Caractacus SEVERN SUITE

ELGAR Caractacus SEVERN SUITE

Judith Howarth soprano Arthur Davies tenor London Symphony Chorus David Wilson-Johnson baritone London Symphony Orchestra Alastair Miles bass Stephen Roberts bass Richard Hickox Greg BarrettGreg

Richard Hickox (1948 – 2008) Sir Edward Elgar (1857 – 1934)

Caractacus, Op. 35 (1898)

Cantata in Six Scenes for Soprano, Tenor, Baritone, Bass, Chorus, and Orchestra

Libretto by Harry Arbuthnot Acworth (1849 – 1933)

Eigen...... Judith Howarth soprano Orbin...... Arthur Davies tenor Caractacus...... David Wilson-Johnson baritone Arch-Druid / A Bard...... Stephen Roberts bass Claudius...... Alastair Miles bass

Severn Suite, Op. 87 (1930) for Brass Band Orchestrated 1931 – 32 by the Composer

London Symphony Chorus Stephen Westrop chorus master London Symphony Orchestra Richard Hickox

3 COMPACT DISC ONE

Caractacus, Op. 35 101:35

Scene 1. British camp on the Malvern Hills. Night 22:58 1 Chorus: ‘Watchmen, alert!’ – 5:49 2 Caractacus: ‘Watchmen, alert! the King is here’ – 6:13 with Sentries 3 Eigen: ‘Father!... Sire and King’ – 2:22 with Caractacus, Orbin, Sentries 4 Eigen: ‘At eve to the greenwood, we wander’d away’ – 2:45 5 Orbin: ‘On the ocean and the river’ – 2:41 with Caractacus, Eigen 6 Spirits of the Hill: ‘Rest, weary monarch’ 3:07 with Sentries

4 Scene 2. The sacred oak grove by the tomb of the Kings 23:54 7 Arch-Druid: ‘Tread the mystic circle round’ – 4:53 with Druids, Druid Maidens 8 Arch-Druid, Druids, Druid Maidens: ‘Lord of dread and lord of pow’r’ – 2:36 9 Arch-Druid: ‘Bard, what read ye in the field...?’ – 8:00 with Orbin, Chorus, Druids, Druid Maidens, Caractacus 10 Caractacus: ‘Leap to light, my brand of fight’ – 5:19 with Soldiers, Orbin, Druids, Arch-Druid 11 Druids, Druid Maidens: ‘Hence, ere the Druid’s wrath is woke’ 3:05 with Orbin, Soldiers

Scene 3. The forest near the Severn. Morning 14:24 12 Introduction ‘Woodland Interlude’ (Orchestra) – 1:59 13 Chorus: ‘Come! beneath our woodland bow’rs’ – 1:14 14 Eigen: ‘O’er-arch’d by leaves the streamlet weaves’ – 3:43 with Orbin 15 Orbin: ‘Last night beneath the sacred Oak’ – 1:43 16 Chorus: ‘Come! beneath our woodland bow’rs’ 5:43 with Orbin, Eigen TT 61:27

5 COMPACT DISC TWO

Scene 4. The Malvern Hills 11:48 1 Maidens: ‘Wild rumours shake our calm retreat’ – 2:30 2 Eigen: ‘When the glow of the evening had died from the hill’ – 2:34 with Maidens 3 Soldiers: ‘We were gather’d by the river’ – 2:22 4 Caractacus, Chorus: ‘O my warriors, tell me truly’ 4:21

Scene 5. The Severn 4:22 5 Druid Maidens: ‘Captive Britons, see them! Hark’ – with A Bard

6 Scene 6. Rome. The Triumphal Procession 23:54 6 Processional Music (Orchestra) – Chorus: ‘The march triumphal thunders’ – 7:17 7 Claudius: ‘Unbind his hands, silence the trumpets’ – 1:11 8 Caractacus: ‘Heap torment upon torment, woe on woe’ – 4:41 with Eigen, Orbin 9 Chorus: ‘Slay the Briton’ – 0:35 with Claudius 10 Caractacus: ‘I plead not for myself’ – 2:41 with Orbin, Eigen, Chorus, Claudius 11 Eigen, Orbin, Caractacus: ‘Grace from the Roman!’ – 2:33 12 Chorus: ‘The clang of arms is over’ 4:53

Severn Suite, Op. 87 18:02 13 I Introduction. Worcester Castle. Pomposo – 2:35 14 II Toccata. Tournament. Allegro molto – 3:57 15 III Fugue. The Cathedral. Andante – 4:03 16 IV Minuet. Commandery. Moderato – 5:12 17 V Coda. Lento 2:14 TT 58:24

7 Elgar: Caractacus / Severn Suite

Caractacus apposite for a celebration of imperial glory. He The seventy-five-year-old mother of Edward turned for his libretto to a Malvern neighbour, Elgar (1857 – 1934) suggested that he write Harry Arbuthnot Acworth (1849 – 1933), who some ‘tale’ about the Herefordshire Beacon had retired from the Indian Civil Service and in the Malvern Hills. ‘Look at the lovely old had supplied Elgar with some additional hill,’ she said to him in August 1897 when he lines for his cantata based on Longfellow’s visited her at the village of Colwall, ‘so full King Olaf (1894 – 96). Acworth provided some of so much historical interest.’ It was there, love interest by supplying Caractacus with according to legend, that the British chieftain a daughter, Eigen, whose lover, Orbin, was a Caractacus had made his last stand against member of a ‘half-priestly order of minstrels’. the Romans and been defeated. He and Eigen and Orbin encounter a Druid maiden his soldiers were taken to Rome where the who tells them to warn Caractacus not to Emperor, Claudius, was so impressed by the advance into open country. When, on the eloquence of the British leader that he spared next night, the Druids assemble at a sacred and pardoned them. grove to seek omens from the gods, Orbin Four months after this visit to his mother, interprets the omens as portents of disaster. Elgar was invited by the Leeds Festival But the Arch-Druid deceives Caractacus and committee to compose a work for the urges him to join battle with the Romans. 1898 festival. He first offered an orchestral Orbin protests and is expelled from the order. suite based on historical characters such Later he joins Caractacus’s army which, as as Canute, Caractacus, St Augustine, and was foretold, is routed. others. But Leeds wanted a cantata. The Elgar began to compose the music early patriotic fervour and excitement surrounding in 1898. He tramped over the Malvern Hills Queen Victoria’s diamond jubilee the previous and followed the Druid path along the top summer were still in the air, so Elgar decided from end to end. On one of these walks, to set the story of Caractacus, even though near Storridge, he came across a small, a British defeat might hardly have seemed unoccupied cottage, Birchwood Lodge,

8 which reminded him of his Broadheath tyrants’ seemed to him to be ‘truculent’. Elgar birthplace. It was in the midst of woodland replied: and commanded wonderful views of the Any nation but ours is allowed to war Severn Valley. A short lease was negotiated whoop as much as they like but I feel we and Elgar and his wife moved in for the are too strong to need it – I did suggest we summer. It provided the solitude and quiet should dabble in patriotism in the Finale, he needed in order to work and he loved when lo! the worder (that’s good!) instead the birds and animals in the woods. He was of merely paddling his feet goes & gets never happier than at Birchwood, and its naked & wallows in it... atmosphere is reflected in Caractacus, which A month later he wrote: is predominantly pastoral. Quoting a few I knew you would laugh at my librettist’s bars of the ‘Woodland Interlude’ which opens patriotism (& mine) – never mind: England Scene 3, in a letter to A.J. Jaeger at Novello’s, for the English is all I say – hands off! Elgar wrote: There’s nothing apologetic about me. This is what I hear all day – the trees are The fuss about this final chorus – which singing my music – or have I sung theirs? today, surely, can be regarded as a period I suppose I have. piece, like the texts of Purcell’s Welcome In August 1898, in another letter to Jaeger, he Odes – has tended to obscure the beauty of said how much he wanted his friend to see most of the music, its lyrical charm and fancy, the Birchwood woodlands, and continued: with passages in mock-folksong, ballad, and I made old Caractacus stop as if broken madrigalian styles. The ‘Woodland Interlude’, down and choke and say ‘woodlands’ the quintessence of the Elgar of pieces such again because I’m so madly devoted to as Chanson de matin, had been sketched in my woods. 1887, perhaps even earlier, indicating how This refers to the final scene in which this vein in his music was there from the Caractacus pleads before Claudius and sings, start. The vocal and choral writing clearly ‘We dwelt among our woodlands, and were points the way to The Dream of Gerontius blest’. and the orchestration is as masterly as could But there were aspects of the libretto rightly be expected from a composer whose which troubled the German-born Jaeger. next work would be the ‘Enigma’ Variations. The reference in the final chorus to ‘menial Indeed the genius of these two works seems

9 less unexpected the more one hears and the music of an old man looking back on days studies Caractacus. that could never return but which were green and vigorous in his memory. Severn Suite © Michael Kennedy In 1930, when he was in his seventy-fourth year, Elgar was asked to write a test piece to celebrate the twenty-fifth anniversary of the At the time of his premature death at the age National Brass Band Championship at Crystal of sixty in November 2008, Richard Hickox Palace. The organisers suggested that, if he CBE, one of the most gifted and versatile provided a short score, the work could be British conductors of his generation, was scored for brass by Henry Geehl, a specialist Music Director of Opera Australia, having in this field. Their collaboration was prickly, served as Principal Conductor of the BBC Geehl rejecting many of Elgar’s suggestions National Orchestra of Wales from 2000 until (which have since been shown to be 2006 when he became Conductor Emeritus. practicable). The Severn Suite was dedicated He founded the City of London Sinfonia, of to Bernard Shaw, who was overjoyed and which he was Music Director, in 1971. He declared it would ensure his immortality was also Associate Guest Conductor of the when all his plays were forgotten. London Symphony Orchestra, Conductor During 1931 – 32, Elgar scored the Emeritus of the Northern Sinfonia, and suite for symphony orchestra, giving the co-founder of Collegium Musicum 90. movements sub­titles associated with the He regularly conducted the major city of Worcester. The music had nostalgic orchestras in the UK and appeared many associations for him, most of it being based times at the BBC Proms and at the Aldeburgh, on sketches made in his youth. The themes Bath, and Cheltenham festivals, among of the Minuet (‘Commandery’), for example, others. With the London Symphony Orchestra had been composed for wind quintet in at the Barbican Centre he conducted a 1878 and 1879. The first performance of this number of semi-staged operas, including version was given in the recording studio in Billy Budd, Hänsel und Gretel, and Salome. April 1932, when Elgar conducted, as he did With the Bournemouth Symphony Orchestra when the work was first played in public, at he gave the first ever complete cycle of the Worcester Festival five months later. It is Vaughan Williams’s symphonies in London. In

10 the course of an ongoing relationship with the including most recently cycles of orchestral Philharmonia Orchestra he conducted Elgar, works by Sir Lennox and Michael Berkeley and Walton, and Britten festivals at the South Bank Frank Bridge with the BBC National Orchestra and a semi-staged performance of Gloriana at of Wales, the symphonies by Vaughan Williams the Aldeburgh Festival. with the London Symphony Orchestra, and Apart from his activities at the Sydney a series of operas by Britten with the City of Opera House, he enjoyed recent engagements London Sinfonia. He received a Grammy (for with The Royal Opera, Covent Garden, English Peter Grimes) and five Gramophone Awards. National Opera, Vienna State Opera, and Richard Hickox was awarded a CBE in the Washington Opera, among others. He guest Queen’s Jubilee Honours List in 2002, and was conducted such world-renowned orchestras the recipient of many other awards, including as the Pittsburgh Symphony Orchestra, two Music Awards of the Royal Philharmonic Orchestre de Paris, Bavarian Radio Symphony Society, the first ever Sir Charles Groves Orchestra, and New York Philharmonic. Award, the Evening Standard Opera Award, His phenomenal success in the recording and the Award of the Association of British studio resulted in more than 280 recordings, Orchestras.

11 Elgar: Caractacus / Severn Suite

Caractacus Diamant Jubiläum im vorangegangenen Die fünfundsiebzig Jahre alte Mutter von Sommer lagen noch immer in der Luft, Edward Elgar (1857 – 1934) schlug dem so daß Elgar sich für die Geschichte von Komponisten vor, doch eine “Geschichte” Caractacus entschied, obwohl eine britische über Herefordshire Beacon in den Malvern Niederlage eigentlich kaum für die Feier des Hills zu schreiben. “Schau dir doch nur diesen kaiserlichen Ruhms geeignet schien. Für das herrlichen alten Berg an,” sagte sie im August Libretto wendete er sich an seinen Nachbarn 1897 zu ihm, als er sie in dem Dorf Colwall in Malvern, Harry Arbuthnot Acworth besuchte, “ein Berg, der soviel historisches (1849 – 1933), der sich aus dem Staatsdienst Interesse birgt.” Dort hatte, der Legende in Indien zurückgezogen und Elgar einige zufolge, der britische Hauptmann Caractacus zusätzliche Zeilen für seine auf Longfellows seine letzte Schlacht gegen die Römer King Olaf (1894 – 1896) beruhende Kantate ausgetragen und war besiegt worden. Er und hatte zukommen lassen. Acworth sorgte seine Soldaten wurden nach Rom gebracht, für etwas Liebesthematik, denn er versah wo Kaiser Claudius von der Wortgewandtheit Caractacus mit einer Tochter namens Eigen, des britischen Hauptmanns so beeindruckt dessen Geliebter namens Orbin Mitglied eines war, daß er ihn begnadigte und ihm verzieh. “halb priesterlichen Ordens” war. Eigen und Vier Monate nach dem Besuch bei Orbin treffen auf eine Jungfrau der Druiden, seiner Mutter wurde Elgar von dem die ihnen aufträgt, Caractacus zu warnen, Festivalsausschuß von Leeds beauftragt, nicht in das offene Land vorzudringen. Als ein Werk für das Festival von 1898 zu sich am folgenden Abend die Druiden in komponieren. Erst bot er eine Suite für dem heiligen Wald versammeln, um Omen Orchester an, die auf historischen Figuren von ihren Göttern zu erhalten, deutet Orbin wie Canute, Caractacus, St. Augustinus die Omen als Anzeichen einer Katastrophe. und anderen beruhte. Doch in Leeds wollte Aber der Druidenälteste täuscht Caractacus, man eine Kantate. Die patriotischen Gefühle und zwingt ihn, am Kampf mit den Römern und die Begeisterung von Königin Victorias teilzunehmen. Orbin protestiert und wird

12 aus dem Orden ausgestoßen. Später stößt Im August 1898 schrieb er in einem anderen er auf Caractacus’ Armee, die, wie in den Brief an Jaeger, wie gerne er seinem Freund Vorhersagen angekündigt, in die Flucht das Waldland von Birchwood zeigen würde geschlagen wird. und fuhr dann fort: Elgar komponierte die Musik zu Beginn von Ich veranlaßte den guten, alten Caractacus 1898. Er wanderte in den Malvern Hills und noch einmal dazu anzuhalten, als ob er folgte, am Gipfel entlang, dem Pfad der Druiden zusammenbrechen würde, ließ ihn stottern von einem Ende zum anderen. Auf einer und noch einmal “woodlands” sagen, da ich dieser Wanderungen kam er, in der Nähe von meine Wälder so sehr liebe. Storridge, an einem kleinen, leeren Cottage Er bezieht sich hier auf die letzte Szene, als vorbei. Es war Birchwood Lodge, das ihn an Caractacus Claudius anfleht und singt “We seinen Geburtsort in Broadheath erinnerte. Es dwelt among our woodlands, and were blest” war von Waldland umgeben und hatte einen (Wir verweilten in den Wäldern und waren herrlichen Blick auf Severn Valley. Ein kurzer selig). Mietvertrag wurde ausgehandelt, und Elgar Aber einige Aspekte des Librettos und seine Frau zogen den Sommer über in das verwirrten den in Deutschland geborenen Cottage ein. Es herrschte dort die Einsamkeit Jaeger. Der Bezug im Finale des Chors auf und Stille, die er für seine Arbeit brauchte und “menial tyrants” (niedrige Tyrannen) schien außerdem liebte er die Vögel und Tiere in den ihm zu aufsässig. Elgar antwortete: Wäldern. Niemals fühlte er sich glücklicher als Jede andere Nation außer der unseren darf in Birchwood, und die Stimmung dieses Ortes zu soviel Kriegsgeschrei wie es ihr beliebt spiegelt sich in Caractacus wider, denn das anheben, aber ich habe den Eindruck, daß Werk weist hauptsächlich pastorale Züge auf. wir so stark sind, daß wir es überhaupt Mit einem Zitat von einigen Takten aus dem nicht brauchen – Ich schlug vor, wir sollten die dritte Szene eröffnenden mit Woodland uns im Finale etwas mit patriotischen überschriebenem Zwischenspiel, schreibt Gefühlen befassen, wenn lo! der Worder Elgar an A.J. Jaeger von Novello: (gut) statt einer Andeutung, ab geht & sich Das höre ich den ganzen Tag lang – die entblößt und sich darin ergeht … Bäume singen meine Musik – oder habe ich Einen Monat später schreibt er: ihre Musik gesungen? Wahrscheinlich habe Ich wußte, daß du über den Patriotismus ich es wirklich getan. meines Librettisten (& meinen eigenen)

13 lachen würdest – das macht auch weiter Teststück für den fünfundzwanzigsten nichts: Ich kann nur sagen, England den Jahrestag der Nationalen Blaskapellen Engländern – Weg mit Euren Händen! Ich Meistervorführungen im Crystal Palace zu muß mich dabei für nichts entschuldigen. schreiben. Der Organisator schlug vor, daß Die Aufregung um dieses Chorfinale, das wenn er ein Particell erstellen würde, das heute als ein von der Zeit geprägtes Stück Werk dann für Blaskapelle von Henry Geehl angesehen werden kann, wie die Texte der umgeschrieben werden könne, der Spezialist Welcome Odes von Purcell, beeinträchtigte auf diesem Gebiet sei. Die Zusammenarbeit fast etwas die insgesamt meist sehr schöne der beiden war etwas schwierig, denn Geehl Musik, ihren lyrischen Zauber und die wies zahlreiche Vorschläge von Elgar zurück lyrische Phantasie, die Passagen parodierter (die sich seitdem doch als durchführbar Volkslieder, den balladesken Ton und erwiesen haben). Die Severn Suite ist Bernard Madrigalstil. Das “Woodland Zwischenspiel”, Shaw gewidmet, der hocherfreut war und ein typisches Werk für den Elgar von erklärte, damit wäre seine Unsterblichkeit Stücken wie Chanson de matin, wurde garantiert, wenn alle seine Stücke schon 1887 oder vielleicht sogar früher skizziert, vergessen sind. und zeigt somit, daß diese Stimmung in 1931 / 32 bearbeitete Elgar die Suite für seiner Musik von Anfang an da war. Die Sinfonieorchester und versah die Sätze Vokal- und Chorpassagen sind sehr deutlich mit Untertiteln, die sich auf die City von auf The Dream of Gerontius gerichtet, und Worcester bezogen. Die Musik enthielt die Orchestrierung ist so meisterhaft, wie für ihn nostalgische Züge und beruhte es einem Komponisten gebührt, dessen hauptsächlich auf während seiner Jugend nächstes Werk die “Enigma”-Variationen sein entstandenen Skizzen. Die Themen sollte. Das Geniale in diesen zwei Werken des Menuetts (“Commandery”) wurden scheint weitaus weniger überraschend, je beispielsweise für ein Quintett für Holzbläser mehr man Caractacus hört und sich mit dem im Jahre 1878 und 1879 komponiert. Diese Werk auseinandersetzt. Fassung gelangte erstmals im April 1932 mit Elgar als Dirigenten im Aufnahmestudio zur Severn Suite Aufführung. Er dirigierte das Werk ebenfalls, 1930, in seinem vierundsiebzigsten als es, fünf Monate später, erstmals Lebensjahr, wurde Elgar beauftragt, ein öffentlich beim Worcester Festival gegeben

14 wurde. Es ist Musik eines alten Menschen, konzertant inszenierte Opernaufführungen, der zurückschaut auf die Tage, die niemals darunter Billy Budd, Hänsel und Gretel und wiederkehren würden, die aber frisch und Salome. Mit dem Bournemouth Symphony lebendig in seinem Gedächtnis haften Orchestra brachte er zum erstenmal in geblieben waren. London den gesamten Zyklus von Vaughan- Williams-Sinfonien zu Gehör, und im Rahmen © Michael Kennedy seiner langjährigen Zusammenarbeit mit dem Übersetzung: Sabine Schildknecht Philharmonia Orchestra dirigierte er Elgar, Walton und Britten gewidmete Konzertreihen Bei seinem frühzeitigen Tod im November im Londoner South Bank Centre sowie 2008 wirkte der sechzigjährige Richard beim Aldeburgh Festival eine konzertante Hickox CBE, einer der begabtesten und Inszenierung von Gloriana. vielseitigsten britischen Dirigenten seiner Trotz seiner Tätigkeit in Australien konnte Generation, als Musikdirektor an der Opera er weiterhin Einladungen an die Royal Australia. Sein Name verbindet sich vor allem Opera Covent Garden, English National auch mit der 1971 von ihm gegründeten Opera, Wiener Staatsoper und Washington und künstlerisch geleiteten City of London Opera folgen. Weltberühmte Orchester wie Sinfonia sowie dem BBC National Orchestra das Pittsburgh Symphony Orchestra, das of Wales, dem er von 2000 bis 2006 als Orchestre de Paris, das Symphonieorchester Chefdirigent vorstand und danach als des Bayerischen Rundfunks und die New Conductor Emeritus treu blieb. Außerdem Yorker Philharmoniker verpflichteten ihn als war er Gastdirigent beim London Symphony Gastdirigenten. Orchestra, Conductor Emeritus der Northern Sein phänomenaler Erfolg im Sinfonia und Mitbegründer des Collegium Schallplattenstudio schlug sich in mehr Musicum 90. als 280 Aufnahmen nieder; jüngste Er dirigierte regelmäßig die namhaften Projekte waren Gesamteinspielungen der Orchester Großbritanniens und gastierte Orchesterwerke von Frank Bridge sowie vielfach bei den BBC-Proms und anderen Sir Lennox und Michael Berkeley mit dem Festivals, wie Aldeburgh, Bath und BBC National Orchestra of Wales, die Cheltenham. Mit dem London Symphony Sinfonien von Vaughan Williams mit dem Orchestra gab er im Barbican Centre London Symphony Orchestra und eine

15 Reihe von Britten-Opern mit der City of Empire), der ihm 2002 verliehen wurde, erhielt London Sinfonia. Richard Hickox wurde er zahlreiche weitere Auszeichnungen, so mit einem Grammy (für Peter Grimes) und etwa zwei Royal Philharmonic Society Music fünf Gramophone Awards ausgezeichnet. Awards, den ersten Sir Charles Groves Award, Neben dem britischen Verdienstorden CBE den Evening Standard Opera Award und den (Commander of the Order of the British Association of British Orchestras Award.

16 Elgar: Caractacus / Severn Suite

Caractacus ardentes encore, si bien qu’Elgar décida de La mère d’Edward Elgar (1857 – 1934), faire de Caractacus le héros de son œuvre, alors âgée de soixante-quinze ans, lui même si le récit d’une défaite britannique suggéra d’écrire un “conte” ayant pour ne semblait guère se prêter à la célébration thème Herefordshire Beacon (la Colline de la gloire de l’empire. Il s’adressa pour le de Herefordshire) dans les Malvern Hills. livret à un voisin, à Malvern, Harry Arbuthnot “Regarde cette magnifique vieille colline,” Acworth (1849 – 1933), fonctionnaire retraité de fit-elle remarquer en août 1897 lorsqu’il l’administration des Indes, qui avait contribué à lui rendit visite dans le village de Colwall, l’élaboration de sa cantate inspirée de l’œuvre “elle est d’un tel intérêt historique.” C’est là, de Longfellow, King Olaf (1894 – 1896). Acworth selon la légende, que Caractacus, le chef y ajouta une note romantique, en dotant britannique, livra sa dernière bataille contre Caractacus d’une fille, Eigen, dont l’amant, les Romains et fut vaincu. Il fut emmené Orbin, était membre d’un ordre mi-sacerdotal à Rome avec ses soldats, où l’empereur de ménestrels. Eigen et Orbin rencontrent Claudius fut si impressionné par son une jeune druidesse qui leur dit d’avertir éloquence qu’il les gracia. Caractacus de ne pas s’avancer à découvert. Quatre mois après avoir rendu visite La nuit suivante, les druides se réunissent à sa mère, Elgar fut invité par le comité dans un bocage sacré pour observer les du Leeds Festival à composer une œuvre présages envoyés par les dieux; ceux-ci pour le festival de 1898. Il proposa d’abord paraissent à Orbin de funèbre augure. Le d’écrire une suite orchestrale s’inspirant de chef suprême des druides abuse Caractacus quelques figures historiques telles Canut, et l’exhorte à engager le combat avec les Caractacus, Saint Augustin et d’autres. Romains. Orbin proteste et est exclu de l’ordre. Mais Leeds voulait une cantate. La ferveur Plus tard, il rejoint l’armée de Caractacus qui, patriotique et l’exaltation manifestées lors de conformément aux prédictions, est vaincue. la célébration des soixante années de règne Elgar commença à composer la partie de la reine Victoria, l’été précédent, étaient musicale de cette œuvre au début de 1898. Il

17 arpenta les Malvern Hills et suivit de bout en Ceci se rapporte à la scène finale lorsque bout, au sommet, le sentier des druides. Lors Caractacus implore la clémence de Claudius d’une de ces promenades, près de Storridge, et chante: “We dwelt among our woodlands, il vit une petite chaumière inoccupée, and were blest” (Nous vivions dans nos bois Birchwood Lodge, qui lui rappela sa maison et y étions heureux). natale à Broadheath. Elle était située au Mais certains aspects du livret troublaient milieu des bois et la vue sur la Severn Valley Jaeger qui était allemand de naissance. était superbe. Elgar négocia un maigre loyer L’allusion dans le chœur final aux “menial et s’y installa avec son épouse pour toute tyrants” (tyrans serviles) lui semblait la durée de l’été. Il y trouvait la solitude et “agressive”. Elgar répliqua: la tranquillité nécessaires pour travailler N’importe quelle nation, à l’exception de et il adorait les oiseaux et les animaux qui la nôtre, a le droit, sans nulle contrainte, peuplaient la forêt. Elgar y était au comble de pousser un cri de guerre, mais j’ai du bonheur; l’atmosphère des lieux est le sentiment que nous sommes trop reflétée dans Caractacus, dont le caractère puissants pour avoir besoin de cela. J’ai est essentiellement champêtre. Elgar écrit à bien sûr suggéré que le Finale baigne dans A.J. Jaeger chez Novello et, citant quelques le patriotisme, mais voilà que le librettiste mesures du “Woodland Interlude” (Interlude au lieu d’y tremper les pieds seulement, s’y des bois), il dit ceci: immerge tout nu et s’y vautre... Voici ce que j’entends toute la journée – les Un mois plus tard, il écrivit: arbres chantent ma musique – ou ai-je Je savais que le patriotisme de mon chanté la leur? Je pense l’avoir fait. librettiste (et le mien) vous ferait sourire – En août 1898, dans une autre lettre à Jaeger, il ce n’est pas grave: l’Angleterre aux Anglais, insiste pour que son ami vienne découvrir les c’est tout ce que j’ai à dire – bas les pattes! bois de Birchwood et poursuit: Je ne me confonds nullement en excuses. J’ai interrompu la marche du vieux La controverse au sujet de ce chœur Caractacus, comme s’il avait atteint un final – qui aujourd’hui peut être considéré état d’épuisement extrême, et d’une voix comme une curiosité au même titre que étranglée, il prononce une fois encore le le texte des Welcome Odes de Purcell – a mot “bois”, car je ne peux échapper à leur terni quelque peu la beauté, mais aussi fascination. le charme et la fantaisie lyrique de cette

18 musique, avec ses passages à caractère l’immortalité lorsque toutes ses pièces pseudo-folklorique ou s’inspirant du style auraient sombré dans l’oubli. de la ballade et du madrigal. Le “Woodland Entre 1931 et 1932, Elgar orchestra la suite Interlude”, la quintessence de ce qu’est Elgar et donna aux différents mouvements des dans des pièces telles Chanson de matin, fut sous-titres associés à la ville de Worcester. esquissée en 1887, peut-être même plus tôt, La musique, pour lui, avait des réminiscences et montre à quel point cette veine a, depuis nostalgiques, dont la plupart étaient liées toujours, marqué sa musique. L’écriture à des esquisses datant de sa jeunesse. vocale et chorale ouvre très nettement la voie Les thèmes du Menuet (“Commandery”), à The Dream of Gerontius et l’orchestration, par exemple, furent composés pour magistrale, est bien celle à laquelle l’on quintette à vent en 1878 et 1879. La version s’attend de la part d’un compositeur dont symphonique fut créée par Elgar en studio l’œuvre suivante est les Variations “Enigma”. d’enregistrement, en avril 1932. Elgar en En effet, le génie de ces deux pièces dirigea aussi la première exécution publique, s’explique au fur et à mesure que l’on écoute cinq mois plus tard, au Worcester Festival. et que l’on étudie Caractacus. C’est l’œuvre d’un vieil homme contemplant le passé qui jamais plus ne revivra, un passé Severn Suite marqué, dans sa mémoire, par la jeunesse et En 1930, à l’âge de soixante-treize ans, Elgar la vigueur. fut invité à composer un morceau imposé © Michael Kennedy pour célébrer le vingt-cinquième anniversaire Traduction: Marie-Françoise de Meeûs du National Brass Band Championship à Crystal Palace. Les organisateurs proposèrent qu’en échange d’une particelle, Au moment de sa disparition prématurée Henry Geehl, spécialiste en la matière, à l’âge de soixante ans en novembre l’adapte pour cuivres. Leur collaboration 2008, Richard Hickox CBE, l’un des chefs fut houleuse, Geehl rejetant nombreuses d’orchestre britanniques les plus doués et suggestions de Elgar (qui depuis se sont les plus complets de sa génération, était avérées réalisables). La Severn Suite fut le directeur musical d’Opera Australia. dédiée à Bernard Shaw, qui était au comble Auparavant, il avait été chef principal du BBC de la joie et déclara que cela lui assurerait National Orchestra of Wales de 2000 à 2006,

19 date à laquelle il devint chef honoraire. Il le Royal Opera de Covent Garden, l’English était le directeur musical du City of London National Opera, l’Opéra d’état de Vienne et le Sinfonia qu’il fonda en 1971. Il était également Washington Opera. Il fut invité à diriger des chef invité associé du London Symphony orchestres de renom mondial tels le Pittsburgh Orchestra, chef honoraire du Northern Symphony Orchestra, l’Orchestre de Paris, Sinfonia et co-fondateur de Collegium l’Orchestre symphonique de la Radio bavaroise Musicum 90. et le New York Philharmonic. Il dirigea régulièrement les plus grands Connaissant un succès phénoménal en orchestres du Royaume-Uni et participa studio, il réalisa plus de 280 enregistrements, souvent aux Proms de la BBC ainsi qu’aux dont dernièrement des cycles d’œuvres festivals d’Aldeburgh, de Bath et de orchestrales de Sir Lennox Berkeley, Michael Cheltenham entre autres. Avec le London Berkeley et Frank Bridge avec le BBC National Symphony Orchestra, il dirigea au Barbican Orchestra of Wales, les symphonies de Centre à Londres plusieurs mises en scène Vaughan Williams avec le London Symphony partielles d’opéras dont Billy Budd, Hänsel und Orchestra ainsi qu’une série d’opéras de Gretel et Salome. À la tête du Bournemouth Britten avec le City of London Sinfonia. Il Symphony Orchestra, il donna la première obtint un Grammy (pour Peter Grimes) et intégrale des symphonies de Vaughan Williams cinq Gramophone Awards. Créé Commandeur à Londres. Dans le cadre de son association de l’Ordre de l’empire britannique (CBE) en avec le Philharmonia Orchestra, il dirigea des 2002, Richard Hickox remporta de nombreux festivals Elgar, Walton et Britten au South Bank autres prix, dont deux Music Awards de la de Londres et une mise en scène partielle de Royal Philharmonic Society, le tout premier Gloriana au Festival d’Aldeburgh. Sir Charles Groves Award, l’Evening Standard Outre ses activités avec l’Opéra de Sydney, Opera Award et l’Association of British il avait récemment travaillé entre autres avec Orchestras Award.

20 Caractacus, Op. 35 Caractacus 2 Watchmen, alert! the King is here, COMPACT DISC ONE Your weary brethren slumber near; Well rest ye on your batter’d shields, Scene 1. British camp on the Malvern Hills. Night O heroes of a hundred fields; Chorus Your comrades wake your lines to guard; 1 Watchmen, alert! the Roman hosts Rest warriors, rest beneath their ward. Have girdled in our British coasts; On ev’ry river’s swelling tide The air is sweet, the sky is calm. The sharp-beak’d Roman galleys ride; All nature round is breathing balm, Our homesteads burn, and, all between, The echo of our warfare falls Wide wasted lie our woodlands green. Faint, distant, on these grassy walls, Beneath the stern unfalt’ring tramp, O spirits of the hill, surround As legions roll from camp to camp. With waving wings this holy ground. Watchmen, alert! the Roman hosts And from your airy censers show’r Have girdled in our British coasts. Strength to me in this lonely hour. Night has clos’d above us, sleep, and wake again I have fought and I have striven, Ready for the legions gath’ring on the plain; Fought with foes and striv’n with friends, Loose not helm or buckler, rest like men of war, Fought for white-rob’d priests and gleemen, Soldier in his harness, captain by his car; Fought that Britons might be freemen; So the King shall find you, when he gives I have driven, I have driven command, O’er the ridges steep of war In the final muster ready for the land. Like a King my thund’ring car. On like men undaunted, not a look behind, Thro’ the cloven ranks of battle Roll the voice of freedom rushing on the wind; Rome has heard my wheelblades rattle, Comrades, firm and fearless, breast the hill And has known and sing Golden torc and helm together To the foe defiance, glory to the King. Shimm’ring thro’ the stormy weather; Watchmen, behold the warnings dire, And my arm the spear uplifting Writ eastward far in signs of fire; Thro’ the sleet of jav’lins drifting On these green mountain tops the last Like a king, like a king alone. Of Britain’s hosts is fortress’d fast. But it ends, the heroic story, Before us Habren’s thousand rills, Freedom ends, and pow’r and glory; Behind, the dark Silurian hills.

21 Sentries (distant) Caractacus Watchmen, alert! Fates! they have left me; gods are far; Yet women view the light of heaven, Caractacus Say, can’st thou read in yonder star Nay! not yet, the steadfast Roman One ray of hope to Britain given? On his ranks shall feel the foeman Once again, one last endeavour, Sentries (distant) Britain, my land, is sav’d forever. Watchmen, alert!

Eigen Orbin 3 Father! Far off the distant sentry’s hail Keeps vigil o’er the army sleeping. Caractacus Here all is peace; attend the tale ’Tis Eigen. Which Eigen’s gentle breast is keeping.

Eigen Eigen Sire and King, 4 At eve to the greenwood, we wander’d away, Why wand’ring by the pale starlight? To hear the birds singing, as happy as they. When we came to the oak where the mistletoe Caractacus grows, Nay! daughter, what can Eigen bring Before us a fair Druid maiden arose, Untended through the camp by night? In her hand a weird emblem, a sickle, she bore, She rais’d it, and thrice reap’d a twig from the Eigen oak, Nay, not untended, Orbin waits, And the songs of the forest were hush’d as she Close at my side, a guard from bale, spoke: With me to read thee Britain’s fates. ‘When the voices of earth Caractacus At the midnight are still, Hail! Orbin. Go forth thro’ the camp On the crest of the hill; Orbin On the mound tow’rd the sunrise, Lord and Captain, hail! By Taranis’ spring, Speak thus to thy father, O child of the King:

22 “From ocean to river, In the Oak grove tomorrow From river to rill, The Druids shall meet, The wings of the eagle To read thee the omens Shall follow thee still; Of joy, not defeat. But deep in the forest Their vigour may fail, Eigen, Orbin And high on the mountain By the song of the maiden The dragon prevail!”’ The omen shall be, My father, the glory Orbin Of Britain and thee. 5 On the ocean and the river, By the stream that cuts the plain, Caractacus Sail and pennon fill and quiver, By the song of the maiden And the war horse champs the grain; The omen shall be, Thro’ the close entangled forest O Britain, my Britain, Is the legion’s toil the sorest, The triumph of thee. On the mountain steep and dreary Mailed war horse shall grow weary. Spirits of the Hill High on the mountain the dragon prevail. 6 Rest, weary monarch; tow’rd the day The night is waning fast away; Caractacus Bent on thee with benignant eye, I have met them in the forest, Morn’s silver star ascends the sky; And they bore my fiercest shock, Sleep, and awake, again inspire We were broken like the torrent Thy warriors with thy soul of fire, That is hurl’d against the rock: Casting afar with morning light Shall I meet them – the legions – The brooding cares that burden night. In the wild Silurian regions? The air is hush’d, the armed hill, Save for the sentry’s voice, is still. Eigen ‘Deep in the forest Sentries (distant) Their vigour shall fail Watchmen, alert! And high on the mountain The dragon prevail.’

23 Scene 2. The sacred oak grove by the tomb Arch-Druid, Druids, Druid Maidens of the Kings 8 Lord of dread and lord of pow’r, Arch-Druid This is thine, the fateful hour, 7 Tread the mystic circle round, When beneath the sacred Oak, Measure off the holy ground, Thrice the sacred charm is spoke, Thro’ the fire and thro’ the smoke, Thrice the sacrificial knife Girdle slow the sacred Oak. Reddens with a victim’s life, Thrice the mystic dance is led, Druids Round the altar where they bled. Thro’ the fire and thro’ the smoke, Taranis, descend to aid, Girdle slow the sacred Oak, Let the future fate be said. Tree of eld, whose branches show, Brightest in the winter snow; Arch-Druid The pearl-fruited mistletoe; 9 Bard, what read ye in the field Tree of eld! Girdle slow the sacred Oak. Of the war god’s silver shield?

Arch-Druid, Druids Orbin Bear your torches thro’ the gloom, Round the field the shadows gather, Quench them on the hero’s tomb, Dull, and dim, and dark, my father. Where the stones are wet and red With the blood of victims dead, Arch-Druid Girdle slow the sacred Oak. Vanish, shadows! let him see Clearly what the omens be. Druid Maidens Thread the measure left and right, Orbin Druid maidens, clad in white, I see an eagle flying Loose your locks, your bosoms bare, With beak and talons red, Breathe the god-head brooding there, I see a warrior lying Hov’ring round your floating hair. On the green earth dead. Thread the measure left and right... Chorus Druids Taranis, descend to aid. Thro’ the fire and thro’ the smoke, Girdle slow the sacred Oak...

24 Arch-Druid Arch-Druid Grim the vision, grim and stern, For the banded tribes of Britain Minstrel, which thine eyes discern: I stretch my arms abroad, Gaze again, and mark it well, Mine is the ancient wisdom, What thou see-est, speak and tell. And mine the voice of god; Go forth, O King, to conquer, Orbin And all the land shall know, Dim and dark the shadows gather When falls thy charmed sword edge, Round the shield again, my father. In thunder on the foe...

Arch-Druid Druids, Druid Maidens No more, the fated hour is past. Go forth, O King, to conquer, In thunder on the foe. Arch-Druid, Druids The omens speak in gloom at last; Arch-Druid And must our hero toil in vain ...But Rome and all her legions Unbless’d upon the battle plain? Shall shudder at the stroke, Or, with the Druids’ blessing go, The weapon of the war god, Like fire from heav’n, upon the foe? The shadow of the Oak; Desert your priests, ye gods; tonight The blade that blasts and withers, Still shall his soul be arm’d for fight. The dark and dreadful spell, Which reaping in the whirlwind, Druid Maidens Shall harvest them in hell. Thread the measure left and right, Druid maidens, clad in white... Caractacus 10 Leap to light, my brand of fight, Arch-Druid Flash to the heav’ns thine edges bright; Children, break off the mystic ring: Where those sharp lips of steel shall go, Attend, obey, behold the King. Red from the kiss a fount shall flow, And many a gallant head lie low, Caractacus Leap to the light! Hail to thee, father: Druids, hail! Interpreters of bliss and bale: Soldiers Tell me, before I meet the foe, Leap to the light! What fate the holy omens show.

25 Caractacus Caractacus Be thou my bard, with note of fire Meet them with our war cry ringing, To sound thro’ heav’n my royal lyre: Meet them songs of triumph singing. Sing till the fiery echoes roll To ev’ry free-born warrior’s soul, Druids And pierce as lev’n that cleaves the bole, Meet them with our war cry ringing, Sing to the light! Meet them songs of triumph singing. In thy hand thou bear’st the omen, Soldiers The sword, the sword! Sing to the light! Arch-Druid Caractacus No more! Cry naked to a country free, Guerdon and gold be none for thee; Orbin Land of my sires, land of mine, May I unfold no more? Hark to the song and make it thine, Then grant me to surrender Wake and see my signal shine: The song of bard and priestly lore, Wake to the light. And be my land’s defender.

Soldiers Arch-Druid Wake to the light, my brand of fight! Cease, Orbin, cease; around our shrine To aid our country’s cause is thine; Orbin There, where in slumber dark and deep Shall we greet them? The hearts of ancient heroes sleep, Shall we meet them? Where broods the spirit of the god And with mighty spell defeat them? Above the earth which once they trod, No! Inspiring in the fateful hour Meet them with our war cry ringing, The Druid’s sacred soul with pow’r. Meet them songs of triumph singing. In thy hand thou bear’st the omen. Orbin Trust to that against the foemen; O hear me, father! hear me, ere the fray Spell and charm shall fail thee ever, Sweep all our country’s hopes away, But thy sword deceive thee never! Hear me before my brethren go, Inspir’d by thee to meet the foe,

26 By justice, mercy, right, and ruth, Druids, Druid Maidens O be thy words the words of truth. Taranis! descend to aid! Ye gods! oh! doom him... Druids, Druid Maidens 11 Hence, ere the Druid’s wrath is woke, Scene 3. The forest near the Severn. Morning Hence, ere the awful curse is spoke, 12 Introduction. Woodland Interlude Here in the shadow of the Oak! Orchestra

Orbin Chorus I hear; and ere the morning gray 13 Come! beneath our woodland bow’rs, I cast my snow-white robe away. Wreathe our hallow’d wreaths of flow’rs, Priestly crowns of crimson hue, Druids, Druid Maidens Opening roses bright with dew; Hence, ere the Druid’s wrath is woke... Come! Scatter bud and blossom round you on the way, Orbin Come! Till the tender greensward blushes like I hear, and cast my snow-white robe away, the day; And I go, Come! beneath our woodland bow’rs, Like a bard my paean flinging Wreathe our hallow’d wreaths of flow’rs. On the front of battle ringing, Like a warrior for my land Eigen Charging sword in hand 14 O’er-arch’d by leaves the streamlet weaves On the foe! Its meshes in the sun, The violets blue with diamond dew Druids, Druid Maidens Are jewell’d ev’ry one; Hence, ere the awful curse is spoke My heart is bright as morning light, Doom him to your deadliest throe, And tender as the flow’r, Go hence, apostate, go. For here I rove to meet my love, In this, the chosen hour. Soldiers The gentle wind with kisses kind Leap to the light, Is playing on my brow, My brand of fight, The fawn is leaping round the hind Flash to the heav’ns thine edges bright. Beneath the rustling bough; The dove is cooing to her mate, All things in earth appear,

27 To joy around me while I wait Orbin For Orbin to be here. They gather the wreaths that shall hang on the shrine Orbin When the curse must be sung o’er this treason Mine Eigen, behold me, a fugitive now, of mine; I fly to the camp with a brand on my brow. O weep not!

Eigen Eigen O tell me, my bard, for thy garment of white Nay linger not, haste ye and go, Why bear’st thou the mail and the weapons of Fly far from the Druid, the shrine, and the woe. fight? Orbin Orbin Cling closely to me, hold me still, 15 Last night beneath the sacred Oak, Heart of my heart, and life and pow’r; The dreaded rite was ta’en, Thou, only thou, the hope, the thrill, Last night the mystic word I spoke And impulse in the coming hour. That told of Britain’s bane; Then came the King, and, false as hell, Eigen A blessed bode the Druids tell, Thine in death, to thy latest breath, Alone my voice was rais’d to sing If it be thy fate to die, A warning to our glorious King; Silenc’d, and curs’d, and driven to flight, Orbin I tore my bardic robes of white; Then hand in hand, in the far-off land A warrior now, for Britain’s weal We will wander, thou and I. I change my golden harp for steel. Eigen, my lady lov’d, I go, Eigen, Orbin And but for thee no tear should flow; In the land where the fear of the hostile sword, Pray to the gods to grant my arm Or the Druid’s spell, or the rite abhorr’d, To guard thy father’s head from harm, Shall vex our love no more; under summer suns, And pray this parting may not be And clear of battle the river runs, Our last beneath the greenwood tree. And in placid waters the lilies float, And the sweet birds sing an untroubled note; Chorus Where never are heard the sounds of strife, 16 Come! beneath our woodland bow’rs... But all is radiant, joyous life; When this sad life is o’er...

28 COMPACT DISC TWO Maidens Wild rumours shake... Scene 4. The Malvern Hills Maidens Eigen 1 Wild rumours shake our calm retreat, O hush ye, my maidens, be hush’d: can it be? There comes a noise of hurrying feet, What soldier comes hither so dreadful to see? Of bodesmen straining fast and far, By the armour I know him, the torc and the ring, And the air breathes low of distant war, And the dragon of gold, ’tis my father, the King. Faint sounds of battles lost and won Quiver and die when day is done. Soldiers Sweet lady, hope of Britain’s line, 3 We were gather’d by the river What fears of ours can match with thine? In a deep and hidden glen, Whatever woe the gods may bring, Sword and spear and bow and quiver, Pray, sisters, pray for our gallant King. Many a myriad gallant men: In our front the battle splendid Eigen Of the foe upon the plain, 2 When the glow of the evening had died from Wide its iron ranks extended, the hill, When we burst on him amain; And the murm’ring voice of the forest was still, And the roll of cars was sounding, Once again thro’ the thicket And the clash of shields resounding, Came the maid of the Druids And the hiss of jav’lins falling, I met there of yore; And the clang of trumpets calling, No breath was abroad that might ruffle her form, And all day the mighty battle But her tresses were toss’d as if lash’d by a O’er the bloody meadows spread storm, While we fell like butcher’d cattle And she spoke and she curs’d thee, Till the living trod the dead; O father, beware! And our arms were faint and failing, ‘Who falls from the mountain We were dying with the day, Shall fall by the sword, When at last the foe prevailing Who flits from the forest Swept our ranks away. Be bound with a cord; The King and his kinsfolk Caractacus, Chorus Are captive at home, 4 O my warriors, tell me truly And all deck’d for the triumph O’er the red graves where ye lie, The forum of Rome.’ That your monarch led you duly, First to charge and last to fly:

29 O my warriors! Scene 6. Rome. The Triumphal Procession Speak, ah! speak, beloved voices, 6 Processional Music From the chambers where ye feast, Orchestra Where the war god stern rejoices That his host has been increas’d, Chorus Say that first I clove the legions The march triumphal thunders Where the golden eagle flew Amid the shouting crowd, O’er the head to whom allegiance With flash of helm and corslet, From the Roman foe was due, While trumpets scream aloud; Say too, when the fight was ending, And cymbals sharply ringing That with glazing eyes ye saw The car of triumph greet, Me, my quiv’ring ranks defending With the milk-white steeds that draw it, From the greedy Roman maw; Along the sacred street... And the god shall give you heeding And across the heav’nly plain Before the car how diff’rent they He shall smile, and see me leading Who barefoot drag their weary way. My dead warriors once again! The march triumphal thunders... Scene 5. The Severn Over the marble palace, Druid Maidens Over the golden shrine, 5 Captive Britons, see them! Hark O’er street and square and forum To their tears as they embark! Glaring, the noonbeams shine; Widely the robes are waving, A Bard Brightly the jewels glance, Fetter’d, weary, worn, and white, Eager eyes that lighten Sun of Britain shun the sight! Each joyous countenance; And cymbals sharply ringing Druid Maidens The car of triumph greet. Heav’ns of Britain, weep in rain, But hark! a shout that shakes the air, They shall ne’er return again! The Emperor fills the curule chair; The captives halt before... A Bard, Druid Maidens Lap their bark with sob and sigh, Claudius Sombre Habren, swirling by; 7 Unbind his hands, silence the trumpets; plead, For they never more shall see Briton, if plea can purge thy crimes away, British heav’n, or land, or thee...

30 Or turn the doom of many a bloody deed, Chorus The ling’ring doom that waits on thee today. 9 Slay the Briton.

Caractacus Claudius 8 Heap torment upon torment, woe on woe, Captive, dost thou hear? Let months and years of anguish’d life be mine; The Gods themselves breathe through a people’s Tears from these eyes Rome cannot cause to breath; flow, The Gods condemn thee: dost thou learn to fear? Nor bend this knee by any pow’r of thine. How say ye still, Quirites?

We liv’d in peace, was that a crime to thee, Chorus That thy fierce eagle stoop’d upon our nest? Death! Slay the Briton. A freeborn chieftain, and a people free. We dwelt among our woodlands, and were blest. Caractacus For liberty, wives, children, hearth and shrine, 10 I plead not for myself: not earth or heav’n From sea to plain we fought, from plain to hill, Can shake a soul like mine prepar’d for all; Now all is lost, all that was ours is thine; Yet I plead, that mercy may be given My soul alone remains unshackled still. To these, my comrades of the Roman thrall. Do then thy worst on me; my people spare My guileless daughter and the warrior bard, Who fought for freedom in our land at home; Her lover, fled from priestly bonds at home, Slaves they are not, be wise and teach them Is there no grace for them, and is it hard there To win so little from Imperial Rome? Order, and law, and liberty with Rome. Orbin Eigen Plead not for me, I will not quit thy side; O for the sward of Britain, and the hills! But plead for Eigen while thy breath endures: The whisp’ring forest by our Habren’s side! O for our Habren, and her silver rills, Eigen Before we lost them would that we had died! Plead not for me, King’s child, and Orbin’s bride, Yours be my fate, as all my life was yours. Orbin O for mine Eigen in her woodland glade, Chorus Light as the morning! O for mine Eigen! Slay them! Slay the Britons. Spare her, Roman, spare her, spare, And measure ten-fold torment upon me.

31 Claudius Britons, alert! and fear not, By the Gods they shall not die; But gird your loins for fight. Their blood would curse the ground to which And ever your dominion it grew. From age to age shall grow We grant you grace; young warrior, clasp thy O’er peoples undiscover’d, bride; In lands we cannot know; Brave chieftain, all thy suff’rings are o’er; And where the flag of Britain Dwell here in Rome, and by the Emperor’s side Its triple crosses rears, Find safety, peace and rest for evermore... No slave shall be for subject, No trophy wet with tears, Eigen, Orbin, Caractacus But folk shall bless the banner, 11 Grace from the Roman! peace and rest are ours, And bless the crosses twin’d, Freedom is lost, but peace and rest remain; That bear the gift of freedom, Britain, farewell! Thro’ all the ling’ring hours, On ev’ry blowing wind; Hope, mem’ry, love shall hide our golden chain. Nor shall her might diminish While firm she holds the faith Chorus Of equal law to all men 12 The clang of arms is over, And holds it to the death; Abide in peace, and brood For all the world shall learn it On glorious ages coming, Though long the task shall be, And Kings of British blood. The text of Britain’s teaching, The light descends from heaven, The message of the free; The centuries roll away, And when at last they find it, The Empire of the Roman The nations all shall stand Is crumbled into clay; And hymn the praise of Britain, The eagle’s flight is ended, Like brothers, hand in hand. His weary wings are furl’d; Harry Arbuthnot Acworth (1849 – 1933) The oak has grown and shadow’d The shores of all the world:

Britons, alert! and fear not, Though round your path of pow’r, Opposing cohorts gather; And jealous tyrants low’r; On though the world desert you, On so your cause be right;

32 Greg BarrettGreg

Richard Hickox The premature death of Richard Hickox on 23 November 2008, at the age of just sixty, deprived the musical world of one of its greatest conductors. The depth and breadth of his musical achievements were astonishing, not least in his remarkable work on behalf of British composers. An inspiring figure, and a guiding light to his friends and colleagues, he had a generosity of spirit and a wonderful quality of empathy for others. For someone of his musical achievements, he was never arrogant, never pompous. Indeed there was a degree of humility about Richard that was as endearing as it was unexpected. He was light-hearted and, above all, incredibly enthusiastic about those causes which he held dear. His determination to make things happen for these passions was astonishing – without this energy and focus his achievements could not have been as great as they were. He was able to take others with him on his crusades, and all in the pursuit of great music. Richard was a completely rounded musician with a patience, kindness, and charisma that endeared him to players and singers alike. His enthusiasm bred its own energy and this, in turn, inspired performers. He was superb at marshalling

34 large forces. He cared about the development of the artists with whom he worked and they repaid this loyalty by giving of their best for him. An unassuming man who was always a delight to meet, Richard was a tireless musical explorer who was able to create a wonderful sense of spirituality, which lifted performances to become special, memorable events. For these reasons, Richard was loved as well as respected. The Richard Hickox Legacy is a celebration of the enormously fruitful, long-standing collaboration between Richard Hickox and Chandos, which reached more than 280 recordings. This large discography will remain a testament to his musical energy and exceptional gifts for years to come. The series of re-issues now underway captures all aspects of his art. It demonstrates his commitment to an extraordinarily wide range of music, both vocal and orchestral, from the past three centuries. Through these recordings we can continue to marvel at the consistently high level of his interpretations whilst wondering what more he might have achieved had he lived longer.

35 Also available

Elgar The Apostles CHAN 241-49

36 Also available

Elgar The Kingdom • Sospiri • Sursum Corda CHAN 241-54

37 You can purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

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38 The Elgar Complete Edition, published by Novello, was used for this recording.

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Peter Newble Editor Peter Newble Mastering Jonathan Cooper A & R administrator Sue Shortridge Recording venue All Saints’ Church, Tooting, London; 26 – 28, 30, and 31 October 1992 Front cover Montage by designer incorporating the original CD cover which included a reproduction of Caractacus at the Tribunal of Claudius at Rome, engraving (1792) by Andrew Birrell (fl. 1769 – 1820) after painting by Henry Fuseli (1741 – 1825), courtesy of the Mary Evans Picture Library Back cover Photograph of Richard Hickox by Greg Barrett Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen p 1993 Chandos Records Ltd c 2016 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

39 / Hickox / LSO / LSC Soloists – SUITE / SEVERN CARACTACUS ELGAR: / Hickox / LSO / LSC Soloists – SUITE / SEVERN CARACTACUS ELGAR: CHAN 241-58

Sir Edward Elgar (1857 – 1934)

Caractacus, Op. 35 (1898) Cantata in Six Scenes for Soprano, Tenor, Baritone, Bass, Chorus, and Orchestra Libretto by Harry Arbuthnot Acworth (1849 – 1933) Eigen...... Judith Howarth soprano Orbin...... Arthur Davies tenor Caractacus...... David Wilson-Johnson baritone Arch-Druid / A Bard...... Stephen Roberts bass Claudius...... Alastair Miles bass

Severn Suite, Op. 87 (1930) for Brass Band Orchestrated 1931 – 32 by the Composer COMPACT DISC ONE Caractacus, Scenes 1 – 3 TT 61:27 London Symphony Chorus COMPACT DISC TWO Stephen Westrop chorus master Caractacus, Scenes 4 – 6 CHAN 241-58 CHAN CHAN 241-58 CHAN London Symphony Orchestra Severn Suite Richard Hickox TT 58:24

p 1993 Chandos Records Ltd c 2016 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England