Oxford Spring 2009 musicnow33 Howard Skempton wins at the British Composer Awards Howard Skempton’s The Moon is Flashing was the jury’s choice in the Vocal category of the 2008 British Composer Awards, hosted in by the British Academy of Composers and Songwriters. English composer, painter, and writer Other Awards for Oxford Chris Newman, who lives in Berlin. This engaging text is a modern lyrical ballad Composers of great honesty and clarity. The third * The recent CD Spotless Rose: Hymns song is Snake, one of the better-known to the Virgin Mary, recorded by the fine poems by D H Lawrence. The narrative Phoenix Bach Chorale and including is simple enough but the writer bides his Cecilia McDowall’s Three Latin Motets, time, dwelling on his feelings in language won at the 51st annual Grammy Awards both vivid and urgent.’ this year. The disc was nominated in This is the second time that Howard has four categories and won the Best Small

Photo: Katie Vandyck been honoured at the British Composer Ensemble Performance Award. Howard Skempton Awards, having won in the Chamber category in 2005 for his string * In May 2007 Richard Causton was The Moon is Flashing is a large-scale song awarded a coveted Royal Philharmonic cycle for tenor and . It was quartet, Tendrils. The same work was winner of the 2005 Royal Philharmonic Society Award in the category for commissioned by the BBC, and first Chamber-Scale Composition for his performed by BBC National Orchestra Society Award for Chamber-Scale work, Phoenix. The judges praised the of and James Gilchrist conducted Composition. composition: ‘Richard Causton’s Phoenix by Grant Llewellyn, at the Vale of Howard joins two other Oxford is a piece that consolidates the qualities of Glamorgan Festival 2007. composers on the illustrious list of BCA this composer’s recent music, its fastidious In their citation, the judges said: winners: Gabriel Jackson’s O Doctor Optime (for SSATB choir) won in the clarity and economy. But Phoenix also ‘The winning work abounds in colour, opens up a new expressive world, an contrast, and humour, with an underlying Liturgical category in 2003, and in 2005 Michael Finnissy won two awards; the emotional directness that Causton vividly sense of seriousness and depth, and an conjures from a five-piece ensemble.’ acute sensitivity to setting the vivid ‘Making Music’ prize for Molly-House (for imagery of the texts. This is music of unspecified instrumental ensemble), and Score and parts for Phoenix are published unusual imagination that springs fresh the Instrumental Solo and Duo prize for in the Oxford Contemporary Repertoire from the page.’ Verdi Transcriptions Book 4. series. Howard Skempton writes: ‘The work Score and parts for The Moon is Flashing lasts about twenty minutes and consists are available from the OUP Hire Library Skempton Tendrils and Finnissy Molly-House of settings of three poems of quite (contact details on page 16). are published in the Oxford Contemporary different character. The first is the title Orchestration: Tenor solo, 2 fl, 2 ob, 2 cl, 2 Repertoire series, available from Goodmusic poem, a short valentine of my own. bn, 4 hn, 2 tpt, 3 tbn, tba, timp, 2 perc, str Publishing (contact details on page 16). The second is A Day in 3 Wipes by the

Contents ❙ Page 2 Michael Finnissy ❙ Page 3 Martin Butler and Gabriel Jackson ❙ Page 4 Bob Chilcott ❙ Page 5 Gabriel Jackson and John Rutter ❙ Page 6 Gerald Barry ❙ Page 7 Howard Skempton and Anthony Powers ❙ Page 8 Michael Berkeley and Vaughan Williams ❙ Page 9 William Walton ❙ Page 10 William Mathias ❙ Page 11 Anniversary celebrations ❙ Page 12 Hilary Tann ❙ Page 13 In Memoriam ❙ Page 14 New CDs ❙ Page 15 New Hire & Sales titles ❙ Page 16 Contact details

www.oup.com/uk/music 2 OxfordMusicNow

Michael Finnissy: The Transgressive Gospel Michael Finnissy’s evening-length work will receive its world premiere at Wilton’s Music Hall, London on 12 June 2009.

Westbrook will join Richard Jackson and years. There is an integrity in his work Finnissy’s favourite ensemble Ixion for which sits well with my own aesthetic, what is sure to be a thrilling and moving and above all, the sounds he creates ring evening. around our much-loved venues in a unique and particularly pleasing way! Diana Burrell, Artistic Director of the Spitalfields Festival writes: ‘I was over the moon with the work he ‘Choosing which composers to commis- proposed for us. I had hoped for a sion for the Spitalfields Festival concerts substantial thought-provoking work that has for me been one of the most worth- would make an impact, and Michael’s while and enjoyable parts of the job of suggestion of a two hour-long setting of the Passion of Christ—a work he had long Photo: Katie Vandyck Photo: Katie Vandyck Artistic Director. The commissions have Michael Finnissy generally been given to young compos- wanted to compose—felt exactly right. The Transgressive Gospel will be a fresh and eaving together threads from ers but for this coming June, which is my edgy look at one of humankind’s most 400 years of musical responses last festival, I wanted to go to a colleague profound and uplifting dramas, and will to the subject of the Passion whose work I have known and admired W provide a contemporary foil to that earlier of Christ, Finnissy’s raw and contemporary for a long time—Michael Finnissy. masterpiece by J S Bach, The St John score is both brutally simple and richly Michael’s joyous, strong, and daring music Passion, which concludes our festival.’ detailed. Renowned jazz-singer Kate has been a source of inspiration over the

Michael Finnissy at the Time of Other Recent Michael Finnissy Music Festival, Finland Features Michael Finnissy will be the guest composer at the he Borealis Festival in Bergen, Norway, chose Time of Music Festival, which will be held in the Michael Finnissy as their featured composer for 2009. beautiful town of Viitasaari, Finland, from 7 to 12 TA number of exciting events took place around Bergen over five days at the end of March. Performances of July 2009. many of Finnissy’s works were given by BIT20 Ensemble, s part of his involvement in the festival, Finnissy Polygon ensemble, pianist Mark Knoop, Michael Finnissy, and will give a recital and a composition organist Nora Mulder, who gave the premiere of Finnissy’s workshop. His music will be featured in a Fourth Organ . Also included in the festival were A seminars on aspects of Finnissy’s music, pre-performance talks, portrait concert given by the Zagros ensemble, one of the leading ensembles in Finland, on 11 composition masterclasses, and dance events. July. The concert programme will include Scotch Tape and In April, the Canadian group Ensemble KORE performed Molly-House, both of which are published in the Oxford two concerts of Michael Finnissy’s music in Montréal, Contemporary Repertoire series. continuing their dedicated work of forming partnerships Visit www.musiikinaika.org for full festival details. between Canadian performers and European composers who work outside of the new music mainstream. The two concerts included performances of Brighton!, The Cambridge Codex, Kulamen Dilan, Silver Morning, and Le Lay de la Fonteinne.

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Martin Butler and Gabriel Jackson: Concertos for Presteigne Festival

he 27th Presteigne Festival of Vass, will accompany the soloists in Music and the Arts will promote performances of the concertos. more than thirty events over six T The music of two other Oxford days from 27 August to 1 September 2009. composers, William Mathias and Cecilia Fifteen concerts will be complemented McDowall, will also be included in the by a range of events including talks, 2009 Presteigne Festival. composers in conversation, exhibitions, poetry readings, a film, children’s shows, Visit www.presteignefestival.com for and guided walks. full details of the festival. Presteigne Festival is well known for its continuing commitment to the performance

and promotion of contemporary music Photo: Hanya Chlala and in 2003 was shortlisted for the annual Royal Philharmonic Society Music Awards. For the 2009 festival, There will also be a Mozartian-sized five of the UK’s brightest composers Piano Concerto from Gabriel Jackson have been commissioned to write to be performed on 1 September by exciting new works, including a the Welsh musical polymath Huw Concerto for Saxophone and String Watkins, who is also this year’s Orchestra from Martin Butler, to be festival Composer-in-Residence. premiered at the Festival’s opening The accomplished Presteigne Festival concert by the internationally acclaimed Orchestra, under the direction of

Australian saxophonist, Amy Dickson. the festival’s artistic director George Photo: Christian Mushenko Amy Dickson Martin Butler writes about capitalize on Amy’s uniquely lyrical Another date for the his Saxophone Concerto: tone and expressive style—and will finish with something of an unexpected diary: ‘Three things have fed into my thoughts firecracker.’ Richard Causton’s ensemble work for as I compose my Saxophone Concerto: the Birmingham Contemporary Music Amy Dickson’s playing—fantastic tone, Gabriel Jackson writes about Group, supported by the group’s Sound wonderful style!; John Coltrane playing his Piano Concerto: Investors, will be premiered at the My Favourite Things in a disconcertingly ‘I am particularly excited that the first CBSO Centre in Birmingham on 16 earthy way, as if he were a snakecharmer; October. and a tiny, bagpipe-esque soprano performance of my Piano Concerto saxophone phrase from my earlier will be at Presteigne. It’s a beautiful Causton writes of the work: town and George Vass has created a piece, Hootenanny. ‘BCMG has very kindly given me four very special atmosphere at the festival percussionists and two pianists to work ‘These ingredients have meant that the with a very loyal audience, and of with. People sometimes talk about piano concerto will use folk-derived materials course he is so committed to composers music as being black and white, and and performing practices—in much the he believes in. Huw Watkins will be about orchestral or instrumental music as same vein as other works of mine, such the soloist which is fantastic—he is a being the equivalent of colour. I wanted as Hootenanny, Down-Hollow Winds, great musician and, being a composer to play with that idea.’ and American Rounds. I really enjoy the himself, very understanding! idea that certain strands of one’s work link with one another, and form a ‘The piano is my favourite instrument, continuum within an otherwise diverse and I love all the big bravura Romantic output. concertos. My piece is on a more modest scale, for a Mozart-sized orchestra in the ‘My Saxophone Concerto will certainly standard three-movement form. A be virtuosic, in the tradition of the Neo-Neo-Classical piece perhaps . . .’ concerto as a genre; but it will also

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OxfordMusicNow

Bob Chilcott: Salisbury Vespers

The performance will draw on the varying strengths and experience of the city’s abundant musical groups, ranging in size from the 180-strong Salisbury Community Choir to the sixteen members of the Sarum Voices. This major new work is a must for all lovers of Chilcott’s music and is sure to become a cornerstone of the modern choral repertory, particularly looking forward to the four-hundredth anniversary of Monteverdi’s Vespers in 2010. Photo: Vicky AlhadeffPhoto: Vicky Bob Chilcott

he world premiere of Salisbury Cathedral, would be a daunting task Vespers—the magnificent new for any composer. However, Chilcott T work by Bob Chilcott— has skilfully composed music which promises to be one of the major will particularly suit the area it is musical events of 2009. Commissioned being performed in, and the moments by six musical organizations from when all the forces unite will be truly Salisbury, the fifty-five minute work wonderful.’ for large chorus and orchestra pays Chilcott describes the shape and homage to this ancient service, influences of his composition: combining settings of the traditional Vespers psalms with anonymous early ‘After the opening antiphon, three texts and words from the Sarum psalm settings and a setting of the Primer of 1516. great Passiontide hymn, Vexilla Regis prodeunt, are interspersed by four Salisbury Vespers will be published on The work will be premiered at motets on Marian texts, reflecting the sale by Oxford University Press on Salisbury Cathedral on 23 May dedication of Salisbury Cathedral to 28 May 2009. in association with the Salisbury the Blessed Virgin Mary. The work International Arts Festival, and will ends with a setting of the Magnificat £9.95 • 978-0-19-336395-3 involve over five hundred singers based, as in the great setting of 1610 by Vocal score • 55 minutes from local choirs and the Salisbury Claudio Monteverdi, on the plainsong £2.70 • 978-0-19-336464-6 Symphony Orchestra, conducted melody Tone 1. by David Halls. Halls is delighted Children’s choir part • 55 minutes ‘The piece was designed in such a way that Chilcott was commissioned to Orchestral material is available from that the choirs could be situated in write the work, and looks forward the OUP Hire Library (contact details different parts of this huge building and to conducting the first performance on page 16). in May: ‘Salisbury Vespers is a well- could therefore use the complete space constructed piece which beautifully to surround the audience with sound. Orchestration: 2 fl, 2 ob, 2 cl, 2 bn, reflects the texts, yet is written The challenge this presented musically 4 hn, 3 tpt, 2 tbn, btbn, tba, timp, 2 extremely carefully for the singers and dictated the way that several of the perc, org[opt], str sections have been put together, but it players. The concept of a major work A version for organ and brass ensemble was always my intention that this work for two and multi choirs, will be available from October. using all the spaces inside Salisbury would function just as well within the set-up of a normal performance space.’

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Gabriel Jackson Choral Premieres

fter a remarkably successful a setting of Justorum Animae for Wells 2008, including the premieres Cathedral (14 May); and a setting of A of major new choral works St. John’s Gospel for Merton College, The Spacious Firmament and Requiem, Oxford to mark the inauguration of the Jackson’s choral commissioning college’s Choral Foundation (16 May). schedule shows no signs of slowing Jackson has also been chosen to write down! the carol commission for A Festival of January 2009 saw the premiere of To Nine Lessons and Carols in 2009. This Music by the BBC Singers, written in service, which for many people all honour of Stephen Cleobury’s sixtieth over the world marks the beginning Requiem birthday celebrations, which was later of Christmas, will be broadcast live £10.95 • 978-0-19-336487-5 broadcast on BBC Radio 3’s The Choir. on BBC Radio 4 from King’s College Vocal score • 29 minutes Chapel, Cambridge on Christmas Eve. May 2009 comprises no fewer than The Spacious Firmament three choral premieres for Jackson: a £12.00 • 978-0-19-336323-6 celebratory anthem for the choir of St Vocal score • 11 minutes John’s College, Cambridge (3 May); £10.00 • 978-0-19-336321-2 Set of parts • 11 minutes

Rutter Celebrates with Ely

e are delighted to the future mission of the Church. The Sacred Flame announce that John Themusic and liturgy have been Including repertoire from European W Rutter has written his selected to provide a thoughtful blend Sacred Music new anthem, I am with you always, of the old and the new, reflecting the The Cambridge Singers, La Nuova for the Ely Festival of Church Music. three headings, with special reference in Musica, John Rutter (director) This year’s Festival is part of the ‘Ely many parts to the Diocese of Ely. COLLEGIUM RECORDS COLCD134 900’ celebrations, marking the nine Rutter will conduct over five hundred hundredth anniversary of the founding singers from choirs across the diocese in of the Diocese of Ely. the premiere of his new anthem at Ely The theme of the Festival, ‘Jesus Christ Cathedral on 16 May. The anthem is a the same yesterday, and today, and for fittingly meditative and thoughtful new ever’ (Hebrews 13:8), has been chosen setting to celebrate this milestone in the to represent the past, the present, and Diocese’s history.

978-0-19-343695-4 • £14.95

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World Premiere of Barry’s No other people. Gerald Barry’s latest orchestral work was premiered in Dublin by the RTÉ Symphony Orchestra under Alexander Anissimov on 6 February 2009.

No other people. was inspired by the work clear. Out of the first four elements— cock an ear as if to listen for the splash. (No of the writer Raymond Roussel, as tablecloth olé shadow crumbs—he other people.) Gerald Barry explains: concocted a scene of castanet-clicking A cottage in snow the roof of which resembles dancers doing the flamenco on a dinner ‘The title No other people. is taken from an open book face down. No people. table, and in this way, slowly built up his Roussel’s New Impressions of Africa, labyrinthine structures. The Surrealists ‘I was very struck by the everydayness a fifty-nine page poem which took claimed Roussel for themselves, but of Zo’s drawings. There is something him fifteen years to write, a length of what he really craved was mass success, poignant in his not knowing what he time mainly caused by his tortuous and was mystified by its absence. was illustrating. Like the drawings of compositional methods. a blind person. Their banality takes ‘New Impressions of Africa has fifty-nine ‘In Roussel, sentences are broken down on a mysteriousness by being placed illustrations by the hack artist Henri in maze-like ways, often producing by Roussel in his book, seeming to A. Zo. Because Roussel engaged him others which relate to the sound illustrate bizarre events unknown to Zo. through a detective agency, Zo didn’t of the original. For instance in an They are impersonal, the people in them know the commissioner’s identity or earlier book, Impressions of Africa, the unaware that they lead another life in a what he was illustrating. All he received words “Napoléon premier empereur” poem of which they know nothing. was detailed instructions for each produce nappe ollé ombre miettes hampe drawing. Two of them read: A rambler, ‘Something of this is in the music.’ air heure (tablecloth olé shadows crumbs arm raised and fingers open, dropping a pole wind time). Spoken aloud the pebble (still visible) down a well; he seems to pleasurable sound common to both is The NMC Songbook To mark its twentieth Anniversary in 2009, NMC Recordings have Gerald Barry’s one-act opera La Plus Forte commissioned and launched The NMC continues to be an international success. Songbook. Nearly 100 composers ranging from the country’s most highly regarded aving been given its US figures to the younger generation of premiere on 29 November emerging talents, have each written a H2008 by Barbara Hannigan and song loosely themed on ‘Britain’ and the New World Symphony Orchestra, scored for single voice or duet and a with Thomas Adès as conductor, La Plus range of accompanying instruments. Forte will receive no fewer than three further international premieres in 2010. Eight OUP composers have contributed The London Symphony Orchestra will songs to the project: Gerald Barry, present the UK premiere on 6 June Michael Berkeley, Martin Butler, 2010, Toronto Symphony Orchestra Richard Causton, Gordon Crosse, will give the Canadian premiere on Michael Finnissy, Anthony Powers, and 3 March 2010, and the Netherlands Howard Skempton. Philharmonic Orchestra will give the The first public performances of the Netherlands premiere on 13 February songs took place over four days of 2010, followed by a further performance concerts at Kings Place, on 15 February. The soloist on all London in April, with occasions will be Barbara Hannigan, one the simultaneous launch of the foremost interpreters of Barry’s Barbara Hannigan, New World Symphony of The NMC Songbook as vocal music. Orchestra, and Thomas Adès perform a four disc box-set. La Plus Forte in Miami

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Howard Skempton featured at the Bangor New Music Festival

he Bangor New Music Festival The festival’s Artistic Director, Guto was proud to invite Howard Pryderi Puw, said: ‘We were thrilled TSkempton to be their featured that Howard Skempton was able to composer at the 2009 festival, which attend this year’s festival as our featured took place over four days, 17-20 March. composer. He has contributed so much The festival activities concentrated on to the contemporary music scene over presenting a collection of Skempton’s the years, establishing himself as one of recent vocal music. The vocal ensemble the leading composers in the country. Exaudi, directed by James Weeks, gave The festival was an ideal platform for performances of The Flight of Song, Rise acknowledging his contribution and Howard Skempton Ben Somewhen up, my love, Song at the Year’s Turning, it was a wonderful opportunity for NMC D135 and He wishes for the cloths of Heaven audiences from the surrounding area to Choral and Chamber Music within the atmospheric surroundings experience the directness and understated of Bangor Cathedral on 18 March, simplicity of his music. With his post- Performed by Birmingham preceded by a pre-concert talk and tonal style, his vocal writing is truly Contemporary Music Group and discussion session with Skempton. In engaging and the concert of his works EXAUDI, conducted by James Weeks addition, Flight of Song was workshopped was eagerly anticipated by local audiences.’ NMC RECORDINGS in an open choral rehearsal for choir Also included in the programme were members and singers on the previous £12.99 (CD)/£7.99 (MP3 download) Michael Finnissy’s Three Sacred Motets, evening, again under the direction of together with the premieres of Quae est James Weeks and Exaudi. ista by James Weeks and Snoring in NY by Guto Pryderi Puw. World Premiere of Anthony Powers’s Riverwork Anthony Powers’s latest work for of the Sunday Times wrote: ‘A recital Irene Noel-Baker. Powers’s sinuous chamber ensemble, Riverwork, was by the Okeanos ensemble brought the counterpoint beautifully captured the premiered at The Warehouse as part premiere of Anthony Powers’s Riverwork, ripple and cascade of water. The piece was of the BMIC Cutting Edge series in a setting for the fetching combination ravishingly well heard and all too brief.’ November 2008. Extremely well of mezzo-soprano (Karina Lucas), , received by the audience, Paul Driver , and harp of a short poem by Anthony Powers and the Carducci Quartet The Carducci began a first played his String Quartet No. 4 The Carducci Quartet performed residency at University School in 2006 at the Second Glance Festival, Anthony Powers’ String Quartet No. of Music in October 2008. Although London and were immediately struck by 2 on 21 April in already familiar with some of Anthony the raw drama of the work. The quartet Concert Hall. Anthony Powers has Powers’s music for string quartet, their is in one unbroken span that is formed written of the work: ‘I wanted to residency has enabled the ensemble to from four linked movements and the write a piece of real chamber music, work closely with Powers, who is a positive audience reaction reinforced intimate and conversational in tone, professor at Cardiff University. our feeling that the music was hugely drawing the listener into its world; ‘Performing the music of Anthony rewarding for both performer and the result is a rather inward-looking, Powers is always an intense experience. listener alike.’ reflective work, not without a capricious He has a unique sound world that is Emma Denton, cellist, aspect, but only occasionally raising its both intimate and conversational. We Carducci Quartet voice.’

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Michael Berkeley: New work for the BBC After numerous high profile performances and commissions throughout his sixtieth birthday year in 2008, Michael Berkeley continues to be in high demand in 2009. 2009 has already seen the world premiere all of us. In this work I decided to try a shoal of fish they communicate with of Berkeley’s Piano Quintet by the and create something that would be each other and blow bubbles, giving Nash Ensemble at the Wigmore Hall about eternal time, eternal space, and the the encircled prey the sensation of on 5 March, and an exciting electro- wonder of infinity in which I somehow being surrounded by a net. It was this acoustic collaboration with the artist saw Gabriel, like his archangel namesake, eerie, primal whale “singing” that Kevin Laycock at the fuseleeds 09 forever flying. inspired the opening of the piece. The contemporary music festival on 26 April. glissandi of the whales is turned into ‘As Dylan Thomas so powerfully an upward movement which resembles Looking forward, Berkeley’s latest BBC described in Do not go gentle into that the remarkable swooping intonation of commission, his last as Composer in good night, grief has within it a powerful congregational singing on the Isle of Association with BBC National Orchestra element of rage; so the chorus, as it Harris—once heard, never forgotten. of Wales, will be premiered at St David’s wonders at the sheer vastness of space Hall, Cardiff on 19 June. Gabriel’s Lament and time, momentarily rises above the ‘A huge amount of my music-making for chorus and orchestra will be performed prevailing quiet with outbursts of sound. in recent years has involved the BBC by BBC NOW and the BBC National National Orchestra of Wales with ‘My recent a cappella motet Time No Chorus of Wales, conducted by Thierry . As I was approaching Longer, using a line from the Book of Fischer. the closing pages of Gabriel’s Lament, I Revelation, became the basis of a heard that Richard had died suddenly Michael Berkeley explains the influences compiled text. To suggest the while recording in Swansea. From that and inspirations behind this composition: unknowingness of space I purloined moment on, and especially given his that wonderful line of Keats: “Thou still ‘As I was beginning this piece, the ever involvement with the BBC National unravished bride of quietness.” exuberant Gabriel Bailey, whom I had Chorus of Wales, this threnody could known since his birth twenty-one years ‘I had heard on Radio 4 the timeless be nothing else but a heartfelt “In earlier, cart-wheeled off the roof of a sound of humpback whales “bubble- Memoriam” to both Richard and four storey house. His death traumatised netting”. As they form a circle around Gabriel.’ Vaughan Williams’s Riders to the Sea he first English National to European modernism, surmising the ‘…the hour-long performance is exquisitely Opera production of Vaughan edges of tonality, using the minimum staged and emotionally involving.’ T Williams’s one-act opera Riders of material to track the words and lift Rupert Christiansen, to the Sea was staged at the Coliseum them into ardent lyric declamation, Daily Telegraph in November 2008. Directed by the while adding nothing extraneous. In his acclaimed actress Fiona Shaw, the fidelity to an extant play, in the fluidity four performances were touched by of the musical continuity, in the way tragedy due to the untimely death of he invests a static drama with tension, the conductor Richard Hickox just Vaughan Williams emulates Debussy’s days before they were due to take place. Pelléas et Mélisande, while also suggesting Edward Gardner took over at short the social realism of verismo, and notice, and the powerful opera drew seeming to point ahead to the sea-lashed excellent reviews. masterpiece that is Britten’s Peter Grimes ‘For those who think of Vaughan . . . The production should be revived

Williams as an engaging folklorist, his forthwith.’ Photo: Clive Barda writing here will shock. He draws near Paul Driver, Sunday Times Riders to the Sea—English National Opera

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The Walton Project

he New Haven Symphony of Walton’s original manuscripts in the music radio station WMNR. Orchestra and the Beinecke Frederick R Koch Collection. ‘The Walton Project includes both TRare Book and Manuscript ‘Having decided that The Walton Project symphonic and chamber music, thus Library of Yale University have was something that we were passionate allowing a broad spectrum of Walton’s recently launched The Walton Project; about, the task of deciding how, who, music to be performed, and offering solo an exciting three year collaboration where, and what to present devoured and chamber music opportunities for the between the two organizations which many hours of pleasant discussion. musicians in the New Haven Symphony will include concerts, broadcasts, Walton is a well-known composer in Orchestra. I also look forward to working lectures, and recordings. America, having received numerous with soloists such as Augustin Hadelich Dr William Boughton, Music Director US commissions including his Violin (Violin Concerto) and Roberto Diaz (Viola New Haven Symphony Orchestra Concerto, written for Jascha Heifitz, Concerto) and to inviting Walton scholars explains: Concerto for Gregor Piatagorsky, and to New Haven to take part in a major ‘Life presents opportunities that seem “so Partita for George Szell. The planning Seminar during the 2010/11 Season.’ right” they appear to have been pre- nonetheless demanded close scrutiny in The Walton Project began on 5 ordained, and so it is with my arrival in order to ensure that we would achieve February 2009 with a performance of New Haven and The Walton Project. On the greatest possible impact. We decided Façade and Passacaglia for Solo Cello in the taking the position as Music Director with on a prolonged celebration (2009-2012) Beinecke Library. For full details visit the New Haven Symphony Orchestra in that would reach a greater number of www.newhavensymphony.org 2007 I immediately beat a path to Frank people. This allows us to develop our core audience’s appreciation of this great ‘I am grateful to Dr William Boughton Turner’s office (the Director of Yale’s and Yale University for making this Beinecke Rare Book and Manuscript English composer, include educational projects with local schools, and produce project possible, and wish him and Library), to discuss Walton; the Library everyone involved great success.’ holds approximately ninety-five percent a series of broadcasts introducing Walton, ‘His life and music’ with the local classical Lady Walton Orchestre National de Lille perform and record Walton’s he Orchestre National de Lille, Walton himself as ‘The best performance the Orchestre National de Lille was under the baton of Owain of Belshazzar’s Feast I’ve ever heard.’ fascinating. It involves teaching the style, TArwel Hughes, have recorded Owain observed: and two different styles of Walton twenty- both of Walton’s symphonies for release ‘Recording one symphony after the six years apart at that. The musicians on a disc by BIS label. The French other was very interesting. Written relished the challenge, proving that orchestra, conducted by Arwel Hughes, twenty-six years apart, the second is a far there are no barriers in music. All good will perform Walton’s Symphony No. more mature work. One can trace the orchestras will enjoy playing great music.’ 1 in the opening concert of the Welsh development of Walton’s compositional Proms at St David’s Hall, Cardiff on 17 language quite clearly from one to the July. This follows their very well received other. The orchestral colours of the performance of the symphony at the second symphony are wonderful. It is Nouveau Siècle concert hall in Lille on concise, direct, and very well written. 2 April. The orchestra liked that. Arwel Hughes’s association with ‘Walton’s music is rarely performed in Walton’s music can be traced back to his France. In fact, the Second Symphony electrifying performance of Belshazzar’s has never been performed before Feast with the Hallé Orchestra, broadcast by a French orchestra, so to record on BBC television, and acclaimed by and perform the symphonies with CBE

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Celebrating the Music of William Mathias

hen William Mathias died The Servants is a hypnotic and vividly on 29 July 1992 he was memorable musical embodiment of Wonly 57. On 1 November Murdoch’s uniquely obsessive world 2009 he would have celebrated his of psychological intrigue set against seventy-fifth birthday. It is poignant a claustrophobic backdrop of snow indeed to contemplate the scale of and sexual tension. Even though its celebration on both sides of the Atlantic audiences cheered it to the rafters the had he lived to enjoy this anniversary. opera was out of ‘critical sync’ in 1980 But even more telling is to think of and it suffered accordingly and has never the music he could have written in the been seen or heard again. intervening seventeen years. His fertile Mathias’s passionate espousal of musical mind had been contemplating a number pluralism was ironically just ahead of of major projects in the years before his its time in this country and so it is final illness: a cello concerto, trumpet sad to think that we have missed his concerto, comic opera, and a large-scale contribution to the major intellectual choral/orchestral work were on the far debate of the last two decades as horizon; nearer to home he had already well as the music which would have started sketching a Fourth Symphony and enlightened his viewpoint still further.

there are brief incipits of a Fourth Piano Photo: John Ross However, let us rejoice in his living Concerto and a Third Piano Sonata. William Mathias legacy—the music itself and the spiritual Tantalizing as these are in prospect it is enrichment it will continue to transmit still worth remembering the courage with neglected. The recent broadcast by the for generations to come. which Mathias faced his final battle with BBC National Chorus of Wales under cancer and that in the last months he put Adrian Partington of Ceremony after a Fire In 1984 to mark his fiftieth birthday everything into musical order and drew Raid—the 1973 twenty-minute setting Mathias was the first living composer a line under his output with Ad Majorem of Dylan Thomas—was an astonishingly to be treated to a full week as Radio Dei Gloriam—a typically life-affirming powerful revelation to generations of 3’s ‘Composer of the Week’. Perhaps paean of praise as he prepared to die with listeners unaware of its existence. There it is time for a full retrospective now, a a declaration of faith on his lips. are riches galore awaiting rediscovery: quarter of a century later. Now in 2009 we should realize just The Fields of Praise; World’s Fire; Three GERAINT LEWIS Medieval Lyrics; the Organ and Violin exactly what we have to celebrate. Geraint Lewis is Mathias’s authorised Concertos to name but five. It is also Mathias was amazingly prolific and biographer, currently working on a PhD high time that the opera he wrote with a priority ahead must surely be the study of his work at , Dame Iris Murdoch for Welsh National performance (and ideally the recording) where from 1980-7 he was a colleague of Opera was sympathetically revived. of works which have been unaccountably the composer.

• There are performances of a wide range of • Hyperion records have released a disc of William Mathias’s works taking place Mathias’ choral works, performed by Wells throughout 2009. Refer to the online concert Cathedral Choir and Jonathan Vaughn diary at www.oup.co.uk/music/repprom (organ) under the direction of Matthew Owens for full details. (see page 14 for full details). • A 2 CD set of the complete organ works of William Mathias, performed by Richard Lea, has recently been released on Priory Records PRCD 870 (see page 14 for full details).

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Alun Hoddinott Remembered

lun Hoddinott would have Italian masters which developed during has published The Furnace of Colours: celebrated his eightieth birthday his early training as a violinist.’ Remembering . The book A in August 2009 had he not Christopher Painter, is a collection of photos, essays, and sadly died in March last year. Librarian, BBC National Orchestra of Wales reminiscences on the life of the well- loved composer. Here, interpreters of his music, friends, (The above quotes are reproduced with and colleagues reflect: permission of the Welsh Music Guild.) ‘As an artistic entrepreneur he successfully ‘Hoddinott’s songs reveal a more spread the gospel of contemporary reflective side to a composer who is music among a somewhat traditionally renowned for vivid large-scale orchestral conservative audience. But above all he scores. The subject matter for his was an innovative, adventurous, prolific, song repertoire demonstrates the dual and immensely creative composer.’ aspects of Hoddinott’s life that were Dr Geraint Stanley Jones so important to him: travel and his CBE, President, Welsh Music Guild native Wales where he worked in such ‘Alun’s works were always meticulously contentment.’ worked out . . .he had a high regard Andrew Matthews-Owen £7.50 for form and structure . . .Alun had an To mark the opening of BBC Hoddinott innate sense of instrumental line which Available from Oriana Publications Ltd Hall in Cardiff the Welsh Music Guild was derived from his admiration of the www.orianapublications.co.uk

Andrew Carter: REMINDER To mark the ninetieth birthday of Sir David Willcocks in 2009, OUP has Seventieth Birthday Year published a new book, A Life in Music. In 2009 numerous concerts will The book and accompanying CD include the music of Andrew Carter provide a rich and moving chronicle in early celebration of his seventieth of the life and music of this truly birthday in December. inspirational musician. A number of past commissioners are marking this milestone birthday with performances of the works they commissioned. One example is Otley Choral Society, the original commissioner of Musick’s Jubilee, who will make a performance of this work the cornerstone of an Andrew Carter Birthday Celebration concert in November. Further details of performances of Carter’s music can be found on the Oxford University Press online A Life in Music, edited by William Owen. concert diary at www.oup.co.uk/ RRP £19.99 (hardback) Andrew Carter music/repprom ISBN 978-0-19-336063-1

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Bringing the music home: The Hilary Tann Archive at the National Library of Wales, Aberystwyth

uring my twenty-five years as a ‘We are delighted to be able to offer a music historian, I have visited home for Hilary Tann’s archive; paper, Dthe surviving relatives and electronic, and recorded items. It will friends of many early twentieth-century be a great honour to house the work British composers. I have marvelled at of such an important international manuscripts and memorabilia emerging composer.’ from garages, garden sheds, and under- Dr Paul Joyner, bed storage just as I have winced at National Library of Wales their tales of paperwork misplaced. ‘I am deeply grateful that the National Increasingly, I have chanced upon Library of Wales has welcomed my music autograph scores, scrapbooks, and signed and that my life’s work will have a safe, photographs jettisoned to charity shops permanent, and accessible home in Wales.’ and eBay by those who have no space to house them, no time to deal with Hilary Tann them, or no sense of what else to do with them. As life becomes ever more mobile, fast-paced, and global, home Hilary Tann and can no longer be regarded as a place of BBC NOW permanence and composers must take Hilary Tann Hilary Tann’s orchestral work The Grey active responsibility for the posterity of During an initial meeting at the Tide and the Green was featured in the their physical and digital collections. National Library of Wales last BBC National Orchestra of Wales’s Welsh When families ask advice or press me to December, we quickly realized the Composers’ Project, conducted by Jac accept their original materials, we work potential to acquire not just all phases van Steen in March. The event was together to facilitate a library deposit. A of Hilary’s compositions from sketch held at BBC Hoddinott Hall in Cardiff new project builds on this experience to publication but a multi-layered, Bay and showcased music by living but will be much more ambitious, too: contextual archive which will straddle Welsh composers in two days of open a transatlantic collaboration with a living several Library departments and embrace rehearsals, culminating in an evening composer who is also a close friend, rare recordings, broadcasts, programmes, concert of a selection of the works. Hilary Tann. and press cuttings documenting Tann’s The Grey Tide and the Green, performances all over the world. which was originally commissioned for How best to serve a leading Welsh the Last Night of the Welsh Proms in composer who happens to live in America, The Library is also interested to 2001, was chosen to open the concert. whose career has been ‘between places’, chart other aspects of the composer’s and who is looking for a place to gather creativity: the Hilary who has been together all the disparate elements which active in the International League constitute her output? The obvious of Women Composers, now the solution was to contact the National International Alliance for Women in Library of Wales at Aberystwyth which, Music; and the Hilary who writes haiku as well as being a copyright library and maintains a strong connection with with the right to claim a free copy of the ancient music of Japan. all UK printed material, is building a DR RHIAN DAVIES major collection of contemporary Welsh Dr Rhian Davies is a music historian music manuscripts including three Hilary Tann being interviewed by and Artistic Director of the Gwyl^ OUP composers: , Alun Jac van Steen at the BBC NOW Welsh Gregynog Festival Composers’ Project Hoddinott, and William Mathias.

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In Memoriam In 2008 the music world lost two of its best-loved conductors, Richard Hickox and Vernon Handley. Both were strong supporters and wonderful interpreters of British music. They introduced the works of Vaughan Williams, Berkeley, and many other eminent British composers to audiences across the UK and around the world.

Richard Hickox 1948–2008 Michael Berkeley writes: ‘Richard’s Brangwyn Hall in Swansea, and this outstanding gift to British music sprang is where I saw just what a master of from a passion for its composers both recording technique Richard was. famous and obscure. I always admired the Likewise, in live performance and skill with which he invigorated the music rehearsal he had an instinctive grasp of - in his performances and recordings of when to push and when to stop. Vaughan Williams and Benjamin Britten, ‘Richard always wanted to tackle he matched and even surpassed most everything, but his sense of humour existing interpretations. when the odds were looking heavily ‘Typical of his dedication to the highways stacked in the wrong direction led to and byways of twentieth-century music a mischievous quip that would have was the series of discs he made featuring everyone rolling and back on track. my music and that of my father, Lennox. ‘He was a real and lovable “doer” and With the BBC National Orchestra of

will be terribly missed.’ Photo: Greg Barrett Wales we spent many hours in the Richard Hickox

Vernon Handley 1930–2008 Andrew Neill writes: ‘It is indisputable in Malvern and Worcester which he that Vernon “Tod” Handley was one of conducted in 2006 is prominent in my the great conductors of British music; mind, as well as his interpretations of of its byways but of the classics too. the Vaughan Williams symphonies. Has He was a great musician who, having anyone identified more closely with chosen his path, stuck to it with little Vaughan Williams’s Symphony No. 5 deviation in the twenty-three years I had than Tod–his beat becoming smaller and the privilege of knowing him. smaller as the passacaglia disappeared into eternity? ‘Tod excelled in the music of Elgar and Vaughan Williams and his many ‘Many musicians and listeners are, only recordings attest to his sympathy with now, realizing what a gap Tod’s death the music of both composers. As I created in their musical life. They will

Photo: Mark Harrison look back, the festival of Elgar’s music miss him, as do I.’ Vernon Handley

We have Moved! The OUP Music Repertoire Promotion Department is no longer based at 70 Baker Street, London. We are now in Oxford, at the Oxford University Press main site on Great Clarendon Street (see page 16 for full contact details).

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New and recent CD releases

Barry McDowall Vaughan Williams Contemporary Music from , Spotless Rose: Hymns to the Symphony No. 5; Dona Nobis Pacem Volume 8 Virgin Mary Winner of the Classic FM Gramophone Lisbon Three Latin Motets Historic Archive Award 2008 Thomas Adés (piano/director), Winner of Best Small Ensemble Renee Flynn (soprano), Birmingham Contemporary Music Performance at the Grammy Awards Roy Henderson (baritone), Group 2009 London Philharmonic Orchestra, BBC THE CONTEMPORARY MUSIC Phoenix Bach Chorale, Charles Symphony Orchestra and Chorus, CENTRE IRELAND CMC CD8 Bruffy (director) Vaughan Williams (conductor) CHANDOS CHSA 5066 SOMM RECORDINGS SOMM 071 Jackson ‘A very special and intensely moving Not no faceless angel performance of the 5th Symphony To Morning; Cecilia Virgo; Ave Maria; conducted by the composer.’ Hymn to the Trinity; Orbis patrator BBC Radio 3 optime; O sacrum convivium; Not no faceless angel; Song (I gaze upon you); Various Oxford Composers Salve Regina; Lux Mortuorum Pigs could Fly Polyphony, Stephen Layton (conductor) Corpus Christi Carol (Britten); The HYPERION RECORDS CDA 67708. Tann Lily and the Rose (Chilcott); Give to Available from June 2009 Metamorphosis; Collaboration III my eyes, Lord (Corp) For the Beauty Like Lightnings of the Earth (Rutter) Mathias Virginia Shaw (oboe) The New London Children’s Choir, Mathias: Choral Works Alexander Wells (piano), BEAUPORT CLASSICAL BC1805 Let The People Praise Thee O God Op. Ronald Corp (conductor) 87; Magnificat and Nunc Dimittis Op. Vaughan Williams NAXOS 8.572113 53; A Babe Is Born Op. 55; In Excelsis Gloria; Processional; Missa Brevis Op. : Riders to 64; Ave Verum Corpus; Carillon; Lift the Sea Up Your Heads O Ye Gates Op. 44/2; Sarah Walker, Yvonne Brennan, O Nata Lux; Festival Te Deum; O Be Kathleen Tynan, Hugh Mackey, Joyful In The Lord Bryden Thomson (conductor) Wells Cathedral Choir, Jonathan Vaughn NVC ARTS 51442-9784-2 (DVD) (organ), Matthew Owens (conductor) The NVC Arts DVD of Riders to HYPERION RECORDS CDA 67740 the Sea was filmed for Radio Telefis A New Heaven Éireann in 1988. It is the only The Lord’s my Shepherd (Rutter); Set William Mathias: Complete Organ audio-visual version available of any me as a seal (Walton); Like as the hart Works of Vaughan Williams’s staged works. (Howells) Antiphonies Op. 88 No. 2; Berceuse; ‘The performance under the late lamented The Sixteen, Harry Christophers Invocations Op. 35; Jubilate Op. 67 No. Bryden Thomson is superb . . .those (conductor) 2; Variations on a Hymn Tune (Braint); who do not know this work are strongly Carillon; Fenestra; Fantasy Op. 78; UNIVERSAL classics 1795732 Partita Op. 19 advised to acquire this exceptional addition to the catalogue.’ Richard Lea (organ) International Record Review, PRIORY RECORDS PRCD 870 December 2008 NB Invocations, Antiphonies, and Carillon are published in the collection Three Organ Pieces ISBN 978-0-19-375559-8 £15.95

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New Hire & Sales titles Please note: OCR denotes a title that is published as part of the Oxford Contemporary Repertoire series, and should be ordered direct from the specialist supplier Goodmusic Publishing (contact details on page 16).

Barry chorus, with orchestra/organ Treble voices and organ £3.50 No other people. and brass ensemble £2.50 978-0-19-336546-9 (quartet 12’ Orchestral material is available To Music OCR parts) £5.00 Orchestra: on hire: 978-0-19-336601-5 6’ 3(3+afl).2.ca.2.bcl.3-4.3.3.1-str 2.2.2.2-4.3.2.btbn.1-timp-2perc- 3’ SATB and string quartet Score and parts on hire org[opt]-str SATB unaccompanied Notti Stellate a Vagli OCR Version for organ and brass £3.00 978-0-19-336602-2 Berkeley ensemble will be available on 12’ For You hire in October 2009. Mathias Solo piano 140’ This Day Cantate Domino OCR £5.00 An opera for eight voices and 9780193359338 (vocal score) 978-0-19-350400-4 That Music Always Round Me chamber orchestra: 10’ 8’ 1(+picc&afl).1(+ca).1(+bcl&Eb). OCR SA and chamber orchestra/piano SATB and organ 978-0-19-335972-7 1(+cbn)-1.1.1.0-timp-perc-hp-str £6.25 (vocal score) £6.00 Score and parts on hire 7’ Instrumental accompaniment is SATB and piano/orchestra Gabriel’s Lament newly available on hire: Powers £4.00 (vocal score) I saw three ships 15’ hp-str Orchestral material is available 978-0-19-336577-3 SATB chorus and orchestra: on hire: 3’ 3.2.ca.3(3+bcl).3(3+cbn)- Finnissy 2.2.2.2-4.3.3.1-timp-str 4.3.2.btbn.1-timp-4perc-hp.cel-str Same as We (version one) OCR SATB unaccompanied Score and parts available on hire 978-0-19-345327-2 £2.15 Available June The Virgin’s Name was Mary 978-0-19-336570-4 from July 2009 10’ Nightsongs OCR 3’ Soprano and pre-recorded tape 978-0-19-336172-0 Speaking Silence OCR Four-part choir, unaccompanied £5.00 11’ 978-0-19-345151-3 £1.85 (available June) 20’ The Transgressive Gospel Piano quartet Baritone and piano 120’ £16.00 Vaughan Williams £7.50 Jazz chanteuse, baritone, and O my dear heart instrumental ensemble: Rutter 978-0-19-336490-5 El Noi de la Mare (The Son of Chilcott Violin, viola, cello, accordion, 3’ the Virgin) Beauty for Ashes cimbalon, piano SSSAAA unaccompanied 978-0-19-336553-7 978-0-19-336178-2 Score and parts on hire £2.15 3’ 5’ Violin Sonata OCR Unison voices and piano SSSSAATTBB and organ 978-0-19-336456-1 Walton £2.15 (vocal score available June) £4.50 12’ Walton Edition Volume 5 Orchestral material is available Violin and piano General Editor: David Lloyd-Jones The Heart-in-Waiting on hire: £10.00 Choral Works with Orchestra 978-0-19-336497-4 2.1.2.1-2.0.0.0-perc-hp-str 3’ Edited By Timothy Brown SATB unaccompanied Jackson Esta noche (This night) Contents: In Honour of the City £2.15 Not no faceless angel OCR 978-0-19-336554-4 of London; Coronation Te Deum; 2’ The Lily and the Rose 978-0-19-336599-5 Gloria; The Twelve (version with 9’ Solo voice (soprano), SATB, and orchestra) 978-0-19-336486-8 piano 4’ SATB, cello, and offstage Choral music preoccupied (or oboe) £2.15 (vocal score available June) Walton throughout his life and SATB and piano Orchestral material is available £2.80 £7.50 developed from his experience Oculi, omnium OCR on hire: as a chorister at Christ Church, Making Waves 2.1.2.1-2.0.0.0-perc-hp-str Oxford. Alongside Belshazzar’s 978-0-19-336498-1 978-0-19-336600-8 3’ To every thing there is a season Feast, these four larger-scale 6’ 978-0-19-336275-8 (vocal score) choral works for chorus and SSA (with divisions) SATB unaccompanied £2.25 5’ orchestra stand testimony to his unaccompanied expertise in the field. Requiem SATB and piano/chamber £2.80 orchestra £155.00 Salisbury Vespers 978-0-19-336487-5 29’ £2.80 (vocal score) 978-0-19-336395-3 (vocal score) Orchestral material is available £9.95 SATB (with divisions) unaccompanied on hire: 978-0-19-336464-6 2.1.2.1-2.0.0.0-tubular bells-hp-str (children’s part) £2.80 £10.95 50’ Thou whose birth OCR Skempton Chorus, chamber choir, and 978-0-19-335989-5 Expectancy OCR children’s choir, or large divisi 3’ 978-0-19-336170-6 (vocal score)

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