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Nmc1xx-Skempton Long Rn 7/6/07 12:47 Page 1 NMC1xx-skempton long rn 7/6/07 12:47 Page 1 Howard Skempton Ben Somewhen Choral and chamber music BCMG• EXAUDI• James Weeks, conductor NMC1xx-skempton long rn 7/6/07 12:47 Page 2 Howard Skempton : Ben Somewhen Chamber Concerto 5’38 Birmingham Contemporary Music Group John Tattersdill, double bass 1 Con bravura 1’02 Flute/piccolo Marie-Christine Zupancic 2 Tempo giusto 1’23 Oboe Melinda Maxwell Clarinet Timothy Lines 3 Grazioso 1’47 Bassoon Andrew Barnell 4 Teneramente 1’26 Horn Andrew Antcliff Clarinet Quintet 8’43 Trumpet Jonathan Holland Trombone Duncan Wilson 5 Andante 3’00 Percussion Julian Warburton 6 Comodo 2’57 Piano Malcolm Wilson 7 Largo 2’44 Harp Céline Saout Violin 1 Marcus Barcham-Stevens 8 The Voice of the Spirits 7’30 Violin 2 Judith Templeman 9 The Bridge of Fire 7’04 Viola Christopher Yates Cello 1 Ulrich Heinen Suite from Delicate 18’12 Cello 2 Richard Jenkinson 10 Pulse 8’44 Double Bass John Tattersdill 11 Triangle I 2’53 EXAUDI 12 Easy 0’41 Soprano Juliet Fraser a • Julia Doyle a 13 Triangle II 1’30 Charlotte Mobbs d • Amanda Morrison c 14 Solo 3’30 Katie Trethewey c 15 Ending 0’48 Alto Ruth Massey a • Tom Williams a Polly May b • Anne Jones c 16 Roundels of the Year 7’15 Tenor Stephen Jeffes a • Jonathan Bungard a b c 17 Rise up, my love 8’35 Simon Wall • Thomas Herford Bass Jonathan Saunders a • Jimmy Holliday a 17 Rise up, my love 3’39 Gareth Dayus-Jones b • Tom Oldham c 18 How fair is thy love 1’47 19 My beloved is gone down 1’14 JAMES WEEKS conductor 20 How fair and how pleasant 1’54 photo: Clive Barda EXAUDI and Chamber Concerto a All choral tracks 21 Ben Somewhen 12’16 The line drawings in this booklet are by Ben Hartley (1933-1996), and have b The Voice of the Spirits, The Bridge of Fire, Roundels of the Year been included by kind permission of Bernard Samuels. More information about c The Bridge of Fire Total timing 76’08 the artist can be found at www.ben-hartley.co.uk d The Voice of the Spirits, Roundels of the Year 2 3 NMC1xx-skempton long rn 7/6/07 12:47 Page 4 Howard Skempton by James Weeks Widely celebrated as a master of the miniature, composer of dozens of tiny works for Yet this is Skempton’s terrain, and he inhabits it piano and for accordion of alluring simplicity and refinement, Howard Skempton’s without irony and without the backward glances renown has grown since the early 1990s and led him to embrace larger musical of nostalgia or conservatism. His compositional horizons: works for orchestra (including the popular Lento, recorded on NMC D005), roots lie in the British Experimental tradition that chamber ensembles and choirs. This disc presents the first major survey of grew up around his teacher Cornelius Cardew in Skempton’s larger-scale chamber and choral music, from the Roundels of the Year the 1960s and ’70s, a tradition of radical conceptualism (1992) to Ben Somewhen (2005). Together, the works recorded here exemplify the engaged in finding new ways of seeing, not merely new breadth of his art: the variety of his subjects and materials, the virtuosity of his things to see. In Skempton, familiar things are not craftsmanship, and the consistency of aesthetic vision that makes a Skempton piece as they might at first appear, for no-one has gone utterly unmistakable. further than he in searching within the familiar in order to find fresh truths: it is precisely this For all its transparency, Skempton’s music is highly subtle and frequently that defines the radicalism of his aesthetic. Real elusive. Newcomers to it are often puzzled by his notoriety, for at first illumination, he suggests, is to be sought and found hearing one is overwhelmed not by the music’s novelty but by its in what we think we know best of all. familiarity. A simple round, a folky dance tune, a sentimental air, a two- chord oompah accompaniment, a To reveal the familiar in a new light, Skempton (like a warm Romantic harmony that photographer) skilfully adjusts the angles of vision, showing us a side we had never would scarcely have caused really seen, a harmony previously overlooked, a fleeting texture to be caught and Brahms a raised eyebrow... all of explored, a quirk of melody that stands out when viewed from a new position. Like a it inherited, worn-out syntax, photographer, too, his art is essentially static, even when it describes motion: there is fodder perhaps for a television in all Skempton’s music the stillness of looking – repetition holding our gaze in the costume drama but surely not lyric moment. His is a music of close-ups, the tiniest detail shown in the sharpest focus for a serious composer? – hence the miniature scale of so much of his work, powerful in its economy. 4 5 NMC1xx-skempton long rn 7/6/07 12:47 Page 6 Hence too the fact that Skempton’s longer pieces are overarching spans. Yet one senses Skempton revelling, as ever, in the almost always strings of miniatures (Rise up, my love, challenge of so extreme a limitation, turning his material over and Suite from Delicate, Chamber Concerto, Clarinet over to reveal new facets and hold our fascination. Thus it is he is Quintet, Ben Somewhen) or miniatures-writ-large able in his choral music to remain true to the Romantic luxuriance (The Voice of the Spirits, Roundels of the Year, and English consonance of Shelley, Flecker and Drinkwater whilst The Bridge of Fire). The former are perhaps preserving his own experimentalist inclinations. easier to assimilate for the listener, their variety Skempton is no ironist: what is traditional, conventional, allowing each musical image to remain fresher in even child-like in his music is genuinely-felt and lovingly the mind; thus, for example, the four motivically- rendered. He challenges us to dismantle linked movements of the laconic Chamber Concerto, the barricades of our superficial sophistication and to hear these which vividly offset each other both instrumentally things which we have rejected or grown out of through new ears. and stylistically, running an eccentric though quite He confronts and absorbs notions of tradition, folk-art, popular typical gamut from Stravinskian tartness through guileless music and amateur and community music-making with melody to succulent Romanticism. honesty and candour as well as intellectual rigour and radical More demanding for the listener, but also more revealing of their creator, are the imagination. The pianist Ian Pace has written that miniatures-writ-large. Skempton’s choice of poetry in The Voice of the Spirits and ‘Skempton’s work does not present an (inevitably empty) The Bridge of Fire is characteristic, as is his respectful attention to the escape from reality, but rather a heightened perception of that most minute inflexions of metre, and to nuances of meaning which is real. It is music of one who is ever the optimist.’ and mood. Both pieces pursue a single, Skempton’s gentle, brave, optimistic music invites us to employ chordal texture throughout their length, both our keenest critical faculty and our most open heart. requiring a tour-de-force of both composer and performers to sustain their mighty © 2007 James Weeks 6 7 NMC1xx-skempton long rn 7/6/07 12:47 Page 8 Chamber Concerto Clarinet Quintet The Bridge of Fire For 15 players For clarinet and string quartet For SATB choir My Chamber Concerto was commissioned by movements. The second and third are clearly My Clarinet Quintet was commissioned by James Elroy Flecker died in 1915, aged the 1995 Brighton Festival for Cambridge related, but (as in many families) physical Warwick Arts Society with funds provided by thirty. He is perhaps best known to New Music Players. The title dates from a resemblance emphasises individuality. The West Midlands Arts. The first performance musicians as the writer of Hassan (Delius time when I intended to write a piece similar Chamber Concerto is my second piece written took place in the Royal Pump Room, wrote incidental music for the first in scale and character to Webern’s Concerto especially for Cambridge New Music Players. Leamington Spa in July 1997. production in 1923). The Bridge of Fire, written in 1906, is the title poem of Flecker’s Op.24. What emerged was somewhat The first was The Witches’ Wood dating from There are three movements: a subdued prelude, first published volume. The title came before different: four confidently independent 1990. HS an airy interlude, and a bluesy postlude. HS the poem, and according to a friend, once the Howard Skempton with BCMG title had been chosen, “[we] then debated the not unimportant question of what ‘The Bridge of Fire’ would be about. At midnight we parted, the question still unsettled. Flecker, however remarked cheerfully that it did not much matter – it was a jolly good title and he’d easily be able to think of a poem to suit it”. The Bridge of Fire is largely a vivid description of the many Gods of Heaven, the great and the good, the bad and the ugly; this setting deals only with the first and last of the poem’s six verses. It was first performed by the BBC Singers under Bo Holten in New York in May 2001. HS Recording the opening of the Chamber Concerto: Andrew Antcliff (horn) & Duncan Wilson (trombone) 8 9 NMC1xx-skempton long rn 7/6/07 12:47 Page 10 The Voice of the Spirits Suite from Delicate Roundels of the Year For SATB choir For two cellos and percussion For choir The text of this work is taken from Shelley’s This set of six pieces is extracted from 70 Roundels of the Year was commissioned by the epic poem Prometheus Unbound.
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