10 September 2021, 1:00pm | Holy Trinity Church, Haddington Mary Bevan soprano Joseph Middleton piano Henri Duparc L'invitation au voyage Lili Boulanger Le retour Amy Beach Je demande à l’oiseau Déodat de Séverac Les Hiboux Pierre de Bréville Harmonie du soir Marguerite Canal Les Roses de Saadi Jeanne Landry Mort quand tu me viendras prendre Gabriel Fauré Chant d'automne Henri Duparc La vie antérieure Nadia Boulanger Soleils couchants Claude Debussy Le jet d'eau Pauline Viardot Lamento – la chanson du pêcheur Henri Duparc Romance de Mignon Mel Bonis Songe Maurice Rollinat Harmonie du soir Cécile Chaminade L'Absente Lammermuir Festival 2021 Welcome to the 12th Lammermuir Festival — we’re so glad to be back! Two years ago, when we celebrated the landmark of our 10th festival we (perhaps fortunately!) had no inkling of what would unfold only a few months later. Then last year we mounted a small online festival and were grateful for the enthusiastic support, not only of our regular audience, but of many new Lammermuir followers around the world. This year feels like both a celebration and a rebirth — not quite ‘business as usual’, but very much a festival that we have yearned, through many bleak months, to bring back to this beautiful part of Scotland and to share with you. We have made a virtue of the new reality of international travel restrictions by inviting many old friends among our distinguished artists, but there are new faces too — headed by our Artist in Residence, the American pianist Jeremy Denk, and by vocal ensemble The Gesualdo Six. We explore a rich variety of repertoire and offer unique projects such as Hugo Wolf’s Italian Songbook, an anniversary tribute to Dennis Brain, an intriguing afternoon chez the Wagners and a recital dedicated to a great British piano duo. We are delighted to welcome Scottish Opera back and look forward to BBC Radio 3’s series of live vocal recitals. For Covid-safety reasons we have concentrated many of our events in the larger venues in order to retain social distancing of one metre in our audience seating. We are most grateful to Creative Scotland for their continuing support and to EventScotland for generously supporting our online streaming programme which will add a new and, we hope, permanent dimension to the festival. We are fortunate indeed to have a number of generous individual donors, trusts and sponsors who, along with the support of our Friends of the Lammermuir Festival, make the festival possible. We thank each and every supporter most warmly, for without them we simply would not exist. Hugh Macdonald and James Waters Joint Artistic Directors Next year’s Lammermuir Festival dates: 9-19 September 2022 Become part of the Lammermuir Festival Family Our valued supporters are at the very heart of our festival, helping it flourish, prosper and reach out so that as many people as possible can enjoy it every year. To ensure that we can continue to bring people together in celebration of beautiful music in beautiful places, we need your support and invite you to become a Lammermuir Festival Friend. To learn more about the benefits of becoming a Festival Friend and to sign up, please visit www.lammermuirfestival.co.uk/friends. Welcome to Holy Trinity Church, Haddington Holy Trinity stands on the site of a Franciscan friary (the original ‘Lamp of Lothian’ before that title passed to St Mary’s Church nearby) which was built here in the 13th Century. The friary was demolished in 1572, and almost two centuries later, in 1769, work was begun on a ‘qualified’ Anglican chapel which was finally consecrated as Holy Trinity in 1815. The present chancel was added and the interior remodelled in an attractive neo-Byzantine style in 1930. Lammermuir Festival is grateful to the Rector and Vestry of Holy Trinity Episcopal Church for making the church available for this concert Visit www.lammermuirfestival.co.uk for information about all events and to join our mailing list. Follow us on Facebook The Lammermuir Festival and Twitter @LammermuirFest for the latest news and updates. Programme notes In the 1870s, France and the nascent German state were on a collision course, in virtually every sense. The year 1870 itself marked the beginning of the Franco-Prussian war, as the two countries vied for primacy on the battlefield. And in cultural terms, artists in the two nations were moving in increasingly disparate directions. While Lieder composers by and large kept to the more traditional lyric forms of German Romantic poetry, the French mélodie became increasingly experimental, as composers embraced the Symbolist poetry of writers such as Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine, and their inclinations to the exotic (albeit somewhat under the influence of Richard Wagner). Much of the poetry centred around the idea of travelling to the East, in an attempt to escape the perceived banality of Europe, and French composers responded to this in a variety of creative ways. Along with Gabriel Fauré and Claude Debussy, Henri Duparc was one of the most original composers of French song. Written in 1870, his L’invitation au voyage captures the text’s sensuality in a virtually unprecedented manner. The piano opens with a shimmering semi-quaver figure, heard over a deep open fifth in the bass of the piano, as the poet dreams of a journey to a distant land where ‘all is naught by order and beauty’. Marie-Juliette ‘Lili’ Boulanger was born into a well-known musical family in Paris. In 1913, she became the first woman to win the fabled Prix de Rome composition competition with her cantata Faust et Hélène. Boulanger’s songs seem to always aspire to the orchestral, in the range of colours she is able to create from the piano, as heard in this song in which Delaquys’ Ulysses sees to travel thousands of miles in the space of around just four minutes. Though it was her success with large-scale works including her Mass and Symphony that made her name, the American composer and pianist Amy Beach was first and foremost a prolific art-song composer. And though she studied in Boston, she was entirely au fait with the latest developments in European musical circles. Je demande à l’oiseau comes from a collection of four songs published in 1903 (the other three songs are, in fact, in German). Ably demonstrating Beach’s melodic gifts, the voice soars with all the freedom of the swallow above a simple piano accompaniment. Déodat de Séverac’s Les Hiboux continues the avian theme, evoking the darkness enshrouding Baudelaire’s owls, as they over the vain affairs of mankind. Harmonie du soir was one of Baudelaire’s most frequently set texts, attracting composers presumably by the way it stimulates the senses via a series of lucid images. Pierre de Bréville captures this in his 1879 setting, with a rhapsodic form that follows the poem, as it conjures an increasingly intoxicating sense of nostalgia. Like Boulanger, Marguerite Canal also won the Prix de Rome, seven years later in 1920. She became the first female orchestral conductor in France, and a prolific composer. Canal published over 100 songs, and though they often show the influence of the earlier generation, they are beautifully crafted. Les Roses de Saadi sets a three-stanza poem by Marceline Desbordes-Valmore, in a short but arresting song that evokes her potent imagery, again closing with the pangs of nostalgia. Jeanne Landry was a Canadian composer, who, after studies in Montreal and Paris with Nadia Boulanger, taught at the Université Laval in Quebec City for much of her career. The final song of her Cycle de huit mélodies, for which Landry wrote both words and music, Mort quand tu me viendras prendre is a very brief but touching song, meditating on the fleeting nature of human life and relationships. Baudelaire contemplates the same subject, albeit in a much more melancholic manner, set by Gabriel Fauré in his Chant d’automne. A ten-bar introduction in the piano creates a sense of the poet’s anxiety of the approaching autumn, which Fauré increasingly emphasises – until the final stanza, where an unanticipated change of key and mood marks the depth of the poet’s love, even if ‘all today is bitter for me.’ Duparc’s La vie antérieure sets another of Baudelaire’s poems, this time looking back on a past life. On its own, Baudelaire’s text has a kind of detachedness, but Duparc’s setting gains an almost operatic quality, in expressing states of ecstasy, sadness, rapture and regret. Soleils couchants is a setting of one of Paul Verlaine’s most famous poems, from his Poèmes saturiens (1866). It inspired a large number of French composers, but this setting by Nadia Boulanger must surely be among the finest. While Boulanger garnered a reputation as a rigorous teacher and master of technique, this song has a remarkable freedom, responding naturally to Verlaine’s landscape. Boulanger’s songs often display the unmistakable influence of Claude Debussy. Le jet d'eau is one of a cycle of five Baudelaire settings by the Impressionist composer. It is notable for its virtuosic piano part, which perfectly depicts the different kinds of water referred to in the poem — from the babbling fountain to the shower of tears. A similar kind of fluidity can be heard in the accompaniment to Pauline Viardot’s La chanson du pêcheur. Viardot was an internationally celebrated singer, and inspired composers including Berlioz, Gounod, Liszt, Wagner and Schumann. While she was self-deprecating as a composer, her songs are immaculately constructed and highly idiomatic for the voice.