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Home , Christian Curnyn, Christopher Gibbons, Dioclesian, Dorset Garden Theatre, Henry Purcell, John Blow

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The English Concert Rosemary Joshua Purcell, Locke, Blow & Gibbons b0087_WH booklet template.qxd 17/04/2017 17:13 Page 2

The English Concert Harry Bicket director, , organ Rosemary Joshua soprano Sarah Connolly mezzo-soprano Recorded live at Wigmore Hall, , on 10 March 2015

Matthew Locke (c.1622–1677) Suite from (1674), Part 1, Nos. I–V 01 The First Musick: Introduction 00.54 02 The First Musick: Galliard 01.19 03 The First Musick: Gavot 00.46 04 The Second Musick: Saraband 03.31 05 The Second Musick: Lilk 00.46

(1659–1695) 06 If music be the food of love Z379b 1st setting/1st version (?1691/2) 01.58 07 Draw near, you lovers Z462 (1683) 03.51 08 Oh! the sweet delights of love 01.50 (a duet for the two Wood-Gods) from Z627 (1690)

Matthew Locke Suite from The Tempest Part 2, Nos. VI–XI 09 The Second Musick: Curtain Tune 04.18 10 The Second Musick: The First Act Tune ‘Rustick Air’ 01.08 11 The Second Musick: The Second Act Tune ‘Minoit’ 00.43 12 The Second Musick: The Third Act Tune ‘Corant’ 01.00 13 The Second Musick: The Fourth Act Tune ‘A Martial Jigge’ 01.14 14 The Second Musick: The Conclusion ‘A Canon 4 in 2’ 01.48 2 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 3

henry PurceLL 15 from Oedipus Z583/2 (?1692) 03.57 16 Oh! fair Cedaria hide those eyes Z402 (?c.1689–92) 04.05 17 My dearest, my fairest from Pausanias, the Betrayer of his Country Z585 (1695–6) 02.07

John BLow (1649–1708) 18 in G 04.44

henry PurceLL 19 O solitude, my sweetest choice Z406 (1684–5) 05.02 20 Sweeter than roses from Pausanias, the Betrayer of his Country Z585 03.15

(1615–1676) Fantasy-Suite in D minor 21 Fantasy 02.47 22 Allman 01.39 23 Galliard 01.55

henry PurceLL 24 One charming night from The Fairy Queen Z629 (1692) 02.18 25 The plaint from The Fairy Queen Z629 07.54 26 Love, thou art best from The Female Virtuosos Z596 (1693) 01.47

encores henry PurceLL 27 Chaconne from The Fairy Queen Z629 02.32 28 They shall be as happy as they're fair from The Fairy Queen Z629 00.47

Total time: 73.11

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PurceLL, Locke, BLow & GiBBons Matthew Locke’s music for Psyche was the first Tempest supplement was a creative manifesto score ever published in – headed around which other English musicians and The English Opera to prove a patriotic point. It potential patrons were supposed to rally. To went on sale in 1675. The year before a group of place Locke’s achievement as a of French musicians led by Robert Cambert had instrumental music in rough perspective this performed an opera of their own in London and programme includes pieces by Christopher tried to persuade King Charles II to fund a French- Gibbons (a close contemporary, son of , style ‘’ producing more of with whom Locke collaborated on several the same. Locke and his English colleagues experimental music-theatre projects in the ) saw this as a threat, not unreasonably, and and (the first great English composer to moved aggressively to counter it. In day-to-day reach professional maturity after the Restoration professional life they had to work alongside in 1660, ten years older than Purcell). French fellow members of the king’s Private As usual in the Restoration period the version Musick. French influence was unavoidable even in of The Tempest ‘made into an opera’ in 1674 was the theatre: Psyche was an English re-working of not actually Shakespeare’s original but an the Lully-Molière smash-hit tragédie-ballet adaptation concocted by Sir Psyché, produced in Paris in 1671. So when and a few years before. (Until his opportunities to assert English independence death in 1668 Davenant served as poet laureate came along they had to be exploited to the full. to Charles II; Dryden inherited the role.) The Psyche was a complicated show to get Davenant-Dryden Tempest script lightly tweaked together and preparations over-ran. Needing an by English Psyche’s librettist Thomas Shadwell alternative highlight for their 1674 season the contained many more cues for music than company put Psyche on Shakespeare himself had provided, one of the temporary hold, mounting a hurried but most conspicuous coming right at the beginning. unexpectedly successful revival of Shakespeare’s The curtain rose to reveal an animated storm-at- The Tempest, for which Locke provided sea scene: Locke’s ‘Curtain Tune’ accompanied instrumental music. His Tempest numbers were the wrecking of a model ship tossed about by collected together and printed as an appendix to moving waves. A detailed description of this The English Opera, giving purchasers a welcome scene survives: bonus and – crucially – a top-quality, undilutedly English theatre suite to play at home. The Front of the Stage is open’d, and the Locke wanted the world to know what he was Band of 24 Violins, with the Harpsicals and capable of: The English Opera including its ’s which accompany the Voices, are 4 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 5

plac’d betweem the Pit and the Stage. While the is playing the Curtain rises …

Behind this is the Scene, which represents a f thick Cloudy Sky, a very Rocky Coast, and a Tempestuous Sea in perpetual Agitation. This Tempest (suppos’d to be rais’d by Magick) has many dreadful Objects in it, as several Spirits in horrid shapes flying down amongst the Sailers, then rising and crossing in the Air. And when the Ship is sinking, the whole House is darken’d, and a shower of Fire falls upon ’em. This is accompanied with Lightning, and several Claps of Thunder, to the end of the Storm.

Repeat marks at the end of the published version of the Curtain Tune make sense in concert performance contexts; in the theatre presumably the ship sank only once. The twenty four violins referred to were Charles II’s: his court orchestra playing at full strength, on loan to Dorset Garden for the operatic Tempest’s opening run. They sat under the stage, HENRy PURCELL specially opened at the front to let sound out, by John Closterman, probably 1695 because the also appearing by permission of His Majesty had taken over the theatre years later: Purcell knew the building music room above the proscenium arch. Purcell inside out. was just too old to sing in this production (his Locke’s Curtain Tune is his only Tempest piece voice would have broken by 1674), but his slightly obviously tailored to its dramatic moment. There younger Chapel Royal chorister associates were is a reason for this. The First Music (three tunes) involved and almost certainly he went along and the Second Music (two tunes) were played to watch it. His own full-scale (all except well before the show started, while the audience ) were produced in the same gathered. Act tunes filled short gaps between the 5 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 6

acts. The curiously spiky conclusion, ‘A Canon 4 in this stage in proceedings ex-emperor Dioclesian 2’, played people out. 4 in 2 may have been has learned to handle his own emotions: pangs intended as a musical commentary on marriage of love can be recalled in relative tranquillity. arrangements made in Act 5 of the Restoration (Dioclesian has retired to a country estate to Tempest, where four young lovers pair happily off spend more time with his wife Drusilla, handing (not Shakespeare’s two). over responsibility for empire to his power-hungry For decades after The English Opera’s nephew Maximinian.) publication its genre-defining importance was ‘One charming night’ and ‘The plaint’ come recognised, along with its practical utility. Even in from Purcell’s last Dorset Garden opera, The Fairy the 1720s music historian Roger North considered Queen, first performed in 1692, revived with light it ‘not unworthy of a place in a virtuoso’s revisions in 1693. ‘One charming night’ is the [connoisseur’s] cabinet’. By then most of the rest third in a sequence of four sleep-inducing of the music in this programme would have found performed for the fairy queen Titania in Act 2 of its way into the cabinet too. the opera. She is asleep by the end of it, shortly After The Tempest in 1674 and Psyche (finally!) afterwards waking and falling in love with Bottom in 1675 the next full-scale English opera for the Weaver sporting his famous ass’s head. which an English composer produced music was Publication in Some Select Songs as they are sung , or the History of Dioclesian, in The Fairy Queen, 1692 (another merchandising premièred in 1690. Dioclesian was Purcell’s big venture financed by Purcell himself) made it career breakthrough, propelling him in one instantly available to amateur performers. bound from the comparative obscurity of court ‘The plaint’, added to The Fairy Queen in 1693 employment into the full glare of theatrical for no very obvious reason – perhaps to fill publicity. Purcell himself financed publication of a time while scene-shifters were at work – is an beautifully printed Dioclesian full score in 1691, oddly anomalous yet heart-wrenching piece, its making an active bid for canonisation alongside scoring unique in Purcell’s entire output. Purcell’s Locke as the now-dead older composer’s natural music connects with a well of emotion undreamed successor. (An intervening English opera with of by the anonymous lyric writer. Here as in music by the French émigré Louis Grabu had been many other instances Purcell projects profound published in 1687: jammed between Locke and meaning onto words which by themselves say Purcell in a properly stocked music cabinet hardly anything: ‘’s ’ and ‘The plaint’ Grabu’s capacity for mischief would be minimal.) have much in common. (‘The plaint’ was ‘Oh! the sweet delights of love’ is a duet from published in Book 1 of Orpheus Britannicus, the fifth-act in Dioclesian. Though it refers 1698, another must-have volume for the turn-of- to doubts and fears, jealousies and cares, by century collector.) 6 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 7

In the last five years of his life Purcell wrote Pandora sings ‘Sweeter than roses’ while waiting music for over forty plays. The theatre proprietors for him to arrive, eagerly anticipating their first milked his new-found fame; so did he. But the raw ‘dear kiss’. The pair when together sing ‘My figure is slightly misleading. Many of the plays dearest, my fairest’. Sensing danger Argilius in question contain only one or two Purcell eventually tears himself away, but as long as the pieces. Cheaper collaborators often worked music lasts Pandora’s scheme seems to run alongside him. according to plan. ‘Music for a while’ and ‘Sweeter than roses’ In ‘Love, thou art best’, from The Female (solo songs) and ‘Love, thou art best’ and ‘My Virtuosos (a 1693 English reworking of Molière’s dearest, my fairest’ (duets) are all theatre Les femmes savantes), two philosophical females compositions subsequently made available in renounce their prior commitment to the life of the print – designed for performance in particular mind, surrendering to love instead. By delicious dramatic settings but probably better known irony the words for this duet were written by Anne, as salon repertoire or as teaching fodder even Countess of Winchelsea, one of the leading female when new. intellectuals of the age – recently identified as the ‘Music for a while’, from an early revival likely librettist of John Blow’s court opera Venus of John Dryden and ’s Sophoclean and Adonis (1683). tragedy Oedipus, was sung on a darkened stage to Purcell wrote non-theatrical songs throughout summon up the ghost of Oedipus’s late father his career, for a range of reasons: so that he and Laius. As an unavenged victim of murder at the singers admired at court could perform them hands of his own son Laius suffered under more together; to sell to publishers; to indulge poets than the usual weight of care, and needed more hoping for fame by association; as presents for than usually beguiling musical reassurance to favoured pupils. persuade him to reappear. ‘If music be the food of love’ first appeared ‘Sweeter than roses’ and ‘My dearest, my in The Gentleman’s Journal in 1692. Suffolk MP fairest’ both belong in Act 3 of very minor Colonel Henry Heveningham had written the playwright Richard Norton’s Pausanias, the words, quoting Shakespeare in the first line: Betrayer of his County (1695). Pausanias, regent of their usefulness to anyone hoping to make Sparta, is close to breaking off an affair with his a declaration of love through music was mistress Pandora. Pandora wants revenge, and undeniable. Purcell produced three separate aims to have it by seducing Pausanias’s friend settings of Heveningham’s text, allowing singers and counsellor Argilius. (She has political with varying degrees of technique to take ambitions too, which Argilius might be able to advantage of it. The third, most ambitious setting help her fulfil.) Pandora and Argilius meet in Act 3. is irresistibly lascivious but the other two in their 7 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 8

more innocent ways may also have delivered I can’t one moment live’ – Cedaria’s illicit lover results. sounds desperate, but Purcell seems not to have 0 ‘Draw near, you lovers’, preserved in a single taken his or Lady Kingston’s problem entirely early source (in one of Purcell’s great autograph seriously. score books, R.M. 20.h.8) is a Two closing numbers from The Fairy Queen deliberately unsettling reflection on love ending end this recital. young lovers have been reunited. unhappily: ‘Weep only o’er my dust, and say “here Parental consent for two weddings has been obtained. The Fairy Queen and Fairy King have lies/To Love and Fate an equal sacrifice”.’ Thomas Stanley’s words – a poem called ‘The Exequies’, made up after a blazing row at the start of the published in 1647 – bring Dido’s tragic situation opera, and four grudge-fuelled intervening acts in to mind, and as Purcell set ‘Draw near’ around the which each tried repeatedly to get even with the

time that he and began work on Dido other. To celebrate happy outcomes all round and this thematic echo may be no Oberon (the Fairy King) conjures up a ‘new coincidence. Transparent World’: here ‘all things agree | To

‘O solitude’ (also in R.M. 20.h.8) sets the first make an Universal Harmony’. The transparent and last stanzas of a poem translated from its world turns out to be a Chinese garden – a French original by Katherine Phillips, in praise fashionable willow pattern scene brought to life of solitude obviously – creating head-space in on stage. Hymen the God of Marriage makes a which to contemplate the beauties of nature – timely entrance. ‘Twenty four Persons’ in Chinese

but toward the end acknowledging the risk of costume dance a Grand Chaconne. Then two emotional isolation if solitary pleasures are over- Chinese women join Hymen to deliver a blessing.

indulged. This is Purcell at his most optimistic, as far as ‘Oh! fair Cedaria hide those eyes’ – recent relationships are concerned: ‘They [the newly- research by Robert Thompson has unmasked weds] shall be as happy as they’re fair’, eagerly

Cedaria: one Lady Kingston, wife of the Earl of embracing every day of married life as it dawns

Kingston, who found herself embroiled in a sex and jumping just as eagerly back into bed every scandal about which Purcell and his friends must time the sun goes down. have been talking. ‘Unless I may your favour have, Notes by Andrew Pinnock © 2017

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Matthew Locke (c.1622–1677) yet strew, Upon my dismal grave 01–05 Suite from The Tempest (Part 1) (1674) Nos. I–V Such off’rings as you have, Forsaken cypress, and sad yew, For kinder flow’rs can take no birth henry PurceLL (1659–1695) Or grow from such unhappy earth. 06 If music be the food of love Z379b Weep only o’er my dust, and say ‘here lies 1st setting/1st version (?1691/2) To love and fate an equal sacrifice’. If music be the food of love, (Thomas Stanley, 1625–1678) Sing on till I am fill’d with joy; For then my list’ning soul you move 08 Oh! the sweet delights of love To pleasures that c an never cloy; (a duet for the two Wood-Gods) your eyes, your mien, your tongue declare from Dioclesian Z627 (1690) That you are music ev’rywhere. Oh! the sweet delights of love! Pleasures invade both eye and ear, Who would live and not enjoy ’em? So fierce the transports are, they wound, I’d refuse the throne of Jove, And all my senses feasted are, Should power or majesty destroy ’em. Tho’ yet the treat is only sound, Sure I must perish by your charms, Give me doubts or give me fears, Unless you save me in your arms. Give me jealousies and cares; But let love, let love remove ’em. (Henry Heveningham, 1651–1700, I approve ’em. first line by William Shakespeare, 1564–1616) Oh! the sweet delights of love! Who would live and not enjoy ’em? 07 Draw near, you lovers Z462 (1683) I’d refuse the throne of Jove, Draw near, Should power or majesty destroy ’em. you lovers that complain Of fortune or disdain, (, 1635–1710) And to my ashes lend a tear. Melt the hard marble with your groans, And soften the relentless stones, Matthew Locke Whose cold embrace the sad subject hide 09–14 Suite from The Tempest (Part 2) Nos. VI–XI Of all love’s cruelties and beauty’s pride.

No verse, henry PurceLL No Epicedium bring, No peaceful sing, 15 Music for a while from Oedipus Z583/2 (?1692) To charm the terrors of my hearse; Music for a while shall all your cares beguile, No profane numbers must flow near Wond’ring how your pains were eas’d The sacred silence that dwells here. And disdaining to be pleased Vast griefs are dumb, softly, O softly mourn, Till Alecto free the dead from their eternal bonds, Lest you disturb the peace that attends my urn. Till the snakes drop from his head, And the whip from out her hands. Music for a while shall all your cares beguile. (John Dryden, 1631–1700 / Nathaniel Lee, c.1653–1692) 9 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 10

16 Oh! fair Cedaria hide those eyes henry PurceLL Z402 (?c.1689–92) 19 O solitude, my sweetest choice Z406 (1684–5) 2 Oh! fair Cedaria hide those eyes That hearts enough have won; O solitude, my sweetest choice! For whosoever sees them dies, Places devoted to the night, And cannot ruin shun. Remote from tumult and from noise, How ye my restless thoughts delight! Such beauty and charms are seen O Solitude, my sweetest choice! United upon your face, O heav’ns! What content is mine The proudest can’t but own you queen To see these trees, which have appear’d Of beauty, wit and grace. From the nativity of time, Then pity me, who am your slave, And which all ages have rever’d, And grant me reprieve; To look today as fresh and green Unless I may your favour have, As when their beauties first were seen. I can’t one moment live. O, how agreeable a sight These hanging mountains do appear, (Anonymous) Which th’ unhappy would invite To finish all their sorrows here, 17 My dearest, my fairest When their hard fate makes them endure from Pausanias, the Betrayer of his Country Such woes as only death can cure. Z585 (1695–6) O, how I solitude adore! My dearest, my fairest, That element of noblest wit, My dearest, my fairest, I languish for you. Where I have learnt Apollo’s lore, Thy kindness has won me, Without the pains to study it. Thy charm has undone me, For thy sake I in love am grown With what thy fancy does pursue; I ne’er, no, ne’er shall be free. I faint with the pleasure I fain would repeat. But when I think upon my own, Ah why are love’s raptures so short and so sweet. I hate it for that reason too, Thus pressing and kissing, fresh joys we’ll pursue Because it needs must hinder me And ever be happy and ever be true. From seeing and from serving thee. But alas, should you change O Solitude, O how I solitude adore. Ah tell me not so (Katherine Philips, 1631–1664) No never my dearest No never my fairest 20 Sweeter than roses No, no, my dearest, no,no. from Pausanias, the Betrayer of his Country Z585 (Richard Norton, 1666–1732) Sweeter than roses or cool evening breeze On a warm flowering shore, Was the dear kiss, first trembling, made me freeze, John BLow (1649–1708) Then shot like fire all o’er. 18 Chaconne in G What magic has victorious love! For all I touch or see, Since that dear kiss, I hourly prove, All is love to me. (Richard Norton)

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christoPher GiBBons (1615–1676) 26 Love, thou art best from The Female Virtuosos Z596 (1693) 21–23 Fantasy-Suite in D minor Love, thou art best of humane joys; Our chiefest happiness below, henry PurceLL All other pleasures are but toys; Music, without thee, is but noise, 24 One charming night And Beauty but an empty show. from The Fairy Queen Z629 (1692) Heav’n, who knew best what men could move, One charming night And raise his thoughts above the brute, Gives more delight Said, let him be, and let him love, Than a hundred lucky days. That alone must his soul improve Night and I improve the feast, Howe’er Philosophers dispute.

Make the pleasure longer last, (Anne Finch, Countess of Winchelsea, 1661–1720) A thousand thousand several ways.

(Anonymous, after William Shakespeare) encores 25 The plaint from The Fairy Queen Z629 henry PurceLL O, let me forever weep: My eyes no more shall welcome sleep. 27 Chaconne I’ll hide me from the sight of day, from The Fairy Queen Z629 And sigh my soul away. He’s gone, his loss deplore, 28 They shall be as happy as they’re fair And I shall never see him more. from The Fairy Queen Z629

(Anonymous, after William Shakespeare) They shall be as happy as they're fair; Love shall fill all the Places of Care: And every time the Sun shall display his Rising Light, It shall be to them a new Wedding-Day; And when he sets, a new Nuptial-Night.

(Anonymous, after William Shakespeare)

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the enGLish concert

Harry Bicket director, harpsichord, organ Nadja Zwiener 1st violin Walter Reiter 2nd violin Alfonso Leal del Ojo Joseph Crouch Peter McCarthy William Carter theorbo

With an unsurpassed reputation for inspiring founder , his successor Andrew performances of and , The Manze, and current Artistic Director Harry Bicket. English Concert ranks among the finest chamber The English Concert’s award-winning disco - orchestras in the world. Such standing is the graphy of over 100 recordings features master - result of tireless work at home, on the road and in works from Bach to Purcell and Handel to Mozart, the studio since 1973, guided along the way by as well as some of the most renowned artists in 12 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 13

recent history. Lucy Crowe’s debut solo recital ships with exceptional artists and venues. From Il Caro Sassone, ’s Sound the the Elizabethan settings of Shakespeare’s Globe, Trumpet, and Elizabeth Watts’ recent exploration to a new staging of Handel’s Messiah The Engish of virtuosic by are but Concert fearlessly step outside of the traditional the latest of their endeavours. concert hall. Foremost among these is their Ground-breaking collaborations in musical flourishing commission from New ’s Carnegie theatre and opera are also at the forefront of their Hall to present a series of operas-in-concert thinking and form part of longstanding relation - by Handel.

harry Bicket Renowned as an opera and concert conductor, Harry Bicket is especially noted for his inter pre - tations of Baroque and Classical repertoire. He became Artistic Director of The English Concert in 2007, and in 2013 was appointed Chief Conductor of the Santa Fe Opera and opened the 2014 season with a critically acclaimed Fidelio. Harry Bicket works regularly with the world’s great orchestras and opera houses and tours extensively with The English Concert to the , Europe, and the Far East. Highlights of recent seasons include visits to the , acclaimed productions at Houston Grand Opera, Canadian Opera Company, Atlanta Opera, Santa Fe Opera, Lyric and guest conducting with Royal Northern Sinfonia, Scottish Chamber, Chicago Symphony, Oslo and Hong Kong Philharmonic Orchestras. His discography is varied and widely admired, receiving both Grammy and Gramophone nominations for his recordings with David Daniels, , and Lorraine Hunt Lieberson. 13 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 14

sarah connoLLy the Royal Philharmonic Society’s 2012 Singer Award, Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She is especially regarded for the roles of Octavian, Komponist, Didon, Sesto, Brangäne, Fricka and Handel’s , , Ruggiero in and . Highlights of her operatic career include performances at Covent Garden, La Scala, the Metropolitan Opera, Bayerische Staatsoper, Paris Opera, Wiener Staatsoper, Festspielhaus Baden-Baden and the Bayreuth, Aix-en-Provence and Glyndebourne festivals. Concert engagements include at the Aldeburgh, , Lucerne, Salzburg, Tanglewood and Three festivals and the BBC Proms where, in 2009, she was a memorable guest soloist at The Last Night. She has given recitals in London, New york, Boston, San Fran - cisco, Paris, Amsterdam, Rotterdam, Stuttgart, Madrid and at the Aldeburgh, Cheltenham, Edinburgh, Lieder, Schwarzenberg, Tangle - wood and Schubertiada Vilabertran festivals. Awarded a CBE in the 2010 New year’s Honours Twice nominated for a Grammy Award, she is a List, the Distinguished Musician Award by the prolific recording artist. Incorporated Society of Musicians in 2011, and

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roseMary Joshua Rosemary Joshua was born in and studied at the Welsh College of Music and Drama and at the Royal College of Music, London, of which she is now a Fellow. In opera, Rosemary has appeared with the Metropolitan Opera, La Scala, Opernhaus Zurich, Glyndebourne, Bayerische Staatsoper, La Monnaie, Brussels and Dutch National Opera, while on the concert platform she has worked frequently with ensembles such as The English Concert, The , , Les Arts Florissants and the English Baroque Soloists. Recordings include a solo Purcell recital, Harmonia Sacra, with Les Talens Lyriques and Christophe Rousset; the title roles in and , Romilda in Handel’s Serse and Emilia in with The and ; the title role in Handel’s with Laurence Cummings; Angelica and Nitocris () with Les Arts Florissants and William Christie; and , and with René Jacobs.

Engineered by Steve Portnoi www.outhouseaudio.com Produced by Jeremy Hayes Recorded live at Wigmore Hall, London, on 10 March 2015 Director: John Gilhooly Wigmore Hall Live — General Manager: Darius Weinberg Photographs of The English Concert on p.12 and Harry Bicket on p.13 by Richard Haughton Photograph of Sarah Connolly on p.14 by Jan Capinski Photograph of Rosemary Joshua on p.15 by Ruth Crafter Manufactured by Repeat Performance Multimedia, London 15 b0087_WH booklet template.qxd 17/04/2017 17:13 Page 16

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