087Booklet 28/9/06 15:55 Page 1
ALSO on signumclassics
Remember Your Lovers SIGCD066 The Exquisite Hour SIGCD072
Tippett’s songs are few in number, but dazzling in Accompanied by Eugene Asti, Sarah Connolly sings quality. We contrast them here with one of Tippett’s songs by Haydn, Brahms, Hahn, Korngold and Weill. sources of inspiration, Henry Purcell, in an excellently Her distinctive, intelligent, warm, bright-sounding performed programme featuring John Mark Ainsley mezzo-soprano will be enjoyed by her growing & Iain Burnside. ‘army’ of fans in this rich, romantic repertoire.
www.signumrecords.com Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 087Booklet 28/9/06 15:55 Page 3
A Note from The Composer on buying a horse It is songs, on the whole, that make the musical was written to commemorate the life and sudden world go round; but ‘contemporary classical’ death of Kent Opera, an inspirational force in the composers don’t seem to write them very much English artistic landscape. The text, from the (4th these days. During the times when I was writing century BC) Confucian commentator Mencius, 1. On buying a horse [2.26] The Voice of Desire the many parts of this collection, I felt I was taking muses on the long term effect of continually 12. I: The voice of desire [4.05] 2. Ox Mountain was Covered by Trees [5.15] a holiday from the world of new music to practise cutting things down. 13. II: White eggs in the bush [2.48] an ancient craft. Songs from the Exotic 14. III: Written on terrestrial things [3.19] 3. I: Sevdalino, my little one [1.41] 15. IV: Sweet little red feet [1.26] Josephine Nendick, known for her elegant, 4. II: In the lovely village of Nevesinje [3.06] No one thing led me to write these songs these pioneering performances of Boulez, Nono and A Spanish Liederbooklet 5. III: The romance of Count Arnaldos [2.24] ways. Sometimes it was the voice, the words, the beyond, commissioned Songs from the Exotic 16. I: Romance de fonte-frida [4.07] 6. IV: The song of the girl ravished away pianist, the occasion, usually a combination of (1987) to mark her retirement from professional 17. II: Romance de rosa fresca [2.34] by the fairies in South Uist [2.03] 18. III: Seranilla de la zarzuela [2.09] several. I have no idea why one singer ends up with singing. She was accompanied at the piano by Scotch Minstrelsy Chinese philosophy whilst another has to sing a Michael Finnissy, whose sophisticated yet humane King Harald’s Saga 7. I: Bessie Bell and Mary Gray [3.57] Serbian song about trousers. Finding the right words re-inventions of folk music greatly influenced this 19. Act I [4.19] 8. II: Bonnie James Campbell [2.26] is one of the most enjoyable parts of the exercise, piece, in which vernacular poetry from Serbia, 20. Act II [3.22] 9. III: Lady Isobel and the Elf-knight [2.03] 21. Act III [4.34] although increasingly problematic as I find myself Spain and South Uist is heard from my own, far- 10. IV: The gypsy laddie [3.04] 22. Epilogue [1.30] searching the same sources again and again. removed, musical point-of-view. 11. V: The braes of Yarrow [1.55] 23. Ständchen [3.15] On buying a horse (1991) was written for a concert Scotch Minstrelsy (1982) was commissioned by Total Timing [68.06] given in aid of an animal charity. They probably Glasgow University’s McEwan Bequest for the tenor weren’t crazy about this quick blast of peasant Neil Mackie, whose simple and unaffected From miniature to epic - songs from one of music’s great storytellers. cunning, which advises anyone offered a horse performances of Scottish folk songs I greatly with the wrong markings to “tear off his hide and admired. Intending to write a companion piece for JUDITH WEIR feed him to the crows”. this pleasant repertoire, I made a selection of SUSAN BICKLEY - MEZZO-SOPRANO • ANDREW KENNEDY - TENOR much abbreviated Border Ballads; but on closer AILISH TYNAN - SOPRANO • IAIN BURNSIDE - PIANO Originally scored for three singers and small examination, the grisly happenings of these orchestra, Ox Mountain Was Covered By Trees (1990) familiar poems came as a shock, and the resulting www.signumrecords.com
- 3 - 087Booklet 28/9/06 15:56 Page 5
songs are histrionic and nervous, though framed by King Harald’s Saga (1979) asks a lot of its soprano On buying a horse ‘beautiful’ piano accompaniments, just as Scotland’s soloist (originally the intrepid Jane Manning). She violent past is obscured by its abundant scenery. has to sing every role, including duets and choruses, Judith Weir is a magic realist, the Gabriel García poems or prose from so far afield then combines in a huge but brief grand opera about the Vikings, Márquez of song. Once you enter her world it them in a way so fresh and utterly personal. Alice Coote was the dedicatee of The Voice of Desire as retold in the 13th century Icelandic saga, seems entirely reasonable that fairies should run Setting John Keats is not in itself remarkable; (2003), which takes its title from its opening song, Heimskringla. Whilst appearing in many exciting off with a Hebridean baby, a turtle dove should twinning him with African folk poetry is. about nightingales, by Robert Bridges. Each of the guises, she also presents her performance as a berate a nightingale, and a sailor should calm the four poems in the cycle (by Bridges, Hardy and radio broadcast, giving helpful explanations of the winds with his special secret song. She is also a As is the quiet pizzicato tango that underpins Keats, alongside a Yoruba Huntsmen’s song) is opera’s three acts before leaping back into character. storyteller. If her operas tell complete stories, Keats’s little white dove. But then Weir’s choice of sung by a bird, whose perspective is more these songs are like postcards. You will look in piano texture is another mark of her originality. sophisticated than its uncomprehending human The medium of radio also inspired the short song vain for back-stories or follow-ups. What were She makes the instrument speak in a way entirely listener realises. The nightingale lives in a darker Ständchen (1997). During Schubert’s bicentenary Bessie Bell and Mary Gray up to in their bower? her own, often with the simplest of means. The emotional world than we can imagine; the blue year, BBC Radio 3 invited many composers to How many white feet did the horse have? And how atmosphere of Lady Isobel’s adventure with her Elf cuckoo knows that the wars we blunder into will choose one of his song texts and set it again. did Bey Pivlyanahin counter Bey Lujibovic’s Night is established by just two notes rocking bring destruction; the thrush sings joyfully whilst Separated from one of Schubert’s greatest-ever outrageous jibe about the lacy apron? Maddeningly, backwards and forwards, somehow both dangerous we are mentally blank; the dove has died rather than melodies, Rellstab’s verse still has a gentle, Weir never tells us. She drops her pebble in the and witty. The first song of Scotch Minstrelsy has face emotional suffocation from its adoring owner. wistful charm whose muted, nocturnal atmosphere pond and walks away smiling. the disc’s most extended piano writing: it is less a I have attempted to capture. song, in fact, than a piano piece with vocal Two magnificent (anonymous) Spanish romances On this disc a huge amount happens. Battles are commentary. A single line, blurred and irregular in from the sixteenth century, and a sly ballad provide © Judith Weir fought, heads are chopped off. Wherever you look its pedaling, branches into two then goes back to the poetry for A Spanish Liederbooklet (1988), people keep dying. Most of them in Scotland. one again. The plague, we learn, is breaking out by written for the soprano Eileen Hulse. Although the Judith Weir’s Scotland is a cruel, dark place, the River Almond, in Perth in 1645. Weir’s music is music was created as a very direct response suffused with sinister magic. Her Serbia is little watery, yet also diseased. None of her sharp to what the words are saying, listeners have better, though at least it yields more laughs. Her primary colours here: this piano writing is all remarked that the music ‘sounds Spanish’, and songs are songs from the exotic indeed. Weir’s shades of grey and murky brown. it may well be that the basic melodic and magic carpet takes us both north and south within rhythmic shapes of these songs emanate from the Europe, then on, in parallel with her operas, to Her use of the voice is no less remarkable, language itself. Africa and China. Her nose for texts is one the changing in response to her vocal as well as her great delights of this collection: how she roots out poetic Muse. Ironically the most performed work on
- 4 - - 5 - 087Booklet 28/9/06 15:56 Page 7
this disc is also the most fiendishly difficult. King enlightens Siegfried, and ravens fly over him texts Harald’s Saga is a vocal commando course, where just before he gets stabbed in the back. Like only future SAS members need apply. A jeu d’esprit Wagner’s, Judith Weir’s birds are one step ahead of simultaneously testing and celebrating Jane the game. Manning’s legendary powers, King Harald has On buying a horse Who knows that the woods were tampered taken on a life of his own, through plucky singers © Iain Burnside with, hewn with axes, beaten with clubs? The relishing challenge and plucky audiences finding One white foot, try him; trees are lopped, day after day; how will the unexpected delight in this vocal tour de force. Two white feet, buy him; mountain flourish? Different voices inspire dark Balkan chestiness in Three white feet, put him in the dray; the Nevesinje area and high soprano brilliance Four white feet, give him away; Confucius said these words: “Hold on and it will when Spanish honour is at stake. The end of Four white feet and a white nose, remain. Let go and it disappears. One never knows Ox Mountain uses impassive Maoist declamation. Take off his hide and feed him to the crows. the time it comes. One never sees where it has Her simplest, most tender vocal writing comes gone.” In making his remarks, perhaps he referred in our final Ständchen, as near as Weir gets Text: Anonymous to the heart. tonightingales a conventional lovesong. Here, though, the earnest serenader is not her focus. Do you hear the Ox Mountain was covered by trees Text: Mencius/Mengzi ? he asks his lover. The girl is unlikely to miss them: casually mentioned by Rellstab, Ox Mountain was covered by trees, but it stands by Songs from the Exotic ignored by Schubert, these birds are what this a populous city. The people climbed up with their song is all about. axes and choppers; they cut the wood down, and 1. Sevdalino, my little one the mountain lost its vegetation. But then birdsong runs as a leitmotif through this Sevdalino, my little one, disc: a source of wisdom; the connection, in the Yet even so, there came the night breeze. Rain and Are you still at home, my sweetheart? case of Hardy’s Darkling Thrush, with a higher dew moistened it: green shoots began to grow. You took all my money away, plane. The Voice of Desire explores this idea in Cattle and sheep grazed there. After some time, You took all my money away: four brilliantly differentiated ways. Weir has made the mountain was gaunt and bare. People who see Five thousand piastres, her own version of Waltraute’s Narrative from it barren today imagine it always treeless. Five thousand piastres, Wagner’s Götterdämmerung. The birds in the Ring Give me back a little money my sweetheart, Give cycle know a thing or two, as well: the Wood Bird me back a little money that I might buy a pair of
- 6 - - 7 - 087Booklet 28/9/06 15:56 Page 9
trousers, That I might buy a pair of trousers. When the letter reached baya, Alli fabló el conde Arnaldos And made the winds die down Sevdalino, my little one, He understood the contents: Bien oreis lo que dirá: Which made the fish that swim in the deep rise to Sevdalino, my little one... He reached for his inkwell, the surface And wrote the Bey an answer. <
- 8 - - 9 - 087Booklet 28/9/06 15:56 Page 11
Though you gave me horses on halters, Bonnie James Campbell But will ye go to yon Greenwood side? The Gypsy Laddie Though you gave me cattle and sheep, If ye canna gaing, I will cause you to ride’. Though you gave me servants and footmen, I came It’s up in the highlands, along the sweet Tay, The gypsies came to our good lord’s castle gates, to call the cattle home. Bonnie James Campbell rode many a day; He leapt on a horse and she on another, And O! but they sang sweetly, O! He saddled, he bridled, and gallant rode he, And they rode on to the greenwood together. They sang so sweet and complete My love, my love, let me home to my mother; My And home came his good horse but never came he. That down came our fair lady, O! love, my love, let me home, let me home; My love, ‘Light down, light down, fair lady Isobel’, said he, my love, let me home as you found me; I came to Out came his old mother a-crying full sair, ‘We are come to the place where you are to die’. They gave to her the nutmeg brown, call the cattle home. Out came his bonny bride, tearing her hair, They gave the finest ginger. ‘My meadow lies green and my corn is unshorn ‘Have mercy, have mercy kind sir on me, The gypsies saw her well-fared face, Text: Scottish-Gaelic folk-song But bonny James Campbell will never return’. Till once my dear father and mother I see’. And cast their glamour over her. Scotch Minstrelsy Saddled and bridled and booted rode he, ‘Seven king’s daughters here have I slain, ‘Go take from me this silver cloak And you shall be the eighth of them’. And bring to me a plaidie. Bessie Bell and Mary Gray A plume in his helmet, a sword at his knee, Empty his saddle all bloody to see, I will forget my kith and kin, ‘O sit down a while, rest your head upon my knee, And follow the gypsy laddie. (To avoid an outbreak of the plague in Perth in O home came his good horse, but never came he. That we may have some rest before I die’. 1645, these two ladies built themselves a bower by Last night I lay on a feather bed, the banks of the River Almond; but the plague Lady Isobel and the Elf-Knight She stroked him so softly the nearer he did creep; My wedded lord beside me; eventually spread even to this remote region, and With a small secret charm she lulled him Tonight I lie with stars and moon and sky; they succumbed to it.) Fair Lady Isobel sits in her bower sewing, There she heard the Elf-Knight blowing his horn. fast asleep. Ah! Whatever shall betide me!’ Bessie Bell and Mary Gray With his own sword belt so softly she bound him; (Epilogue: The Lady leaves with the gypsies, and They were two bonny lasses, ‘If I had yon horn that I hear blowing, With his own dagger so softly she killed him. the Lord returns..) They biggit a bow’r on the banks of the river, And yon Elf-Knight to sleep in my bosom.’ And theekit it over with rashes, O! The maiden had scarcely these words spoken, ‘Go, saddle to me the black’ he said, ‘The brown rides never so speedy: They theekit it over with rashes green, When in at her window the Elf-Knight has luppen. And I will neither eat nor drink nor sleep, They theekit it over with heather; Till I avenge my lady’. The plague came into the river bank, ‘It’s a very strange matter, fair maiden’ said he, And slew them both together. ‘I canna blow my horn but ye call on me. - 10 - - 11 - 087Booklet 28/9/06 15:56 Page 13
There were fifteen valiant gypsies, The Voice of Desire 2. White Eggs in the Bush 3. Written on Terrestrial Things They were black, O! but they were bonny. They are all to be hanged on a tree 1. The Voice of Desire The blue cuckoo I leant upon a coppice gate For stealing our good lord’s lady. lays white eggs in the bush. When Frost was spectre-gray, Beautiful must be the mountains whence ye come, When war captures the town And Winter’s dregs made desolate The Braes Of Yarrow And bright in the fruitful valleys the streams, the blue cuckoo cries: The weakening eye of day. wherefrom “Kill twenty, kill twenty!” The tangled bine-stems scored the sky I dreamed a dreary dream last night Ye learn your song: The red-bellied coucal cries: Like strings of broken lyres, That filled my heart with sorrow: Where are those starry woods? O might I wander there, “Kill thirty, kill thirty!” And all mankind that haunted nigh I dreamt I pulled the heather green Among the flowers, which in that heavenly air Then death will not fail to come, Had sought their household fires. Upon the braes of Yarrow. Bloom the year long! then death will not fail to come. When men begin war, The land’s sharp features seemed to be I dreamed a dreary dream last night, [Nay,] barren are those mountains and spent the blue cuckoo cries: The Century’s corpse outleant, That filled my heart with sorrow: the streams: “Fools, fools!” His crypt the cloudy canopy, I dreamt my love came headless home, Our song is the voice of desire, that haunts our dreams, The red-bellied coucal cries: The wind his death-lament. Upon the braes of Yarrow. A throe of the heart, “The world is spoiled, The ancient pulse of germ and birth Whose pining visions dim, forbidden hopes profound, the world is spoiled!” Was shrunken hard and dry, O gentle wind that bloweth south, No dying cadence nor long sigh can sound, Then death cannot fail to come, And every spirit upon earth to where my love repaireth; For all our art. then death cannot fail to come. Seemed fervourless as I. Convey a kiss from her dear mouth, And tell me how she fareth. Alone, aloud in the raptured ear of men Text: Blue Cuckoo – from Hunter Poems of the Yoruba, At once a voice arose among We pour our dark nocturnal secret; and then, translated by Ulli Beier The bleak twigs overhead, Text: Five Scottish ballads As night is withdrawn In a full-hearted evensong [From these sweet-springing meads and bursting Of joy illimited; boughs of May,] An aged thrush, frail, gaunt, and small, Dream, while the innumerable choir of day In blast-beruffled plume, Welcome the dawn. Had chosen thus to fling his soul Upon the growing gloom. Text: Nightingales – Robert Bridges
- 12 - - 13 - 087Booklet 28/9/06 15:56 Page 15
So little cause for carolings A Spanish Liederbooklet and if I find the water clear, I drank from it turbid. and now that I would please you I cannot have you. Of such ecstatic sound I do not want a husband, so that there may be “The fault was yours, friend. It was yours, not mine. Was written on terrestrial things 1. Romance de Fonte-frida no children. You sent me a letter by your servant; Afar or nigh around, I want no pleasure with children, nor yet any and instead of delivering it, he told me another story, That I could think there trembled through Fonte frida, fonre frida,• fonte frida y con amor consolation. that you had married, friend, away in the land of Léon, His happy goodnight air Do todas las avecicas • van tomar consolación, Leave me, sad enemy, wicked, false, evil traitor, that you had a beautiful child and children as (fair Some blessed Hope, whereof he knew Si no es tortolica • qu’está viuda y con dolor. for I do not want to be your mistress, nor to marry as) a flower.” And I was unaware. Por allí fuera pasar • el traidor del ruiseñor; you either.” Las palabras que le dice • llenas son de traición: “Whoever told you that, lady. Did not tell you the truth, Text: The Darkling Thrush – Thomas Hardy “Si tú quisieses, señora, • yo sería tu servidor”. 2. Romance de Rosa fresca for I have never been in Castile, nor yonder in the “Vete d’ahi, enemigo, • malo, falso, enganador, land of Léon, 4. Sweet Little Red Feet que ni poso en ramo verde, • ni en prado que tenga flor; Rosa fresca, rosa fresca • tan garrida y con amor, except when I was small and knew nothing of love.” que si el agua hallo clara • turbia la bebía yo; Cuando yo’s tuve en mis brasos • no vos supe servir, no, I had a dove and the sweet dove died; que no quiero haber marido • porque hihos no haya, no; Y agora que vos serviría • no vos puedo yo haber, no; 3. Serenilla de la Zarzuela And I have thought it died of grieving: no quiero placer con ellos, • ni menos consolaciíon. “Vuestra fué la culpa, amigo, • vuestra fué, que mia no; Oh, what could it grieve for? Its feet were tied, ¡Dejame, triste enemigo, • malo, falso, mal traidor, enviásteme una carta • con un vuestro servidor, Yo me iba, mi madre, • a Villa Reale: With a silken thread of my own que no quiero ser tu amiga • ni casar contigo, no!” y en lugar de recabdar, • él dijera otra razón: Erraya yo el camino • en fuerte lugare. hand’s weaving; qu’érades casado, amigo, • allá en tierras de Léon; Siete días anduve • que no comí pane, Sweet little red feet! why should you die - Romance of Fonte-frida que tenéis mujer hermosa • y hijos como una flor.” Cebada mi mula, • carne el gavilán. Why should you leave me, sweet dove! why? “Quien os lo dijo, señora, • no vos dijo verdad, non, Entre la Zarzuela • y Darazután, You liv’d alone on the forest-tree, Cool fountain, cool fountain, cool fountain of love, que yo nunca entré en Castilla, • ni allá en tierras alzaba los ojos • hacia do el sol sale; Why, pretty thing! could you not live with me? where all the little birds go to console themselves, de Léon, viera una cabaña, • della el humo sale. I kiss’d you oft and gave you white peas; except the turtle-dove who is widowed and sorrowing. sino cuando era pequeño • que no sabia d’amor.” Picara mi nula • fuíme para allá; Why not live sweetly, as in the green trees? By it there passed that traitor, the nightingale. Perros del ganado • sálemne a ladrar: The words that he spoke were full of treachery: Romance of the Fresh Rose Vide una serrana • del bello donaire. Text: I Had a Dove and the Sweet Dove Died – John Keats “If you would allow me, lady, I would be your servant.” “Llegáos, caballero, • vergüenza no hayades; “Go away enemy, false deceiver. Fresh rose, fresh rose, so graceful and loving, mi padre y mi madre • han ido al lugar, I do not perch on a green bough, nor in a meadow when I held you in my arms I did not know how to mi carillo Minguillo • es ido por pan, that is in flower, please you, ni vendrá esta noche • ni mañana a yantar;
- 14 - - 15 - 087Booklet 28/9/06 15:56 Page 17
comeréis de la leche • mientras el queso se hace. Act 1 All around the orb of the world, my name is feared; St. Olaf Haremos la cama • junto al retamal; by this name am I known: Harald the Merciless. Sleep Harald, sleep on, I fear that death awaits, Haremos un hijo • llamarse ha Pascual; Announcement: I hear the wolves cry in the mountains, O será arzobispo • pap o cardenal, King Harald’s Saga, act one. It is the year 1066. In Fanfare of Trumpets: I see the wolves’ jaws red with blood; O será porquerizo • de Villa Real.” the royal palace at Oslo, King Harald of Norway Hail Tostig; tell all, Tostig; tell us your tale, I see black ravens, birds of carrion, fly to the west. recounts his previous triumphs on the field of tall Tostig. I died at home a holy man; Hill Song of La Zarzuela battle. To a fanfare of trumpets, Earl Tostig arrives Treat us to the truth; tempt us with a To my blessed memory be true, trusty hero. truthless trick; I was going, Mother, to Villa Real: from England. Tostig is a traitor. He persuades trick us in a trance, tall terse Tostig; Harald I lost my way in a difficult place. King Harald to invade England. Tell us all, tell us all, talk! all hail! tall hale Put out to sea, put out to sea. I went seven days without eating bread, tell-tale; Sail, far, over sea. Without my mule getting fodder or my hawk Harald: talk! tall-tale telling Tostig. getting meat. I Harald, by the grace of God, Harald’s wives Between La Zarzuela and Darazután, King of all the northern lands, Tostig Farewell, Harald. Take care, Harald. I lifted my eyes toward the sunrise mightiest warrior that ever donned a coat of mail, Hail; take; kill; win; sail; fight; go God bless Harald. and saw a cabin from which the smoke rose. and held a sharp edged sword, Go. I spurred my mule and rode to it; strongest king that ever strode a longship’s prow Act 3 The shepherd’s dogs came out to bark at me, and sailed the restless sea. Act 2 and I saw a highland girl with a pretty grace. Most merciless fighter that ever killed a Announcement “Come in, knight, and do not be shy; living man, Announcement Act three. King Harald’s army lands at Scarborough. my father and mother have gone to the town, Whereas my brother, the blessed and holy man, Act two. It is the middle of the night. King Harald A messenger reveals that the English army has my darling Minguillo has gone for bread, Olaf the Saint, said: Love thine enemies; is asleep. He dreams that he is in Trondheim and been sighted in unexpectedly large numbers. The and will not be back tonight or tomorrow to eat; I say: Sever their limbs until they cause no trouble. meets his dead brother, St.Olaf, who warns him two armies fight at Stamford Bridge in Yorkshire. you shall drink milk while the cheese is being made. that his expedition to England is ill-fated. The Norwegians are slaughtered by the thousand. We will make up the bed beside the broom field, When I was young I raided endless Russia, Amongst the dead is King Harald. and we will get a son, whose name shall be Pascual. my ship sailed past Byzantium, King Harald is not afraid of dreams; he leaps from He will either be an archbishop, a pope, or a cardinal, I scourged the Saracen men in Sicily, his bed and orders his navy to make for England. The Norwegian army or he will be the swine-drover of Villa Real.” I trod the holy ground of Palestine. They knew my justice on both banks of the Jordan; The ships sail out of the fjord, into the open sea, We gladly leave for Harald From THE PENGUIN BOOK OF SPANISH VERSE edited by J. M. Cohen Wherever I went, men said: and out of sight. Harald’s two wives bid him farewell. the land from which we came; (Penguin Books 1956, Third edition 1988). Copyright © J. M. Cohen, May his soul abide in Christ! 1956, 1960, 1988 - 16 - - 17 - 087Booklet 28/9/06 15:56 Page 19
beneath his royal standard, bright weapons flying, hewing flesh, Epilogue Flüsternd schlanke Wipfel rauschen his courage and his fame. grating, glinting, In des Mondes Licht; men flinching, kicking, jolting, flinging axes, Announcement Des Verräters feindlich Lauschen We gladly fight for Harald, breathless they gash and graze and grate. Epilogue. Back in Oslo, an ancient Icelandic sage Fürchte, Holde, nicht. we plunder and we steal; ponders Harald’s violent end. our warriors’ strength is famous, No room to move, tripping, falling, Hörst die Nachtigallen schlagen? our courage and our zeal. horses rearing, a litter of corpses; An Icelandic sage Ach! Sie flehen Dich, they shove and stab and stub, I have seen this all before; ships returning to the Mit der Töne süssen Klagen We gladly kill for Harald, raining blows without purpose; harbour unloading not live men but corpses. Flehen sie für mich we slaughter all his foes; the leaders cannot command, Women weeping, children who have never seen first, we beat them to the ground, and then we their shouted orders unheard their fathers; it seems to happen often, and always Sie verstehn des Busens Sehnen in the ripping and crashing. they say the same thing: since so many were killed, Kennen Liebesschmerz, A messenger Now Harald, the Norwegian king, felt anger and fury; we will never forget and make the same mistake. Rühren mit den Silbertönen O Sir! O Harald; I bring fateful news. Your army lies Into the thickest knot of bodies he ran, But they do ! and it happens again. Jedes weiche Herz. in great peril; the sun is bright but the fates are fighting two-handed, swinging weapons aimlessly. black. We thought to meet no danger; but as we blood pouring, cramp and sweat, shouting, roaring, Why did Harald bother? He could have stayed at Lass auch Dir das Herz bewegen, approached the town of York, we saw dust, a cloud cutting down, moving blindly. home and made the best of it. I could have told him Liebchen, höre mich! a dust, raised by the hooves of horses; and below it it would end like this. Bebend harr’ich Dir entgegen! the gleam of handsome shields and white coats of Nearby, a man exhausted, fallen in the mud cried: Komm’, beglücke mich! mail; and we could see that it was an army, an disaster has befallen us ! we have been duped! Music and Libretto by Judith Weir army of men; and their glittering weapons sparkled there was no cause for Harald to bring his © Copyright 1982 Novello & Company Limited Softly my songs plead All Rights Reserved. International Copyright Secured. like a field of broken ice. forces westward; Through the night to you; Reprinted by Permission we are all as good as dead! Down into the silent grove, A soldier At this moment, King Harald was struck in the throat, Ständchen Beloved, come to me! Side by side the armies fought. And drew his last breath, Shoulder to shoulder their men attacked; his last gasp. Leise flehen meine Lieder Slender tree-tops whisper and rustle the storm of arrows raged around the king, Durch die Nacht zu Dir; In the moonlight; and all around the clash of mail, the clang of swords, In den stillen Hein hernieder, My darling, do not fear men running and falling, the crack of blows, Liebchen, komm’zu mir! That the hostile betrayer will overhear us.
- 18 - - 19 - 087Booklet 28/9/06 15:56 Page 21
Do you not hear the nightingales call? BIOGRAPHIES Ah, they are imploring you; With their sweet, plaintive songs They are imploring for me. Judith Weir They understand the heart’s yearning, Judith Weir is one of Britain’s most wide-ranging They know the pain of love; composers. She studied composition with John With their silvery notes Tavener whilst at school in London, and at They touch every tender heart. Cambridge University with Robin Holloway. For six years she taught composition at Glasgow’s University Let your heart, too, be moved, and RSAMD and she has also held visiting Beloved, hear me! professorships at Oxford and Princeton. She is an Trembling, I await you! active advocate of new music for school-age and Come, make me happy! adult amateur performers.
Text: Heinrich Friedrich Rellstab Chinese Opera Translation © Richard Wigmore. Reproduced with kind permission. HerEckbert interest in theatre, narrative and folklore has resulted in three full length operas, A Night at the , The Vanishing Bridegroom and Blond ; and theatrical collaborations with Sir Peter Hall, Caryl Churchill and Peter Shaffer. Together with storyteller Vayu Naidu, Judith has created a © Suzanne Jansen blend of storytelling and music entitled ‘Future We are Shadows, written for Sir Simon Rattle and Perfect’ which has toured England and India; a the CBSO orchestra and its three choruses (winner new instalment of which was premiered in 2005. of the 2000 South Bank Show Music Award); an extended series of chamber works for Judith’s Works composed for specific artists include long-time collaborators, the Schubert Ensemble, woman.life.song, a 50-minute song cycle recently released on a double CD by NMC; and commissioned and performed by Jessye Norman in The Voice of Desire, a collection of songs written Carnegie Hall, New York and at the BBC Proms; for Alice Coote.
- 20 - - 21 - 087Booklet 28/9/06 15:56 Page 23
Recent successes include a major orchestral work SUSAN BICKLEY In concert, Susan Bickley works with all the major ANDREW KENNEDY - TENOR TheTable Welcome Arrival of Rain for the Minnesota British symphony orchestras as well as ensembles Orchestra and the ensemble work Tiger Under the Susan Bickley is firmly established as one of the like the Gabrieli Consort, The Sixteen, Nash Born in Ashington, Andrew studied at King’s for the London Sinfonietta. Judith recently most versatile mezzo-sopranos, equally at home in Ensemble, London Sinfonietta, Scottish Chamber College, Cambridge, and the RCM. He was on the completed Armida, an opera for television in the opera house or the concert platform, with a Orchestra, Fretwork and The Purcell Quartet. Her Young Artists Programme at Covent Garden; won collaboration with film-maker Margaret Williams, wide repertory encompassing the Baroque, the work abroad has included engagements with the BBC Singer of the World Rosenblatt Recital commissioned by Channel Four TV, and a new great 19th century roles and the music of today. Residentie Orkest, Hong Kong Philharmonic, Les Prize in 2005, and is currently a member of BBC version of her opera Blond Eckbert for The Opera Arts Florissants, Ensemble Intercontemporain and Radio 3’s New Generation Artists Scheme and a Group. She is currently writing a new work In the UK, Susan Bickley has worked with the Royal Deutsche Kammerphilharmonie. Borletti-Buitoni Trust Award winner. He also won commissioned by the Scottish Chamber Orchestra Opera House, English National Opera, Welsh the 2006 Royal Philharmonic Society’s Young and Tapiola Sinfonietta to be premiered in the National Opera, Opera North, Scottish Opera, She made her debut at Carnegie Hall singing Artists’ Award. autumn of 2006. Glyndebourne Festival Opera, Glyndebourne Stravinsky’s Requiem Canticles; sang Ligeti’s Touring Opera and Grange Park Opera. Abroad, Requiem and George Benjamin’s Upon Silence at From 1995 to 1998 she was the City of engagements include Paris Opera, Hong Kong the Salzburg Festival, and her Proms appearances Birmingham Symphony Orchestra’s Composer in Festival, San Francisco Opera, Flanders Opera, have included works be Simon Bainbridge, Association; and from 1995 to 2000 she was the Netherlands Opera and Berlin Staatsoper. Leonard Bernstein, Thomas Adès and Nicholas Maw. Artistic Director of the Spitalfields Festival in London. She spent the first half of 2004 teaching Engagements this season and next include at Harvard University, as the Fromm Foundation Ludmilla The Bartered Bride at Covent Garden, Visiting Professor of Music. Storge Jephtha and Brangaene Tristan und Isolde for WNO, Dido for Opera North, and the world Judith Weir’s music is published exclusively by premiere of Malcolm Hayes’ Odysseus Remembers Chester Music Ltd. and Novello and Co. Ltd. with the BBC Symphony Orchestra.
Her many recordings can be heard on EMI, Deutsche Grammophon, BMG, Hyperion and Nimbus.
Susan Bickley is represented by Intermusica. © Samantha Ovens
- 22 - - 23 - 087Booklet 28/9/06 15:56 Page 25
Magic Flute
Engagements this season include Tamino The AILISH TYNAN - SOPRANO Festival the Isle of Man Festival, as well as in Iain Burnside and Fenton Sir John in Love for English studioGiovanni for BBC Radio 3. National Opera, Flute A Midsummer Night’s Dream Ailish Tynan was born in Mullingar, Ireland, and Iain Burnside enjoys a unique reputation as for Royal Opera House, Jaquino Fidelio at studied at Trinity College and the Royal Irish Future plans include her US debut as Zerlina Don pianist and broadcaster. As a performer he is Glyndebourne and with London Symphony Academy of Music in Dublin. In 2003 Ailish for the Seattle Opera, Marzelline Fidelio best known for his commitment to the song Orchestra, Mozart’s Requiem with the London represented Ireland in the BBC Singer of the World for the Royal Opera, Sophie Der Rosenkavalier for repertoire, forged through collaborations with Philharmonic Orchestra and Finzi’s Dies Natalis Competition, winning the BBC Singer of the World the Stockholm Opera and Héro Béatrice et Bénédict leading international singers, including Dame with the BBC National Orchestra of Wales. Rosenblatt Recital Prize and also became a BBC for Houston Grand Opera. Margaret Price, Susan Chilcott, Galina Rake’s Progress New Generation Artist. Gorchakova, Yvonne Kenny, Susan Bickley, David Future plans include Ferrando Cosi fan tutte for Daniels, John Mark Ainsley and Bryn Terfel. Iain Glyndebourne Touring Opera, Tom Rakewell The Ailish was a member of the former Vilar Young also works with some outstanding younger in Brussels and Lyon, Nemorino Artist Programme and roles for the Royal Opera singers: Lisa Milne, Sally Matthews, Sophie L’elisir d’amore for Opera North, Francesco have included Papagena Die Zauberflöte, First Daneman, Sarah Connolly, Christopher Maltman, Benvenuto Cellini and Novice Billy Budd with Niece Peter Grimes, Xenia Boris Godunov and William Dazeley, Roderick Williams and London Symphony Orchestra, Vere Billy Budd in SecondWidow Wood Nymph Rusalka. Recent operatic Jonathan Lemalu. Houston, Berlioz Grande Messe de Morts with engagements include Valencienne The Merry Royal Philharmonic Orchestra at the Royal Albert and Susanna Le nozze di Figaro for Welsh Iain’s broadcasting career covers both Radio and Hall, and Britten Serenade and Nocturne with the National Opera, Euridice Orfeo ed Euridice and TV. As presenter of BBC Radio 3’s Voices BBC National Orchestra of Wales. PaminaFreischütz Die Zauberflöte for Opera Ireland, Flora programme, he has recently been honoured with a The Knot Garden with the BBC Symphony Sony Radio Award. He further combined roles as Andrew Kennedy is represented by Intermusica. Orchestra and Sir Andrew Davis, Aenchen Der pianist and presenter in The Music Party for and a Queens Hall recital at the BBC World Service. Other Radio 3 work has Edinburgh International Festival and Marzelline featured special celebrations of Dame Janet Fidelio with the National Symphony Orchestra of Baker, Elisabeth Schwarzkopf, Maria Callas Ireland. She has also given recitals at the and Dietrich Fischer-Dieskau. His television Wigmore Hall, St Luke’s, the City of London involvement includes Cardiff Singer of the Festival, St John’s Smith Square, the Royal Dublin World, Leeds International Piano Competition Society, West Cork Music Festival, Cheltenham and BBC Young Musician of the Year. Music Festival, Gregynog Festival and Clandeboye
- 24 - - 25 - 087Booklet 28/9/06 15:56 Page 27
Current recording projects include a series co-produced between BBC’s Voices and Signum, following their acclaimed first release of Tippett with John Mark Ainsley. For Naxos he is recording a number of English songs discs with Roderick Williams; black box recorded Iain in Schoenberg with Sarah Connolly and Williams; Debussy with Distributed under license from the BBC. BBC is a trademark of the British Broadcasting Corporation Lisa Milne and Susan Bickley; and Copland with and is used under license. Susan Chilcott. BBC © BBC 2006
Recorded at The Warehouse, London, November 9, 2005, A number of organisations have invited Iain to January 10 & 17 and June 17, 2006 programme concert series: Musique et Poésie, Produced by Clive Portbury and Tony Sellors Brussels; the Bath Festival; the International Song Engineered by Michael Bacon Recital Series at London’s South Bank Centre; Cover image - Shutterstock, Razvan Stroie Design and Artwork - Woven Design www.wovendesign.co.uk Leeds Lieder+; and the Finzi Friends’ triennial festival of English Song in Ludlow. www.signumrecords.com
His main educational commitment is with singers P 2006 BBC and pianists at London’s Guildhall School of Music C 2006 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. and Drama. Other masterclasses include the Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the Juilliard School, New York, and the Banff Centre, 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 of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, Canada. He is a Director of Grange Park Opera. electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.
SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]
- 26 - - 27 -