THE SHEPHERD ON THE ROCK Composers had a love affair lasting unbrokenly accompanied song, and three of the masters from the early Spring of musical Romanticism of the German are represented here: – Schubert – until its long, lingering autumn Schubert, Brahms and Strauss. with . The object of their 1 Introduction and Polonaise brilliante in C Major, Op. 3 Frédéric Chopin, arr. Bliss [9.12] affection was the clarinet. The combination of Chopin’s Introduction and Polonaise Brillante 2 Das Maedchen spricht, Op. 107 No. 3 Johannes Brahms [1.24] that instrument with piano and the human in C major (originally for cello and piano) 3 Unbewegte laue Luft, Op. 57 No. 8 [3.49] voice found its locus classicus in the last belongs to 1829-30, the last autumn and 4 Es träumte mir, Op. 57 No. 3 [3.19] track on this disc, Schubert’s Der Hirt auf dem winter spent in his native Poland before his 5 O kühler Wald, Op. 72 No. 3 [2.12] Felsen (The Shepherd on the Rock), which departure for Paris. It was written for one of 6 Ständchen, Op. 106 No. 1 [1.45] resembles a miniature cantata. his admirers, Prince Antoni Radziwill, a keen Fantasiestücke, Op. 73 Robert Schumann cellist and a composer himself, to play with 7 I. Zart und mit Ausdruck [3.12] The clarinet, like the piano, underwent significant his pianist daughter. In October Chopin had 8 II. Lebhaft, leicht [3.37] technical improvements during the nineteenth enjoyed a stay at their summer palace near 9 III. Rasch und mit Feuer [4.14] century. Domestic music-making was an Poznán where the polonaise was composed, the 0 Hymne an die Jungfrau from Ellens Gesang III () D. 839 [6.05] eagerly enjoyed pastime and, inspired by the slow introduction being added a few months q Scherzo in C Minor from the “F-A-E” Sonata Johannes Brahms, arr. Bliss [5.26] growth of public concert life involving both later. The main Alla Polacca (allegro con these instruments, there grew an appetite spirito), ‘a brilliant drawing room piece suitable w Nocturne in E-flat, Op. 9 No. 2 Frédéric Chopin, arr. Bliss [4.04] for arrangements, above all for additional or for the ladies’, as Chopin described it to a e Ein Alphorn hör’ ich schallen Richard Strauss, arr. Bliss & Glynn [4.41] ‘obbligato’ parts to be combined with voice friend, has a stirring cantabile F major second and piano. For these the clarinet, with its subject for the clarinet that foreshadows r Und morgen wird die Sonne wieder scheinen, Op. 27 No. 4 Richard Strauss, arr. Bliss & Glynn [3.39] wide range, its variety of tone colour, its things to come. t Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965 Franz Schubert [11.36] capacity for sparkling effects, as well as its ability to evoke soulful melancholy, proved In Das Mädchen (1884) Brahms sets a Serbian Total timings: [68.16] especially popular. Solos for violin, viola, cello, poem, translated by Siegfried Kapper (1820- horn and other instruments could often happily 79). Musical interest is sustained by alternating adapt to the clarinet’s capabilities. With their bars of 3 beats and 4 beats, suggesting the JULIAN BLISS CLARINET transcriptions for this recital, Julian Bliss and characteristic seven-beat metres of Serbian SOPRANO Christopher Glynn continue a 200-year old folksong; by deriving everything from continuous CHRISTOPHER GLYNN PIANO tradition. The era was also the great age of development of the simple opening idea; and www.signumrecords.com - 3 - by the journey from the minor key first part to (there is more than a hint of the Academic finale. The prevailing keys of the set are 1908). As Joachim was to visit the city at the end the bright major glow of the remainder. With Festival Overture) waft their song with aid of A minor and A major, never straying far from of the month Schumann proposed that he, the eight songs of his Opus 57, published in flute and fiddle and zither, and their strumming them. Written for a local Dresden clarinettist, Brahms and Dietrich collaborate in writing 1871, Brahms set verses by Georg Friedrich and sliding and gentle cooing is wittily the Fantasiestücke were composed in a mere a work in his honour. So came into being Daumer (1800-75), a poet to whom he often conveyed through the night air by means of two days: 11-12 February 1849. the ‘F-A-E’ Sonata, the letters representing turned, for example in the Liebeslieder Brahms’s keyboard writing at its lightest: Joachim’s motto Frei aber einsam (Free but Waltzes, and (rather like Schubert with comforting and caressing the gentle arabesques In the spring and summer of 1825 Franz lonely). Dietrich provided the opening movement, Wilhelm Müller) for whom he ensured fame of the vocal line through a dizzy sequence Schubert set poems by one of his favourite Schumann an Intermezzo and the Finale, and for posterity. The two songs included here of modulations in such a short spell. authors, Sir Walter Scott (1771-1832). Five of the youngest of the group, Brahms, must have – Unbewegte laue Luft and Es träumte mir – the songs come from The Lady of the Lake, made a striking impression on Joachim with reflect, in strikingly pictorial and individual The popularity of the salon, of domestic and the most famous of them (one of the most this tightly-wrought contribution, a stormy C music, a pervading sensuousness, the yearning music-making in the nineteenth century, is famous of all melodies!) is Ellens Gesang III: minor Scherzo. There is a short Trio in G making brought about by unrequited passion: shadowy reflected in the very name Schumann first Hymne an die Jungfrau, better known as Ave much use of the composer’s characteristic moods of emotional pain, and patient hope gave to his Opus 73 – Soiréestücke – soirée Maria. The beauty of the vocal line and the duplet/triplet combinations, and a brief for the elusive, perhaps illusory, consolation pieces. When he came to publish them he exquisite craftsmanship of the accompaniment fortissimo Coda in C major. of love. O kühler Wald was published in re-titled the three movements Fantasiestücke – have ensured its immortality. Beneath the 1877 along with more than 20 other songs a term of which he was fond. The looser tranquil surface this is an emotional plea for Chopin’s Three Nocturnes Opus 9, were written that year – a rich period of Lieder-writing. form of the fantasia, the implied flight of fancy, protection and a safe night’s sleep voiced in his early Paris years 1830-31, and dedicated An atmospheric setting of Clemens Brentano the freeing up of sonata forms are explored by a fugitive, despairing young heroine; and to the pianist Marie Pleyel (who was also (1778-1842), it was described by the Brahms elsewhere in his prodigious piano output. is, like that of Gretchen in another context, the wife of the maker of Chopin’s favourite scholar Malcolm MacDonald as a fine example Beethoven’s example would have been an icon a superb depiction in sound of a calm and pianos). The central Nocturne in E-flat is of the composer’s mastery of a tranced for Schumann: the famous Sonata quasi una steadfast heart mastering and consoling her fears. justly one of the most famous of his output, nature-mood: ‘deep, elegiac lyricism, with its fantasia, popularly known as the Moonlight, with its artlessly simple accompaniment and overlapping triadic harmonies like an interlacing with its three movements – slow, faster, and Brahms and Schumann became firm friends, graceful, memorable melody. canopy of many wind-stirred boughs’. In very fast. That formal outline is repeated and in 1853 the brilliant young violinist Joseph Ständchen, to a text by Franz Kugler (1808-58) here with a gentle first movement marked Joachim befriended Brahms too. Brahms joined Richard Strauss was the son of a distinguished we have a pictorial evocation of a different ‘sweetly and expressively’, followed without Schumann’s circle in Düsseldorf for the month French horn player in Munich, Franz Strauss kind, but etched with equal precision: a moonlit a break by a lively Scherzo and Trio (in which of October 1853 and made another firm friend (1822-1905). Papa Strauss was a man of serenade in a walled garden. Three students triplets predominate), and a ‘fast and fiery’ in Schumann’s pupil Albert Dietrich (1829- conservative musical tastes, and he would no

- 4 - - 5 - doubt have been enchanted by this early work the clarinet melody, and the independent from his poem Nächtlicher Schall (Nocturnal that this optimistic reveille of the spirits, this of his talented son – Ein Alphorn hör’ ich vocal line. The unfolding of these three strands Sounds); Schubert freely adapts the joyous piping-in of a new spring, was written the schallen – composed in 1876, and inscribed in a mood of unhurried wonderment brings a final verse from Müller’s Liebesgedanken very month before Schubert’s early death. to ‘seinem lieben Papa’. The poet he chose to sensation of hushed poise that is maintained (Thoughts of Love). It is poignant to reflect © Derek Watson 2015 set was Justinus Kerner (1786-1862). We hear to the last note. This was a worthy member of the alpine horn serenely reverberating over that marvellous group of songs Strauss mountain and valley, with its simple call presented to his bride, the singer Pauline de consisting of the broken chord of one major Ahna, as his wedding present on 10 triad. The rather Schubertian spell is disturbed September 1894. only by restless minor key music at verse 3, TEXTS TRANSLATIONS but the last lines restore the gentle mood. Der Hirt auf dem Felsen was composed in The idyllic freshness of the opening bars of October 1828 and designed as a display 2 Das Maedchen spricht, Op. 107 No. 3 The girl speaks this youthful effusion was something Richard piece for a renowned Berlin opera singer Anna Johannes Brahms Strauss never lost the ability to conjure up. For Milder-Hauptmann. It stands apart from the all his progressive harmonic daring, he was great world of his Lieder, not only by including Schwalbe, sag mir an, Tell me, swallow, ever able to evoke the simplest bucolic nature- clarinet obbligato, but in its dramatic scope. Ists dein alter Mann, Is it last year’s mate mood, for example in such late works (sixty or The memorable, graceful opening leads to a Mit dem du’s Nest gebaut? You’ve built your nest with? more years on) as Daphne, the Oboe Concerto truly Schubertian middle section, and the final Oder hast du jüngst erst Or are you or the Clarinet and Bassoon Concertino (1947). allegretto bubbles over in radiant anticipation Dich ihm vertraut? But recently betrothed ? Und morgen wird die Sonne wieder scheinen of the spring. Unusually the text is chosen (to a poem by the Scottish-German writer from two authors, Wilhelm Müller (poet Sag, was zwitschert ihr, Say, what are you twittering, John Henry Mackay, 1864-1933) also has a of Schubert’s two great song cycles Die Sag, was flüstert ihr Say, what are you whispering simple ascending arpeggio accompaniment schöne Müllerin and ) and Karl Des Morgens so vertraut? So intimately in the morning? at the outset. But this simplicity belies the August Varnhagen von Ense (the only verses Gelt, du bist wohl auch noch Am I right, you haven’t long sophistication of the harmonic and melodic Schubert ever set of this writer). Müller’s Nicht lange Braut? Been a bride either? structure of a beautiful and justly famous lines for the first 4 verses come from his Der song. The composer’s subtlety here is guileless, Berghirt (The Mountain Shepherd); Varnhagen’s Text: Otto Friedrich Gruppe (1804-1876) seamless, and worked out on three simultaneous verses 5-6 (beginning In tiefer Gram; long levels: the piano with its harmonic progressions, misattributed to Helmine von Chézy) are

- 6 - - 7 - 3 Unbewegte laue Luft, Op. 57 No. 8 Motionless mild air Denn schon im Traume For even in my dreams Johannes Brahms Bereits empfand ich, I felt Es sei ein Traum. It was a dream. Unbewegte laue Luft, Motionless mild air, Tiefe Ruhe der Natur, Nature deep at rest, Text: Georg Friedrich Daumer Durch die stille Gartennacht Through the still garden night Plätschert die Fontäne nur, Only the fountain plashes, 5 O kühler Wald, Op. 72 No. 3 O cool forest Aber im Gemüte schwillt But my soul swells Johannes Brahms Heißere Begierde mir, With a more ardent desire, Aber in der Ader quillt Life surges in my veins O kühler Wald, O cool forest, Leben und verlangt nach Leben. And yearns for life. Wo rauschest du, In which my beloved walks, Sollten nicht auch deine Brust Should not your breast too In dem mein Liebchen geht? Where are you murmuring? Sehnlichere Wünsche heben? Heave with more passionate longing? O Widerhall, O echo, Sollte meiner Seele Ruf Should not the cry of my soul Wo lauschest du, Where are you hiding, Nicht die deine tief durchbeben? Quiver deeply through your own? Der gern mein Lied versteht? You who love to understand my song? Leise mit dem Ätherfuß Softly on ethereal feet Säume nicht daher zu schweben! Glide to me, do not delay! Im Herzen tief, Deep in my heart Komm, o komm, damit wir uns Come, ah! come, that we might Da rauscht der Wald, Is where the forest murmurs, Himmlische Genüge geben! Give each other heavenly satisfaction! In dem mein Liebchen geht, In which my beloved walks, In Schmerzen schlief The echo Text: Georg Friedrich Daumer (1800-1875) Der Widerhall, Fell asleep in sorrow, Die Lieder sind verweht. The songs have blown away. 4 Es träumte mir, Op. 57 No. 3 I dreamed Johannes Brahms Text: Clemens Brentano (1778-1842)

Es träumte mir, I dreamed Ich sei dir teuer; I was dear to you; Doch zu erwachen But I scarcely needed Bedurft ich kaum; To awaken;

- 8 - - 9 - 6 Staendchen, Op. 106 No. 1 Serenade Wir schlafen sicher bis zum Morgen, Safe may we sleep beneath thy care, Johannes Brahms Ob Menschen noch so grausam sind. Though banish’d, outcast and reviled – O Jungfrau, sieh der Jungfrau Sorgen, Maiden! hear a maiden’s prayer; Der Mond steht über dem Berge, The moon shines over the mountain, O Mutter, hör ein bittend Kind! Mother, hear a suppliant child! So recht für verliebte Leut; Just right for people in love; Ave Maria! Ave Maria! Im Garten rieselt ein Brunnen, A fountain purls in the garden – Sonst Stille weit und breit. Otherwise silence far and wide. Ave Maria! Unbefleckt! Ave Maria! undefiled! Wenn wir auf diesen Fels hinsinken The flinty couch we now must share Neben der Mauer im Schatten, By the wall in the shadows, Zum Schlaf, und uns dein Schutz bedeckt Shall seem with down of eider piled, Da stehn der Studenten drei Three students stand Wird weich der harte Fels uns dünken. If thy protection hover there. Mit Flöt und Geig und Zither With flute and fiddle and zither, Du lächelst, Rosendüfte wehen The murky cavern’s heavy air Und singen und spielen dabei. And sing and play. In dieser dumpfen Felsenkluft, Shall breathe of balm if thou hast smiled; O Mutter, höre Kindes Flehen, Then, Maiden! hear a maiden’s prayer, Die Klänge schleichen der Schönsten The sounds steal softly into the dreams O Jungfrau, eine Jungfrau ruft! Mother, list a suppliant child! Sacht in den Traum hinein, Of the loveliest of girls, Ave Maria! Ave Maria! Sie schaut den blonden Geliebten She sees her fair-headed lover Und lispelt: „Vergiß nicht mein!“ And whispers ‘Remember me!’ Ave Maria! Reine Magd! Ave Maria! stainless styled. Der Erde und der Luft Dämonen, Foul demons of the earth and air, Text: Franz Kugler (1808-1858) Von deines Auges Huld verjagt, From this their wonted haunt exiled, Sie können hier nicht bei uns wohnen. Shall flee before thy presence fair. 0 Ave Maria Ave Maria Wir woll’n uns still dem Schicksal beugen, We bow us to our lot of care, Ellens Gesange III, from Sieben Gesänge Da uns dein heil’ger Trost anweht; Beneath thy guidance reconciled; aus Walter Scotts ‘Fräulein vom See’, D. 839 Der Jungfrau wolle hold dich neigen, Hear for a maid a maiden’s prayer, Franz Schubert Dem Kind, das für den Vater fleht. And for a father hear a child! Ave Maria! Ave Maria! Ave Maria! Jungfrau mild, Ave Maria! maiden mild! Erhöre einer Jungfrau Flehen, Listen to a maiden’s prayer! German translation from Latin: Philip Adam Storck Translation: Sir Walter Scott (1771-1832) Aus diesem Felsen starr und wild Thou canst hear though from the wild; Soll mein Gebet zu dir hinwehen. Thou canst save amid despair.

- 10 - - 11 - e Ein Alphorn hör’ ich schallen I hear an alpine horn ring out Und zu dem Strand, dem weiten, wogenblauen, And to the shore, wide and blue-waved, Richard Strauss werden wir still und langsam niedersteigen, We shall descend, quietly and slowly; stumm werden wir uns in die Augen schauen, We shall look mutely into each other’s eyes Ein Alphorn hör’ ich schallen, I hear an alpine horn ring out, und auf uns sinkt des Glückes stummes Schweigen… And upon us will fall the silence of happiness. Das mich von hinnen ruft, Calling me away, Tönt es aus wald’gen Hallen? Does it sound from lofty forests? John Henry Mackay, 1864-1933 Aus blauer Luft? From blue skies? Tönt es von Bergeshöhe, Does it sound from mountain heights, t Der Hirt auf dem Felsen D. 965 The shepherd on the rock Von blumenreichem Tal? From flower-strewn valleys? Franz Schubert Wo ich nur geh’ und stehe, Wherever I stand or go, Hör’ ich’s in süßer Qual. I hear it with sweet torment. Wenn auf dem höchsten Fels ich steh’, When I stand on the highest rock, Bei Spiel und frohem Reigen, When I play and dance happily, In’s tiefe Tal hernieder seh’, Look down into the deep valley Einsam mit mir allein, When I feel lonely by myself, Und singe, And sing, Tönt’s, ohne je zu schweigen, It sounds, without ever falling silent, Fern aus dem tiefen dunkeln Tal From far away in the deep dark valley Tönt tief in’s Herz hinein. It sounds deep into my heart. Schwingt sich empor der Wiederhall The echo from the ravines Noch nie hab’ ich gefunden Never yet have I found Der Klüfte. Rises up. Den Ort, woher es schallt, The place from where it comes, And never shall this heart be healed Und nimmer wird gesunden Je weiter meine Stimme dringt, The further my voice carries, Until the sound dies away. Dies Herz, bis es verhallt. Je heller sie mir wieder klingt The clearer it echoes back to me Von unten. From below. Justinus Kerner (1786-1862) Mein Liebchen wohnt so weit von mir, My sweetheart lives so far from me, r Und morgen wird die Sonne wieder scheinen And tomorrow the sun will shine again Drum sehn’ ich mich so heiß nach ihr Which is why I so long to be with her Richard Strauss Hinüber. Over there.

Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again In tiefem Gram verzehr ich mich, Deep grief consumes me, und auf dem Wege, den ich gehen werde, And on the path that I shall take, Mir ist die Freude hin, My joy has fled, wird uns, die Glücklichen, sie wieder einen It will unite us, happy ones, again, Auf Erden mir die Hoffnung wich, All earthly hope has vanished, inmitten dieser sonnenatmenden Erde… Amid this same sun-breathing earth... Ich hier so einsam bin. I am so lonely here.

- 12 - - 13 - So sehnend klang im Wald das Lied, The song rang out so ardently through the wood, Gstaad, Rheingau and Verbier festivals, and So sehnend klang es durch die Nacht, Rang out so ardently through the night, critically acclaimed debuts at London’s Die Herzen es zum Himmel zieht That it draws hearts to heaven and New York’s Lincoln Center. Mit wunderbarer Macht. With wondrous power. His first album for EMI Classics’ Debut series was greeted by five-star reviews. Released Der Frühling will kommen, Spring is coming, on Signum Classics, Julian’s live recording of Der Frühling, meine Freud’, Spring, my joy, the Mozart Clarinet Concerto with the Royal Nun mach’ ich mich fertig I shall now make ready Northern Sinfonia was Classic FM disc of the Zum Wandern bereit. To journey. week upon release. The release was accompanied by a performance at Classic FM Live at the Text: Wilhelm Müller (1794-1827) Translations by Richard Stokes © 2005 from The Book of Lieder, Royal Albert Hall, London. Faber (except Ave Maria) Julian stands today among the finest musicians of his generation. He launched the Julian Bliss Septet at Wigmore Hall and Ronnie Scott’s Jazz Club in London and fronted their debut disc, Benny Goodman – The King of Swing. This JULIAN BLISS programme has gone on to be performed across the world, including a sell-out performance Julian Bliss is one of the world’s finest solo BBC Symphony Orchestra, City of Birmingham at the Concertgebouw. The Julian Bliss Septet will clarinettists excelling as concerto soloist, chamber Symphony Orchestra and the Academy of St undertake their first two US tours in the 15/16 musician, jazz artist, masterclass leader and Martin in the Fields, and performed chamber season. tireless musical explorer. He has inspired a music with Joshua Bell, Hélène Grimaud, generation of young players, as guest lecturer Steven Isserlis, Steven Kovacevich and other www.julianbliss.com and creator of the Leblanc Bliss range of great interpreters. affordable clarinets, and introduced a large new audience to his instrument. He has appeared Born in St Albans (UK), Julian began playing with many of the world’s leading orchestras, at the age of four. Julian’s prodigious early including the London Philharmonic Orchestra, career included performances at the prestigious © Ben Wright

- 14 - - 15 - AILISH TYNAN Frankfurt Radio Symphony Orchestra under CHRISTOPHER GLYNN Paavo Järvi, London Symphony Orchestra Irish soprano Ailish Tynan studied at Trinity under Valery Gergiev and Philharmonia Christopher Glynn is a Grammy award-winning College Dublin, the Royal Irish Academy of Music Orchestra under Lorin Maazel, and Mahler’s pianist and accompanist performing with leading and the Guildhall School of Music and Drama, Fourth Symphony with the Hallé under Sir singers, instrumentalists and chamber ensembles London. She won the BBC Cardiff Singer of Mark Elder. A regular at the BBC Proms, her in concerts, broadcasts and recordings the World Rosenblatt Recital Prize in 2003, performances have included Bella in Tippett’s throughout the world. He is also Artistic was a Young Artist for House, The Midsummer Marriage, Grace Williams’ Director of the Ryedale Festival. Described by Covent Garden from 2002 to 2004 and a BBC Fairest of Stars, Glière’s Concerto for The Times as having ‘beauties and insights New Generation Artist. coloratura soprano and Chabrier’s Ode à la aplenty’ and praised in Gramophone for his musique in a First Night appearance. ‘breathtaking sensitivity’, Chris has partnered She has performed in many of the world’s internationally-renowned singers including Sir leading opera houses including the Royal Opera On the recital platform Ailish is noted for , John Mark Ainsley, Claire Booth, House Covent Garden, Royal Swedish Opera, the breadth of her repertory, and is an exponent Susan Bullock, Allan Clayton, Lucy Crowe, Glyndebourne Festival Opera, Houston Grand of French song. She collaborates with pianists Bernarda Fink, Michael George, Anthony Rolfe Opera, Seattle Opera, Teatro alla Scala and including Iain Burnside, Graham Johnson, Johnson, Christiane Karg, , Yvonne Théâtre du Capitole de Toulouse. Her roles András Schiff and James Baillieu and performs Kenny, Dame Felicity Lott, , include Sophie (), title roles at venues including Wigmore Hall and at Joan Rodgers, Kate Royal, Carolyn Sampson, Toby in and Hänsel und UK and international festivals. Recordings Spence, , Robin Tritschler, Ailish Tynan, Gretel, Héro (Béatrice et Bénédict), Pamina include An Irish Songbook & A Purse of Gold , Roderick Williams and Catherine (Die Zauberflöte), Atalanta (Xerxes) and (Signum Classics), From a City Window Wyn Rogers. As well as his collaboration with Susanna (Le nozze di Figaro). (Delphian) and Fauré Mélodies (Opus Arte). Julian Bliss, he also works with many other well-known instrumentalists, including Andrej Ailish is a prolific concert and recording artist Bielow, Adrian Brendel, Michael Collins, David and works frequently with British and Garrett, Tine Thing Helseth, Daniel Hope and international orchestras. Career highlights to Steven Isserlis, as well as with many well-known date include performances of Mahler’s Eighth chamber ensembles and groups including the Symphony with the Accademia Nazionale di Scottish Chamber Orchestra, Britten Sinfonia Santa Cecilia under Sir Antonio Pappano, and . © Benjamin Ealovega

- 16 - - 17 - Chris was born in Leicester and read music at New College, Oxford before studying piano with John Streets in France and Malcolm Martineau at the . His many awards include a Grammy, the accompaniment prize in the 2001 competition and the 2003 Gerald Moore award. Since making his debut at Wigmore Hall in 2001, Chris has performed in major concert venues and festivals throughout the Recorded in the Britten Studio, Snape Maltings, Saxmundham, UK from 18th to 20th September 2013. world, including the Edinburgh, Aldeburgh and Producer & Editor – Nicholas Parker Recording Engineer – Mike Hatch Cheltenham festivals, BBC Proms, Wigmore Hall, Barbican, Southbank Centre, Carnegie Cover Image – iStock Hall, Schubertiade-Schwarzenberg, and as Design and Artwork - Woven Design www.wovendesign.co.uk far afield as Sri Lanka, Japan and Brazil. He P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd is a Professor at the Royal College of Music, © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the an Associate of the Royal Academy of Music infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part and a course leader for the Samling Foundation. of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Chris has made over 20 CD recordings, as well SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. as many studio recordings and live broadcasts +44 (0) 20 8997 4000 E-mail: [email protected] for BBC Radio 3. He has commissioned and www.signumrecords.com premiered works by composers including Michael Berkeley, James Macmillan, Roxanna Panufnik, and Eric Whitacre, and programmed concert series for many venues including the National Portrait Gallery and Wigmore Hall.

www.cglynn.com

- 18 - - 19 - ALSO AVAILABLE on signumclassics

An Irish Songbook Works by Debussy, Milhaud, Glinka, Aiish Tynan soprano Francaix & Prokofiev Iain Burnside piano Julian Bliss clarinet SIGCD239 Bradley Moore piano SIGCD384

“I find Ailish Tynan’s singing totally compelling; her “Even in hyperactive or assertive passages the young enunciation and the way she makes you hang on every word English clarinettist Julian Bliss retains a caressing, soft-toned and be excited by every word … Iain Burnside is with her at quality which is very more-ish. Poise, agility and alertness every move … she brings so many different colours and tones permeate these winning, infections performances.” to what she sings … I really will play it over and over again BBC Music Magazine which I would say of quite few CD recitals.” Hilary Finch, BBC Radio 3 CD Review

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 2014 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD429 BLACK Job Title: Shepherd

SIGNUM CLASSICS SIGCD429

THE SHEPHERD ON THE ROCK

1 Introduction and Polonaise brilliante in C Major, Op. 3 Frédéric Chopin, arr. Bliss [9.12] THE SHEPHERD ON THE ROCK ROCK THE ON SHEPHERD THE 2 Das Maedchen spricht, Op. 107 No. 3 Johannes Brahms [1.24] 3 Unbewegte laue Luft, Op. 57 No. 8 [3.49] 4 Es träumte mir, Op. 57 No. 3 [3.19] 5 O kühler Wald, Op. 72 No. 3 [2.12] 6 Ständchen, Op. 106 No. 1 [1.45] Fantasiestücke, Op. 73 Robert Schumann 7 I. Zart und mit Ausdruck [3.12] 8 II. Lebhaft, leicht [3.37] BLISS / TYNAN / GLYNN 9 III. Rasch und mit Feuer [4.14] 0 Hymne an die Jungfrau from Ellens Gesang III (Ave Maria) D. 839 Franz Schubert [6.05] q Scherzo in C Minor from the “F-A-E” Sonata Johannes Brahms, arr. Bliss [5.26] w Nocturne in E-flat, Op. 9 No. 2 Frédéric Chopin, arr. Bliss [4.04]

e Ein Alphorn hör’ ich schallen Richard Strauss, arr. Bliss & Glynn [4.41] GLYNN / TYNAN / BLISS r Und morgen wird die Sonne wieder scheinen, Op. 27 No. 4 Richard Strauss, arr. Bliss & Glynn [3.39] t Der Hirt auf dem Felsen (The Shepherd on the Rock), D. 965 Franz Schubert [11.36]

Total timings: [68.16]

JULIAN BLISS CLARINET AILISH TYNAN SOPRANO THE SHEPHERD ON THE ROCK CHRISTOPHER GLYNN PIANO

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD429

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD429 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04292 2 SIGNUM