After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice 2 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

Graham Boxer Director, IWM North

Welcome to IWM North… …part of Imperial War Museums. I am delighted that you are joining us on this special evening, which is part of our Reactions14 programme. We wanted to produce a series of creative responses to commemorate the First World War Centenary. The RNCM and IWM North have such a strong connection that it was unthinkable to do a series of events and not include them.

I am exceptionally impressed by this programme, no less than 80 works performed across three hours, featuring 300 musicians, combining live music with film, dance and poetry in a veritable feast of creativity.

We view our role in providing public space for art in many forms as a serious one, a way in which we can further aid the understanding of the cause, course and consequence of war. What is even more special about tonight however, is the chance to enjoy the emerging talent of the students currently working so hard on the RNCM Outreach programme. I am therefore particularly looking forward to hearing all the young people involved in these projects.

Like most Directors, I know that events like these are reliant on the dedicated teams working hard in the background to make things happen. I pay special tribute to those at the RNCM who have brought us this amazing programme and the dedicated performers you are about to see.

Enjoy the evening and do take the opportunity, either tonight or perhaps on a return visit to view our own special exhibition From Street to Trench: A World War that Shaped a Region. This exhibition continues to receive wide praise for the way in which it brings to life the experiences of those living in the North West at the time of this devastating conflict. 4 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

Michelle Castelletti Air Shard Artistic Director, RNCM 6.30pm and 10pm Last Post and Reveille The Last Post was used in British Army camps to signal the end of the day; calling all injured soldiers back to safety. The Reveille is another trumpet (or bugle) call used during wartime as the morning cry at sunrise. Both have since been adopted as a final farewell to …to IWM North for After the Silence: Music morale-boosting jazz and ragtime in the café, soldiers, where the Last Post starts a period in the Shadow of War. every part of this architectural statement of silent reflection and the Reveille ends will come to life. In contrast to a traditional it. The two melodies symbolise sunset and The RNCM’s off-site events form an integral concert experience, After the Silence allows sunrise respectively and, therefore, death and part of the calendar, and it is wonderful that you to create your own path through the resurrection, which is why they are performed for 2014, as we embrace the centenary of evening, travelling from space to space in this order tonight. the First World War, we fill this impressive and experience to experience. building with music. Throughout After the Silence is one of the most challenging Bill Fontana Vertical Echoes (WP)* Forming part of the Imperial War Museums’ projects the College has produced in recent The first installation in IWM North’s Reactions14 series, After the Silence features years, and I would like to thank everyone, Reactions14 series is Vertical Echoes, a unique over 300 musicians, 80 compositions, and both staff and our talented students, who sound sculpture by internationally acclaimed 25 world premières, with music from the last have worked tirelessly to create this unique artist Bill Fontana. 100 years. From fanfares to stillness, tonight’s experience. Personal thanks must be given

Welcome three hour programme embraces the numerous to my colleagues in Performance and Fontana uses eight loudspeakers and vibration emotions associated with war as musicians and Programming, Marketing, and the RNCM’s sensors to project the roar of a Sopwith Camel electronics, sound and moving image, dance schools of study; the numerous composers biplane and the echoes of a field gun from the and spoken word completely transform this who have written for the occasion; Arts Council trenches that rises and falls as visitors enter. magnificent space. England and John Lewis for their generous © IWM North support; and IWM North for embracing the

With intense grittiness and iconic classical concept and hosting what promises to be a *World Première works in the main exhibition stages, and memorable event. 6 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

MAIN EXHIBITION SPACE War. Instead, he taught music to the troops word lament as ‘a passionate expression of MAIN EXHIBITION SPACE Performance Stage A eager for some form of escapism. Adapted from grief’. In a world which has in recent years Performance Stage c 7pm Performance Stage A Jupiter, a movement within his masterpiece seen Yugoslavia decimated, the Twin Towers 8.15pm Performance Stage C Aaron Copland Fanfare for the Common Man The Planets, I Vow to Thee My Country is one destroyed, the Middle East torn apart by a Paul Max Edlin The Fifth Trumpet (WP) 7.45pm Performance Stage A of the most patriotic and stirring hymns, set decision, made by Bush and Blair, to invade When commissioned by John Wallace for the Walter Piston Fanfare for the Fighting Forces to words by Cecil Spring Rice. Iraq (the list is endless), hundreds of thousands remarkable Wallace Collection, I wanted to 8.30pm Performance Stage A of innocent women and children, as well as create a work that would leave a message Virgil Thomson Fanfare for France MAIN EXHIBITION SPACE young soldiers, have been slaughtered. and provoke thought, as well as serve as 9.05pm Performance Stage A Performance Stage B a demonstration of their virtuosity. Henry Cowell Fanfare for the Forces of 7.05pm Performance Stage B The cultural world cannot influence the Latin American Allies Edward Elgar Sospiri Op 70 decisions of politicians, but those of us who The biblical story of the seven trumpets of In the summer of 1942, in the midst of the Sitting alongside Elgar’s two major works for serve the arts can make a protest for history the apocalypse from The Book of Revelation Second World War, Eugene Goossens, conductor strings – the Serenade for Strings and the in our work. Therefore, this Lament is not lent itself to this instrumentation as well of the Cincinnati Symphony Orchestra, wrote Introduction and Allegro – lies this beautiful a political statement; it is an expression of as my intention. Here was the profoundest to a number of American composers asking Sospiri, an adagio for string orchestra, harp sadness and compassion for the victims of allegory that responds to the results of man’s them to write patriotic fanfares. His wish was (or piano), and organ (or harmonium), such conflicts and their families. inhumanity to man and his environment to replicate what he had done during the First composed just before the beginning of the © Edwin Roxburgh spawning suffering and torment in the World War with British composers. First World War. most dramatic ways. The parallels with 8.05pm Performance Stage B the horrors of war need no elaboration. This occasion is commemorated by a performance The war depressed Elgar deeply, and his John Williams (arr Philip Sparke) Hymn of four of these works (celebrating patriotism musical output almost ceased during this to the Fallen (from Saving Private Ryan) The Fifth Trumpet describes an initial vision and collaboration), starting with Aaron Copland’s period. Dedicated to his long-time friend, the In his foreword to the published score of of Heaven from which the Fifth Angel blows famous Fanfare for the Common Man (later violinist W H ‘Billy’ Reed, and written after the Hymn to the Fallen, John Williams describes his trumpet. A star falls from Heaven creating used in the last movement of his Third death of another, the work is almost Mahlerian the work as ‘a jolting emotional impact’. This an earthly abyss from which smoke pours Symphony), and concluding with Henry Cowell’s in style, which gives it gravitas, coupled with is brilliantly depicted by music that’s full of and the locusts with scorpion stings inflict Fanfare for the Forces of Latin American Allies. nostalgic beauty, sadness and regret. pathos, evoking feelings of hope and strength months of agony on mankind who seek the in a very moving way. Sparke transcribed this solace of death. But death evades them. The 7.20pm Performance Stage A 7.25pm Performance Stage B work for brass band using Williams’ original programmatic intent of the story should be Gustav Holst I Vow to Thee My Country Edwin Roxburgh Lament for the Victims orchestral score as the source. It is a befitting apparent in the clearly defined sections of the Proving unfit for service, Holst was of Conflict tribute to the many who have been killed or piece. A range of trumpets are used: piccolo unsuccessful in enlisting for the First World The Oxford English Dictionary describes the wounded in the line of battle. trumpets, natural trumpets in old pitch keys, After the Silence: Music in the Shadow of War 8 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

Eb, Bb and bass trumpets. Together with traditions, even in such desperately bleak community were often brutally cut when they that accompanies television news broadcasts. these are percussion, piano and either organ circumstances. British soldiers reported seeing were forced to commit atrocities to their own This music gradually dies away, and leads into the (as in the 1985 original score) or two cellos lights twinkling across from No Man’s Land tribe, even their own family. In the therapy, second section, Strange, in which the narrator and three basses (as in this 2014 revision). and hearing jovial singing and shouting. local traditional rituals can be used, focusing on tells his own terrible story – of how as a young The trumpet writing pushes the instruments The soldiers often sang together during the the individual as a part of the collective, with boy he was pressed into the service of the army to extreme limits, not least the fifth trumpet unofficial armistices – sharing songs from song and dance as important ingredients. The that attacked his village. The horrors become

part, which has specific solo passages and back home and also singing Christmas carols ws wonderful thing is that the therapy actually ever more real to the audience, as sounds of which was written for John Wallace. In the together, even though this meant singing in works; a glimpse of hope in one of the darkest war invade the venue via the surround sound first performance, the fourth trumpet part was several languages simultaneously. chapters of African contemporary history. system, until in the third section, Life Like played by the wonderful John Miller, now Head © Lucy Pankhurst Water, where these sounds dissolve into an of Wind, Brass and Percussion at the RNCM, the The Norwegian charity Christian Relief Network electroacoustic landscape. The narrator, now conservatoire that requested this new version be 9.25pm Performance Stage C (CRN) has long experience from working with separated from the army and in fact deserted created. In the 2014 revision, several changes Rolf Wallin/Josse de Pauw Strange News: child soldiers. Josse De Pauw and I, together by the musicians who have fled the stage, talks have been made: the organ part has been a work for actor, ensemble, surround sound with a reporter and a cameraman from NRK (the of how lost he is – he can feel his life running reworked for lower strings and there has been and video screen (WP) Norwegian Broadcasting Corporation), visited through his fingers like water. At last, in the some rationalising of barring and some minor Strange News deals with matters in the world the CRN projects in Uganda and The Congo in fourth section, Singing and Dancing, the simplification of the actual instrumental parts. around us. It is not a piece of ‘political art’ in November 2006. We met former child soldiers, narrator is rescued, and, through participating © Paul Max Edlin the traditional sense, but, rather, an artistic talked to them, and recorded their words, which in community music-making – which we can parallel to a TV or radio documentary, where Josse wove into the piece’s libretto. Furthermore, see on the video screen, accompanied by the 9.10pm Performance Stage C the empathy with those involved is more we recorded some sound and video material musicians on stage – he is re-integrated into Lucy Pankhurst Tannenbaum/Silent Night important than dry information, and where for use in the performance. And finally, we held society. In the final section, entitled Home, (from Voices from No Man’s Land) no conclusions are made. auditions to find an actor to participate in the the narrator can reflect on his life and look to Voices From No Man’s Land was commissioned performance, ending up with a wonderful young the future. After the music has stopped, he by the 2014 Ageas Salisbury International Arts The subject matter of Strange News is the Ugandan actor called Arthur Kisenyi. can confront the audience: ‘I want a life more a nge N e Festival. The project recruited 100 men to sing children used so utterly cynically as soldiers or less like yours. Would that be possible?’ a set of new songs based on the Christmas in wars around the world, the so-called child Strange News is cast in five sections. The first Truce of 1914 with a pre-recorded soundtrack. soldiers. Many of those who have escaped, section, News, is introduced by a newscaster with The orchestral version of Strange News was Tannenbaum illustrates the moment the German have, in recent years, been taken into aid the words: ‘Good evening. Here is the news’, and co-commissioned by the Casa da Musica, soldiers began to adorn their parapets with programmes, where they are helped to live features real video footage of children fighting Porto and the Oslo Philharmonic Orchestra, tiny Christmas trees, lit with candles. They normally in society again. One of the main in African conflicts, accompanied by a manic who gave the world première performance in

were determined to continue their festive challenges is that the social ties to their own Str distorted version of the intense, pounding music May 2007. The ensemble version of the piece 10 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

was commissioned by the IntegraConsortium MAIN EXHIBITION SPACE percussion, it is an evocative work capturing town of Oradour-sur-Glane. The ‘terms- of New Music Ensembles, for première by the Performance Stage D nature in song and was chosen specifically for of-engagement’ incorporated a desire to Birmingham Contemporary Music Group in 7.10pm Performance Stage D tonight’s programme due to the wonderful keep the subject matters to incidents in the June 2008. Tonight we will be premiering the Einojuhani Rautavaara A Soldier’s Mass acoustics provided by the Museum’s high walls. Second World War. So far, the ‘theatre’ has latest version for sinfonietta-sized ensemble, i. Lord of the Battle (Kyrie) remained true, although, at times, a degree of written specifically for the RNCM. ii. Have Mercy Upon Us (Miserere) 7.55pm Performance Stage D description has emerged, which proves to me © Rolf Wallin iii. On the Fields of Glory (Gloria) Krzysztof Penderecki Threnody for the that an ongoing process should indeed be a iv. In the Moment of Death (In Hora Mortis) Victims of Hiroshima living, breathing and evolving practice. 9.56pm Performance Stage C Written by one of Finland’s most celebrated ‘Let the Threnody express my firm belief that the Edward Elgar (arr M Castelletti) Nimrod composers and portrayed through the eyes of a sacrifice of Hiroshima will never be forgotten Epitaph VIII: In 1934, a gifted teenager was (from Enigma Variations) (WP) solider, A Soldier’s Mass looks at the traditional and lost.’ Krzysztof Penderecki, 1964 studying books on art history at the Hornsea No programme note can describe the mass structure and combines it with brass School of Art whilst at this same time, on the beauty that lies within Elgar’s heart-rending instruments so familiar to military and war. Composed in 1960 and originally titled 8’37, Far-Eastern island of Singapore, a military camp Nimrod. Written about his love (and that of Penderecki’s Threnody, written for 52 string was being constructed on the Changi peninsula. his friend’s, August Jaeger) for Beethoven, The opening Kyrie paints a striking, post- instruments, is one of his most harrowing Eight years later the young artist (Stanley the work encapsulates this pure emotion apocalyptic atmosphere, while Miserere acts works and proved a turning point in the Warren) was brought to Changi as a prisoner of and proves a fitting end, as poppies fall and as a short prayer. The composer compares the history of 20th century Polish music. war. Here he created a series of murals which memories stir, to tonight’s project. Gloria to a glimpse into a romantic military now stand as testimony to the futility of war waltz, using it as a trio, which leads to the With violins screaming in their uppermost and the hope of universal reconciliation. sinister-sounding last movement. register and glissandi running up and down the strings, Thredony was revolutionary in its Warren painted the murals out of Biblical 7.35pm Performance Stage D use of timbre, tonality, and structure, and has sequence and I have retained his ordering in Eric Whitacre Cloudburst been used to depict intense moments in films this latest Epitaph so as not to overplay the Commissioned by Dr Jocelyn K Jensen and such as The Shining and Children of Men. Christian associations. I have also devised a series inspired by the poetry by Octavio Paz (not of chorales (actually all variants of the same to mention Whitacre’s own experience of 8.40pm Performance Stage D chorale) to intersperse between the mural scenes. witnessing a desert cloudburst), this piece is Martin Ellerby Epitaph VIII: Changi Murals A part for a solo tubular bell (on the note D) has one of today’s most performed choral works. (Singapore) for 8 Violoncellos and Solo Bell (WP) been included which, through a variety of playing I commenced my series of Epitaphs in methods, provides various contrasting effects. Simulating rain with finger-snapping and 1986 with a work called Souviens-Toi Symbolically, we therefore have a ‘church- thunder with thunder sheets and other body (‘remember’) inspired by the French martyr bell’, some allusions to ‘church-choirs’ (the a r N imrod E lg 12 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

chorale is original and somewhat ‘English’, but MAIN EXHIBITION SPACE composed like a Lutheran chorale that might Performance Stage E be harmonised by J S Bach) and Warren’s five 7.20pm Performance Stage E murals, which sit as the Stations of the Cross Butterworth Martin Ellerby Epitaph II: Desert Flowers found in most Catholic churches. The work (El Alamein) for flute and piano follows a circular structure, although nothing This work was originally called Vergissmeinnicht 8.25pm Performance Stage E First World War. It is written as an homage to is repeated exactly. (‘forget-me-not’) after a poem by Keith Douglas George Butterworth Six Songs from François Couperin but, even more than that, © Martin Ellerby who fought in the Western Desert from A Shropshire Lad a tribute to French Baroque keyboard music. Alamein to ZemZem, as his published record of ‘A brilliant musician in times of peace, and an Ravel decided to retain the beauty, reflection experiences is called. However, I changed the equally brilliant soldier in times of stress.’ Brigadier and elegance in his writing, saying: ‘The dead title (not the music) after the first performance General Page Croft on George Butterworth are sad enough, in their eternal silence.’ to the present one, which allows for the inclusion of two poems – one by Douglas Butterworth enrolled in the army at the 9.15pm Performance Stage E (Desert Flowers) and another by John Jarmain onset of the First World War, serving initially Gustav Mahler (arr M Castelletti) (El Alamein), who having survived the African as a Private in the Duke of Cornwall’s Light Adagietto (from Symphony No 5) (WP) campaign, were both killed in Normandy in Infantry. Aged just 31 he was killed by sniper There is a marvellous polarity in Mahler’s 1944. The music is suggestive of the Western fire in the early hours of 5 August 1916, and music and, in this Adagietto (originally Desert – a wasteland of overwhelming volume. was awarded the Military Cross posthumously. written as the fourth movement of his fifth © Martin Ellerby symphony and widely known for its use in Composed between 1911 and 1912, the film Death in Venice), love and death 7.45pm Performance Stage E A Shropshire Lad remains one of the most- appear to embrace each other before Claude Debussy Cello Sonata loved settings of A E Housman’s poem. parting and re-embracing. Possibly one Written as the First World War raged across Europe of the composer’s most performed works, and just three years’ before the composer’s death 8.55pm Performance Stage E it is seen as a beautiful love duet that ebbs in a German-invaded Paris, the Cello Sonata is one Maurice Ravel Le Tombeau de Couperin and flows. In this arrangement a vision of of Debussy’s most emotionally intense works. Each movement of this work is dedicated dance was used to symbolise this love to the memory of a friend killed during the together with the loss of war. Fragments appear in various guises, tempos change continuously, and there is colour and contrast throughout, all of which make this one of the greatest ‘paintings’ ever scored for cello and piano. A Shropshire Lad 14 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

The meaning of this palindromic shift is to 8.25pm Silo 1 maybe that is why I feel it is my duty to preach and s SILOS Silo 1 – The Solo Silo represent that war changes the world and Max Burstyn Hope (for solo cello) (WP) to bring hope in times of distress.’ Pēteris Vasks 7.20pm Silo 1 most of all the soldiers who, returning from This short cello piece is representative of the Aaron Breeze Seeking Nirvana war, have to fit back into ‘normal’ society. increase and eventual decrease of violence and A string player himself, Vasks’ use of (for solo harp) (WP) Some, understandably, develop mental health anarchy in the First World War. It begins with a orchestration is focussed on sound production Seeking Nirvana is a single movement work problems and suffer with the burden of the harmonically diatonic language – the opening and the wide palette of colours a string for solo harp, in which the harpist attempts to images and memories they are left with. The chords attempting to show the gravity of people’s instrument can convey. A beautifully painted trume n t find a transcendent state through exploring title lonely suicides echoes this, and is taken feelings at the start of the war. After the first work, with great use of texture, the Sonata of the built in restrictions of the instrument. from a Nicholas Lutwyche poem about the section, the main theme comes in, portraying the Loneliness was written as a tribute to his dying For instance, the harmonic contour remains Falklands War, which finishes with the line: sorrow and imminent loss, but also the upheld aunt – sadly paralysed and unable to speak. somewhat fixed from section to section; ‘Two hundred and fifty-five men did not return faith, felt by those affected when the war began. however the pedal changes provide a change victorious from this war; almost thirty years on, 9.15pm Silo 1 in sonority which could be aurally satisfying and lonely suicides have doubled that score.’ This theme gets faster and faster, and more Joseph Shaw After the Silence

olo ins s olo or unsatisfying. The harpist may be seen as © Callum Harrison dissonant towards the end of the piece, (for solo horn) (WP) a metaphysical representation of the people representing the escalating violence, whilst still After the Silence takes the traditional poetic living with the omnipresent threat of war, as 7.50pm Silo 1 pertaining the main theme. The very last few form of an elegy and applies the technical he Solo Silo T he Solo they seek physical and emotional refuge. Daniel Lim When They Come Marching In bars of the piece treat the theme in a different implications to the structure of the music. The © Aaron Breeze (for solo flute) (WP) way, slowing down and continuously descending initial melodic pattern is developed through When They Come Marching In is an allegory of scalicly until the very last note which is the tonic. several prisms of sound throughout the 7.45pm Silo 1 a military drum and bugle corps marching past © Max Burstyn work, facilitating an atmosphere for personal Callum Harrison lonely suicides an observer. A tireless drum pattern, established reflection or meditation. During the ‘Lament’ (for solo trumpet) from the beginning of the work, is interwoven 8.55pm Silo 1 the performer chooses several pitches from lonely suicides is a piece for solo trumpet with proud, victorious bugle calls as the troupe Pēteris Vasks Vientulības sonāte the long melodic contour to chromatically alter and is a response to several war poems approaches. However, as they come closer, the (Sonata of Loneliness for solo guitar) (WP) by the insertion of the hand into the bell of read at the time of composition. sufferings and losses of war become evident ‘I have always dreamt of my music being played the instrument, scarring the melodic line as if through incongruous flute effects. These where people are most unhappy: in hospitals, memories of the distant past. The text read by The piece is based on whole-tone scales two ideas come in phases one after another, prisons, rush hour buses - comforting and the performer is from Wind by James Fenton. and is structurally palindromic. At the central demonstrating the conflicting consequences questioning. My father was a clergyman, and © Joseph Shaw ‘axis’ the music shifts a semitone down to of war. Eventually, the drum and bugle corps World p rem i ère s for World r of wa n el in e ss the lo de pi ct to w r i tte n the other whole-tone scale and is then marches into the distance and disappears. played in retrograde. © Daniel Lim After the Silence 16 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

SILOS 8.55pm Silo 2 SILOS Silo 2 – The Prayer 8.25pm Silo 2 Peter Maxwell Davies Naxos Quartet No 3 Silo 3 – Reflection and Hope 7.20pm Silo 2 Dmitri Shostakovich String Quartet No 8 Naxos Quartet No 3 was initially an 7.20pm Silo 3 Robert Saxton Prayer to a Child in C minor Op 110 – In Remembrance of the exploration of mathematical, astronomical Richard Evans The Path at the Edge of (for soprano and 2 clarinets) Victims of Fascism and War logarithms, combined with the isometric the Wood Lets Me In (for solo cello) Written for two clarinets and soprano, this ‘I feel eternal pain for those who were killed nature of plainsong. The sudden invasion The Path at the Edge of the Wood Lets Me work was first performed on the BBC’s Pebble by Hitler, but I feel no less pain for those of Iraq in 2003, however, affected the In for solo cello is inspired by, and based gio Mill on 20 November 1992 by Mary Wiegold killed on Stalin’s orders. I suffer for everyone course of the work and it soon morphed on, An Intervention by Frances Malaney. The and members of the composers’ ensemble who was tortured, shot, or starved to death. into an emotive reaction to this sad and text talks of a woman who is wandering in a (for which it was commissioned) as part of There were millions of them in our country shocking event. forest and finds a dying baby bird. She looks a concert in aid of Children in Need. before the war with Hitler began...Where at the terrified creature, whose eyes ‘demand do you put the tombstones? Only music 9.15pm Silo 2 to live’, with the potential to intervene and 7.45pm Silo 2 can do that for them.’ Testimony, Roy Watkins Pressure (for solo flute) (WP) comfort it. The poem beautifully illustrates Samuel Barber Adagio (for string quartet) Dmitri Shostakovich Pressure explores the relationship between life, or death, and places either hope, Barber’s String Quartet Op 11 is arguably one explosive gestures and moments of solace. It or helplessness, in the decision that of the most powerful, moving and dramatic Shostakovich’s String Quartet No 8 begins with a violent opening and is answered one must make. string quartets ever written. Full of emotion, its transcends human despair into sound – the with a texturally lighter phrase. This solo piece © Richard Evans movements can be linked to some pivotal moments profound sound of the real, but otherwise of music employs a variety of modern flute in history, including the funerals of Roosevelt veiled, Soviet artist’s view of Socialist Realism; techniques such as whistling and air sounds 7.45pm Silo 3 and Einstein, the assassination of J F Kennedy, the sound of tragedy, agony and loss. Written that respond to particular phrases within the Arvo Pärt Spiegel im Spiegel and the devastation of 9/11. It has also been with tears flowing from the composer’s eyes, music and to musically express a tribal-war (for violin and harp) incorporated into film scores including the award- this shattering piece is an elegy combining situation influenced by exotic Eastern music. Few works instil the sense of peace and winning Platoon, set during the Vietnam War. violence, devastation and compassion. © Roy Watkins calmness that this manages to convey. Characteristic of, and synonymous with, Pärt’s writing, it utilises the tintinnabuli compositional technique that he created.

Literally meaning ‘Mirror in the Mirror’, Spiegel im Spiegel symbolises the reflection of two mirrors facing each other, creating waves of visual effects translated into ba r b er a d 18 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

sound. Simple though the music might be, 8.55pm Silo 3 SILOS the effectiveness of achieving strength of Paul Patterson Armistice: Reflection and Silo 4 – Lament expression is what makes this one of the most Hope Op 108 (for solo harp) 7.20pm Silo 4 transcribed and re-orchestrated works for so Commissioned for Lavinia Meijer for the 65th Frank Bridge (arr Paul Hindmarsh) Lament many combinations of instruments. anniversary of the ending of the Second (for two violas) World War and the signing of the peace treaty Bridge was ‘in utter despair over the futility of 8.25pm Silo 3 in Wageningen Holland in 1945, Armistice World War One and the state of the world and Katie Chatburn Sjømann is a work that reflects the huge emotions would walk round Kensington in the early hours (for solo cello) (WP) behind these events. The numbers 1945.5.5 of the morning unable to get any rest or sleep.’ Norway remained neutral during the First play a crucial role in the organisation and Some of his most personal music is to be found World War, despite suffering losses of structure of the work, coupled with a five in his nocturnes and laments. Knowing how 618 ships and 1,150 sailors as a result of note fragment taken from the Dutch National gradually becomes more and more triumphant, the viola works from the inside, Bridge makes Germany’s unrestricted submarine warfare. Anthem (starting on note four). and leads to a glorious and magnificent finale his two players sound like four. He spins Sjømann (meaning ‘sailor’) is inspired by the that brings happiness and hope for the future. one of longest and most hauntingly lyrical sound of the traditional Norwegian Hardinger The work opens with a grey mist of unusual © Paul Patterson dialogues in the outer sections. The central (or Hardingele) fiddle with four ‘understrings’ shimmering effects that reflects the moment episode is an elegant, wistful minuet, which which are not played directly but resonate of 1945 and the period of desolation that 9.15pm Silo 3 flows seamlessly into an elaborated return of sympathetically, creating haunting echo- preceded it. Gradually through varying mists, Lucy Hale A Terre (for solo bass clarinet) (WP) the opening chromatic theme. After a more like drones. The piece also uses fragmented the notes of the 1945 motif are introduced A Terre (‘For Earth’) was inspired by a poem dynamic climax, with energy seemingly spent, excerpts from the popular Norwegian folk with harmonics and fast tremolos. As the of the same title by Wilfred Owen. The poem the music gradually fades away into oblivion. song Den Norske Sjømann. drama unfolds, elements of the Dutch National takes the form of a monologue spoken by a © Paul Hindmarsh © Katie Chatburn Anthem are integrated into the ever darkening soldier who is in a war hospital and knows he and tragic texture leading to an extended is dying. The poem begins as he contrasts his 7.45pm Silo 4 8.30pm Silo 3 ‘Battle Music’ section that embraces many previous expectations regarding death with Sir Arthur Bliss Adagietto Espressivo Gemma Balamoody Who is Left? violent and dissonant effects including visual his current situation. He soon goes on to (from Quintet for Clarinet and Strings) (for solo flute) (WP) gestures, rasping strings, the thunder effect make increasingly desperate bargains to stay Very soon after starting his studies at the Royal The inspiration for Who is Left? derives from and heavy descending glissandos. After this alive, suggesting that life in any form would College of Music, Bliss was called to serve in a quote concerning war delivered by British huge descending climax there is a moment be preferable to the death he now faces, the First World War. Wounded at the Somme philosopher, Bertrand Russell: ‘War does not of silence, and a time of peace and passive before finally resigning himself to his fate in in 1916 and gassed at Cambrai in 1918, the determine who is right, only who is left.’ reflection that slowly transforms the 1945 the closing stanzas. experience left a huge impact on his life and © Gemma Balamoody motif into a fast march-like tune, which © Lucy Hale musical output, not least due to the loss of his 20 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

brother, Kennard. This quintet is the first work 9.15pm Silo 4 Bliss composed after his substantial choral Tōru Takemitsu All in Twilight (for solo guitar) from street to trench symphony Morning Heroes, dedicated to his ‘I hated everything about Japan at that time brother, which juxtaposes the images of life because of my experience during the war…’ A War that Shaped a Region in the trenches with ancient Greek gods. Tōru Takemitsu From Street to Trench 8.55pm From Street to Trench A War that Shaped a Region Charles Ives In Flanders Fields

8.25pm Silo 4 Commissioned by Julian Bream and inspired by t i ll 7pm From Street to Trench Enrique Granados La Maja Dolorosa Herbert Howells Rhapsodic Quintet Paul Klee’s paintings, All in Twilight is a subtle, The Sacrifice of War Ivor Gurney In Flanders Due to ill health, Howells was not allowed yet colourful, landscape of soft watercolours Ralph Vaughan Williams From Far, From Eve Some of the world’s most quintessential songs to enrol in the army for the First World juxtaposed with dissonance amongst silence and and Morning relate to war, many of which were written by War, allowing him to keep composing and space. As Takemitsu said: ‘I love gardens. They do Siegfried Sassoon They composers who loved (and lost) during these dedicating works to his friends in service. not reject people. There one can walk freely, pause Stephen MacDonald Not About Heros unforgettable times. Gurney, Ives, Granados, to view the entire garden, or gaze at a single tree.’ (excerpts) Poulenc, Coles and Finzi are just a few of these. His Rhapsodic Quintet can be described Anon I Want to Go Home as everything from lush and impassioned SILOS Vera Brittain Perhaps 7.30pm From Street to Trench to poetic, tender and energetic, as three Silo 6 – Poetry and Readings Peter Hooton and Stephen Grimes Martin Ellerby Epitaph III: Vocalise rhythms work concurrently to create Time stands still, offering a moment to reflect All Together Now (for bass clarinet and piano) a very exciting canvas. on the touching words of war poets and Youth Perform explore how the power Vocalise is a meditation in remembrance of the contemporary writers. of words, music and dance can help us Polish victims (army officers) of the 1940 massacre an d s 8.55pm Silo 4 reflect on the sacrifices made during at Katyn Wood, and whilst there are no direct

George Butterworth Love Blows and the 7.45pm Silo 6 t the First World War and focus those quotations, it draws upon, and paraphrases, Polish Wind Blows Poems of War 1 reflections on the continuing need church music. Predominantly contemplative in Set to poetry by William Ernest Henley, the 8.25pm Silo 6 to work for global concord. character, with only fleeting moments of anger, the song cycle Love Blows as the Wind Blows is Poems of War 2 work exploits the rich sounds of the bass clarinet’s another of Butterworth’s exquisite gems. 8.55pm Silo 6 7.20pm From Street to Trench lower register. It is built on a series of linked Poems of War 3 Francis Poulenc Sanglots thematically-related recitatives – accompanied Cecil Coles Benediction or unaccompanied chorale-like melodies – ‘…Only I never saw another butterfly…’ Gerald Finzi Farewell to Arms while the piano provides a sustained harmonic Pavel Friedmann from his poem The Butterfly, underpinning, with a variety of bell sounds. written during his incarceration at the © Martin Ellerby Theresienstadt concentration camp, 1942 Ti me s 22 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

7.40pm From Street to Trench Messiaen later wrote: ‘The cold was the Nazis. I visited the old Lidice (empty fields 9.05pm From Street to Trench Kate Pearson Stamford Street: Children in excruciating, the Stalag was buried under standing as silent witness) with the new town Olivier Messiaen Quartet for the End of Time Wartime snow. The four performers played on broken- nearby. I also visited the church on Resslova vii. Fouillis d’arcs-en-ciel, pour l’ange qui This work looks at the lives of the children living down instruments. Etienne Pasquier’s cello in Prague that now stands as a shrine. In the annonce la fin du temps (The Tangle of in Stamford Street during the First World War, had only three strings, the keys on the piano crypt of the church, a shaft of bright sunlight Rainbows for the Angel who Announces and at how they and their families are affected went down but did not come up again. But enters through a small air duct; the last thing the End of Time) by the events unfolding around them. As fathers never have I had an audience who listened the Czech martyrs would have seen before viii. Louange à l’immortalité de Jésus (Praise and brothers are sent off to fight, and mothers go with such rapt attention and comprehension.’ their demise. It was this that suggested the to the Immortality of Jesus) out to work for the first time, the children’s lives title to me, enabling me to combine the two Messiaen wrote of The Tangle of Rainbows for seem to play out on the streets of Manchester This quartet’s reference to the Divine cannot locations into the piece. The music is very the Angel who Announces the End of Time: ‘In some of the events that are happening in be underestimated. Structured in eight freely notated, almost improvisatory in nature, my dreamings I hear and see ordered melodies Europe – tensions, arguments, fights, alliances movements, and inspired by the Book of and a gentle reflection/meditation on the and chords, familiar hues and forms; then, and enmities. Before they know it, incidents both Revelation, it represents the perfect number sites as a visitor may experience them today. following the transitory stage, I pass into the home and abroad have changed their lives forever. seven followed by eternity (movement eight). © Martin Ellerby unreal and submit ecstatically to a vortex, © Kate Pearson It is Messaien’s paean – his unquestionable a dizzying interpenetration of superhuman expression of faith – a faith that will deliver 8.30pm From Street to Trench sounds and colours. These fiery swords, these 8.05pm From Street to Trench from temporal existence to the eternal. Michael Betteridge When I Look Up at the Sky rivers of blue-orange lava, these sudden stars: Olivier Messiaen Quartet for the End of Time When I Look Up at the Sky is an adaptation of a Behold the cluster, behold the rainbows!’ And ii. Vocalise pour l’ange qui annonce la fin 8.20pm From Street to Trench work inspired by Michael Tippett’s A Child of Our of Praise to the Immortality of Jesus: ‘Why du temps (Vocalise for the Angel who Martin Ellerby Epitaph IV: Lux Aeterna Time. Each ‘micro-performance’ is inspired by the this second glorification? It addresses itself Announces the End of Time) (Lidice for cello and piano) exhibits on show: a music hall duo practising for more specifically to the second aspect of Jesus v. Louange à l’éternité de Jésus Reinhard Heydrich – a key figure in the an upcoming performance, children and young – to Jesus the man, to the Word made flesh, (Praise to the Eternity of Jesus) ‘final solution’ programme – was considered adults playing in a local street, and a plethora of raised up immortal from the dead so as to Written while Messiaen was a prisoner of the most dangerous man next to Hitler in musicians dotted around the space performing communicate His life to us. It is total love.’ war in Gorlitz (then Germany, now Poland), Nazi Germany. The plot to assassinate him manipulated, famous First World War songs. The this transcendental work was premiered by (masterminded in England) was carried out tonality of the music is shared by all performers Messiaen (piano), Henry Akoka (clarinet), Jean in Prague in May 1942 by a group of Czech despite them performing very different musical le Boulaire (violin) and Etienne Pasquier (cello) paratroopers who were later betrayed and material, and this pitch rises throughout the OLIVIER at the prison camp Stalag VIII A on 15 January died in a shootout in a church in central installation finally settling for the last round, 1941. Shivering alongside the prisoners were Prague. In reprisal for the act, the nearby entitled Hope – a moment of reflection. Messiaen the German officers of the camp. village of Lidice was razed to the ground by © Michael Betteridge Quartet for the End of Time 24 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

GROUND FLOOR 8.10pm Ground Floor tape. It derives from Reich’s own childhood added to the pre-recorded tape, the final live Piano Space Benjamin Britten The Ballad of Little when, accompanied by his governess, he quartet part being added in performance. 7.10pm Ground Floor Musgrave and Lady Barnard frequently travelled by train between New Ralph Vaughan Williams Valiant for Truth Britten was living in America when the Second York and Los Angeles from 1939 to 1942 7.35pm Ground Floor Vaughan Williams enlisted as a Private in the World War broke out and, on his return to to see his parents, who had separated Dai Fujikura Poison Mushroom Royal Army Medical Corps Territorial Force on England in 1942, was granted Conscientious when he was just one year old. When I was born the Japanese economy was New Year’s Eve 1914. He was 42 years old. Objector status. He remains one of this country’s at its zenith, the city I grew up in was peaceful. His Valiant for Truth was written during the strongest pacifists; his War Requiem standing Whilst finding the trips exciting and romantic, So when I visited Hiroshima on a school trip it Second World War, and takes its inspiration as the epitome of his anti-war convictions. he later recognised how different this journey was hard to imagine something had happened from a beautiful passage in John Bunyan’s would have been if travelling as a Jew in to this beautiful place. Pilgrim’s Progress: With a dedication to ‘Richard Wood and the Europe during this period. On the tape we musicians of Oflag VIIb’ (a prisoner-of-war hear the voices of his governess Virginia, then When I went to Junior High we all had to ‘When the day that he must go hence was camp in Bavaria), The Ballad of Little Musgrave in her 70s, reminiscing about their train trips come to school on 6 August. This was the come, many accompanied him to the river- and Lady Barnard tells of an unfaithful wife together; a retired Pullman porter, Lawrence day in 1945 that the atomic bomb was side, into which as he went, he said, ‘Death, and her lover who were discovered in flagrante Davis, then in his 80s, who used to ride dropped on Hiroshima and so we marked where is thy sting?’ And as he went down and murdered by the cheated husband. lines between New York and Los Angeles, the anniversary by attending school, watching deeper, he said, ‘Grave, where is thy victory?’ reminiscing about his life; and Holocaust the films about the war/atomic bomb, and So he passed over, and all the trumpets GROUND FLOOR survivors Rachella, Paul and Rachel, of similar looking at images of the people who had sounded for him on the other side.’ Electronics Room age to Reich and then living in America, suffered, and were still suffering. Some of 7pm Ground Floor speaking of their experiences. Additionally, the photos were so strong and violent that 7.45pm Ground Floor Steve Reich Different Trains: America – Reich included recorded American and even as a small child I remember them well. Igor Stravinsky A Suite from The Soldier’s Tale Before the War European train sounds of the 30s and 40s. The Soldier’s Tale tells of a soldier from A survivor told us that because of the searing the First World War who has a magic violin 8pm Ground Floor The basic idea is that carefully chosen speech heat everyone was jumping into the river after which he trades with the Devil for a book Steve Reich Different Trains: Europe – extracts generate the musical materials for the bomb wanting to be doused. They didn’t that promises to predict the future and fulfil During the War musical instruments, Reich selecting small know the water was boiling. When I was his every wish. Originally a work for seven speech samples that are relatively clearly writing this piece, all the visions which instruments, narrator(s) and dancers, this 8.45pm Ground Floor pitched and then musically notating them I have seen about Hiroshima/Nagasaki/ arrangement by Stravinsky turns movements Steve Reich Different Trains: After the War as accurately as possible in order to combine atomic bomb related materials were in one to five into a suite, the result of which is Different Trains is a three movement work for the taped speech with the string instruments. my head. It is our duty to remember. raw, dark, jazzy and whimsical. String Quartet and pre-recorded performance Three separate string quartets were then © Dai Fujikura le T he Sold i er’ s Ta 26 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

8.20pm Ground Floor GROUND FLOOR services; Piano Trio No 1 from this portfolio moves slowly, through a melancholy quiver, George Crumb Black Angels Foyer (part 2); and Unter dayne vayse shtern, a exploiting the ‘mournful’ melody. The rest Inspired by the Vietnam War and subtitled 7.20pm Ground Floor Holocaust song written by the great Yiddish is based around the second more ‘hopeful’ Thirteen Images from the Dark Land, Black Angels Klezmer Set 1 poet Avraham Utzkever whilst in the Vilna melody, although we don’t hear it in a telling is a work for electric string quartet that also uses William Tamblyn The Scribe (WP) ghetto, and set to music by Avreml Brudno. format until the end of the piece – from a variety of vocal sounds (from shouting and This four-part piece for klezmer ensemble is © William Tamblyn the clarinet. The jolliness of this melody chanting to whistling and whispering), and based on a 15th century fairytale passed down is intended to represent the hope of the percussive instruments. The score is dated through the Jewish-German community. A Matthew Preston Transformation and Jewish people during the time of Nazi Friday 13 March 1970 and has the inscription ‘in scribe has been commissioned to produce a Renewal on Two Themes by Gideon Klein (WP) Germany, whilst at the same time reflecting termpore belli’, meaning ‘in time of war’. It was, as copy of the Torah for the opening of a new The piece begins with a transformation of some of their own musical mannerisms. Crumb said, ‘conceived as a kind of parable on our synagogue. The night before, exhausted and two themes from Klein’s String Trio (1944), troubled contemporary world. The work portrays running behind, the scribe retires to bed but which characterises the absolute decimation As the piece progresses it gradually makes a voyage of the soul. The three stages of this before doing so makes a wish to finish the of Jewish culture after the Holocaust. This more sense to the listener, who, after the voyage are Departure (fall from grace), Absence Torah whatever the cost. In Jewish folklore, section really articulates the destruction and introduction, will struggle to latch on to a (spiritual annihilation) and Return (redemption).’ all wishes are answered either by an angel despair of what was happening during Klein’s pulse. The listener is disorientated when the or a demon and that night, a passing demon short-spanned life. We are then presented sextet breaks into the faster tempo (second 9.10pm Ground Floor answers the call. He creeps into the scribe’s with an idea of renewal, which signifies the melody) for the first time: this is because we Katie Chatburn Truce (WP) bedroom to finish the task but runs out of eventual build-up of the thriving Jewish only hear the foundations of the melody for Truce examines an iconic moment of the First parchment. To fulfill the demands of the wish culture. In the klezmer jazz and khosidl, we the majority of the piece… and out of chaos, World War – the series of unofficial ceasefires ‘whatever the cost’, the demon turns to the can hear distinct Jewish characteristics, and comes order. which broke out along the Western Front sleeping scribe and rips the skin from his back. this is very light-hearted and uplifting music; © Bethan Morgan Williams during the Christmas of 1914, accompanied by Amid the howls of agony, the demon feverishly an accurate example of the re-birth of what the famous football match and carol singing. scribbles the last words of the Torah on the was a demolished nation. Thomas Harrold Meshuggener Dances (WP) The piece uses the voices of front-line soldiers skin, whilst the scribe slowly dies. © Matthew Preston Meshuggener Dances is an energetic from the Imperial War Museum’s archive to work written for a standard klezmer ‘street’ reassert the moving, but frightening reality of an Informed by the formats, dances and modes 8.30pm Ground Floor ensemble. This very short work allows the incident which has been widely mythologised. of the Jewish klezmer tradition, this piece Klezmer Set 2 performers to trade solos and improvise The music aims to work with their testimonies combines comedic writing and sound painting Bethan Morgan Williams Orison (WP) very freely within the chart, emulating as a ‘concerto’ for spoken voice, exploring the to aurally convey the story. Other references Orison identifies with the Jewish community the improvisatory nature of the mood, melodies and rhythms of the speech include quotes from the Shofar of the Rosh and includes two melodies - one mournful, authentic klezmer groups. © Katie Chatburn Hashanah and Yom Kippur (part 1) synagogue one hopeful. The opening of the piece © Thomas Harrold 28 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

8.55pm Ground Floor focusing on emotions conveyed through CAFÉ t a

Klezmer Set 3 excerpts of three songs, each of which is ’ s Music played an Amber Ruxton Sasek (WP) derived from a different section of the book,

a imperative role in This composition is a wordless text setting of with an additional theme returning between boosting morale during the Czech poem Sasek (‘The Clown’) which each. This returning theme is influenced by an d the First and Second was written by Pavel Stransky in the Terezin klezmer music and represents the endurance World Wars and ghetto, recently published by Lisa Peschel in of Jewish culture through each of the continues, to this day, t ni ght

her book Performing Captivity, Performing emotional phrases. ughter terou s , to provide respite in

Escape. The poem is about the oppressive b l a re of times of conflict. Jazz, D e p th s :

situation of the performers in the ghetto The first song, drawn from the section titled sin g in ragtime, soldier songs theatre as well as the contrasting feelings of Despair, is about the Treblinka extermination and the sounds of the being trapped and finding escapism in the camp and represents the persecution and big bands resounded b o is art. In Sasek the instruments are used to extermination of the Jews. The second, through camps, bars, represent the characters of the performer, Unterdaynevayseshtern, derives from the village halls and streets, the audience and the oppressor in the poem, section titled Confidence, and represents the presenting a united exploring themes of oppression and escapism. continuation of Jewish culture, especially symbol of hope to a m ps l as © Amber Ruxton music, even whilst inside the extermination ge comed ians …’ everyone.

camps, displaying confidence that their a

Chris Burridge Out of the Depths: Despair/ culture will continue. The third and final t Tonight, offering

Confidence/Triumph (WP) song, Yungt Marsh, derives from the Battle s a break from the This work takes its name from the first and Triumph section, representing victory as an d the emotional journeys in fect i ou s l a published Holocaust songbook Mima’amakim the surviving prisoners are released from the in choru s , the tu n ed l i ft of g rl s of the main exhibition (Excerpt from a report by USO Camp Shows, Inc.) from (Excerpt (Yiddish for ‘out of the depths’), which are camps, and the Holocaust is ended. of spaces, IWM North’s O ut of the the words that open Psalm 130. The concept p rofe ssi o na l h i -de-ho, Café is transformed g c ainin g

is based on memory, specifically that of the The piece finishes with a developed form of v ered b et w ee n f i fty into an officers’ mess ass holocaust and the survival of the Jewish the klezmer theme to represent a celebration the cutt in g a me environment where ‘ O ut of the d a rk n e ss th

people and their culture, despite persecution. of the continuing Jewish culture. c o n e hu n dred of Amer i c

tr rationing is forgotten, b r Out of the Depths is programmatic in nature, © Chris Burridge co D e spai r/ C o n f i de ce/ T r um p h the horrors of war are left behind, and dreams can be lived – if only for a couple of hours. 30 After the Silence: Music in the Shadow of War #AfterTheSilence | rncmvoice

Special thanks to: RNCM academic staff for all their support in Sound/Technical: IWM North Picture Captions Graham Boxer, James Byrom, Rick Douglas, programming and allocating performers: Lynne Stephen Guy, David Coyle, Lucas Martin, Page 2: Lancashire Fusiliers in a flooded

s Catherine Mailhac, Camilla Thomas, Laura Wilson, Dawson, Sue Roper, John Miller, Rob Buckland, Nick Ware, Matt Dawes-Wood communication trench opposite Messines, Janet Uttley and all the staff at IWM North for Simone Rebello, Graham Scott, Helen Krizos, Chris near Ploegsteert Wood, January 1917. working with us to create After the Silence; Hoyle, Cath Yates, Clark Rundell and Mike Hall. Stage Management: Andy Macauley, Charles Barsaga, Tom Page 5: Volunteer recruits for a service battalion in Martin Ellerby for writing Epitaph VIII: Changi Programming/Production: Besford, Tina Blatt, Kathy Cammett, Alistair civilian clothes, drawn up outside Preston Town Hall Murals (Singapore) especially for After the Michelle Castelletti, Jacqui Dale, Richard Campbell, Paul Cobban, Abi Collins, Joao during the early months of the First World War. Silence, and for his generosity in working Collins, Andy Macauley, Matt Whitham, Costa, Emma Dickinson, Rhiain Dyer, Rebecca with the performers of Epitaphs II-IV; Tom Besford, Paul Cobban Maclean, Aimee Middleton, Clare Scott, Page 10: Soldiers of the Lancashire Fusiliers, 29th Mel Smith, Esther Wakeman Division, on board an old Royal Navy battleship Paul Max Edlin for arranging The Fifth Choreography: used in the third phase of operations in the Trumpet for tonight’s performance; Bethan Rhys Wiliam Visuals: Dardanelles Straits before they disembarked at Andy Macauley, Matt Whitham, Oliver Chilton ‘W’ and ‘V’ beaches off Cape Helles, May 1915. Andrew Burke (London Sinfonietta) and Jon Box Office/Front of House: (for The Fifth Trumpet), Rick Douglas and Snow for the newsreading in Strange News; Scott Webb, Jon Malaxetxebarria, Sarah James Byrom at IWM North Page 12: Women workers in an oil and cake Crosby, Rebecca May, Callum Megram, factory having tea, Lancashire, 1918. Oil Michael Betteridge, Caroline Clegg and Anthony Sharpe, Ian Wynne Wardrobe: cakes were used to feed cattle. Kate Pearson, for leading our three RNCM Elaine Needham C redit Outreach performances in From Street to Marketing: Page 16: A working party of the Manchester Trench; Jennifer Hawkswell, Rachael Howarth, Simon Programme: Regiment moving up to the trenches near Oldknow, Ka Man Parkinson, Lisa Pring, Liz Michelle Castelletti, Richard Collins, Serre in France, January 1917. Adam Gorb for enabling the creation of new Rowley, Deb Sullivan, Phil Wood, Nina Valvi Tom Besford, Liz Rowley RNCM student compositions, and to Stephen Page 19: A group of women workers of the Muir (University of Leeds) and David Fligg Orchestras and Ensembles: Programme Design: glucose factory of Messrs Nicholls, Nagel & (Leeds College of Music) for the new klezmer Margaret Barry, Andrew Bayly, Ian Duckworth, Phil Wood (with cover artwork by Co. in Trafford Park c.1918 compositions; Charlotte Ferry, Rebecca Parnell Aaron Groves) Page 20: Female workers tow a trolley of Stefan Janski for his enthusiasm and direction Outreach: raw rubber from a warehouse at the factory of Tannenbaum/Silent Night; Jennie McCusker, Fiona Stuart, Sarah Gilford of Charles Macintosh and Sons Ltd, Manchester, September 1918. Supported by: Supported #AfterTheSilence |rncmvoice Kinder Charitable Trust Eric andMargaret

After the Silence: Music in the Shadow of War