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SONGS FROM THE PLEASURE GARDEN We have tried to give as much variety as possible in the choice of songs and also the choice of accompaniment. For example some of them are purely voice and harpsichord, while in Arne’s little 1. Orpheus with his Lute Maurice Greene [2.54] Cantata “Cymon and Iphegenia” we decided to 2. Orpheus and Euridice William Boyce [1.42] add two violins and cello in order to make it sound 3. How Severe is my Fate William Croft [3.07] much more as it would have done in his day. 4. Spring Gardens William Boyce [3.04] suggested that we also 5. Belinda John Eccles [1.14] included songs with piano (including the famous 6. Celia the Fair George Monro [2.07] “Celia Fair”, which I had sung as a young man in 7. The Steadfast Shepherd James Hook [2.56] an arrangement) and the song “Go Lov’ly Rose” 8. A Shepherd loved a nymph so fair George Frederick Pinto [2.23] © Richard Davies reminds me so much of the Quilter song years 9. The Curfew Tolls the bell Stephen Storace [3.30] later, and it was so very interesting to have the It is not often that I am able to sing with my own 10. Think not, my love Thomas Linley [3.34] chance to sing this version by Salomon. 11. Let no mortal sing to me William Jackson [2.58] family on CD, but this one was special in that not only was my daughter Jennifer playing the cello, 12. Go lov’ly Rose Johann Peter Salomon [3.21] I cannot begin to say how special it was to record but Tristan Gurney was also playing my own violin 13. Grant me, ye Gods John Blow [4.06] these songs with Jennifer. There was virtually no (made in 1780 by Ferdinando Gagliano), David 14. What is’t to Us? John Blow [2.46] need to rehearse with her because (as she told me Owen Norris was playing one of his family too; a 15. Cupid, Make your Virgins Tender Daniel Purcell [4.36] later) she already knew how I would phrase them piano made by Christopher Ganer in 1781 and 16. The Non-Parreill William Boyce [1.05] and breathe them. David and I have also sung even Malcolm Layfield complemented the team together for many years now, which made the 17. Go, Rose, My Chloe’s Bosom Grace Maurice Greene [1.42] by playing his own Gagliano violin (matching mine whole CD such fun to make. 18. Jenny Thomas Arne [3.14] so beautifully). So overall the whole thing was 19. Cymon and Iphigenia Thomas Arne [11.00] rather incestuous! Total [61.19] The songs themselves could have been sung at the Pleasure Gardens of the time, and many of , • David Owen Norris, piano them were. The title of William Boyce’s “Spring Philip Langridge Jennifer Langridge, cello • Tristan Gurney, violin • Malcolm Layfield, violin Gardens”, for example already gives us the right www.signumrecords.com flavour for the CD.

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Songs from the Pleasure Garden - give a fairly succinct summary of how ’s James Boswell, Thackeray, and Fanny Burney all The song element of these Georgian entertainments A Georgian Entertainment Pleasure Gardens must have appeared to many a wrote of a typical evening’s events, Hogarth emphasises engaging melody, uncomplicated visitor in the Eighteenth Century. helped with the decor and design and Canaletto harmony, catchy, popular rhythms and an immediately I no sooner entered, than I was dazzled and and Rowlanson painted the finished results. digestible text. They range from the simplest of confounded with the variety of beauties that With the restoration of the Monarchy in 1660, strophic songs and ballads - well within the reach rushed all at once upon my eye. Image to yourself places for the public’s entertainment became the At their most luxurious, gardens such as Vauxhall of the enthusiastic amateur - through folk-like … a spacious garden, part laid out in delightful fashion and, with the spur of competition from the were laid out as a number of broad tree-lined numbers and operatically infused coloratura pieces walks, bounded with high hedges and trees, and French Court, rapidly grew in number. The venues avenues or ‘walks’ where the promenaders could to full-blown cantatas that require a well-trained paved with gravel; part exhibiting a wonderful expanded from spaces newly accessible to the happen upon verdant groves, arbors, illuminations, dramatic voice. While the music of continental Europe assemblage of the most picturesque and strikingpeople, such as Hyde Park, antique springs thought rotundas, pavilions and enclosures where music was often the preferred choice in the and objects, pavilions, lodges, groves, grottoes, lawns,to be medicinal, such as Sadler’s Wells or Bermondsey could be heard from painted supper booths by concert venues, the pleasure gardens presented temples, and cascades; porticoes, colonades, andSpa as well as numerous taverns in and around groups of diners partaking of the notoriously British composers with the opportunity to develop London. At their height, in the Eighteenth Century, overpriced cold cuts and, of course, plenty of wine. a sizeable repertory of engaging, native song. rotundos; adorned with pillars, statues, and such venues, both indoor and outdoor, numbered Just as the mix of the revellers spanned across painting: the whole illuminated with an infinite over 500, with at least a tenth of those offering a social norms, so the music followed suit and The texts of the songs are every bit as diverting as number of lamps, disposed in different figures of mixed fare of well-organised musical entertainments. admitted anything from the ‘older’ style of the music. The poets range from the glories of suns, stars, and constellations; the place crowded For a relatively modest fee, the Gardens provided instrumental pieces by Corelli to the ‘moderns’ like Shakespeare, through Dryden to a fair few anonymous with the gayest company, ranging through thethose attraction of communing with nature and the Haydn. Indeed, there were relatively few types of hacks of the day that knew where there was money blissful shades, or supping in different lodgesbonus on of refreshments, music and other less music that were not performed - folk-song and art was to be had. The Classical cultures of ancient cold collations, enlivened with mirth, freedom,reputable, if equally enjoyable, occupations. The entry song, symphony and concerto, sacred and profane Greece and Rome are naturally evident, given the and good-humour, and animated by an excellentprice was normally affordable and the promenades were all given their due. Assuming the task of prevailing bent for such scenarios in opera and band of musick. Among the vocal performersand I hadpleasures available to all socio-economic presenting such an extraordinary breadth of the other arts of the period, but there’s a healthy the happiness to hear the celebrated Mrs.groups. -----, These were idealised rural paradises in music, that some of the gardens secured the contemporary dose of lusty songs of love: gained, whose voice was so loud and so shrill, thatand it madearound London where dowager Duchesses, services of ‘resident’ composers is hardly lost, unrequited and unexpected. The topics my head ake through excess of pleasure.doctors, artists and musicians, painters, poets surprising. Thomas Arne and James Hook both concentrate less on Handelian depth of passion Lydia Melford’s youthful gushings on the and peasants might rub shoulders. The diarists served in this capacity at Vauxhall and and heroic grandeur in the face of battle and more diversions to be found at the Vauxhall Pleasure Pepys and Evelyn documented the nascent contributed healthily to the many published toward lascivious shepherds, naughty nymphs Gardens may well be the tongue-in-cheek creation gardens (the latter, a noted landscape gardener, collections of songs which fed in to the popular and shady groves. Among the antique luminaries, of writer Tobias Smollett (1721-1771), but nonetheless designed the walks at Euston Hall), Dr Johnson, psyche of succeeding generations. music’s standard-bearer, Orpheus has as much

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currency as love’s harbinger, Cupid. Maurice more mordant end of the spectrum lies William with her love”. ‘Celia the Fair’ set by George Munro gentleman. Love conquers all. Exactly the kind of Green’s ‘Orpheus with His Lute’, set to lines from Jackson’s setting of the lines “Let no mortal sing is a little delight of straightforward praise of the ending any Pleasure Garden owner might have Shakespeare’s Henry VIII, is fulsome in its delicate to me / the stupid craze of constancy”. This is a female, likening the loved one to a goddess that craved to send his guests happily away from the praise of the ancient musician while the rather song full of the lusts of the Pleasure Gardens, but might make the singer “rival Jove in bliss”. ‘dark’ walks and off into the night. more bawdy ‘Orpheus and Euridice’ is an cloaked in the impermanence of natural Another thread that binds many of these pieces anonymous text set by William Boyce. This is an phenomena and a frank acknowledgement that, together is a certain self-reference to the pleasure © M.Ross altogether more knowing piece: saucy, flippant, “Nature bids her subjects range, / All creation’s gardens themselves. Mentions of verdant groves irreverent entertainment - not too far away from full of change”. and arbors are liberally sprinkled through the Victorian Music Hall: texts. William Boyce’s ‘Spring Gardens’ directly So much for the songs that might have sparked sings of Vauxhall’s own Spring Gardens: All Hell was astonished a person so wise adventures in the ‘dark walks’ of the gardens - Should rashly endanger his life walks which were intermittently petitioned to be lit See a grand pavilion yonder And venture so far, but how vast their surprise, due to mis-adventuring couples. Love in a more Rising near embowering shades; When they heard that he came for his wife. pure form is never far away. The unrequited laments There a temple strikes with wonder of “How Severe is My Fate” successfully touch a In full view of Colonnades. Such double-edged quips are typical of the nerve while James Hook’s marvelous” The Steadfast bawdier songs. Eccles’ ‘Belinda’ is a charmingly Shepherd” is a song of solid constancy in the face Thomas Arne’s cantata, ‘Cymon and Iphigenia’ raises cheeky number, the lady in question is “all of temptation: the level of discourse toward the realms of less engaging, most obliging” and the vocal line has frivolous art, though it does still manage the odd the male protagonist in a frenzy at her “pretty, Go, go, display thy beauty’s ray, quip to keep the audience in tow. This little operatic pleasing form”. Images of Diana, Daphne, To some more soon enamoured swain, scena received one of its earliest performances, by Phoebus and the hunt are a common pursuit in Those common wiles of sighs and smiles a Mr Lowe, at Vauxhall Gardens in 1750, the year these songs. Despite its Handelian instrumental Are all bestowed in vain. of its composition. Its subject-matter derives from introduction, Thomas Arne’s ‘Jenny’ is “bright as Boccaccio’s ‘Decameron’, as retold by Dryden, and the day and buxom as May”, but, none too happy Thankfully, there are a good number of relatively relates the story of Cymon, a young and simple at the kisses pressed on her, escapes her amorous straightforward pledges of love. Boyce’s ‘The man from a noble family who falls in love with the pursuant’s arms in an amusing mock operatic Non-Parreill’ is initially back-handedly complimentary, beautiful Iphigenia while she sleeps. The power of coloratura passage, changing the nature of the but the protagonist’s love grows exponentially with their mutual love has the remarkable effect of simple song momentarily into a bravura aria. At a every verse, until he invokes heaven to “bless me transforming Cymon into an educated, accomplished

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TEXTS To find out a punishment due to the fault Belles and beaux are all invited There is such magic in her eyes, Old Pluto had puzzl’d his brain; To partake of varied sweets. Does my wondering heart surprise; 1. Orpheus with his Lute But hell had not toments sufficient, he thought, Her prinking, mimping, twinking, pinking, Maurice Greene So he gave him his wife back again. See a grand pavilion yonder Whilst I’m courting for transporting; But pity succeeding soon vanquished his heart, Rising near embowering shades; How like an angel she panting lies. Orpheus with his lute made trees and the And pleased with his playing so well, There a temple strikes with wonder, mountain tops that freeze He took her again in reward of his art: In full view of colonnades. 6. Celia the Fair Bow themselves when he did sing, Such power had music in hell. Art and Nature kindly lavish, George Monro To his music plants and flow’rs Here their mingled beauties yield. Ever rose, and sun and showers 3. How Severe is my Fate Equal here, the pleasures ravish My Goddess Celia, heavenly fair. There had mad a lasting spring. William Croft Of the court and of the fileld. As lilies sweet, as soft as air. Every thing that heard him play, Let loose thy tresses, spread thy charms, Ev’n the billows of the sea How severe is my fate, to languish and pine Hark! what heavenly notes descending And to my love give fresh alarms. Hung their heads and then lay by. For a nymph that I know will never be mine. Break upon the listening ear: In sweet music is such art But in vain I lament what I cannot avoid. Music all its graces lending. Give me Ambrosia in a kiss, Killing care and grief of heart I must yield to her charms tho’ by them O ‘tis extasy to hear. That I may rival Jove in bliss: I’m destroyed. Nightingales the concert joining That I may mix my soul with thineAnd make the 2. Orpheus and Euridice For he who once views Celinda’s bright eyes Breathe their plaints in melting strains, pleasure all divine. William Boyce With pleasure must gaze, though gazing he dies. Vanquished now their groves resigning, Soon they fly to distant plains. Why draw’st thou from the purple flood When Orpheus went down to the regions below, 4. Spring Gardens Of my kind heart the vital blood? Which men are forbidden to see, William Boyce 5. Belinda Thou art all over endless charms: He tun’d up his lyre, as old histories show, John Eccles Oh take me dying to thy arms. To set his Euridice free. Flora, goddess sweetly blooming, All hell was astonished a person so wise Ever airy, ever gay: Belinda’s pretty pleasing form Should rashly endanger his life, All her wonted charms resuming, Does my happy fancy charm, And venture so far, but how vast their surprise, To Spring Gardens calls away. Her prittle prattle, tittle tattles When they heard that he came for his wife. With thid blissful spot delighted. All engaging, most obliging; Here the Queen of May retreats. Whilst I’m pressing, clasping, kissing, Oh! How she does my soul alarm. - 8 - - 9 - 101Booklet 2/4/07 20:34 Page 11

7. The Steadfast Shepherd 8. A shepherd loved a nymph so fair 9. The Curfew Tolls the bell This pleasured grief this love despair James Hook George Frederick Pinto Stephen Storace My loss for ever be. But dearest, may the pangs I bear Hence away, thou siren, leave me, And thus his passion did declare The curfew tolls the knell of parting day be never known by thee. Pish! Unclasp those wanton arms, For thou dear maid I long in vain have sighed The lowing herd slowly o’er the lea Sugared words can ne’er deceive me Nor venture to complain The ploughman homeward plods his weary way 11. Let no mortal sing to me Tough thou prove a thousand charms. Oh now consent to ease my pain. And leads the world to darkness and to me William Jackson Fie, fie, no common snare Can ever my affection chain. Oh could I gain thy tender heart Now fate the glimmering landscape of the site Let no mortal sing to me Thy painted baits and poor deceits With joy again no more to part. And all the air the solemn stillness owns the stupid praise of constancy Are all bestowed on me in vain. With thee I tread the daisied mead Save where the beetle wheels his droning life Nature bids her subjects range I’m no slave to such as you be To view the herds and flocks at feed And drousy tinkling’s lull the distant ?? All creation’s full of change. Neither shall that snowy breast And home at eve thy footsteps lead Rolling eye and lip of ruby, 10. Think not, my love See the bearing hours display Ever rob me of my rest. With blushing sweetness then the maid Thomas Linley Morning evening night and day Go, go, display they beauty’s ray His honest Passion briefly paid See the circling seasons bring To someone more soon enamoured swain, I long dear youth thy love have know Think not my love, when secret grief Summer winter autumn spring. Those common wiles of sighs and smiles Thy every tender kindness shown Prays on thy saddened heart. Are all bestowed on me in vain. Then take my hand my heart’s you own. Think not I wish a mean relief Futher rivers current fool Or would from sorrow part. Idly seek the stagnant pool I have elsewhere vowed a duty. Dearly I prize the sight sincere Shall the pedant’s mandate bind Turn away that tempting eye, That my true fondness prove. The rapid wave the fleeting wind. Show me not a painted beauty, Nor could I bear to check the tear These impostures I defy. That flows from hapless love. My spirit loathes where gaudy clothes And feigned oaths may love obtain. Alas, for doomed to hope in vain I love her so, whose looks swear no, the joy that love requite That all your labours will be vain. Yet will I cherish all its pain with sad but dear delight.

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12. Go lov’ly Rose Sing all that’s pleasant, all that’s good; And scorn ill actions, and ill men. 16. The Non-Parreill Johann Peter Salomon Make some liquid silver stream Beneath this tree’s fragrant shade, William Boyce In soft whisp’ring court the plain; On beds of flowers supinely laid, Tell her that wastes her time and me And let me here flowers behold, Let’s then all other cares remopve, Though Chloe’s out of fashion that now she knows when I resemble her to thee Fringing its banks with native gold. And drink and sing to those we love: And blush and be sincere How sweet and fair she seems to be Then tell, ye gods, tell if ye can, I toast her in a bumper Tell her that’s young, and shuns to have her What prince, what great unhappy man, Here’s to Neaera heaven designed, If all the belles were here. graces spied Would not thus a cell prefer, Perfection of the charming kind; What though no diamonds sparkle That hadst thou sprung in deserts where no And choose to live an hermit here! May she be blest as she is fair, About her neck and waist men abide, And pity me as I love her. With every shining virtue How must her uncommended died 14. What is’t to Us The lovely maid is graced Small is the worth of beauty from the light retired John Blow 15. Cupid, Make your Virgins Tender Bid her come forth Daniel Purcell In modest plain apparel Suffer herself to be desired What is’t to us who guide the State, No Patches paint or airs And no blush so to be admired Who’s out of favour,or who’s great? Cupid make your virgins tender. In debt alone to Nature, Then die that she the common fate of all Who are the ministers, and spies? Make ‘em easy to be won; An angel she appears: things rare Who votes for places, or who buys? Let ‘em presently surrender. From gay coquets high-finished May read in thee The world will still be ruled by knaves When the treaty’s once begun. My Chloe takes no rules, How small a part of time they share Sand fools, contending to be slaves; Such as like a tedious wooing, Nor envies them their conquests, that are so wondrous sweet and fair Small things, my friend, serve to support, Let ‘em cruel damsels find; The hearts of all the fools Life’s troublesome at best,and short; But let such as would, as would be doing, 13. Grant me, ye Gods Our youth runs back, Prithee Cupid, make ‘em kind. Who wins her must have merit John Blow Occasion flies, such merit as her own Grey heairs come on, and pleasure dies: The graces all possessing, Grant me, ye gods, the life I love, Who would the present blessing lose Yet knows not she has one: And lead me to a shady grove; Fpr empire which he cannot use? Then grant me, gracious heaven, There let the trees’ verdant hair Sport with each Kind providence has us supplied The gifts you most approve, kind blast of air. With what to others is denied: And Chloe, charming Chloe, Let birds. The choristers of the wool, Virtue, which teaches to condemn Will bless me with her love.

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17. Go, Rose, My Chloe’s Bosom Grace Repeating this strain then again and again, The stream that glides in murmurs by, Amazed she listens, nor can trace from whence Maurice Greene I kissed her and press’d her still more to obtain, Whose glassy bosom shews the sky, The former clod is thus inspired with sense; Till she sprung from my arms and flew over Completes the rural scene. She gazes, finds him comely tall and straight, Go, Rose, my Chloe’s bosom grace, the plain. But in thy bosom, charming maid, And thinks he might improve his awkward gait; How happy should I prove, Like Daphne, she strove my embrace to elude, All heav’n itself is sure displayed, Bids him be secret, and next day arttend Might I supply that envy’d place Like Phoebus I quicken’d my pace and pursued. Too lovely Iphigene. At the same hour to meet his faithful friend. With never fading love. There Phoenix like, beneath her eye, What follow’d, ye lovers, must never be said, She wakes and starts, Thus mighty Love can teach a clown toplead, Involv’d in fragrance burn and die. But ‘twas all very fine, very pretty indeed. Poor Cymon trembling stands, And Nature’s language surest will succeed. Know, hapless flower, Down falls the staff from his unnerved hands. That thou shalt find more fragrant roses there. 19. Cymon and Iphegenia “Bright excellence”, said he, “Dispel all fear, Love’s a pure, a sacred fire, I see thy with’ring head reclin’d Thomas Arne Where honour’s present sure no danger’s near”. Kindling gentle chaste desire, With envy and despair. Half rais’d, with gentle accent she replies, Love can rage itself control, One common fate we both must prove, Near a thick grove whose deep embow’ring shade “O Cymon, if it’s you I need not rise, And elevate the human soul. You die with envy, I with love Seem’d most for love and contemplations made, Thy honest heart no wrong can entertain. Depriv’d of that our wretched state A crystal stream with gentle murmur flows, Pursue thy way, and let me sleep again.” Had made our lives of too long date. 18. Jenny Whose flow’ry banks are formed for soft repose. But blest with beauty and with love Thomas Arne Thither retired from Phoebus’ sultry ray The clown, transported, was hot silent long, We taste what angels do above. And lulled in sleep, fair Iphigenia lay. But thus with extasy pursued his song Jenny bright as the day and as buxom as May, Cymon, a clown who never dreamt of love, Fall asleep or hearing die. I happen’d to kiss when she angry did say, By chance was stumping to a neighb’ring grove: Thy jetty locks that careless break What’s the meaning of this? He trudg’d along unknowing what he thought In wonton ringlets down thy neck, Why these freedoms I pray? And whistled as he went for want of thought. Thy love inspired mien. Dear Jenny, I need no apology use, But when he first beheld the sleeping maid, Thy swelling bosom, skin of snow Your charms, for my crimes are sufficient excuse. He gap’d, he star’d, her lovely form survey’d, And taper shape enchant me so. Sure lips sweet as those were for kissing decreed. And while with artless voice he softly sung, I die for Iphigene. Cry’d she, very fine, very pretty, indeed. Beauty and Nature thus informed his tongue:

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BIOGRAPHies His remarkable versatility and command of a wide Philip is also well known for his communication variety of styles is reflected in his extensive masterclasses with young singers, and has discography, ranging from the early classical appeared in this capacity in Salzburg, Paris, Philip Langridge periodRequiem) to the present day. These recordings have , New York, Porto, Aix en Provence, The gained him two Grammy Awards (, Britten Pears School, , Royal the Screw). Philip Langridge was born in and studied at and ), the Gramophone Award (War Academy of Music and Royal Scottish Academy of the , London as a violinist and a Classic CD Award (Turn of Music and Drama, and the Sammling Foundation. before turning to singing. He is now one of the He hopes that eventually this kind of work will world’s most distinguished singers, whose musical become a permanent part of any singer’s study and dramatic qualities ensure that he is in constant His most recent opera recording (Death in Venice) programme and that young singers will quickly demand throughout Europe, the USA and Japan. In received particularly high praise and was realise the importance of communication in recognition of these qualities, he was made a nominated for a Grammy award. their performances. Commander of the British Empire in the Queen’s Birthday Honours of 1994. International opera houses and Festivals with whom he is closely associated include: He has also received a number of other awards, including the prestigious Olivier Award, the Singer Salzburg, the New York, La of the Year Award from the Royal Philharmonic Scala Milan, Bayerische Staatsoper Munich, the Society, The Worshipful Company of Musicians’ Covent Garden, Glyndebourne, Santay Award, the NFMS/Charles Groves Prize “for Edinburgh, and the . his outstanding contribution to British Music”, and most recently the Helpmann Award for Philip has given recitals with David Owen Norris, his performance of Death in Venice in Sydney Steuart Bedford, Graham Johnson, John Constable, Peter Donohoe, Maurizio Pollini and Andras Schiff, Opera House. © Richard Davies making recordings of songs from many periods.

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Jennifer Langridge Tristan Gurney

Jennifer Langridge studied at the Royal Northern College Tristan Gurney comes from Oxfordshire and of Music where she was awarded a junior fellowship studied the violin at the Royal Northern College of in chamber music with the Nossek String Quartet. Music, with Yossi Zivoni, and then at the Royal Conservatory of Music Toronto, with Lorand Fenyves. In 1991 she became principal cellist with Psappha, He now lives in Gateshead, where he has a the leading contemporary music ensemble of the Sub-Principal First Violin position in the Northern north of England. Jennifer has toured to four continents Sinfonia and is Head of Strings at Newcastle University. with Psappha and in 2004 she appeared as soloist Tristan is a keen solo and chamber music player with Psappha in Maxwell Davies Linguae Ignis at and has won numerous competitions and prizes the BBC Proms at the Royal Albert Hall. for solo and chamber music playing, including the Emily English Award, The Countess of Munster Jennifer is committed to music education and in Star Award, the Hirsch Prize, the Weil Prize, the 2005 founded Minimusic for babies and toddlers Laurence Turner Memorial Prize, the Sir John by launching ‘Songs and Rhymes for children’ sung Barbirolli Prize and the Thames Valley Young by Philip Langridge. Musicians’ Platform. At the RNCM, he led the Gurney String Quartet for four years whose performances included a live broadcast for a BBC Radio 3 Proms Composer Portrait of Lindberg’s Clarinet Quintet, together with appearances at © Jonathon McCree prestigious festivals including Huddersfield © Tom Bangbala © Tom Contemporary Music Festival, Ryedale Festival, St. regularly performs chamber music and recitals Endellion Music Festival and the RNCM Haydnfest, around the UK and is currently appearing as guest 20th Century Fest and Henze Festival. He now leader of the Edinburgh Quartet.

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Tristan has appeared as soloist with many the City of London Sinfonia, the Orchestra of St. In addition to performing, he pursues a busy orchestras across the country including a John’s Smith Square, the Northern Sinfonia, the teaching schedule and in January 2001, he was performance of the Britten Violin Concerto under Scottish Chamber Orchestra and the BBC Welsh appointed Head of School of Strings at the Royal Martyn Brabbins with the RNCM Symphony Symphony Orchestra. In 1995, he made his Northern College of Music. He has given Orchestra,Theme of CorelliTippett’s Fantasia Concertante on a American debut as soloist at Carnegie Hall, followed masterclasses at the Central Conservatory in with the RNCM String Orchestra, by an invitation to be guest concertmaster at the Beijing and at Tokyo Gedai, and in June last year broadcast on BBC Radio 3, and numerous Vivaldi Carmel Bach Festival in California. he conducted the Gedai Chamber Orchestra in the Concertos with Northern Sinfonia. He also enjoys final concert of their prestigious series. success as a guest leader of several orchestras As a conductor, Malcolm Layfield has performed at including Durham Sinfonia and St. Endellion numerous festivals throughout Europe, South Malcolm Layfield has been Artistic Director of Festival Orchestra (under Sir Richard Hickox). America and the Far East as well as performing in several important arts festivals, including the Figaro, manyfan tutte. successful performances with the Goldberg Strathclyde University Festival of Music, the Tristan plays a Ferdinand Gagliano Violin, very Festival Opera, including Mozart’s Marriage of Bowdon Festival and the Ribchester Festival of kindly on loan from Philip Langridge. and most recently, Cosi Music and Art. He has just completed ten very successful years as the Artistic Director of the Malcolm Layfield Ryedale Festival. In March 2001 he directed the Goldberg Ensemble Since founding the Goldberg Ensemble in 1982, in its exiting new Contemporary Music Festival, in He plays a very fine Gennaro Gagliano violin Malcolm Layfield has become well known to Manchester, Wolverhampton and Leeds, which of 1768. audiences as its director and conductor. He has In addition to his work with the Goldberg was an acclaimed success and has now become appeared with the ensemble in concerts and on Ensemble, he is also leader of the London Bach firmly established in the new music season. He radio and television throughout the world and has Orchestra and has directed them in concerts at has recently conducted the Goldberg Ensemble in given many first performances of pieces written the Barbican and the Queen Elizabeth Hall and their first disc for Naxos of music by Nicola Le both for him and the ensemble, many of which throughout Europe. He has appeared as guest Fanu and more recordings are planned for the have been broadcast on BBC Radio 3. leader and soloist with many orchestras including coming season.

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David Owen Norris Gilmore International Keyboard Festival appointed American orchestras) the Philharmonia, the him the first Gilmore Artist, a quadrennial award. Academy of Ancient Music, and several of the David Owen Norris’s work is unusually varied. 2007 His subsequent international solo career has BBC’s orchestras, including three appearances at sees more performances of his Prayerbook, included concertos with the Chicago and Detroit : and solo recitals all over North America first performed in the English Music Festival last Symphony Orchestras and the Handel & Haydn and Australia, and in every European country from October, and the first performance of his radio-opera Society in Boston (amongst many other North Hungary westward. Pugwash Walks the Plank. He plays concertos on fortepiano in Toronto and Yale. He accompanies David Wilson-Johnson in premiere broadcasts of StravinskyConcerto, songs, and Sir John Tomlinson in . His 2007 CD releases include Richard Recorded in the Concert Hall, Manchester University, UK, December 20 - 22 1999 Arnell’s Piano Concerto, Joseph Horowitz’s Jazz Engineer - Geoff Miles English viola music, Roger Quilter’s Producer & Editor - John H. West piano music and Walter Scott songs. Front cover picture - Triumphal Arches, Vauxhall Gardens Artist, Samuel Wale, Engraver, John Miller I © Queen’s Printer and Controller HMSO, 2007

David Owen Norris is an Honorary Fellow of Keble © Suzie Maeder UK Government Art Collection College, Oxford, and an Educational Fellow of the Design and Artwork - Woven Design www.wovendesign.co.uk Worshipful Company of Musicians. Gresham Professor of Music in London. He is

frequently heard as a radio broadcaster; his many P 2007 The copyright in this recording is owned by Signum Records Ltd. He was of Keble College, and left series have included The Works, But I know what I C 2007 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. 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 Oxford with a First and a Composition Scholarship like and All the Rage, and he presented the drive- 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, to study in London and Paris. He was Repetiteur at time show In Tune for several years. First and stored 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. the Royal Opera House, Harpist at the Royal foremost he is a , beginning as an SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] Shakespeare Company, Artistic Director of accompanist to such artists as Dame , Festivals in Cardiff and Petworth, Chairman of the Jean-Pierre Rampal, and Ernst www.signumrecords.com Steans Institute for Singers in Chicago, and the Kovacic. In 1991, after a worldwide search, the

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