DOCSLIB.ORG

Album Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Album Booklet Elizabeth Maconchy Nicola LeFanu Giles Swayne RELATI ONSHIPS Malu Lin violin Giles Swayne piano Relationships Elizabeth Maconchy (1907–1994) Elizabeth Maconchy Violin Sonata No. 2 Music for Violin & Piano by Violin Sonata No. 1 1. Molto moderato [4:32] 14. Moderato [6:29] Elizabeth Maconchy, Nicola LeFanu & Giles Swayne 2. Allegro molto [2:54] 15. Allegro scherzando [1:33] 3. Lento, quasi recitavo [5:17] 16. Lento [5:12] 4. Presto [4:25] 17. Toccata: allegro molto [3:25] Nicola LeFanu (b.1947) Giles Swayne Malu Lin violin Abstracts and a Frame 18. Echo, Op. 78 [5:13] Giles Swayne piano 5. Tranquillo e lento [1:12] 6. Quaver = 126 [1:35] Giles Swayne 7. Poco esitando ... rapido [1:28] 19. Farewell, Op. 151 [4:14] 8. Molto moderato [1:35] 9. Calmo assoluto [1:32] 10. Quaver = 126 [2:03] Total playing me [75:56] 11. Molto lento [2:22] 12. Tranquillo e lento [1:17] Giles Swayne (b.1946) 13. Duo, Op. 20 [19:26] All world premiere recordings About Malu Lin & Giles Swayne: ‘Malu Lin could walk on air’ The Yorkshire Evening Press ‘Giles Swayne, pianist, composer and wit, is a naonal treasure and should be paid more aenon.’ The Strad Relaonships: Maconchy, LeFanu & Swayne and the inescapable influences of Webern and Messiaen (who taught Swayne). Relaonships is an album formed from the various strands of familial, personal Elizabeth Maconchy: Violin Sonata No. 2 and musical connecons between the Maconchy’s second sonata was composed composers and performers involved in it. in 1943, during the war years. The differences Elizabeth Maconchy, who died in 1994, was between this sonata and the first are marked: a cousin of Giles Swayne’s mother and a the youthful exuberance of her early works major influence on his musical development. has given way to a more searching and Nicola LeFanu is Elizabeth Maconchy’s troubled language – the ‘passionate daughter and Giles Swayne’s cousin (and argument’ that Maconchy herself described almost exact contemporary) and their as characterisc of her chamber music. This careers have many points of connecon sonata is perhaps less free and innovave – in 1968, for example, they both studied than the first, but it is more accomplished: at the Accademia Chigiana in Siena. concertante wring has given way to a Violinist Malu Lin is married to Giles confidently textured idiom, sharing musical Swayne, and studied with violinist ideas more equally between the players. Christopher Rowland, for whom Swayne composed his 1975 Duo. The first movement opens with a brooding and rhythmically ambiguous violin solo, The works span nine decades. Maconchy’s introducing the twisng chromac moves early Sonata No. 1 was wrien in 1927, which will underpin the whole sonata. The Swayne’s Farewell in July 2017. Listed slow introducon leads to a vigorous ‘Allegro’ chronologically, between these two come which is technically and expressively Maconchy’s Sonata No. 2 (1943), two demanding of both players. The ‘scherzo’ youthful works by LeFanu and Swayne which follows alternates simple and (1971 and 1975 respecvely), and a short compound metres, but its mood is dark and Swayne piece from 1996. So the programme almost sinister compared with the scherzo covers nearly a century of music for violin of the earlier sonata. The third movement, and piano, connecng the sound-worlds ‘Lento’, also has a disquiengly bier-sweet of Vaughan Williams (who taught Maconchy), quality, and its underlying modality is seldom Bartók and Janáček (who influenced free of dissonant inflecon. It leads without Maconchy), Petrassi (who taught LeFanu), a break into the last movement – a ‘Presto’ which takes up the moves and rhythms partner when we were at the Royal Academy Elizabeth Maconchy: Violin Sonata No. 1 Giles Swayne: Echo, Op. 78 of the previous movements and extends of Music in London. He went on to lead the them in a brilliant finale which binds Fitzwilliam Quartet, which recorded the Wrien in 1927 when she was a student of Echo was wrien in July 1997 in memory of together the whole work, bringing it to complete cycle of Shostakovich quartets Vaughan Williams (five years before her the composer Paul Reade, who had died in a quiet close in a slow coda, marked under that composer’s aegis, to internaonal first string quartet) this sonata is Maconchy’s May that year. It was first performed by ‘molto calmo’. acclaim. He died in 2007, greatly missed by first mature work. Several of her early pieces Malu Lin and myself at the Purcell Room, his many friends and students. had already aracted aenon; but none London on 9 December 1997. Nicola LeFanu: Abstracts and a Frame displays the remarkable originality of this Around that me there was wide speculaon piece, which heralds many characteriscs The piece is based on the four-note phrase The frame of the tle refers to the very about a series of underwater photographs of her later style. The harmonic idiom is which begins and ends my 1975 Duo (which simple, sll piece which opens and closes which purported to show the Loch Ness bold, emphasising tritones and unresolved I used to perform during the 1970s with the work. Within the frame are six monster. In an idle moment I doodled a dissonances; and she explores irregular violinist Christopher Rowland, who taught ‘abstracts’ – miniatures in size, though not series of diminishing loops represenng metre and cross-rhythms, creang a Malu Lin). At the end of Duo, the opening necessarily in scope. They are closely Nessie’s curves; and it struck me that this counterpoint of rhythms and lines. But the phrase (loud at the beginning) recurs as related, interacng and drawing on similar could be a model for a musical structure most striking and characterisc feature of a whisper on muted violin. This involves material, but presenng it in different which worked by compression rather the piece (as of all Maconchy’s mature pung on a mute for the last four notes; contexts. I imagined listening to this than elaboraon. This is how Duo was work) is its intensity of concentraon and I was interested in taking this idea and piece as being analogous to browsing in planned. I cheated in places, overlapping and of feeling. making a short piece which could either be an art gallery: our percepon of the some of the loops; and one loop got out a pendant to Duo or stand on its own – material changes as we alter our perspecve. of hand, creang a bulge near the The first movement has a striking theme which is what I did twenty-two years later. Abstracts and a Frame was composed in monster’s rear. The result is a with a prominent tritone, and culminates 1971 for Levon Chilingirian and Clifford single-movement piece which opens in in a violin cadenza which leads to a The violin remains muted throughout, except Benson, who commissioned it with funds wild extravagance, disintegrates into reflecve coda. The ‘Scherzo’ is very fast in the last two bars; so the process at the from the Arts Council. unsynchronised lunacy, and is then pared and rather grotesque; the ‘Lento’ develops end of Duo is here reversed. The four-note gradually away to a gentle ending. It is a connuously unwinding melodic strands, phrase has a fih note added; and this Giles Swayne: Duo, Op. 20 highly physical piece which makes massive which undergo metric transformaon to provides the material of the violin part, demands on the both performers. Because create great expressive variety. The which becomes increasingly detailed as Composed in November 1975, Duo was first of its free structure and the nature of its virtuoso finale is a light-hearted ‘moto it develops. Against this, the piano plays performed by Christopher Rowland and material, it had to be recorded in very perpetuo’ which acts as a perfect foil to a series of quiet chords derived from the Giles Swayne at the Arts Lab, Birmingham long secons, almost like a live the previous movements. original four-note phrase. This chord-sequence on 7 January 1976, and is dedicated to performance; so this recording comes recurs twelve mes, and is gradually slowed Christopher Rowland, who was my with warts and all. down, while the chords are thinned out from contemporary at university, and my duo eight notes to one. At this point, over long, bell-like notes in the bass, the piano takes the violin’s material and gradually compresses it, unl it is very quick. Meanwhile the violin plays a slowed-down version, and this collision between compression and expansion produces the piece’s brief and sudden climax. Giles Swayne: Farewell, Op. 151 This short piece was wrien in July 2017 in memory of a very dear friend who died in March that year. I imagined the violin as playing from within an all-embracing resonance (the piano sustaining pedal is held down throughout). We recorded the piece in an unusual way, feeding part of the violin output to the piano soundboard via speakers placed inside the instrument. The resulng mixture was subjected to electronic treatment, resulng in a heightened and almost supernatural violin sound. The piece has a floang feeling, because of the irregular division of nine quavers in each bar. The right hand of the piano plays a rocking minor third which climbs slowly up the keyboard from start to finish. The violin plays a melody derived from this; and the le hand of the piano plays a deep, low echo of the violin. © 2021 Giles Swayne & Nicola LeFanu Elizabeth Maconchy (1907–1994) Nicola LeFanu (b.1947) A disncve voice in Brish music of the Nicola LeFanu who is the daughter of tweneth century, Maconchy grew up in Elizabeth Maconchy, has composed around Ireland, came to London in 1923 to study a hundred works for a variety of mediums.
Load more

Recommended publications
  • Leonard Enns (B. 1948, Canada): Cello Sonata, 1St Movement Ben Bolt-Martin, Cello
    Program Leonard Enns (b. 1948, Canada): Cello sonata, 1st movement Ben Bolt-Martin, cello Frank Ferko (b. 1950, USA): Elegy from Stabat Mater Cher Farrell, soprano soloist John Estacio (b. 1966, Canada): Mrs. Deegan from Four Eulogies John Estacio: Ella Sunlight from Four Eulogies Melanie Van Der Sluis, soprano soloist John Tavener (b. 1944, England): Svyati Ben Bolt-Martin, cello James Rolfe (b. 1961, Canada): Come, lovely and soothing death ~~~intermission~~~ Giles Swayne (b. 1946, England): Magnificat Arvo Pärt (b. 1935, Estonia): Magnificat Arvo Pärt: Spiegel im Spiegel Sarah Flatt, piano Ben Bolt-Martin, cello Morten Lauridsen (b. 1943, USA): O magnum mysterium Leonard Enns: This amazing day Please join us for an informal reception following the concert. Notes & Texts (notes written by L. Enns) On November 21, 1998 the DaCapo Chamber Choir performed its first concert here at St John’s. As a fledgling 13-voice ensemble we presented a concert including Arvo Pärt’s landmark Magnificat, also on tonight’s program. Today we celebrate our tenth anniversary concert; we have presented over fifty performances in this time. My one word — to some sixty different singers who have been part of the choir over the decade, to our board members, to our generous supporters, and especially to our audience — is a heartfelt, humble, and grateful thanks! For this anniversary year we have planned the season by returning to basics by considering the four classical elements of our world: earth, water, fire & air. Earth — mother earth, that takes old leaves, fallen rotting apples, the stubble of the fields, as well as our spent lives, and turns all into the hope for, and reality of, new life; transmuting earth that receives life exhausted and births hope and celebration — this is the starting (and startling!) point of our concert season.
    [Show full text]
  • View/Download Liner Notes
    501Booklet 13/10/08 12:09 Page 1 Also AVAILABLE on signumclassics The Dream of Herod The Path of Miracles Allegri Miserere Music for Advent & Christmas Joby Talbot Tenebrae / Nigel Short Tenebrae / Nigel Short Tenebrae / Nigel Short SIGCD085 SIGCD078 SIGCD046 “...more polished choral singing would be “ I t ’s an interesting musical journey for “I really think we’re in a choral golden age at hard to find anywhere.” c o m p o s e r, perf o rmers and listeners alike.” the moment ... It’s beautifully sung, a BBC Music Magazine Classic FM w o n d e rful disc.” BBC Music Magazine Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 501Booklet 13/10/08 12:09 Page 3 Tenebrae has, in its short existence, made a fondness for strong pulse and vivacious rhythm Mother and child considerable impact with fresh and vital re - (which pervades his work generally) has also interpretations of classic works in the choral made him a natural and successful musical re p e rt o i re. On this new re c o rding, however, collaborator in dance. Seek him that maketh the innovatory and lesser-known repertoire is drawn seven stars is a setting of words from the book of 1. Seek him that maketh the seven stars Jonathan Dove [6.28] f rom contemporary sources, reflecting an Amos and from Psalm 139. The use of ostinati in e x p l o r a t o ry approach which places the gro u p the organ part, traversing sinuous vocal lines 2.
    [Show full text]
  • Download Booklet
    Magnificat 2 NEW TESTAMENT CANTICLES The texts known by their Latin opening words as Magnificat and Nunc Dimittis are among Herbert Howells (1892-1983) Herbert Sumsion (1899-1995) the most frequently sung words in Christian Magnificat & Nunc Dimittis Magnificat & Nunc Dimittis in G Collegium Regale 0 Magnificat [4.41] worship. In the Western Catholic Church, they 1 Magnificat [5.25] q Nunc Dimittis [2.40] are associated respectively with the evening 2 Nunc Dimittis [4.09] Francis Jackson (b. 1917) services of Vespers and Compline, the last two Giles Swayne (b. 1946) Evening Service in G of the seven daily ‘offices’ that mark the different 3 Magnificat I [4.09] w Magnificat [6.26] stages of the day in the monastic timetable; in e Nunc Dimittis [3.57] Sydney Watson (1903-1991) the Orthodox churches of the East, the Nunc Magnificat & Nunc Dimittis in E Arvo Pärt (b. 1935) Dimittis is sung towards the end of Vespers. 4 Magnificat [3.34] r Magnificat [8.22] When the sixteenth-century Church of 5 Nunc Dimittis [2.43] Julian Anderson (b. 1967) England simplified the structure of daily William Walton (1902-1983) Evening Canticles prayer, both texts were included in the order Magnificat & Nunc Dimittis St John’s Service* of Evening Prayer, usually called ‘Evensong’. Chichester Service t Magnificat [5.29] 6 y Despite reforms in the last few decades which Magnificat [4.03] Nunc Dimittis [4.59] Moon © Matt 7 Nunc Dimittis [2.21] have sought to restore the older pattern of Dr Rowan Williams Total timings: [74.22] having the Magnificat alone at Evening Prayer, Lennox Berkeley (1903-1989) Magnificat & Nunc Dimittis with the Nunc Dimittis reserved for a late opportunity for dramatic light and shade.
    [Show full text]
  • 572595Bk Swayne EU 24/8/10 14:30 Page 12
    572595bk Swayne EU 24/8/10 14:30 Page 12 The Dmitri Ensemble Formed in 2004, The Dmitri Ensemble is a performing group committed to presenting both unjustly neglected and Giles newly-written works. Initially based around the central core of a string ensemble, it has worked alongside living composers and has given a number of world premières. The Ensemble’s début recording of works by James MacMillan (Naxos 8.570719) received great critical acclaim, awarded Editor’s Choice in Gramophone and BBC Music Magazines. Other recordings include a disc of previously-unrecorded works by Vaughan Williams on the Albion label, performed with the Choir of Clare College, Cambridge, and conducted by Sir David Willcocks, and SWAYNE the première recording of Judith Bingham’s organ concerto, Jacob’s Ladder. The Ensemble takes its name from its début performance in the Chapel of Trinity College, Cambridge, where the programme concluded with Rudolf Barshai’s arrangement of Dmitri Shostakovich’s eighth string quartet, the so-called Chamber Symphony, Op. 110a. Soprano Alto Tenor Bass Helen Ashby Emma Ashby Ben Alden *† Nicholas Ashby Kate Ashby Dominic Collingwood Ben Breakwell John Biddle Charmian Bedford Daniel Collins Robin Burlton James Birchall Mary Bevan † Peter Crawford Jim Clements Edmund Connolly Sophie Bevan *† Anne Jones Peter Davoren * Samuel Evans Philippa Boyle Carris Jones *† Matthew Howard Oliver Hunt Stabat mater Augusta Hebbert Sarah Shorter Daniel Joy † Richard Latham Sophie Jones Kate Symonds-Joy *† Jonathan Langridge James Mustard † Robyn Parton Tom Verney Nicholas Morrell Samuel Queen Christina Sampson Richard Wilberforce Oliver-John Ruthven Jonathan Sells *† The silent land * soloist in Magnificat I • † soloist in The silent land www.dmitriensemble.co.uk Magnificat I Ave verum corpus Raphael Wallfisch The Dmitri Ensemble recording The silent land with Raphael Wallfisch and Giles Swayne, All Hallows’ Church, Gospel Oak, London, 2010 The Dmitri Ensemble 8.572595 12 Graham Ross 572595bk Swayne EU 24/8/10 14:30 Page 2 Giles Swayne (b.
    [Show full text]
  • 20-26 July 2019
    20-26 July 2019 St Marylebone Parish Church, London NW1 5LT Tickets: www.stmarylebonefestival.com Patron: John Rutter CBE ! " " ! ! This is our fourth annual festival, and we continue to present our events in creative and vivid ways. Begin the week by signing up to ‘Come and Sing’ Marylebone resident Sir Karl Jenkins' powerful choral piece, The Armed Man, then spend the rest of the week enjoying a wide variety of music, dance and drama, as well as fascinating talks from local experts. There is something of an American flavour to the programme this year. St Marylebone was home to the first American legations first in Great Cumberland Place, and then Park Crescent, where the memorial to John F Kennedy is situated, and is still home to the American Ambassador at Winfield House in Regent’s Park. With this is mind, come and hear the San Francisco Girls’ Chorus, or enjoy film music arranged for Organ Duet, or indeed relax at a Jazz Evening in tribute to the great saxophonist, clarinettist and composer, Sidney Bechet. Explore yet more surprising local connections with famous figures such as Judy Garland, Vaslav Nijinsky, Kathleen Ferrier and Ralph Vaughan Williams. You can transport yourself to a Marylebone of the past by listening to (and even dancing to) music from the 18th Century Pleasure Gardens of Old Marylebone, and experience a 1920s Marylebone dinner and soirée on the final evening. Come and help us tell our story! Gavin Roberts, Director of Music, St Marylebone Parish Church Welcome back to St Marylebone for the Fourth annual St Marylebone Festival! Last month, it was announced that the National Lottery Heritage Fund had made an award of nearly £3 million towards our £9 million St Marylebone Changing Lives project which will help the parish church continue to change lives in central London - something it has been doing through ten centuries.
    [Show full text]
  • Booklet Departures Def.Indd 1 17/09/10 09:08 Standing Upon the Shore of All We Know DEPARTURES
    Departures Berkeley | Quilter | Swayne | Britten | Vaughan Williams Benjamin Hulett tenor & Alexander Soddy piano booklet departures def.indd 1 17/09/10 09:08 Standing upon the shore of all we know DEPARTURES We linger for a moment doubtfully, Travel is a theme which has long preoccupied creative artists, not least Then with a song upon our lips, sail we because the sense of transition, evolution and change embodied by Across the harbor bar – no chart to show, journeying fi nds a parallel in poetic and musical processes. Moving in time and space from one point to another is at once an emotive human No light to warn of rocks which lie below experience, and a summary of music itself. The combination of the two, But let us put forth courageously. therefore, represents a very natural source of inspiration. FROM T.S. ELIOT (1888-1965), DEPARTURE AND ARRIVAL Many of the works on this program share another theme: that of the composer setting texts in a language not his own – a linguistic departure which challenges him to scale new heights of resourcefulness and expression. As Luciano Berio (1925-2003) said during his Two Interviews: « ... our composer, a creative artist who is eternally a ‹young man›, intent upon giving form to ‹the uncreated conscience of his race›, is like a navigator passing through the boundaries of his own history to explore unknown archipelagos, and to land on mysterious islands which he thinks he is the fi rst to discover, and which he describes to others in sound. » booklet departures def.indd 2-3 17/09/10 09:08 Tombeaux Op.
    [Show full text]
  • A Survey of the Solo Guitar Works Written for Julian Bream Michael Mccallie
    Florida State University Libraries 2015 A Survey of the Solo Guitar Works Written for Julian Bream Michael McCallie Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A SURVEY OF THE SOLO GUITAR WORKS WRITTEN FOR JULIAN BREAM By MICHAEL MCCALLIE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2015 Michael McCallie defended this treatise on October 22, 2015. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Jane Piper Clendinning University Representative Benjamin Sung Committee Member Melanie Punter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank the members of my Doctoral committee, Jane Piper Clendinning, Bruce Holzman, Melanie Punter and Benjamin Sung, for their support and encouragement during the writing of this dissertation. I would also like to thank Zachary Johnson, Eliot Fisk, David Tanenbaum, Marco Sartor, David Starobin and Angelo Gilardino for agreeing to be interviewed and for lending their expertise to this project. I would like to thank my parents, Mike and Pam McCallie, my grandparents Lowell and Sharon Coe, and my brother Andrew McCallie for a lifetime of love and support and for never doubting my decision to become a musician. I would also like to thank my teachers, Charles Evans, Stephen Robinson, Benjamin Verdery and Bruce Holzman for introducing me to many of the works written for Julian Bream, and for offering valuable insight into performing many of them.
    [Show full text]
  • Howard Skempton
    Next Wave Higher Education commissioning project Loré Lixenberg mezzo-soprano • Sarah Nicolls inside-out piano • Oren Marshall tuba London Sinfonietta • Sound Intermedia electronics •Garry Walker conductor 1 WEIWEI JIN Sterna Paradisaea, Returning… 10’57 Loré Lixenberg • Sarah Nicolls • London Sinfonietta • Garry Walker 2 MAYA VERLAAK All Verlaak's Music is Alouette 7’33 Oren Marshall • London Sinfonietta 3 EUGENE BIRMAN The winter desert of my silences 9’56 Oren Marshall • Sound Intermedia 4 EDWIN HILLIER hibeh 9’20 Loré Lixenberg • London Sinfonietta • Garry Walker 5 JI SUN YANG KAIROI 9’26 Loré Lixenberg • Oren Marshall • London Sinfonietta • Garry Walker 6 GEORGIA RODGERS partial filter 10’57 Oren Marshall • Sound Intermedia 7 BEN GAUNT Filling Rubin's Vase 9’47 Sarah Nicolls • Oren Marshall • London Sinfonietta • Garry Walker 8 MICHAEL CUTTING I AM A STRANGE LOOP III 6’29 Sarah Nicolls • Sound Intermedia • London Sinfonietta • Garry Walker 9 OLIVER CHRISTOPHE LEITH hand coloured 9’39 Loré Lixenberg • London Sinfonietta • Garry Walker 10 BARNABY HOLLINGTON Velvet Revolution 9’23 London Sinfonietta • Garry Walker 11 PAUL MCGUIRE Panels 8’11 Loré Lixenberg • Sarah Nicolls • Oren Marshall • London Sinfonietta • Garry Walker 12 RYAN LATIMER Moby Dick 9’11 London Sinfonietta • Garry Walker Total timing 110’ 49” [1] WEIWEI JIN Sterna Paradisaea, Returning… for mezzo-soprano, ensemble and electronics Upon the sudden death of her father and after a long absence, a woman scarred by a traumatic childhood returns to her home in a mountainous village in Southwest China. Sterna Paradisaea, Returning… follows the seven-week long Chinese death ceremony as the woman communicates with her father’s spirit.
    [Show full text]
  • Georgma Clare Luck CHORAL CATHEDRAL
    Durham E-Theses Choral Cathedral Music in the Church of England: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century Luck, Georgina Clare How to cite: Luck, Georgina Clare (2000) Choral Cathedral Music in the Church of England: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2019/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Georgma Clare Luck CHORAL CATHEDRAL MUSIC IN THE CHURCH OF ENGLAND: An examination into the diversity and potential of contemporary choral-writing at the end of the twentieth century Thesis for the degree of Master of Arts 2000 The copyright of this thesis rests with the author.
    [Show full text]