Oxford Winter 2008 musicnow32 Gabriel Jackson Requiem he Vasari Singers gave the with people today. We worked closely world premiere of Gabriel on the choice of poems and those which TJackson’s Requiem at St Gabriel ultimately selected for musical Martin-in-the-Fields on Tuesday setting reflect our desire to focus on life 11 November. The Vasari Singers, who renewal rather than death. commissioned the work, have a long The result is a unique blend of tradition of performing and commis- the traditional and the refreshingly sioning new music, and remain at the unfamiliar. Gabriel infuses the whole forefront of the contemporary choral with his luminous and ecstatic writing, music scene. producing a sublime work of true Jeremy Backhouse, Music Director of the profundity and vibrancy. Vasari Singers, and Gabriel Jackson reflect JEREMY BACKHOUSE

on the Requiem: Photo: KatieVandyck I had long been an admirer of the choral output of Gabriel Jackson, one of the sit comfortably within the context of a leading composers of his generation, and cathedral Evensong, but that the works had been delighted with his anthem Now could also look beyond any constraints I have known, O Lord, written for our of Liturgy or formal religious doctrine 25th Anniversary in 2005. That encour- to embrace a wider, more ecumenical aged me to approach Gabriel to write us audience; something more humanistic a more extended work and thus the idea perhaps, that might connect more of a Requiem was born. relevantly with multi-cultural, multi-faith societies of the world in the twenty-first I wanted the traditional format to century. In a similar way, Gabriel and be given a wide-ranging appeal. My I were keen to look beyond the Latin brief for the set of ten anthems had Requiem texts by introducing verse that suggested that they should be able to resonated more personally and relevantly

y new Requiem interweaves other times is that in their very different and our place it in, and of the meaning sonorous, slow-moving ways they all express a similar view of of loss. When set to music—with all Msettings of the hieratic, death to the Christian one—that it is its unique capacity to console and to unchanging words of the Latin rite with not the end, but the gateway to another uplift—the ritual power of ancient texts, more immediately personal meditations life. There will always be a need for their structure unchanged through the on death by Tagore, Hôjô Ujimasa, Walt Requiems, for we will always need centuries, offers a very special act of Whitman, the Australian Aboriginal to mourn, to memorialise, and to be healing. poet Kevin Gilbert, and the eighteenth- granted some brief glimpse of a better GABRIEL JACKSON century Mohican Chief Apuhumut. The world. And there will always be a need interesting thing about these various for new Requiems, to reflect our ever- texts from other spiritual traditions and evolving understanding of the world

Contents ❙ Page 2 Gabriel Jackson ❙ Page 3 Howard Skempton ❙ Page 4 Libby Larsen ❙ Page 5 Walton’s Troilus and Cressida ❙ Page 6 Gerald Barry ❙ Page 7 Martin Butler ❙ Page 8 Bob Chilcott ❙ Page 9 Vaughan Williams ❙ Page 10 Michael Berkeley ❙ Page 11 Anniversary celebrations ❙ Page 12 New Composer Catalogues ❙ Page 13 New CDs ❙ Page 14 New Hire & Sales titles ❙ Page 16 Contact details

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Oxford composers at Kings Place Howard Skempton The first music to be heard at the exciting new venue during the opening The celebrated , John Tilbury, performed the world premiere of Howard concerts in October included works by Berkeley, Butler, and a Jackson premiere. Skempton’s work for solo piano, Notti stellate a Vagli on 10 June 2008 at St. John’s, Smith Square. The concert was preceded by a feature on BBC Radio 3 In Tune on 6 June, in The opening of Kings Place was heralded Berkeley’s Music for Chaucer was performed and the choice of an electric instrument which Tilbury performed an extract of the new work. by a performance of Martin Butler’s by the Brass opened up all sorts of timbral possibili- Hunding, his show piece for solo horn. Soloists, and Martin Butler’s American ties through the use of effects pedals. The otti stellate a Vagli is named Taking place from 1-5 October, and Rounds was performed by the Schubert text, Ave, Regina caelorum, is one of the after a fourteenth-century incorporating a staggering 100 concerts, Ensemble. four great Marian Antiphons, originally N Tuscan hamlet, Borgo di the opening festival introduced Kings Place sung at None on the Feast of the Vagli, which has been restored The final day of celebration saw the to concert-goers and art-lovers in style. Assumption, and interpolated into the by the award-winning architect much-anticipated world premiere of Latin are some lines in English by Fulvio Di Rosa. Di Rosa is also Kings Place is a brand new building on Gabriel Jackson’s new work for voices and Christina Rossetti.’ the founder of the contemporary Regent’s Canal, near to Kings Cross/St electric guitar. Specially commissioned for classical musical foundation Pancras station. The building houses the the opening of Kings Place, Ave, Regina Atopos, who commissioned first newly built concert hall in London caelorum was magnificently performed by Skempton’s new piano work. since the Barbican opened 26 years ago. Tom Kerstens and The Sixteen. Gabriel The five-day opening festival turned Kings Jackson was thrilled to be involved in the Howard Skempton is not the first Place into a hive of artistic activity, with opening festivities at Kings Place, and composer to have been commissioned by performances taking place in the foyer and wrote of his new work: the Foundation, but all of the works have two art galleries, as well as in the recital ‘The archetypal Spanish associations of had a common inspiring theme at their base, as Fulvio Di Rosa explains: hall (Hall One), and the smaller, flexible the guitar suggested an obvious resonance performance space (Hall Two). with the great Iberian polyphonists that ‘All the composers were asked to refer Borgo di Vagli are such a speciality of The Sixteen, Photo: R Bryant their compositions to a place, i.e. As well as Butler’s Hunding, Michael Kings Place Hall 1 one of my restorations in Tuscany, He hasn’t been there... so far. ‘Notti stellate a Vagli is a companion or a specific magical area in Brazil, or piece to Triadic Memories and a homage But he couldn’t have expressed more ...... Howard dreamt of a starry night to Morton Feldman. It is nocturnal in intimately the emotions and the feelings over the hills around Cortona, where tone and stellar in texture. In place of of a whole night there.’ Borgo di Vagli—the latest of my memories we have an image of Tuscany.’ David Wilde plays Gabriel Jackson’s Piano restorations—“sleeps”. HOWARD SKEMPTON On 29 May, pianist David Wilde gave the world premiere of Gabriel Jackson’s Piano Sonata at the Queen’s Hall, . Commissioned by David Wilde with funds provided by the Scottish Arts Council and the Britten-Pears Trust, the Sonata was Michael Finnissy in Norway Gabriel Erkoreka wins enthusiastically received. the Reina Sofía Prize lthough the tonal idiom is in its use of variable meter, but the the new Steinway at St Mary’s Episcopal stablished in 2003, the Borealis of Michael Finnissy as featured Erkoreka’s orchestral work Fuegos Festival is held at venues composer in 2009. Michael’s music approachable, Jackson’s Piano harmonies are not nearly so acerbic as Cathedral, Edinburgh, in 2007. It (Fires) was chosen from submissions across Bergen, a picturesque will form the basis of a wide range of Sonata is highly original in Stravinsky’s. In the first movement there remains, for me, the heart of the Sonata. E by 150 composers from around the A medieval town on the west coast of concerts, seminars, and film screenings, world to win the 25th Reina Sofia unexpected ways. For instance, the is a beautiful, long, winding melody Beginning in a tranquil mood, its ever- Norway. The 2009 festival will take including works for ensemble, organ, Prize. composer’s love of rhythmic canons with florid accompaniment, starting on increasing floridity builds to a climax place over five days 24–29 March. and piano, as well as projects for using different tones demands the same tone as the second subject of that is intensely dramatic. After this, Performances of Finnissy’s works will amateurs, children, and local homeless The final of the competition was ambidextrous skills. His skill at writing Chopin’s B minor Sonata— the music subsides to a passage over a be given by visiting ensembles, as organisations. held in Madrid on 10 October, when near, but not exact, repeats of short F Sharp—and in a closely related key, ground bass like the tolling of a bell. well as Norwegian groups such as the the short-listed compositions were We are really looking forward to phrases also requires an alertness from suggesting to me a comparable lyricism Bergen Philharmonic and performed by the Orquesta de RTVE. The finale, an ebullient dance, brings having Michael spend five days with the performer that must never be relaxed that contrasts most effectively with the the BIT20 Ensemble. the Sonata to a triumphant, but not us in March, not only as a dynamic Gabriel Erkoreka joins an illustrious for a moment. Stravinskian element. list of composers who have won this triumphalist, conclusion. Alwynne Pritchard, Artistic Director and inspiring teacher and a brilliant international prize, including W. Gabriel Jackson’s admiration for Stravinsky The eloquent slow movement was the of Borealis, writes: pianist, but also because both he and DAVID WILDE his music make for provocative and Lutoslawski and X. Montsalvatge. is apparent in the baroque-style first I received, and I gave a pre-premiere ‘The Borealis Festival in Bergen, stimulating company.’ articulation of much of the music and performance of it when I inaugurated Norway will be presenting the music

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Libby Larsen in Opera News Walton’s Troilus and Cressida at Are words, more than music, the driving force in contemporary opera? Opera Theatre Saint Louis Libby Larsen discussed this question and her new opera commission with Philip Kennicott in the August issue of Opera News, the magazine of the Met Opera Guild. Opera Theatre Saint Louis’ newly commissioned orchestral reduction by John Gibbons was universally acclaimed in the press and enthusiastically received by audiences at its Larsen is currently composers away from the language of come full circle. It was theatrical working on a text- their own time and back to the out- sophistication, the willingness to use all world premiere performance in June. driven opera, a of-copyright narratives of the past. the technological means necessary for A note on the OTSL production ‘Troilus emerged here with powerful commission from The effort to secure literary rights is a dramatic effect that she admired in by the director Stephen Lawless: sweep in a new performing edition that the University of stultifying, she says. And the opera Glass’s Satyagraha. And while she has boasts slightly slimmer orchestration North Carolina at world needs to meet with the literary moved personally to a notion of opera William Walton’s opera Troilus and and takes account of cuts made by the Greensboro’s School world and do something about it. much different from that of Glass, she Cressida is based on a romantic poem Photo: Ann Marsden composer himself in 1976 when the role of Music, based on is still struggling for a comprehensive by Geoffrey Chaucer, but does contain If text-driven opera is the future—and of Cressida was transposed down for Janet William Inge’s 1953 play Picnic.It is theatrical palette that she was exploring areas of congruence with Shakespeare’s it certainly seems to be the present— Baker. It restores dramatic sense by giving a drama, she says, filled with one- in Frankenstein two decades ago. play of the same name. Both opera the effects in the opera house could the role back to a soprano, and gains syllable words, pregnant silences, and play take the romantic idea of the be profound. If operas are text- She does not, she insists, believe that theatrical urgency in this tightened form. and dense subtext. Her arrangement Trojan War and turn it inside out to driven, audiences need to understand old operas meant for standard, acoustic with Inge’s publishers allows her very reveal the real motives of the characters OTSL’s 2008 legacy will be the rebirth the texts, which may be all but opera spaces should be amplified. little room to deviate from the text involved, and to question the whole of Troilus and Cressida. British companies impossible in very large opera houses, Text-driven music of the past—from as printed. But it’s not clear that she idea of chivalrous conduct and the should follow its lead and bring the especially if the text is complex. eighteenth-century recitative to would deviate in any case. ‘It’s a real code of honour. The opera starts near work home.’ There is a solution, she argues, but —doesn’t need struggle to understand what he expects the end of the Trojan War—which JOHN ALLISON, The Sunday Telegraph the opera world isn’t necessarily assistance. But for her own work she of the silences and the space around his according to Homer lasted nearly ready for it—amplification, or rather wants the immediacy of much of words,’ she says. ‘And that’s where my ten years—and we find a city under ‘The score is full of colour, even a the incorporation of microphones what has become standard in popular work is very hard and very interesting.’ siege, the conflict stagnant and lacking little glitzy, but it uses dissonance for as ‘companion’ instruments into the culture. That includes music with expressive ends and the vocal lines momentum. Photo: Ken Howard Larsen admires Inge’s mastery of the orchestra. complex and compelling texts, and are eminently lyrical...The opera was American vernacular of the mid- whatever technology is necessary to get Walton himself had recently been being taken up by Boccaccio, then ‘I have been waiting for the performed in a new orchestration century. But she is emphatic about that text across in all its closely read, through the Second World War in by Chaucer and Shakespeare. She is conventions of opera production to that reduces Walton’s elaborate wind the need for composers to have access densely pondered nuance. Britain, where cities like London were a by-word of inconstancy in all of blow open the windows and allow scoring but still sounded sumptuous.’ to contemporary literary texts of the under a similar siege, only this time them, as she leaves Troilus for Antenor technological sound production to PHILIP KENNICOTT, GEORGE LOOMIS, Financial Times highest quality. The cost of using from the Luftwaffe. Indeed, Walton’s in an exchange of hostages arranged be part of the process,’ Larsen says. Culture Critic, The Washington Post contemporary literary texts is driving house in London had been destroyed by her father, Calchas. She changes With that, in one sense, she has Reprinted with the permission of Opera News. ‘Troilus and Cressida was the season’s in the bombing of May 1941. To her affections—apparently easily—to most exotic offering, and a real find. It’s escape the bombing Londoners took Diomede in the Greek camp. a very satisfying piece, a kind of musical World premiere of Zhou Long’s flute concerto, Five Elements to the Underground; it is this ‘bunker’ Walton and his librettist Christopher cross between Britten and Strauss, with mentality that Walton seems to a modernistic edge softened by melodic Zhou Long’s Flute Concerto, ‘Five Elements is like an Hassall broke with this tradition and encapsulate in his score, and that the make Cressida reluctant to give up lyricism…. The music has an erotic Five Elements, a joint commission incredible painting. With the designer Gideon Davey and I sought to charge, and it is a wonderful vehicle for from the Singapore Symphony different elements of Metal, Troilus, only doing so when tricked create in our design for the opera. We by Evadne into believing that he is its soprano heroine.’ Orchestra and the Pacific Wood, Water, Fire, and Earth tried to capture the claustrophobia of Symphony Orchestra, received its in the music, you can visualize disloyal. She realizes her mistake too HEIDI WALESON, The Wall Street Troy and the false dawn of the scenes late, and when Troilus is treacherously Journal world premiere in Singapore on this amazing picture in front in the Greek camp, mixing classic and 17 July. The Singapore Symphony of you. And it leads you into a murdered by Calchas whilst under a contemporary reference. truce, she is forced to choose between This will be hard to outdo as the Orchestra was conducted by Lan fantasy world, into a dream. I operatic revelation of the year. A Shui, with flautist Sharon Bezaly have always enjoyed very much Where the opera departs radically a dishonourable existence and an from the Shakespearean norm is with honourable death. She becomes a very gripping story of love botched by war as soloist. The Pacific Symphony conducting Zhou Long’s music is clothed in music by turns brilliant, Orchestra will perform Five and I’m definitely looking Cressida. Cressida is not mentioned twentieth-century tragic figure. in Homer, but makes her first literary unsettling, and ravishing, with soaring Elements in California in the autumn forward to more in the near arias to take your breath away.’ Zhou Long, Sharon Bezaly, Lan Shui, and the of 2009. future.’ appearance as Briseida in Benoît Singapore Symphony Orchestra de Sainte-Maure’s twelfth-century SCOTT CANTRELL, Dallas LAN SHUI romance Le Roman de Troie, before Morning News

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Gerald Barry – Overseas Premieres Martin Butler in International The Bitter Tears of Petra von Kant, ‘The piece is invigorating, fresh, and Originally commissioned by Radio Piano Magazine Gerald Barry’s 2005 opera on a text curiously satisfying. Barry perfectly France for the 2007 Festival Presences, by Fassbinder, was performed at the captures the barren, pungent, desperate the opera’s Irish premiere took place in Martin Butler’s Three Little Folk Games was the featured piece in the free music section of Theater Basel in Switzerland in May world of Fassbinder, but does so with June this year at the National Concert September/October 2008 issue of International Piano. 2008. unstoppably upbeat material.’ Hall in Dublin, performed by RTE National Symphony Orchestra. Using the same striking sets as the 2005 KEITH CLARKE, Musical America expanded by the composer to become English National Opera production, movements of his work for piano The Linos Quintet ‘The opera bursts with exuberance… on the European premiere on 4 May at Le Vieux Sourd, Gerald Barry’s latest quintet, American Rounds. perform Martin Butler at Theater Basel was followed by five its own terms, this works. Petra von Kant will do what opera was originally meant solo piano work, was commissioned the Wigmore Hall further performances. The performances by Betty Freeman and given its were critically and popularly acclaimed, to do: amuse and entertain, with an edge of wit.’ world premiere by Gloria Cheng in The Linos Wind Quintet, winners as they were when the opera was Los Angeles in September. of the 2004 Royal Overseas League Seen and Heard Opera Review presented at ENO. Competition, programmed two of Martin ‘There is real expressive subtlety in this Gerald Barry writes: Butler’s works in their Wigmore Hall score…it’s one of the strangest but most Le Vieux Sourd means ‘The old deaf one’, debut recital in July. Down Hollow Winds La Plus Forte (The Stronger), Barry’s Photo: Katie Vandyck and Dirty Beasts were performed by the satisfying of recent operas.’ one-act opera on the Strindberg Debussy’s nickname for Beethoven. Martin Butler quintet with great skill and aplomb. TOM SERVICE, The Guardian play, will receive its US premiere The music begins in mid-stream—as Three Little Folk Games is the sixth in a in late November with Barbara if you opened a door to a room and series of eight miniatures which make ‘Down Hollow Winds, a pastoral idyll, ‘I’ve never seen an audience so engaged Hannigan performing the solo happened on someone playing, and stood up the collection of piano pieces, Small beautifully laid out for the five post-show.’ soprano role. instruments, full of interesting twists there listening, unseen by them. Change. Three Little Folk Games is published in ROBERT THICKNESSE, and turns, and, best of all, thoroughly The New World Symphony Orchestra, Lucifer’s Banjo and other pieces for piano They’re in a private world. Like most composers, Martin Butler melodic. A real winner of a piece.’ conducted by Thomas Adès, will has often found that a useful way to ISBN 978-0-19-372402-0 present a programme comprising La I played the first two pages to a friend BOBB BRIGGS, Seen and Heard generate ideas for larger works has been Price £13.50 Plus Forte as well as the US premiere who said that the music was visible to write short ‘studies’ for them—two of Barry’s Diner, at the Lincoln Theatre and invisible at the same time. I think of the three movements of Three Little Miami on 22 November. what he meant was that the music has traditional/classical sounds in it but by Folk Games were later re-composed and the time you’ve noticed them they’ve slipped from your grasp. It’s like an illusion, a magician Richard Causton at the Civitella Ranieri Center performing. You think you’re hearing something straightforward—some of The Civitella Ranieri Center, is a pursue their work and to exchange ideas the sounds seem like that—but then workplace for gifted artists from different in a unique and inspiring setting. Causton the music slips away from you into disciplines and countries, located in the writes: something strange. fifteenth-century Civitella Ranieri castle ‘I’ve been incredibly fortunate this in the Umbria region of Italy. Richard Perhaps like a series of non sequiturs, year in having six unbroken weeks of Causton was the recipient of an invitation except I think it has its own logic dedicated composing time in a castle to the centre this summer. nevertheless. in Umbria, central Italy, as a Fellow In keeping with the spirit of its founder, at the Civitella Ranieri Center. This Ursula Corning, and the tradition of artist residency is international and hospitality and support for the arts multidisciplinary, and it was wonderful *Gerald Barry was the subject of that she established at the castle, the Civitella Ranieri Center to be able to compare notes not only an in-depth feature on BBC Radio Center brings together visual artists, writers, and musicians with composers from France and the US, but visual artists 3’s Music Matters. The programme, from around the world who demonstrate exceptional talent and writers from Japan, Korea, and Norway as well. I used which took a detailed look at and an enduring commitment to their disciplines. The the opportunity to work intensively on my new piece for music in Ireland, was broadcast on Civitella Ranieri Center provides Fellowships to artists on an the Birmingham Contemporary Music Group which will be Photo: Peter Schnetz 11 October 2008.* invitational basis, and seeks to support the dissemination of played late next year and is a kind of musical study in colour Theater Basel production of The Bitter Tears of Petra von Kant. ideas, to foster a collaborative spirit, and to enable Fellows to and black and white.’

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Bob Chilcott in Japan Vaughan Williams Bob Chilcott travelled to Tsu City in Spring 2008 for the Japan Choral Association (JCA) Fiftieth Anniversary Year convention, at which he was the international guest conductor and lecturer. 2008 has seen numerous celebrations of the music of Vaughan Williams, he JCA’s ‘Golden Week’ marking the fiftieth anniversary of the composer’s death. workshop, held in Tsu’s state- Tof-the-art concert hall, attracted hese celebrations have been masterpieces that ranged right across his over 1500 delegates from choirs across truly international, including long career. Japan. In a series of rehearsals and performances of major works in lectures, Chilcott conducted a massed T Even after fifty years the Ninth remains Israel, Spain, and the USA. The Pilgrim’s Vaughan Williams’s least known and choir of over 400 singers accompanied Progress was enthusiastically received at most misunderstood symphony. Maybe by a professional jazz trio, performing its concert performance at the Sydney in the hands of Andrew Davis its time his ever-popular A Little Jazz Mass. Opera House and was also brought has come. He understands the way Repertoire from Chilcott’s Songbook to Sadler’s Wells Theatre, London, in it manages to be both valedictory also featured at the convention, notably two semi-staged performances by the and reveals new paths of sound for his arrangement of Aka-Tonbo sung Philharmonia Orchestra and Voices, Bob Chilcott at the Japan Choral Association convention the composer. It rounded off a true by all of the delegates at the close of conducted by Richard Hickox. celebration of Vaughan Williams, the the convention—a rousing finale to a Japan for the 2009 JCA convention, Bob Chilcott has been selected to wonderful event. The BBC featured Vaughan Williams’s musical explorer.’ to be held in Chilba City. The 2009 present sessions at two major events music extensively at the 2008 Proms, commemorative concert received MATTHEW RYE, The Telegraph Bob was thrilled by the standard of the event will herald the first ‘Asia-Pacific in the American Choral Calendar including an all-Vaughan Williams stunning reviews: Cantat’, where Chilcott will workshop 2009: American Choral Director’s Japanese singing: programme on the anniversary of the ‘For Vaughan Williams devotees the a selection of his new arrangements and Association National Convention composer’s death, 26 August. This programme was a dream combination of ‘Japanese choral singing comes compositions: the well-loved Japanese (Oklahoma City, March 2009), straight from the heart…the choirs folksong Sakura, recently published in Chorus America (Philadelphia, June had an inspirational energy and a Jazz Folk Songs for Choirs, which the 2009). passion for singing, making it a composer has dedicated to the JCA, and Vaughan Williams’s Riders to the Sea at the Coliseum truly memorable visit.’ his new work Aesop’s Fables, which sets 5 Chilcott has been invited to return to contrasting fables for choir and piano. Following the new production of Sir John in Love in 2006, English National Opera resumes its exploration of the works of Vaughan Williams with a major new production of his Celebrating a life in music - Sir David Willcocks one-act opera Riders to the Sea in November.

The life of one of British music’s most eminent living figures is celebrated in a new book Closely based on J. M. Synge’s 1907 the Aran Islands; the original setting for published by . play of the same name, Vaughan Synge’s play. Fiona Shaw says: Williams’s Riders to the Sea is his ‘The inhabitants of this land, which A Life in Music reveals the fascinating zest for life and impish sense of fun. most moving and compelling opera. lies geographically on the edge of the life story of Sir David Willcocks, the Each chapter is followed by reflections Elemental and hauntingly lyrical, Atlantic Ocean, are also psychologically renowned conductor, organist, and from esteemed friends and colleagues, the music communicates all the raw on the edge, because every potential composer who remains very much in from Dame Janet Baker to John Rutter directness of a primitive myth. hazard could be fatal. They seem to be international demand as he approaches with whom Sir David worked closely on Although completed in 1927, Riders to resigned, just waiting for nature to take his ninetieth birthday in 2009. Through the famous Carols for Choirs series. the Sea did not enter the repertoire of over; nature just screams in through an a series of interviews with the book’s The book also includes a CD which the Sadler’s Wells Opera until 1953, and open door.’ editor, William Owen, Sir David tells intersperses extracts from many legendary this 2008 production will be the first his extraordinary life story: his idyllic recordings and breathtaking performances ENO production since that time. Three performances will take place at childhood and choristership at West- with spoken reminiscences from Sir David. The short but powerful drama will be the London Coliseum on 27, 28, minster Abbey; his experiences in the conducted by British music specialist Together, the book and CD provide a 30 November. There will be a pre- Second World War; and his Director- Richard Hickox and directed by the rich and moving chronicle of the life and performance talk by Tony Palmer ships at King’s College, Cambridge and A Life in Music, edited byWilliam Owen acclaimed actress Fiona Shaw. music of a truly inspirational musician. on 28 November. the Royal College of Music. There are a RRP £19.99 (hardback) Fiona Shaw and her creative team

wealth of anecdotes revealing Sir David’s ISBN 978-0-19-336063-1 interpret the story using film shot on Image: Dorothy Cross

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Michael Berkeley’s Anniversary celebrations in 2009 Festival Commissions Andrew Carter will turn seventy in 2009, Alun Hoddinott would have celebrated his eightieth birthday, and William Mathias would have been seventy-five.

ontinuing the celebrations Jac Van Steen had been at a couple of piece sounding good with strings and of Michael Berkeley’s the Brecon rehearsals for the opera and conventional wind, and I wanted to there will be many concerts and William Mathias was born in Whitland, sixtieth birthday year, at one point lent over my shoulder to re-write the ending. So Roger Wright’s broadcasts celebrating these Dyfed in 1934 and died in 1992. He C anniversaries, including chances began to compose at an early age, summer 2008 saw the world say ‘You should create a concert piece invitation to make a contribution to T premieres of two new works from that scene.’ So that is exactly what the 2008 Proms presented an ideal to hear some of the lesser-known works studying first at the University College commissioned by major UK music I did for Cheltenham. When I hear your opportunity. of the composers’ catalogues. of , Aberystwyth, and subsequently festivals: When I hear your voice, for voice is an intensely static (and statically Edward Gardner, who conducted the on an Open Scholarship in composition mezzo-soprano and orchestra, was intense) moment in which Maria, a BBC Symphony Orchestra for the Andrew Carter was born in 1939 into at the Royal Academy of Music. A house commissioned by the Cheltenham central character, reveals, chillingly, the premiere of the orchestral version of a Leicestershire family of tower and composer with Oxford University Press Festival, and an orchestral machinations of her mind. It is really Slow Dawn, was particularly keen to handbell ringers. Following a music from 1961, his compositions cover an arrangement of Slow Dawn was for a mezzo but Anna Dennis seemed place it next to the Sibelius Night Ride degree at the University of Leeds, he extraordinarily wide range. Mathias’ commissioned by the BBC Proms. comfortable and persuasive with the and Sunrise since he felt (rightly, I think) joined York Minster choir as a bass musical language embraced both line under ’s baton. that it shares a similar sensibility. songman under the direction of Francis instrumental and vocal forms with equal Michael Berkeley writes: Essentially, the harp has a mantra-like Jackson. success, and he addressed a large and varied audience both in Britain and Having spent a decade attending every accompaniment around which the vocal Carter has composed several large-scale Slow Dawn abroad. He made a highly significant Cheltenham Festival Concert it was a line unfolds. ‘Michael Berkeley’s followed works for choir, soloists, and orchestra. contribution to twentieth-century organ great pleasure, following a break of some a smooth arc, with its intensifying He has been commissioned by numerous The following month saw another music, and his church music and carols years, to return by invitation of Meurig sonorities emerging gradually over the British choral societies, and also by a adaption—a piece for wind, Slow Dawn, are still regularly performed world-wide. Bowen who has succeeded Martyn horizon towards a climax.’ number of American Lutheran choirs. Brabbins as Artistic Director. re-worked for orchestra. I had wanted GEOFFREY NORRIS, When asked for a piece for this to do this ever since Tim Reynish (who The Telelgraph In the field of church music Carter is programme I was hard at work on my commissioned the work in memory of regularly asked to write for choir and opera For You and could not dislocate his son William) premiered the music organ. His many carols continue to be my mind into writing something at the Barbican in 2005. I liked the deservedly popular. Alun Hoddinott wind version but could also see the completely different. The conductor, As a composer and choir director Andrew Carter has travelled extensively in the Alun Hoddinott was born in Bargoed, United States, and he regularly workshops Glamorganshire in 1929 and died in his music at home and abroad. March 2008. His compostional talents Michael Berkeley For You; developed early, and he won a scholarship to University College, Cardiff at the age new performance dates of sixteen. Hoddinott achieved a mastery of composition which embraced almost The world premiere of Michael Berkeley For full details visit every musical medium. His strong creative and Ian McEwan’s new opera For You www.musictheatrewales.org.uk/foryou urge, stimulated by a tremendous variety took place at the Linbury Studio, of eminent performers, is reflected in Covent Garden on 28 October 2008. L’Opera di Roma will give the European a substantial body of works. Essentially Following a run of four performances premiere of For You on 8 April 2009 at chromatic, his music often shows a dark in London (28 October, 30 October, Teatro dell’Opera di Roma. Two further Celtic intensity, manifested in his nocturnal 1 November, 2 November), Music performances will follow in Rome on 9 slow movements. Theatre Wales toured the production and 10 April. Photo: John Ross to Cardiff’s Sherman Theatre (11 William Mathias November), and the Gala Theatre in Durham (24 November). Photo: Clive Barda Oxford is proud to publish the music of these three remarkable Allison Cook as Maria in Music Theatre composers, and we very much hope you will join us in celebrating Wales’ production of Michael Berkeley and their lives and music in 2009. Ian McEwan’s new opera For You Andrew Carter

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New Composer Catalogues New and recent CD releases Oxford University Press are proud to introduce a new range of catalogues for a number of Oxford composers: Gerald Barry, Michael Berkeley, Berkeley Sanctum Est Verum Lumen sound world whose individuality RE-RELEASE Sanctum Est Verum Lumen and expressive beauty is revealed to memorable effect by the Martin Butler, Richard Causton, Michael Finnissy, Gabriel Jackson, British Composers National Youth Choir of Great Exon Singers under conductor Anthony Powers, and Howard Skempton. Britain, Mike Brewer (conductor) Or shall we die? Matthew Owens. Some of the

www.oup.com/uk/music www.oup.com/uk/music www.oup.com/uk/music Heather Harper (soprano), David DELPHIAN DCD34045 2 2 2 music has the cast of plainsong; Wilson-Johnson (baritone), London all of it is carefully calculated and Symphony Chorus and Orchestra, beautifully written, not least the Gerald Barry Michael Finnissy Anthony P o wers Richard Hickox (conductor) ravishing He Wishes for the Cloths EMI CLASSICS 505 9212 of Heaven. A lovely recording.’ Yorkshire Post Causton Jerwood 4: Attwood/Bailie/Causton Tann

“Each piece by Barry is like a signature in music. It’s utterly “What’s striking about the music is its feeling of utter spontaneity, and “I warm to P o wers’s ability to tackle his subject free of Hilary Tann: Chamber Music personal and instantly recognisable.” The Musical Times it’s incredible emotional power . . . the remarkable thing about Finnissy’s touristy clichés, and to the intricate subtlety of his formal Phoenix; Sleep Rutter “Sounds like a barn dance devised by a chaos theorist.” Tempo music is that depite its frequent sorrow and anger, it has a marvellous pattern ... stirring and fascinating.” power to affirm..” MAX LOPPERT, Financial Times IVAN HEWETT, The Telegraph Sebastian Bell (flute), London A Christmas Festival The Walls of Morlais Castle; Songs of Sinfonietta, Nicholas Kok (conductor) Ave Maria; New Year; Rejoice and be the Cotton Grass; The Cresset Stone; LONDON SINFONIETTA SINF Merry; I wish you Christmas; Chilcott From the Song of Amergin; Duo; Nothing Forgotten To request your copy of any of the new catalogues please email [email protected] CD1-2008 The Shepherd’s Carol Matthew Jones (viola), Alun The Cambridge Singers, Farnham Darbyshire (oboe), Elizabeth Donovan Chilcott Youth Choir, Royal Philharmonic Making Waves (soprano), Thomas Carroll (cello), Lucy Orchestra, John Rutter (director) Wakeford (harp), Kathryn Thomas This Day; A Little Jazz Mass; Catch a COLLEGIUM RECORDS COLCD133 (flute), Michael Hampton (piano) falling star; Making Waves; Swansongs; So DEUX-ELLES DXL1132 Living Music aims to encourage the Newly added tothe scheme are: Living Music works will benefit from fair and bright; Like a Singing Bird; Like a performance, by non-professional • Martin Butler Calvacade substantially reduced hire fees. (For rainbow; The Lily and the Rose; All for love , of works written by Oxford’s • Libby Larsen Solo Symphony orchestras based in countries where we of one; All things pass; Circles of motion house composers. • Hilary Tann The Open Field have agency representation, please contact The Sirens, Iain Farrington (piano), The series has now been refreshed and In addition, to celebrate their anniversary your local agent for more details.) Bob Chilcott (conductor) Jazz trio (A Little Jazz Mass): Alex revised to include an amended selection years, ALL hire works by Hoddinott and For more information on Living Hawkins, Derek Scurll, Michael of works. There are fourteen outstanding Mathias have been added to the Living Music, and a full list of featured Chilcott Skempton works featured in the new list. They Music promotion for the duration of 2009. works, please visit: www.oup.com/ Vaughan Williams vary in difficulty and duration, and all are SIGNUM CLASSICS SIGCD142 Howard Skempton: The Cloths of Any UK-based non-professional orchestra uk/livingmusic or email: repertoire. Heaven : a cappella exciting to play and rewarding to listen to. which programmes one or more of the [email protected] Choral music and songs choral works *Classic fm disc of the month New Edition of St John’s Night on Bare Mountain by Musorgsky Upon my lap my sovereign sits; O Saviour of the world; Locus iste; The Song September 2008* Based on the autograph full score in the St. Petersburg Conservatoire, this new edition by David Lloyd-Jones of Songs; O life!; Nature’s Fire; Adam lay The Souls of the Righteous; Greensleeves; is now available from the OUP Hire Library. y-bounden; Magnificat & Nunc dimittis Three Shakespeare Songs; Prayer to the (Edinburgh Service); Lamentations; Father of Heaven; Silence and Music; Heart’s This highly original composition, edition of the original versions of Boris The full score can also be bought by Music Jackson Beati quorum via; Emerson Songs; He Musorgsky’s only substantial orchestral Godunov (OUP) is highly respected and special arrangement. wishes for the cloths of Heaven; Ave virgo Laudibus, Mike Brewer (conductor) work, consists in the main of totally performed worldwide, has now extend- Orchestration: Piccolo, 2 Flutes, 2 Oboes, Christmas from Truro sanctissima; Missa brevis; Ostende nobis DELPHIAN DCD34074 different music to that contained in ed his services to Musorgsky by produc- 2 Clarinets, 2 Bassoons, 4 Horns, 2 Cornets, Nowell sing we; Mathias Sir Domine; Recessional Rimsky-Korsakov’s familiar version, ing an authoritative critical edition of 2 Trumpets, 4 Trombones, Timpani, Christemas; Skempton Rejoice, rejoice known as A Night on the Bare Mountain. St John’s Night on Bare Mountain—the The Exon Singers, Matthew Owens Percussion (3 players), Strings. Truro Cathedral Choir, Christopher (organ/director) The work was first published in the composer’s authentic title for the work. Duration: 13 minutes Soviet Union in 1968 in a very limited Available as score and parts from the Gray (organ), Robert Sharpe DELPHIAN DCD34056 (conductor) impression which was flawed in many OUP Hire Library (contact details p.16) ‘His elegance of line and REGENT RECORDS REGCD281 respects. David Lloyd-Jones, whose economy of means creates a

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McDowall To every thing there is a season Tann Contents: Quartet for Violin, 978-0-19-336275-8 (vocal The Cresset Stone OCR Viola, Cello, and Piano; String New Hire & Sales titles score) Quartet (1922); Toccata for Violin 978-0-19-385954-8 5’ 9’ and Piano; String Quartet in Please note: OCR denotes a title that is published as part of the Oxford Contemporary Repertoire series, and SATB and piano/orchestra Violin solo A minor; Sonata for Violin and should be ordered direct from the specialist supplier Goodmusic Publishing: tel. +44 (0)1684 773 883 or email £2.70 (vocal score, published £5.00 Piano; Two Pieces for Violin [email protected] 2007) and Piano; Tema (per Variazioni) Orchestral material is available Duo OCR per ‘Cello Solo; Passacaglia for on hire: Violincello Solo; Passacaglia Barry Ø (symbol) for piano quartet Erkoreka String Quartet No. 3: Llanandras 978-0-19-385848-0 2.1.2.1-2.0.0.0-tubular bells- 10’ for Violoncello Solo (ed. M Beethoven OCR Rondó OCR Melodies OCR hp-str Oboe and viola Rostropovich) 18’ 978-0-19-355381-1 978-0-19-336276-5 978-0-19-335955-0 Magnificat £4.00 £125.00 Bass voice and ensemble: flute, 7’ 10’ 4’ 978-0-19-335948-2 (vocal score) cor anglais, clarinet, bass clarinet, Violin, viola, cello, piano Bass clarinet, violin, viola, cello, String quartet 28’ From the Song of Amergin OCR Wilberg contrabassoon, horn, trumpet, £15.00 piano £9.00 SATB, soprano and mezzo- 978-0-19-386006-3 trombone, piano, and strings £10.00 soprano solos, and chamber 10.5’ Score and parts on hire Things that gain by being orchestra/piano Flute, viola, harp painted OCR Yidaki OCR £8.95 (vocal score) £15.00 Bob OCR 978-0-19-355339-2 978-0-19-336277-2 Orchestral material is available 978-0-19-355309-5 20’ 10’ on hire: Songs of the Cotton Grass OCR 13’ Singer, speaker, cello, piano Baritone saxophone solo 0.2(2+ca).0.1-str 978-0-19-336454-7 2 clarinets, violin, cello, piano, £25.00 £4.00 20’ marimba Berkeley Musorgsky ed. David Winchester Te Deum Soprano and oboe (or other £28.00 Finnissy 978-0-19-335689-4 (vocal Inner Space OCR Lloyd-Jones melody instrument) Liturgy of Saint Paul OCR score, published 2007) Requiem 978-0-19-335891-1 To Morning St John’s Night on Bare £8.00 1998 (String Quartet No.2) OCR 978-0-19-336379-3 7’ 978-0-19-380454-8 5’ 978-0-19-336177-5 Mountain 978-0-19-355321-7 30’ SATB and organ, or organ with 40’ Flute solo 2’ 13’ Walton 20’ Counter-tenor, 2 tenors, 5-part brass ensemble/orchestra Mezzo-soprano and baritone £4.00 SSATB (with divisions) Orchestra: REMINDER String quartet baritone, and chamber organ £4.95 (vocal score) soli, SATB, and orchestra unaccompanied picc.2.2.2.2-4.2cornets.2.4.0- Walton Edition Volume 19 £9.00 £14.00 Orchestral/Brass £9.95 (vocal score) Last Breath OCR £1.80 timp-perc-str General Editor: accompaniments are newly Orchestral material is available 978-0-19-335892-8 Score and parts on hire David Lloyd-Jones Piano Quartet No. 2 OCR Multiple Forms of Constraint available on hire: on hire: 5’ Larsen 978-0-19-355347-7 OCR Rutter Brass: 1.2.1.1-timp(opt.)- 3(3+picc).2(2ca).2.2-4.0.0.0-cel/ 12’ Flute and harp 978-0-19-335674-0 Psalm 121 OCR I wish you Christmas perc(opt.)-org glock-hp.pno.org(opt.)-str Violin, viola, cello, piano £7.50 8’ 978-0-19-386364-4 978-0-19-336492-9 Orchestra: 2.2.2.2-4.3.2.btbn.1- £25.00 2 violins, viola, cello 9’ 3.5’ timp-2perc-hp-str We wait for thy loving kindness, £25.00 SSSAAA unaccompanied SATB and piano/orchestra Quintet OCR O God OCR £4.50 £2.70 (vocal score) Skempton 978-0-19-355380-4 978-0-19-350462-2 Fox (arr. Philip Lane) Orchestral material is available Lamentations OCR 11’ 6’ Carol Fantasia Slang OCR on hire: 978-0-19-336380-9 Cor anglais, clarinet (+bass SATB and organ 8’ 978-0-19-386036-0 2.1.2.1-2.0.0.0-perc-hp-str 15’ clarinet), piano, cello, double £3.50 Orchestra: 13’ Bass voice and theorbo Chamber Music bass 2.2.2.2-4(or2).2.3.1-timp-2perc. Violin, clarinet, piano New Year £9.00 Edited by Hugh Macdonald £30.00 Chilcott hp.pno/cel(opt)-str £25.00 978-0-19-335939-0 (vocal score) This volume presents new Crescent City Magnificat OCR Score and parts on hire 4’ Plain Sailing OCR editions of all Walton’s chamber Sextet OCR 978-0-19-335978-9 String Symphony OCR SATB and organ/orchestra 978-0-19-336322-9 music, including the first 978-0-19-355377-4 7’ Jackson 978-0-19-386083-4 £2.10 (vocal score, published 2’ publication on sale of the 8’ Children’s chorus, piano, bass Piano Sonata OCR 25’ 2007) Piano duet Toccata for Violin and Piano, Clarinet, bass clarinet, trumpet, guitar, xylophone, congas 978-0-19-335997-0 String orchestra, comprising Orchestral material is newly £4.00 String Quartet, and Tema (per double bass, 2 marimbas, piano £7.50 15’ violin I, violin II, viola, cello, available on hire: Variazioni) per ‘Cello Solo £25.00 Piano solo contrabass 2.1.2.1-2.0.0.0-hp-str 978-0-19-368317-4 High Flight OCR £9.00 £12.00 (score) Six Marches for String Quartet 978-0-19-336378-6 OCR 7’ The Spacious Firmament OCR 978-0-19-355352-1 SATB and male-voice choir 978-0-19-336323-6 (vocal 15’ (AATBarBarB) unaccompanied score); 978-0-19-336321-2 String quartet £3.50 (brass parts) £12.00 11’ The Modern Man I Sing OCR SATB, organ, brass quintet 978-0-19-335977-2 £12.00 (vocal score); £10.00 7’ (brass parts) SATB unaccompanied A wide selection of orchestral accompaniments to Christmas carols, as well as many other festive £7.50 musical gems, are available from the Hire Library www.oup.co.uk/music/hire/xmas

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