VAUGHAN WILLIAMS Thoughts on recording Vaughan Williams’ song, and indeed too of the magisterial beauty CONCERTO FOR VIOLIN & STRING ORCHESTRA THE LARK ASCENDING Concerto for Violin and String Orchestra and of the English countryside. I have spent so much The Lark Ascending time on Exmoor, where my family home still is, and ELGAR love the raw wildness of the moors and the lush INTRODUCTION AND ALLEGRO SERENADE FOR STRINGS I was very happy when the opportunity arose rolling hills, always changing with the light. to record the Vaughan-Williams Violin Concerto and The Lark Ascending with the Orchestra of When we came to record the Lark in particular, the Swan and David Curtis, as they were the the improvisatory qualities presented more of Concerto for Violin and String Orchestra Ralph Vaughan Williams (1872-1958) first works we played together and we have a challenge for me than usual in the recording 1 I. Allegro pesante [6.35] performed them many times since. process. I don’t think I have ever played it, 2 II. Adagio – Tranquillo [6.40] and in particular the Cadenzas, the same way 3 III. Presto [4.58] Whilst the Lark is one of the best loved and twice, which is part of the constant joy of most famous works in the repertoire, the Concerto performance. Therefore, what is captured 4 Introduction and Allegro, Op.47 Edward Elgar (1857-1934) [13.50] is, rather unfairly, hardly known. It is a true here is the feeling and story of one moment in “chamber” concerto, full of humour, eloquence time, told through the truthful simplicity of Serenade for Strings, Op.20 Edward Elgar and imbued with a rustic spirit. The outer Vaughan-Williams’ beautiful music. 5 I. Allegro piacevole [3.16] movements have a playful wildness about 6 II. Larghetto [4.35] them, the music darting and dancing, that Perhaps the Lark is Vaughan-Williams’ 7 III. Allegretto [2.43] make them great fun to play, and I find the slow contribution to one of literature’s universal movement a jewel of beauty and expressivity. themes; we hope that nature, in its beauty 8 The Lark Ascending Ralph Vaughan Williams [16.48] and perfection, is eternal, whatever mess we The slow passages, both in the second movement are creating. Total timings: [59.28] of the Concerto and the Lark contain a poignant nostalgia, filled with longing for remembered © Tamsin Waley-Cohen, 2014 times. There is a strong sense of narrative, not unlike the English folk stories and older Celtic TAMSIN WALEY-COHEN VIOLIN sagas which are so cyclical and rooted in the ORCHESTRA OF THE SWAN power of nature. Larks are heard so rarely now, DAVID CURTIS CONDUCTOR yet I have many childhood memories of their www.signumrecords.com - 3 - Thoughts on recording Elgar’s Introduction The Serenade is a work I’ve probably conducted in September 1952. The work reveals a less for the violin and some playful cross-rhythms. and Allegro and Serenade for Strings more than any other yet such is Elgar’s familiar aspect of Vaughan Williams’ musical This culminates in a brief final Presto with genius that this exquisite musical ‘cameo’ is personality, its relative emotional detachment an emphatic cadence (Molto allargando). The As a string player these works have been always fresh, always delicate and, despite its possibly suggesting a reaction to the horrors intimate central Adagio, scored for muted in my consciousness as violist and now brevity and simplicity, for me always deeply of the First World War. The opening movement, strings, begins with a solo cello (unmuted) conductor for nearly 50 years so the opportunity moving, expressing great sentiment but marked Allegro pesante, begins with a robust before the violin enters with even more to record these very contrasting masterpieces never sentimental. idea based on rising fifths. Neo-baroque decorative melodic lines. The key having was welcomed and, I admit, an opportunity tendencies – equally evident in many other changed to G major, the second violins initiate that brought a certain degree of trepidation. I once asked one of our players if they ever works of this period, not least the Fugal a little sighing motif which becomes an As with any iconic work many have their own tired of rehearsing and performing this gem, Overture and Fugal Concerto by Vaughan almost permanent feature while Vaughan favourite recording and perhaps there is a he paused for a moment and thought, then Williams’ friend and confidant Gustav Holst Williams shows how expressive a rising scale sense of ‘what can I add to the canon’. replied “David, do you ever weary of meeting – are here incorporated within Vaughan can be. Following an eloquent climax the any of your oldest and dearest friends”. Williams’ personal language. In no way do movement relaxes into a passage marked That said these works always reveal something they submerge his assimilated folk-song Tranquillo which includes a short cadenza. new and for me one of the most revelatory I hope this recording does these old musical characteristics, while occasional suggestions of The finale is dominated by jig rhythm, its main performances of the Introduction and Allegro friends some justice. bitonality add pungency. Semiquaver passage- theme adapted from the composer’s opera I have taken part in or heard, was conducted work for the soloist gives way to a cadenza Hugh the Drover. Subsequent material includes by Michael Tippett. Michael was 70 at the © David Curtis, 2014 (in strict time) before the time-signature a new violin theme marked scherzando and time but for me this music had an energy and changes from 2/4 to 3/4, with some bars of a cantabile melody in more sustained notes, vigour that I’d never previously encountered ______6/8. The main theme here, with light pizzicato and thereafter legato and staccato elements – this wasn’t portentous music composed by accompaniment, is derived from the second are effectively combined and contrasted. The and old man, this was music of an incredible Vaughan Williams wrote his Concerto for Violin part of the opening subject. A new lyrical concerto – a work which has suffered vitality, written by someone who enjoyed striding and String Orchestra in 1924-5 and dedicated melody emerges during the development section, unreasonable neglect – has a delightfully across the Malvern Hills. If we have revealed it to Jelly d’Aranyi, Hungarian violinist and in accord with the violin’s change to legato understated ending, as the soloist’s rhythm a little more of this aspect of the music to grand-niece of Joseph Joachim. She gave the semiquavers. A dialogue between fortissimo runs out of steam before the final chord marked the listener perhaps that is a useful contribution. premiere in November 1925. The composer strings and the soloist’s chunky double-stopping ppp. A violin and piano arrangement by originally entitled the work Concerto leads to another brief cadenza with chordal Vaughan Williams’ ex-pupil Constant Lambert Accademico, a name he subsequently disliked, accompaniment, before a general intensification was published in 1927. withdrawing it before a Menuhin performance which includes rapid arpeggiated string-crossing

- 4 - - 5 - Elgar completed his Introduction and Allegro ascending melody originally played by the Although Elgar’s Serenade for Strings, composed for Strings was included in the very last of in February 1905. In this much more ambitious quartet in bar 5 is treated more purposefully. in 1892, is a less imposing work than Elgar’s numerous recordings of his own music, work than the Serenade for Strings of 1892 his Other melodic material from the Introduction his Introduction and Allegro, it would be a made on 29th August, 1933 with the London consummate mastery of the string orchestra’s reappears, as well as a new idea in staccato mistake to underestimate this relative miniature. Philharmonic Orchestra. capabilities and wide range of tone-colours semiquavers initiated by the solo quartet, Elgar’s feeling for effective string-writing is wonderfully evident, with the addition of before the Welsh theme returns on solo violin is already obvious and his comment to his Vaughan Williams composed The Lark a string quartet offering further potential. and viola with new, beautifully enhanced friend Jaeger – “Really stringy in effect” – Ascending soon after his London Symphony, Elgar effectively deploys the quartet in varying accompaniment. A renewal of the Allegro expresses his personal satisfaction. A rhythmic and just before the outbreak of World War I. roles – as a contrasting texture in itself, in tempo brings, in Elgar’s words, “no working- figure heard on the violas in the opening bars Therefore the premiere was delayed until 1921, dialogue with the string orchestra, and in out part but a devil of a fugue instead”. This recurs as a neat unifying thread throughout a by which time the composer had revised the combination with the tutti group. The opening builds to a climax of extraordinary intensity movement which exudes natural charm and work. It was the first of his several compositions gambit is immediately arresting, the first before ebbing away, and now fragments of the tenderness. Its emotional effect is enhanced for solo instrument and orchestra, a motley dozen bars covering a surprising expressive staccato semiquaver idea return, creating a by restraint and understatement. Ernest collection including concertos for piano, violin, range to which tempo fluctuations and textural smooth transition to the reprise of the original Newman aptly described the central Larghetto oboe and tuba, and other works featuring variety contribute. This richness dissolves into Allegro section. A final, glorious restatement as “a pure song-without-words”. The depth solo viola, viola with wordless chorus, and what Elgar called a “Welsh theme” on solo of the Welsh theme – marked “molto sostenuto” of its poignancy is perhaps surprising in the harmonica. The score of The Lark Ascending viola, the inspiration for which dates from 1901 then “con fuoco” – leads to an exhilarating context of a serenade, a genre more usually is prefaced by lines which the composer when he heard the distant singing of a choir conclusion, the final sforzando pizzicato associated with diversion than emotional selected from the poem of the same name by across Cardigan Bay. One common feature of chord being one of many imaginative touches engagement. Midway through the amiable 12/8 his near-neighbour George Meredith (1828-1909), all their songs, which Elgar assumed to be a throughout the work. Asked about his superbly Finale, the viola figure from the opening of reproduced in full on page 4 of this booklet: specifically Welsh characteristic, was a falling idiomatic string-writing, Elgar advised: “Study the piece unobtrusively returns and a tiny third. Three years later he heard: “far down old Handel. I went to him years ago.” The element of its distinctive rhythm subtly pervades He rises and begins to round, our own Valley of the Wye, a song similar to Introduction and Allegro was premiered in the gentle coda. Apparently this serenade was He drops the silver chain of sound, those so pleasantly heard on Ynys Lochtyn” London’s Queen’s Hall on 8th March 1905, originally conceived as Three Pieces for String Of many links without a break, ... “Although there may be a Welsh feeling in with the composer conducting the LSO. Orchestra – Spring Song, Elegy and Finale In chirrup, whistle, slur and shake. the one theme ... the work is really a tribute Although it took about forty years to become – first performed in 1888. The manuscript [...] to that sweet borderland where I have made established, it is now recognised as one of the was subsequently lost but the serenade as For singing till his heaven fills, my home”. The splendid Introduction gives greatest works in the string-orchestra repertoire. we know it today probably represents Elgar’s ‘Tis love of earth that he instils, way to the main Allegro, in which the revision of these Three Pieces. The Serenade And ever winging up and up,

- 6 - - 7 - Our valley is his golden cup, cadenza, but occasional arabesques continue to The Lark Ascending Unthinking save that he may give And he the wine which overflows recall the characteristic abandon of the skylark George Meredith (1828-1909) His voice the outlet, there to live To lift us with him as he goes. song. Another cadenza leads to a contrasting Renew’d in endless notes of glee, [...] episode (Allegretto tranquillo) with a new He rises and begins to round, So thirsty of his voice is he, Till lost on his aërial rings melody for flutes. A subsequent episode (Allegro He drops the silver chain of sound For all to hear and all to know In light, and then the fancy sings. tranquillo) begins with solo violin trills and Of many links without a break, That he is joy, awake, aglow, arabesques now punctuated by off-beat triangle, In chirrup, whistle, slur and shake, The tumult of the heart to hear The Lark Ascending is imbued with a profound before the oboe plays a further new melody All intervolv’d and spreading wide, Through pureness filter’d crystal-clear, sense of communion with nature. Rather than marked scherzando. In each episode the solo Like water-dimples down a tide And know the pleasure sprinkled bright scorning English pastoralism – as Elisabeth violin part generally assumes greater melodic Where ripple ripple overcurls By simple singing of delight, Lutyens and others did with observations such definition while retaining some elements of And eddy into eddy whirls; Shrill, irreflective, unrestrain’d, as “the cowpat school” – we should value the skylark song. Both the flute melody (now A press of hurried notes that run Rapt, ringing, on the jet sustain’d this rare quality expressed so perfectly by on solo violin and Allegretto molto tranquillo) So fleet they scarce are more than one, Without a break, without a fall, Vaughan Williams in particular. Like Bartók, and the earlier 6/8 section return and the work Yet changingly the trills repeat Sweet-silvery, sheer lyrical, he assimilated folk-song characteristics so ends with the unaccompanied violin once more And linger ringing while they fleet, Perennial, quavering up the chord thoroughly that his own melodic invention in skylark mode. Vaughan Williams dedicated Sweet to the quick o’ the ear, and dear Like myriad dews of sunny sward became indistinguishable – there is no actual The Lark Ascending to Marie Hall, the soloist in To her beyond the handmaid ear, That trembling into fulness shine, folk-song borrowing in The Lark Ascending. the first performance in June 1921. Who sits beside our inner springs, And sparkle dropping argentine; Too often dry for this he brings, Such wooing as the ear receives Following a brief introduction for woodwind and © Philip Borg-Wheeler, 2014 Which seems the very jet of earth From zephyr caught in choric leaves muted strings, the soloist enters with a poetic At sight of sun, her musci’s mirth, Of aspens when their chattering net cadenza marked pianissimo and sur la touche. As up he wings the spiral stair, Is flush’d to white with shivers wet; The solo violin part, with its gently animated A song of light, and pierces air And such the water-spirit’s chime flurries, impressionistically evokes the actual With fountain ardor, fountain play, On mountain heights in morning’s prime, song of the skylark, which in nature consists To reach the shining tops of day, Too freshly sweet to seem excess, of rapturous outpourings sometimes lasting And drink in everything discern’d Too animate to need a stress; unbroken for several minutes. At the re-entry An ecstasy to music turn’d, But wider over many heads of the orchestra the solo violin takes up the Impell’d by what his happy bill The starry voice ascending spreads, 6/8 melody introduced towards the end of the Disperses; drinking, showering still, Awakening, as it waxes thin,

- 8 - - 9 - The best in us to him akin; As you crave nothing save the song. In the brain’s reflex of yon bird; Hall, Liszt Academy. She has been artist in And every face to watch him rais’d, Was never voice of ours could say Wherefore their soul in me, or mine, residence at festivals including Frome and Puts on the light of children prais’d, Our inmost in the sweetest way, Through self-forgetfulness divine, Roman River. So rich our human pleasure ripes Like yonder voice aloft, and link In them, that song aloft maintains, When sweetness on sincereness pipes, All hearers in the song they drink: To fill the sky and thrill the plains She enjoys a duo partnership with Huw Watkins, Though nought be promis’d from the seas, Our wisdom speaks from failing blood, With showerings drawn from human stores, whose “Concertino” she premiered, and together But only a soft-ruffling breeze Our passion is too full in flood, As he to silence nearer soars, they have recorded for Champs Hill and Signum Sweep glittering on a still content, We want the key of his wild note Extends the world at wings and dome, Records, for whom she is a “Signum Classics Serenity in ravishment. Of truthful in a tuneful throat, More spacious making more our home, Artist”. She has also premiered works, many The song seraphically free Till lost on his aërial rings written for her, by composers including Joseph For singing till his heaven fills, Of taint of personality, In light, and then the fancy sings. Phibbs, Richard Causton, and Torsten Rasch. ‘Tis is love of earth that he instils, So pure that it salutes the suns Her love of chamber music led her to start the And ever winging up and up, The voice of one for millions, TAMSIN WALEY-COHEN Honeymead Festival, now in its 8th year. She Our valley is his golden cup, In whom the millions rejoice And he the wine which overflows For giving their one spirit voice. Described by The Times as a violinist “who held To lift us with him as he goes: us rapt in daring and undaunted performances” The woods and brooks, the sheep and kine Yet men have we, whom we revere, and by The Guardian as a performer of “fearless He is, the hills, the human line, Now names, and men still housing here, intensity”, Tamsin Waley-Cohen enjoys an The meadows green, the fallows brown, Whose lives, by many a battle-dint adventurous and varied career. In addition to The dreams of labor in the town; Defaced, and grinding wheels on flint, concerts with the Royal Philharmonic Orchestra, He sings the sap, the quicken’d veins; Yield substance, though they sing not, sweet London Philharmonic Orchestra, BBC Concert The wedding song of sun and rains For song our highest heaven to greet: Orchestra, and others, she has been associate He is, the dance of children, thanks Whom heavenly singing gives us new, artist with Orchestra of the Swan, and works Of sowers, shout of primrose-banks, Enspheres them brilliant in our blue, with conductors including Andrew Litton, Jose And eye of violets while they breathe; From firmest base to farthest leap, Serebrier and Tamas Vasary. Performances have All these the circling song will wreathe, Because their love of Earth is deep, taken her across Europe and to the USA and And you shall hear the herb and tree, And they are warriors in accord NZ, playing venues such as the Barbican, The better heart of men shall see, With life to serve and pass reward, Wigmore Hall, Symphony Hall Birmingham,

Shall feel celestially, as long So touching purest and so heard Bridgewater Hall, Manchester and the Great © Patrick Allen

- 10 - - 11 - is the violinist of the acclaimed London Bridge Her teachers included Ruggiero Ricci, Andras Ensemble, with whom she performs regularly. Keller, and Schmuel Ashkenasi, and she studied Tamsin is also Artistic Director of the Sunday with Itzhak Rashkovsky at the Royal College of Series at London’s Tricycle Theatre, for which Music, where she won all available prizes. she was named one of Evening Standards 1000 most influential Londoners. Since 2007 she has played the 1721 ex-Fenyves Stradivarius violin.

ORCHESTRA OF THE SWAN

First Violin Viola Flute David Le Page Vanessa Murby Diane Clark Catherine Leech Mark Chivers Liz Hodson Sophie Broadbent Oboe Rosie Tompsett Alexandra Gale Victoria Brawn Catalin Chelaru Orchestra of the Swan is from Shakespeare’s OOTS records for Avie, Naxos, Nimbus, Signum, Cheryl Gaudiano Cello Clarinet Stratford-upon-Avon and is Associate Orchestra MSR and Somm including repertoire by Barber, Nick Stringfellow Sally Harrop at Town Hall Birmingham. In addition to its core Bax, Berlioz, Brahms, Copland, Debussy, Second Violin Matthew Forbes programme of orchestral concerts recently OOTS Finzi, Hans Gal, Ireland, Mahler, Mendelssohn, Dominika Feher Anna Joubert Bassoon performed a series of sell-out concerts with Mozart, Schumann and Strauss and several Cathy Hamer Philip Handy Philip Brookes Steve Harley and Cockney Rebel in Symphony world premiere recordings including Philip Shelley Van Loen Hall Birmingham, Bridgewater Hall, Manchester, Sawyers symphonies and works for trumpet Naomi Rump Double Bass Horn The Sage, Gateshead and the Royal Albert Hall. and orchestra by John McCabe, Robert Simon Howes Stacey Watton David Garbutt Saxton and Deborah Pritchard. The complete Owen Rump In 2013-14 OOTS undertook a highly successful recordings of the Hans Gal symphonies has Percussion tour to China and now has plans to tour had considerable critical acclaim in the UK David Curtis Conductor Tim Farmer Mexico, Brazil, the USA and Turkey as well as a and USA. Charlotte Hunt Manager return tour to China in 2016.

- 12 - - 13 - OOTS Associate Artists include Tasmin Little, DAVID CURTIS David champions new work and has premiered For Icelandic Radio he conducted premieres Julian Lloyd Webber, Benjamin Grosvenor and ARTISTIC DIRECTOR least 50 works by British, Bulgarian, Chinese, by Snorri Sigfús Birgisson, Lars-Petter Hagen, Tamsin Waley-Cohen and Peter Donohoe will PRINCIPAL CONDUCTOR Nordic and American composers including Thuridur Jónsdottir and Marie Samuelsson in be Associate Artist 2014-15. For 2014-16 Oscar i Bosch, Douglas Cuomo, Joe Cutler, Tansy the Nordic Music Days Festival and gave the OOTS will receive $60,000 from the Sorel David Curtis is Artistic Director of Orchestra of Davies, Joseph Duddell, Daron Hagen, Peter world premiere of a new work by Sampo Organisation, New York – appointing the the Swan, one of the most exciting, innovative Lieuwen, Paul Patterson, Joe Phibbs, Julian Haapamäki with the Mikkeli City Orchestra. Grammy nominated composer Dobrinka and accessible chamber orchestras in the UK. Philips, Dobrinka Tabakova, Param Vir, Andrew Tabakova as Resident Composer. Waggoner, Errollyn Wallen, Shu Wang and His thought-provoking programming, infectious John Woolrich. TV appearances include the South Bank Show enthusiasm and refreshing interpretations and CDs have been Gramophone Choice, CD see David working in Belgium, China, the of the Week on Classic FM and Washington Czech Republic, Finland, France, Germany, Public Radio and the top 20 Classical Albums Greece, Hungary, Iceland, Italy, Romania, Serenade for Strings and Introduction and Allegro recorded in St Augustine’s, Kilburn, UK on 24th March 2014. on Chicago Public Radio. OOTS is regularly Singapore, Slovakia, Sweden and the USA with Producer – Tim Oldham Recording Engineer – Mike Hatch featured on USA Performance Today networked orchestras such as the Academy of St Martin’s- Recording Assistant – Robin Hawkins to 260 radio stations and numerous Canadian in-the-Field, the Prague Chamber Orchestra, Concerto and The Lark Ascending recorded in Cheltenham Town Hall, UK on 28th March 2014. Public Radio Stations. Prague Radio Symphony Orchestra and North Producer – Chris Hazell Hungarian Symphony Orchestra. Recording Engineer – Andrew Mellor OOTS is a major champion of new music and Recording Assistant – Craig Jenkins OOTS has commissioned work from Joe Cutler, He appears as soloist and conductor in Cover Image – © Patrick Allen Tansy Davies, Joe Duddell, Alexander Goehr, Finland with the Mikkeli City Orchestra, the Design and Artwork – Woven Design www.wovendesign.co.uk Roxanna Panufnik, Paul Patterson, Joseph Roveniemi Chamber and Yvaskyla Symphony P 2014 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Phibbs, Julian Philips, Dobrinka Tabakova, Orchestras in the concert hall and on © 2014 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Errollyn Wallen, John Woolrich and many others. Finnish Radio and has conducted the North Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any Hungarian Symphony and Festival Chorus form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. in the prestigious annual Olomouc Dvorak’s SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Festival and the Policka Martinu Festival. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 14 - - 15 - ALSO AVAILABLE on signumclassics

Mendelssohn: Violin Concerto in D minor 1917: Works for Violin & Piano Tamsin Waley-Cohen violin Tamsin Waley-Cohen violin Orchestra of the Swan Huw Watkins piano David Curtis conductor SIGCD376 SIGCD342

“this performance sizzlingly draws attention to the preternatural “... a wonderfully subtle, introspective and touching performance.” gifts of invention and lithe craftsmanship that Mendelssohn The Guardian possessed...There is nothing conventional...about the way in which the Orchestra of the Swan bring the music ear-catchingly alive...all the witty repartee is there, as is the charm.” Gramophone

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 -