Ryan Wigglesworth, RSVP VOICES recording Echo and Narcissus at All Saint Church, East Finchley. Ryan Wigglesworth

Claire Booth soprano • mezzo-soprano Mark Padmore tenor • Barnabás Kelemen violin Hallé • Ryan Wigglesworth conductor/piano 2 Augenlieder 1 Eurydice to Orpheus 3’03 2 Visionen 5’44 3 Voyelles 1’59 4 Keep your eyes open 5’22 Claire Booth soprano • Hallé • Ryan Wigglesworth conductor 5 A First Book of Inventions 9’03 Hallé • Ryan Wigglesworth conductor

6 Echo and Narcissus: A Dramatic Cantata 16’16 Pamela Helen Stephen mezzo-soprano • Mark Padmore tenor RSVP Voices • Ryan Wigglesworth piano Violin Concerto 7 Largamente/Allegro movendo 5’10 8 Arioso: molto calmo 5’39 9 Allegro furioso 4’25 Barnabás Keleman violin • Hallé • Ryan Wigglesworth conductor Locke’s Theatre 10 The First Music 1’00 11 The First Music (double) 2’17 12 Rustic Music 1’17 13 Rustic Music (double) 3’37 14 Curtain Music 3’02 15 Curtain Music (double) 5’50 Hallé • Ryan Wigglesworth conductor Total timing 74’37

Photo: Benjamin Ealovega 3 Notes from Ryan Wigglesworth

Augenlieder (2009) act of seeing. The deliberate ambiguity another. The intention is for each song ostinato with woodwind interjections, for soprano and orchestra of Rimbaud’s ‘Ses Yeux’ offsets Schiele’s to stand as a distorted mirror in which to building towards the fi rst climax; 4) an seemingly more straightforward view the others. ostinato passing between horns and I Eurydice to Orpheus: picture. His is a defi nitively fi rst- muted trumpets together with a dialogue A Picture by Leighton (Robert Browning) Augenlieder was written for the soprano person experience – the experience, for high woodwind and low strings; 5) a II Visionen (Visions) (Egon Schiele) Claire Booth and the BBC Symphony not surprisingly, of a great visual artist very slow canon for string harmonics and III Voyelles (Vowels) (Arthur Rimbaud) Orchestra. pizzicato double basses; 6) a fast, one- IV Keep your eyes open (John Berryman) struggling to achieve a similar directness part invention beginning with solo piccolo, in a medium other than the one for which A First Book of Inventions (2010) Berryman’s poem, ‘Keep your eyes and gradually leading to the second he is famous. for chamber orchestra open’, provided the initial stimulus for climax; 7) a fi nal chorale-like episode. Augenlieder. On discovering the sonnet During the cycle, specifi c sonorities The two principal ideas behind my The work is scored for a modestly-sized it became linked in my mind to a short underpin the crosscurrents and piece are, fi rstly, perpetuum mobile, or orchestra of double woodwind, two horns, lyric by Browning, a poem written to correspondences between the texts. In continuous movement, and secondly, the two trumpets and strings, and was written accompany Frederic Leighton’s painting the fi rst and last songs, for instance, the elaboration of a basic one- or two-part for the Royal Liverpool Philharmonic Orpheus and Eurydice at its showing combination of harp and celesta acts as a texture. Each of the seven ‘inventions’ that Orchestra during the Royal Academy exhibition reference point at several junctures, and comprise the unbroken 9-minute span of in the second song a lack of conventional in 1864. Here in the respective texts the work are founded on a regular pulse, Echo and Narcissus: were pairs of lovers connected by the orchestral ‘colour’ (the accompaniment is a pulse that sometimes forms stable A Dramatic Cantata (2013-2014) drama of a look – a look avoided, or a provided almost entirely by muted violins) ostinati that run for the entire length of a for tenor, mezzo-soprano, look consummated. Much later I chanced is relieved by the kaleidoscopic nature section, or on other occasions provokes female voices and piano upon another, equally unlikely, marriage of the instrumental writing in the third a highly varied and constantly shifting of poems. The virtuoso excitement of song. Similarly, the harmonic and melodic pattern of melodic events. The seven Ted Hughes’s Tales from Ovid were Rimbaud’s synaesthetic experiment in materials for each of the four songs share sections can briefl y be described thus: 1) published in 1997, and my desire to Voyelles came to sit alongside Schiele’s certain characteristics. An innocuous, an active, miniature ‘theme and variations’; compose a setting of ‘Echo and Narcissus’ quieter word-colour painting. And again, ‘split-second’ gesture in one song often 2) the juxtaposition of various fragmentary dates pretty much from that time. As often the crux of both poems resided in the provides the main point of expansion for two-part inventions; 3) a tremolo string happens, deciding upon the form such a

4 5 setting should take was a lengthy process. D. Swarovsky for the Musik im Riesen unbroken arc. The slow Arioso, found at Locke’s Theatre (2013) In the end, performing Janácek’s The Diary Festival, Wattens, Austria. My adaptation the work’s midpoint, is itself divided into for orchestra of One Who Disappeared with tenor Mark of Hughes’ text appears with the kind three subsections. Locke’s Theatre was commissioned by Padmore and mezzo-soprano Pamela permission of Mrs Carol Hughes and the The ‘drama’ of the piece centres on Aldeburgh Music to mark the 100th Helen Stephen proved the breakthrough. Ted Hughes Estate. The work is dedicated a twofold search. First there is the anniversary of ’s birth. It Here, at last, were the ideal forces. to Sally Groves. ongoing pursuit to recapture the simple was premiered at Snape Maltings Concert In my piece the all-important role of the melodic material stated by the solo Violin Concerto (2011/2013) Hall in November 2013 by the BBC narrator/Chorus is taken by the mezzo- violin – accompanied only by the harp’s Symphony Orchestra, conducted by Oliver for solo violin and orchestra soprano. The further group of female bass register – during the opening bars. Knussen. voices portray Echo (heard predominantly Introduction While aspects of this melody continue We are reminded of Matthew Locke’s offstage), and Narcissus is sung by the I Allegro movendo to be invoked (especially during the name from time to time. Recently a tenor. Of these roles, the Chorus traverses II Arioso – molto calmo violin cadenza which closes the Arioso graffi tied signature was discovered, the widest dramatic range. Though III Allegro furioso movement), it is only with the fi nal and dating from his days as a chorister, carved standing outside the action she describes, Epilogue most important climax of the work that into the organ loft of Exeter Cathedral. He the Chorus is anything but a typically cool, the melody appears again in its complete My Violin Concerto is scored for a also makes fl eeting, cameo appearances detached storyteller. Instead she betrays a form, now accompanied by violent, Classical-sized orchestra, with the in Pepys’ diary, singing Italian and Spanish deep emotional attachment to the plights orchestral stabs. The second search is for addition of a harp and celesta. Although songs in a London coffee-house together of both Narcissus and Echo – particularly, a tonal resting place, the arrival of which is the work sets out to explore the lyrical with Henry Purcell’s father. In 1674 he it seems to me, the latter. delayed until the close of the epilogue. characteristics of the solo instrument, it provided incidental music for Thomas I wished to harness as much of the is only gradually that the violin fi nds its The original version of the Violin Concerto, Shadwell’s version of Shakespeare’s directness, beauty, and power of Hughes’s full, lyric voice, and thence, as the work commissioned by the Netherlands The Tempest, and three of these short poem as possible. In telescoping and progresses, a more dominant role. This, in Chamber Orchestra, was premiered movements have been taken as the basis condensing the original version of the one sense, is the ‘journey’ of the piece. in Amsterdam in February 2012 with for Locke’s Theatre. text I have tried simply to carve the space Gordan Nikolic as soloist. The present, The work’s straightforward formal scheme Whereas aspects of Locke’s idiosyncratic, necessary for music to do its job. revised version was created for Barnabás consists of three movements (roughly, daringly advanced harmonic and rhythmic Kelemen and the Hallé. Echo and Narcissus was commissioned fast–slow–fast) framed by a refl ective language were to be appropriated by Aldeburgh Music; Wigmore Hall with introduction and epilogue. However, these The piece is dedicated, with admiration, to and perfected by Purcell junior, it was the support of André Hoffmann; and formal divisions take place within a single, my friend . the rawness of Locke’s theatre music

6 7 that I wished to both acknowledge Augenlieder II Visionen Visions and emulate. In Locke’s Theatre rather I Eurydice to Orpheus Alles war mir lieb — All was dear to me – straightforward arrangements of the ich wollte die zornigen Menschen lieb ansehen, I wanted to look lovingly at the angry people three original movements are heard damit ihre Augen gegentun müssen; so that their eyes had to reciprocate, But give them me, the mouth, the eyes, the brow! und die Neidigen wollt’ ich beschenken und and to the jealous I wanted to give presents and before their respective, and much more Let them once more absorb me! One look now ihnen sagen, tell them elaborate, ‘doubles’. In these ‘doubles’ Will lap me round for ever, not to pass daß ich wertlos bin. that I am worthless. the original music remains a constant, Out of its light, though darkness lie beyond: Hold me but safe again within the bond …ich hörte weiche Wulstwinde durch Linien von … I heard soft billowing winds waft through shadowy presence despite the many Of one immortal look! All woe that was, Lüften streichen. lines of air. far-reaching expansions, developments Forgotten, and all terror that may be, Und das Mädchen, And the girl, Defi ed, – no past is mine, no future: look at me! das mit klagender Stimme vorlas, who read aloud in a sorrowful voice, and distortions. ‘The First Music (double)’ und die Kinder, and the children, takes Locke’s melody more or less intact, die mich groß anschauten und meinem Gegenblick who regarded me with huge eyes and on my return Robert Browning (1812-1889) durch Kosen entgegneten, look replied through caresses, but now slowed or stretched, and ties it und die fernen Wolken, and the distant clouds to a different harmonic context. ‘Rustic sie schauten mit guten Faltenaugen auf mich. which viewed me with kind folded eyes. Music (double)’ adopts and subjects to multiple variations the strong, dancing Ich sah den Park: gelbgrün, blaugrün, rotgrün, I saw the park: yellowgreen, bluegreen, redgreen, rhythmic gestures of the original. Finally, violettgrün, sonniggrün und zittergrün — violetgreen, sunnygreen and shivergreen – ‘Curtain Music (double)’ comes nearest, und horcht’ der blühenden Orangeblumen. and heard the blooming orange fl owers. Dann band ich mich an die ovale Parkmauer und Then I bound myself to the oval park wall and particularly at its opening, to direct horchte der dünnfüßigen Kinder, heard the thin-footed children, quotation of Locke’s movement, which, die, blau getupft und grau gestreiften mit den spotted with blue and striped with grey by the pink Rosamaschen. bows. in its portrayal of Shakespeare’s storm, Die Säulenbäume führten just Linien dorthin, The tree-columns led lines precisely there, where must surely count as one of the most vivid als sie sich sinnlich landgrund niedersetzten. they themselves sat long around. and radical examples of scene painting Ich dachte an meine farbigen Porträtvisionen, I thought of my coloured portrait-visions, und es kam mir vor, and it struck me created in the baroque era. Perhaps ever. als ob ich einmal nur that only once mit jenen allen gesprochen hätte. had I spoken to all of them. Happily, Locke’s Theatre afforded the chance to celebrate not only Benjamin Egon Schiele (1890-1918) Translated by Ryan Wigglesworth Britten’s 100th birthday, but also the 70th of its dedicatee – Robin Holloway.

8 9 III Voyelles Vowels Echo and Narcissus: A Dramatic Cantata

A noir, E blanc, I rouge, U vert, O bleu: voyelles, A black, E white, I red, U green, O blue: vowels. Chorus (mezzo-soprano): Echo: Je dirai quelque jour vos naissances latentes: One day I’ll tell you your embryonic births: Liriope, a swarthy nymph of the fountain, I’m here, I’m here, I’m here, I’m here. A, noir corset velu des mouches éclatantes A, black fur-clad brilliant fl ies Was swept off her feet by the river Cephisus, Narcissus: Qui bombinent autour des puanteurs cruelles, Clustering round every cruel stench, Rolled into the bed of a dark pool, I’ll stay here. Golfes d’ombre: E, candeurs des vapeurs et des tentes, Defi les of darkness; E, blank spread of mists and tents, Then cast up on the shingle pregnant. You come to me. Lances des glaciers fi ers, rois blancs, frissons Proud glacier spears, white kings, sigh of umbel; The boy she bore, even in his cradle, Echo: d’ombelles; Had a beauty that broke hearts. Come to me, I, pourpres, sang craché, rire des lèvres belles I, purples, blood spat, lovely lips laughing She named the child Narcissus. To me, to me, to me. Dans la colère ou les ivresses pénitentes; In anger or penitential ecstasies; Gossips came to Tiresias: Narcissus: U, cycles, vibrements divins des mers virides, U, cycles, divine shudder of viridian seas, ‘Can the boy live long Stay there. Paix des pâtis semés d’animaux, paix des rides Peace of pastures grazed by cattle, peace of high With such perfect beauty?’ Que l’alchimie imprime aux grands fronts studieux; Pensive foreheads rucked by alchemy; Echo: The seer replied: Stay there, stay there, stay there. Ô, Suprême Clairon plein des strideurs étranges, O, the last trumpet, strange crescendo blast, ‘Yes, unless he learns to know himself.’ Silences traversés des Mondes et des Anges: Navigated silences of Worlds and Angels, Narcissus: —Ô l’Oméga, rayon violet de Ses Yeux! — —O Omega, the violet radiance of Those Eyes. Narcissus infatuated many. Let’s meet halfway. Come. His beauty had fl owered. Arthur Rimbaud (1854-1891) Translated by Martin Sorrell But none dared be familiar, Echo: None dared touch him. Come, come, come, come. Narcissus: IV ‘Keep your eyes open’ A day came, out on the mountain, When Echo saw him. No, I would sooner be dead Than let you touch me. Keep your eyes open when you kiss: do: when Echo: You kiss. All silly time else, close them to; Echo saw him. Echo: Unsleeping, I implore you (dear) pursue Touch me, touch me, touch me, touch me. In darkness me, as I do you again Chorus: Echo saw Narcissus. Chorus: Instantly we part…only me both then Echo hid And when your fi ngers fall, let there be two She was in love. In the deep woods. Only, ‘in that dream kingdom’: I would have you She followed him She brooded over the pain. Me alone recognize your citizen. Like a starving wolf, Her bones turned into stone. Before who wanted eyes, making love, so? But had to wait Her voice roamed off by itself. For some other to speak. I do now. However we are driven and hide, Echo: What state we keep all other states condemn, Rimbaud: Collected Poems translated by Sorrell (2009) by Narcissus strayed apart Let Narcissus love and suffer. We see ourselves, we watch the solemn glow permission of Oxford University Press From his companions. Let him love and know it is hopeless. Of empty courts we kiss in… Open wide! ‘Keep your eyes open when you kiss: do: when’ from ‘Sonnets Let him, like Echo, perish of anguish. You do, you do, and I look into them. to Chris’ from COLLECTED POEMS: 1937-1971 by John Narcissus (tenor): Berryman. Copyright © 1989 by Kate Donahue Berryman. Used by Where are you? John Berryman (1914-1972) arrangement with Farrar, Straus and Giroux, LLC. All rights reserved. I’m here.

10 11 Chorus: Chorus: Ryan Wigglesworth Nemesis, the corrector, Narcissus wept into the pool. Heard this prayer and granted it. His image blurred. ‘Wigglesworth writes music stamped with iridescent hues, Symphonie-Orchester Berlin, Weary with hunting and the hot sun Narcissus: instrumental fi nesse, shapely ideas and a lyrical impulse and Bamberg Symphony. Narcissus found a pool. Don’t leave me. Upcoming debuts include Sao that stays within reach even when textures turn prickly… Paulo Symphony, Bavarian As he drank Chorus: A strange new thirst [his] bright ear for glinting textures, his fl air for taut motivic Like wax near the fl ame Radio Symphony, and Royal Entered his body, He melted – interplay, his conjuror’s ability to cast a spell.’ The Times Concertgebouw orchestras. In Entered his eyes. Consumed by his love. 2013 he received the Critics’ He could not believe He disappeared from his own eyes. Circle Award for Exceptional The beauty of those eyes Composer, conductor, pianist English National Opera who That gazed into his own. Narcissus: Ryan Wigglesworth was born will premiere his opera based Young Talent. Alas! in Yorkshire in 1979. He was on Shakespeare’s The Winter’s Wigglesworth’s live recordings As the taste of water fl ooded him educated at Oxford University Tale in 2017. He has also served So did love. Echo: of Julian Anderson (which won and the Guildhall School of as Daniel R. Lewis Composing Alas. a Sky Arts Award) and Vaughan Narcissus: Music and Drama, and between Fellow with the Cleveland Was there ever a love Narcissus: Williams recently appeared on 2007 and 2009 was a Lecturer Orchestra, with whom Franz the LPO label. His recordings As cruel as mine? Farewell you incomparable boy, at Cambridge University and a Welser-Möst conducted the Was there ever a love of orchestral works by Harrison I have loved you in vain. Fellow of Corpus Christi College. fi rst performance of his Études- As futureless as mine? Birtwistle with the Hallé for NMC Narcissus: We are kept apart Tableaux in January 2015. (NMC D156) won awards from Farewell. His fi rst orchestral work, Neither by seas nor mountains Sternenfall, written for the As a conductor Wigglesworth Gramophone and BBC Music Nor the locked-up gates of cities. Echo: BBC Symphony Orchestra and assumed his position as Principal magazines. Farewell. Who are you? Come out. premiered under the composer’s Guest Conductor of the Hallé He also appears as pianist on Come up onto the land. Chorus: direction in February 2008, Orchestra, in September Oliver Knussen’s Prayer Bell I never saw beauty When he entered the Land of the Dead established Wigglesworth as one 2015. He also enjoys a close To compare with yours. Narcissus ran straight to the banks of the Styx. Sketch, Whitman Settings (NMC of the leading composers of his relationship with the BBC D178) and conductor on Richard I stretch my arms to you, He gazed down at the smear of his shadow generation. Two further works Symphony Orchestra. Other You stretch yours as eagerly to me. Trembling on the fearful current. Causton’s Chamber Symphony You laugh when I laugh. for the BBC SO immediately recent appearances include the (NMC D192). When I tell you my love followed: The Genesis of Royal Opera House, Covent I see your lips Secrecy, commissioned by the Garden, English National Seeming to tell me yours. BBC Proms and premiered in Opera, Chamber Orchestra Information about the My beauty is in full bloom – August 2009 conducted by Sir of Europe, City of Birmingham artists on this disc can But I am a cut fl ower. Andrew Davis; and Augenlieder, Symphony Orchestra, BBC be found on NMC’s Let death come quickly – Original text from Tales of Ovid by Ted Hughes (1930-1988), which went on to receive the Scottish Symphony Orchestra, website: Carry me off adapted by Ryan Wigglesworth with the kind permission of the Ted vocal prize at the 2010 British BBC National Orchestra of Where this pain can never follow. Hughes estate, Faber & Faber Ltd and Farrar, Straus and Giroux Composer Awards. He is Wales, London Philharmonic, www.nmcrec.co.uk Composer-in-Residence with Bergen Philharmonic, Deutsches

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