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Home , David Atherton, Earth Dances, London Sinfonietta, Panic (Birtwistle), Silbury Air, The Last Supper (opera)

Andrew Watts Jeffrey Lloyd-Roberts BBC Singers • Sinfonietta conductor 2 Harrison A sound from elsewhere by Paul Griffi ths

Birtwistle The eternal and immense Will not be bent by us. (Rilke: ‘Der Schauende’) Photo: Hanya Chlala / Arenapal.com

1 Angel Fighter 31’09 In accepting a commission from the Stravinsky, was producing one sacred Leipzig Bach Festival for a work to story after another: Canticum sacrum Andrew Watts countertenor Angel Jeffrey Lloyd-Roberts tenor Jacob be performed in the very church, the (1955), A Sermon, a Narrative and BBC Singers Thomaskirche, that had witnessed the a Prayer (1961), The Flood (1962), fi rst performances of the St Matthew Abraham and Isaac (1963). Now, David Atherton conductor Passion and so much else, Birtwistle having reached a similar age, he does Commissioned for Bachfest Leipzig 2010 was agreeing to wrestle with one of the the same: (1998-

2 In Broken Images 18’21 great angels of his destiny. There had 9), The Ring Dance of the Nazarene London Sinfonietta been circlings before, in arrangements (2003), Angel Fighter (2010). of keyboard pieces and arias, but never David Atherton conductor The predecessor’s presence may be Commissioned by MITO SettembreMusica / London Sinfonietta had he come so close. felt not only in the genre but also in However, the angel in the Biblical the bare textures and sparse fi gures 3 Virelai (Sus une fontayne) 3’55 narrative of Jacob’s wrestling declines of the opening, with its duo London Sinfonietta to give his name, and the spirit Birtwistle and sustained string chord, introducing David Atherton conductor takes hold of in Angel Fighter may not the work’s tight-drawn, luminous

Live Recordings be so simply inferred from the work’s harmonic vocabulary and simultaneously circumstances. Go back half a century. introducing the fi rst two points at which Total timing 53’36 A young composer at that time can the chorus – as they often will again, in hardly fail to have been impressed by this piece partly about naming – call out how his pre-eminent living role model, the protagonist’s name. Soon, though,

2 3 the name that is on the score becomes output since and Down the Angel’s fi rst words, which, given behind the audience in another dramatic unmistakable. A machinery is set in gear by the Greenwood Side. Once again a magical aura by women’s voices use of position, calling the Angel back to for harp, pizzicato strings and brass, with there are typical game elements of and string harmonics, are in Enochian, paradise. The end then quickly comes, woodwind fl ying overhead, so engaging repetition, formality, unexplained routine, the angelical language discovered or with the crowd departing on a chorale the full, percussionless chamber argument about the rules, and a win-or- contrived by the English Elizabethan and Jacob, the new Israel, left alone. . Meanwhile, the chorus go lose outcome. Once again the event is necromancer John Dee. With string God, who cannot be held down, has on singing ‘Jacob’, not only as part of formalized as enactment. glissandos lifting behind him, the Angel gone, but it was in the struggle with the their not very fl attering character portrait turns to English, then comes down to divine, as Rilke’s poem has it, that the Jacob is an ambivalent player. He enters but also to summon him, as to a court earth with his offer to fi ght, to prove he is mortal gained power and knowledge. the action on an upper E, a Birtwistle hearing, or a stage, or a game. real – a nice touch on the librettist’s part, signature, but his mind is misted with In Broken Images (2011), scored for and entirely in keeping with the conduct Angel Fighter is all three. Its central event what he has come from: the ‘brawling a similar orchestra but with percussion of a game. is a trial, a trial of strength, with the choir brats and wailing wives’, and the and no horns, was not the fi rst Birtwistle as commenting jury. It is theatre not just animals, such as will appear again in this In the wrestling match that follows, the piece to take its title from a poem by in its use of space, the Angel singing fi rst mechanical pastoral, to quote Birtwistle’s rotating tensions of Birtwistle’s music, Robert Graves. Here there is a kind of from the distance before approaching description of an earlier rural power its twists of pulse against pulse, its hare-and-tortoise antithesis, where the the others, but also in how it presents play of his, . Jacob’s wrenches of harmony, become almost one who is ‘slow, thinking in broken two people in arresting combat, urged predicament is human: he is made graphic, abetted by transfi gurations of a images’, arrives at ‘a new understanding on or observed by chorus and orchestra. restless by his own restlessness, in a referee’s whistle. The climax comes when of my confusion’. A composer who could Highly relevant here is the text, by spiral of assertion and confusion which the chorus shout out, and slap claves, in come up with these two big works Stephen Plaice, the dramatist with whom he expresses in his aria, with spiralling protest at the Angel’s foul play. However, in little more than a year is not a very Birtwistle had worked on his chamber woodwind. He is also unclear as to Jacob holds fi rm, and gains his blessing convincing sluggard; but slowness in the where and what he is. He wants to hear, The Io Passion, but relevant, too, from the Angel in the form of a renaming, sense of breadth, of processes working but he does not hear the chorus, and is is the composer’s vivid, even excited with high solo and brass clamour. themselves out through the span of a interleaved with them only by the rules of response to that text. One way in which For the mysterious aria that ensues, the whole composition, is certainly a quality a game he does not yet understand. Plaice plays to his composer’s strengths obbligato instruments are of Birtwistle’s music, even though that is in shaping life-and-death struggle as a What makes him hear is the voice of the and harp, as the Angel avoids giving his music will judder in its course, and even game, such as has featured in Birtwistle’s Angel, though he cannot understand own name. Two peal out from though its images are, indeed, broken.

4 5 They are so quite openly here. Where almost nothing about Johannes Ciconia 1 Angel Fighter Libretto by Stephen Plaice the orchestra of Angel Fighter bends except that, born in the Low Countries in to the dramatic narrative, that of In around 1370, he probably worked Jacob is dividing his livestock and Jacob Jacob Broken Images in Rome before 1400 and certainly tribe and ordering them on ahead I cannot hear (aria) exults in a more exposed, to confront his brother Esau, above the camel’s croak Did I push angels declamatory manner, and is divided in Padua thereafter, and which has whose inheritance he stole. the geese’s jabber, up the ladder to heaven? into four groups that Birtwistle, thinking been left with a small output in a Chorus I cannot hear Did I raise a pillar what the desert sighs! to my nightmare in Bethel? confusion of styles: forward-looking, Jacob of Gabrieli’s multi-choir canzonas, seducer, Chorus Wild dreams the head that pillows on stone. asks to be separated: percussion to backward-looking, nowhere-looking. shepherd of the black sheep, Jacob why should we shield the rear, brass in front, strings on the His virelai Sus une fontayne – ‘By a the coward, faker, The eagle knows its perch you back into Canaan? mistaker of angels on the hang of the cliff. left, woodwind on the right. These fountain, turning round, I hear such Jacob for the vain creatures The fox knows its hole formations may be further fractured, as sweet singing’ – belongs with the Enough! I cannot hear that fl oat in his mind. in the side of the hill. beyond the din, Only man is a stranger at the start, where the three most rhythmically intricate music of Chorus of brawling brats Jacob seducer! one sunrise from home. are answered by the three trumpets in composers following Machaut, its three and wailing wives! Jacob The animals want no sense of their maker, an instant contrast of slow and fast, or parts often in confl icting metres. It is The Angel says Let me hear him! I must stay here the raven’s unbidden, they may join together. Diverse sorts of also music of broken images on another and listen. Chorus the goat browses on, Jacob deserter! music, distinguished by their tempos, level, including segments from songs by Chorus yet I wander in search of my God. their pulse rates, their more or less Filippotto da Caserta, who in turn worked Jacob Jacob deserter Let me see him! Yahweh, give me a sign! repeating fragments of tune, collide with quotations from Machaut himself. dividing your tribe – Chorus Make the roe-deer come with each other, combine, throw out Birtwistle’s precisely all-over-the-place letting half perish so that half may survive! Jacob appeaser! tame down to the water, orchestration, for string, woodwind and make the carp rise, occasional solo lines and fi ll in each Jacob Jacob speak out of its mouth – saying other’s interstices, all within a continuing brass soloists, plays through the fi rst half It’s not the coward Let me touch him! Yahweh, give me a sign! of the virelai twice and the second half who stays behind. Chorus drive to a climax, after which the forces Give me a sign! I am in the thrall Jacob faker! rapidly scatter. A wants to go on. twice, the repeats each time differently of higher design. Give me a sign! Jacob exuberant. The Angel begins to be heard So do high woodwind, on the same note. Chorus Yahweh wishes Jacob mysteriously, no more than a But it’s over. to speak to me rustle to begin with. Then he appeaser alone. sings in Enochian, the universal tributing your wives, I must stay here and listen. The broken images, however, proliferate. gifting your children like goats language of men, lost in the They affl ict musicology, which knows © 2015 Paul Griffi ths to Esau! The chorus withdraw Great Flood.

8 7 Angel Can two meet together Angel The chorus return as spectators Angel Jacob olpirt odo ors unless their speech agrees? Live then, like the rabbit at the fi ght With lion claws God feel me struggle - ors odo olpirt in a hole. I swipe and slash, I clamp you to my chest, Great turbulence. The Angel Chorus olani zacam oe bazm Creep like the beetle with jackal jaws I cling like the baby suddenly descends and appears An angel fi ghts with a man! crp oai ipamis lvciftian beneath the bark. I grind. clings to the mother’s breast. to Jacob, translated. No contest! Jacob Angel Jacob Angel Now Jacob Every inch of skin What kind of god will be humbled I pierce, I will bring you down! What spirit is this Light open darkness fi ghts his own creation? in his pride. with spines of I will bring you down, that lives in air? darkness open light porcupine. all airs and wings and crest. I move in day Angel Jacob begins to wrestle with the Angel I will bring you down to earth, but am not bright A jealous god. Angel Jacob olpirt odo ors to prove that I am blest. How can I wreck ors odo olpirt Light open darkness Jacob Angel its massive span! Chorus olanioe oai oe exarp darkness open light A jealous god I numb you How can I check The night is ending crp nanaeel ipamis zildar I am in air begrudges us with scorpion’s sting, The angel provides his own its mighty swing! and no one wins. [ but not in fl ight a portion of his happiness? with cobra spit translation of his opening words Our champion holds his own I blind. Freezing without, Jacob Angel with the angel. later] scorching within! You are not real! If man does not fi ght his god, I am the boxer gazelle, Both ice and fi re, Angel Jacob how will he ever know him? the rushing ram, Angel it burns my skin. Let me go! Who are you? the mule that kicks Like a heron at dusk Chorus Day is breaking! behind. Chorus Angel I watch over the rivers. See, Jacob is afraid. I cannot wrestle. Two falls ollor gassagen He will not fi ght Jacob in the light! Jacob to the Angel. [an angel] to prove the power I’ll wrench your hip No! How can I grip See how it rewards of his god! from its socket. Jacob A mirage! this marble fl esh! the blasphemer! What do you want? Heat haze! Angel How can I pinion Let me go Having conceded the second fall, Don’t you want to know me, these sleek wings! or I must destroy you! Angel Angel Jacob wrestles a third time Jacob? ol vmd ollog Like a leopard How can I blunt Jacob [You called me] I watch over the cities. Jacob these razor scales! Angel I will not let you go How can I block My swan wings until I have your blessing! Jacob Jacob If I must fi ght you then we should wrestle these fl ailing limbs! beat the body blue, Great Father Enoch No Jacob screams in pain as his hip on level ground, I chew you help me translate Just a jinnee Chorus is wrenched from his socket hand to hand. to the rind. the angel tongue! spooking in my wine! One fall. Jacob Angel to the Angel. Then I slink Angel Angel Ai-o! Agreed! See how it punishes beneath the cypress tree arphe! arphe!arphe! I’ll fi ght you Ai-o! On level ground, the underdog! to watch the vulture [descend! descend! descend!] to prove I’m real. dine. Ai-o! hand to hand! Having conceded a fall, Jacob Ai-o! Jacob Jacob Oil yourself! wrestles a second time Ai-o! Give me the keys A man cannot compete Lay hold! to unlock these mysteries! against the divine. Three falls or a submission!

8 9 Chorus Does the lion Chorus Foul blow! name its cub? Shema Yisrael Adonai London Sinfonietta The Angel fi ghts foul! Does the curlew Eloheinu Adonai Echad! The London Sinfonietta’s mission is to place the Having held a world-leading position in education Because he cannot win! know it’s curlew dubbed? Jacob Jacob still holds the Angel fast The bleating This place shall be called best contemporary classical music at the heart and participation work for many years, the London in the bush Pe niel. of today’s culture; engaging and challenging the Sinfonietta continues this with a belief that arts Chorus tells the ewe Because I have seen He limps! public through inspiring performances of the participation is transformational to individuals where the lamb is lost. God face to face His hip is broken! highest standard, and taking risks to develop new and communities, and new music is relevant to But still he clings on! Only the cuckoo Chorus work and talent. Founded in 1968, the ensemble’s people’s lives. is fool enough Shema Yisrael Adonai Jacob commitment to making new music has seen it to call its own name Eloheinu Adonai Echad! The ensemble has an extensive back catalogue of I will not let you go commission over 300 works, and premiere many through the wood. [Hear, O Israel: the Lord is our recordings made over 47 years, which have been until I have your blessing! God, the Lord is One] hundreds more. Should the Word released on numerous prestigious labels as well as Angel give up its mystery, Jacob Resident at with a busy touring its own London Sinfonietta Label. What is your name? Baruch Shem Kavod Malchuto to have it twisted schedule across the UK and abroad, its core is 18 Jacob in Babel’s dust? Le Olam Va’Ed. The London Sinfonietta won the RPS Music [Blessed is the Name and glorious Principal Players, representing some of the best Jacob. Award for Ensemble in 2010. No man should win kingdom forever and ever] solo and ensemble musicians in the world. The Son of Isaac. without a struggle Son of Abraham! the secret title Chorus group also works with talented Emerging Artists, Angel of his God. Shema Yisrael Adonai to ensure the unique expertise of its Principals is Eloheinu Adonai Echad! No longer will you be called Jacob passed on to the next generation of performers. www.londonsinfonietta.org.uk Jacob. But I have fought Since you have shown your you fairly, angel! strength Tell me your name! against god and men This project was made possible by the generous support of and have prevailed, Angel Robert McFarland, a London Sinfonietta Entrepreneur. you will be called Why ask my name Israel! when you have my blessing? In the lead up to its 50th anniversary the London Sinfonietta is Jacob The trumpet sounds seeking to partner with 50 ambitious individuals or groups to Tell me your name! Angel initiate a series of inspirational projects across the programme Is it Yahweh? I am recalled of the organisation. Entrepreneurs enjoy a close involvement with Angel to my perfection. the ensemble as their chosen project is realised. (aria) The trumpet sounds again No river needs Find out how you can become involved at a name to fl ow. Angel www.londonsinfonietta.org.uk/entrepreneurs Nineveh was not Olani noasmi. built upon a word. [I will return]

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Harrison Birtwistle was born in Accrington in 1934 commissioned by the Cleveland Orchestra and Prize in 1995; he was made a Chevalier de l’Ordre Harrison Birtwistle on NMC and studied and composition at the Royal Christoph von Dohnányi. The Last Supper received des Arts et des Lettres in 1986, awarded a British DDuetuet 3 NMC DL3014 Manchester College of Music. In 1965 he sold its fi rst performances at the Deutsche Staatsoper knighthood in 1988 and made a Companion of Hulse · Orford his to devote his efforts to composition, in Berlin and at Glyndebourne in 2000. Honour in 2001. He was Henry Purcell Professor NMC D200 Game and travelled to Princeton as a Harkness Fellow , co-commissioned by RUHRtriennale, of Music at King’s College, University of London Soloists · The Chorus and where he completed the opera Punch and Judy Ensemble Modern and the London Sinfonietta, was (1995-2001) and Director of Composition at the Orchestra / Howarth (NMC D138). This work, together with Verses premiered in 2003, while 2004 saw premieres of Royal Academy of Music in London, where he Gramophone Award Winner 1996 for Ensembles and The Triumph of Time (NMC The Io Passion, for Aldeburgh Almeida Opera, and became Visiting Professor in 2012. Recordings of (Collins Classics) D088), fi rmly established Birtwistle as a leading Night’s Black Bird, commissioned by Roche for the Birtwistle’s music are available on Decca, Philips, NMC D050 voice in British music. Lucerne Festival and recorded by the Hallé (NMC Deutsche Grammophon, Teldec and NMC. Soloists · BBC Singers · BBC SO / Davies D156). Opera The received its premiere Gramophone Award Winner 1998 The decade from 1973 to 1984 was dominated Harrison Birtwistle has recently completed at the Royal Opera House Covent Garden in 2008, by his monumental lyric tragedy The Mask of Responses: Sweet disorder and the carefully Melencolia I, Meridian, Ritual Fragment while music-theatre work opened London Sinfonietta / Knussen NMC D009 Orpheus, staged by in careless, a concerto for piano and orchestra the 2009 Aldeburgh Festival. Angel Fighter for 1986 and subsequently released on NMC D050, written for his 80th birthday year and co- Night’s Black Bird, Cry of Anubis, voices and ensemble was premiered at the Leipzig and by the series of remarkable ensemble scores commissioned by Musica Viva Munich, Casa da The Shadow of Night NMC D156 BachFest in 2010, and Christian Tetzlaff premiered Slade · Hallé / Wigglesworth now performed by the world’s leading new music Musica Porto, the London Philharmonic Orchestra the Concerto with the Boston Symphony Gramophone Award Winner 2011 groups: Secret Theatre, and Carmen and the Boston Symphony. BBC Music Magazine Award Winner 2012 Orchestra in 2011. Arcadiae Mechanicae Perpetuum (reissued on As of 2015 his current composing plans include Pulse Sampler NMC D042 NMC D148). Large-scale works in the following The music of Birtwistle has attracted international The Cure for Aldeburgh/Royal Opera House, a Maxwell · Benjafi eld decade included Gawain (NMC D200) conductors including Pierre Boulez, Daniel string quartet and a major symphonic work. and , the concertos Endless Barenboim, , Christoph von Punch and Judy NMC D138 Soloists · London Sinfonietta / Atherton Parade for trumpet and Antiphonies for piano, and Dohnányi, and Sir ; he Harrison Birtwistle is published by Boosey & Gramophone Award Winner 1980 (Decca Headline) the orchestral score . has received commissions from leading performing Hawkes and Universal Edition. organisations, while his music has been featured Secret Theatre, Silbury Air, Carmen Arcadiae Birtwistle’s works of the past decade include Mechanicae Perpetuum in major festivals and concert series including the NMC D148 Exody, premiered by the Chicago Symphony London Sinfonietta / Howarth BBC Proms, Salzburg Festival, Glyndebourne, Orchestra and Daniel Barenboim, Panic which Information about the artists on this Gramophone Award Winner 1988 (Etcetera) Lucerne Festival and Wien Modern. disc can be found on NMC’s website: received a high profi le premiere at the Last Night of The Triumph of Time, Ritual Fragment, the 1995 BBC Proms with an estimated worldwide Birtwistle has received many honours, including www.nmcrec.co.uk Gawain’s Journey NMC D088 audience of 100 million, and The Shadow of Night the Grawemeyer Award in 1987 and the Siemens · London Sinfonietta / Howarth

12 13 NMC FRIENDS Angel Fighter was recorded live for BBC Radio 3 at Cadogan Hall, DISTRIBUTION London on 20 August 2011. NMC recordings are distributed worldwide in CD and download format. As a charity NMC is non-profi t-making, providing PRODUCERS’ CIRCLE For more information visit our website. MICHAEL EMERY Recording Producer public benefi t through the contribution our work Anonymous, Robert D. Bielecki, Anthony Bolton, Luke Gardiner, MARVIN WARE Recording Engineer You can also purchase recordings direct from our online store makes to enriching cultural life. Our ability www.nmcrec.co.uk Jonathan Goldstein, Nicholas and Judith Goodison, Terry In Broken Images was recorded at Queen Elizabeth Hall, London on 24 to record and promote the innovative, the Holmes, Vladimir Jurowski, George Law, , Robert May 2012; Virelai (Sus une fontayne) was recorded at Queen Elizabeth FOR FURTHER DETAILS PLEASE CONTACT: challenging, the obscure and the lost is reliant McFarland, James and Anne Rushton, Richard Shoylekov, Richard Hall, London on 5 December 2014. Both were recorded live by London NMC Recordings Ltd, upon securing the support of individuals who Sinfonietta/Sound Intermedia. Somerset House Steele, Charlotte Stevenson, Janis Susskind, Giles Swayne, Third Floor, South Wing, Recording and Production by IAN DEARDEN and DANIEL HALFORD are as passionate about new music as we are. 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