Mark-Anthony Turnage

A Constant Obsession

Nicky Spence tenor

Chamber Domaine

1 0

1 conductor

S Thomas Kemp

E R Other titles from Resonus Classics Chamber Domaine Chamber Domaine has a distinguished and Landscapes, real and imagined: highly acclaimed discography. The ensemble’s Chamber Works by Judith Bingham Chamber Domaine is at the cutting edge of recordings regularly receive five star reviews Yeree Suh soprano; Chamber Domaine music making in the 21st century. Its excellence and have been picked as Editor’s Choice in RES10102 and dynamism have received widespread Gramophone. Recent discs of music by acclaim both in the United Kingdom and Henryk Górecki and Judith Bingham received ‘... renditions of this calibre are no less than Bingham’s abroad. universal acclaim. Forthcoming recordings music deserves.’ include a disc of world premiere recordings of International Record Review Under its artistic director, Thomas Kemp, the Mark-Anthony Turnage, as well as recordings ensemble has become renowned for its of Mahler and Barber. The ensemble recently virtuosity and its ambitious and distinctive recorded the all Mozart sound track to First Mendelssohn: Octet Op. 20 programming that range from the Baroque Night – a film starring Richard E. Grant, which World premiere recording of the original 1825 version through to the Contemporary. Chamber will be released on Sony Classics. Eroica Quartet and Friends Domaine focuses on instrumental chamber RES10101 music and song in programmes that illuminate In addition to its recording activities, the the music of today with the music of three ensemble has broadcast regularly on BBC BBC Music Magazine, Chamber disc of the month centuries: the ensemble brings passion and Radio 3; ORF, Austria; SR, Sweden; and WNYC, commitment to a diverse repertoire that New York. ‘The label's first disc is a remarkable coup’ makes music come alive whilst placing it into International Record Review its cultural context. Chamber Domaine has a busy schedule of concerts and consistently proves itself as one © 2012 Resonus Ltd The ensemble is committed to performing of the most dynamic and versatile ensembles è 2012 Resonus Ltd and recording contemporary music and of its kind. During 2011 they were the resident Recorded in the Jacqueline du Pré Music Building, St Hilda’s College, Oxford on 14-15 June 2011 give world premieres by leading composers ensemble of the Music@Malling International and in St Augustine’s Church, Kilburn, London on 20 October 2011 including Judith Bingham at the City of London Producer, engineer & editor: Adam Binks Festival, held in Kent, working closely with Recorded at 24-bit / 96kHz resolution Festival, Piers Hellawell at the Cheltenham Mark-Anthony Turnage. Future plans include Cover image: Hintergrund organisch © Wilm Ihlenfeld - Fotolia.com International Festival and Arvo Pärt at the concerts in Europe, Scandinavia and New Session photography © Resonus Ltd Edinburgh Festival. The ensemble has a Zealand. Piano by Steinway & Sons (tracks 7-15), maintained by Joseph Taylor Pianos Ltd commission from the brilliant young composer, Thanks are due to Mark-Anthony Turnage, Sabine Mardo, Philip Gatward, Cathy Nelson and Taya Smith for their assistance. Matthew Sergeant for the 2012 Cultural www.chamberdomaine.com Olympiad and a major work for soprano and DDD - MCPS chamber orchestra by Judith Bingham for her RESONUS LTD - LONDON - UK sixtieth birthday. [email protected] www.resonusclassics.com A Constant Obsession A Constant Obsession (2007) Chamber works by for tenor solo and eight players 1. Prologue [0:59] 2. Love expected [3:36] Mark-Anthony Turnage (b. 1960) 3. Love begun [1:47] 4. The pains of love [5:35] 5. Love continued [5:59] Nicky Spence tenor 6. Love in death [4:25] Three for Two (2010) Chamber Domaine for piano quartet 7. Wish One [1:49] 1-6 & 15 7-14 Thomas Kemp conductor & violin 8. Wish Two [4:48] 9. Wish Three [3:43]

7-9 & 14-15 Adrian Bradbury cello Four Chants (2008) 15 for violin and piano Alex Neal percussion 10. Chant 1 [2:42] 7-15 Andrew West piano 11. Chant 2 [1:25] 1-6 & 15 12. Chant 3 (A Bride’s Fancy) [4:19] Anna Wolstenholme piccolo, flute & alto flute 1-6 13. Chant 4 [1:35] David Juritz violin 1-6 Gabriella Dall’Ollio harp 14. A Slow Pavane (2004) [7:34] 1-6 & 15 for piano trio Neyire Ashworth clarinet & bass clarinet 1-9 & 14-15 15. Grazioso! (2009) [9:03] Nick Barr viola for six players 1-6 Richard Harwood cello ‘[...] Chamber Domaine is surely a group with 1-6 Ruth Bolister oboe & cor anglais which any composer would be ecstatic to work’ Total playing time [59:27] 1-6 International Record Review Roger Montgomeryhorn All tracks are world premiere recordings and were recorded in the presence of the composer ‘[…] intriguing programming [...] unabashed lushness’ The New York Times Mark-Anthony Turnage: Group and the Orchestra of the Age of A Constant Obsession Enlightenment in 1999 brings together contemporary and historically informed Mark-Anthony Turnage was born in 1960 performance practices, while Hammered Out and is at the forefront of contemporary written for the BBC Symphony Orchestra classical music. A prolific and eclectic and the Los Angeles Philharmonic in 2010, composer, his music is full of contrasts brings R & B inspired by James Brown and spanning musical styles from the Renaissance 1970s jazz-funk to the symphony orchestra. through to R & B. His music is performed Whilst having residencies with orchestras worldwide in both opera house and concert such as the Chicago Symphony, BBC Symphony, hall and his ability to encompass and London Philharmonic, City of Birmingham assimilate such a broad range of music Symphony and English National Opera, gives him a unique voice that appeals to a Turnage has written for smaller forces and wide range of listeners. the instrumental chamber music and song featured in this recording were all written His operas, Greek, The Silver Tassie and in the first decade of the 21st century. Anna Nicole have caused controversy as well as gaining huge acclaim from audiences Having commissions for symphony orchestras and critics alike. They have forced people and opera has meant that there is some to take notice of contemporary music and overlap of material between the chamber have challenged them to think. Turnage music and larger scale works. A Constant comments: ‘I am attracted to strong subjects. Obsession was written in 2007 for tenor and Anna Nicole is a good story and you could eight players. Turnage was also writing Chicago not work on an opera for three to four years Remains for the Chicago Symphony Orchestra if the story and its characters did not fascinate and Bernard Haitink at the same time: you. I am not interested in older stories, I go ‘Having a busy schedule means that crossover with the things that I like, the films I like and between pieces is almost inevitable. A strong subjects that resonate with our time.’ Constant Obsession was like a study for Chicago Remains.’ Nicky Spence, Thomas Kemp and Chamber Domaine record A Constant Obsession Turnage’s orchestral music has brought in St Augustine’s Church, Kilburn, London together seemingly disparate elements of The song cycle sets words of five English music – works such as About Time written writers from different periods – John Keats, for the Birmingham Contemporary Music Thomas Hardy, Edward Thomas, Robert Graves Mark-Anthony Turnage: Group and the Orchestra of the Age of A Constant Obsession Enlightenment in 1999 brings together contemporary and historically informed Mark-Anthony Turnage was born in 1960 performance practices, while Hammered Out and is at the forefront of contemporary written for the BBC Symphony Orchestra classical music. A prolific and eclectic and the Los Angeles Philharmonic in 2010, composer, his music is full of contrasts brings R & B inspired by James Brown and spanning musical styles from the Renaissance 1970s jazz-funk to the symphony orchestra. through to R & B. His music is performed Whilst having residencies with orchestras worldwide in both opera house and concert such as the Chicago Symphony, BBC Symphony, hall and his ability to encompass and London Philharmonic, City of Birmingham assimilate such a broad range of music Symphony and English National Opera, gives him a unique voice that appeals to a Turnage has written for smaller forces and wide range of listeners. the instrumental chamber music and song featured in this recording were all written His operas, Greek, The Silver Tassie and in the first decade of the 21st century. Anna Nicole have caused controversy as well as gaining huge acclaim from audiences Having commissions for symphony orchestras and critics alike. They have forced people and opera has meant that there is some to take notice of contemporary music and overlap of material between the chamber have challenged them to think. Turnage music and larger scale works. A Constant comments: ‘I am attracted to strong subjects. Obsession was written in 2007 for tenor and Anna Nicole is a good story and you could eight players. Turnage was also writing Chicago not work on an opera for three to four years Remains for the Chicago Symphony Orchestra if the story and its characters did not fascinate and Bernard Haitink at the same time: you. I am not interested in older stories, I go ‘Having a busy schedule means that crossover with the things that I like, the films I like and between pieces is almost inevitable. A strong subjects that resonate with our time.’ Constant Obsession was like a study for Chicago Remains.’ Nicky Spence, Thomas Kemp and Chamber Domaine record A Constant Obsession Turnage’s orchestral music has brought in St Augustine’s Church, Kilburn, London together seemingly disparate elements of The song cycle sets words of five English music – works such as About Time written writers from different periods – John Keats, for the Birmingham Contemporary Music Thomas Hardy, Edward Thomas, Robert Graves and Alfred, Lord Tennyson. The composer strings: the frantic tremolo passages in the transcended only by a belief in miracle, of birthdays of Steven Schaefer and Christoph gives each poem a title – ‘Love expected’, strings depict the torrential rain from which absolute love continuing between man and Eschenbach, there are subtle musical ‘Love begun’, ‘The pains of love’, ‘Love the couple is sheltering. The climactic end woman.’ The horn has a prominent refrain in reminders that this is a birthday piece in each continues’ and ‘Love in death’. These titles of the poem, where the poet expresses his this song and there is a lyrical instrumental movement; each of the three movements create the text for the short ‘Prologue’ – a regret and frustration, is rhythmically free interlude, which features a duet between providing a birthday wish. The first, ‘Wish wistful and poignant introduction to the and set like a cadenza over a hushed chord in bass clarinet and viola, which provides a One’, is lively and features asymmetrical cycle. The poems dwell on different aspects the bass clarinet and horn, which emphasizes reflective contrast to the spiky, capricious phrases. The harmony is jazzy as is the of love and the musical settings brilliantly the reminiscent nature of the poem about a music of the outer sections. piano writing particularly in the middle illuminate the texts. fleeting moment of attraction. section. The second, ‘Wish Two’, is lyrical The final song, ‘Love in death’ is Alfred, Lord and features the viola. The piano writing by John Keats’s poem Bright Star was written ‘The pains of love’ is set to a poem by Edward Tennyson’s Come not, when I am dead. contrast in this movement is economical and as a declaration of love to Fanny Brawne in Thomas entitled No one so much as you. Here the poet is a jilted lover, cautioning his provides a sparse commentary on the strings. 1819 and he continued to revise the poem The poem is tender and regretful: full of pain errant lover from beyond the grave. The ‘Wish Three’ is again jazz influenced and, up until his death in 1821. Keats and Brawne and guilt about an unequal love. Turnage song opens with an expansive tenor solo following an extended passage for violin and were secretly engaged but their love was to opens the song with a soaring and highly whose music is then taken up by the piano, the strings play a theme in rhythmical be shattered by Keats’s worsening tuberculosis expressive phrase on the flute, which is woodwinds in unison, which has a haunting unison that would not be out of place in and lack of means, which prevented them shadowed in the strings. The song is in quality. This opening gambit provides all the Duke Ellington’s big band. Again, the music from marrying. In September 1820, Keats ternary form and the middle section is melodic material for the movement. is informed by writing larger scale works was advised to leave for a warmer climate more animated. The opening music returns at the same time. ‘The last movement of due to his deteriorating health and he as the poem reveals that the poet could not A Constant Obsession was written for Mark Three for Two was going to be a food aria moved to Rome severing all contact with truly return the love given by his partner: Padmore and the Nash Ensemble and was in Anna Nicole but I decided not to use it in Brawne: he died five months later. The this unease is underpinned by a restless, commissioned by the Wigmore Hall. Turnage the opera and instead used the material in music for this setting entitled ‘Love expected’ syncopated ostinato in the viola, cello and states that: ‘Setting British texts and writing this piece.’ is elegiac and gently lilting, with particularly harp. for Mark Padmore meant it was very hard lyrical viola writing. to get away from Benjamin Britten and the Turnage has been influenced by jazz since Counting the Beats by Robert Graves provides music undoubtedly is influenced by this. I his studies at the Royal College of Music: Thomas Hardy’s A Thunderstorm in Town the text for ‘Love continued’. Like Edward also try and write for the musicians I am ‘Before I went to college I was studying (A Reminiscence), set by Turnage in ‘Love Thomas, Graves established his reputation writing for and try and compose music that with Olly Knussen and was obsessed with begun’, dates from 1893. The poem is about as a poet during the First World War when suits their performing style: I am aware of contemporary music such as Boulez and unfulfilled love: the poet regretting a missed fighting on the Western Front. In his their sound when I compose.’ Stockhausen. When I went to the RCM, opportunity to steal a kiss whilst sheltering Collected Poems, published in 1966, Graves jazz was the opposite of what the college from a ‘pelting storm’. Turnage writes explosive, described Counting the Beats: ‘My main Three for Two dates from 2010 and is for stood for and I got obsessed with it starting stormy music for bass clarinet, horn and theme was always the practical impossibility, piano quartet. Written to celebrate the 70th with jazz-fusion and then working back to and Alfred, Lord Tennyson. The composer strings: the frantic tremolo passages in the transcended only by a belief in miracle, of birthdays of Steven Schaefer and Christoph gives each poem a title – ‘Love expected’, strings depict the torrential rain from which absolute love continuing between man and Eschenbach, there are subtle musical ‘Love begun’, ‘The pains of love’, ‘Love the couple is sheltering. The climactic end woman.’ The horn has a prominent refrain in reminders that this is a birthday piece in each continues’ and ‘Love in death’. These titles of the poem, where the poet expresses his this song and there is a lyrical instrumental movement; each of the three movements create the text for the short ‘Prologue’ – a regret and frustration, is rhythmically free interlude, which features a duet between providing a birthday wish. The first, ‘Wish wistful and poignant introduction to the and set like a cadenza over a hushed chord in bass clarinet and viola, which provides a One’, is lively and features asymmetrical cycle. The poems dwell on different aspects the bass clarinet and horn, which emphasizes reflective contrast to the spiky, capricious phrases. The harmony is jazzy as is the of love and the musical settings brilliantly the reminiscent nature of the poem about a music of the outer sections. piano writing particularly in the middle illuminate the texts. fleeting moment of attraction. section. The second, ‘Wish Two’, is lyrical The final song, ‘Love in death’ is Alfred, Lord and features the viola. The piano writing by John Keats’s poem Bright Star was written ‘The pains of love’ is set to a poem by Edward Tennyson’s Come not, when I am dead. contrast in this movement is economical and as a declaration of love to Fanny Brawne in Thomas entitled No one so much as you. Here the poet is a jilted lover, cautioning his provides a sparse commentary on the strings. 1819 and he continued to revise the poem The poem is tender and regretful: full of pain errant lover from beyond the grave. The ‘Wish Three’ is again jazz influenced and, up until his death in 1821. Keats and Brawne and guilt about an unequal love. Turnage song opens with an expansive tenor solo following an extended passage for violin and were secretly engaged but their love was to opens the song with a soaring and highly whose music is then taken up by the piano, the strings play a theme in rhythmical be shattered by Keats’s worsening tuberculosis expressive phrase on the flute, which is woodwinds in unison, which has a haunting unison that would not be out of place in and lack of means, which prevented them shadowed in the strings. The song is in quality. This opening gambit provides all the Duke Ellington’s big band. Again, the music from marrying. In September 1820, Keats ternary form and the middle section is melodic material for the movement. is informed by writing larger scale works was advised to leave for a warmer climate more animated. The opening music returns at the same time. ‘The last movement of due to his deteriorating health and he as the poem reveals that the poet could not A Constant Obsession was written for Mark Three for Two was going to be a food aria moved to Rome severing all contact with truly return the love given by his partner: Padmore and the Nash Ensemble and was in Anna Nicole but I decided not to use it in Brawne: he died five months later. The this unease is underpinned by a restless, commissioned by the Wigmore Hall. Turnage the opera and instead used the material in music for this setting entitled ‘Love expected’ syncopated ostinato in the viola, cello and states that: ‘Setting British texts and writing this piece.’ is elegiac and gently lilting, with particularly harp. for Mark Padmore meant it was very hard lyrical viola writing. to get away from Benjamin Britten and the Turnage has been influenced by jazz since Counting the Beats by Robert Graves provides music undoubtedly is influenced by this. I his studies at the Royal College of Music: Thomas Hardy’s A Thunderstorm in Town the text for ‘Love continued’. Like Edward also try and write for the musicians I am ‘Before I went to college I was studying (A Reminiscence), set by Turnage in ‘Love Thomas, Graves established his reputation writing for and try and compose music that with Olly Knussen and was obsessed with begun’, dates from 1893. The poem is about as a poet during the First World War when suits their performing style: I am aware of contemporary music such as Boulez and unfulfilled love: the poet regretting a missed fighting on the Western Front. In his their sound when I compose.’ Stockhausen. When I went to the RCM, opportunity to steal a kiss whilst sheltering Collected Poems, published in 1966, Graves jazz was the opposite of what the college from a ‘pelting storm’. Turnage writes explosive, described Counting the Beats: ‘My main Three for Two dates from 2010 and is for stood for and I got obsessed with it starting stormy music for bass clarinet, horn and theme was always the practical impossibility, piano quartet. Written to celebrate the 70th with jazz-fusion and then working back to the 1920s and before that. I started to use Four Chants date from 2008 and were written cello and percussion. Grazioso! is one of a jazz in my compositions but the deep for the violinist, Viviane Hagner commissioned number of works inspired by Led Zeppelin, knowledge came later from collaborating by the Festspiele Mecklenburg-Vorpommern. which include Out of Black Dust, Twisted with artists such as John Scofield and Peter The violin in 'Chant 1' grows lyrically out of Ballad and Twisted Blues. In this case, Erskine. Musicians and music – that’s what a broken chord in the piano. In the middle Turnage states that there is ‘a very slight I care about. Jazz is a part of that.’ section the piano has the melodic material allusion to the group’s 1971 Black Dog.’ with a big range of tessitura between treble The title refers to the first brand of guitar A Slow Pavane is for piano trio and was and bass creating a feeling of space. The violin used by Led Zeppelin’s Jimmy Page. The written in 2004 for the 50th anniversary of plucks an accompaniment, which builds to a music is highly energetic and there are few the Beaux Arts Trio. It forms a triptych with brief climactic moment. The opening returns lyrical moments. Turnage comments: ‘I don’t two other movements for piano trio, from as a truncated variation of the material heard care about fitting in. I like thinking about 2003, which can be performed separately at the start of the movement. ‘Chant 2’ again specific players and writing musician’s music.’ or together. Turnage has often drawn on explores extremes of range – this time on It is this approach combined with a masterly Baroque and Renaissance dances in his the violin. The brittle piano accompaniment assimilation of a wide range of musical music and here he uses the pavane, a slow that enters after a short violin solo is jaunty influences that give Mark-Anthony Turnage a processional dance from the 16th century. and ironic and could be by Kurt Weill or unique voice in contemporary culture and This movement is in duple time but, rather Shostakovich. ‘Chant 3’ is a violin solo and provide such variety and contrasts in his than having strict dance measures, is ties together material from the two earlier music, which is very much of our time. rhythmically complex. The movement has movements. ‘Chant 4’ is marked ‘Very ironic three sections. The opening section is with lots of rubato’. The piano writing is © 2012 Thomas Kemp sombre, with the strings playing over a comical and would not be out of place in a low bass line in the piano. The middle section burlesque club, while around the violin is faster and the cello and violin have a melody is a whiff of Tristan und Isolde. passionate and volatile duet. The piano Mark-Anthony Turnage eventually joins and the music builds in (Photography © Philip Gatward) Grazioso! was written for the American group, intensity and drama. The third section is an Eighth Blackbird, and was inspired by their inversion of the first section with the violin and particularly for its legendary pianist playing, which the composer heard in Chicago playing an ethereal version of the low bass Menahem Pressler who was a member for when he was resident composer with the line heard at the opening. The movement over fifty years. Writing for the piano trio, I Chicago Symphony Orchestra. The title is ends with chorale chords in the piano with could not escape the great works for the genre ironic and the music is far from grazioso, the strings pizzicato. and the low piano refrain in A Slow Pavane, is being mostly aggressive and having extremes a little bit like that which opens the slow of register and dynamic with an ensemble ‘I really enjoyed writing for the Beaux Art Trio movement of the Ravel Piano Trio.’ of piccolo, bass clarinet, piano, viola, the 1920s and before that. I started to use Four Chants date from 2008 and were written cello and percussion. Grazioso! is one of a jazz in my compositions but the deep for the violinist, Viviane Hagner commissioned number of works inspired by Led Zeppelin, knowledge came later from collaborating by the Festspiele Mecklenburg-Vorpommern. which include Out of Black Dust, Twisted with artists such as John Scofield and Peter The violin in 'Chant 1' grows lyrically out of Ballad and Twisted Blues. In this case, Erskine. Musicians and music – that’s what a broken chord in the piano. In the middle Turnage states that there is ‘a very slight I care about. Jazz is a part of that.’ section the piano has the melodic material allusion to the group’s 1971 Black Dog.’ with a big range of tessitura between treble The title refers to the first brand of guitar A Slow Pavane is for piano trio and was and bass creating a feeling of space. The violin used by Led Zeppelin’s Jimmy Page. The written in 2004 for the 50th anniversary of plucks an accompaniment, which builds to a music is highly energetic and there are few the Beaux Arts Trio. It forms a triptych with brief climactic moment. The opening returns lyrical moments. Turnage comments: ‘I don’t two other movements for piano trio, from as a truncated variation of the material heard care about fitting in. I like thinking about 2003, which can be performed separately at the start of the movement. ‘Chant 2’ again specific players and writing musician’s music.’ or together. Turnage has often drawn on explores extremes of range – this time on It is this approach combined with a masterly Baroque and Renaissance dances in his the violin. The brittle piano accompaniment assimilation of a wide range of musical music and here he uses the pavane, a slow that enters after a short violin solo is jaunty influences that give Mark-Anthony Turnage a processional dance from the 16th century. and ironic and could be by Kurt Weill or unique voice in contemporary culture and This movement is in duple time but, rather Shostakovich. ‘Chant 3’ is a violin solo and provide such variety and contrasts in his than having strict dance measures, is ties together material from the two earlier music, which is very much of our time. rhythmically complex. The movement has movements. ‘Chant 4’ is marked ‘Very ironic three sections. The opening section is with lots of rubato’. The piano writing is © 2012 Thomas Kemp sombre, with the strings playing over a comical and would not be out of place in a low bass line in the piano. The middle section burlesque club, while around the violin is faster and the cello and violin have a melody is a whiff of Tristan und Isolde. passionate and volatile duet. The piano Mark-Anthony Turnage eventually joins and the music builds in (Photography © Philip Gatward) Grazioso! was written for the American group, intensity and drama. The third section is an Eighth Blackbird, and was inspired by their inversion of the first section with the violin and particularly for its legendary pianist playing, which the composer heard in Chicago playing an ethereal version of the low bass Menahem Pressler who was a member for when he was resident composer with the line heard at the opening. The movement over fifty years. Writing for the piano trio, I Chicago Symphony Orchestra. The title is ends with chorale chords in the piano with could not escape the great works for the genre ironic and the music is far from grazioso, the strings pizzicato. and the low piano refrain in A Slow Pavane, is being mostly aggressive and having extremes a little bit like that which opens the slow of register and dynamic with an ensemble ‘I really enjoyed writing for the Beaux Art Trio movement of the Ravel Piano Trio.’ of piccolo, bass clarinet, piano, viola, Texts 3. Love begun All that I ever did With only gratitude For you seemed coarse Instead of love – A Constant Obsession She wore a new ‘terra-cotta’ dress, Compared with what I hid A pine in solitude And we stayed, because of the pelting storm, Nor put in force. Cradling a dove. 1. Prologue Within the hansom’s dry recess, Through the horse had stopped; yea, motionless My eyes scarce dare meet you No one so much as you Love expected We sat on, snug and warm. Lest they should prove Edward Thomas (1878-1917) Love begun I but respond to you The pains of love Then the downpour ceased, to my sharp sad pain, And do not love. 5. Love continued Love continued And the glass that had screened our forms before Love in death Flew up, and out she sprang to her door: We look and understand, Counting the Beats I should have kissed her if the rain We cannot speak by Robert Graves (1895-1985) can be found in 2. Love expected Had lasted a minute more. Except in trifles and Robert Graves: The Complete Poems (Penguin Words the most weak. Modern Classics, 2003) Bright star, would I were stedfast as thou art – A Thunderstorm in Town (A Reminiscence) Not in lone splendour hung aloft in the night, Thomas Hardy (1840-1928) For I at most accept 6. Love in Death And watching, with eternal lids apart, Your love, regretting Like Nature’s patient sleepless Eremite, 4. The pains of love That is all: I have kept Come not, when I am dead, The moving waters at their priestlike task Only a fretting To drop they foolish tears upon my grave, Of pure ablution round earth’s human shores, No one so much as you To trample round my fallen head, Or gazing on the new soft-fallen mask Loves this my clay, That I could not return And vex the unhappy dust thou wouldst not save. Of snow upon the mountains and the moors – Or would lament as you All that you gave There let the wind sweep and the plover cry; No – yet still stedfast, still unchangeable, Its dying day. And could not ever burn But thou, go by. Pillow’d upon my fair love’s ripening breast, With the love you have, To feel for ever its soft fall and swell, You know me through and through Child, if it were thine error or thy crime Awake for ever in a sweet unrest, Though I have not told, Till sometimes it did seem I care no longer, being all unblest: Still, still to hear her tender-taken breath, And though with what you know Better it were Wed whom thou wilt, but I am sick of Time, And so live ever – or else swoon to death. You are not bold. Never to see you more And I desire to rest. Than linger here Pass on, weak heart, and leave me where I lie: Bright Star None ever was so fair Go by, go by. John Keats (1795-1821) As I thought you: Not a word can I bear Come not, when I am dead Spoken against you. Alfred Tennyson (1809-1892) Texts 3. Love begun All that I ever did With only gratitude For you seemed coarse Instead of love – A Constant Obsession She wore a new ‘terra-cotta’ dress, Compared with what I hid A pine in solitude And we stayed, because of the pelting storm, Nor put in force. Cradling a dove. 1. Prologue Within the hansom’s dry recess, Through the horse had stopped; yea, motionless My eyes scarce dare meet you No one so much as you Love expected We sat on, snug and warm. Lest they should prove Edward Thomas (1878-1917) Love begun I but respond to you The pains of love Then the downpour ceased, to my sharp sad pain, And do not love. 5. Love continued Love continued And the glass that had screened our forms before Love in death Flew up, and out she sprang to her door: We look and understand, Counting the Beats I should have kissed her if the rain We cannot speak by Robert Graves (1895-1985) can be found in 2. Love expected Had lasted a minute more. Except in trifles and Robert Graves: The Complete Poems (Penguin Words the most weak. Modern Classics, 2003) Bright star, would I were stedfast as thou art – A Thunderstorm in Town (A Reminiscence) Not in lone splendour hung aloft in the night, Thomas Hardy (1840-1928) For I at most accept 6. Love in Death And watching, with eternal lids apart, Your love, regretting Like Nature’s patient sleepless Eremite, 4. The pains of love That is all: I have kept Come not, when I am dead, The moving waters at their priestlike task Only a fretting To drop they foolish tears upon my grave, Of pure ablution round earth’s human shores, No one so much as you To trample round my fallen head, Or gazing on the new soft-fallen mask Loves this my clay, That I could not return And vex the unhappy dust thou wouldst not save. Of snow upon the mountains and the moors – Or would lament as you All that you gave There let the wind sweep and the plover cry; No – yet still stedfast, still unchangeable, Its dying day. And could not ever burn But thou, go by. Pillow’d upon my fair love’s ripening breast, With the love you have, To feel for ever its soft fall and swell, You know me through and through Child, if it were thine error or thy crime Awake for ever in a sweet unrest, Though I have not told, Till sometimes it did seem I care no longer, being all unblest: Still, still to hear her tender-taken breath, And though with what you know Better it were Wed whom thou wilt, but I am sick of Time, And so live ever – or else swoon to death. You are not bold. Never to see you more And I desire to rest. Than linger here Pass on, weak heart, and leave me where I lie: Bright Star None ever was so fair Go by, go by. John Keats (1795-1821) As I thought you: Not a word can I bear Come not, when I am dead Spoken against you. Alfred Tennyson (1809-1892) Nicky Spence tenor recently Baron Lummer (Intermezzo) for Scottish Opera, which the Independent called Hailed recently in the Daily Telegraph as ‘a a ‘stand-out performance’. This was followed voice of real distinction’, Nicky Spence is by the leading part of Brian in Nico Muhly’s currently an English National Opera Young Metrpolitan Opera commission Two Boys, Artist, having trained at London's Guildhall which received its world premiere at ENO and School of Music and Drama and the National gained him uniformly outstanding reviews. Opera Studio. Recent concert performances include a Britten The winner of the National Bruce Millar Song-Cycle Series in Aldeburgh and at Kings Opera Prize in 2010, Nicky’s diverse repertoire Place, a lecture-recital at the Howard ranges from Handel and Mozart to Donizetti, Assembly Rooms, Britten’s Serenade for Tenor, Britten and Jonathan Dove, having Horn and Strings with L’Orchestre National collaborated with the finest orchestras on d’Ile de France under Gordan Nikolic, a Gala some of the world’s most major platforms. performance at the Royal Festival Hall and A proud Concordia Foundation Artist, recitals at the Leeds and Oxford Lieder Festivals. Britten-Pears Young Artist, Georg Solti and Samling Scholar, his other awards An experienced recording artist, Nicky has include the Kathleen Ferrier Young Singers recorded for Universal Classics. For other Award, the Concordia Barthel Prize, a Sybil labels he has recorded a disc of songs by Tutton Award, and a place in the final of the Britten with Malcolm Martineau (Onyx Gold Medal at the Guildhall. Classics) was released in 2011. His release of premiere Hoddinott recordings brought 2010-11 also marked Nicky’s debut for some of him extensive acclaim. Nicky Spence tenor the UK’s most distinguished opera houses (Photographer: Sabine Mardo) including Opera North, Opera Holland Park, Future opera plans include the role of Thomas Scottish Opera and English National Opera. Mason in Jenny McLeod’s opera Hohepa for 'Engaging and shining […] highly nuanced and projected performances by Nicky Spence.' His roles include Tom Rakewell (The Rake’s New Zealand Opera and presented at the Gramophone Progress), MacHeath (The Beggar’s Opera), New Zealand International Arts Festival, a Jaquino (Fidelio) for Opera Holland Park; return to ENO for Novice (Billy Budd) and his Lampwick (The Adventures of Pinocchio), Grange Park Opera debut as Chevalier in and Quint (The Turn of the Screw) for Opera Les Dialogues des Carmelites. North at the Arcola Theatre London); and more Nicky Spence tenor recently Baron Lummer (Intermezzo) for Scottish Opera, which the Independent called Hailed recently in the Daily Telegraph as ‘a a ‘stand-out performance’. This was followed voice of real distinction’, Nicky Spence is by the leading part of Brian in Nico Muhly’s currently an English National Opera Young Metrpolitan Opera commission Two Boys, Artist, having trained at London's Guildhall which received its world premiere at ENO and School of Music and Drama and the National gained him uniformly outstanding reviews. Opera Studio. Recent concert performances include a Britten The winner of the National Bruce Millar Song-Cycle Series in Aldeburgh and at Kings Opera Prize in 2010, Nicky’s diverse repertoire Place, a lecture-recital at the Howard ranges from Handel and Mozart to Donizetti, Assembly Rooms, Britten’s Serenade for Tenor, Britten and Jonathan Dove, having Horn and Strings with L’Orchestre National collaborated with the finest orchestras on d’Ile de France under Gordan Nikolic, a Gala some of the world’s most major platforms. performance at the Royal Festival Hall and A proud Concordia Foundation Artist, recitals at the Leeds and Oxford Lieder Festivals. Britten-Pears Young Artist, Georg Solti and Samling Scholar, his other awards An experienced recording artist, Nicky has include the Kathleen Ferrier Young Singers recorded for Universal Classics. For other Award, the Concordia Barthel Prize, a Sybil labels he has recorded a disc of songs by Tutton Award, and a place in the final of the Britten with Malcolm Martineau (Onyx Gold Medal at the Guildhall. Classics) was released in 2011. His release of premiere Hoddinott recordings brought 2010-11 also marked Nicky’s debut for some of him extensive acclaim. Nicky Spence tenor the UK’s most distinguished opera houses (Photographer: Sabine Mardo) including Opera North, Opera Holland Park, Future opera plans include the role of Thomas Scottish Opera and English National Opera. Mason in Jenny McLeod’s opera Hohepa for 'Engaging and shining […] highly nuanced and projected performances by Nicky Spence.' His roles include Tom Rakewell (The Rake’s New Zealand Opera and presented at the Gramophone Progress), MacHeath (The Beggar’s Opera), New Zealand International Arts Festival, a Jaquino (Fidelio) for Opera Holland Park; return to ENO for Novice (Billy Budd) and his Lampwick (The Adventures of Pinocchio), Grange Park Opera debut as Chevalier in and Quint (The Turn of the Screw) for Opera Les Dialogues des Carmelites. North at the Arcola Theatre London); and more Thomas Kemp conductor and violin Recent conducting projects have included the Pori Sinfonietta; Gavle Symphony; Swedish Thomas Kemp is rapidly developing a reputation Chamber Orchestra; Scottish Chamber as one of the finest and imaginative conductors Orchestra; Hebrides Ensemble; Chamber of his generation. The Guardian recently Domaine; and I Pomeriggi. commented: ‘an extraordinary event [...] with a fluency that came over brilliantly under the Forthcoming conducting engagements include baton of Thomas Kemp’. concerts at Kings Place; Wigmore Hall; guest conducting engagements in the UK, USA, He read music at St Catharine’s College, Finland and Sweden; and world premiere Cambridge and studied violin and chamber recordings of Schoenberg and Barber with music at the Royal Northern College of Music Chamber Domaine. Thomas will make his and has since enjoyed an international career operatic debut in 2012 for Opera Holland Park. as a chamber musician and concertmaster. From 2003-2007, he won the Swedish Thomas is an award winning recording artist Academy Scholarship to study conducting at and has recorded for ASV, Blackbox and Landor. the Royal Conservatory in Stockholm with He recently made his recording debut as a the legendary Jorma Panula and Alan Gilbert. conductor with world premiere recordings of Henryk Górecki for Landor. He is also conducting Thomas is Music Director of the highly a series of recordings for the world’s first solely- acclaimed Chamber Domaine, which is at the digital classical record label Resonus Classics. forefront of British ensembles focusing on 20th and 21st century music. He made his He has also performed at many leading festivals in conducting debut in a series of concerts the UK and overseas and has broadcast regularly celebrating Sigmund Freud’s The Interpretation around the world. He is a guest artist at Thomas Kemp conductor of Dreams at the Victoria and Albert Museum, Bargemusic, New York and, since his debut in (Photographer: Anders Nyman) which The Financial Times described as 2000, has been a regular at Wigmore Hall, South ‘exceptional musical events’. He is also Artistic Bank Centre and Carnegie Hall, New York. In 2009, ‘[…] utterly magical […] a tremendous sense of vitality and commitment’ Director of Music@Malling – an international Thomas worked closely with the Turner Prize Gramphone festival that promotes contemporary composers winning artist Anish Kapoor for the Brighton alongside masterworks from classical and Festival to great acclaim. He teaches as the Royal www.thomaskemp.eu romantic periods; in 2011 the festival featured Northern College of Music and has given Mark-Anthony Turnage alongside works by masterclasses worldwide. Mahler and Mozart. Thomas Kemp conductor and violin Recent conducting projects have included the Pori Sinfonietta; Gavle Symphony; Swedish Thomas Kemp is rapidly developing a reputation Chamber Orchestra; Scottish Chamber as one of the finest and imaginative conductors Orchestra; Hebrides Ensemble; Chamber of his generation. The Guardian recently Domaine; and I Pomeriggi. commented: ‘an extraordinary event [...] with a fluency that came over brilliantly under the Forthcoming conducting engagements include baton of Thomas Kemp’. concerts at Kings Place; Wigmore Hall; guest conducting engagements in the UK, USA, He read music at St Catharine’s College, Finland and Sweden; and world premiere Cambridge and studied violin and chamber recordings of Schoenberg and Barber with music at the Royal Northern College of Music Chamber Domaine. Thomas will make his and has since enjoyed an international career operatic debut in 2012 for Opera Holland Park. as a chamber musician and concertmaster. From 2003-2007, he won the Swedish Thomas is an award winning recording artist Academy Scholarship to study conducting at and has recorded for ASV, Blackbox and Landor. the Royal Conservatory in Stockholm with He recently made his recording debut as a the legendary Jorma Panula and Alan Gilbert. conductor with world premiere recordings of Henryk Górecki for Landor. He is also conducting Thomas is Music Director of the highly a series of recordings for the world’s first solely- acclaimed Chamber Domaine, which is at the digital classical record label Resonus Classics. forefront of British ensembles focusing on 20th and 21st century music. He made his He has also performed at many leading festivals in conducting debut in a series of concerts the UK and overseas and has broadcast regularly celebrating Sigmund Freud’s The Interpretation around the world. He is a guest artist at Thomas Kemp conductor of Dreams at the Victoria and Albert Museum, Bargemusic, New York and, since his debut in (Photographer: Anders Nyman) which The Financial Times described as 2000, has been a regular at Wigmore Hall, South ‘exceptional musical events’. He is also Artistic Bank Centre and Carnegie Hall, New York. In 2009, ‘[…] utterly magical […] a tremendous sense of vitality and commitment’ Director of Music@Malling – an international Thomas worked closely with the Turner Prize Gramphone festival that promotes contemporary composers winning artist Anish Kapoor for the Brighton alongside masterworks from classical and Festival to great acclaim. He teaches as the Royal www.thomaskemp.eu romantic periods; in 2011 the festival featured Northern College of Music and has given Mark-Anthony Turnage alongside works by masterclasses worldwide. Mahler and Mozart. Other titles from Resonus Classics Chamber Domaine Chamber Domaine has a distinguished and Landscapes, real and imagined: highly acclaimed discography. The ensemble’s Chamber Works by Judith Bingham Chamber Domaine is at the cutting edge of recordings regularly receive five star reviews Yeree Suh soprano; Chamber Domaine music making in the 21st century. Its excellence and have been picked as Editor’s Choice in RES10102 and dynamism have received widespread Gramophone. Recent discs of music by acclaim both in the United Kingdom and Henryk Górecki and Judith Bingham received ‘... renditions of this calibre are no less than Bingham’s abroad. universal acclaim. Forthcoming recordings music deserves.’ include a disc of world premiere recordings of International Record Review Under its artistic director, Thomas Kemp, the Mark-Anthony Turnage, as well as recordings ensemble has become renowned for its of Mahler and Barber. The ensemble recently virtuosity and its ambitious and distinctive recorded the all Mozart sound track to First Mendelssohn: Octet Op. 20 programming that range from the Baroque Night – a film starring Richard E. Grant, which World premiere recording of the original 1825 version through to the Contemporary. Chamber will be released on Sony Classics. Eroica Quartet and Friends Domaine focuses on instrumental chamber RES10101 music and song in programmes that illuminate In addition to its recording activities, the the music of today with the music of three ensemble has broadcast regularly on BBC BBC Music Magazine, Chamber disc of the month centuries: the ensemble brings passion and Radio 3; ORF, Austria; SR, Sweden; and WNYC, commitment to a diverse repertoire that New York. ‘The label's first disc is a remarkable coup’ makes music come alive whilst placing it into International Record Review its cultural context. Chamber Domaine has a busy schedule of concerts and consistently proves itself as one © 2012 Resonus Ltd The ensemble is committed to performing of the most dynamic and versatile ensembles è 2012 Resonus Ltd and recording contemporary music and of its kind. During 2011 they were the resident Recorded in the Jacqueline du Pré Music Building, St Hilda’s College, Oxford on 14-15 June 2011 give world premieres by leading composers ensemble of the Music@Malling International and in St Augustine’s Church, Kilburn, London on 20 October 2011 including Judith Bingham at the City of London Producer, engineer & editor: Adam Binks Festival, held in Kent, working closely with Recorded at 24-bit / 96kHz resolution Festival, Piers Hellawell at the Cheltenham Mark-Anthony Turnage. Future plans include Cover image: Hintergrund organisch © Wilm Ihlenfeld - Fotolia.com International Festival and Arvo Pärt at the concerts in Europe, Scandinavia and New Session photography © Resonus Ltd Edinburgh Festival. The ensemble has a Zealand. Piano by Steinway & Sons (tracks 7-15), maintained by Joseph Taylor Pianos Ltd commission from the brilliant young composer, Thanks are due to Mark-Anthony Turnage, Sabine Mardo, Philip Gatward, Cathy Nelson and Taya Smith for their assistance. Matthew Sergeant for the 2012 Cultural www.chamberdomaine.com Olympiad and a major work for soprano and DDD - MCPS chamber orchestra by Judith Bingham for her RESONUS LTD - LONDON - UK sixtieth birthday. [email protected] www.resonusclassics.com RES10106