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Home , Barbara Bonney, Cleo Laine, Geoffrey Bush, Kate Royal, Malcolm Martineau, Nicky Spence

As Y RES10116 ou LikeIt

shakespeareMalcolm Martineau songs Nick

y Spence

tenor piano

Franz Schubert (1797-1828) Joseph Haydn (1732-1809) 1. Hörch, hörch, die Lerch’ [1:34] 16. She never told her love [3:21]

As You Like It Roger Quilter (1877-1953) Three Shakespeare Songs, Op. 6 17. Trinklied [0:45] Shakespeare Songs 2. Come away, death [2:37] 3. O mistress mine [1:24] Hugo Wolf (1860-1903) 4. Blow, blow, thou winter wind [2:20] 18. Lied des transferierten Zettel [0:56]

Benjamin Britten (1913-1976) Geoffrey Bush (1920-1988) Nicky Spence tenor 5. Fancie [0:52] 19. It was a lover and his lass [1:52] piano (1899-1963) Alex Woolf (b. 1995) 6. Fancy [1:50] Three Tempestuous Tunes (2012) * 20. This is a very scurvy tune [2:08] Ernest Chausson (1855-1899) 21. Flout ‘em and scout ‘em [0:35] Trois chansons de Shakespeare, Op. 28 22. No more dams I’ll make for fish [1:10] 7. Chanson de clown [3:29] 8. Chanson d’amour [2:11] Dominick Argento (b. 1927) 9. Chanson d’Ophélie [2:03] from Six Elizabethan Songs 23. Winter [1:34] Franz Schubert 24. Dirge [3:54] About Nicky Spence: 10. An Sylvia [2:44] Mervyn Horder (1910-1998) ‘[…] a voice of real distinction’ (1659-1695) 25. Under the greenwood tree [1:22] arr. Tippett/Bergmann 11. If music be the food of love [2:03] (1927-2010) 'Engaging and shining […] highly nuanced and projected performances by Nicky Spence.' 12. An Epithalamium [2:51] 26. Shall I compare thee to a Gramophone summer’s day? [2:24] Michael Tippett (1905-1998) 27. The Compleat Works [1:20] Songs for 28. Dunsinane Blues [2:56] About Malcolm Martineau: 13. Come unto these yellow sands [1:48] 14. Full fathom five [1:45] Peter Dickinson (b. 1934) ‘[…] one of the world’s finest accompanists’ 15. Where the bee sucks [1:17] from Schubert in Blue New York Observer 29. Hark, hark, the lark [1:55] * world premiere recording Total playing time [57:17] : Shakespeare Songs the world over, with no sign of abating. Since the end of the Second World War alone, several The man that hath no music in himself, hundred operas and major musical works have Nor is not moved with concord of sweet sounds, been written that are based in some way on one Is fit for treasons, stratagems and spoils; of his numerous plays, with ’s The motions of his spirit are dull as night And his affections dark as Erebus: A Midsummer Night’s Dream and Michael Let no such man be trusted. Mark the music. Tippett – with references to in The Merchant of Venice, Act 5 Scene 1 The Knot Garden as well as incidental music for the play – being the most notable proponents In the introduction to the 1966 volume of essays from Britain, but with important contributions entitled Shakespeare in Music, the editor from Luciano Berio (1925-2003), Aribert Phyllis Hartnoll, begins with this statement: Reimann (b. 1936) and more recently Thomas ‘There is probably no writer who has inspired Adès (b. 1971) in his reworking of The Tempest. more music from musicians of widely differing And of course mention should also be made nationalities and dispositions, than Shakespeare’. of Leonard Bernstein’s West Side Story as Like no other national literary figure from well as Cole Porter's Kiss me Kate. around the world, 's reach and influence is truly international. Most notable composers of the art song and y And from incidental music intended to lieder have also set the words of Shakespeare aph accompany his plays, through to song with at some point in their output, with the most texts from – or adapted from – the plays, notable aspect again the simply staggering to film, radio and television music, and full breadth and diversity of works that have scale operas, the incredible scale of been produced as a result of one writer. And Shakespeare's reach in the musical world it is this eclectic aspect of Shakespearian music y: Raphaella Photogr itself is difficult, if not impossible, to quantify. that is celebrated through the kaleidoscopic aph Scholars have listed over 20,000 musical works nature of the programme presented here – from associated with Shakespeare, a list that surely Restoration Henry Purcell to the first outing of Photogr a set of songs penned by the young composer Nicky Spence contains many omissions, as well as being almost immediately outdated. Alex Woolf in the months leading up to the recording itself, along with contributions ‘Nicky Spence flatters the tenor lines’ from the Classical and Romantic eras, as The Financial Times And now, approaching the 450th anniversary of the date of Shakespeare’s birth, his output well as post war and interpretations. continues to enthral and inspire composers The two earliest works on the album – An D. 889 and Trinklied D. 888. As the title (’Chansons de clown’, ‘Chanson d'amour’ and Britten (1913-1976), Michael Tippett (1905-1998), Epithalamium and If music be the food of love – suggests Trinklied is a compact and rousing ‘Chanson d'Ophèlie’) that are full of emotion Geoffrey Bush (1920-1988) and Mervyn Horder are both by the Restoration composer drinking song with a text translated from and provide hugely eventful and rich journeys (1910-1998) – add hugely to the kaleidoscopic Henry Purcell (1659-1695). A pioneer of the second act of Anthony and Cleopatra; in harmony. The compact and hugely lyrical nature of the disc. The busy setting of Fancie English opera, he is often linked with the Schubert wrote a number of drinking nature of this set belie the sheer amount (with a text from The Merchant of Venice) by adaptation of The Tempest John Dryden songs for male chorus and piano, of music in the three songs. Britten was originally intended for unison (1631-1700) and William D’Avenant however this one was composed in voices and piano, with some ad libitum divisi (1606-1668), but also composed the 1826 for solo voice. The song Horch, horch, While many of Wolf’s songs are brooding at the words ‘ding, dong bell’, but works equally music for Timon of Athens and The Fairy die Lerch’ (Hark, hark, the lark) is a setting yet intensely sophisticated, a lighter side well as a song for solo voice. A interesting Queen. The latter, a semi-opera reworking of a German translation by August Wilhelm is on display in Lied des transferierten contrast is obtained by a segue into the ‘Calme of A Midsummer Night’s Dream, provides Schlegel (1767-1845) of words from the Zettel – a translation by Schlegel of a text et mèlancoique’, and deceptively simple setting the source of the wedding song An second act of Cymbeline, was intended to from the third act of A Midsummer of the same words by Francis Poulenc Epithalmium (’Thrice happy lovers’) while have only one verse, with the two additional Night's Dream, the minor key ingeniously (1899-1963). The two interpretations of the text If music be the food of love is the first of verses sometimes heard being a later adds to the comic and ironic nature of could hardly be more different, but were both two settings of the song for voice and addition. A song of admiration for Silvia, the song. written in 1962 for Marion Harwood, along keyboard. Both are here presented in An Sylvia is a charming strophic setting of with a third setting for chorus by Zoltán Kodály their arrangements by Michael Tippett German translation by August Wilhelm Known mainly as a composer of song, and (1882-1967). (1905-1998) and Walter Bergmann Schlegel (1767-1845) of a text from The with a quintessentially English pastoral (1902-1998). Two Gentleman of Verona. style, Roger Quilter (1877-1953) composed Michael Tippett’s Songs for Ariel, were taken the Three Shakespeare Songs, Op. 6 in 1905. from his incidental music for The Tempest, She never told her love was part of a Close contemporaries, but with vastly These three songs were the first of some first performed in 1962 at London's Old Vic collection of six settings of English texts differing musical styles were Hugo Wolf seventeen settings of Shakespeare by Theatre. For quite some time they were all that published in London in 1795 by Joseph (1860-1903) and Ernest Chausson (1855-1899). Quilter, and are possibly the most remained from the incidental music and while Haydn (1732-1809) – Haydn also incorrectly Chausson's songs are of the unmistakably popular. Each of the three songs (’Come they were not for a specific voice, they were attributed another in the set to Shakespeare, Romantic French late-nineteenth-century away, death’, ‘O mistress mine’ and first performed in their separate form by The Spirit’s Song. She never told her love is language that is typified by Gabriel Fauré ‘Blow, blow thou winter wind’) displays countertenor and harpsichord the following year. an unusual but effective setting of words (1845-1924) and (1862-1918). superb word painting, while staying Essentially a reworking of The Tempest, his spoken by Vila in the second act of Twelfth In the Trois Chansons de Shakespeare, the true to the nature of each text, despite opera The Knot Garden also makes references to Night. Composed shortly afterwards, but French translation of Shakespeare’s text the ambiguities of the final song, ‘Blow, these three songs. The three songs have three with a unique and forward-looking musical by Maurice Bouchor (1855-1929) is only blow thou winter wind’. distinct themes, with ‘Come unto these language are three quite familiar settings of loosely based on the original, but the yellow sands’ being a song of enticement, Shakespeare by Franz Schubert (1797-1828), combination of music and the modified Four close British contemporaries with hugely ‘Full fathom five’ a song of death and ‘Where An Sylvia D. 891, Horch, horch, die Lerch’ text provides three exquisite miniatures differing and individual styles – Benjamin the bee sucks’ a song of freedom.

A reasonably prolific composer of songs Providing a completely contrasting view of Geoffrey Bush also wrote an interesting Shakespeare settings are three varied songs Shakespearian entertainment for tenor, chorus from multi-faceted composer and musician John and orchestra on Twelfth Night in 1950. With Dankworth (1927-2010). All three are a text taken from the fifth act of As You Like It, jazz-inspired and were composed for his wife It was a lover and his lass is a strapping and Cleo Laine, with whom he recorded and energetic song strophic and punctuated by a regularly performed a programme of recurring refrain. Under the greenwood tree Shakespeare settings. The first, Shall I compare by Mervyn Horder is in complete contrast to thee to a summer’s day, is a wistful and this once again with a gentle yet persuasive and luxurious setting of the text from Sonnet 18. consistently lilting setting of the text from the More tongue-in-cheek is the humorous setting second act of As You Like It. of the titles of all of Shakespeare’s plays in The Complete Works, while Dankworth’s take Two of the Six Elizabethan Songs (no. 3 ‘Winter’ on Macbeth in Dunsinane Blues allows the and no. 4 ‘Dirge’) by Dominick Argento (b. 1927) singer to act out some of the different characters employ texts by Shakespeare. In slight contrast of the play. to title, ‘Winter’ is an almost furiously quick and boisterous setting , yet always full of character, Complementing Dankworth’s songs is the while ‘Dirge’ is a setting of ‘Come away, Death’, whimsical setting of ‘Hark, hark the lark’ by that portrays the desolation of the text. Peter Dickinson (b. 1934), taken from Schubert in Blue, his set of three humorous takes on Already a winner of several composition prizes, Schubert songs. The set was commissioned by including Cambridge Young Composer of the Meriel Dickinson and Christine Croshaw for the Year and the National Centre for Early Music 150th anniversary of Schubert’s death in 1978, Composers Award Alex Woolf (b. 1995) has had and provide instantly recognisable and fun his works performed by Mark Elder and Antonio settings of the three Schubert songs included in Pappano and in various major venues. Woolf this recital. composed Three Tempestuous Songs for Nicky Spence and, as the title suggests, they © 2013 Andrew Benson set three unusual but distinguishing and individual songs from the second and third acts of The Tempest. Texts

Franz Schubert Come away, Death (continued) 4. Blow, blow, thou winter wind Fancie (continued) 1. Horch, horch die Lerch’ My part of death, no one so true Blow, blow thou winter wind, It is engendered in the eyes, Horch, horch, die Lerch’ im Ätherblau, Did share it. Thou art not so unkind With gazing fed; and Fancie dies Und Phöbus, neu erweckt, As man’s ingratitude; In the cradle where it lies. Tränkt seine Rosse mit dem Tau, Not a flower, not a flower sweet, Thy tooth is not so keen Let us all ring Fancie’s knell: Der Blumenkelche deckt. On my black coffin let there be strown; Because thou art not seen, I’ll begin it, Ding, dong, bell. Der Ringelblume Knospe schleusst Not a friend, not a friend greet Although thy breath be rude. Die goldnen Äuglein auf; My poor corpse, where my bones shall be thrown. Heigh ho! sing heigh ho! unto the green holly: From The Merchant of Venice, Act III, Scene 2 Mit allem, was da reizend ist, A thousand, thousand sighs to save, Most friendship is feigning, most loving mere folly: Du süsse Maid, steh auf! Lay me, O where Then, heigh ho! the holly! Sad true lover never find my grave, This life is most jolly. Ernest Chausson Hark, hark! the lark at heaven's gate sings, To weep there. Trois Chansons de Shakespeare, Op. 28 And Phoebus 'gins arise, Freeze, freeze thou bitter sky, His steeds to water at those springs From Twelfth Night, Act II, Scene 4 Thou dost not bite so nigh 7. Chanson de clown On chaliced flowers that lies; As benefits forgot: And winking Mary-buds begin Though thou the waters warp, Fuis, mon âme, fuis! Je meurs sous les traits To ope their golden eyes: 3. O mistress mine Thy sting is not so sharp De la plus cruelle des vierges. With every thing that pretty is, As friend remember’d not. Viens, ô mort! Qu’on m’étende à la lueur des cierges My lady sweet, arise. O mistress mine, where are you roaming? Heigh ho! sing heigh ho! unto the green holly: Dans un cercueil de noir cyprès. O stay and hear, your true love’s coming Most friendship is feigning, most loving mere folly: Qu’on m’en sevelisse loin d’elle From Cymbeline, Act II, Scene 3 That can sing both high and low. Then, heigh ho! the holly! Dans le blême linceul couvert de branches d’if, German by August Wilhelm Schlegel (1767-1845) This life is most jolly. Qui, partageant mon sort, ami sûr mais tardif, Trip no further, pretty sweeting; Du moins me restera fidèle. Journeys end in lovers’ meeting, From As You Like It, Act II, Scene 7 Roger Quilter Ev’ry wise man’s son doth know. Que pas une fleur, une pauvre fleur Three Shakespeare Songs, Op. 6 Sur ma tombe ne soit semée; What is love? ‘Tis not hereafter; Benjamin Britten (1913-1976) Pour moi, que nul ami, que nulle voix aimée 2. Come away, Death Present mirth hath present laughter; 5. Fancie N’ait des paroles de douleur. What's to come is still unsure: Francis Poulenc (1899-1963) Que je sois seul avec mes peines, Come away, come away, Death, 6. Fancy Et laissez au désert blanchir mes ossements, And in sad cypress let me be laid; In delay there lies no plenty; De peur que sur ma tombe, hélas! les vrais amants Fly away, fly away, breath; Then come kiss me, sweet and twenty; Tell me where is Fancie bred, Ne versent trop de larmes vaines. I am slain by a fair cruel maid. Youth’s a stuff will not endure. Or in the heart, or in the head? My shroud of white, stuck all with yew, How begot, how nourished? Adapted from Twelfth Night, Act II, Scene 4 O prepare it; From Twelfth Night, Act II, Scene 3 Replie, replie. by Maurice Bouchor (1855-1929) (See track 2 for original English) 8. Chanson d’amour Chanson d’Ophélie (continued) An Sylvia (continued) If music be the food of love (continued)

Loin de moi, loin de moi ces lèvres que j’adore He is dead and gone, lady, Jeden Reiz besiegt sie lang, Your eyes, your mien, your tongue declare Et dont le mensonge, hélas! fut si doux. He is dead and gone; Den Erde kann gewähren: That you are music ev’rywhere. Ces beaux yeux que le ciel de mai prend At his head a grass-green Kränze ihr und Saitenklang! pour l’aurore At his heels a stone. Pleasures invade both eye and ear, Ces yeux qui rendaient le matin jaloux. Who is Silvia? what is she, So fierce the transports are, they wound, Mais si malgré tout ma douleur te touche, Larded with sweet flowers That all our swains commend her? And all my senses feasted are, Ah! Rends-moi, rends-moi mes baisers, Which bewept to the grave did not Holy, fair and wise is she; Tho’ yet the treat is only sound, Sceaux d’amour qui furent posés With true-love showers. The heaven such grace did lend her, Sure I must perish by your charms, En vain sur tes yeux, tes yeux et ta bouche. That she might admired be. Unless you save me in your arms. Adapted from Hamlet, Act IV, Scene 5 Take, o take those lips away, by Maurice Bouchor (1855-1929) Is she kind as she is fair? Colonel Henry Heveningham (1651-1700) That so sweetly were forsworn; For beauty lives with kindness. after Twelfth Night, Act I, Scene 1 And those eyes, the break of day, Love doth to her eyes repair, Lights that do mislead the morn: Franz Schubert (1797-1828) To help him of his blindness, Henry Purcell But my kisses bring again; 10. An Sylvia And being help’d, inhabits there. arr. Tippett/Bergmann Seals of love, but seald in vain, sealed in vain. 12. An Epithalamium Was ist Sylvia, saget an, Then to Silvia let us sing, Adapted from Measure for Measure, Dass sie die weite Flur preist? That Silvia is excelling; Thrice happy lovers, may you be Act IV, Scene 1 by Maurice Bouchor (1855-1929) Schön und zart seh’ ich sie nahn, She excels each mortal thing For ever, ever free, Auf Himmels Gunst und Spur weist, Upon the dull earth dwelling: From the tormenting devil, jealousy. Dass ihr alles unterthan. To her let us garlands bring. From all the anxious cares and strife, 9. Chanson d’Ophélie That attends a married life: Ist sie schön und gut dazu? From Two Gentlemen of Verona, Act IV, Scene 2 Il est mort ayant bien souffert, Madame; Reiz labt wie milde Kindheit; German by Eduard von Bauernfeld (1802-1890) Be to one another true, il est parti; c’est une chose faite. Ihrem Aug’ eilt Amor zu, Kind to her as she’s to you. Une pierre à ses pieds et pour poser à sa tète Dort heilt er seine Blindheit And since the errors of the night are past, Un tertre vert. Und verweilt in süsser Ruh’. Henry Purcell May he be ever constant, she be ever chaste. Sur le linceul de neige à pleines mains semées arr. Tippett/Bergmann Mille fleurs parfumées, Darum Sylvia, tön, o Sang, 11. If music be the food of love from The Fairy Queen, adapted from Avant d’aller sous terre avec lui sans retour Der holden Sylvia Ehren! A Midsummer Night’s Dream Dans leur jeunesse épanouie If music be the food of love, Ont bu, comme une fraîche pluie, Sing on till I am fill’d with joy; Les larmes du sincère amour. For then my list’ning soul you move To pleasures that can never cloy. Michael Tippett (1905-1998) 15. Where the bee sucks Franz Schubert Lied des transferierten Zettel (continued) Songs for Ariel 17. Trinklied Where the bee sucks there suck I: The finch, the sparrow, and the lark, 13. Come unto these yellow sands In a cow-slip’s bell I lie; Bacchus, feister Fürst des Weins, The plain-song cuckoo gray, There I couch when owls do cry. Komm mit Augen hellen Scheins, Whose note full many a man doth mark, Come unto these yellow sands, On a bat's back I do fly Uns’re Sorg’ ersäuf’ dein Fass, And dares not answer nay. Then take hands: After summer merrily, Und dein Laub uns krönen lass. Curtsied when you have and kissed, Merrily, merrily shall I live now, Füll’ uns, bis die Welt sich dreht! From A Midsummer Night’s Dream, Act III, Scene 1 The wild waves whist: Under the blossom that hangs on the bough. Foot it featly here and there; Come thou monarch of the vine, And, sweet sprites, the burthen bear. From The Tempest, Act V, Scene 1 Plumpy Bacchus, with pink eyne! Geoffrey Bush (1920-1988) In thy fats our cares be drown’d, 19. It was a lover and his lass Hark, hark! With thy grapes out hairs be crown’d: Bow-wow. Joseph Haydn (1732-1809) Cup us till the world go round! It was a lover and his lass, The watch dogs bark; 16. She never told her love With a hey, and a ho, and a hey nonny no Bow-wow. from Anthony and Cleopatra, Act II, Scene 7 That o’er the green cornfield did pass. Hark, hark! She never told her love, German by von Mayerhofer (1798-1869) In the spring time, the only pretty ring time, I hear the strain of strutting chanticleer But let concealment, like a worm in the bud, When birds do sing, hey ding a ding a ding; Cry, Cock-a-diddle dow. Feed on her damask cheek; Sweet lovers love the spring. She sat, like Patience on a monument, Hugo Wolf (1860-1903) From The Tempest, Act I, Scene 2 Smiling at grief. 18. Lied des transferierten Zettel Between the acres of the rye With a hey, and a ho, and a hey nonny no, From Twelfth Night, Act II Scene 4 Die Schwalbe, die den Sommer bringt, These pretty country folks would lie, 14. Full Fathom Five der Spatz, der Zeisig fein, In the spring time, the only pretty ring time, Die Lerche, die sich lustig schwingt When birds do sing, hey ding a ding a ding; Full fathom five thy father lies, bis in den Himmel ‘nein. Sweet lovers love the spring. Of his bones are coral made; Those are pearls that were his eyes: Der Kukuck, der der Grasmück’ And therefore take the present time Nothing of him that doth fade, so gern ins Nestchen heckt, With a hey, and a ho, and a hey nonny no, But doth suffer a sea-change Und lacht darob mit arger Tück’, For love is crownéd with the prime Into something rich and strange. und manchen Ehemann neckt. In the spring time, the only pretty ring time, Sea-nymphs hourly ring his knell: When birds do sing, hey ding a ding a ding; Ding-dong. The ousel cock, so black of hue, Sweet lovers love the spring. Hark! now I hear them, ding-dong bell. With orange-tawny bill, The throstle with his note so true, From As You Like It, Act V, Scene 3 From The Tempest, Act I, Scene 2 The wren with little quill. Alex Woolf (b. 1995) 22. No more dams I’ll make for fish Dominick Argento (b. 1927) Dirge (continued) Three Tempestuous Tunes from Six Elizabethan Songs No more dams I'll make for fish Not a flower, not a flower sweet, 20. This is a very scurvy tune Nor fetch in firing 23. Winter On my black coffin let there be strown. At requiring; Not a friend, not a friend greet This is a very scurvy tune to sing at a man’s funeral: Nor scrape trenchering, nor wash dish When icicles hang by the wall My poor corpse, where my bones shall be thrown. well, here's my comfort. ‘Ban, ‘Ban, Cacaliban And Dick the shepherd blows his nail A thousand thousand sighs to save, The master, the swabber, the boatswain and I, Has a new master: get a new man. And Tom bears logs into the hall Lay me, O, where The gunner and his mate Freedom, hey-day! Hey-day, freedom! Freedom, And milk comes frozen home in pail, Sad true lover never find my grave, Loved Mall, Meg and Marian and Margery, hey-day, freedom! When blood is nipp’d and ways be foul, To weep there! But none of us cared for Kate; When nightly sings the staring owl, Tu-whit; For she had a tongue with a tang, From The Tempest, Act II, Scene 2 Tu-who, a merry note, From Twelfth Night, Act II, Scene 4 Would cry to a sailor, Go hang! While greasy Joan doth keel the pot She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where’er she did itch: When all aloud the wind doth blow Mervyn Horder (1910-1998) Then to sea, boys, and let her go hang! And coughing drowns the parson’s saw 25. Under the greenwood tree This is a scurvy tune too, but here’s my comfort. And birds sit brooding in the snow And Marian’s nose looks red and raw, Under the greenwood tree From The Tempest, Act II, Scene 2 When roasted crabs hiss in the bowl, Who loves to lie with me, When nightly sings the staring owl, Tu-whit; And turn his merry note Tu-who, a merry note, Unto the sweet bird’s throat, 21. Flout ‘em and Scout ‘em While greasy Joan doth keel the pot. Come hither, come hither, come hither: Here shall he see Flout ‘em and scout ‘em From Love’s Labours Lost, Act V, Scene 2 No enemy Flout ‘em and scout ‘em But winter and rough weather. And scout ‘em and flout ‘em 24. Dirge Thought is free. Who doth ambition shun, Come away, come away, death, And loves to live i’ the sun, from The Tempest, Act III, Scene 2 And in sad cypress let me be laid. Seeking the food he eats, Fly away, fly away, breath; And pleas’d with what he gets, I am slain by a fair cruel maid. Come hither, come hither, come hither: My shroud of white, stuck all with yew, Here shall he see O, prepare it! No enemy My part of death, no one so true But winter and rough weather. Did share it. From As You Like It, Act II, Scene 5 John Dankworth (1927-2010) The Compleat Works (continued) John Dankworth Dunsinane Blues (continued) 26. Shall I compare thee to a summer’s day? 28. Dunsinane Blues (Thirty more to do!) “Be bloody, bold and resolute and laugh to scorn Shall I compare thee to a summer’s day? Henry the Sixth, Part One, “Macbeth” The power of man, for none of woman born Thou art more lovely and more temperate: Pericles, Said an apparition “Shall never vanquished be until” Shall harm Macbeth” (did this disarm Macbeth!) Rough winds do shake the darling buds of May, Henry the Sixth, Part Two, Said the apparition He said “Swords I smile at, weapons laugh to scorn And summer’s lease hath all too short a date: Corialanus, “Great Birnam Wood to High Dunsinane Hill Brandished by a man that’s of a woman born.” Sometime too hot the eye of heaven shines, Henry the Eighth, Shall come against him. Mac said “That will And often is his gold complexion dimm’d; Comedy of Errors, Never be, that’ll never be I will not be afraid Macbeth And every fair from fair sometime declines, Timon of Athens, of death and bane Fighting in a battle By chance or nature's changing course untrimm’d; Julius Caeser, Till Birnam Forest comes to Dunsinane.” Sighted Macduff who said “Despair” But thy eternal summer shall not fade King Lear, Then (to put it my way) Nor lose possession of that fair thou ow’st; The Tempest, Macduff “Now’s the time for you to be a wary ‘un: Nor shall Death brag thou wander’st in his shade, Twelfth Night, Marchin’ with his army I wasn’t really born - it was a Caesarian.” When in eternal lines to time thou growest: King John and Othello, Came toward Birnham Wood. Macbeth Macbeth is said to have lost his head So long as men can breathe or eyes can see, ‘Bout Nothing Much Ado, Waited in his castle But he never was afraid of death and bane So long lives this, and this gives life to thee. Then there’s Anthony and Cleopatra And Malcolm said “Let evr’y soldier hew him Till Birnam Forest came to Dunsinane. (Cleo to you!) Down a bough and bear it before him,” From Sonnet No. 18 Henry the Sixth, Part Three, Macbeth that day was heard to say John Dankworth and Macbeth, “I will not be afraid of death and bane Henry the Fifth, Till Birnam Forest comes to Dunsinane.” John Dankworth Merry Wives of Windsor, Peter Dickinson (b. 1927) 27. The Compleat Works Richard the Third, Macbeth from Schubert in Blue Hamlet Prince of Denmark, Listened to a servant Henry the Fourth, Part One, Titus Andronicus, “I look’d t’ward Birnam and anon” 29. Hark, hark the lark Cymbeline The Rape of Lucrece, Said the wretched servant Henry the Fourth, Part Two, Two Gentleman of Verona, “Methought the wood began to move Hark, hark! the lark at heaven’s gate sings, As You Like it, The Sonnets, May you see it coming, I say a moving grove.” And Phoebus ‘gins arise, Measure for Measure, Venus Adonis, Then quoth the Scot “The Spirit said ‘Fear not His steeds to water at those springs The Winter’s Tale, The Lover’s Complaint, Till Birnam Wood do come to Dunsinane’. On chaliced flowers that lies! Troilus and Cressida, The Passionate Pilgrim, And now a wood comes towards Dunsinane.” And winking Mary-buds begin A Midsummer Night’s Dream, The Phoenix and Turtle, To ope their golden eyes: The Merchant of Venice, All of ‘em in except two that ain't, “Macbeth” With every thing that pretty is, Richard the Second, All’s Well that Ends Well, Said another apparition “Macbeth, beware My lady sweet, arise. The Taming of the Shrew, Love Labour’s Lost. Macduff. Beware!” Then There’s Romeo and Julietta Said another apparition From Cymbeline, Act II, Scene 3

Nicky Spence Hailed recently in the Daily Telegraph as ‘a voice Festivals, and the Cambridge Summer Music of real distinction’, Nicky Spence is currently a Festival. Harwood Young Artist at having trained at London’s Guildhall School of An experienced recording artist, Nicky attracted Music and Drama and the National Opera Studio. a long-term recording contract with Universal Classics. He has recently recorded a disc of 2010-11 marked Nicky’s debut for some of the Britten Songs with Malcolm Martineau (Onyx), UK’s most distinguished opera houses including and a disc of premiere Hoddinott recordings, Opera North, Opera Holland Park, Scottish which brought him extensive acclaim. Adding Opera and English National Opera. His roles to his credentials in contemporary repertoire, include Tom Rakewell (The Rake’s Progress), his world-premiere recording of Mark-Anthony Jaquino (Fidelio) for Opera Holland Park; Turnage’s song cycle A Constant Obsession for Lampwick (The Adventures of Pinocchio), and Resonus Classics received uniformly excellent Quint (The Turn of the Screw) for Opera North. reviews. A CD of Eichendorff settings by Wolf, Nicky also took the leading part of Brian in with Sholto Kynoch, is planned for later in the year. ’s commission , which received its world premiere Other future plans include his debut at the at ENO. Earlier this year, he made his debut Metropolitan Opera, New York, recitals at the with New Zealand Opera in the role of Thomas Concertgebouw, Perth Concert Hall, Mason in Jenny McLeod’s opera Hohepa, London’s , Purcell Room and The followed by a return to ENO as Novice in David Forge, Handel’s Messiah for the Alden's new production of . Most Society, Mozart’s C minor Mass at Cadogan Hall, recently, he gave his role debut as Tamino Finzi's Dies Natalis with the BBC Concert (Magic Flute) for Scottish Opera. Orchestra, a Hogmanay Gala in Glasgow, Steersman The Flying Dutchman for Scottish Concert performances include Act 1 of Tristan Opera and in concert with the CBSO and and Isolde with the BBC Scottish Symphony and Andris Nelsons, Elgar’s The Kingdom with Donald Runnicles, a Britten Song-Cycle Series in Cambridge Philharmonic, his Grange Park Opera Aldeburgh and at Kings Place, Britten’s Serenade debut as Chevalier in Les Dialogues des for Tenor, Horn and Strings with L’Orchestre Carmelites, Don Ottavio (Don Giovanni) for New National d’Ile de France under Gordan Nikolic, Zealand Opera and Steva (Jenůfa) for La Monnaie a Gala performance at the Royal Festival in Brussels. Hall and Mozart with the Cambridge Philharmonic. In recital, he has most recently www.nickyspence.com appeared at the Leeds and Oxford Lieder Malcolm Martineau More titles from Resonus Classics Australia (including the Sydney Opera House) Mark-Anthony Turnage Malcolm Martineau was born in , and at the Aix en Provence, , Edinburgh, A Constant Obsession read Music at St Catharine’s College, Cambridge Schubertiade, and Salzburg Festivals. RES10106 and studied at the Royal College of Music. Recording projects have included Schubert, ‘Nicky Spence flatters the tenor lines, while the musicians of Recognised as one of the leading accompanists Schumann and English song recitals with Bryn Chamber Domaine capture the moody luminosity of the of his generation, he has worked with many of Terfel (for ); Schubert instrumental score' the world’s greatest singers including Sir and Strauss recitals with The Financial Times , Dame , Olaf Bär, (for EMI); recital recordings with Angela Barbara Bonney, , and Barbara Bonney (for Decca), Gheorghiu, , Thomas Hampson, Magdalena Kozena (for DG), Della Jones, Simon Keenlyside, Angelika (for Chandos), Susan Bullock (for Crear Gerald Finzi: By Footpath and Stile Kirchschlager, Magdalena Kozena, Solveig Classics), Solveig Kringelborn (for NMA); Finzi Quartet Kringelborn, Jonathan Lemalu, Dame Felicity (for Onyx); the complete RES10109 Lott, Christopher Maltman, Karita Mattila, Fauré songs with Sarah Walker and ; Lisa Milne, , Anna Netrebko, the complete Britten Folk Songs for Hyperion; ‘[...] good recording and excellent notes, this deserves a strong , Joan Rodgers, the complete Beethoven Folk Songs for Deutsche recommendation’ Amanda Roocroft, , Grammophon; the complete Poulenc songs for MusicWeb International , Sarah Walker and Signum; and Britten Song Cycles as well as . Schubert’s Winterreise with Florian Boesch for Onyx. He has presented his own series at the Wigmore Hall (a Britten and a Poulenc series This season’s engagements include appearances © 2012 Resonus Limited and Decade by Decade – 100 years of German with Simon Keenlyside, Magdalena Kozena, è 2012 Resonus Limited Dorothea Röschmann, Susan Graham, Michael Recorded in the Chapel of Sidney Sussex College, Cambridge on 2-3 September 2012 Song broadcast by the BBC) and at the by kind permission of the Master and Fellows. Edinburgh Festival (the complete lieder of Schade, Thomas Oliemanns, , Christiane Producer, Engineer and Editor: Adam Binks Hugo Wolf). He has appeared throughout Karg, Florian Boesch and Anne Schwanewilms. Assistant Engineer: Steven Binks Europe (including London’s Wigmore Hall, Steinway Model D Piano prepared by Iain Kilpatrick (Cambridge Pianoforte) Barbican, Queen Elizabeth Hall and Royal He was a given an honorary doctorate at the Recorded at 24-bit / 96kHz resolution Opera House; La Scala, ; the Chatelet, Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of With thanks to Dr David Skinner and Claire Couzins of Sidney Sussex College, Cambridge; ; the Liceu, Barcelona; ’s Alex Woolf, Sabine Mardo and Tim Menah for their assistance with this project. Philharmonie and Konzerthaus; Amsterdam’s Accompaniment in 2009. Malcolm was the Concertgebouw and the Vienna Konzerthaus Artistic Director of the 2011 Leeds Lieder+ DDD – MCPS and Musikverein), North America (including in Festival. New York both Alice Tully Hall and ), RESONUS LIMITED – LONDON – UK www.martineau.info [email protected] www.resonusclassics.com RES10116