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SEA EAGLE Works by Gerald Barry • Peter Maxwell Davies • Robin Holloway Colin Matthews • David Matthews • Mark-Anthony Turnage • Huw Watkins RICHARD WATKINS Horn

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SEA EAGLE Works by Gerald Barry • Peter Maxwell Davies • Robin Holloway Colin Matthews • David Matthews • Mark-Anthony Turnage • Huw Watkins RICHARD WATKINS Horn Richard Watkins horn with Mark Padmore tenor • Huw Watkins piano Paul Watkins cello • The Nash Ensemble SEA EAGLE works by Gerald Barry • Peter Maxwell Davies • Robin Holloway Colin Matthews • David Matthews • Mark-Anthony Turnage • Huw Watkins RICHARD WATKINS horn Peter Maxwell Davies: Sea Eagle 9’08 The Nash Ensemble 1 Adagio 4’05 Marianne Thorsen violin 2 Lento 3’33 3 Presto molto 1’30 Laura Samuel violin Lawrence Power viola Gerald Barry: Jabberwocky 5’44 4 Adrian Brendel cello with Mark Padmore tenor • Huw Watkins piano Saunders photo: Keith Colin Matthews: Three of a Kind 9’34 5 Vivo 1’47 6 Largamente 1’13 7 Calmo 6’34 with Paul Watkins cello • Huw Watkins piano 8 Huw Watkins: Trio 12’48 with Laura Samuel violin • Huw Watkins piano David Matthews: Quintet for Horn and Strings (live recording) 13’13 9 Andante 7’57 10 Molto vivace 5’16 The Nash Ensemble 11 Mark-Anthony Turnage: Prayer for a great man 3’57 with Paul Watkins cello Robin Holloway: Trio for Horn, Cello and Piano 20’08 12 I Liberamente 11’33 13 II Poco allegro 8’35 with Paul Watkins cello • Huw Watkins piano Total timing 75’29 2 SEA EAGLE Introduction by Richard Watkins Matthews and Holloway, it’s certainly years have played in several of his a winning one. chamber works, most notably with the Nash, so when I discovered that his I met Peter Maxwell Davies when I Horn Concerto, and after prolonged David Matthews’ first piece for solo Cello Concerto, written for the joined the Fires of London, my first negotiations, it finally came to fruition horn was his Capriccio for Two Horns brilliant Paul Watkins, had a short professional experience in 1981. We with Esa-Pekka Salonen and the written for the occasion of my were touring two operas, The Philharmonia in 2001. Colin initially Philharmonia tribute to Dennis Brain movement for cello and horn alone, it Martyrdom of St Magnus and The wrote the short Tanglewood Fanfare at the Wigmore Hall in 1991. It was seemed too good an opportunity to Lighthouse, both of which have for a recital at Kings Place with Huw immediately taken up and championed miss. We have included this with fiendishly difficult horn parts. I think it Watkins; he had also written a Horn by Barry Tuckwell amongst others, so Mark’s blessing and it is a truly was in Florence that Max approached Trio as a 50th birthday present for it made perfect sense when Amelia beautiful piece. me and asked if I might like to have a Simon Rattle, which he arranged for Freedman commissioned David Gerald look at a ‘study’ he had written for horn, cello and piano and this, Finally the incomparable Matthews to write a Quintet, as a solo horn. I suggested that he might integrated with Tanglewood Fanfare, Barry: Jabberwocky was potential companion piece to the write some more, and the result is became Three of a Kind. Colin was commissioned by the Britten Sinfonia Mozart Quintet K407. It was first Sea Eagle. Although considered by determined to be the first to write a to be performed in a series of performed at the Wigmore Hall in many at the time to be impossible, it’s piece for the Watkins Trio – although lunchtime concerts in 2013. It was a 2010 by the Nash Ensemble. now the contemporary set-piece for Robin Holloway may have a claim to wonderful opportunity to work with the prestigious Munich Horn this too! Another important Nash commission two great friends and performers – Competition! It has taken its place in is Huw Watkins’ Trio, premiered at Mark Padmore and Huw Watkins. We Robin had already written a Horn our repertoire and is regarded as a the Wigmore Hall in 2009. Huw and I rehearsed Jabberwocky on Skype Concerto for Barry Tuckwell (on NMC classic. have worked together for many years, before Gerald attended the first D097) as well as two challenging regularly playing his Trio. It is such an performances. The piece is My relationship with Colin Matthews Partitas for solo horn, so I was exciting, vibrant and challenging unmistakeable Barry with some also goes back a long way. I played in delighted when Huw Watkins came piece, now firmly established in the wonderfully idiomatic, and the premiere of his Suns Dance with across this previously unperformed repertoire. unconventional horn writing – another London Sinfonietta in 1985, an Trio for horn, cello and piano. It may treat! excitingly vibrant piece with a be an unusual combination but with I have always been a huge admirer of virtuosic horn part. We talked about a such different and exciting works by Mark-Anthony Turnage and over the © 2015 Richard Watkins 4 5 Peter Maxwell Davies Over the course of his career, the status of Son glaive vorpal en main il va- Als stand er tief in Andacht auf, Sea Eagle for solo horn Peter Maxwell Davies (b.1934) has changed T-à la recherche du fauve manscant; Des Jammerwochen’s Augen-feuer from enfant terrible to leading cultural figure at Puis arrivé à l’arbre Té-Té, Durch tulgen Wald mit wiffek kam Over the years Davies has written a number the heart of the British establishment. His Il y reste, réfléchissant. Ein burbelnd ungeheuer! of works for unaccompanied wind appointment in 2004 as Master of the Queen’s Pendant qu’il pense, tout uffusé, Eins, Zwei! Eins, Zwei! instruments, including The Kestrel Paced Music is a tribute to the revolutionary influence Le Jaseroque, à l’oeil flambant, Und durch und durch Round the Sun for flute, First Grace of Light he has had on the British contemporary music Vient siblant par le bois tullegeais, Sein vorpals Schwert for oboe, and The Seven Brightnesses for scene and the public’s perception of it. From Et burbule en venant. zerschnifer-schnück, clarinet. Sea Eagle dates from 1982, and his radical works of the 1960s, he has Da blieb es todt! Er, Kopf in Hand, developed a more conventional, but no less Un deux, un deux, par le milieu, was written for Richard Watkins, then horn Geläumfig zog zurück. player with The Fires of London. He gave startlingly original, idiom often drawing on the Le glaive vorpal fait pat-à-pan! the first performance at Dartington Summer music and landscape of the Orkney Islands Le bête défaite, avec sa têtre, Und schlugst Du ja den Jammerwoch? Umarme mich, mein Böhm’sches Kind! School in August that year. where he has lived since 1971. Il rentre gallomphant. O Freuden-Tag! O Halloo-Schlag! It is a virtuoso piece full of the kind of Gerald Barry As-tu tué le Jaseroque? Er chortelt froh-gesinnt. Viens à mon coeur, fils rayonnais! bravura writing, particularly the rapid Jabberwocky (2012) ascending runs, which is such a striking O jour frabbejeais! Calleau! Callai! Original text by Lewis Carroll for voice, horn and piano Il cortule dans sa joie. French translation by Frank L. Warrin (1931), German feature of Davies’s orchestral scores. The translation by Robert Scott (1872). first movement is the most varied in mood, Jabberwocky is a move from light to dark, Der Jammerwoch starting gently but working up to a from French to German; the horn, the Es brillig war. Die schlichte Towen Gerald Barry was born in Ireland in 1952. fortissimo climax marked by flutter-tonguing boatman who takes you there. Wirrten und wimmelten in Waben; His time in Germany with Stockhausen and and spectacular upward swoops. The Lento Und aller-mümsige Burggoven © 2013 Gerald Barry Kagel proved to be a liberating experience is a quiet, ruminative interlude before the Die mohmen Räth’ ausgraben. Le Jaseroque and he soon came to public attention in 1979 scherzo-like third movement. Here Davies Bewahre doch vor Jammerwoch! with two radical works, _____ and ø. exploits the horn’s capacity for nimbleness Il brilgue: les tôves lubricilleux Se gyrent en vrillant dans le guave Die Zähne knirschen, Krallen kratzen! and rapid articulation, and explores the Barry’s surreal, virtuosic music is Enmîmés sont les gougebosqueux, Bewahr’ vor Jubub-Vogel, vor instrument’s entire range, sending it down to unmistakable in his five operas and wide body Et le mômerade horsgrave. Frumiösen Banderschnätzchen! its very lowest register before taking it up to of works for ensemble, orchestra, and choir. the stopped high G, the highest note in the Garde-toi du Jaseroque, mon fils! Er griff sein vorpals Schwertchen zu, Recent works include a Piano Concerto entire work, on which it ends. La gueule qui mord; la griffe qui prend! Er suchte lang das manchsam’ Ding; (2012) for Nic Hodges jointly commissioned Garde-toi de l’oiseau Jube, vite Dann, stehend unten Tumtum Baum, by the Symphonieorchester des Bayerischen © 2014 Michael Wheeler Le frumieux Band-á-prend. Er an-zu-denken-fing. Rundfunks and the City of Birmingham 6 7 Symphony Orchestra. His most recent opera, Richard and Huw’s Tanglewood Fanfare; a Producer of NMC Recordings, and has also Watkins’ growing body of orchestral works The Importance of Being Earnest (2010), reflective linking passage for Paul and Huw produced recordings for many other major includes his widely acclaimed Violin Concerto was commissioned by the Los Angeles leads to the extended third section, for all labels. (2011) and Flute Concerto (2014); among Philharmonic and the Barbican, and first three, which is a substantial reworking of a his chamber music is the Cello Sonata for presented, to huge acclaim, in the concert piece originally written for viola and piano in Huw Watkins Paul Watkins, Partita for Alina Ibragimova, a hall.
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