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LYELL CRESSWELL Red Note MUSIC for STRING QUARTET Ensemble Capricci Ricercari

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LYELL CRESSWELL Red Note MUSIC for STRING QUARTET Ensemble Capricci Ricercari LYELL CRESSWELL Red Note MUSIC FOR STRING QUARTET Ensemble Capricci Ricercari 1 Bergamasca [1:44] 11 Invocazione (variation 1) [1:38] LYELL CRESSWELL 2 Xochipilli [2:02] 12 Scherzo 1 [1:24] 3 Siciliana [2:06] 13 Pensoso (variation 2) [2:47] (b. 1944) 4 Zortziko [2:14] 14 Caccia 1 [1:19] 5 Galop [1:50] 15 Mesto (variation 3) [1:34] MUSIC FOR STRING QUARTET 6 Sprocket [1:44] 16 Caccia 2 [1:21] 7 Taramasonata [2:26] 17 Alla turca (variation 4) [2:41] Red Note Jacqueline Shave violin 1 8 Fandango [1:09] 18 Scherzo 2 [1:28] Ensemble Tom Hankey violin 2 9 Brawl [2:32] 19 Ruvido (variation 5) [2:06] Paul Cassidy viola 10 Courante [1:50] Robert Irvine cello String Quartet Capricci was commissioned by Dr Ian McKee and dedicated to 20 I [8:16] Penny McKee on her birthday. 21 II [6:48] 22 III [6:44] Kotetetete 23 I Mormorante [2:44] Total playing time [60:37] Recorded on 14-16 March 2017 at Cover image: Michael Smither (b. 1939), Join the Delphian mailing list: St Mary’s Parish Church, Haddington Cellist (oil on board, 200 × 240 mm) www.delphianrecords.co.uk/join Producer/Engineer: Paul Baxter Session photography © Delphian Records 24-bit digital editing: Matthew Swan Design: John Christ Like us on Facebook: 24-bit digital mastering: Paul Baxter Booklet editor: John Fallas www.facebook.com/delphianrecords Delphian Records Ltd – Edinburgh – UK www.delphianrecords.co.uk Follow us on Twitter: @delphianrecords premiere recordings Notes on the music ‘When I write music I am writing my and Glasgow, five years in total, and he has myself as British, and I don’t think my music how you treat the instruments and how you autobiography. If I were to use words I would remained a freelance composer based in sounds like British music generally speaking.’ think about colour. Colour is as important to the tell a pack of lies, but when I write music I find Edinburgh ever since. It’s something to do with the dramatic musical argument as pitch and rhythm. As for it impossible to lie. I give my view of the world landscape that sweeps you into a story and the actual composing process, that emerges and hope that from time to time it strikes a ‘Edinburgh is a beautiful city. It’s not too big demands a dramatic emotional response; only gradually during the early stages of work, chord with others – that is all I ask.’ but there’s plenty going on. It’s on the edge, the easy proximity to the quiet and serenity and the spark for a new piece can come in which is the same thing that I enjoy about New of nature; the fresh air; the clarity of the light many different ways. Often it comes from There was never any question but that Lyell Zealand: Edinburgh is on the edge of Europe, that shines in through his clear textures and previous work in which ideas have cropped Cresswell would be a composer. He was born and New Zealand is on the edge of the world. structures, which are often complex and busy up that seem to have potential for more into a Salvation Army family in Wellington And there are other connections too: the but never dense. development, or it can also come from other that boasted, in his words, ‘generations of culture, even the landscape to a certain extent. music or from literature or painting. Past that I abstinence, religious fervour and music- I feel at home in both places.’ It is a very individual style, instantly can’t say. All I know is that once I get involved, making’. His uncle wrote band music, so he recognisable, that has brought him the thing takes on a life of its own and tells me speaks of being brought up in a brass band, And yet he has always called himself a New considerable success. The featured what to do. All I need to do is let it out.’ surrounded by the knowledge that it was a Zealand composer. He visits NZ most years, composer at many festivals worldwide completely normal thing to be a composer – usually for premieres in Auckland or Wellington (including Lyell Cresswell is Fifty in Glasgow The first two works in this collection you didn’t have to be dead. Victoria University and then doing a ‘progress’ through the and Lyell Cresswell at 60 in Edinburgh), he is are inspired by the nature of research, opened up a wider musical world, under country from Waiheke Island in the north to widely commissioned on both sides of the experimentation and play. The first, Capricci, David Farquhar, Douglas Lilburn, Frederick Dunedin in the south – Scottish immigrant world – by the Scottish Chamber Orchestra, is a set of ten dances for string quartet that Page; and in 1968, after graduating, he won country – staying with family, talking about the Scottish Opera and the BBC on the one hand, plays around with old dance forms and a Commonwealth Scholarship to study with next projects and catching up with old friends. and the New Zealand Symphony Orchestra, rhythms, gently subverting them so one John Weinzweig at the University of Toronto. Auckland Philharmonia and Chamber Music is never entirely sure where the next step After two years back in New Zealand, he was ‘New Zealand is where I come from and where New Zealand on the other – with a wide will lead. Time is an abiding fascination. accepted for a doctorate at the University of I was formed and it is important to me never oeuvre that ranges from orchestral works Commissioned in 2014 by Edinburgh resident Aberdeen, and finally for study at the Institute to forget that. I’ve always been determined to to opera, songs (words remain a special Dr Ian McKee for the birthday of his wife, of Sonology in Utrecht – learning ‘all sorts of keep my New Zealandness alive and never to fascination), instrumental works and an Penny, the dances here range from the well systems’, as he describes it, but ultimately lose that freshness, that characteristic New increasing body of chamber music. known – such as the first, which Cresswell rejecting them all. In 1978, back in Britain and Zealand straightforward honesty.’ has used before – to the more exotic, which working as a music administrator in Cardiff – ‘In terms of planning, structure and he discovered (a favoured technique) in his last ‘regular job’ – he won the Ian Whyte You could also say there is something organisation, there is not much difference a music dictionary, in this case working Prize, an important milestone in his composing peculiarly New Zealand about his music, between chamber music and orchestral music. backwards from Z. Some titles are very career. There followed a succession of resident something Cresswell himself recognises With chamber music there is, of course, a characteristically his own! There were more fellowships at the universities of Edinburgh as different about his approach. ‘I don’t see greater feeling of intimacy, and a difference in than ten initially, the simpler dances first Notes on the music performed by students at St Mary’s Music from the 1980s – many of them outstandingly the second time. ‘They’re all little forms of his own individual version of the unison line as School, Edinburgh, but the present sequence detailed, such as the Vesalius-inspired human research,’ and what makes it more pungent is the spirit moves. ‘The effect’, writes Cresswell, constitutes the composer’s final selection. anatomy made up entirely of demisemiquavers that the original images, tiny reproductions in a ‘is unique: a long, strong tune comes through He describes them here: – and he finds patterns and colours a powerful booklet that Bottarelli gave to Cresswell some a maze of decoration, something like a Celtic creative and emotional stimulus, quoting thirty years ago, were variations upon a theme knot pattern.’ 1 Bergamasca – a robust, earthy peasant dance Kandinsky: themselves. He’s a close friend. More than from Bergamo with a simple ground bass. that, they share an extremely similar aesthetic: This working of a long, ornamented line gave 2 Xochipilli – Aztec god of art, music, dance, Colour is a power which directly influences the soul. Cresswell the idea for the string quartet. poetry and flowers. Colour is the keyboard, the eyes are the hammer, the ‘We sometimes talk about this and we feel that Dedicated to his wife Catherine, a cellist 3 Siciliana – a graceful country dance from Sicily soul is the piano with many strings. The artist is the we’re on completely the same wavelength in and fellow Kiwi who has been his constant with a lilting dotted rhythm. hands that play, touching one key or another to cause our different forms. I find his paintings very companion ever since the first overseas trip to 4 Zortziko – a Basque folk dance in 5/8 time with vibrations in the soul. moving: they’re romantic, in a way, they have Toronto – they met in Wellington as students a repetitive dotted rhythm. so much depth and emotion and they’re often – the original composition (commissioned in 5 Galop – a spirited, rustic and equine dance Ricercari is a set of nine short but related quite dark, they’re not at all a bundle of laughs. 1981 by the New Town Concert Society and in 2/4 time. pieces, played without a break and inspired by But then they are so beautifully crafted as well. the University of Edinburgh’s Faculty of Music) 6 Sprocket – a tooth on a wheel to engage the Cresswell’s favourite living painter: There is always something to appreciate about marked their first ten years together and was chain: perhaps this is a round dance.
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