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Le Grand Inconnu the Sixteen

Le Grand Inconnu the Sixteen

Marco Borggreve the BarbicanCentre principal funderof is thefounder and Corporation The Cityof

Part of Barbican Presents 2019–20 with Sara Mohr-Pietsch; free to ticket holders Sir JamesMacMillan inconversation 6.15pm: Pre-concert talk Harry Christophers Britten Genesis Sixteen Mary Bevan London premiere) for HarryChristophers andTheSixteen: (Commissioned by theGenesisFoundation No 5,‘Legrand Inconnu’ interval (UK premiere) Sir JamesMacMillan Britten Britten Arvo Pärt Monday 14 October 2019 7.30pm, Hall Sixteen The Le grand Inconnu advertising by Cabbell(tel 02036037930) Programme produced by HarrietSmith; hearing aidto Tsettingonentering thehall. Please useourinductionloop–justswitch your Use ahearingaid? the performance. Take photos ormake recordings during Please don’t... the performance. Turn off watch alarmsandphonesduring Please do...

Hymn to St Cecilia 20minutes CantusinmemoriamBenjamin

soprano

conductor

The SunDanced

2 Portuguese. combining texts inEnglish, Latinand Again, theinspiration isreligious, receives itsUKpremiere thisevening. this new pieceis mystery …of theHolySpirit’.Alongside symphony …anattempt to explore the composer hasdescribeditashis‘choral Sixteen underHarryChristophers. The International Festival by The Foundation andpremiered atthisyear’s was commissionedby theGenesis His FifthSymphony, ‘Legrand Inconnu’, a powerfully compellingmusicallanguage. for thedirectness of hisexpression alliedto his 60thbirthday. Heisacomposerknown Sir James MacMillan, inacelebration of which presents two majorworks by A warm welcome to tonight’s performance, Welcome The SunDanced , which , which Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to bearemarkable evening. composer’s deathin1976. elegy, composed ayear after theBritish memoriam BenjaminBritten proved immenselypowerful. His minimalist andthepurityof hismusic has Arvo Pärtisoften describedasamystic her feast day –22November. drawn to St Cecilia,having beenbornon wonder thecomposerwas particularly of W HAuden’s poetry. It’sperhapsno Cecilia by thewritten word andhis was just asinspired revels inthebeautyandplayfulness Hymn to St isaheartfelt Cantus in Cantus in

triad isemployed to dothisandthat,to lead here as tonality. Inthecontext of theserelationships the relations thatform themusicallanguage we know triad ispartof thecomplex hierarchy of chordal vast majorityof musicwe listen to istonal, andthe question thetemporal-spatial nature of music.The The tintinnabularstyleandthecanonictechnique last, sixteen timesslower thanthefirst . as theonebefore. Thedoublebassesenter each oneanoctave lower andtwiceasslow five layers of tempo, each entering inturn,and below andabove thescalarmovement. Ithas pitches –notes belongingto theAminortriad harmonic minor)anditsattendant tintinnabular minor scale(Aeolian rather thanmelodicor a mensuration canononadescendingA liturgical overtones. Whatfollows isessentially silence andopensupasacred space richin of a in memoriamBenjaminBritten with abare minimumof material, is writing, inthesensethatitseffect isachieved One of thepurest examples of thismodeof (from theLatin worked outwhathecalledhis‘tintinnabular’style composite of overtones produced by bells,Pärt to create amusicallynotated imitation of therich Church, whichPärtjoinedinthe1970s. Striving ritual, particularlyintheRussianOrthodox of bells–thequintessential soundof religious imitations andadaptations of theevocative tolling minimalistic diatonic tonal vocabulary with Pärt’s new musicallanguage fusesanaustere (1977) Britten Benjamin memoriam in Cantus Arvo Pärt pianissimo tintinnabulum bell( campana , meaning‘bell’). ) breaks the . The chiming . Thechiming (born 1935) (born Cantus Cantus infinitum canon thatcouldtheoretically continue In asimilarvein, Pärtsetsinmotion ascalar hypostatisation of thesoundingmoment. motion of tonal hierarchies becomesaspatial just theeternal present. Thetemporally directed of itssounding:there isnopastandfuture, but asthepointatwhichallexists inthefullness music drives infulfilment of atonal teleology, present asapointto whichandfrom whichthe listeners we are persuaded not to hear thesonic creating anenvelope, orwomb, of sound.As for themselves –statically, asitwere –simply straining to achieve resolution, they exist inand potential energy of dissonance.Rather than the stable tonic, theshiftingchords eschew the voice-leading andtheneedto guideustowards create friction.Liberated from theconstraints of working against thechordal framework donot the dissonancesthatwould usuallybeheard divested of dynamicagency; more specifically, By contrast, triads inthetintinnabularstyleare and there, andto resolve theresulting tensions. Programme note ©HugoTicciati above, avehicle of sustained presentness. perception, themusicbecomes,asmentioned reverberating space to betheprimarymodeof drive of timeandallow ourawareness of the a close.Ifwe leave behindtheemotional the spatialvoyaging andbringthework to of theinstruments’ranges thatsetalimitto teleological closure. Itisonlythelimitations

, onceagain ingeniouslyavoiding any ad ad

3 Programme note 4 28-year-old Britten thatwas nolessinspired. an extended three-part motet from the his characteristic verbal bravado, generated richly layered triptych of linked ,fullof psychologically, sincethemid-1930s. Auden’s in Britten’s life, creatively, intellectually and W H Auden, afigure whohad loomedlarge accomplished collaboration with It turnedoutto bethelast,andperhapsmost premiered anew choral work inNovember 1942. his debtto Ceciliawas paid whentheBBC Singers 1935 (hecouldn’tfind therighttext atthattime), such anauspiciousday, andafter afalse start in was perhapsinevitable from someonebornon of thepatron saintof music.A due serendipity, gave birthto himonthefeast day great thingsmusicallycamewhenhismother, with The very first signthatBritten was destinedfor extensive index of Britten’s authorlyaccomplices. racks upmore credits thanany other nameinthe choice of texts ranged widely. And‘Anonymous’ Owen, Shakespeare, DonneorTennyson, his of texts. Whetheritwas WilliamBlake orWilfred always brilliantly, intelligently alertto the potential From hisearliestdays, BenjaminBritten was Rob Macdonald Dobell Mark Edward McMullan Hopkins &Kirsty Cooper Julie 27 Op to StHymn Cecilia, Britten Benjamin tenor tenor bass bass alto

sopranos sopranos

(1913–76) completed andthesecondcomposedafresh time, the other choral masterpiece from thesame muse certainly visited Britten here, andin with immortal fire’. Herstartling, incendiary [to] comedown andstartle composingmortals Auden bidsCeciliato ‘appearandinspire… vocalised ,drum,flute andbuglecall. out Auden’s instrumental allusionswithcleverly solos inthefinal section–where Britten draws resourcefully accommodating of successive nimble inthecentral, imitative scherzo,and The five-part choral writingisimpressively at thefirst letters of thepatron saint’sname. section and‘BlessedCecilia’refrain hinting focus around CandEmajorintheopening intent intheouter sections,withthetonal There issuchclarityof texture andharmonic Programme note ©MeurigBowen withitsprecious composercargo. dodged theU-boattorpedoes andmade itto we canonlybethankful thatthe vessels inthosetransatlantic wartime convoys, York inearly1942. Given thefate of somany and hazardous homeward voyage from New on board aSwedish cargo shiponalengthy (1942)

. Thefirst was Axel Johnson

O earwhosecreatures cannot wishto fall, Composing mortals withimmortal fire. Translated Daughter, comedown andstartle To allmusicians,appearandinspire: Blessed Cecilia,appearinvisions Different. Love me. I shallnever be For any deed. No longerneedit Dancing becauseyou All you lived through, By suffering. Can now donothing When itknows it I amdefeat Whom Icouldwrong. Whom Ibelongto, There isnocreature I cannot err; I onlyplay. To runaway from, I have noshadow I cannot grow; Composing mortals withimmortal fire. Translated Daughter, comedown andstartle To allmusicians,appearandinspire: Blessed Cecilia,appearinvisions The hugeflame flickered and easedtheirpain. And around thewicked inHell’sabysses Came outof theirtrance into timeagain, At soundssoentrancing theangelsdancing In anoyster shellontop of thesea; White asanorchid sherode quite naked Moved to delightby themelody, Blonde Aphrodite rose upexcited, Thundered outontheRoman air. And notes tremendous from hergreat engine Constructed anorgan to enlarge herprayer, And by ocean’smargin thisinnocentvirgin Poured forth hersonginperfect calm: Like ablack swan asdeathcameon With reverent cadence andsubtlepsalm, In agarden shady thisholylady Hymn to StCecilia Benjamin Britten Where Sorrow isherself,forgetting all O calmof spaces unafraid of weight, Composing mortals withimmortal fire. Translated Daughter, comedown andstartle To allmusicians,appearandinspire: Blessed Cecilia,appearinvisions O wear your tribulationlike arose. About thefortress of theirinnerfoe. O trumpetsthatunguarded children blow O blessthefreedom thatyou never chose. Of convalescents ontheshores of death. O flute thatthrobs withthethanksgiving breath That whathasbeenmay never beagain. Long winter of ourintellectual will. O law drummedoutby heartsagainst thestill O weep, child,weep, Oweep away thestain. Is drawn across ourtrembling violin. O crycreated asthebow of sin Weep for thelives your wishesnever led. Lost innocencewhowishedyour lover dead, O weep, child,weep, Oweep away thestain, Impetuous childwiththetremendous brain, Of dreadful thingsyou did:Ohangthehead, So gay against thegreater silences So smallbesidetheirlarge confusingwords, Playing among theruinedlanguages, O dearwhite children casualasbirds, Restore ourfallen day; Ore-arrange. Into aworld of truthsthatnever change: And Dread bornwholeandnormallike abeast From every outworn image isreleased, Where Hopewithinthealtogether strange The gauchenessof heradolescent state, W HAuden (1907–73)

5 Texts 6 of amiracle inOctober. Thesetexts are woven the summerof 1917, culminatingin herprediction from various apparitionsof Marythroughout sung by thesoloist.Thesefragments are taken Trinitarian text before we hearOurLady’s words ). ThefullchoirthensingLatinverses of a the words of theAngel(sungby thebassesin mysterious orchestral introduction before we hear in onecontinuousmovement, starting witha Trinitatis from hymns associated withFátima, English andPortuguese –andalsoincludestexts The work iswritten inthree languages –Latin, at theMiracle of theSunon13 October 1917. expressions from membersof thecrowd present Our Lady, andalsofrom documented verbal taken from theApparitionsof theAngelandof the Centennial of theApparitions.Thetexts are of FátimainPortugal to marktheCelebration of chorus andorchestra commissionedby theShrine The SunDanced Bevan Mary Danced Sun The Sir James MacMillan and Ave Theotokos soprano soprano isawork for soprano soloist, . Thework iswritten Sanctissimae (2016) premiere UK Programme note ©SirJamesMacMillan The work isdedicated to my daughter Catherine. a final joyous orchestral dashto theclose. Greek andLatinwords of praise to Maryand choir. Thefinal codahasthechoirexclaiming accompanied by soft chords onstringsand is more ecclesiastical,like Gregorian chant, Fátima celebrations. Thistimethevocal style liturgical fragments associated withthe arioso The final sectionof thework isanother day. exclamations thatwere heard inthecrowd that section we hearthechoirinterject someof the At pointsthroughout thisfast-moving central of peopleinFátimaon13 October 1917. the Miracle of theSun,witnessedby thousands – aninstrumental ‘dance’inspired by stories of forward towards thecentral orchestral fantasy together asthebasisof asoprano aria,pushing for thesoprano soloist,basedon (born 1959)(born

many soulswillbesaved andthere willbepeace. You have seenhell…IfwhatIsay to you isdone, peace for theworld andanendof war. of OurLady of theRosary inorder to obtain Continue to pray theRosary every day inhonour Words spoken by MaryatFátima,13 June1917 world andanendto thewar. Pray theRosary every day to bringpeace to the Words spoken by MaryatFátima,13 May 1917 Are you willingto offer yourselves to God? desire. AndIshallreturn here yet aseventh time. same hour. Later Ishallsay whoI am andwhatI months onthethirteenth day of themonth,atthis I have cometo askyou to comehere for six I amof Heaven. Do not beafraid; Iwillnot harmyou. Soprano solo miserorum peccatorum te precor. non Immaculati Cordis Mariae pro conversione per infinita merita SanctissimiCordis eiusnec reparanda, quibusipseillevalde offenditur. Et ad opprobria, sacrilegia etopera desidiae tibi offero, inomnibussacralis terrae praesentis, sanguinem, animametdivinitatem JesuChristi Sancte, intimete adoro etpretiotissimum corpus, Sanctissimae Trinitatis Pater, FilietSpiritus Chorus Second apparitionof theAngel,summer1916 Eu souoAnjodasuaguarda, oAnjodePortugal. First apparitionof the Angel,spring1916 adoram, nãoesperam enãoVos amam. Peço-Vos perdão para osquenãocreem, não Meu Deus,eucreio, adoro, espero eamo-Vos. Não temais! SouoAnjoda Paz. Orai comigo: Chorus The SunDanced Sir JamesMacMillan cease offending God,aworse onewillbreak The war isgoingto end,butifpeopledonot Translation by Edward Tambling conversion of miserable offenders, Ibeseech you. and alsoof theImmaculate Heartof Mary, for the through theinfinite meritsof hisMostHolyHeart, of apathy, by whichheisgreatly offended. And to repair theinsults,acts of sacrilege andworks Jesus Christ,inallholythingsof thepresent earth, most precious body, blood,soulanddivinityof Trinity, Iheartilyworship you andIbringto you the O Father, SonandHolySpirit,of themostHoly Translation by Eduardo Ganilho I amyour guardian angel,theangelof Portugal. do not adore, donot wait and donot love You. I askYou forgiveness for thosewhodonot believe, me: MyLord, Ibelieve, worship, wait andlove You. Do not fear! Iamtheangelof peace. Pray with

7 Texts 8 James MacMillan of theLord. heavenly dwelling place, untilthegloriouscoming people, andlovingly direct their steps to the heaven, Isurround withmy eternal love thepilgrim supplicant people.Finallyelevated to thegloryof to theirprayers andbecamethemodelfor a Spirit, thepromised one,Iunited my supplications the Apostleswere awaiting thecomingof the Holy to eternal life through thedeathof my Son.When received all menandwomen asmy children, born the Creator of theworld. Atthefoot of theCross I conceived Himinmy womb, andgave birthto I received your Word inmy Immaculate Heart.I Soprano solo documented verbal expressions Miracle of the Sun on13 October 1917 – Lindo sol!Quelindacoisa! Olhem para osol! Milagre! Olhem! Chorus Words spoken by MaryatFátima,19 August 1917 In thelastmonthIwillperform amiracle … Words spoken by MaryatFátima,13 October 1917 soldiers willsoonreturn to theirhomes. Continue … Thewar isgoingto endandthe here inmy honour. IamtheLady of theRosary. I want to tell you thatachapelisto bebuilt Words spoken by MaryatFatima, 19 August 1917 three other boys. the other oneisto becarriedby Francisco and and Jacinta andtwo other girlsdressed inwhite; Have two litters made. Oneisto becarriedby you Words spoken by MaryatFatima, 13 July1917 end of thewar. Continue to pray theRosary inorder to obtain the given by God. unknown light,know thatthisisthegreat sign out …Whenyou seethenightillumined by an Look atthesun! Miracle! Look! Beautiful sun!Whatabeautifulthing! interval by permission compilation ©JamesMacMillan; reproduced Portuguese translation ©Eduardo Ganilho; English translation ©Edward Tambling; Ave Maria! Ave, OMater Dei! Ave, OTheotokos! Chorus Translation by Eduardo Ganilho Senhor. para amorada celeste, até àgloriosa vindado povo peregrino, eemamordirijo ospassosdele do céu,euenvolvo comomeuamoreterno o para umpovo suplicante. Elevada porfim àglória súplicas àspreces delesetornei-me omodelo Espírito Santo, oprometido, euuniasminhas Quando osApóstolos esperavam avindado para avidaeterna pelamorte domeuFilho. homens emulheres comomeusfilhos, nascidos do mundo.Aos pésdaCruzrecebi todos os Concebi-O nomeuventre, edeiàluzoCriador Recebi oteu Verbo nomeuImaculado Coração. Alternative Portuguese text 20minutes

Translation by Edward Tambling Hail Mary! Hail, OMother of God! Hail, Obearer of Jesus!

9 Texts 10 moths flapping around acandleflame. ‘means’ any more, are drawn towards itlike not fullyknowing whatwritingasymphony consider adding to it.Butsomeof us,perhaps of any livingcomposerfoolhardy enoughto which loomslike agiantghostover theshoulder monumental impact onit,isanimposinglegacy The symphonic tradition, andBeethoven’s For text, seepage12 Eighth Symphony. Butitstillfeels like relatively Creator Spiritus piece whichsticks outisthesettingof the of theTrinity, and inthe20thcenturyone past whichsettexts devoted to theThird Person There are, of course,many great motets from the of theHolySpirithasbeenhandledinmusic. he begantalking to meabouthow theconcept suggested Iwrite my own was hewho,alongwithHarryChristophers, and hasaspecialconcernfor sacred music. It Studzinski hastaken agreat interest inTheSixteen the sameperformers. Thephilanthropist John commissioned from thesamesource andinvolved came ontheback of my symphony, ifvery different to Beethoven’s. It My FifthSymphony turnedoutto beachoral Ben Dobell Mark Porter Kim Cooper Julie vel igne Igne III Zao II Ruah I Sixteen The and Christophers Harry Commissioned by the Genesis Foundation for Inconnu’ grand Symphony 5, ‘Le No Sir James MacMillan

alto bass bass tenor tenor in thefirst movement of Mahler’s soprano soprano Stabat mater Stabat mater andwas . After that . After that Veni arts, even by non-religious musiclovers, andthere Music isdescribedasthemostspiritualof the secular society, especiallyinrelation to thearts. our contemporary post-religious andnow post- There isareal burgeoning interest inspirituality concepts of creativity andspiritualityoverlap. time to explore thismysterious avenue, where unexamined territory, soperhapsnow isthe the very first soundsheard inmy symphony. both “wind” and“breath”.’ Thesewords provided Greek “pneuma”and theLatin“spiritus”mean Spirit ismysterious. TheHebrew “ruah”,the drew mein:‘Even hisname reveals thattheHoly the Cross. This linefrom thebookinparticular attention to some visionarypoetryby St Johnof of entry, theologically, butitalsocalledto my Carmelite Wilfred Stinissen. Itwas a goodpoint Holy Spirit,Fire of DivineLove when JohnStudzinski gave meacopy of in musicfor two choirsandorchestra. Itbegan attempt to explore themystery discussedabove Fifth Symphony isnot aliturgical work. Itisan paeans of praise associated withliturgy. My perhaps even beyond theusualhymnody and as myself mightwant to explore thisinmusic, It surely makes sensethataCatholicartistsuch that musiccanreach deepinto thehumansoul. is today agenuinelyuniversal understanding by the Belgian by the Belgian ( 2019

The The )

Programme note ©SirJamesMacMillan communing withtheEnglishRenaissance master. symphony, andproviding ameansto continue that Iwas composingatthesametimeas part companionpieceto Tallis’s to themulti-voice writingof ensembles into 20parts,offering aparallel of thesecondmovement Idividethesetwo chamber choirandalarge chorus.Attheend The two choirsintheFifthSymphony are a the required elementfrom momentto moment. whisperings andmurmurings,devised to paint sung. Inaddition to breathing noises,there are sounds inthechoirwhichwere not necessarily use intheorchestra, aswell asextended vocal or reflect thegeneral direction, whichsoundsto corresponding momentinScripture mightamplify bits of St Johnof theCross to use,which and often dictated theoverall structure: which choice of texts ineach of thethree movements Sound associationsandimpressions guidedthe replicated intheEnglishspiritualtradition. mystery of theHolySpiritwhichIcannot find Inconnu’, aFrench term usedto describethe The FifthSymphony hasasubtitle–‘Legrand vivid sources of visualandsonicinspiration. Holy Spirit(wind,water, fire). Thesebecame with thephysical elementsconnected to the (Latin for ‘fire orfire’). So,each hasassociations for ‘livingwater’) andthethird is‘Ignevel Igne’ called ‘Ruah’,thesecond‘Zao’ (ancient Greek associated withtheSpirit. Thefirst movement is elemental andprimalsounds andwords setting of text andmore anexploration of The work, to beginwith,islessatraditional Vidi aquam Spem inalium , a40-

11 Programme note 12 The joy isyours; I amthecup. The drinkisyours; I amtheriverbank. The rivers are yours; Soloists Aquam viventem Zao Mayim Chayim II Zao where they were sitting. of arushingmightywind,anditfilled allthehouse And suddenly there came a sound from heaven as Pneuma from orwhere itgoes. sound of it,butyou donot know where itcomes The windblows where itwills,andyou hearthe How tenderly you swell my heartwithlove! Filled withgoodandglory, And inyour sweet breathing, Come, southwind,come,you thatwaken love. Breathe through my garden. Ruah Breathe through my garden. Spiritus Pneuma Ruah I Ruah Symphony No 5,‘Legrand Inconnu’ Sir JamesMacMillan flumina deventre ejusfluent aquae vivae! me etbibat.Quicredit inme,sicutdixitScriptura, Jesus, etclamabatdicens:Siquissitit veniat ad In novissimo autem diemagno festivitatis stabat Mayim Chayim. Streams cameup… Zao I amthepulse. The life isyours; I amtheray. The lightisyours; I amthesong. Latin for ‘LivingWater’ Greek for ‘LivingWater’ Hebrew for ‘LivingWater’ Acts 2:2 John 3:8 St Johnof theCross St Johnof theCross (1542–91) Latin for ‘breath’ Greek for ‘breath’ Hebrew for ‘breath’ John 7: 37–8 (Vulgate) from withinthem.’ Scripture hassaid,rivers of livingwater willflow come to meanddrink.Whoever believes inme,as said inaloudvoice, ‘Letanyone whoisthirsty On thelastday of thefestival, Jesusstood and Genesis 2:6 St Johnof theCross Spiritum nolite extinguere. Igne vel igne. You changeddeathto life. O livingflame of love, O gentlehand! O delightfulwound! O sweet cautery, In itsdeepestcentre! That tenderly wounds my soul O livingflame of love Infirma nostricorporisvirtute firmans perpeti. Infunde amorem cordibus, Accende lumensensibus, fons vivus,igniscaritas etspiritalis unctio. donum Deialtissimi Qui dicerisParaclitus, That tenderly wounds my soul. love … gentlehandlivingflame …Olivingflame of … livingflame …flame of love …delightful wound Pyr Esh O gentlehand! O delightfulwound! O sweet cautery, In itsdeepestcentre! That tenderly wounds my soul O livingflame of love III Ignevel igne (c780–856) Veni Creator Spiritus,attribRabanus Maurus confirm ourmortal frame. and withyour strength, whichnever decays, with love ourheartsinflame; O guideourmindswithyour blestlight, truelove. the livingspring,fire, sweet unction and best giftof Godabove, You whoare calledtheParaclete, Greek for ‘fire’ Hebrew for ‘fire’ St Johnof theCross University Press permission of theCrown’s patentee, Cambridge in theUKare vested intheCrown. Reproduced by (King James)’Version. Rightsin theAuthorised Version All rightsreserved worldwide. And‘TheAuthorised in theUnited States of America.Usedby permission. 1966 by NationalCouncilof theChurches of Christ the Revised Standard Version of theBible’©1965, Scripture quotations from ‘TheCatholicEditionof Studies. Rodriguez OCD©1979 by the Institute of Carmelite translated by Kieran Kavanaugh OCDandOtilio ‘The Collected Works of St Johnof TheCross’ Quench not theSpirit Latin for ‘fire orfire’ (1 Thess5:19)

13 Texts 14 Hans van der Woerd his identity as a Scot, a Socialist and a Catholic. his identityasaScot, aSocialistandCatholic. at itsheartisastrong anddirect expression of culture andiseclecticinitsmusicallanguage, but His outputdraws onmany aspectsof world knighthood in2015. in hisAyrshire hometown. Hewas awarded a Tryst, afestival heldeach October He isthefounder andArtisticDirector of the Chamber Philharmonicfrom 2009until2013. Guest Conductor of theNetherlandsRadio in from 2000to 2009andPrincipal Composer/Conductor of theBBC Philharmonic Much indemandasaconductor, hewas in Londonfrom 1992 to 2002. Philharmonia Orchestra’s ‘Musicof Today’ series from 1990 to 2000andArtisticDirector of the Composer of theScottish ChamberOrchestra before returning to . He was Affiliate at theUniversity of Manchester from 1986 to 1988 his compositiontutor was JohnCasken. Hetaught Edinburgh andtheUniversity of Durham,where Born inAyrshire, hestudiedattheUniversity of nation. and asignificant figure inthepubliclife of the the leading Scottish composerof hisgeneration James MacMillan, whoturned60on16 July, is Sir JamesMacMillan composer the About Sir JamesMacMillan

Michael SymmonsRoberts. Hischoral music from Welsh mythology by hisregular collaborator in2007–thelatter withalibretto adapted the 1996 Edinburgh International Festival, and Castro occasions. Histwo largest are him to tackle themediumof opera onseveral ingrained feeling for musicalstorytelling’ has led Johnson hascalled‘MacMillan’s deeply What thewriter andbroadcaster Stephen MacMillan’s works to have appeared onCD. First Symphony Concerto (for ) andthe Ransoming the liturgy of HolyWeek consistingof the works andconcertos, whichare intertwined in The two works launchedtwinseriesof orchestral received over 500performances worldwide. based ontheAdvent plainchant,whichhasnow 1992 Reformation Scotland. Equallysuccessfulwas the the persecutionof allegedwitches inpost- Confession of IsobelGowdie orchestral work of 1990, thepowerful These allegiancesare central to hisbreakthrough Profile ©Anthony Burton at the2019 Edinburgh International Festival. ‘Le grand Inconnu’received itsworld premiere James MacMillan’s choral FifthSymphony, the seriesof exquisitely wrought Benedict’s visitto theUKin2010; andsuch Newman music includingthe the 2016 Oregon Bach Festival; congregational in 2008,and commission first performed underColinDavis John Passion embraces suchlarge-scale works asthe Triduum , given itspremiere by Scottish Opera at for open-airservicesduringPope with obbligato , the withobbligato coranglais,theCello of 1995–7, atriptych suggested by Strathclyde Motets , first staged by Welsh National , aLondonSymphony Orchestra A European Requiem Vigil Mass of Blessed John Henry Mass of BlessedJohnHenry a cappella . Theseare amongmany of Veni, veni Emmanuel , suggested by miniatures as . , written for The World’s The The Inés de Inés de St St

,

Marco Borggreve About the performers scale tour of Monteverdi’s Vespers of 1610, the an ArtistResidency attheWigmore Hall,alarge- orchestra. Highlights of their recent work include and developed anacclaimed period-instrument created the its hugelysuccessfulannualChoral Pilgrimage, Under hisleadership TheSixteen hasestablished new works by contemporary composers. from late medieval polyphony to important standards for theperformance of everything with TheSixteen, hehassetbenchmark champions of choral music.Inpartnership Harry Christophers stands amongtoday’s great Harry Christophers Harry Christophers Sacred Music conductor seriesfor BBC television, from theUniversities of Leicester, Northumbria, Drama, andhashonorary doctorates inmusic as well astheRoyal Welsh Collegeof Music& Honorary Fellow of Magdalen College,Oxford, Queen’s 2012 Birthday Honourslist.Heisan Harry Christophers was awarded aCBEinthe Granada, Buxton andGrange festivals. Opera andLisbonOpera andwork withthe embraced productions for EnglishNational His extensive commitmentto opera has the DeutschesKammerphilharmonie. the SanFrancisco Symphony Orchestra and Symphony Orchestra, BBC Philharmonic, conductor with,amongothers, theLondon Granada Orchestra and hasworked asguest is PrincipalGuestConductor of theCityof of theHandelandHaydn Societysince2008, Harry Christophers hasserved asArtisticDirector survey of Handel’sdramatic oratorios. new seriesdevoted to Purcell andanongoing Chapel. Future projects, meanwhile, comprisea MacMillan’s Festival andalive-streamed performance of Symphony atthe2019 Edinburgh International world premiere of SirJamesMacMillan’s Fifth Canterbury ChristChurch andKent. Stabat mater from theSistine

15 About the performers 16 Victoria Cadisch Mary Bevan City of BirminghamSymphony Orchestra and and Haydn Society, Scottish ChamberOrchestra, platform sheappearswiththeHallé,Handel of theAge of Enlightenment. Ontheconcert Diana ( Monte-Carlo; aswell asatour intherole of Rose Maurrant ( Sifare ( the Underworld as Eurydiceinanew production of Highlights thisseasonincludeherrole debut birthday honourslistearlierthisyear. and was awarded aMBEintheQueen’s Award for Exceptional Young Talent inmusic Young Artistaward andUKCritics’Circle winner of theRoyal PhilharmonicSociety’s and ensemblesaround theworld. Sheisa regularly withleading conductors, orchestras contemporary repertoire, andappears renowned inBaroque, Classicaland British soprano MaryBevan isinternationally Mary Bevan the Real Orquesta SinfónicadeSevilla. Mitridate Iphigenie enTauride soprano for EnglishNationalOpera; Street Scene ) for Garsington Opera; and ) withtheOrchestra ) for Opéra de Orpheus in Orpheus in Middleton and song album Mary Bevan’s discography includesherart debut withtheLondonPhilharmonicOrchestra. Dalinda ( her CarnegieHalldebutwiththeensembleas English ConcertandHarryBicket andmade Ancient Music.Shealsotoured AsiawithThe Faithful Journey in theworld premiere of Roxanna Panufnik’s Marriage of Figaro Maker’s Daughter the role of Lila(David Bruce’s Opera House,Covent Garden, shecreated ( for EnglishNationalOpera, andMerab Opera attheBarbican,Zerlina( Turnage’s new opera at theTeatro Real, Madrid, thetitle-role in del Tempo edelDisinganno Danish Opera debutasBellezza( Recent operatic highlightsincludeherRoyal Early Opera, both onSignumRecords, Orchestra; and the Choirof LondonandAustralian Chamber Christmas Oratorio Beamish’s the Age of Enlightenment asMaryinSally and withMirga Gražinyte Orchestra, BBC ConcertOrchestra attheProms, include appearences withtheBBC Symphony On theconcertplatform, recent highlights Orpheus on SignumRecords isreleased thisautumn. Philharmonic. HerseconddiscwithMiddleton and Schubert and Vaughan Williams’sSymphony No 3 Ode for St Cecilia’sDay Handel’s Mendelssohn songsfor ChampsHillRecords, Saul ) for theAdelaide Festival. AttheRoyal attheSamWanamaker Playhouse. Ariodante The Triumph of TimeandTruth The JudasPassion Voyages Rosamunde Handel’s Queens . ShejoinedtheOrchestra of Messiah ), andsangBarbarina( ) andthetitle-role inRossi’s ontour inAustralia with ). In2020shewillmake her with pianist Joseph withpianistJoseph Coraline withtheAcademy of with LudusBaroque, . withtheBBC -Tyla andtheCBSO ), Rose Maurrant ; performed Bach’s The Firework- for theRoyal Don Giovanni with London withLondon Il trionfo Il trionfo and and The The ) oratorios andadebuttour of China. an ambitiousongoingseriesof Handel for TheSixteen by theGenesisFoundation, International Festival), both commissioned ‘Le grand Inconnu’(2019 Edinburgh the Barbicanin2016), andhisFifthSymphony of SirJamesMacMillan’s Recent highlightsincludetheworld premieres recordings for theirown CORO andother labels. world’s leading concerthalls,andaward-winning and sacred spaces, regular appearances atthe Choral Pilgrimage to Britain’s great cathedrals of music,abreadth reflected intheirannual The Sixteen are athomeinover five centuries The voices andperiod-instrumentplayers of and through BBC television’s audience, not leastas‘TheVoices of ClassicFM’ of choral musicandattracted alarge new has made aprofound impact ontheperformance Christophers CBE.Theirpioneeringwork since the direction of Founder andConductor Harry year, having given itsfirst concertin1979 under The group iscelebrating its40thanniversary this music thatspeakabove allto somany people. and intensity withwhichTheSixteen makes clearly essentialto themix.Butitiscourage rhythmic precision andimmaculate intonation are common to allgreat ensembles.Tonal warmth, choral composition,doessowithqualities and emotional language of acontemporary medieval hymn orexpressing thecomplex musical The Sixteen, whetherperforming asimple The Sixteen Stabat mater Sacred Music (at (at series. their reputation onthemusiccircuit. showing trueentrepreneurialism indeveloping several have setuptheirown choirsandare professional groups, includingTheSixteen, and are now performing, recording andtouring with years have enjoyed significant success:many costs. Alumnifrom GenesisSixteen’s first eight tuition butalsoabursaryto cover alladditional Foundation, participantsnot onlyreceive free Thanks to aclosepartnershipwiththeGenesis conductors intheearlystages of theircareers. Scholarship,supportinggraduate In 2014 theschemewas expanded to include a the industry’stop vocal experts. of TheSixteen andmasterclasses runby someof individual andconsortmentoring from members and associate conductor EamonnDougan, group tutoring from conductor HarryChristophers During theyear-long schemesingersreceive between studentandprofessional performer. ensemble singers,helpingthemto bridgethegap to nurture thenext generation of talented young Sixteen’s uniquefree training schemethataims Now initsninthyear, GenesisSixteen isThe Genesis Sixteen

17 About the performers 18 presents an annual series at the presents anannualchambermusicseriesatthe residencies inNorwichandCambridge.It Orchestra at Saffron HallinEssex andhas Ensemble here attheBarbican,Resident world’s leading ensembles.ItisanAssociate Today isheralded asoneof the even themostexcluded individualsandgroups. underlying philosophy of finding ways to reach the communitieswithwhichthey work, withan Britten Sinfonia musiciansare deeplyrooted in Center orinLincolnshire’s Crowland Abbey. the orchestra isperforming atNew York’s Lincoln commitment to uncompromising quality, whether collaborators, andalways underpinnedby a by arichdiversity of influences andartistic namesake’s ethos.Itsprojects are characterised strong. ButBritten Sinfonia alsoembodiesits East of England,where Britten’s roots were also in partahomage to itschosenhomeof the The orchestra isnamedafter BenjaminBritten, experience withanunusualintensity. music events thatboth audiencesandperformers conductor; andto create involving, intelligent rather thanfollowing thevisionof aprincipal across thearts,focusing onthemusicians with composers,conductors andguestartists between oldandnew music;to collaborate a uniquevision:to collapsetheboundaries and chambermusicianscametogether with ensemble comprisingtheUK’sleading soloists conventional image of anorchestra. Aflexible established asaboldreimagining of the Just over 25years ago, Britten Sinfonia was Britten Sinfonia young performers, have performed inmuseums, orchestra’s youth chamberensemblefor talented Members of Britten Sinfonia Academy, the original andexciting UKcompositionaltalent. a professional commissionandunearthsnew, unpublished composersthechanceto receive The orchestra’s annualOPUScompetitionoffers prisoners andolderpeopleatriskof isolation. people suffering from dementia,life-time pre-school children, teenagers, young carers, work oncreative andtherapeutic projects with Outside theconcerthall,Britten Sinfonia musicians work whichwillbepremiered on23October. Reich andvisualartistGerhard Richter inanew ground-breaking partnershipbetween Steve orchestra isalsoacommissioningpartnerin Mehldau andMark-Anthony Turnage. The Barry, Shiva Feshareki, EmilyHoward, Brad with commissionsfrom ThomasAdès, Gerald Tanowitz andtheatre director Ivo van Hove, Keaton Henson,dancer/choreographer Pam Recent andcurrent collaborators include Hyperion andHarmoniaMundilabels. and hasaward-winning recordings onthe Europe. ItisaBBC Radio 3Broadcast Partner tours to theUSA, Mexico, Chinaandmuchof to Amsterdam, Paris andBilbao. Thisseasonit worldwide from theSistineChapelandtoured broadcast live to more thanamillionpeople Proms. Over thepastyear theorchestra has and Norfolk andNorwichfestivals andtheBBC UK festivals, includingtheAldeburgh, Brighton Wigmore Hallandappearsregularly atmajor workshops andappeared attheLatitudeFestival. improvised withlaptop artists,ledfamily Alice Webster* Alex Turner* Elena Stamp* Kim Porter Elisabeth Paul* Edward McMullan Rebecca Leggett* Jessica Haig* Lewis Cullen* Tristram Cooke* Daniel Collins Nancy Cole* Anya Chomacki* Ian Aitkenhead Alto Ellie Sperling* Ella Rainbird-Earley* Kirsty O’Neill* Danni O’Neill* Charlotte Mobbs Ellen Mawhinney* Hannah Littleton* Margaret Lingas* Sofia Kirwan-Baez* Alexandra Kidgell Kirsty Hopkins Katy Hill Camilla Harris* Hannah Ely* Hannah Cox* Julie Cooper Amy Carson Elizabeth Adams* Soprano Sixteen The John Lee* Tim Jones Sebastian Johnson* Nathan Harrison* Peter Edge* Paterson* Colum Donovan- Ben Davies Freddie Crowley* Robert Clark* Bass Willoughby* Christopher Zahid Siddiqui* George Pooley Matthew McKinney* Sam Jenkins* Alexander Hume* Oscar Golden-Lee* Phil Durrant* Mark Dobell Joshua Cooter* Tom Castle* Jeremy Budd Harry Bradford* Simon Berridge Tenor * Genesis Sixteen * GenesisSixteen Stuart Young Oliver Neale* Johannes Moore* Rob Macdonald

Amanda MacLeod Outreach Manager Education & AmyMitchell Co-ordinator Development Jessica Tomkins Marketing Manager Emily Walker Manager Planning & Artistic Concerts Carol McCormack Director Development Willis Marie-Sophie DirectorArtistic Chief Executive & Management Team The Sixteen Jessica Haig Box Jessica HaigBox Manager Genesis Sixteen Media Relations Media Rebecca Driver PR Isabel Crawley Office Co-ordinator AmyDonaldson Co-ordinator & Tours Concerts Oliver Doyle Co-ordinator Office &Marketing

19 About the performers 20 Francis Kefford Ian Rathbone Rachel Byrt Bridget Carey Luba Tunnicliffe Carmen Flores Viola Joanna Watts Jo Godden Bridget Davey Judith Stowe Anna Bradley Suzanne Loze Nicola Goldscheider Miranda Dale JacquelineShave Violin 1 Sam Rice Melissa Favell-Wright Lucy Shaw Ben Scott-Russell Reinoud Ford Juliet Welchman Julia Vohralik Ben Chappell Caroline Dearnley Cello Violin 2 Ariel Lang Ellie Consta Tamara Elias Eleanor Stanford Deborah Preece Beatrix Lovejoy Fiona McCapra Ruth Ehrlich Stevens Marcus Barcham Sinfonia Britten leader

Clarinet Emma Feilding Cor anglais Emma Feilding Peter Facer Sarah O’Flynn Thomas Hancox Flute Stephen Williams Joy Farrall Tim Gunnell Owen Gunnell Percussion Matthew Turner Edward Leech Barry Clements Bass Barnaby Philpott Rory Cartmell Trombone Shane Brennan Paul Archibald Joel Ashford Matthew Gunner David McQueen Andrew Littlemore Alanna Macfarlane Alanna Macfarlane Sarah Burnett Daniel Regan Daniel Regan AssistantConcerts Hazel Terry Manager & Tours Concerts James Calver DirectorConcerts Nikola White Director Planning Artistic David Butcher DirectorArtistic Chief Executive & Management Team Britten Sinfonia Clíodna Shanahan Piano Lucy Wakeford Harp Alice Walton Director Communications Elaine Rust Finance Manager Rachel Wilkinson Co-ordinator Creative Learning Sarah Rennix Director Creative Learning Hannah Bates Manager Orchestra Personnel Nick Brealey Director Development Sophie Cohen Sophie Cohen PR Agent& National Press Tara Hill Assistant Communications Milly March Marketing Manager

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