TECCHLER's CELLO in the Palazzo Doria Pamphilj, We Would Never Have Embarked on This Journey to Rome

GUY JOHNSTON FROM CAMBRIDGE TO ROME TO FROM CAMBRIDGE TECCHLER’S CELLO TECCHLER’S

KGS0026 Without Prince Jonathan's initial invitation to host friends and supporters for an evening concert TECCHLER'S CELLO in the Palazzo Doria Pamphilj, we would never have embarked on this journey to Rome. Guy Johnston FROM CAMBRIDGE TO ROME King's College and the artists thank the following for their generous support of this recording Peter Biddulph Ltd Sir Simon and Lady Robey Bob and Elisabeth Boas Charles Roskelly 1 Serenity (O Magnum Mysterium) Ola Gjeilo 05:39 Jill and David Bowman James Roskelly 2 Ein Celloleben David Matt hews [World Premiere Recording] 05:32 Nigel W Brown OBE (Stradivari Trust) William Roskelly David and Val Cornes Mike and Katrin Roskelly Ken and Fi Costa Richard & Anna Rothwell Piano Trio in D Major, Op. 70, No. 1 "Ghost" Ludwig van Beethoven Robin Daniels Alan Sainer 3 I. Allegro vivace e con brio 10:30 Jonathan and Veronica Davies David Souden 4 II. Largo assai ed espressivo 11:08 Caroline and Tony Doggart Sir Howard and Lady Rosemary Panter Kate Dugdale Stella Villares, Luisa, Arthur and Caio Franca 5 III. Presto 07:52 John Eatwell Mayri H I Voûte Patrice and Federica Feron Jane Waldfogel 6 Un Regalo Mark Simpson [World Premiere Recording] 06:26 Fernanda Giulini Avenue Nursery and Pre-Preparatory School Gill and David Johnston Harriet's Trust Six Cello Sonatas, Book 4, Sonata No. 4 for Two Cellos in G Major Jean-Baptiste Barrière David and Louise Kaye Ingles and Hayday, sponsoring Roberto González 7 I. Andante 04:31 Mr & Mrs H K Leventis Monjas, Alberto Mina and Ruggiero Sfregola Ms Anna Marra Royal Academy of Music 8 II. Adagio 02:33 Penny Wright and Andrew Neubauer Tarisio 9 III. Allegro prestissimo 02:33 Justin Pearson Anonymous sponsors

10 Perseus Charlott e Bray [World Premiere Recording] 07:55 King's College would also like to thank Accademia Nazionale di Santa Cecilia Melissa Greenwood 11 Adagio con variazioni (P 133) Ott orino Respighi 10:57 Adam Middleton Orchestra dell'Accademia Nazionale Becky Lees di Santa Cecilia Total Time 75:36 British School at Rome Palazzo Doria Pamphilj David Millinger Robin Hawkins Decca Classics Royal Academy of Music Track 1 Guy Johnston, Stephen Cleobury, The Choir of King's College, Cambridge Gabriel Fysh Royal Society of Musicians Tracks 2 & 6 Guy Johnston Gavin Elder Tarisio Tracks 3-5 Guy Johnston, Magnus Johnston, Tom Poster Hatfi eld House Thomas Rozwadowski Tracks 7-9 Guy Johnston, Sheku Kanneh-Mason (appears courtesy of Decca Classics) Jane Howell Wigmore Hall Track 10 Guy Johnston, Tom Poster Track 11 Guy Johnston, Carlo Rizzari, Orchestra dell'Accademia Nazionale di Santa Cecilia – Roma Matt hew Carkeek 3 Trust and the Royal Society of Musicians David Tecchler (c.1666-c.1747) In the months that followed, we performed TECCHLER'S along with some private contributors. I am a small concert in Tecchler's old workshop indebted to all these people who helped to David Tecchler is considered the most (now a garage), opposite where Rossini CELLO acquire such a beautiful instrument, without prominent of the Roman cello makers. composed The Barber of Seville; this was FROM CAMBRIDGE TO ROME whom none of this exciting journey would Originally from the Bavarian town of followed by an evening concert in the have been possible. It extends the cause for Füssen on the northern slopes of the Alps, historic Doria Pamphilj Palace thanks to celebration on this recording! Tecchler journeyed to Rome via Venice the kind permission of Prince Jonathan and Cremona, undoubtedly familiarising Doria Pamphilj. Guy Johnston introduces the journey himself with the great schools of making along the way. He arrived in Rome towards We invited around 50 supporters from the the end of the century, when he was in his UK to some of these wonderful experiences The journey began in 2014 when my cello, late twenties. to help fundraise for this recording. During made in Rome by David Tecchler, turned the visit I stayed above the old workshop, 300 years old. It was important to do There had long been a tradition of German preparing the Respighi for the recording and something special for such a momentous makers travelling to Rome. Well over 200 imagining what it must have been like with birthday, so I commissioned three new luthiers from the 16th century onwards Tecchler working downstairs three centuries works as gifts for the cello. At the same time, worked in Rome, often passing on their ago: quite a spiritual and uplifting experience. I began to imagine taking the instrument trade through the generations. Tecchler on a journey along my own musical roots arrived when a new direction for luthiers In search of a cello back to its birthplace in Rome. This would was evolving: until then, lutes and guitars indeed be a special 300th birthday. were the preferred instruments, but Tecchler Meeting a new cello is, for me, always an seized on an evolving opportunity to create exciting experience. As in any relationship, I came to know about Tecchler cellos through a tremendous output of violins, violas, fi rst impressions are important, and I was my inspirational teacher, Steven Doane, who basses and, primarily, cellos. immediately drawn to this att ractive- has played on one for most of his performing looking Tecchler. career. Many notable cellists, in fact, have Via dei Leutari, the street of the luthiers, is played on these instruments over the centuries based in the district of Parione where the During our "engagement" period, it was including Bernhard Romberg, Beatrice makers worked for their parish Saint Lorenzo important to play the instrument in lots Harrison and Emanuel Feuermann. in Damaso. While laying the groundwork of diff erent circumstances: with piano, in for this project, we were fortunate enough a string ensemble, and in concerto with The Tecchler cello on this recording came to get a foot in the door of number 16, orchestra. It was important for me to sense to me from a musician in Amsterdam in 2010, where Tecchler worked for a time. how the instrument felt and responded in thanks to funding raised by the Stradivari all these diff erent situations. My own instincts 4 5 were confi rmed by positive feedback from my 'cello doctor', and we would try minor Ola Gjeilo (b 1978) trusted colleagues and friends, and I began tweaks: changing the bridge, trying diff erent THE JOURNEY Serenity (O Magnum Mysterium) to get a good sense that this Tecchler cello tailpieces and strings, and tweaking the post. The Choir of King’s College, Cambridge might really be 'the one'. It takes time to understand an instrument, FROM CAMBRIDGE Stephen Cleobury but when it's right, you feel as one. It was, of course, a daunting process – even TO ROME I perform regularly with the Choir at Easter despite the successful fundraising for its This Tecchler cello has both a wonderful and Christmas and recently performed acquisition. Nevertheless, nerves soon turned depth and a clarity at the same time. It Serenity by Ola Gjeilo as part of the BBC to joy, as I began to develop my inner voice challenges me to search for the colours Carols from King's broadcast. It was a with this special cello in the knowledge that that I'm hearing in my ear. Our recording Chapter 1 – King's College memorable experience performing this I wouldn't have to give it back the next day. celebrates not only the tercentenary of the Chapel, Cambridge deeply moving piece during the procession cello, but also its soul that continues to live of the cross towards the altar. King's College The process of developing my sound with on all these years later. I hope that you'll I grew up in a musical family and some of Chapel seemed to be the perfect place in the instrument took some time initially. I hear this shining through in the variety of my earliest experiences of serious music- which to realise Ola's vision for the work – would take the cello to Eckhard Kopfreiter, performances on this recording. making were as a chorister with my brothers in his words: "I wanted to write a cappella at King's. These formative years continue music that has a symphonic, abundant feel. to have a lasting infl uence on my musical I love a warm, lush sound that can give a life and I have been drawn back to this feeling of space and evocativeness, but still spiritual place ever since. be intimate, somehow."

6 7 © Riccardo Musacchio

Chapter 2 – Marble Hall, slow movement – found their way into the Hatfi eld House Trio. Following in the footsteps of Haydn and Mozart, the "Ghost" exemplifi es Beethoven's Hatfi eld House has become a musical home willingness to introduce an equal partnership for Tom Poster, Magnus Johnston and me between the violin and cello on the one since I founded the Hatfi eld House Chamber hand, and the piano on the other. The three Music Festival in 2012. We have given instruments are present together right from many performances together as part of the the opening unison gesture, which is explored Festival, including the Ghost Trio in the and developed throughout the movement. Marble Hall the night before recording it. I This energetic rhythmical motive is set in feel that the spirit of that performance has contrast with a beautiful lyrical theme been captured here. revealed by the cello after an unexpected F-natural already in the fi fth bar, stopping Ludwig van Beethoven (1770-1827) this initial outburst in its tracks, and which Piano Trio in D Major, Op. 70, No. 1 "Ghost" is then shared in dialogue with the violin Magnus Johnston, violin and piano. The emotive slow movement Tom Poster, piano is in a world of its own, questioning and searching, and is followed by a celebratory It is somewhat unimaginable today to be fi nale with a playfulness not always evident off ered a piano trio in return for having in Beethoven. It was a joy to collaborate someone to stay, but this is the story of the with my brother, Magnus, whom I've always Ghost Trio. Beethoven dedicated one of his looked up to, and great friend, Tom, on best-known works, published in 1809, to this masterpiece. Countess Marie von Erdödy after staying in her Vienna home. Composed during a time in his life which produced many of his iconic works, the Trio came to be known as the "Ghost", undoubtedly thanks to the eerie slow movement.

Beethoven was also working on his "Macbeth" opera around this time and some of the ideas – for example the opening theme of the 8 Chapter 3 – London For this recording, Sheku was lent another centuries. It's Ein Heldenleben with the cello Charlott e Bray (b 1982) – Perseus Royal Academy of Music Tecchler cello. Having two cellos made by as the hero. Wigmore Hall, London Wigmore Hall the same luthier added a special dimension Tom Poster, piano to this collaboration, as if two characters David writes: "I chose the title Ein Celloleben These two venues play a signifi cant part were reunited after all these years. We had by analogy with Strauss's Ein Heldenleben. Perseus is the result of Charlott e's time spent in my musical life. I have the pleasure of great fun during the recording, not least Within its four-minute duration the music as Composer in Residence at the Hatfi eld teaching a small class of cellists at the Royal by swapping parts in the repeats, and I'm encompasses the whole range of the cello House Chamber Music Festival. Perseus is Academy of Music and have given many delighted that Sheku agreed to come on from bott om C to a top high G, and passes a black hole, deep in space, and Charlott e concerts at the Wigmore Hall over the years. this journey with me. through moods of contemplation, intense conjures up a cosmic atmosphere that creates animation and light-hearted scherzando. a remarkable feeling of otherworldliness. Jean-Baptiste Barrière (1707-1747) Three commissions Towards the end there are three quotations, Charlott e even uses Tecchler's name within Sonata for two Cellos in G Major played very quietly on harmonics: from the music, and I wonder if the three-note Royal Academy of Music, London When I commissioned these three works, I Corelli's Christmas Concerto; Beethoven's rhythmic motif was a subconscious response th Sheku Kanneh-Mason, cello asked the composers to think of the evolving E minor Piano Sonata; and Ravel's Piano to the 300 anniversary. role of the cellist over the last three centuries Trio. There is also a ghostly quotation of the Jean-Baptiste Barrière was a composer and and to let their imaginations run wild. The opening of Beethoven's Cello Sonata in C." Here's what Charlott e has to say: "I decided cellist living during the fi rst half of the 18th results are three wonderful, unique responses to take the cello maker's name, David century when the cello was gaining popularity to the same brief. We travel through the We recorded this celebratory work at Tecchler, and translate the lett ers into a over the viol in France. This vibrant work centuries with David Matt hews' work, into Wigmore Hall, London, and developed some musical language to form the harmonic showcases two cellos in dialogue in the Space with Charlott e Bray's, and have been of the ideas during the process. You'll hear backbone of the work. The fi rst section celebratory key of G major. given "a gift" by Mark Simpson. some left hand pizzicato during the quotations after the introduction, for example, while I continue to play the upper line with follows the lett ers of his name: I couldn't resist asking Sheku, whom I've David Matt hews (b 1943) – Ein Celloleben the bow, which was a development made D-A-v-i-D t-E-C-C-H(B)-l-E-r. known since he fi rst started the cello, to join Wigmore Hall, London during the recording session itself. me for this performance. We have a great "The work also takes inspiration from the deal in common, not least the BBC Young David chose to explore themes from works phenomenon known as a 'supermassive Musician, won 16 years apart with the composed around each centenary year of black hole'. Captivating images have recently same Shostakovich Concerto. Sheku has the cello's life. At the opening there is a revealed that the black hole in the centre of been studying at the Junior Academy for a rising gesture, right from the bott om to the the Perseus galaxy, a constellation in the number of years. top range of the cello, as if rising through Northern Hemisphere, dominates everything history from bass line to treble. The themes around it by propelling an extraordinary take us on a musical journey through the amount of radiation and energy out into the surrounding gas. The strange paradox is that 10 11 an explosive black hole is the brightest source Mark Simpson (b 1988) – Un Regalo (A Gift) of life in the galaxy: greedy and luminous. Royal Academy of Music, London I am fascinated and motivated creatively by this unseen and unknowable force. Mark Simpson's Un Regalo is virtuosic and extreme, as if a hurricane is brewing and "Exploring various imaginary states, this then subsides. The momentum of the piece abstract source found its way into the piece. builds and builds into a frenzy and disappears The introduction contains three contrasting again into nothing. It uses the full range short musical kernels, each of which are of the instrument and a variety of eff ects explored and expanded-upon in the from glissandi to ponticello to create a main body of the piece. The cello line is unique soundworld. underpinned by a low piano drone and, in the second and third phrases, a high Mark writes: "I wanted to showcase not accented chord. This fl ows into a delicate just Guy's brilliant musicianship but also section, sparsely writt en, as if the notes are the qualities of the instrument he plays and distant stars in the galaxy far away. Growing his innate understanding of it. The fantastic out of this is a new section 'White Heat, resonance of the instrument is what inspired Luminous'. An intense rhythmic and the opening gesture, with the two lowest repetitive bass line thunders away, punctuated open strings dictating the opening chord, by high stabbing clusters. The sustained harmony and shape of the work. glowing cello line leads to fast outbursts. A high cello melody sings throughout the "The piece is in four sections. The fi rst third section, the lyrical centre of the piece. showcases lyrical extremes of the instrument, It feels intense and gritt y above the powerful while the second is a relentless tarantella- chordal piano accompaniment. The fourth like music with erratic outbursts leading and fi nal section is deeply calm, a slow to a third, broader expressive music where refl ective end to the piece." intense melodic gestures meld, shift, and

13 Chapter 4 – Rome Ott orino Respighi (1879-1936) © Riccardo Musacchio His mentors have included Steven Doane, Adagio con variazioni Ralph Kirshbaum, Bernard Greenhouse, Arriving in Rome was such a wonderful Auditorium Parco della Musica, Rome Anner Bylsma as well as Steven Isserlis and moment after all the planning and recordings Orchestra dell'Accademia Nazionale David Waterman at IMS Prussia Cove. Guy leading up to this point. Savouring the di Santa Cecilia, Roma has performed at chamber music festivals and Italian language, the food, the people, and Carlo Rizzari, conductor with orchestras around the world and more taking in the extraordinary historic places recently with the NHK Symphony Orchestra made an immense impression on me in the The young Respighi wrote his Cello Concerto in Japan, a premiere performance of the build-up to the fi nal recording on this album. in E minor in 1902, but it was left unpublished Howells Cello Concerto at the Cheltenham Prior to this point I had been given a unique until he later returned to this enchanting Festival, and a new cello concerto by Charlott e opportunity to work on the Respighi with middle movement, Adagio con variazioni, Bray commissioned for the BBC Proms. Sir Antonio Pappano at the Royal Opera in 1921. This single movement therefore House in anticipation of the recording, spans much of his life as a composer. He is Artistic Director of the Hatfi eld House which would be with his orchestra and Chamber Music Festival and enjoys teaching their Assistant Conductor, Carlo Rizzari. Respighi spent his early years playing violin, a class of young cellists at the Royal Academy I couldn't have been more excited to viola and piano, as well as teaching, arranging of Music as well as being a patron of the Baroque music and studying composition experience this extraordinary opportunity Pierre Fournier Award. with Bruch in Berlin and Rimsky-Korsakov with the Accademia di Santa Cecilia in their GUY JOHNSTON in Russia. He moved to Rome in 1913 as a own concert hall. We heard Cecilia Bartoli Guy plays a 1714 David Tecchler cello, professor of composition, later being made singing a Mozart Birthday celebration generously on loan from the Godlee-Tecchler Director of the Conservatory of Santa Cecilia Trust, which is administered by The Royal concert the evening before, which inspired in 1923. This was all during a time when Guy Johnston is one of the most exciting and Society of Musicians of Great Britain. He has me greatly the following day for this Rome was the centre of orchestral life in recording, during which our supporters versatile British cellists of his generation. Born recently commissioned a number of short Italy and where Respighi was to make his into a musical family, Guy joined his brothers joined us in the Auditorium. name with works including Fountains of new works to celebrate its tercentenary by in the world-renowned Choir of King's College, Rome (1916) and later Pines of Rome (1924). composers including Charlott e Bray, David Cambridge, where he recorded the famous Matt hews and Mark Simpson. carol Once in Royal David's City, under Stephen Adagio con variazioni is dedicated to Cleobury. He went on to achieve important early Antonio Certani, an old Bolognese friend Guy Johnston is Professor of Cello at the Royal and chamber music colleague. I wished to successes through the BBC Young Musician Academy of Music, which provided the recording include a work that captures some of the of the Year title, the Guilhermina Suggia facilities of the Duke's Hall for this project, as spirit of Rome on this recording and felt that Gift, the Shell London Symphony Orchestra well as funding. it would be particularly fi tt ing to conclude Gerald MacDonald Award and receiving a the journey with this enchanting off ering. Classical Brit Award at the Royal Albert Hall. 14 15 © Aga Tomaszek Photography Symphony, China National Symphony, Hallé, © Sussie Ahlburg Generation Artists scheme in 2006, the Royal Philharmonic, and Scott ish Chamber Aronowitz Ensemble has featured extensively Orchestra, under conductors including Vladimir on BBC Radio 3. Ashkenazy, Nicholas Collon, James Loughran, En Shao, Robin Ticciati and Yan Pascal Tortelier. In addition to numerous studio recordings, He features regularly on BBC Radio 3 as soloist broadcasts have included performances from and chamber musician, and has appeared the Wigmore and Bridgewater Halls, the several times at the BBC Proms. Tom's chamber Sage Gateshead, and the Aldeburgh, Bath, music collaborators include Alison Balsom, Cheltenham and City of London Festivals. Ian Bostridge, Steven Isserlis, Guy Johnston, The Ensemble made its BBC Proms debut in and Elena Urioste, and as pianist of the 2008, and returned for two further performances Aronowitz Ensemble (former BBC New at the Proms in 2009. In 2009 the Ensemble Generation Artists), he has appeared at the won the prestigious Borlett i Buitoni Special Concertgebouw, Wigmore Hall and the Ensemble Scholarship. Aldeburgh, Bath and Cheltenham Festivals. Since 2009 Magnus has been a member of the Tom has recorded for Champs Hill Records, Navarra quartet. He plays a Hieronymus II TOM POSTER Chandos, Decca Classics, Edition Classics, MAGNUS Amati violin, 1693. EMI, Sonimage, and Warner Classics. He is also a successful composer and arranger, JOHNSTON and a lifelong fan of dugongs. Tom Poster studied with Joan Havill at the Guildhall School of Music and Drama, and at King's College, Cambridge. He has been Magnus Johnston began his musical education described as "a marvel, [who] can play anything as a chorister of the Choir of King's College, in any style" (The Herald), "mercurially brilliant" Cambridge, with which he toured all over (The Strad), and as having "a beautiful tone the world. He won a scholarship to Chetham's that you can sink into like a pile of cushions" School of Music in Manchester where he (BBC Music). studied with professor Wen Zhou Li, and then gained a scholarship to the RNCM where Tom has performed more than 40 concertos he studied with Dr Christopher Rowland. ranging from Bach to Ligeti with Aurora Magnus is a founder member of the Aronowitz Orchestra, BBC Philharmonic, BBC Scott ish Ensemble. Since joining the BBC's New 16 17 © photono time student of the Royal Academy of Music in September 2017. CARLO RIZZARI ORCHESTRA DELL'ACCADEMIA

tt Sheku has performed widely throughout ingham.co.uk the UK in venues including London's Queen NAZIONALE DI Elizabeth Hall, Barbican Hall, St John's Smith The highlight of Carlo Rizzari's training as a Square, St Martin-in-the-Fields, Cadogan Hall, conductor began in 2006, when he became SANTA CECILIA and Nott ingham's Royal Concert Hall. Sheku Antonio Pappano's Musical Assistant at appeared as a soloist at the 2016 BBC Proms in Accademia Nazionale di Santa Cecilia in Rome. the Park in Wales, and has performed Haydn's While he was in this role, he was invited by Concerto in C with Chineke! Orchestra at the Claudio Abbado for a concert series in Bologna Royal Festival Hall. and Lucerne with the Orchestra Mozart. He now regularly conducts the Orchestra A keen chamber musician, Sheku performs dell'Accademia Nazionale di Santa Cecilia – regularly as part of the Kanneh-Mason Piano Roma, working with great soloists such as Trio and String Quartet, and the Mizuta Trio. John Osborn, Barry Banks, Celso Albelo, Sheku has received masterclass tuition from Sonia Ganassi, and Lang Lang. SHEKU Guy Johnston, Robert Max, Alexander Baillie, Steven Doane, Rafael Wallfi sch, Jo Cole, Carlo has had the pleasure of conducting many KANNEH-MASON Melissa Phelps and Julian Lloyd-Webber. other distinguished orchestras, including the The Orchestra dell'Accademia Nazionale di Montreal Symphony Orchestra, the Suisse Santa Cecilia, Roma, was the fi rst orchestra Sheku has performed several times on BBC Romande Orchestra, Graz Symphony Orchestra, in Italy to devote itself exclusively to the Radio 3's In Tune show, and has featured on the Orchestra of San Carlo Theatre in Naples, symphonic repertoire, giving premieres of In May 2016, Sheku won the BBC Young Front Row, Radio 4. Orchestra di Padova e del Veneto, the Orchestra major masterpieces of the twentieth century, Musician competition, performing Regionale Toscana, the Orchestra of the Bellini such as Respighi's Fountains of Rome and Pines Shostakovich's Cello Concerto No. 1 with Sheku plays an Antonius and Hieronymus Theatre in Catania, the Italian Swiss Orchestra of Rome. Founded in 1908, the Orchestra has the BBC Symphony Orchestra at London’s Amati cello c1610, kindly on loan from a and Pomeriggi Musicali Orchestra in Milan. been conducted by some of the major musical Barbican Hall. Sheku began learning the cello private collection. fi gures of the twentieth and twenty-fi rst aged six with Sarah Huson-Whyte, continuing In May 2016 he had his debut at the Hamburg centuries: from Mahler, Debussy, Strauss, his studies with Ben Davies at the Junior Sheku Kanneh-Mason appears courtesy of Staatsoper with La traviata. Stravinsky, Toscanini, Furtwängler, Karajan, Department of the Royal Academy of Music. Decca Classics. Bernstein and Abbado, to the most impressive He began his undergraduate studies as a full- performers of our day including Gergiev, Thielemann, Temirkanov, Bychkov and Kirill 18 19 Petrenko. The most recent Music Directors of and has performed in some of the most world’s First Violins / Violini Primi Flutes / Flauti the Orchestra have been Sinopoli, Gatt i and best-known venues, including the Philharmonie Roberto González Monjas Leader Andrea Oliva * Chung. With Sir Antonio Pappano in the role in Berlin, Musikverein in Vienna, Concertgebouw Ruggiero Sfregola Nicola Protani of Music Director since 2005, the Orchestra has in Amsterdam, Philharmonie in Paris, La Scala Marlene Prodigo Davide Ferrario appeared in major European music festivals in Milan, and Semperoper in Dresden. Elena La Montagna including the BBC Proms in London, the Kaoru Kanda Piccolo / Ott avino Lucerne Festival and the Salzburg Festival, www.santacecilia.it Ylenia Montaruli Davide Ferrario *

Second Violins / Violini Secondi Oboes / Oboi Alberto Mina * Paolo Pollastri * Ingrid Belli Annarita Argentieri Rosario Genovese Maria Irsara Giovanni Bruno Galvani Brunella Zanti Cor Anglais / Corno Inglese Annamaria Salvatori Maria Irsara *

Violas / Viole Clarinets / Clarinett i Simone Briatore * Alessandro Carbonare * Stefano Trevisan Dario Goracci Fabio Catania Ilona Balint Bassoons / Fagott i Andrea Zucco * Cellos / Violoncelli Fabio Angelett i Gabriele Geminiani * Carlo Onori Horns / Corni Francesco Di Donna Guglielmo Pellarin * Giacomo Menno Luca Agus

Double Basses / Contrabbassi Harp / Arpa Antonio Sciancalepore * Cinzia Maurizio * Simona Iemmolo

21 One of the most exciting innovations in this Beyond Cambridge he continues to be in STEPHEN context was the fi rst ever live simultaneous demand as a conductor, organist, adjudicator THE CHOIR OF transmission of a concert (Handel Messiah) direct and leader of choral workshops: 2015 saw CLEOBURY to cinemas across Europe and North America. him giving concerts in Madrid, Stockholm, KING'S COLLEGE, Paris, Berlin and Rome; 2016 began with an CAMBRIDGE From 1995 to 2007 he was Chief Conductor engagement in Madrid and continued with of the BBC Singers and since then has been conducting and playing appearances in Stephen Cleobury has for over 30 years been Conductor Laureate. During his time with Cleveland, Ohio and Seatt le. associated with one of the world's most famous the Singers he was much praised for creating choirs, that of King's College, Cambridge. His For more than half a millennium, King's Chapel an integrated choral sound from this group Stephen has played his part in serving a number has been home to one of the world's most loved work at King's has brought him into fruitful of fi rst-class professional singers. With the of organisations in his fi eld. From his teenage relationships with many leading orchestras and renowned choirs. Since its foundation in Singers he relished the opportunity to showcase years until 2008 he was a member of the 1441 by the 19-year-old King Henry VI, choral and soloists, among them the Academy of challenging contemporary music and gave Royal College of Organists, of which he is a Ancient Music, the Philharmonia Orchestra, services here, sung by this choir, have been a a number of premieres, including Swayne past President. He has been Warden of the fundamental part of College life. Britt en Sinfonia, the OAE, and the BBC Havoc, Cowie Gaia, and Grier Passion, all with Solo Performers' section of the Incorporated Concert Orchestra. He complements and the distinguished ensemble, Endymion. Society of Musicians and President of the refreshes his work in Cambridge through the Through the centuries, people from across the Incorporated Association of Organists; he is country and more recently from around the many other musical activities in which he Since 1983 he has been closely involved in currently Chairman of the IAO Benevolent engages throughout the world. world have listened to the Choir, including many the Cambridge University Musical Society, Fund, which seeks to support organists and notable historical fi gures: British monarchs, from one of the UK's oldest music societies, where church musicians in need. He is President of the At King's, he has sought to enhance the Elizabeth I to Victoria, to the present Queen, he has nurtured generations of young talent. Herbert Howells Society and President of the have come to hear it; political leaders such as reputation of the world-famous Choir, Highlights have included Mahler Symphony Friends of Cathedral Music. He was appointed considerably broadening the daily service Churchill and Gorbachev have made their way No. 8 in the Royal Albert Hall and Britt en War CBE in the 2009 Queen’s Birthday Honours. to the Chapel to hear the Choir; Wordsworth repertoire, commissioning new music from Requiem in Coventry Cathedral on the 60th leading composers and developing its activities wrote about the Choir's 'heart-thrilling strains', anniversary of its bombing. As part of the www.stephencleobury.com while Charles Darwin loved the Choir so much in broadcasting, recording and touring. He th 800 anniversary celebrations of Cambridge that he engaged the choristers to come and introduced the highly successful annual festival, University in 2009 he gave the premiere of Easter at King's, from which the BBC regularly sing in his rooms when he was at Cambridge. The Sorcerer's Mirror by Peter Maxwell Davies. Today even people who aren't able to att end broadcasts, and, in its wake, a series of high- He retired from CUMS in 2016, becoming profi le performances throughout the year, services in the Chapel have heard King's Choir, Conductor Laureate, performing The Dream of thanks to its many recordings and broadcasts, Concerts at King's, which has recently seen Gerontius at his fi nal concert in Saff ron Hall. performances with Alison Balsom, Gerald and the tours that have taken it to leading Finley, Rachel Podger and Andreas Scholl. international concert venues across Europe,

22 23 America, Asia and Australia. Recent tours include and their walk over to the College for evensong singers Michael Chance, Gerald Finley, James If you would like to know more about joining a return to North America, and performances in wearing top hats, in what they call 'the croc' Gilchrist, Andrew Kennedy, Stephen Varcoe King's Choir, either as a chorister or as a France, Germany, Switz erland, Italy and Greece. (crocodile), is a daily feature of Cambridge and the late Robert Tear; and organ recitalists choral or organ scholar, search online for life. Prior to becoming choristers they spend Simon Preston, Thomas Trott er, David Briggs 'King's College Choir'. The consistently high standards achieved by two years being taught as 'probationers', and and David Goode. Some, like Francis Grier the Choir over such a long course of time owe they are gradually introduced to performing and Bob Chilcott , are composers, whilst others much to the fi ve musicians who have been at services and at concerts, so that once they are are distinguished instrumentalists, such as responsible for nurturing it over the course full choristers they are familiar with what it the violinist and conductor, Roy Goodman, Choristers of the last 140 years: A.H. Mann (1876), Boris feels like to stand up before an audience. By and Andrew Marriner, clarinett ist of the LSO. Thomas Alban, Jack Bowley, Henry Butlin, Ord (1929); David Willcocks (1957), Philip the time they leave King's they are profi cient Cathedral and collegiate choirs which are Sam Cates, William Dewhurst, Samuel Ellis, Ledger (1974) and, since 1982, Stephen Cleobury. musicians, and take with them invaluable run by King's Choir's former organ scholars Alexander Finlayson-Brown, Lev Godar, skills that last them a lifetime. A gratifying include Durham, Gloucester, Norwich, Joseph Hall, George Hill, Alfred Hopkins, The College was founded with six 'singing number of them aspire to return to King's as St George's Chapel Windsor, Trinity College Thomas Hopkins, Abrial Jerram, Theo men' and 16 choristers, who were to be poor choral scholars. Cambridge, Magdalen College Oxford, and Kennedy, Marcus McDevitt , Sung-Joon Park, boys 'of a strong constitution and an honest St Thomas Church, New York, while musical Oliver Thomas, Sam Trueman conversation'. Today the Choir comprises 16 The men of the Choir (countertenors, tenors groups launched from King's College include boys and 14 men, although nowadays the and basses) are students at the University, The King's Singers, Polyphony, and John Eliot Altos men are choral scholars who are studying as who have all att ained the necessary academic Gardiner's Monteverdi Choir. John Ash, Oliver Finn, undergraduates at the College, rather than requirements to become undergraduates Isaac Jarratt -Barnham, Rupert Scarratt older lay clerks, as was the case until 1927. at Cambridge. They study many diff erent Despite its deep roots in musical history, the From the 1870s the boys have been educated academic subjects, from music to modern Choir has always been at the forefront of Tenors at King's College School, just across the river languages to natural sciences. technological innovation. The Festival of Nine Harry Bradford, Julius Haswell, from the College, a thriving and famously Lessons and Carols, inaugurated at King's in Daniel Lewis, Toby Ward happy school now comprising some 420 girls King's Choir has seen many a great musician 1918, was fi rst broadcast by the BBC in 1928, and boys. Prior to the 1870s, the choristers pass through its ranks over the centuries. making it the longest-established annual Basses enjoyed less favourable conditions, often having Orlando Gibbons was a chorister in the 1590s, broadcast in history; meanwhile, the televised Hugo Herman-Wilson, James Jenkins, to supplement their meals with left-overs from when his elder brother was organist, and the Christmas service, Carols from King's, celebrated Sebastian Johns, Benedict Kearns, the College dinners at which they served! 20th century saw many of the country's leading its 60th anniversary in 2014. The Choir now Robin Mackworth-Young, Stephen Whitford musicians beginning their careers as a chorister, releases four recordings a year on its own Today the boys in the Choir, who are aged choral scholar or organ scholar at King's, label, and broadcasts services on its website between 10 and 13, are given generous bursaries including conductors Sir Andrew Davis, Paul from King's College Chapel to a growing from the College for their education. Their Choir Daniel, Richard Farnes, Edward Gardner, and worldwide audience. commitments are before and after school hours, choral directors John Butt and Simon Halsey; 24 25 Phil Rowlands February 2017. CD mastering Simon Eadon.

* Simon Eadon. igmore Hall, London, 1 Recording Engineer eld House, 10 May 2016. ﬁ Recording Engineer Luca Padovana, Giacomo De Caterini. Luca Padovana, Robin Hawkins. Benjamin Sheen. recorded at 96kHz 24-bit PCM in the Duke's Hall, recorded at 96kHz 24-bit PCM in the Producer Andrew Keener. recorded at 96kHz 24-bit PCM at W Assistant Engineer Assistant Engineers Producer recorded at 96kHz 24-bit PCM in the Chapel of King's College, Cambridge, recorded at 96kHz 24-bit PCM in the Simon Eadon. Simon Eadon. Simon Eadon. – Perseus e Bray tt www.kings.cam.ac.uk Charlo Mark Simpson – Un Regalo | recorded at 48kHz 24-bit PCM in the Auditorium Parco della Musica, Rome, 28 January 2017. della Musica, Parco Auditorium recorded at 48kHz 24-bit PCM in the / / Melissa Greenwood Guy Johnston's Tecchler cello © Tarisio Guy Johnston's Tecchler recorded at 96kHz 24-bit PCM in the Marble Hall, Hat recorded at 96kHz 24-bit PCM in the Recording Engineer Recording Engineer Recording Engineer David Millinger Andy Doe, Rebecca Johns, Claire Long, Benjamin Sheen, Nicky Thomas Andy Doe, Rebecca Johns, Claire Long, Benjamin Sheen, Nicky Benjamin Sheen Rebecca Johns, David Millinger, Benjamin Sheen – Ein Celloleben hews tt Andrew Keener. Andrew Keener. Andrew Keener. Phil Rowlands, Andrew Keener (all except Gjeilo – Serenity); Benjamin Sheen (Gjeilo – Serenity) Phil Rowlands, Phil Rowlands (all except Gjeilo – Serenity); Benjamin Sheen (Gjeilo – Serenity) Phil Rowlands Producer Cellos Barrière – Sonata for Two 22 January 2017. Academy of Music, London, Royal Beethoven – "Ghost" Trio Beethoven Producer design & booklet drawings Cover Booklet design & layout Booklet editors Project management image (above) Inside back cover Label management by kind permission of the Provost and Fellows, 22 June 2016. by kind permission of the Provost and David Ma www.kingscollegerecordings.com Ola Gjeilo – Serenity (O Magnum Mysterium) Ola Gjeilo – Serenity (O Magnum variazioni Adagio con Respighi – Producer Editing Mixing