The reference in this impressively cogent work, abruptly restored with the second Scherzo. the Scottish Chamber Orchestra and first piece is scored for classical-sized orchestra which ends with horns whooping and Orchestral percussion interrupts brass performed by them under the baton of Joseph (with flutes doubling piccolos and the second the remainder of the brass sounding out fanfaring (the same rapidly repeated chord Swensen in January 2015, and it proves to oboe doubling cor anglais) but with an Shostakovich’s familiar signature motif, D–S– and swaying appendix heard in ‘Cortege’), be a very different kind of celebratory work. enlarged and exotic percussion section. C–H (the German nomenclature for the pitches and eventually the soloist enters on marimba, It was composed as a tribute to Carl Nielsen, D–E flat–C–B natural). By any reasonable using hard sticks to achieve a more wooden- born 150 years before. McLeod explains that Thirteen years before the Percussion Concerto, measure The Shostakovich Connection was sounding sonority. Soon she is joined by when he was asked for a new piece he was McLeod had achieved his first large-scale a stunning orchestral debut, and the mark it orchestral celesta in an arpeggio-like idea, their offered the choice between paying homage to orchestral success with The Shostakovich made then has endured. shapes aped and inverted by strings and then Nielsen or to his exact contemporary Sibelius. Connection, commissioned by the Glasgow woodwind. In another improvisatory cadenza, He opted for the Danish composer because Orchestral Society and first given by them in The Hebridean Dances show off McLeod’s marimba is complemented first by solo he admired not only his musical language but December 1974. The work pays homage to lighter side, while exhibiting no less vivid clarinet and then strings. Later comes more also his maverick qualities. One understands what is an enduring influence, and in particular aural imagination or skill. Written in 1982 to Notes on the music Biographies

a commission from the Scottish Chamber directly into ‘The Cockle Gatherer’, again from Scottish-born John McLeod’s increasingly In recent years McLeod’s output has increased Orchestra and first performed at the Usher the island of Eigg. McLeod’s is an aptly playful acclaimed music bears all the hallmarks of dramatically. There have been new works for Hall, Edinburgh under the direction of Roderick arrangement, complete with blatant key shift exuberant colour and precisely imagined the Scottish Chamber Orchestra (Out of the Brydon in December of that year, these are when horns take up the tune, and there is, of fantasy that his early associations with Sir Silence) and for the pianist Murray McLachlan five very brief arrangements of – or perhaps course, the compulsory rousing finish. Lennox Berkeley (with whom he studied at (who commissioned Piano Sonata No 5 and variations upon – folk tunes, some at least the Royal Academy of Music) and Witold performed it over 40 times around the world collected by Marjory Kennedy-Fraser (Scotland’s © 2018 Stephen Pettitt Lutosławski (who became his mentor) in 2014), alongside major performances of answer to Cecil Sharp) early in the twentieth would lead one to expect. He is now one of existing work at the BBC Proms, Aldeburgh century. They are scored for classical orchestra Stephen Pettitt studied music at the University of Scotland’s foremost composers, and amongst Festival, Edinburgh International Festival and plus harp, percussion and with piccolo, cor Exeter and has been a writer, music critic and journalist the UK’s busiest and most prolific. McLeod City of London Festival. A disc of McLeod’s anglais and contrabassoon as doublings. since 1980. He has been Director of Music at Benslow has won many awards for his work including chamber music – Moments in Time (Delphian Music, Hitchin and is also an adjudicator, translator and librettist (recently devising and writing the words for a Fellowship from the Royal Academy of DCD34155), performed by the outstanding Even within its short span the first tune, the pasticcio opera Casanova). A former President of Music, the Gold Badge of the British Academy Red Note Ensemble – was released in 2015 ‘Going West’, achieves an epic quality, with a the Critics’ Circle, he sits on the board of the London of Songwriters, Composers and Authors to critical acclaim, and 2018 sees the releases final cadence redolent of Copland. ‘Dance to Handel Society, and splits his time between homes in (BASCA), and in June 2016 was appointed CBE both of the present orchestral survey and of Greenwich and rural France. your Shadow’, a tune from Eigg for the winter in the Queen’s Birthday Honours. a double CD of his entire music for solo piano solstice, has cheeky, perky outer sections performed by Murray McLachlan. and a more contemplative centre. It ends His first success was in 1979 when he won with duetting piccolo and contrabassoon and the Guinness Prize for British composers with Recent commissions have included a new a serene final dissolve. The lovely ‘Harp of the symphonic song cycle Lieder der Jugend, percussion work for Dame Evelyn Glennie’s Dunvegan’ comes from Skye and begins with which was premiered by tenor Raimund Gilvan fiftieth birthday, a choral work for Heriot-Watt harp accompanying flute; a spare, more tonally and the Royal Scottish National Orchestra and University and a song cycle, Songs from Above vague middle section precedes the tune’s subsequently featured by many orchestras in and Below, for Live Music Now Scotland. A reprise on idiomatically ornamenting violins. the UK and Europe. Since then works have new Viola Concerto for the Scottish Chamber ‘Barra Love Lilt’, sung to Kennedy-Fraser by been commissioned, performed and recorded Orchestra and Jane Atkins is to be premiered one Ann McNeill on that island, has bassoons by orchestras including the Philharmonia, Hallé, in the autumn of 2018. aping a bagpipe drone, with clarinet taking the BBC Scottish Symphony Orchestra, RSNO, tune above. A connecting episode intervenes Scottish Chamber Orchestra and the National www.johnmcleod.uk.com before the solo is taken by oboe, now with Youth Orchestra of Scotland, as well as by clarinets as the bagpipes. The connecting orchestras in Poland, Germany and the USA, by episode returns, cueing up the strings for a many international ensembles, and by soloists third iteration, now a little faster and louder. A including Colin Currie, Dame Evelyn Glennie, final playing of the connecting episode leads Peter Donohoe and Murray McLachlan. Royal Scottish National Orchestra Biographies Violin 1 Viola Flute Trumpet The Royal Scottish National Orchestra was and has made recent tours to the USA, Spain, Hannah Perowne Tom Dunn principal Katherine Bryan Christopher Hart formed in 1891 as the Scottish Orchestra, France, Germany and China. guest leader Ian Budd principal principal became the Scottish National Orchestra in Tamás Fejes Michael Lloyd Helen Brew Marcus Pope 1950, and was awarded Royal Patronage in The RSNO has a worldwide reputation assistant leader Lisa Rourke Siobhan Grealy Ryan Linham 1977. Throughout its history, the orchestra has for the quality of its recordings, receiving Patrick Curlett David Martin Janet Richardson Robert Baxter played an integral part in Scotland’s musical life, two Diapason d’Or de l’année awards for Barbara Paterson Katherine Wren principal piccolo including performing at the opening ceremony Symphonic Music (Denève/Roussel 2007; Alan John Nicola McWhirter Trombone Alison McIntyre Claire Dunn Oboe Lance Green of the Scottish Parliament building in 2004. Denève/Debussy 2012) and eight GRAMMY Lorna Rough Maria Trittinger Adrian Wilson principal associate principal Many renowned conductors have contributed Awards nominations. Over 200 releases are Jane Reid Francesca Hunt Emily Cockbill Jeremy Gough to its success, including George Szell, Sir available, including the complete symphonies Elizabeth Lloyd Kirstie Logan cor anglais Alastair Sinclair John Barbirolli, Walter Susskind, Sir Alexander of Sibelius (Gibson), Prokofiev (Järvi), Glazunov Susannah Lowdon Cello principal bass trombone Gibson, Neeme Järvi, Walter Weller, Alexander (Serebrier), Nielsen and Martinů (Thomson), Caroline Parry Aleksei Kiseliov Clarinet Lazarev and Stéphane Denève. Roussel (Denève), and the major orchestral Ursula Heidecker Allen principal Nicholas Carpenter Tuba works of Debussy (Denève). Liam Lynch Betsy Taylor guest principal John Whitener principal The orchestra’s current artistic team is led by Gillian Risi Kennedy Leitch Josef Pacewicz British–Canadian conductor Peter Oundjian, Colin McKee Arthur Boutillier Duncan Swindells Timpani who joined as Music Director in 2012. Danish Evelyn Glennie is the first person in history to William Paterson principal bass clarinet John Poulter conductor Thomas Søndergård was appointed as successfully create and sustain a full-time career Violin 2 Ruth Rowlands associate principal Xander van Vliet Rachael Lee Tenor saxophone Tom Hunter Principal Guest Conductor in the same year, with as a solo percussionist, performing worldwide principal Sarah Digger Kyle Horch Holly Mathieson joining as Assistant Conductor with the greatest conductors, orchestras and Jacqueline Speirs Percussion in 2016. In May 2017, it was announced that artists. She played the first percussion concerto Marion Wilson Double bass Bassoon Simon Lowdon principal Søndergård would succeed Oundjian as Music in the history of the Proms in 1992, paving the Elita Poulter Ana Cordova principal David Hubbard principal Julian Wolstencroft Director, with Søndergård taking up his new way for orchestras around the world to feature Harriet Wilson Margarida Castro David Harrison Joanne McDowall post from September 2018. Hong Kong-born percussion concertos. She had the honour of Anne Bünemann Michael Rae Simon Davies conductor Elim Chan will succeed Søndergård a leading role in the opening ceremony of the Wanda Wojtasinska Paul Sutherland principal contrabassoon Harp as Principal Guest Conductor. London 2012 Olympic Games. Christopher Ffoulkes John Clark Pippa Tunnell Sophie Lang Sally Davis Horn Sharron Griffiths The RSNO performs across Scotland, including Evelyn regularly provides masterclasses and Michael Rigg David Inglis Christopher Gough concerts in Glasgow, Edinburgh, Dundee, consultations designed to guide the next Paul Medd principal Celesta Fiona Stephen Alison Murray Lynda Cochrane Aberdeen, Perth and Inverness. The orchestra generation. The recipient of over 90 international Kirstin Drew Andrew McLean appears regularly at the Edinburgh International awards to date, including the David McClenaghan Festival, the St Magnus Festival in Orkney, and and the Companion of Honour, Evelyn is also Martin Murphy the BBC Proms at London’s Royal Albert Hall, a leading commissioner of new works for solo

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© Cathy Pyle Royal Conservatoire of Scotland. That same Leverhulmeconductors, the Fellowship atthe fellowshipsmost prestigious for young ​​From 2014–15, held Holly one world’sof the in2016. Philharmonic Illinois Orchestra. the She madeherUSdebutwith Royaland the College of MusicPhilharmonia Sinfonia, Red NoteEnsemble, BalletScottish (London), Royal Northern Sinfonia’s Young Sinfoniaorchestras, Southbank Salomon City of Birmingham, Chamberand Scottish Symphony, BBCConcert,Royal Philharmonic, have London the includedconcertswith Rata MusicCollective. Guest engagements the until end of 2018, and Director Artistic of Youth Orchestra of JuniorScotland Orchestra Conductor National of the Trust),Mather Resident supported by John the Orchestra (2016–18, Royal National Scottish Assistant Conductoratthe iscurrently Mathieson New Zealand-bornHolly Womenof Achievement. named heras one of New Zealand’s Top 50 Taki Fellowship. Concordia In2016, ZontaNZ received 2013 inthe ahighcommendation Sasakawa Young Leaders Fellow and in2008, was Holly namedaRyoichiScholarship (2006). Foundation, ElmanPoole andthe Travelling from Adrienne, Lady Stewart NZ andthe Arts PatronageRoost 2009 Mortgages,the Award 2012NZ, the AMP Regional Scholarship from Professional Development GrantfromCreative ​​Awards for Holly’s work includea2013 BBC Proms. Symphony Orchestra,andMarin Alsop atthe Donald Runnicles BBC atthe Scottish von Dohnányi Orchestra, Philharmonia atthe has assistedEsa-Pekka Salonen andChristoph Longborough Festival Opera. GarsingtonOperaand includes OperaNorth, Park.Holland Other opera andstagework Young Conductorin Artist Associate atOpera London debutin2015 Collins Christine asthe season, she enjoyed acclaimed acritically In the past, she past,she In the Also available on Delphian

John McLeod: Moments in Time James MacMillan: Since it was the day of Preparation … Red Note Ensemble Brindley Sherratt bass, Synergy Vocals, Hebrides Ensemble DCD34155 DCD34168 Increasingly acclaimed at home and abroad, Aberdeen-born John McLeod’s The first disc in a new recording partnership between Hebrides Ensemble and music bears all the hallmarks of exuberant colour and precisely imagined fantasy Delphian Records presents Sir James MacMillan’s extraordinary setting – by turns that his early associations with Lennox Berkeley and Witold Lutosławski would intimate and dramatic – of the Resurrection story as told in St John’s Gospel. As lead one to expect. Recorded during the composer’s eightieth-birthday year, at the work’s premiere at the 2012 Edinburgh International Festival, the Ensemble this landmark collection brings together McLeod’s four mythological ‘songs’ and its director William Conway (the work’s dedicatee) are joined by bass Brindley – powerful dramatic scenes in which instruments are elevated to voice-like Sherratt in the role of Christ, and by a pristine quartet of singers from Synergy expression – and a further work which crystallises the theme of a single moment Vocals. A significant landmark in MacMillan’s career, Since it was the day of with a long expressive ‘shadow’. Preparation … now inaugurates a series of recordings set to document Hebrides Ensemble’s outstanding contribution to Scottish cultural life. ‘Five arresting and resourceful works … This music, in turns dramatic, serene and – in The Song of Phryne – thoroughly erotic, is brilliantly performed’ ‘Here we have the latest in a stream of major works which express [MacMillan’s] — Sunday Times, May 2015 deeply held Catholicism, and for my money it is by far and away the most effective … Hebrides Ensemble provide eloquent testimony to the sustained impact of MacMillan’s writing’ — Gramophone, August 2016, EDITOR’S CHOICE

Eddie McGuire: Entangled Fortunes Luminate: Live Music Now Scotland celebrates 30 years Red Note Ensemble McGuire / Sweeney / Nicolson / Geddes DCD34157 Spencer-Strachan Duo, Emma Versteeg soprano, Maryam Sherhan piano, Astrid Eddie McGuire is one of Scotland’s greatest living composers. A renaissance String Quartet, Wildings, Laura Margaret Smith mezzo-soprano, Geoffrey Tanti piano man, his compositional voice is informed by a broad wealth of cultural DCD34153 experience and by an unlimited melodic creativity. In this intensely beautiful and This year, Live Music Now Scotland – an organisation that promotes the work of unpretentious music, folk-like tunes appear naturally, taking their place in a world stellar young artists – celebrates its 30th birthday. A blazing trail of commissions has of invention large enough to contain minimalist gestures, intense romanticism, followed in the charity’s wake. In recognition of these three decades’ achievements, meditative silence and sudden drama. In the second of two discs programmed to Delphian has taken a snapshot of LMN’s activity, itself a miniature picture of the wider initiate their new recording partnership with Delphian, Red Note Ensemble bring cultural endeavours taking place in Scotland. Some of Scotland’s shining young artists passion and care to this music – a token of the regard in which McGuire is held by have recorded recent commissions by some of the country’s brightest composing Scottish musicians of all generations. voices. A broad canvas of activity, flecked with intriguing and beautiful details. ‘Red Note is the ideal ensemble to champion McGuire’s folk-rich music: the players ‘The sheer quality of the work produced in the name of LMNS rings through this CD’ shift between silvery laments, robust dances and angular squalls in a blink’ — The Herald, April 2015 — The Guardian, July 2015 DCD34196