Yale Percussion Group, Robert Van Sice and James Wood at Sprague Memorial Hall James Wood

MDR Leipzig Radio Choir • Ear Massage Percussion Quartet

© Cecile Van Sice © Cecile Van James Wood conductor • Yale Percussion Group • Robert Van Sice director 2 James Wood

1 Tongues of Fire 24’30 MDR Leipzig Radio Choir · Ear Massage Percussion Quartet James Wood conductor

Cloud-Polyphonies 2 Starlings 7’27 3 Clouds 15’53 4 Buffalo 13’13 Yale Percussion Group · Robert Van Sice director Total timing 61’05

MDR Leipzig Radio Choir Yale Percussion Group Soloists: Felix Plock bass Directed by Robert Van Sice Kerstin Klein-Koyuncu soprano Victor Caccese Garrett Arney Jae-Hyong Kim speaker · Jonathan Allen · Mari Yoshinaga Ear Massage Percussion Quartet Doug Perry · Cristobál Gajardo Diego Espinosa Cruz Gonzalez Wim Vos · Lester Rodriguez Gomez Photo: James Wood at the recording session Enric Monfort Barberá for Cloud-Polyphonies © Cecile Van Sice

2 5 Notes by James Wood Soon the discourse splinters into eight different manufacture of steel pans in the West Indies languages and associated characters – Hebrew, is no coincidence, nor is their association Tongues of Fire Latin-American Spanish with its crisp rhythmic Maori, Jamaican English, Latin, Hungarian, with fi re, one of the many multi-faceted and Russian, German and French. After the symbolic images, which appear throughout the Tongues of Fire was written during the articulations, and possibilities for Salsa-like drunken climax of this section, Part III is more texts. Other instruments specially built for the summer of 2001 in response to an intriguing syncopations. I then sought out a wide variety contemplative, and sets the beautiful poem, work include some metal shakers and sand- commission from David Connell – to write a of complimentary texts, which would serve to O ignis Spiritus paracliti (O comforting fi re of boards, whose sound amplifi es, develops and substantial work for symphonic chorus and expand certain images and ideas within the Spirit) by Hildegard of Bingen. Finally Part IV blends with the hissing sibilant sounds from percussion quartet for the 140th Anniversary main text. Furthermore, I resolved to set each completes the story in a whirlwind of dreams, the chorus in Part I, and the specially-tuned of the Yale Glee Club. Conscious of the of these complimentary texts in a different ‘whirly tubes’ which blend with the choir’s enormous tradition of American university Glee language, so that the line ‘and they were prophesies, signs, blood, fi re and vapour, whistling at the end of Part III, adding an extra Clubs, and the part that gospel and spiritual all fi lled with the Holy Spirit, and began to culminating in Joel’s prophesy that ‘whoever dimension to Hildegard’s mysticism at the line music always seems to have played in it, my speak with other tongues’ would trigger a shall call upon the name of the Lord shall be thoughts for a subject were immediately drawn patchwork not only of different languages, but saved’. ‘de te nubes fl uunt, ether volat’. also of singing styles, colours and ethos. This towards the story of Pentecost. Not only The percussion instrumentation is based Cloud-Polyphonies patchwork would then be woven around the would this story serve as a perfect medium around a quartet of oil drums, which are laid Like many composers before me, I have long main Spanish text in ever-increasing detail and through which to try to ignite the kind of on their sides and mounted on special cradles. been fascinated by the phenomenon of clouds. transcendental spirituality (which is the very intensity throughout the work. I had already developed a system of notation For Debussy, clouds represented the perfect essence of gospel music) and indeed the very Tongues of Fire is laid out in four Parts, which for striking oil drums on different parts of their natural model for his ‘orchestration without act of singing together, but also I saw it as a follow each other without a break. After a short surfaces, and had been astonished by the feet’ – a music which fl oats free from any way to acknowledge and emphasize America’s introduction – an invocation to the Holy Spirit phenomenal timbral richness, diversity and discernible or defi nable bass-line. For Xenakis, rich cultural diversity. The inclusion of a and to Spirits in general – Part I develops into power of these apparently crude instruments. Stochastic Clouds were a phenomenon where percussion group would not only extend the a rather bizarre setting of the 10th-century In Tongues of Fire I went on to discover even a myriad of random elements come together role that percussion instruments often play in hymn, Veni Creator Spiritus. Here the text is greater potential in their use as resonators for to form a tangible, controllable mass, whilst traditional gospel music, but would also help to not really sung, but more ‘encoded’ beneath other instruments such as cowbells, gongs, in Messiaen’s La Transfi guration de Notre emphasize this sense of cultural diversity. ever-changing clouds of sibilants and breath- guiros and metal rods, which are placed on Seigneur, Jésus-Christ, the mystical cloud My fi rst main decision, therefore, was to sounds. This is the ‘lighting of the fi re’, which the surface of the drums and then struck or which enveloped Christ on the mountain is set the central text, from the Acts of the eventually ignites at the beginning of Part II, scraped to produce complex ‘hybrid-sounds’. depicted almost literally by clouds of string Apostles, in Spanish – not Castilian, but where the central Spanish narrative begins. The fact that oil drums are used in the glissandi.

4 5 My interest recalls a little of all these distorted canons. The musical material for As more and more starlings gather, these powerful upward draught of a thermal within representations, but specifi cally refers to the each percussionist consists of two distinct, pre-migration test-fl ights become increasingly them – they are dangerous, and therefore movements of large formations of organisms – polyphonic ‘voices’, making a total of twelve spectacular, until fi nally several thousand avoided by balloonists. Passive clouds (cirrus) whether animals, insects, birds, fi sh, water, voices in all. The individual motifs that make birds form up together to perform an extended are generally at a much higher altitude, and steam or crowds of human beings – where, up each voice are imitated in turn by each synchronized display. From this moment, have more of a wispy appearance – these are although the general direction of the mass of the six percussionists, although both the focus on any particular individual bird is harmless, although should be watched in case is clear, the relationship in space between motifs themselves and the rhythmic distance lost, as one becomes mesmerized by the they develop into active clouds. In Clouds, the individual elements within the mass is of each imitation are subject to continual brilliantly synchronized aerobatics and shape- passive clouds are represented by sounds in a constant state of fl ux. The freedom and transformation. Melodic fragments, each with transformations of an enormous black cloud of produced by bowing, scraping or rubbing, and individuality of these elements is nevertheless their own distinctive form and character, are several thousand starlings. Gradually, following active clouds by sounds produced by striking. sent across the six percussionists like waves – kept in check by a shared sense of purpose, some arcane signal, the cloud disappears and Between these two extremes come sounds either from right to left or from left to right – as if some mystical spirit were controlling is gone for the winter. sustained by tremolandi – these represent the sometimes very slowly, and sometimes very their behaviour, as a choreographer directs a The second movement was inspired by my clouds’ transitional state, as they develop from fast, like ricochets. group of dancers. Specifi c examples of this fi rst ever experience in a hot-air balloon. It was passive into active. are shoals of fi sh, water particles subjected Each of the three movements of Cloud- a beautiful day in August, and for a couple of The fi nal movement of Cloud-Polyphonies to the ebb and fl ow of tidal currents, fl ocks Polyphonies is scored for a completely hours we glided silently over the Oxfordshire invokes that quintessential American symbol, of migratory birds, herds of animals, clouds different instrumentation and can be performed countryside. Never before have I been so the North American Bison, or Buffalo. Here the of water vapour, swarms of bees, and even separately, or in any combination, as required. conscious of the presence and activities of continuously changing waves of sound which crowds of Pilgrims at the Hajj. The fi rst movement, Starlings, is written for the clouds. As we drifted up to our cruising six marimbas and woodblocks; the second, zigzag across the line of sixty-six drums recall When Mike Rosen fi rst invited me to write altitude, focus on these mystical, intangible Clouds, for metal instruments and prepared the sound of herds of galloping buffalo. The a percussion sextet for a consortium of and supernatural phenomena was intensifi ed piano; and the third, Buffalo, for drums, sound, however, comes not from the animals, American Universities, I immediately thought as we gradually became enveloped by an simantras and bullroarers. but from the earth itself – an ever-changing that this could provide the perfect medium to overwhelming sensation of deepest silence. terrain of mud, stone, brush, pampas and water explore this phenomenon in musical terms. The fi rst movement concerns the extraordinary Our pilot explained how to ‘read’ the clouds – becomes the surface for a thousand pounding The result was Cloud-Polyphonies. The aerobatic displays of starlings as they gather an essential skill for all hot-air balloonists. buffalo hooves, as the herd stampedes swiftly Polyphonies of the title refers directly to this together before migration. At fi rst, just a few Active clouds (cumulus, or cumulus across the plains. phenomenon, and is realized in musical terms starlings gather on telegraph wires, nervously congestus) are those huge structures with by a complex web of ‘Points of Imitation’, or testing their aerobatic potential individually. sharply defi ned edges, which build from the James Wood © 2016

6 7 Texts English translation Deutsche Übersetzung The central text from Acts II (in Spanish) is printed here in bold type - all the other complimentary texts (in other languages) appear in plain type.

Introduction Introduction Introduktion

Venga... Come.... Komm! Escucha... Listen... Hör zu! Oye... Hear... Hör! ...Espíritu Santo ...Holy Spirit ...Heiliger Geist

Part I Part I Teil I

Veni, creator Spiritus, Come, creator spirit, Komm, Schöpfer Geist, kehr bei uns ein, mentes tuorum visita, visit the souls of your devoted; besuch das Herz der Kinder dein: imple superna gratia with your divine grace fill Die deine Macht erschaffen hat, quae tu creasti pectora. the hearts which you have created. erfülle nun mit deiner Gnad.

Qui Paraclitus diceris, You are called Comforter, Der du der Tröster wirst genannt, donum Dei altissimi, gift of the highest God, vom höchsten Gott ein Gnadenpfand, James Wood and MDR Leipzig Radio Choir fons vivus, ignis, caritas, fount of life, fire love, du Lebensbrunn, Licht, Lieb und Glut, et spiritalis unctio. and spiritual unction. der Seele Salbung, höchstes Gut.

Tu septiformis munere, You are the seven-fold in your gifts, O Schatz, der siebenfältig ziert, dextrae Dei tu digitus, the finger of God's right hand, o Finger Gottes, der uns führt, tu rite promisso Patris you are the one duly promised by Geschenk, vom Vater zugesagt, sermone ditas guttura. the Father, enriching our tongues with speech. du, der die Zungen reden macht.

Accende lumen sensibus, Enkindle your light in our minds, Zünd an in uns des Lichtes Schein, infunde amorem cordibus, infuse your love into our hearts; gieß Liebe in die Herzen ein, infirma nostri corporis strengthen the frailties of our stärk unsres Leibs Gebrechlichkeit virtute firmans perpeti. flesh, by your perpetual power. mit deiner Kraft zu jeder Zeit.

8 9 Hostem repellas longius, May you drive our enemy far away, Treib weit von uns des Feinds Gewalt, pacemque dones protinus; and bestow abiding peace, in deinem Frieden uns erhalt, ductore sic te praevio so that, with you leading before dass wir, geführt von deinem Licht, vitemus omne noxium. us, we may shun all evil. in Sünd und Elend fallen nicht.

Per te sciamum da Patrem, Grant that through you we may know Gib, dass durch dich den Vater wir noscamus atque filium, the Father, and that we might also und auch den Sohn erkennen hier te utriusque Spiritum come to know the Son, and you, the und dass als Geist von beiden dich credamus omni tempore. spirit of them both, we may trust at all times. wir allzeit glauben festiglich. [Veni creator Spiritus]

Part II Part II Teil II

Cuando llegó el día de Pentecostés, And in the day of the Pentecost being fulfilled, Als der Pfingsttag gekommen war, befanden estaban todos juntos en el mismo lugar. they were all with one accord at the same sich alle am gleichen Ort. Da kam plötzlich De repente, vino del cielo un ruido como el de place, and there came suddenly out of the vom Himmel her ein Brausen, wie wenn una violenta ráfaga de viento y llenó toda la heaven a sound as of a bearing violent breath, ein heftiger Sturm daherfährt, und erfüllte casa donde estaban reunidos. and it filled all the house where they were das ganze Haus, in dem sie waren. Und es Se les aparecieron entonces unas lenguas como sitting, and there appeared to them divided erschienen ihnen Zungen wie von Feuer, die James Wood de fuego que se repartieron y se posaron sobre tongues, as it were of fire; it sat also upon each sich verteilten; auf jeden von ihnen ließ sich cada uno de ellos. one of them, and they were all filled with the eine nieder. Alle wurden mit dem Heiligen Todos fueron llenos del Espíritu Santo y Holy Spirit, and began to speak with other Geist erfüllt und begannen, im fremden comenzaron a hablar en diferentes lenguas, tongues, according as the Spirit was giving Sprachen zu reden, wie es der Geist ihnen según el Espíritu les concedía expresarse. them to declare. eingab.

[Acts 2:1-4 (NVI)]

U-re-i-tem v’-hi-ne And see, and, behold, Wenn ihr dann seht, wie die Töchter Schilos im-yets-u v’not-shi-lo if the daughters of Shiloh herauskommen, um im Reigen zu tanzen, dann la-khul bam-kho-lot come out to dance in dances, kommt aus den Weinbergen hervor, und jeder von vi-tsa-tem min-ha-ke-ra-mim then come ye out of the vineyards, euch soll sich von den Töchtern Schilos eine Frau va-kha-taf-tem la-khem ish and catch you every man rauben. Dann geht heim ins Land Benjamin! ish-to mib-not shi-lo his wife of the daughters of Shiloh, va-ha-lakh-tem e-rets bin-ya-min: and go to the land of Benjamin.

10 11 ,תֹולֹחְּמַּב לּוחָל ֹוליִׁש-תֹונְב ּואְצֵי-םִא הֵּנִהְו ,םֶתיִאְרּו אכ םֶכָל םֶּתְפַטֲחַו ,םיִמָרְּכַה-ןִמ םֶתאָציִו .ןִמָיְנִּב ץֶרֶא ,םֶּתְכַלֲהַו ;ֹוליִׁש תֹונְּבִמ ֹוּתְׁשִא ׁשיִא

[Judges 21:21 (Hebrew)]

Na ka puta kaha mai te wairua o Ihowa ki runga And the Spirit of the LORD will come upon thee, Dann wird der Geist des Herrn über dich kommen, ki a koe, a ka poropiti tahi koutou, a koe me and thou shalt prophesy with them and shalt be und du wirst wie sie in Verzückung geraten und in ratou, a ka puta tou ahua hei tangata ke. turned into another man. einen anderen Menschen verwandelt werden.

[1 Samuel 10:6 (Maori)]

Hipsaw! my deaa! you no do like a-me! Hipsaw! my deaa! you no do like a-me! Hipsaw! mein Lieb! tu tust nicht wie ich! You no jig like a-me! you no twist like a-me! You no jig like a-me! you no twist like a-me! Du springst nicht wie ich! Du drehst dich nicht wie Hipsaw! my deaa! you no shake like a-me! Hipsaw! my deaa! you no shake like a-me! ich! Hipsaw! Mein Lieb! Du schüttelst dich nicht You no wind like a-me! Go, yondaa! You no wind like a-me! Go, yondaa! wie ich! Du windest dich nicht wie ich! Geh fort! Hipsaw! my deaa! you no jig like a-me! Hipsaw! my deaa! you no jig like a-me! Hipsaw! mein Lieb! Du springst nicht wie ich! You no work him like a-me! you no sweet him You no work him like a-me! you no sweet him Du drängelst ihn nicht wie ich! Do verführst ihn MDR Leipzig Radio Choir like a-me! like a-me! nicht wie ich! [J.B.Moreton (Jamaica, 1793)]

Desconcertados y maravillados, decían: And they were all amazed, and did wonder, Sie gerieten außer sich vor Staunen und sagten: “¿No son galileos todos estos que están saying one unto another, `Lo, are not all these Sind das nicht alles Galiläer, die hier reden? hablando? who are speaking Galileans? [Acts 2: 7 (NVI)]

Hodie aperuit nobis clausa porta Today a closed portal has been opened that Nun hat uns ein verschlossenes Tor eröffnet, quod serpens in muliere suffocavit, which the serpent suffocated in the wise-woman was die Schlange im Weibe erstickt hat; unde lucet in aurora is revealed to us. Now the flower of the Virgin und so leuchtet in der Morgenröte flos de Virgine Maria. is alight in the dawn. die Blüte der Jungfrau Maria. [Hildegard of Bingen: Antiphon de Sancta Maria]

12 13 Akkor vígadoz a szűz a seregben, Then the virgin will rejoice in the dance, Dann freut sich das Mädchen beim Reigentanz, és az ifjak és a vének együttesen, And the young men and the old, together, jung und alt sind fröhlich. Ich verwandle ihre és az ő siralmokat örömre fordítom, For I will turn their mourning into joy Trauer in Jubel, tröste und erfreue sie nach ihrem és megvígasztalom és felvidámítom őket az ő And will comfort them and give them joy for Kummer. bánatukból. their sorrow. [Jeremiah 31:13 (Hungarian)]

Vy byli nyekogda t’ma, a tyepyer’ - For you were formerly darkness, but now you are Denn einst wart ihr Finsternis, jetzt aber seid svyet v Gospodye: Light in the Lord: ihr durch den Herrn Licht geworden. Lebt als postupaitye, kak chada svyeta, walk as children of Light; Kinder des Lichts! Das Licht bringt laute Güte, potomu shto plod Dukha sostoit for the fruit of the Spirit is in all goodness and Gerechtigkeit und Wahrheit hervor. vo svyakoi blagosti, pravednosti i istinye. righteousness and truth.

Вы были некогда тьма, а теперь - свет в Господе: поступайте, как чада света, потому что плод Духа состоит во свяакой благости, праведности и истине. [Ephesians 5:8-9 (Russian)]

Partos, medos y elamitas; habitantes de Parthians, and Medes, and Elamites, and those Parther, Mederr und Elamiter, Bewohner von Ear Massage Percussion Quartet Mesopotamia, de Judea y de Capadocia, del dwelling in Mesopotamia, in Judea also, and Mesopotamien, Judäa und Kappadozien, von Ponto y de Asia, de Frigia y de Panfilia, Cappadocia, Pontus, and Asia, Phrygia also, Pontus und der Provinz Asien, von Phrygien und and Pamphylia, Pamphylien, [Acts 2: 9-10 (NVI)]

Der Geist Gottes hat mich gemacht, The Spirit of God has made me, Gottes Geist hat mich erschaffen, der Atem des und der Odem des Allmächtigen hat mir das And the breath of the Almighty gives me life. Allmächtigen mir das Leben gegeben. Leben gegeben. [Job 33:4]

14 15 Visitantes llegados de Roma; And the strangers of Rome, Auch die Römer, die sich hier aufhalten, Juden judíos y prosélitos; cretenses y árabes: ¡todos both Jews and proselytes, Cretes and Arabians, und Proselyten, Kreter und Araber, wir hören por igual los oímos proclamar en nuestra we did hear them speaking in our tongues the sie in unseren Sprachen Gottes große Taten propia lengua las maravillas de Dios!” great things of God.’ verkünden.

[Acts 2: 10-11 (NVI)]

Il dévoile les profondeurs des ténèbres, He reveals mysteries from the darkness Verborgenes enthüllt er aus dem Dunkel, Finsternis amène à la lumière l’ombre épaisse. And brings the deep darkness into light. führt er ans Licht. [Job 12:22]

Desconcertados y perplejos, se preguntaban: And they were all amazed, and were in doubt, Alle gerieten außer sich und waren ratlos. “¿Qué quiere decir esto?” saying one unto another, 'What would this Die einen sagten zueinander: Was hat das zu Otros se burlaban y decían: “Lo que pasa es wish to be?’ and others mocking said, — bedeuten? Andere aber spotteten: Sie sind vom que están borrachos.” `They are full of sweet wine;’ süßen Wein betrunken. Entonces Pedro, con los once, se puso de pie y and Peter having stood up with the eleven, Da trat Petrus auf, zusammen mit den Elf; er dijo a voz en cuello: “Compatriotas judíos y lifted up his voice and declared to them, `Men, erhob seine Stimme und begann zu reden: Ihr todos ustedes que están en Jerusalén, déjenme Jews! and all those dwelling in Jerusalem, Juden und alle Bewohner von Jerusalem! Dies explicarles lo que sucede; presten atención a let this be known to you, and harken to my sollt ihr wissen, achtet auf meine Worte! Diese Ear Massage Percussion Quartet lo que les voy a decir. Éstos no están borra- sayings, for these are not drunken, as ye take Männer sind nicht betrunken, wie ihr meint; es chos, como suponen ustedes. ¡Apenas son las it up, for it is the third hour of the day. ist ja erst die dritte Stunde am Morgen; nueve de la mañana! [Acts 2: 12-15 (NVI)] Part III Part III Teil III

O ignis Spiritus Paracliti, O comforting fire of Spirit, Feuer des tröstenden Geistes, vita vite omnis creature, Life, within the very Life of all Creation. Leben des Lebens aller Schöpfung, heilig sanctus es vivificando formas. Holy you are in giving life to All. bist du, indem du den Formen Leben spendest.

16 17 Sanctus es ungendo Holy you are in anointing Heilig bist du, indem du salbst periculose fractos, those who are not whole; die schwer Verletzten, sanctus es tergendo Holy you are in cleansing heilig bist du, indem du reinigst fetida vulnera. a festering wound. die übelriechenden Wunden.

O spiraculum sanctitatis, O sacred breath, Odem der Heiligkeit, o ignis caritatis, O fire of love, Feuer der Barmherzigkeit, o dulcis gustus in pectoribus O sweetest taste in my breast süßer Geschmack in der Brust, et infusio cordium which fills my heart hineingegossen in die Herzen in bono odore virtutum. with a fine aroma of virtues. im Wohlgeruch der Tugenden.

De te nubes fluunt, ether volat, Through you clouds stream, ether flies, Du machst die Wolken dahinziehen, die Lüfte lapides humorem habent, stones gain moisture, fliegen, die Steine nässen, aque revulos educunt waters become streams, die Quellen Rinnsale bilden et terra viriditatem sudat. and the earth exudes Life. und die Erde das Grün ausschwitzen.

Tu etiam semper educis doctos, You always draw out knowledge, Stets auch bildest du Gelehrsame heran, per inspirationem sapientie letificatos. bringing joy through Wisdom’s inspiration. von der Einhauchung der Weisheit beglückt. James Wood and Ear Massage Percussion Quartet

Unde laus tibi sit, Therefore, praise be to you Und so sei dir Preis, qui es sonus laudis who are the sound of praise derr du Klang des Lobes bist et gaudium vite, and the greatest prize of Life, und Wonne des Lebens, spes et honor fortissimus, who are hope and richest honor Hoffnung und machtvollste Ehre, dans premia lucis. bequeathing the reward of Light. spendend des Lichtes Gaben. [Hildegard of Bingen: Sequenz de Spiritu Sancto]

En realidad lo que pasa es lo que anunció el But this is that which hath been spoken Sondern jetzt geschieht, was durch den profeta Joel: through the prophet Joel: Propheten Joël gesagt worden ist: [Acts 2: 16 (NVI)]

18 19 Part IV Part IV Teil IV James Wood Conductor, composer, musicologist, instrument Sucederá que en los últimos días, dice Dios, And it shall be in the last days, saith God, I In den letzten Tagen wird es geschehen, so designer and percussionist, James Wood’s derramaré mi Espíritu sobre todo el género will pour out of My Spirit upon all flesh, and spricht Gott: ich werde von meinem Geist multi-faceted career has led him into an humano. Profetizarán sus hijos y sus hijas, your sons and your daughters shall prophesy, ausgießen über alles Fleisch. Eure Söhne und extraordinarily broad spectrum of musical los jóvenes tendrán visiones y los ancianos and your young men shall see visions, and eure Töchter werden Propheten sein, eure activities. He was conductor of Schola tendrán sueños. your old men shall dream dreams; jungen Männer werden Visionen haben, und Cantorum of Oxford before founding the [Acts 2: 17 (NVI)] eure Alten werden Träume haben. New London Chamber Choir, with whom he pioneered the work of many contemporary Na ka puta kaha mai te wairua o Ihowa ki runga And the Spirit of the LORD will come upon thee, Dann wird der Geist des Herrn über dich kommen, composers, including Xenakis, Scelsi, Kagel, ki a koe, a ka poropiti tahi koutou, a koe me and thou shalt prophesy with them and shalt be und du wirst wie sie in Verzückung geraten und in Harvey, Viñao and Wood himself. From 1982 ratou, a ka puta tou ahua hei tangata ke. turned into another man. einen anderen Menschen verwandelt werden. until 1994 he ran the percussion courses at the Internationale Ferienkurse für neue Musik Y el espíritu de Jehová te arrebatará, Darmstadt. In the 1990s he also founded y profetizarás con ellos, y serás mudado en otro the Centre for Microtonal Music and its hombre. ensemble, Critical Band, and was active in [1 Samuel 10:6 (Sp and Maori] the dissemination of microtonality on many levels. In 2007 he left England for Germany, En esos días derramaré mi espíritu sobre mis And on My men-servants, and on My maid- Auch über meine Knechte und Mägte werde where he pursues a freelance career as siervos y mis siervas, y profetizarán. servants, in those days, I will pour out of My ich von meinem Geist ausgießen in jenen conductor and composer. As a conductor he Haré prodigios arriba en el cielo y señales Spirit, and they shall prophesy; Tagen, und sie werden Propheten sein. Ich has worked regularly with both instrumental abajo en la tierra: sangre, fuego y nubes de and I will give wonders in the heaven above, werde Wunder erscheinen lassen droben am and vocal ensembles such as musikFabrik, humo. and signs upon the earth beneath — blood, Himmel und Zeichen unten auf der Erde: Blut Champ d’Action, RIAS Kammerchor, Collegium El sol se convertirá en oscuridad y la luna en and fire, and vapour of smoke, und Feuer und qualmenden Rauch. Die Sonne Vocale Gent, MDR Leipzig Radio Choir, sangre antes que llegue el grande y esplendo- the sun shall be turned to darkness, and the wird sich in Finsternis verwandeln und der Rundfunkchor Berlin, Latvian Radio Choir and roso día del Señor. moon to blood, before the coming of the day of Mond in Blut, ehe der Tag des Herrn kommt, Helsinki Chamber Choir. His recording with Y todo el que invoque el nombre del Señor the Lord — the great and illustrious; der große und herrliche Tag. Und es wird Vocalconsort Berlin of his own reconstruction of será salvo.’* and it shall be, every one — whoever shall call geschehen: Jeder, der den Namen des Herrn Gesualdo’s Sacrae Cantiones Liber Secundus upon the name of the Lord, he shall be saved. anruft, wird gerettet. was released in February 2013 by Harmonia [Acts 2: 18-21 (NVI)] Mundi, and was awarded the prestigious Echo- Klassik Preis for Choir Recording of the Year. Also on NMC by James Wood: Two Men Meet, Each Presuming the Other to be from a Distant Planet NMC D044

20 21 THANK YOU SUPPORT Tongues of Fire was recorded at Peterskirche, Leipzig, Germany DISTRIBUTION NMC RECORDINGS on 5-7 November, 2014 NMC recordings are distributed worldwide in CD and download format. MICHAEL SILBERHORN Recording Producer For more information visit our website. MATHIAS METZNER Recording Engineer PRODUCERS’ CIRCLE As a charity NMC is non-profi t-making, You can also purchase recordings direct from our online store OLIVER HILBICH, JOHANNES PHILLIPP Recording Technicians providing public benefi t through the www.nmcrec.co.uk Anonymous, Robert D. Bielecki Foundation, Anthony Bolton, Luke JAMES WOOD Editing contribution our work makes to enriching FOR FURTHER DETAILS PLEASE CONTACT: Gardiner, Jonathan Goldstein, Nicholas and Judith Goodi- Cloud-Polyphonies was recorded at Sprague Memorial Hall, cultural life. Our ability to record and promote NMC Recordings Ltd, son, Vladimir Jurowski, George Law, Colin Matthews, Robert New Haven, CT, USA on 3-5 June, 2013 Somerset House the innovative, the challenging, the obscure EUGENE KIMBALL Recording Engineer McFarland, James and Anne Rushton, Richard Steele, Charlotte Third Floor, South Wing, and the lost is reliant upon securing the JAMES WOOD Recording Producer & editing Stevenson, Janis Susskind, Andrew Ward, Arnold Whittall Strand, London, WC2R 1LA support of individuals who are as passionate COLIN MATTHEWS Executive Producer for NMC about new music as we are. Tel. +44 (0)20 7759 1827/8 PRINCIPAL BENEFACTORS FRANCOIS HALL Cover image and graphic design Fax. +44 (0)20 7759 1829 Benjamin Bruce, Diana Burrell, John Casken, Robin Chapman, All photographs pages 9 - 19 © MDR/STEPHAN WITSCHAS E-mail: [email protected] Friends membership (£50 / £20 concession per Website: www.nmcrec.co.uk Brian Elias, Graham Elliott, Richard Fries, Michael Greenwald, year) offers advance notice of NMC releases, Publisher: James Wood Edition All rights of the manufacturer and owner of the recorded material Terry Holmes, Stephen Johns, Jeremy Marchant, Belinda Mat- NMC Recordings is a charitable company (reg. no. 328052) established a quarterly newsletter, and invitations to reserved. Unauthorised public performance, broadcasting and copying for the recording of contemporary music by the Holst Foundation; it thews, Kieron O’Hara, Tarik O’Regan, Duncan Tebbet, Christoph selected NMC events including CD launches. of this recording prohibited. is grateful for funding from Arts Council England, the Britten-Pears and Marion Trestler, Peter Wakefi eld, Judith Weir, Benefactors (£100) also receive up to 25% Foundation and The Delius Trust. ® 2016 NMC Recordings Ltd Hugh Wood discount on NMC CDs, are credited in CD © 2016 NMC Recordings Ltd ANNE RUSHTON Executive Director booklets, and invited to recording sessions. BENEFACTORS ELEANOR WILSON General Manager Catalogue number: NMC D223 Principal Benefactors (£250+) are additionally GWENDOLYN TIETZE Head of Development Anonymous, Raj Arumugan, Peter Aylmer, Peter Baldwin, Sir Alan welcomed to an annual gathering, with the LUCILE GASSER Label Assistant Bowness, Martyn Brabbins, Tony Britten, Andrew Burn, Sally Cav- opportunity to meet NMC composers. ender, David Charlton, Susan Costello and Robert Clark, Sheila Colvin, Anton Cox, Steven Foster, Matthew Frost, Anthony Gilbert, The NMC Producers’ Circle invites donations of Alexander Goehr, Jennifer Goodwin, Adam Gorb, Elaine Gould, £1,000+ to help us release particular hidden gems. It allows donors to gain an exclusive Paul Griffiths, David Gutman, Barry Guy, Matthew Harris, Robin insight into and association with our work. Holloway, Helen Hughes, Peter Jenkins, Kjeld Jensen, Ed Jones, Neil King QC, Liz Leach, Bertie Leigh, Andrew Lockyer, Sally Marks, We welcome Corporate Friends (£500+ VAT) Prof Stephen McHanwell, Stephen and Jackie Newbould, Dominic who seek to align themselves with NMC’s values Nudd, Marina Ogilvy, Roy Parker, Stephen Plaistow, Chris Potts, of quality, creativity and innovation. Ronald Powell, Lee Rodwell, Julian Rushton, Keith Salway, Howard A gift in your Will is an enduring way to mark Skempton, David Smith, Kenneth Smith, Martin Staniforth, Owen your appreciation of NMC’s pioneering work Toller, Hannah Vlcek, Anthony Whitworth-Jones and help us secure our future aspirations. Our CORPORATE FRIENDS individual supporters ensure the breadth and Information about the artists on this BASCA, City & Cambridge Consultancy, Faber Music, Freshfi elds ambition of our output; no gift is too small. disc can be found on NMC’s website: Bruckhaus Deringer LLP, The Incorporated Society of Musicians, Please visit: www.nmcrec.co.uk/support-us www.nmcrec.co.uk The Music Sales Group, RSK Entertainment Ltd, Schott Music Ltd email: [email protected], or phone 020 7759 1826 for more information. 23