FOR AN UNKNOWN SOLDIER AN AIRMAIL LETTER If she were far away, he might jot down a FROM MOZART theme and variations as a musical letter. One JONATHAN DOVE For Two Horns, String Quartet and Piano or two variations might catch some of the musical inflections of places he visited; others If Mozart were alive today, he might enjoy the would be thoughts of Constanze, intimate, speed of modern travel, and the accessibility tender and playful. As the basis for this An Airmail Letter from Mozart (1993) 8 Women at Munition Making [5.03] of remote parts of the globe. But however fast imaginary letter, I have used the Theme and 9 Before Action [6.54] 1 Theme & Variation I [3.17] and far he went, he would probably still be Variations, and one or two other ideas, from 0 Dead Man’s Dump [12.09] thinking of Constanze, and writing to her, “You Mozart’s Divertimento K287. 2 Variations II & III [3.53] q To His Love [4.38] cannot imagine how slowly time goes when 3 Variation IV [2.59] w The Wind on the Downs [5.37] you are not with me!” Doubtless he would FOR AN UNKNOWN SOLIDER 4 Variations V, VI, VII & VIII [4.54] e An Imperial Elegy [5.59] still cherish her picture (“If I were to tell you A cantata of remembrance to mark the centenary Melvyn Tan piano all the things I do with your portrait, you of the First World War. For tenor solo, children’s tenor London Mozart Players Nicky Spence would laugh heartily”) and say goodnight to choir, SATB chorus and chamber orchestra. London Mozart Players Marieke Blankestijn first violin it (“Goodnight, little mouse, sleep well”). Helena Smart second violin Portsmouth Grammar School Chamber Choir Faced with the immensity of the First World Sophie Renshaw viola Oxford Bach Choir If he were to write to her from this imaginary War, I thought it wise not to attempt to say too Sebastian Comberti cello Children’s Choir Stacey Watton double bass journey, he would try to cheer her up (“Primo: much. I wanted to try to tell the story of just The Minster Junior School Nicholas Korth horn I beg of you not to be sad”) and perhaps want one man, an unknown soldier, as vividly as Monks Orchard Primary School Martin Grainger horn Ecclesbourne Primary School to share some musical thoughts. There is a possible. At first, I had the idea of using actual Nicholas Cleobury conductor delightful account of Mozart driving through letters from a soldier, or sailor – letters home, For An Unknown Solider (1994) the countryside with Constanze, humming all or extracts from a diary, perhaps. Portsmouth 5 1914 [4.09] Total timings: [65.22] the musical ideas that came into his head, Grammar School’s archivist, John Sadden, 6 The Poets are Waiting [1.50] and saying “it is too silly that we [composers] provided me with a great deal of first-hand material, as well as research projects by 7 The Call [3.57] have got to hatch out our work in a room.” pupils exploring as much as they could find out about individual Portsmuthians who were killed in action.

www.signumrecords.com - 3 - I studied many fascinating first-hand accounts The sequence begins and ends with less familiar Dead Man’s Dump is the longest text in the Is over all the width of Europe whirled, of warfare, and touching letters to loved ones. poems by the most famous First World War sequence, a dramatic and harrowing account Rending the sails of progress. Rent or furled The cumulative effect of reading them was poet, Wilfred Owen, killed a few days before the written by Isaac Rosenberg in 1917. He was Are all Art’s ensigns. Verse wails. Now begin powerful, but I did not find any that could be armistice in 1918. 1914 describes the outbreak killed the following year. Famines of thought and feeling. Love’s wine’s thin. sung effectively. I needed a more concentrated of war. Monro’s The Poets are Waiting conjures The grain of human Autumn rots, down-hurled. form of text, something more distilled, and a tumult of voices raised in favour of battle. Ivor Gurney survived gassing, but with his so I turned to poetry. I realised that many One of Wilfred Owen’s best known poems, Dulce mental and physical health wrecked. To His For after Spring had bloomed in early Greece, poems written during the war were also, in a et decorum est, was originally dedicated ‘To Love is a letter home after the death of a And Summer blazed her glory out with Rome, sense, letters home. Jessie Pope’, and Pope’s taunting verses in The comrade. Its opening, ‘He’s gone,’ is echoed An Autumn softly fell, a harvest home, Call voice sentiments widely enough shared by the voices of children in another traditional A slow grand age, and rich with all increase. From my reading, a sequence of poems gradually to be sung by children in the playground. song, Tom’s Gone to Hilo. In Marian Allen’s But now, for us, wild Winter, and the need emerged which suggested to me one man’s Charles Hamilton Sorley was killed in the The Wind on the Downs, her beloved lives on Of sowings for new Spring, and blood for seed. journey through the war: beginning with Battle of Loos in 1915, at the age of twenty, in her mind. An Imperial Elegy appears to enthusiasm and the decision to enlist; going so there is prescience in All the Hills and look down on the battlefield of Europe from q The Poets are Waiting on to discover the reality of war, and finding Vales Along, an image of men marching to somewhere above. Harold Monro (1879-1932) death on the battlefield; the grief of those left their deaths. Contrasting with this male behind. Four of the poets I have chosen were sound, young women alone sing Women at Notes for both pieces by Jonthan Dove Hefty barbarians, killed in the war; all were writing during it. I Munition Making, and children sing of using Roaring for war, chose poems that had the immediacy of munitions in the traditional marching song The Are breaking upon us; first-hand experience, or suggested the voices British Grenadiers. TEXTS Clouds of their cavalry, – messages, opinions – in someone’s head. Waves of their infantry, 0 Particularly in the First World War, the Lieutenant William Noel Hodgson died a few 1914 Mountains of guns. Wilfred Owen (1893-1918) experiences of men and women were quite days after writing Before Action, killed on the Winged they are coming, Reproduced by permission of the Wilfred Owen Royalties different, so I have set some poems for male first day of the Battle of the Somme in 1916. Trust from “Wilfred Owen, The Complete Poems and Plated and mailed, voices only, or female voices only. I was Male voices share his plea ‘Make me a man, O Fragments”, Jon Stallworthy, ed. (Chatto & Windus, 2013) Snorting their jargon. aware that I was writing for young voices Lord’; the solo tenor finishes his prayer ‘Help me near the age of many of those who fought, as to die, O Lord.’ Between the verses, young women War broke: and now the Winter of the world Oh to whom shall a song of battle be chanted? well as for children. sing a letter To You in France. (Helen Dircks With perishing great darkness closes in. Not to our lord of the hosts on his ancient throne, wrote two books of verse, in 1918 and 1920.) The foul tornado, centred at Berlin, Drowsing the ages out in Heaven alone.

- 4 - - 5 - The celestial choirs are mute, the angels have fled: Who’ll earn the Empire’s thanks— All the music of their going, Like bees among the sweetest mind flowers Word is gone forth abroad that our lord is dead. Will you, my laddie? Ringing swinging glad song-throwing, Gaining nourishment for the thoughts to be, Who’ll swell the victor’s ranks— Earth will echo still, when foot Are bruised against the law, To what God Will you, my laddie? Lies numb and voice mute. ‘Kill, kill’. Shall we chant When that procession comes, They must take part in defacing and destroying the Our songs of Battle? Banners and rolling drums— On, marching men, on natural body Who’ll stand and bite his thumbs— To the gates of death with song. Which, certainly during this dispensation w The Call Will you, my laddie? Sow your gladness for earth’s reaping, Is the shrine of the spirit. Jessie Pope (1868-1941) So you may be glad, though sleeping. O God! All the Hills and Vales Along Throughout the ages we have seen, Who’s for the trench— Charles Hamilton Sorley (1895-1915) Strew your gladness on earth’s bed, Again and again Are you, my laddie? So be merry, so be dead. Men by Thee created Who’ll follow French— All the hills and vales along Cancelling each other. Will you, my laddie? Earth is bursting into song, e Women at Munition Making And we have marvelled at the seeming annihilation Who’s fretting to begin, And the singers are the chaps Mary Gabrielle Collins (1874-1945) Of Thy work. Who’s going out to win? Who are going to die perhaps. But this goes further, And who wants to save his skin— Their hands should minister unto the flame of life, Taints the fountain head, Do you, my laddie? O sing, marching men, Their fingers guide Mounts like a poison to the Creator’s very heart. Till the valleys ring again. The rosy teat, swelling with milk, O God! Who’s for the khaki suit— Give your gladness to earth’s keeping, To the eager mouth of the suckling babe Must It anew be sacrificed on earth? Are you, my laddie? So be glad, when you are sleeping. Or smooth with tenderness, Who longs to charge and shoot— Softly and soothingly, The British Grenadiers Do you, my laddie? From the hills and valleys earth The heated brow of the ailing child. Traditional Who’s keen on getting fit, Shouts back the sound of mirth, Or stray among the curls Who means to show his grit, Tramp of feet and lilt of song Of the boy or girl, thrilling to mother love. When e’er we are commanded to storm the palisades And who’d rather wait a bit— Ringing all the road along. But now, Our leaders march with fuses, and we with hand Would you, my laddie? Their hands, their fingers grenades; Are coarsened in munition factories. We throw them from the glacis about our Their thoughts, which should fly enemies’ ears

- 6 - - 7 - Sing tow, row row row, row row row I, that on my familiar hill, t Dead Man’s Dump mouth, For the British Grenadiers. Saw with uncomprehending eyes Isaac Rosenberg (1890-1918) When the swift iron burning bee A hundred of thy sunsets spill Drained the wild honey of their youth. None of these ancient heroes ne’er saw a cannon ball Their fresh and sanguine sacrifice, The wheels lurched over sprawled dead Nor knew the force of powder to slay their foes Ere the sun swings his noonday sword But pained them not, though their bones crunched, The air is loud with death, with all Must say good-bye to all of this; – Their shut mouths made no moan, The dark air spurts with fire But our brave boys do know it and banish all By all delights that I shall miss They lie there huddled, friend and foeman, The explosions ceaseless are. their fears Help me to die, O Lord. Man born of man, and born of woman, Sing tow, row row row, row row row And shells go crying over them Maniac Earth! Howling and flying, your bowel For the British Grenadiers. To You in France From night till night and now. Seared by the jagged fire, the iron love, Helen Dircks (d.1975) The impetuous storm of savage love. r Before Action Earth has waited for them Dark Earth! dark Heavens! Swinging in Lieutenant William Noel Hodgson (1893-1916) Dear, now before the daylight fades away All the time of their growth chemic smoke, I wish that I could come and talk to you By all the glories of the day Fretting for their decay: What dead are born when you kiss each A little while, and tell you just a few And the cool evening’s benison, Now she has them at last! soundless soul Small things that make me happy in my day. By that last sunset touch that lay In the strength of their strength With lightning and thunder from your mined heart, I want to tell you of the perfect scent Upon the hills when day was done, Suspended – stopped and held. Which man’s self dug, and his blind fingers loosed? By beauty lavishly outpoured Of these red roses I have picked, and how An organ’s playing in the street just now, And blessings carelessly received, What fierce imaginings their dark souls lit? A man’s brains splattered on And how this sunny afternoon I went By all the days that I have lived Earth! have they gone into you? A stretcher-bearer’s face; Into the park, and how the children played; Make me a soldier, Lord. Somewhere they must have gone, His shook shoulders slipped their load, So that at all times in this bloody war, And flung on your hard back But when they bent to look again By all of all man’s hopes and fears, When you must kill to live, and have to see Is their souls’ sack The drowning soul was sunk too deep And all the wonders poets sing, Things you will hold best on this green Emptied of God-ancestralled essences. For human tenderness. The laughter of unclouded years, earth betrayed, Who hurled them out? Who hurled? And every sad and lovely thing; You will remember you are fighting for They left this dead with the older dead, By the romantic ages stored This little world of dear small things, and me. None saw their spirits’ shadow shake the grass, Stretched at the cross roads. With high endeavour that was his, Or stood aside for the half-used life to pass Burnt black by strange decay, By all his mad catastrophes Out of those doomed nostrils and the doomed Their sinister faces lie; Make me a man, O Lord.

- 8 - - 9 - The lid over each eye, y Tom’s Gone to Hilo Cover him, cover him soon! We thought of many things and spoke of few, The grass and coloured clay Traditional And with thick-set And life lay all uncertainly before, More motion have than they, Masses of memoried flowers – And now I walk alone and think of you, Joined to the great sunk silences. Tommy’s gone and I’ll go too Hide that red wet And wonder what new kingdoms you explore. Away down Hilo, Thing I must somehow forget. Over the railway line, across the grass, Here is one not long dead; Oh Tommy’s gone and I’ll go too, While up above the golden wings are spread, His dark hearing caught our far wheels, Tom’s gone to Hilo. u The Wind on the Downs Flying, ever flying overhead, And the choked soul stretched weak hands Marian Allen (1892-1953) Here still I see your khaki figure pass, To reach the living word the far wheels said, To His Love And when I leave meadow, almost wait The blood-dazed intelligence beating for light, Ivor Gurney (1890-1937) I like to think of you as brown and tall, That you should open first the wooden gate. Crying through the suspense of the far As strong and living as you used to be, torturing wheels He’s gone, and all our plans In khaki tunic, Sam Browne belt and all, i An Imperial Elegy Swift for the end to break, Are useless indeed. And standing there and laughing down at me. Wilfred Owen Or the wheels to break, We’ll walk no more on Cotswolds Because they tell me, dear, that you are dead, Reproduced by permission of the Wilfred Owen Royalties Cried as the tide of the world broke over his sight. Where the sheep feed Because I can no longer see your face, Trust from Wilfred Owen, The Complete Poems and Fragments, Jon Stallworthy, ed. (Chatto & Windus, 2013) Quietly and take no heed. You have not died, it is not true, instead Will they come? Will they ever come? You seek adventure some other place. Not one corner of a foreign field Even as the mixed hoofs of the mules, His body that was so quick That you are round about me, I believe; But a span as wide as Europe; The quivering-bellied mules, Is not as you I hear you laughing as you used to do, An appearance of a titan’s grave, And the rushing wheels all mixed Knew it, on Severn river Yet loving all the things I think of you; And the length thereof a thousand miles, With his tortured upturned sight. Under the blue And knowing you are happy, should I grieve? It crossed all Europe like a mystic road, So we crashed round the bend, Driving our small boat through. You follow and are watchful where I go; Or as the Spirits’ Pathway lieth on the night. We heard his weak scream, How should you leave me, having loved me so? And I heard a voice crying We heard his very last sound, You would not know him now… This is the Path of Glory. And our wheels grazed his dead face. But still he died We walked along the towpath, you and I, Nobly, so cover him over Beside the sluggish-moving, still canal; With violets of pride It seemed impossible that you should die; Purple from Severn side. I think of you the same and always shall.

- 10 - - 11 - JONATHAN DOVE LONDON MOZART PLAYERS

Born in 1959, Jonathan Dove’s early musical experience came from playing the piano, organ and viola. Later he studied composition with Robin Holloway at Cambridge and, after graduation, worked as a freelance accompanist, repetiteur, animateur and arranger. His early professional experience gave him a deep understanding of singers and the complex mechanics of the opera house. Opera and the voice have been the central priorities in Dove’s output throughout his subsequent career.

Starting with his breakthrough opera Flight, © Andrew Palmer © Matthew Andrews commissioned by Glyndebourne in 1998, Dove 2015 brought the world premieres of The Day First Violin Stephen Rouse Double Bass Trumpet has gone on to write over twenty operatic After, commissioned and produced by Holland Ruth Rogers Vernon Dean David Johnson Paul Archibald works. In 2010 A Song of Joys for chorus and Opera with a libretto by April de Angelis, a post- Nicoline Kraamwinkel Cecilia Romero Andy Marshall orchestra opened the festivities at the Last Apocalyptic setting of the myth of Phaeton Ann Criscuolo Timpani Night of the Proms. Throughout his career Dove written specifically to be performed outside; Martin Smith Viola Oboe Feargus Brennan Anna De Bruin Sophie Renshaw Gareth Hulse has made a serious commitment to community and The Monster in the Maze, a new opera Percussion Catherine van der Geest Michael Posner Katie Clemmow development through innovative musical for children, young people and adults, with a Sarah Hatch Freddie August Oliver Wilson projects. His 2012 opera Life is a Dream, was libretto by Alasdair Middleton, commissioned Bassoon Thea Spires James Widden performed by professionals and community by the Berliner Philharmoniker, London Sarah Burnett choruses in a disused Birmingham warehouse, Symphony Orchestra, and Festival d’Art Second Violin Cello Shelly Organ and a church opera involving community singers Lyrique d’Aix-en-Provence, and led by Sir David Angel Sebastian Comberti Horn The Walk from the Garden was premiered Simon Rattle and Simon Halsey. Jeremy Metcalfe Julia Desbruslais Nicholas Korth at Salisbury Cathedral. Jayne Spencer Sarah Butcher www.jonathandove.com Alexander Rolton Martin Grainger

- 12 - - 13 - Founded by Harry Blech in 1949 as the UK’s first and concert series throughout the UK and MELVYN TAN chamber orchestra, the London Mozart Players abroad. Recording has played a major part (LMP) has achieved international renown for in the orchestra’s life for many years. A long Exploration, insight and imagination are vital its outstanding live performances and CD relationship with Chandos includes many ingredients in Melvyn Tan’s blend of artistic recordings of the core Classical repertoire. Music recordings of works by Haydn and Mozart and attributes. He established his international Directors have included Gérard Korsten, Andrew an acclaimed Contemporaries of Mozart series reputation in the 1980s with pioneering Parrott, Matthias Bamert and Jane Glover, which numbers over 20 CDs. New Naxos performances on the fortepiano and continues who grew and developed the orchestras strong release Flowers of the Field in collaboration to cast fresh light on music conceived for the Classical tradition. with City of London Choir, Roderick Williams piano’s early and modern forms. and Hilary Davan Wetton reached No.1 in the The LMP enjoys connections with Hilary Davan Classical Album Charts. Performing on the modern piano today, Tan Wetton as Associate Conductor, and Howard is acclaimed for the wit and poetry in his Shelley as Conductor Laureate, and continues The LMP has been committed to providing a playing. His refreshing interpretations of to work closely with many of the world’s finest platform for sharing the creative arts with everything from Bach and Rameau to Chopin conductors and soloists, including Tasmin schools and communities for over 25 years. and Debussy are directly informed by his Little and Anthony Marwood. In 2015 the LMP LMP Voyager is an education and community knowledge of historical playing styles and as the London Philharmonic Orchestra, the appointed cellist Laura van der Heijden as its hub which allows music to inspire, educate intuitive feeling for the modern piano’s timbres Academy of St Martin’s in the Fields, the first Young Artist in Residence. & enrich communities through an extensive and textures. Hong Kong Philharmonic Orchestra, the Royal programme of work across the UK. The LMP Liverpool Philharmonic Orchestra, Stuttgart Radio The LMP also plays an active part in have a vast programme of work in the community, Tan’s work as recitalist, chamber musician Symphonyk Orchestra, Salzburg’s Camerata and contemporary music, giving many world premières from visiting day care centres and care homes and concerto soloist has been heard at many of Mozarteum orchestras, Melbourne Symphony and and commissioning new works, in recent years to providing community concerts for elderly the world’s leading concert halls, from the on tour with the Australian Chamber Orchestra. by composers including Sir Peter Maxwell and disabled people. Amsterdam Concertgebouw, Vienna Konzerthaus Davies, Tarik O’Regan, Sally Beamish, Cecilia to London’s Wigmore Hall, Royal Festival Hall More recently, Tan has made regular appearances McDowall, Lynne Plowman, Fraser Trainer and The LMP enjoys the patronage of HRH The Earl and New York’s Lincoln Center. He has appeared with the Singapore Symphony Orchestra and Jonathan Dove. In March 2011 the LMP appointed of Wessex. In June 2014 the LMP began a new in major international festivals in Salzburg, with the London Chamber Orchestra, recording Roxanna Panufnik as Associate Composer. and exciting phase in its history, becoming Edinburgh, La Roque d’Anthéron, Bath’s Mozart’s Piano Concerto No. 12 and Beethoven’s the first chamber orchestra in the UK to Mozartfest and City of London Festival and Piano Concerto No. 2 on the orchestra’s LCO Touring is a major part of the orchestra’s be managed both operationally and artistically has performed with such prestigious ensembles Live label. schedule, with regular appearances at festivals by the players.

- 14 - - 15 - Tan marked his 60 birthday in 2016 with tours the release of his new CD “Master and Pupil” He works regularly with conductors such In 2015, Nicky was nominated for Young Singer to four continents including a UK tour with the (themed on the teacher-student relationship as Edward Gardner, Sir Mark Elder, Phillipe of the Year by the International Opera Awards Bruckner Orchestra Linz, and appearances between Beethoven, Czerny and Liszt) on the Jordan, Carlo Rizzi, Andris Nelsons, Maurizio and The Times Breakthrough Artist Award at in South Africa, Singapore, Hong Kong and Onyx label. A regular on BBC Radio, his birthday Benini, Donald Runnicles and Mark Wigglesworth the South Bank Sky Arts Awards. Australia. He gave the world premiere of recital at the Wigmore Hall (13 October) was in roles which include David Die Meistersingers Jonathan Dove’s piano work Catching Fire at broadcast live on BBC Radio 3. von Nürnberg, Števa Jenůfa, Alwa Lulu, Andres the Cheltenham Music Festival, followed by Wozzeck, Janek The Makropoulos Case, Steuermann Der Fliegender Holländer, Tamino Die Zauberflöte, Don Ottavio Don Giovanni, Iago Otello (Rossini), Baron Lummer Intermezzo, NICKY SPENCE Chevalier de la Force Les Carmélites, Tom Rakewell The Rake’s Progress and Quint The Hailed by the Daily Telegraph as ‘a voice of Turn of the Screw. He has created and real distinction,’ Nicky Spence is fast emerging premiered many new pieces and most notably, as ‘one of our brightest young tenors.’ An works by Jonathan Dove and the lead role artist of great integrity, Nicky Spence’s unique in Nico Muhly’s opera Two Boys for ENO and skills as a singing actor and the rare honesty The Metropolitan Opera. in his musicianship are steadfastly earning him a place at the top of the profession. On the recital platform, Nicky enjoys Having trained at the Guildhall School and collaboration with leading artists of Art Song the National Opera Studio, he took his place such as Malcolm Martineau, Julius Drake, Roger as an inaugural Harewood Artist at the ENO Vignoles, Iain Burnside, William Vann, Simon in 2011. Lepper and Joseph Middleton. His discography includes a recital disc of French Melodié, Nicky has enjoyed great operatic success in the Shakespeare Settings (both with Maritineau) UK which has led to important International and works by Leoncavallo, Schumann, Britten debuts in houses such as Opera de Paris, La and premieres of Jonathan Dove, Pavel Haas, Monnaie, Opera Frankfurt, De Nederlandse Alun Hoddinott and Mark-Anthony Turnage. Opera and The Metropolitan Opera, New York.

- 16 - - 17 - PORTSMOUTH GRAMMAR SCHOOL CHAMBER CHOIR The PGS Chamber Choir is the school’s premier A major event in the calendar each year is Director of Music: Sam Gladstone vocal ensemble, one of over 40 ensembles at the Remembrance Concert, performed alongside the school. In addition to leading school the school’s Associate Musicians the London services and concerts, they have broadcast Mozart Players, with whom the choir has an on BBC Radio and Television as part of ongoing programme of commissions by leading the DDay70 commemorations and their composers, including Sir Peter Maxwell Davies, recording of Christmas music, Hodie!, was Stephen Montague, Tansy Davies, Alexander listed as a Recommended Recording by the L’Estrange, Roxanna Panufnik, Malcolm Archer, Royal Schools of Church Music in 2014. Jonathan Dove and Tarik O’Regan.

The Senior School Music Department stages In 2016, the choir is premiering three works in excess of 60 concerts a year, ranging from by the school’s current Associate Composer, lunchtime concerts to larger-scale choral and Alexander Campkin, culminating in a thrilling orchestral concerts in Portsmouth and further choral day for hundreds of singers from the afield, as well as regular European tours. The school led by Dominic Peckham. The choir is Chamber Choir sings evensong annually at also delighted to be touring Italy in July 2016, Christ Church College, Oxford in addition to performing as part of two local festivals and Ella Beard Meljude Fajardo Sarah Heath Shree Patel school services and joint services with the for Mass at St Mark’s Basilica, Venice. Rachael Beaves William Forrest Ned Henderson Phoebe Pexton Cathedral Choirs, with which the school has Alice Bennett Isaak Frost Daniel Hill Alice Priory a close relationship. Highlights of the year Sienna Bentley William Futcher Cordelia Hobbs Sophie Rose include the annual musical, held in the King’s Sam Betteridge Molly Gibb Elizabeth Howe Oliver Saunders Theatre and led by the school’s Director in Jamie Bradshaw Samuel Gibb Alexander Hume Adam Southey Residence, the Spring Concert led by our jazz James Cameron Joanna Gladstone Andrew Jackson Francesca Strongitharm- and rock ensembles, the Gala concert, the Hannah Campbell Maddison Gould Andrew Johnson Cornell Chamber Music Masterclass Day with visiting Brandon Choi George Gourlay Elizabeth Jones Hugh Summers Francesca Clayton Kirsten Goves Alice MacBain Melissa Talbot professional musicians, and the hotly-contested, Tom Cleary Megan Grady Elliot Martin Emily Tandy pupil-run House Music Competition. Emma Dorricott Katherine Green Iona McKitterick Lara Wassenberg Catriona Ellis Edward Guy Robert Merriam Ryan Williams

- 18 - - 19 - OXFORD BACH CHOIR The Oxford Bach Choir (OBC) was founded alike with a wide range of choral music from in 1896 by Basil Harwood, then organist of the seventeenth century onwards. Christ Church, to further the music of J.S. Bach in the city. In 1905, it merged with the Oxford It has also always supported new music, giving Choral and Philharmonic Society, whose almost twenty world premieres, including the origins can be traced back to 1819. The first performance of Parry’s Songs of Farewell membership of the Choir, which is drawn as a complete cycle (1919), Vaughan Williams’ from the city, its surrounds and students Sancta Civitas (1926), the orchestral version from the universities, regularly performs with of Walton’s The Twelve (1966), Nicholas Maw’s professional soloists and leading orchestras. Hymnus, commissioned for the Choir’s centenary in 1996, Martin Butler’s Two Rivers (2001), and Among the Choir’s conductors have been Sir Bob Chilcott’s Requiem (2010), as well as Hugh Allen, W. H. Harris, Sir Thomas Armstrong, early performances of works by such composers Sydney Watson, Simon Preston and Christopher as Elgar, Holst, Constant Lambert, David Matthews, James MacMillan and Jonathan Dove. Soprano 1 Diana Smith Penny Murray Bass 1 Robinson. From 1997 until 2015, the Choir’s Penelope Carnwath Georgina Spary Charlotte Pascoe Chris Brown principal conductor was Nicholas Cleobury, Fiona Cuthbertson Jane Taylor Ruth Sutherland John Chatwin who has recently taken up the position of Head Philippa Gee Sarah Walton Richard Disney of Opera at the Queensland Conservatorium Special Thanks to James Priory (PGS Melody Helm Tenor 1 Simon Hunt in Brisbane. From 2008 until June 2016, Headmaster), Sam Gladstone (PGS Director of Diana Reynolds Alto 1 Peter Gilliver Richard Jenkyns Timothy Byram-Wigfield, Director of Music Music), Dominic Peckham (Children’s Choir Ylva Berglund Prytz Paul Parker Liz Stock David Russell at All Saints, Margaret Street, London, was Director), Sheila Smith (Monks Orchard Primary Jennifer Thompson Patricia Lee Stephen Thompson School), Tim Spoerer (Ecclesbourne Primary Anne Millar Bass 2 OBC’s Associate Conductor. Starting in the School) and Jeff Scott (The Minster Junior Soprano 2 Dot Nelson Tenor 2 John Abbott 2016-2017 season, the Choir’s new music Janet Davies Mary Stansfield Robin Darwall-Smith James Richardson director will be David Crown. School, Croydon). Lucy Driver Elizabeth Stratford Rob George Tanja Entwistle Ray Ockenden The Choir has always maintained a close Sarah Jinks Alto 2 Kapil Tuladhar relationship with Bach’s music but it has also Margaret Jones Margaret Arnold David Weston always aimed to provide singers and audiences Rosemary Knagg Clare Jarvis Catriona Marshall

- 20 - - 21 - NICHOLAS CLEOBURY and Welsh National Operas and many other This recording was made with generous houses including Chicago, Gothenburg, Malmö, assistance from: Nicholas Cleobury has an international Omaha, Paris and Stockholm. He is an expert reputation in the concert hall, opera house and choral director, having been Assistant Director Croydon Relief in Need recording studio, and as a lecturer and teacher. of the BBC Singers and worked with choirs He is the Head of Opera at the Queensland from the Swedish and Danish Radio Choirs Conservatorium, Artistic Director of Mid to the Melbourne Chorale, the Netherlands Wales Opera, Principal Conductor of the Chamber Choir and the Royal and Huddersfi eld John Armitage Memorial (JAM) and Founder Choral Societies. Portsmouth Grammar School Laureate of the Britten Sinfonia. He has Signum Classics conducted most of the leading symphony Having given over 100 premieres, Cleobury and chamber orchestras of Great Britain, is a fervent champion of new music and has Daniel Benton including the English Chamber, Hallé, London worked closely with many notable contemporary Alison Benton Mozart Players, London Philharmonic, London composers, including Bennett, Boulez, Birtwistle, Fergus Webster Symphony, Northern Sinfonia, Philharmonia, Maxwell Davies, Henze, Ligeti, MacMillan, Royal Liverpool and Royal Philharmonic Patterson, Ruders and Turnage, and collaborated Recorded in Blackheath Concert Hall, London on 12th & 13th September 2015 Producer, Engineer & Editor – Matthew Dilley Orchestras, Royal Scottish National, Scottish extensively with the late Sir Michael Tippett Chamber, RTÉ National Symphony Orchestra, and the late Sir John Tavener. Cover Image – © Cat Fuller www.inkandweb.co.uk Design and Artwork – Woven Design www.wovendesign.co.uk Ulster and all the BBC Orchestras. Further afi eld, he has conducted orchestras including A regular broadcaster with the BBC, Classic P 2016 The copyright in this sound recording is owned by Signum Records Ltd © 2016 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Aalborg Symphony, Copenhagen Philharmonic, FM and on European radio, Nicholas Cleobury’s Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Czech Philharmonic, Gulbenkian, Stockholm discography includes highly regarded recordings Discs constitutes an infringement of copyright and will render the infringer liable to an action by Philharmonic, Swedish Radio, Tonhalle Zurich He has appeared at festivals in Austria, Belgium, of Mozart Concertos with the Britten Sinfonia 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 and Trondheim Symphony. He has also France, Poland, Spain and the USA and at and RPO, an award-winning CD of the music retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, worked with orchestras in Melbourne, major British festivals, including the BBC of Richard Strauss for EMI, Bridge, Headington, recording or otherwise, without prior permission from Signum Records Ltd. Singapore and South Africa (Cape Philharmonic Proms. He was Principal Conductor of the Maw and English Music with the Britten Sinfonia. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] Orchestra, KwaZulu Natal Orchestra/Durban Royal Academy of Music Opera and Musical www.signumrecords.com and Johannesburg Philharmonic.) Director of Broomhill and a regular guest at Zurich Opera, as well as working at English

- 22 - - 23 - ALSO AVAILABLE on signumclassics

Dove: There Was A Child No Exceptions, No Exemptions Joan Rodgers soprano, Toby Spence tenor Great War Songs City of Birmingham Symphony Orchestra Robin Tritschler tenor CBSO Choruses Malcolm Martineau piano Simon Halsey conductor SIGCD401 SIGCD285

“ ... [Dove] has thus achieved the near-impossible: a work that “This timely recital includes songs by those, more or less commemorates an event which is surely every parent’s darkest obscure, who fell young in the First World War … The gifted fear but which at the same time truly and positively fulfils tenor Robin Tritschler’s singing is nuanced sensitively, while the commissioner’s brief, ‘to celebrate’ this young, short life.” the pianist Malcolm Martineau is, as always, an astute partner.” International Record Review The Sunday Times

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD452 BLACK Job Title: Unknown Soldier

SIGNUM CLASSICS SIGCD452

FOR AN UNKNOWN SOLDIER

JONATHAN DOVE SOLDIER UNKNOWN AN FOR DOVE:

1 - 4 An Airmail Letter from Mozart (1993) [15.03]

Melvyn Tan piano London Mozart Players

5 - e For An Unknown Solider (2014) [50.16] LONDON MOZART PLAYERS

Nicky Spence tenor London Mozart Players Portsmouth Grammar School Chamber Choir Oxford Bach Choir

Children’s Choir PLAYERS MOZART LONDON The Minster Junior School Monks Orchard Primary School Ecclesbourne Primary School Nicholas Cleobury conductor

Total timings: [65.22] DOVE: FOR AN UNKNOWN SOLDIER

LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD452

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2016 Signum Records DDD SIGCD452 © 2016 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04522 0 SIGNUM