MARK SIMPSON

PRISM Mark Simpson clarinet and basset clarinet Ian Buckle piano

Music by Gary Carpenter • Kenneth Hesketh • Gavin Higgins David Horne • Emily Howard • Patrick Nunn • Stephen Pratt Mark Simpson • Mark-Anthony Turnage 1 GARY CARPENTER MARKING TIME 8’36 PRISM for basset clarinet and piano Mark Simpson clarinet and basset clarinet 2 KENNETH HESKETH POINT FORMS (after Kandinsky) 11’35 Ian Buckle piano for basset clarinet and piano

GAVIN HIGGINS THREE BROKEN LOVE SONGS 12’24 for basset clarinet and piano 3 ‘...Two bottles of wine later...’ 4’18 4 ‘Three’s a crowd’ 3’57 5 Love Hurts 4’09

6 EMILY HOWARD MASQUERADE 6’03 for basset clarinet and piano

7 DAVID HORNE CHIME 9’40 for basset clarinet and piano

8 PATRICK NUNN PRISM 8’27 for basset clarinet and piano

STEPHEN PRATT SHORT SCORE 10’04 for clarinet and piano 9 I 3’01 10 II Playful, fast! 1’28 11 III 3’36 12 IV With abandon! 1’59 13 MARK SIMPSON LOV(ESCAPE) 3’42 for clarinet and piano

14 MARK-ANTHONY TURNAGE CRADLE SONG 3’28 for clarinet and piano

Total timing 74’51

3 Photo: David Lefeber PRISM: WORKS FOR CLARINET AND BASSET CLARINET NOTE BY MARK SIMPSON

The basset clarinet came into existence through the collaboration between players and musicologists rediscovering the original form of the Mozart Anton Stadler and Austrian clarinet maker Theodor Lotz. Together they Concerto for basset clarinet. In England, Alan Hacker – founder member of worked on a number of variations which extended the clarinet’s range by a the Fires of London – was at the forefront of this renaissance, with Antony major third to written low C (concert A below the C below middle C) though Pay. Later developing the instrument and performing editions for it. But despite this was then known as a ‘bass-clarinet’ rather than a ‘basset’; it was for this the enthusiasm for performances of Mozart’s Concerto and Quintet on the instrument that Mozart wrote his concerto and quintet. However, like many basset clarinet, there was little interest from contemporary composers and instruments developed and experimented with during the seventeenth and players in the commissioning of new music. A few works were written for it early eighteenth centuries the basset clarinet was to suffer under the hands of by Peter Maxwell Davies, Harrison Birtwistle and Antony Gilbert – plus a later codifying techniques which made for ease of playing and composing. With appearance in Thomas Adès’s Chamber Symphony Op.2, which began life the appearance of an article in the Allgemeine musikalische Zeitung in 1808 as a basset clarinet concerto. However, the attitude of many players towards by Christian Freidrich Michaelis clearly stating preferences for using B-flat the instrument, combined with the dearth of repertoire, saw history repeat and A clarinet instead of the then usual C clarinet, the choice of clarinet itself – and once again, the basset clarinet paled into the background. used in performance gradually became standardized, and the basset clarinet fell out of fashion; publishers would choose the versions most accessible to players, and thus most likely to be performed. This eventually led to its rapid When I was asked to perform Mozart’s Clarinet Concerto in 2008 with the demise in the early nineteenth century. Royal Liverpool Philharmonic Orchestra, it was expected that I would play the work on a modern-day basset clarinet: this much had been achieved by the These factors, along with the loss of the original manuscript of Mozart’s 60s revival. Having purchased one and used it in performance, I wasn’t Clarinet Concerto, and its subsequent publication for soprano clarinet in A, happy to leave it sat idly gathering dust in its case. In my eyes the basset prevented the proliferation of the use of the basset clarinet throughout clarinet is an exciting enhancement of the standard soprano clarinet, and its Europe during the last decades of the eighteenth century. The instrument lay logical development: its lower range gives it a subtler and richer sonority than dormant for nearly two centuries until its revival in the 1960s and 70s by the soprano clarinet.

4 5 GARY CARPENTER MARKING TIME

Marking Time was first performed by Mark Simpson The works on this disc are a culmination of five years of actively working with and David Horne at the Wales Millennium Centre, and commissioning composers. My aim during this period was to develop the Cardiff on 11 May 2008, and commissioned by the repertoire for the basset clarinet, and also provide a platform for composers BBC Performing Arts Fund. in whose work I was interested and believed in; I was able to develop these It was written for Mark Simpson’s guest performance Carpenter Photo: Lydia relationships through the opportunities that followed my winning BBC Young as the outgoing BBC Young Musician of the Year in GARY CARPENTER studied Musician of the Year in 2006. The pioneering work of the RLPO’s Ensemble 2008: this slot traditionally ‘marks the time’ between composition with John Lambert at the Royal College of Music. He has lived 10:10 in Liverpool introduced me to most, if not all of the composers featured the final performances and the announcement of the in Holland and Germany and has on this disc. results – the time when performances are marked. So written music-theatre, and ballets as I was mindful of the conflicting thoughts going well as much concert music. Arranger- through the competitors’ minds, and the degree to orchestrator on stage shows and films In 1809 Spohr wrote the following in the Introduction to the first edition of his – including the original Wicker Man – which lives would be transformed a few minutes Op.26 C minor Concerto for Clarinet. It seems a fitting tribute to an he won the British Clavichord Society hence. Composition Competition in 2004 and instrument strangely experiencing its second renaissance today, and has a 2006 British Composer Award with resonances for the future of basset clarinet repertoire: Transitions are at the heart of Marking Time. Azaleas. His CD Die Flimmerkiste has Composers may get from section to section by been released by NMC. gradual transformation or (in my case at least) direct “I want to finish with some remarks that show my wish to give such a Recent works include 1,000,000 Tiny ‘jump cut’. I was therefore fascinated by a transition Operas About Britain (2010), Closing beautiful instrument additional attention. This will only happen if our strategy employed by Bruckner in his Symphony Time (2008), and Doubles for oboe, great composers, as is already happening, give it constant attention, No.2: silence. It wasn’t the silence per se that held clarinet and wind orchestra (2009), with Fred and Ginger (LSO/ Daniel time and diligence, and give players good concertos and other solos; my imagination, but the stasis; and this finds its way Harding) and a Bassoon Concerto but it would also increase the possibilities even more (especially for into Marking Time, in the form of the sustained single (RLPO/ Vasily Petrenko) in 2011. amateurs) if they use it more often as an instrument for accompaniment, notes that permeate it – both within the texture and at Gary is Visiting Professor in especially with the piano, than has been the case up to now.” key transitional moments – as it moves from unstable Composition at the Royal Northern to, finally, stable. College of Music and a professor of composition at the Royal Academy of © 2011 Mark Simpson GC Music.

6 7 KENNETH HESKETH POINT FORMS GAVIN HIGGINS THREE BROKEN LOVE SONGS

Point forms was suggested by a group of five I ‘...Three Bottles of Wine Later...’ Born in Gloucestershire in 1983, GAVIN diagrams found in Wassily Kandinsky’s book Point and II ‘Three’s a Crowd’ HIGGINS grew up in the Forest of Dean, beginning his musical life in the local brass Line to Plane. Many explanations of the geometric III Love Hurts band. Gavin studied at Chethams School of shapes, including Kandinsky’s use of the words Music, the Royal Northern College of Music Three Broken Love Songs is a set of three vividly ‘stippled’, ‘sprayed’ and ‘compact’ suggested musical and the Royal College of Music (supported contrasting pieces that are linked dramatically, ways to amass textures; line development and by the AHRC and Douglas and Hilda each exploring an alternative side to love. The Simmonds Awards) where his tutors manipulation, for example by the interleaving of one Photo: Mark McNulty work is, if you like, a journey through a failed included Gary Carpenter and Ken Hesketh. idea temporarily intertwined with a previous one, allow After studying at the Royal College of relationship: a modern day love story without the Gavin has written music for leading UK the form to determine its own organic development. Music, at Tanglewood (with Henri fairytale ending. orchestras and ensembles: his works Dutilleux) and the University of include Rage Dances for members of the In writing for the specific quality of the basset Michigan, KENNETH HESKETH was Three Broken Love Songs was commissioned by London Philharmonic Orchestra, Dancing at clarinet, which extends the pitch range of the normal awarded a scholarship from the Mark Simpson, with the support of the RVW the Edge of Hell for the BBC Symphony A clarinet, the structure of the piece allows various Toepfer Foundation, Hamburg, at the Orchestra and While Time Quietly Kills Trust. timbres and extended effects to come to prominence behest of Sir Simon Rattle. He was Them for the Camerata. Other New Music Fellow at Kettle’s Yard, commissions include Urban Fairy Tales as mood and momentum change. Static or forward- Cambridge (2003-5) and PRSF/ RPS GH (performed at the Cadogan Hall), Fanfares moving, playful, aggressive or wailing, the musical Composer in the House with the Royal and Love Songs written for the National narrative seeks through abstract paths to Liverpool Philharmonic Orchestra Children’s Band of Great Britain, and the communicate an ‘inner beauty’ as well as ‘inner (2007-9). ballet Jeremiah, performed by the Rambert Dance Company at the Royal Opera Hesketh has received commissions and necessity’. Processes in the work are often varied as House’s Linbury Theatre. they are repeated, in a single line or between the performances from leading interpreters including the Sudwest Rundfunk, the Gavin is the inaugural Music Fellow to the two performers, echoing Kandinsky’s proposition that RLPO, the BBC Philharmonic, the Rambert Dance Company and his works ‘forces coming from without, which transform the , Psappha, Ensemble have been published by Faber Music. point into a line, can be very diverse indeed.’ intercontemporain, the ASKO Current projects include works for the ensemble, and conductors Simon Fidelio Trio, Flotilla Saxophone Quartet (for Point forms was commissioned by the Rushworth Trust, Rattle, Oliver Knussen, Susanna Malkki the Cheltenham Music Festival) and a new and is dedicated with affection to Mark Simpson. and Vasily Petrenko. He is currently a Rambert ballet as part of New Music professor at the RCM and honorary 20x12. KH professor at Liverpool University.

8 9 EMILY HOWARD MASQUERADE DAVID HORNE CHIME

Masquerade takes its name from a small cabaret EMILY HOWARD is a UK-based composer Chime was written for Mark Simpson in 2009 and bar in Liverpool, and I like to think of the piece whose music has been described as explores the quieter side of the duo between basset ‘relishing orchestral colour in the way the as being a brief glimpse into the dramatic and best contemporary Nordic composers do’ clarinet and piano. The entire work stems from the colourful world of Liverpool drag queens, as well by The Telegraph, as well as ‘at once chord heard at the outset, and while not concerned as being a nod towards my TV namesake Emily sensuous and austere’ by BBC Music with spectral ideas per se, various harmonic ideas Howard. Masquerade is scored for basset Magazine. are based around the overtones of the clarinet, which clarinet and piano, and is dedicated to Mark Emily was born in Liverpool and retains is mostly playing in the lower register. Predominantly strong links with the city. Magnetite,

Simpson. calm, the work lasts seven minutes. Stirnweiss Photo: P. commissioned by Liverpool European Capital of Culture 2008 for the Royal EH DH DAVID HORNE is a Scottish-born Liverpool Philharmonic and conducted by composer who captured attention in Vasily Petrenko, opened the RLPO’s Capital his late teens with an impressive of Culture season to great acclaim. Emily is series of chamber ensemble works. Honorary Research Fellow in Composition After studying composition in the USA at Liverpool Hope University. he returned to live in the UK. Horne’s Recent works include Wild Clematis in music shows flair for rapid figuration, Winter for The NMC Songbook, Songs clarity of expression, and idiomatic from Dickens (Loré Lixenberg / Gerald instrumentation, within a classical Davidson / The Fidelio Trio) and a UBS modernist aesthetic. Works commission Solar for the London Symphony commissioned by leading soloists Orchestra and Nicholas Collon. Emily is including percussionist Evelyn currently working on Zátopek!, a chamber Glennie, violist Nobuko Imai, and opera inspired by legendary Czech pianist Boris Berezowsky. His works Olympian Emil Zátopek, commissioned by have been performed by leading New Music 20x12 as part of the 2012 groups including BBC Symphony Cultural Olympiad. Orchestra and the Nash Ensemble. Horne is an accomplished pianist, Emily teaches composition at the RNCM. and made his Proms debut in 1990. She is the recipient of a Paul Hamlyn He was Composer in Residence with Foundation Award for Composers. Royal Liverpool Philharmonic

Photo: Kieran Morris / De Novo Arts www.emilyhoward.com Orchestra from 2000 until 2004.

10 11 PATRICK NUNN PRISM STEPHEN PRATT SHORT SCORE

Prism attempts to explore the concept of Short Score was requested by and written for Mark STEPHEN PRATT studied with Hugh ‘dispersion’ in a musical framework. In optics, a Simpson. The piece is in four short movements, which Wood for five years from 1971-75, as a postgraduate and later privately. prism can be used to break light up into its Photo: Nick Fallon reflect the traditional layout of a sonata. The first is Since composing Some of their constituent spectrum of colours. In a similar characterised by clarinet arabesques, which once or Number for the RLPO and Simon manner, this work explores the combinations, PATRICK NUNN (born 1969) studied with twice stray into the piano; the second is a brief Rattle in 1980, he has enjoyed strong Frank Denyer at Dartington College of Arts, scherzo, which begins and ends in with the lowest links with the orchestra, including his interactions and eventually the dispersion of Gary Carpenter at the Royal Welsh College large two-part choral work for the groups of pitches. of Music & Drama and with Simon note of the instrument; the third, a somewhat restless RLPO and RLPC with I Fagiolini, Bainbridge and Jonathan Harvey during slow movement; and the final movement, marked Uneasy Vespers (1991 and 2008), a The material is constructed from four pitch sets his PhD in composition at the Royal with abandon, brings things to a brisk conclusion, violin concerto which was premiered (one from the harmonic series and three derived Academy of Music (funded partly by a hinting at moments from the three previous movements by Anthony Marwood in 2003, and from compressing the original harmonic series PRSF Scholarship). the song cycle Lovebytes (shortlisted along the way. for a British Composers Award by the He has been the recipient of awards through different spectral distortions). For the sake British Academy of Composers and including the BBC Radio 3 Composing for of practicality, the microtonal pitches are rounded SP Songwriters in 2004 and Children prize for Songs of our Generation subsequently recorded by Claire to their nearest tempered pitch. (1995), a British Composer Award for Booth). The work is the title track of a Mercurial Sparks, Volatile Shadows (2006) CD which also includes his Violin At the outset, the combination of the basic and the Birmingham New Millennium Concerto and Double Act (2006). material is tight and shifts rapidly from one Composition award for Sentiment of an Since 2001 his work has been Invisible Omniscience (2010). His music, combination to another as if the components of published by edition hh. the light within the prism are dancing together. encompassing instrumental and electroacoustic, has been performed As the work progresses, the combinations begin throughout the UK and on the continent and to disperse and separate revealing more of their has featured at over fifty festivals worldwide. individual components. He has written for diverse collaborators including Thalia Myers, Piano Circus, Prism was shortlisted for the solo/duo category Icebreaker, Ballet Rambert, The Gogmagogs, in the British Composers Awards 2009 in and the New London Children’s Choir. association with BBC Radio 3. Patrick Nunn currently holds the position of Lecturer in Composition at the Royal PN Academy of Music.

12 13 MARK SIMPSON LOV(ESCAPE) MARK-ANTHONY TURNAGE CRADLE SONG

Lov(escape) was written for my semi-final recital Cradle Song is a slow, expressive song typical of MARK-ANTHONY TURNAGE Turnage’s late style, in which the power of the music (b. 1960) studied with Oliver Knussen at the BBC Young Musician of the Year and John Lambert in London and Competition 2006. The title refers to the lies in the subtle coloration of harmony, and Gunther Schuller in Tanglewood. His relationship between the two gestures that deceptively simple melodies. It was premiered in works skillfully blend classical and characterise the first idea; one is romantic, Oxford in the Holywell Music Room by Mark jazz idioms, modernism and tradition. yearning for love, whilst the other is more erratic Simpson and Vikingur Olafsson. Turnage has worked as Composer in and desperate to escape (hence the formation of Association with the City of Note by Mark Simpson Birmingham Symphony Orchestra, the title). English National Opera, and the BBC The first section sees a development of this idea, Symphony Orchestra; he currently holds residencies with London whilst the second section concentrates solely on Philharmonic Orchestra and Chicago the latter gesture, displaying the more virtuosic Symphony Orchestra. Conductors of gestures of the clarinet – including screaming Turnage’s works include Simon Rattle, through the instrument, glissandos and flutter- Andrew Davis and Oliver Knussen; he has collaborated with jazz musicians tonguing. In the final section I try to reconcile the John Scofield, Peter Erskine and Joe differences between the two characters with Lovano, soloists Evelyn Glennie, virtuosic swoops from the clarinet and piano, Christian Lindberg and Yuri Bashmet, ending in a frantic struggle between the two. and Ensemble Modern, London Sinfonietta and the Nash Ensemble. Photo: Sussie Ahlburg MS His opera for the Royal Opera House Covent Garden, Anna Nicole, was premiered in 2011. His music is recorded on the Decca, Deutsche Grammophon, EMI, Chandos, LPO, Black Box, Onyx and NMC labels. Photo: Philip Gatward

14 15 MARK SIMPSON Last Night of in the and avoidance of stunts only Summer School in 2010, As concerto soloist, Ian has music, he has been the pianist clarinet Park, in Hyde Park. He has possible with genuine, 100 studying with Julian Anderson. appeared alongside in Ensemble 10:10 since its toured in the Middle East, and per cent talent”: it has since He is currently reading music conductors Carl Davis, Elgar inception in 1997, and his Mark Simpson was born in has performed in Denver, been performed by the at St Catherine’s College Howarth, Gerard Schwarz, piano duo with Richard Casey Liverpool in 1988. In 2006 Colorado as the Lakewood Chicago Symphony Oxford, and is principal Yan Pascal Tortelier and John specialises in music of the last he became the first ever Music Scholar, in Mecklenburg Orchestra’s new music conductor of the Oxford Wilson, with orchestras and current centuries. As an winner of both the BBC Young Vorpommern Festival, and in ensemble, Music NOW; and University Sinfonietta. Musician of the year and BBC including the Royal accompanist he is in constant Bonn’s Beethovenfest. he is currently working on a Proms/Guardian Young Philharmonic, Opera North, demand, performing and new 10:10 commission. Sinfonia Viva, the Manchester recording with singers and Composer of the Year Mark is deeply committed to IAN BUCKLE Concert Orchestra and the instrumentalists throughout the competitions. the performance of new The RLPO and Paul Daniel piano music, particularly for the premiered “A mirror- Royal Liverpool Philharmonic. U.K. and in Europe, recently He made his Wigmore Hall basset clarinet, and this disc fragment…”, an orchestral tone- His London debut came in appearing in the Beethovenfest debut at the age of 17 and sees the culmination of five poem based on the poetry of 1996 with a recital at in Bonn and the Festspiele has performed as a soloist with years’ work with composers Melanie Challenger, in 2008, Wigmore Hall and he has Mecklenburg with Mark many of the country’s leading developing new works for while Threads for Orchestra given recitals in numerous Simpson. ‘Larkin’s England’, a conductors and orchestras, clarinet and basset clarinet. was commissioned by the British festivals including programme of piano music including the RLPO with Vasily National Youth Orchestra of Buxton, Canterbury, Chester, and poetry devised by Ian, Petrenko, the Northern Sinfonia As a composer Mark, has Great Britain, and performed Harrogate, Lake District was performed in the 2010 under Yan Pascal Tortelier and worked with some of the UK’s by Vasily Petrenko in the Sage Summer Music, Lichfield, the Buxton Festival and repeated the BBC Philharmonic with leading orchestras and Gateshead, the Barbican and Ribble Valley International in Liverpool narrated by Roger Gianandrea Noseda, as well ensembles, particularly the Birmingham’s Symphony Hall. Piano Week and in the McGough, as well as in Leeds as the City of London Sinfonia, RLPO’s Ensemble 10:10, with Mark has had works performed Bridgewater Hall for with Sir Andrew Motion. Ian the Manning Camerata and whom he has had a long by the London Philharmonic Manchester Midday Concerts. regularly plays piano in the the BBC Concert Orchestra relationship: for them he has Orchestra and Psappha, and is RLPO, and teaches at the with Carl Davis. He has also written Nur Musik, for oboe Ian is a member of the piano- a member of the Philharmonia’s Universities of Leeds and appeared with Oxford and ensemble – premiered by and-woodwind ensemble Young Composers’ Academy in Liverpool. Philomusica and Cambridge Jonathan Small and conducted Zephyr, the Cerberus Trio (with partnership with the RPS. Philharmonic Orchestras, by Clark Rundell – and Septet, Ian Buckle enjoys a varied clarinet and cello); and the Recent CD recordings include performing Magnus Lindberg’s which The Times described as In 2008 he spent six months in freelance career, working as Elysian Horn Trio, formed the Grieg Concerto and a Clarinet Concerto, and in ‘two tautly worked movements Berlin, where he studied with soloist, accompanist, chamber whilst students at the Royal programme of transcriptions 2008 he appeared as ... locked together with the Unsuk Chin; he attended the musician, orchestral pianist Northern College of Music. for cello and piano with concerto soloist in the BBC’s kind of musicality, panache Dartington International and teacher. Committed to contemporary Jonathan Aasgaard.

16 17 THERE ARE FOUR NMC FRIENDS The works on this disc were recorded on 9-11 August 2010 LEVELS OF SUPPORT: This CD was recorded in the Capstone Building of Liverpool at the Capstone Building, Liverpool Hope University. Friend £50 (£20 concession) (12 months) Set up as a registered charity in 1989, NMC Hope University. It celebrates the long standing friendship Producer and Engineer DAVID LEFEBER Recordings is devoted to the promotion and Advance notice to purchase new releases between Mark Simpson and Hope’s Professor Stephen Pratt, Digital Editing DAVID LEFEBER • Quarterly newsletter by post or email preservation of Britain’s musical heritage through who was Mark’s first composition teacher, and the major • Executive Producer COLIN MATTHEWS • Invitations to events including CD launches acclaimed recordings of music by the best of partnership between Liverpool Hope and the Royal Liverpool today’s composers, performed and recorded to the Philharmonic Orchestra, with whom pianist Ian Buckle is a Cover Image and graphic design FRANÇOIS HALL Benefactor £100 (12 months) highest standards. Prism by Patrick Nunn and Marking Time by Gary Carpenter are As above plus ... frequent player. • With our major core grant from the Holst published by Cadenza Music. 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