Violin Cortège Concerto No.2

Leila Josefowicz violin BBC Symphony conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms

3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09

Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments. Then there are the otherwise lost Don Quixote play revealing reassessments that came of songs by Fauré and Sibelius, and touchingly and wittily entitled Three Cardenio. Grand Barcarolle (2011, in his sixtieth birthday year there turned his arranging and completing of a Kind (2011-13), composed for commissioned by Riccardo Chailly has been no slowing down in his skills to much besides, including the horn, cello and piano ensemble for the Leipzig Gewandhaus) was composing activities. His work list, pieces by Berg, Britten and Mahler, of Richard, Paul and Huw Watkins inspired by a whimsical thought already large, has been substantially Mendelssohn, Schubert and Brahms. and Spiralling (2014), written for that Beethoven had forgotten expanded. Additions have included And, because he is so very good the Italian chamber orchestra Spira to write a slow movement to his many a deft arrangement, not at them there are also quite a few mirabilis whose rigorous rehearsal Eighth Symphony, but according least the completion of his superb pithy celebratory pieces. Cometh the methods he had observed and hugely to the composer the work turned (which say a lot fanfare, cometh the man. admired when they played in the UK, unexpectedly into evocations of about his approach to the orchestral as well as the piano trio Nowhere Mahler. And the haunting and deeply side of his art) of all twenty-four of But there has been also much to Hide (2012), which evolved itself moving orchestral song cycle for Debussy’s Preludes for the Hallé, for original (in the sense that the ideas, from a one movement concept into tenor and baritone No Man’s Land which he was Associate Composer notes and forms are his own) and a four-movement memorial for Elliott (2010-2011), written in memory of from 2001 until 2010 and remains substantial work. Two deeply personal Carter incorporating as its second , also commemorates Composer Emeritus. He’s also string quartets, one a subdued movement a little piano piece, through poet Christopher Reid’s realised the finale of an abandoned seven-movement sequence of half- Berceuse for Elliott, written the day evocation of a meeting of two B minor symphony by the same remembered dances composed after Carter’s death. soldier-ghosts between the fronts

6 7 the First World War and the memory Matthews’s teacher, , minutes, it consists of three of Matthews’s grandfather, who died whose loss also occurred during the distinctive sections and is written on the Somme. Matthews’ music decade. And Matthews’ own liking, throughout using one time signature, might be structurally magnificent and for multiple layers distinguished 3/2. Matthews is emphatic that innovative, as Griffiths rightly divines. from each other by tempo, colour, despite its darkness this is not But it also comes straight from dynamic, metre, for harmonic specifically a funeral march. But the the heart, from his own memories, aggregates, for long chordal pedals, general feeling is one of dark experiences, feelings. It’s the for brooding dark textures, enable psychological extremity, Mahlerian in interaction of these two elements, his music to hold energies within nature. structural and emotional, both itself and then release them in great, displayed in the raw, which lends it highly charged, often unexpected The first section opens with three its often overwhelming power. eruptions. It manipulates the passage notes E, B and F played muffled of time, the mark, in this writer’s view, but fortissimo by the timpani. This And so this most recent decade’s of a good music. sequence of pitches acts as a vital additions extends his output beyond underpinning for the entire work.

130 works, further enriching Cortège Just as significant, however, is the Anssi Karttunen Photo: Irmeli Jung an output already of enormous Cortège is the earliest work on this succeeding sequence of sustained distinction and distinctiveness. The recording, dating from 1988. It was notes played, menacingly low in the music, and in his middle section music is still about process and commissioned by the David Cohen register, by trombones, a sort of Matthews seizes on the opportunity edifice, as Griffiths suggests. But it is Charitable Trust and first performed cantus firmus from which the entire for revealing and concealing layers, also about feeling, and increasingly by the Orchestra of the Royal Opera piece grows. At the same time we pushing the minor triad layer overtly so. The richness of texture House, Covent Garden and Bernard hear in the background sequences dramatically to the front in a massive and harmony, clearly defined motifs, Haitink at Covent Garden on 17 of minor triads in the strings, not climax. Finally the work returns with a well-defined rhythms and pulses, February 1989. Cast as a single, establishing any key structure but now empty sounding resonance of its passages of scintillatingly fast dark hued slow movement for large rather acting as referential anchor opening, rooted over D and ending music are all traits inherited from orchestra and lasting nearly twenty points. This is already a multi-layered on a subsiding D minor chord.

8 Cello Concerto No.2 begins with an explosion on low composer, “emerged naturally from Matthews’s Second Cello Concerto brass and percussion and involves her musical personality, style and was composed between September some jagged rhythmic games, the technique”. It was commissioned by 1994 and April 1996 for Mstislav cellist plays only in the two interlude- the City of Birmingham Symphony Rostropovich, who gave its first like trio sections, placing the spotlight Orchestra with the assistance of the performance with the firmly on the orchestra. Again Feeney Trust and was premiered on Symphony Orchestra and Sir Colin much of the concerto’s music is an 30 September 2009 at Symphony Davis at the Barbican, London, on 17 interplay of layers. Often the cello Hall, Birmingham by Josefowicz, the September 1996. The composer has seems caught in a static orchestral CBSO and Oliver Knussen. There noted that its predecessor, written in background, only to be released are two movements of roughly 1983-4, was a very different animal, by the lacerating interjection of, equal length, neither fitting any the soloist “often almost submerged say, brass. Or (for instance in the particular formal blueprint. The under luxurious orchestral textures”, second movement), small pulsating piece opens with the soloist playing a consequence of his wanting mechanisms are set up, and time in stratospheric regions of the to make orchestra and soloist bent through acceleration and compass with sustained lyricism and equal partners. This time he was deceleration. Yet in the end the work ecstatic arabesques, the orchestral determined to make the solo part is, above all, one of searing lyrical accompaniment not unlike that of equally lyrical, its virtuosity deployed beauty. Hard the soul unmoved at the Berg’s concerto, lightly scored and in with subtlety and used in the service surge of almost Wagnerian passion a contrasting pitch region. There are of a work of altogether different at the finale’s beginning. agitated interruptions, little jerking character. The half-hour piece’s five sighs, paired again evoking movements play continuously. Three Violin Concerto Berg, and harp playing an important of them are slow, while the finale Matthews’ Violin Concerto was role. The intervals of a perfect fifth is a summing up of fast and slow composed for another great string and its inversion, a perfect fourth,

elements. Significantly in the single player, Leila Josefowicz, between assume much prominence, again a Photo: Chris Lee Leila Josefowicz fast movement, the Scherzo, which 2007 and 2009 and, says the Bergian resonance. And all this detail

11 in just the opening section. Rapid He produces recordings. He moves TAKE A JOURNEY OF DISCOVERY INTO THE WORLD OF triplet figurations from the soloist and shakes through his myriad CONTEMPORARY CLASSICAL MUSIC WITH NMC’S punctuated by punchy orchestral crucial administrative functions, WEBSITE AND MUSIC MAP interjections and underlaid with not least for the Holst and Britten- www.nmcrec.co.uk/musicmap sustained pedal chords follow. Pears Foundations. And since 1989 Nothing stays static for long in this he has maintained the health and music. Continuums break down and productivity of the recording label Explore the connections and musical relationships between composers are remade; speed, texture, dynamic he created, ensuring that music · Listen to audio examples constantly vary; everything is in flux. by a vast range of living British · And the second movement, with its composers, modernists, minimalists, · Share the map on social media pulsations, its mirror melodic shapes, post-modernists and all, is readily its sudden injections of impetus, available to the public. Yet even if its burnished ripe colours, and its he had not so unselfishly chosen to beautifully conceived solo writing, is devote his energies to such causes, no less varied and complex. as he glides with that unassuming grace into his seventies he can look Three great works, then, to back with quiet satisfaction upon a celebrate the three score and ten formidable corpus of powerful works of a remarkable musical polymath. which deserve our gratitude and For Matthews, of course, has never deserve to endure. Happy birthday, been content simply to make Colin. And thank you. his way through life as a self- interested composer. He teaches. © 2016 Stephen Pettitt

‘It’ll provide hours of amusement’ GUARDIAN ‘Clever, original and fun’ BBC MUSIC MAGAZINE COLIN MATTHEWS was born in Over four decades his music has Radio 3, was given a Royal Matthews is Founder and Executive London in 1946. He studied with ranged from solo piano music Philharmonic Society Award. Producer of NMC Recordings, Arnold Whittall and Nicholas Maw; through five string quartets and many Executive Administrator of the Holst Orchestral works since 2000 include in the 1970s he was assistant to ensemble and orchestral works. From Foundation and Music Director of the Reflected Images for the San , and worked for 1992-9 he was Associate Composer Britten-Pears Foundation. He has been Francisco SO, Berceuse for Dresden many years with . His with the LSO, writing amongst co-director with Oliver Knussen of the for the New York Philharmonic, collaboration with on other works a Cello Concerto for Composition Course since Turning Point for the Concertgebouw the performing version of Mahler’s Rostropovich. In 1997 his choral/ 1992, and composition director of the Orchestra and Traces Remain for the Tenth Symphony lasted from 1963 orchestral Renewal, commissioned LSO’s Panufnik Scheme since 2005. BBC SO. until its publication in 1975. for the 50th anniversary of BBC He holds honorary posts with several Matthews was Composer-in- universities and is Prince Consort Association with the Hallé – for whom Professor of Composition at the Royal he completed his orchestrations of College of Music. Debussy’s 24 Preludes in 2007 – from www.colinmatthews.net 2001-10. He is now the orchestra’s Composer Emeritus. Colin Matthews on NMC … His violin concerto for Leila Josefowicz NMC D033 The Great Journey and the CBSO was premiered in NMC D101 Machines and Dreams NMC D149 Divertimento 2009. In 2011 he completed works for NMC D150 The NMC Songbook the , City of London (feat. Matthews’ Out in the Dark) Sinfonia and Leipzig Gewandhaus. He NMC D203 Sea Eagle wrote his 4th , for the (feat. Matthews’ Three of a Kind) Elias Quartet, in 2012, and his 5th, for the Tanglewood Music Center, in 2015; Spiralling was written for Spira Information about the artists on this Mirabilis in 2014; The Pied Piper, a disc can be found on NMC’s website: collaboration with , www.nmcrec.co.uk photo © Fiona Garden was performed by the LPO in 2015. THANK YOU SUPPORT The production of this album was generously supported DISTRIBUTION NMC RECORDINGS by an anonymous donation in memory of Mary Mackenzie NMC recordings are distributed worldwide in CD and download format. PRODUCERS’ CIRCLE For more information visit our website. You can also purchase recordings direct from our online store Anonymous, Robert D. Bielecki Foundation, Anthony Bolton, Luke The Violin Concerto was recorded live by the BBC on 28 July 2010 at As a charity NMC is non-profi t-making, providing www.nmcrec.co.uk Gardiner, Jonathan Goldstein, Nicholas and Judith Goodison, public benefi t through the contribution our work the Royal Albert Hall, London, and first broadcast on BBC Radio 3 on 28th July 2010 , George Law, Colin Matthews, James and Anne makes to enriching cultural life. Our ability to record and promote the innovative, the Cello Concerto No.2 was recorded by the BBC on 23-24 April 2002 at FOR FURTHER DETAILS PLEASE CONTACT: Rushton, Richard Steele, Charlotte Stevenson, Janis Susskind, Maida Vale Studios, London, and first broadcast on BBC Radio 3 on NMC Recordings Ltd Andrew Ward, Arnold Whittall challenging, the obscure and the lost is reliant 17 October 2002 upon securing the support of individuals who are Somerset House, Third Floor, South Wing, PRINCIPAL BENEFACTORS ANN MCKAY Recording Producer Strand, London, WC2R 1LA as passionate about new music as we are. SIMON HANCOCK Engineer Benjamin Bruce, Diana Burrell, John Casken, Robin Chapman, Tel. +44 (0)20 7759 1827/8 • Fax. +44 (0)20 7759 1829 Friends membership (£50 / £20 concession per Cortège was recorded 19 December 1998 at The Concertgebouw, E-mail: [email protected] • Website: www.nmcrec.co.uk Anton Cox, Brian Elias, Richard Fries, Michael Greenwald, Terry Amsterdam. Holmes, Stephen Johns, Jeremy Marchant, Belinda Matthews, year) offers advance notice of NMC releases, a All rights of the manufacturer and owner of the recorded material quarterly newsletter, and invitations to selected Recorded by AVROTROS reserved. Unauthorised public performance, broadcasting and copying Robert McFarland, Kieron O’Hara, Tarik O’Regan, Duncan Tebbet, NMC events including CD launches. Benefactors of this recording prohibited. Christoph and Marion Trestler, Peter Wakefi eld, Judith Weir, Hugh The BBC word mark and logo and the ‘BBC Radio 3’ logo are (£100) also receive up to 25% discount on NMC DAVID LEFEBER Mastering Wood CDs, are credited in CD booklets, and invited to trade marks of the British Broadcasting Corporation and used COLIN MATTHEWS Executive Producer for NMC under licence. BBC Logo © BBC 2007 BENEFACTORS recording sessions. Principal Benefactors (£250+) are additionally welcomed to an annual gathering, Colin Matthews’ music is published by . Violin Concerto ® 2010 BBC Cello Concerto No.2 ® 2002 BBC Anonymous, Raj Arumugan, Peter Aylmer, Peter Baldwin, Sir Alan Cover image: Portrait of C.M. Composer, Jack Smith, 1987, Oil on with the opportunity to meet NMC composers. Cortège ® 1998 ARVOTROS Bowness, Tony Britten, Andrew Burn, Sally Cavender, Michael canvas, 91.5 x 91.5 cm © Courtesy of Flowers Gallery London and New Cayley, David Charlton, Susan Costello and Robert Clark, Sheila The NMC Producers’ Circle invites donations of York, Courtesy of The Estate of Jack Smith Tracks 1-2,4-8: The copyright in the recording is owned by the BBC. © 2016 NMC Recordings Ltd Colvin, Steven Foster, Matthew Frost, Anthony Gilbert, Alexander £1,000+ to help us release particular hidden gems. FRANCOIS HALL Graphic design Catalogue no.: NMC D227 Goehr, Jennifer Goodwin, Adam Gorb, Elaine Gould, Paul Griffi ths, It allows donors to gain an exclusive insight into NMC Recordings is a charitable company (reg. no. 328052) established David Gutman, Barry Guy, Matthew Harris, Robin Holloway, Helen and association with our work. for the recording of contemporary music by the Holst Foundation; it Produced in association with BBC Radio 3 is grateful for funding from Arts Council England, the Britten-Pears and the BBC Symphony Orchestra Hughes, Peter Jenkins, Alison and Kjeld Jensen, Ed Jones, Neil We welcome Corporate Friends (£500+ VAT) who Foundation and The Delius Trust. King QC, Liz Leach, Bertie Leigh, Andrew Lockyer, Sally Marks, seek to align themselves with NMC’s values of ANNE RUSHTON Executive Director Prof Stephen McHanwell, Stephen and Jackie Newbould, Dominic quality, creativity and innovation. ELEANOR WILSON General Manager GWENDOLYN TIETZE Head of Development Nudd, Marina Ogilvy, Roy Parker, Stephen Plaistow, Chris Potts, LUCILE GASSER Label Assistant Ronald Powell, Lee Rodwell, Julian Rushton, Keith Salway, Howard A gift in your Will is an enduring way to mark your Skempton, David Smith, Kenneth Smith, Martin Staniforth, Owen appreciation of NMC’s pioneering work and help Toller, Kevin Turner, Hannah Vlcek, Anthony Whitworth-Jones us secure our future aspirations. Our individual supporters ensure the breadth and ambition of our CORPORATE FRIENDS output; no gift is too small. City & Cambridge Consultancy, Faber Music, Freshfi elds Bruckhaus Deringer LLP, The Incorporated Society of Musicians, Please visit: www.nmcrec.co.uk/support-us email: [email protected], . Incorporating a BBC Recording The Music Sales Group, Royal Philharmonic Society, or phone 020 7759 1826 for more information. RSK Entertainment Ltd, Schott Music Ltd 16 17