2016/17 Media Pack

Home , Cambise (opera), Mitridate Eupatore, Telemaco (Scarlatti)

2016/17 MEDIA PACK

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Handelian experts e ric r ichmond Adrian Horsewood speaks to the BROOK STREET BAND about their undiminished enthusiasm for the music of Britain’s best-loved German musical import

pon meeting the Brook Street sense, a task begun a decade ago: the the help of the keen ears of sound Band, one quickly learns that Band’s second CD was of the Op. 5 engineer Simon Fox-Gál, who has there are two things more collection of trio sonatas, and they produced all of the Band’s CDs; he’s dear to their collective hearts released the Op. 2 set in 2013). clearly now an important part of the Uthan nearly anything else. The first, As we sat outside on some of the gang, which only adds to the openness quite naturally, is the music of Georg gravestones, basking in the late summer and good nature of the sessions). From Frideric Handel — the group takes its Norfolk sunshine, Theo talks me time to time the discussion between name from the address of the through the background to the pieces takes grows fairly animated and composer’s main London residence — they’re tackling. ‘It’s all music from fairly opinions are insistently put across, but which has been the bedrock of the early in Handel’s career, from Italy in it’s always focused, friendly, and firmly Band’s work since its founding in 1996. 1707 to his voyage to Dresden in 1719. music-orientated. Finally, the infelicities The second, slightly less expectedly, is He has such a reputation for being a are ironed out, the players loosen up, food: when I caught up with the Band it great “recycler’ of music — both his own and soon they’re all smiling, even in the was during their lunch break in the and other people’s — and if you love middle of some fiendish passages. middle of a day of recording, and after Handel as I do, it’s great fun to spot ‘We often come together for a tucking into one of the most sumptuous where the same material pops up in recording and consciously start with a Gothic revival inter-session spreads I’ve ever seen, different places! Some of what we’re clean slate, even if it’s a piece that we’ve GOTHIC VOICES made headlines in the 1980s with one of the best-selling classical most of our conversation strands seemed recording this time turns up in the later played hundreds of times before,’ to turn themselves back towards the trio sonatas and even in an organ remarks Theo in the next break. ‘We’ve albums of all time, but they’ve never rested on their laurels, as Edward Breen discovers topic of cooking, or ingredients, or concerto.’ played together so much and for so long picnics … If this sounds flippant, there is a more he re-emergence of Gothic of partially texted or completely through descriptions of music-making in serious side to this observation; namely, We’ve played together so much and for so long Voices earlier this year proved un-texted musical lines in manuscript medieval romances and with Gothic that such a lively shared interest — that we know what every gesture, every breath, just the tonic for those of us sources and was further justified by the Voices realized his findings through a ‘Food is important to us!’ laughs Tatty mourning the retirement of the inability of many pre-early music revival series of sensational albums. It is worth Theo, the Band’s cellist and founding every raised eyebrow means THilliard Ensemble. Considering that both performers to sing with clarity of revisiting some key tracks here: member — has helped to create a strong produced chart-topping discs featuring ensemble. Medieval music was therefore bond between the members of the medieval music – itself no mean feat – presented horizontally: a woven fabric of Columba aspexit group. This, allied to the relatively stable After the extended lunch break, the that we know what every gesture, every there is a pleasing symmetry to such a melodies each demanding aural A feather on the breath of God: Sequences and line-up of the Band — harpsichordist Band launches into a fresh piece, a breath, every raised eyebrow means! In recalibration of the medieval vocal scene. delineation. Richard Rastall once Hymns by Saint Hildegard of Bingen Carolyn Gibley joined in 1999, violinist sonata in B flat, the fiery semiquavers of fact, we don’t even always rehearse a Gothic Voices enjoy a well-earned memorably dubbed this the ‘crumhorn- Hyperion CDA66039 (1981) Farran Scott not long after, while fellow the outer movements serving to shake programme on the day of a performance reputation as trailblazers in performance with-everything’ approach. Commissioned by Ted Perry of Hyperion violinist Rachel Harris was also there at off any post-prandial torpor. It’s clear — we’re happy to take things as they practice, having recorded over 300 pieces During the 1970s a combination of Records after hearing an early Gothic the beginning with Theo but took a that spontaneity and fresh thinking are come in the concert and respond in the of music each with exquisite musicological research and deft singing Voices broadcast, this album proved a temporary sabbatical a few years ago — crucial to its way of working as, after a spur of the moment to a different thoughtfulness, precision and poignancy. disrupted that status quo. Notably, huge success. The combination of means that the group has a close-knit, couple of complete takes, the four phrasing here or a change in articulation Such collective history is neatly Andrew Parrott’s a cappella performance Hildegard’s melodic fluidity, Emma yet relaxed, dynamic, which is musicians stop for extended discussion there.’ encapsulated in their tag line: of Machaut’s Messe de Nostre Dame in the Kirkby’s soaring vocals and the mesmeric immediately clear when watching them and dissection in which each is happy The new disc will be released in 2016, ‘unaccompanied close medieval first York Early Music Festival (1977) sent effect of drones have kept this album at in action. both to offer and receive detailed to coincide with the culmination of the harmonies’, and for those unaware of ripples amongst scholars of medieval the top of Hyperion’s sales lists. The quartet had retired to their usual comments on stylistic and technical Band’s 20th anniversary season, an all- the musicology synonymous with this music. Christopher Page, the founder of venue of St Andrew’s church on the aspects. Harris remarks that the piece is Handel (of course) concert at the ensemble, allow me to indulge in a Gothic Voices, remembered how Parrott’s Rose, liz, pRintemps, Raveningham estate, 15 miles south-east clearly ‘the work of a composer writing Wigmore Hall featuring some of the quick recap. ‘dignity of conception, and the complete veRduRe of Norwich — all but one of their CDs keyboard lines for string instruments — group’s most popular and successful Until the late 1970s scholars of absence of triviality, gimmickry and The Mirror of Narcissus: Songs by Guillaume (all released by Avie Records) to date all the string figurations are the “wrong” repertoire. ‘Two of our longest-standing medieval music performance prescribed undue haste, left a profound impression’. de Machaut have been recorded there — to record way round for the bow!’ colleagues, soprano Nicki Kennedy and instrumental participation. For them, the Fuelled by this and other influences – Hyperion CDA66087 (1983) Handel trio sonatas that are not part of They start again, changing some bass-baritone Matthew Brook, will be notion that voices and instruments chiefly the no-compromise tuning of The impact of this disc cannot be collections published during the tempi, varying the character of repeated joining us for the cantata Apollo e Dafne, combined in polyphony – sacred and Musica Reservata (with whom he overestimated since Machaut’s music is composer’s lifetime (completing, in a sections, sorting out the balance (with and we’ll also be performing the  secular – explained the preponderance performed) – Page pursued the theory presented with immediacy and clarity. 

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in an ostensibly outgoing aria – “Go, love, and fly”.’ ALESSANDRO SCARLATTI TImELINE There has been much to get her teeth 1660 – ARTIST FOCUS into along the way, too.‘‘Torbido, irato e alessandro scarlatti is born on 2 may in nero’ from Erminia was composed for the Palermo, sicily; his parents are Pietro, a tenor, – 1672 Who’s the daddy? and eleonora. castrato Farinelli, who must have had Palermo suffers widespread famine, which DAVID WATKIN ELIZABETH WATTS is a soprano on a mission. Her goal? To bring the music of lungs of steel – trying to do that in a live forces the family to move to rome; Pietro is of Music museum, on loan from the Alessandro Scarlatti firmly back into the public consciousness.Adrian Horsewood hears broadcast was a real challenge. I known to have died by this point. the castrato Fleming Trust. remember just practising and practising marc antonio sportonio, who had stood as best Watkin was given permission to use the man at the wedding of alessandro’s parents, first-hand about her quest this one particular long run – eventually 1678 – original Amati to record the sixth suite. It

takes responsibility for his musical education. RESONUS LIMITED my neighbours all ended up knowing it scarlatti steadily makes a name for himself in is the only known example of this specific – it turned out to be the craziest – and I remember tweeting one day, roman musical life, and attracts the attention of form of instrument from the Cremona several notable patrons, including Queen workshops, dates from around 1605 and programme I’ve ever done in my life!’ “Good news: I can sing 88 notes without christina of sweden. on 12 april he marries It’s clear from our conversation that, a breath. Bad news: Scarlatti wrote 89”! antonia anzaloni; in december he is appointed belonged to Amaryllis Fleming, one of while the initial impetus came from But I got them all in when we recorded maestro di cappella at the church of san Watkin’s former teachers. Until she bought – 1683 Giacomo degli incurabili. m arco Borggreve Watts herself, this has been a it, and I’m happy to say that there’s although his first forays into opera are well it at auction it was an unrecognised ‘old collaborative enterprise throughout. nothing on that recording that I haven’t received in rome, scarlatti grows frustrated English’ small four-stringed instrument, ‘Laurence is just amazing – I love done live. with the limited opportunities available owing to with a fifth peg hole blanked off, but it working with him. He’s been so ‘I know there’s a school of thought Pope innocent Xi’s dislike of the genre. When was eventually re-attributed and restored. scarlatti is invited to succeed marc antonio Ziani supportive of my ideas, but never lets that you should breathe when you need as maestro di cappella in the viceregal chapel in As Watkin explains, ‘the Amati is unusual me get out of control! And I’ve been to breathe – but in a run like that, you Naples, a city with a flourishing opera scene, he in that it is kept in playable condition, but 1685 – very lucky to do this project with the just can’t do it without taking out a note. needs little persuasion. it is impossible to tell what kind of set-up alessandro and antonia have their sixth child, support of Harmonia Mundi and the And besides, I firmly believe that these domenico, on 26 october; he is later to gain it would have had originally.’ Bach writes English Concert, too.’ long runs were an integral part of the fame as a composer of keyboard sonatas, and for such a cello in only in a handful of – 1688 serves in the royal courts of Portugal and spain. The recording is a thrilling overview spectacle that brought people to the scarlatti is approached by Ferdinando cantatas and the sixth suite, but Watkin of Scarlatti’s output, containing arias opera, so that they could watch and hear de’ medici, prince of tuscany and a generous feels the benefits of its more sympathetic from early, mature and late works and singers performing these flashy, patron of the arts, to set a libretto of his to be resonance and new timbres. ‘The Prelude, 1690 – performed in Florence. taking in the different genres of opera, breathtaking feats of virtuosity.’ scarlatti composes the opera La Statira, to a for example, needs the five strings for it to cantata, oratorio and serenata. ‘I thought Now that the fruits of this project are libretto by cardinal Pietro ottoboni, grand- work organically.’ it would be really exciting to mix things about to see the light of day, Watts is nephew of the then pope, alexander Viii; Using the Amati was ‘a bit tricky up,’ says Watts. ‘There are arias from the already looking ahead to future musical scarlatti will go on to set nearly 30 libretti by logistically, as I’m based in Scotland. But the cardinal or members of his family during his whenever I was in London I would pop big operas – we included three from exploration. ‘I’ve got an idea in mind for lifetime. the success of La Statira in rome, Mitridate Eupatore, because it is the opera another disc, based around the life and combined with his work for the medici family, in and practise for a couple of hours – that everyone goes on about as being career of a particular singer and works leads scarlatti to fall out of love with Naples and and it is in great working order. When it – 1702 begin to look for a way to leave the city. Scarlatti’s masterpiece but which has no that were written for her – but I haven’t after overstaying several leaves of absence came to making the recording, I was able modern recording – but also some started properly researching that one granted by the Viceroy of Naples, scarlatti Placing music within its context has always organised sessions of live music and to take it away for a couple of weeks.’ For beautiful miniatures in there. One little yet, so I’m keeping it under wraps for eventually moves back to rome, where been hugely important to David Watkin: as baroque dance to appreciate ‘the the other five suites, Watkin used a ottoboni secures for him a number of church gem was “Io non son di quei campioni” now!’ 1706 – a member of the Eroica Quartet, he made embodiment or feel of the music. It’s like Rugieri cello, made in Cremona around positions. from La Statira, which only takes up half scarlatti is admitted to the accademia degli recordings in ‘period style’; as a solo cellist, trying to teach someone in a salsa band’, 1670, ‘perhaps even from the same piece a page in the score, but it’s absolutely Scarlatti: Arias will be released by arcardi, along with arcangelo corelli; his he performed Bach by the font at Eisenach he explains. ‘You first have to know how of wood as the Amati.’ Choosing the right citation acclaims him as a ‘distinguished master lizabeth Watts is a performer singers start out with – but when I sang beautiful. It’s also hilarious, because it’s Harmonia Mundi USA in October 2015; – 1707 where Bach was baptised. the rhythms feel in order to dance.’ venue for the recording was another of music’ and ‘professor of poetry’. with eclectic tastes, her concerts through the aria I thought, “This is slow and gentle, but the words basically turn to page 48 to read a review. after finding rome stifling to his composition for But Watkin’s most recent recording Although he talks of his relationship important decision: ‘I wanted a building ranging over Bach to Strauss via really good! There must be more good say, “I don’t care about going to war or a second time, scarlatti visits Venice (where his project, his interpretation of Bach’s six with Bach’s music over the years as with lots of wood – stone surroundings greatest opera, Mitridate Eupatore, is badly Gilbert and Sullivan during the music out there.” running around making noise or falling received; the oratorio Cain, ovvero il primo cello suites, presented him with a hard ‘growing in an organic way, in fits and give you a completely different acoustic,’ Esummer of 2015 alone, and when we ‘I tucked that idea at the back of my in love: I only care about money”!’ omicidio is also premiered there) and urbino decision. ‘For a long time I didn’t want to starts,’ it is clear that a number of things he explains. ‘The Robin Chapel in meet she’s bursting with excitement to mind until a few years later, when I was This immersion in Scarlatti’s music has before returning to Naples in late 1708. operas make a ”definitive version”– I wanted to have maintained his constant interest. Edinburgh was ideal.’ talk about the subject of her newest preparing for a Wigmore Hall recital been nothing but a labour of love for written during this period include Il Tigrane, continue to update my thoughts. Then ‘Hearing Anner Bylsma’s recording of Watkin is careful to point out that Scipione nelle Spagne and the hugely successful recording, a composer whom she’s with the English Concert and Laurence Watts, who has relished spending hours 1718 – Resonus Classics asked me about the Bach the Suites made me want to buy a although recording the suites was an Telemaco. determined to bring back into audiences’ Cummings, and thought that I could with facsimiles and scores, working to scarlatti moves back to rome for three years, and I realised I shouldn’t be afraid: I’ve baroque cello, and as a stroppy teenager, important project, ‘seen next to Bach’s awarenesses. maybe have another look into Scarlatti’s bring this forgotten music back to life. where some of his late masterpieces are been playing the suites for 40 years!’ I was completely obsessed with Bach. great output they are just one little line in premiered, including La Griselda, Marco Attilio – 1723 Grove’s worklist, six little dance suites…! ‘Back in 2004 or 2005, when I was at music. I started to go through all the ‘It’s so wonderful when you start with a Regolo and Il Cambise. Watkin’s recording was his first release Then when I went to Cambridge, I met music college, I was looking for a piece scores the Westminster Music Library in piano score of an aria and have no idea one of scarlatti’s last works, the serenata on Resonus but his last as a cellist; the John Butt who was doing his PhD For me it was about getting deep into Erminia, is performed at the wedding of the of music to sing that was spunky but London had, and came up with quite a of what it really is, and then you 1725 – onset of scleroderma meant that he had research into articulation in Bach’s what they are about, but without losing Prince of stigliano. less well known. My teacher suggested bit of stuff for the Wigmore. discover what an exquisite piece you scarlatti dies in Naples on 22 october, and is to stop playing in 2014, but as he says, music.’ Taking part in John Eliot that perspective either.’ an aria by Alessandro Scarlatti - “Ergiti, ‘Then the idea of a recording came up, have in your hands. “Ergiti, Amor”, the buried in santa maria di montesanto. ‘I’ve always been a musician first and a Gardiner’s Bach cantata pilgrimage, CORIANDER STUTTARD cardinal ottoboni pays tribute to scarlatti Amor” from Scipione - which she said so I did another round of looking at stuff aria that started it all off for me, turned on the tombstone, calling him a cellist second.’ It is this musicianship Watkin had the opportunity to try out a would suit me. Now, I’d heard of him – with Laurence and we put the disc out to be scored for obbligato lute and ‘supreme musical innovator’ and that has energised Watkin and given him copy of a five-string cello by the Amati A longer version of this article originally he appears in that ubiquitous Schirmer together. We also performed it all live on continuo only, which was absolutely ‘most dear to aristocrats and monarchs’. a passion for the world of historical brothers, the original of which is appeared in the Rhinegold Strings alessandro scarlatti volume of Arie antiche that so many the radio the week before the recording fascinating, having such a quiet dynamic performance. He has, for example, currently housed in the Royal Academy Supplement 2015.

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and a Palestrina-centric programme, first Tallis Scholars recording.’ Mozart symphonies and I didn’t like them Musica della Cappella Sistina – which seem After graduating from Cambridge, and either because I was too wedded to Karl to have the strongest claim to a Carwood- his choral scholarship at St John’s under Böhm and the Berlin Philharmonic.’ catalyst. Guest, Carwood took up a lay clerk But there was more to it than So, to mark the passing of their first position at Christ Church Cathedral, dissatisfaction with prevailing The changing face quarter century, I went to visit Andrew Oxford where he began to work with performances. Carwood was inspired by Carwood at St Paul’s Cathedral in London David Skinner on a liturgical the sound of St John’s under George Guest – where he is the first non-organist to hold reconstruction of Taverner’s Missa Mater and became increasingly interested in the post of choirmaster since the 12th Christi to be recorded under Stephen founding an early music group to reflect century – and asked him to tell me a little Darlington. It was out of this musical their style: ‘A more visceral, less perfect, of higher education about the origins of The Cardinall’s partnership that The Cardinall’s Musick more emotional approach to music- Musick and their sound, and his own Rhian Morgan explores the changing identity of early music in university and influences in early music. conservatoire departments ‘The biggest influence on me was my An audience should feel that they’ve made first choirmaster – I mean we wouldn’t be friends with everyone on the platform by the sitting here today if it wasn’t for what he epartment of early music? Or Jane Booth, a specialist in the early an excellent example of how a did.’ Fred Goodwin was a founding end of the concert. That they know their department of historical clarinet and chalumeau as well as head of historically informed performance can member of The Clerks of Oxenford and as voices – which ones they like, who does high, performance? When it comes historical performance at GSMD, believes shed light on misconceptions which a result Carwood heard their records. He who does low, who has what colour to choosing a university, does the current position has evolved over the have arisen from nineteenth-century also remembers George Guest at Dit really matter how a music department past few decades: ‘We certainly used to practice. St John’s College, Cambridge as, styles itself? Can a potential student read call them early music departments,’ she ‘Schumann has long been considered a ‘absolutely phenomenal … the most was born. ‘It was very much a product of making. It seemed to me, with the anything into the name or expect to find says, ‘with the focus on music which was poor orchestrator,’ he says, ‘but when we astonishing musician! He cultivated this that and the fact that my ideas were exception of The Taverner Consort, that any major differences between these two earlier than standard. Now it’s a more came to perform a Schumann symphony boys’ sound – we used to call it starting to develop on performance style, most of the choirs out there were doing kinds of departments? There is a definite varied approach, with departments we found that the balance – which is what “continental”, not very usefully, to and I was not happy with two recordings: the King’s College, Cambridge thing – distinction between the two, believes recognising that there is a difference is often criticised – was improved simply distinguish from the King’s tone – a much there was The Tallis Scholars’ Byrd, which their perfect crystalline, slightly white Peter Collyer, who teaches at both the between the traditional approach and by using period instruments. There was a more exciting, lively sound. I’d already I’d listened to often and didn’t like … and sound.’ Carwood describes the first track Guildhall School of Music and Drama looking at the context of a piece before clearer sound, less clouding.’ So by been exposed to that when I bought my I’d got some of Christopher Hogwood’s of the Tallis Responds as recorded by (GSMD) and at Trinity Laban performing it. It’s about interacting with attempting to recreate what was done at Conservatoire of Music & Dance, and the score rather than taking a word-for- the time, not simply playing the notes on specialises in baroque and classical viola. word approach.’ the page, many prejudices can be peeled For Collyer, as he tells his students, At GSMD, historical performance away and the resulting performance is far Dealers, Makers & Repairers in Good Modern & early music is, ‘medieval and Renaissance, studies embrace a broad chronology from closer to what the composer intended. music with no continuous performing the Middle Ages to the early romantic All the London conservatoires have Baroque Violins, Violas, Cellos, Basses & Bows tradition’ while historical performance is period. The department has growing strong offerings in the early music/ the new buzzword to replace the associations with the Academy of Ancient historical performance area. At Trinity authentic instrument movement. Music and The Sixteen. Laban, instrumental and vocal students Expertise & knowledge led by a passion for sound Conservatoires and universities are Collyer, a former head of performance are urged to ‘explore the exciting increasingly moving towards the and early music studies at the University repertoire and extraordinary sound historical performance model – a of Southampton, worked on a major worlds opened up by historically description which perhaps implies a more research project looking at the historical informed interpretation,’ whether Skilful Repairs & Restorations research-led, contextual interpretation performance practice implications of performing on modern or period than simply the performance of early nineteenth- and early twentieth-century instruments. Optimal Sound adjustments music. string chamber music editions. He gives At the Royal College of Music’s historical performance department, Good selection of Violins, Violas, Cellos ensemble performance students flourish under Florilegium’s at gSMD Ashley Solomon. The college has a large Basses & Bows both Modern and Baroque collection of early keyboards as well as an extensive collection of manuscripts and early printed editions. At the Royal Academy of Music, where the violinist Margaret Faultless is head of BRIDGEWOOD & NEITZERT LTD historical performance, there are two baroque orchestras — one is a period 146 Stoke Newington Church St London N16 0JU instrument ensemble, the other a modern instrument group which performs in a style appropriate to its repertoire. Telephone 020 7249 9398 Following the successful Bach Cantata series on Sunday mornings, the academy

www.vivaceviolin.com [email protected] Ni NA L A rge is now planning to perform all

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www.earlymusictoday.com RHINEGOLD PUBLISHING RHINEGOLD MEDIA & EVENTS Early Music Today is published by Rhinegold Media & Events Ltd is an Rhinegold Publishing, a leading music and associate company of Rhinegold performing arts publisher that produces a Publishing Ltd, and specialises in live range of magazines, directories, supplements, events and digital media. guides, handbooks and teaching materials. Our events include Music Education Expo, now the UK’s largest conference and exhibition for WHY WORK WITH RHINEGOLD music education, and Rhinegold LIVE, a free PUBLISHING? concert series at London’s Conway Hall which One of the leading UK publishers for music aims to bring exceptional classical music to all and the performing arts in a relaxed and informal environment. A brand that has been built up over the past twenty years WHAT RHINEGOLD MEDIA & Reach all parts of the music sector: EVENTS CAN OFFER YOU » Industry professionals » Innovative sponsorship & branding » Competitions and venues opportunities » On-site advertising in programmes and » Educators and students showguides » Enthusiasts and specialist interest groups » Exhibition floor space with direct access » Suppliers to your target market » Multiple routes to market

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