Oxford Spring 2008 musicnow31 New work from Gerald Barry for the Birmingham Contemporary Music Group

Gerald Barry discusses Beethoven—a BCMG Sound Investment commission. The work is a setting of Beethoven’s letter to his ‘Immortal Beloved’ and was premiered on 16 March at the CBSO Centre in Birmingham. BCMG was conducted on the occasion by Thomas Adès, with Stephen Richardson as the bass soloist. Having worked with BCMG on Wiener Blut and Dead March, your relation- ship with the group spans back some years. What difference does it make when you know the ensemble you are composing for so well? Knowing BCMG over such a long period makes an enormous difference. I feel at home/at one with them and there’s no pressure at all when writing. I was really glad

Photo: Anthony Hobbs to have the opportunity to set the Beethoven letter for this—to work with a large first met Gerald in the spring of ensemble of 15 players and with the singer Stephen Richardson and conductor 1990, during the rehearsals and Tom Adès, both of whom I trust completely. To work with these people and the Ipreparations for the premiere of musicians is a fantastic thing. You’re functioning at the highest level. Stephen has an The Intelligence Park. I was literally extraordinary passion and presence, and an innate sense of things. bowled over by his music. Not only What is it about the letter The Immortal Beloved that inspired you to write because of its seeming complexity and Beethoven? technical difficulty—requiring no less Apart from being amusing, the Beethoven letter is dramatic, cinematic, and poign- than virtuosity from all performers, ant. The woman (Antonie Brentano) represented Beethoven’s last chance to forge a singers and players alike—but for its relationship and, for whatever reason, he withdrew from it. That was a serious blow originality and accessibility. Here was a and precipitated a crisis and breakdown. It was emotionally disastrous for him. After living composer with a really personal this he never mentioned the hope of such a thing again. style, a presence like no other. I felt privileged to be involved. After that Christopher Calvert, Project Assistant, BCMG season at the Almeida, I was invited to sing the role of ‘Time’ in Gerald’s opera ‘This must be the oddest love letter ever written, with its passionate avowals The Triumph of Beauty and Deceit. Here of love, mixed with covert fending-off of the beloved, and pointless news again was a piece that if it was a vinyl about travel conditions in Austria. It has a desperate and at times absurd record on a turntable, and you dropped pathos, which Barry’s setting wonderfully caught – much helped by the the needle anywhere on it for just five vividly tragic-comic performance of the bass Stephen Richardson.’ seconds, it would be immediately Ivan Hewett, The Telegraph recognisable as Gerald’s music. Such is ‘Entitled simply Beethoven, and setting his anguished letters to Antonie his style and musical gesture. word for word in the Emily Anderson translation, its initial aura of Unmistakeable. slightly manic patter embodied Goethe’s description of the composer Stephen Richardson as “an utterly untamed personality”.’ Rian Evans, The Guardian

Contents ❙ Page 2 Gabriel Erkoreka ❙ Page 3 Gabriel Jackson and Bob Chilcott ❙ Page 4 Michael Finnissy ❙ Page 5 Howard Skempton ❙ Page 6 Anthony Powers and Hilary Tann ❙ Page 7 Mack Wilberg and John Rutter ❙ Page 8 Martin Butler ❙ Page 9 Richard Causton ❙ Page 10 Living Music ❙ Page 11 Alan Rawsthorne ❙ Page 12 Michael Berkeley ❙ Page 13 Ralph Vaughan Williams and Proms performances ❙ Page 14 CD round-up ❙ Page 15 New titles ❙ Page 16 Contact details

www.oup.com/uk/music 2 OxfordMusicNow

Erkoreka’s Jukal at the 2007 ISCM World Music Days in Hong Kong

Gabriel Erkoreka’s Jukal, a Guitar Jukal was the only piece representing ‘It was a formidable experience Concerto based on Flamenco Music, Spain at the 2007 ISCM event. The to hear guitarist Nelleke ter Berg commissioned by the Nieuw Ensemble piece was also performed on a tour by play with such grace the intricate in 2000, was brilliantly performed at the the same players, which included the solo part of Jukal at the City Hall International Society for Contemporary Time of Music Festival in Finland in Hong Kong. The members of Music World Music Days 2007 in Hong and the Huddersfield Contemporary Insomnio played with great inten- Kong by the Dutch group Insomnio Music Festival. It will be performed sity, capturing both the essence and (ISCM Ensemble-in-Residence for again in May in Utrecht, Holland. intention of my piece.’ 2007), conducted by Ulrich Pöhl. The Gabriel Erkoreka solo guitarist was the magnificent Nelleke ter Berg. Gabriel Erkoreka: Concerti recordings In July the Orquesta de la Comunidad de Madrid, conducted by José Ramón Encinar, will record all of Gabriel Erkoreka’s concerti to date with four internationally renowned soloists: Afrika, for Marimba and Orchestra; Soloist-Pedro Carneiro Kantak, for Solo Piccolo and Chamber Ensemble; Soloist-Harrie Starreveld Jukal, for Solo Guitar and Chamber Ensemble; Soloist-Pablo Sainz Villegas Akorda, for Accordion and Orchestra; Soloist-Iñaki Alberdi The composition of these four works took place between 1996 and 2004. Folk music is a common influence, both as a reference and as a pretext for experimentation. The recordings will be released on CD in the autumn of 2008 on the Italian label

Photo: Nice studios, London Stradivarius: www.stradivarius.it.

Gervase de Peyer and the Hallé Orches- Alun Hoddinott tra, conducted by Sir John Barbirolli, 1929–2008 enhanced Hoddinott’s reputation and led to increased performances of his works It is with great sadness that we announce and many new commissions. The night the death of Alun Hoddinott. Alun died before he died, the world premiere of his on 12 March at the age of 78. last string quartet was performed by the As a former Professor of Music at Sacconi String Quartet at the Wigmore University College, Cardiff, and Artistic Hall in London. Director of the Cardiff Festival 1967- In a fitting tribute to a distinguished 1990, Alun Hoddinott had considerable Welsh composer, the BBC National influence in awakening interest in Orchestra of Wales’s new venue at the contemporary music in South Wales. Wales Millenium Centre will be named His breakthrough came in 1954 when Hoddinott Hall when it opens later his Clarinet Concerto was selected for this year. performance at the Cheltenham Festival. The success of the premiere, given by

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Gabriel Jackson Commission from the John Armitage Memorial Trust 2008

Akin to the large-scale motets of 17th- JAM’s forces and were delighted century Venice, the piece is built from when he accepted our commission. antiphonies of variegated scoring—fan- It is rare to find someone who is so faring trumpets, a hushed choral chant obviously attuned to this unusual over deep organ pedals, dancing chorales combination.’ for the brass, brazen, clanging tuttis, a Edward Armitage, whooping horn, glistening, coruscat- Chairman, JAM ing organ figuration ... all seeking to JAM tours its annual programme around Photo: Katie Vandyck give vibrant voice to Addison’s celestial, ecstatic vision.’ the UK, visiting venues such as the ca- thedrals of Canterbury and Southwark; abriel Jackson has recently To date, JAM has commissioned works King’s and St John’s College Chapels, completed his major new from Judith Bingham, Jonathan Dove, Cambridge; St Bride’s and St James’s work commisioned by the G Adam Gorb, Timothy Jackson, John Churches, London; St Cuthbert’s John Armitage Memorial Trust (JAM). McCabe, Paul Patterson and, for 2008, Church, Edinburgh. The next sched- JAM was founded in 2000, to encour- Gabriel Jackson. uled performance of this piece is by the age, choir of Selwyn College Cambridge and promote, and perform new music. It Gabriel’s new work was premiered on Onyx Brass on Saturday 5th July at St does this by commissioning a major 10 April 2008 by the BBC Singers, Nicholas’ Church, New Romney. For piece each year (for choir, brass quin- Onyx Brass, and Stephen Disley (organ), further information, please email info@ tet, and organ) to front its annual music conducted by Nicholas Cleobury, at St jamconcert.org. programme, which is predominantly Bride’s Church, Fleet Street. A repeat comprised of submissions. Gabriel was performance by the same ensemble took delighted to be approached: place the following day at Canterbury Cathedral to open the Sounds New Upcoming commissions: ‘I was honoured and excited to be asked Festival and will be broadcast on Radio Gabriel Jackson is currently writing a to write this year’s John Armitage Me- 3 at a later date. Requiem, commissioned by the Vasari morial commission. The text—Joseph Singers. The premiere will be on Addison’s well-loved 18th-century ‘Gabriel was an obvious choice for Remembrance Day, 11 November 2008 ode The Spacious Firmament—is full of JAM, being one of the country’s at St Martin-in-the-Fields. For further vivid imagery which invites the kind of leading choral composers. We felt details visit www.vasarisingers.org. kaleidoscope of textures and colours a that he would work brilliantly with choir, brass quintet, and organ affords.

Bob Chilcott at the World Symposium on Choral Music This summer Bob Chilcott will be ‘When the process of rhythm appearing as a workshop leader at the becomes unified within a group 8th World Symposium on Choral Music, it becomes a very empowering to be held at the new Opera House in performance tool. We shall work Copenhagen, Denmark. His session with this idea in what will be a fully ‘Finding Performance Energy Through interactive and energetic workshop’. Rhythm’ (25 and 26 July 2008) will The workshop will feature Chilcott’s The explore how the internalization of rhythm Making of the Drum as well as his upcom- motivates performance and thus helps ing new collection Jazz Folk Songs for singers to become more confident both Choirs, which is due to be published in individually and as a group. Bob is very July 2008. excited about the prospect of his session: Photo: Simon Tottman

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Finnissy: Mankind Michael Finnissy’s exciting new opera for mixed professional and amateur performers will be staged by St Peter’s School, Solihull, in September.

ast autumn Stephen Lansberry, he new piece, entitled Mankind and from the Britten-Pears Foundation Head of Music at St Peter’s and based on the mediaeval to assist in the commission of the LSchool, took the unusual step Tmorality play of the same name, piece, and is bidding for a grant from of contacting a living composer to ask has been delivered and rehearsals have ‘Awards for All’ towards the staging of if they would be interested to write begun. Two professional singers will the performances, which will take place a ‘sequel’, or maybe replacement, take the parts of ‘Mercy’ and ‘the Devil’, in the Friary Church in Olton 26-28 for Britten’s Noyes Fludde—a work whilst all other principal singing and September. mixing school forces (singers and acting parts will be taken by students The music is challenging and some of instrumentalists) with a small core- from St Peter’s School. The great chorus it is difficult but the overall effect of group of more skilled or professional of little demons (there will be 180 of the piece will be stunning. At St Peter’s players. The request, happily accepted them) who accompany the entrance of we are all absolutely delighted with the by me, also has the possibility of ‘the Devil’ will come from St Peter’s piece—Michael Finnissy has provided building a ‘cultural bridge’ to the past School and from the five Catholic a wonderful addition to that limited (Britten’s work dates from 1958), partner feeder schools. The orchestra repertoire of stage works written by and—in setting a mediaeval text—also will be similarly divided between distinguished composers and suitable explores older dramatic models, and professionals and children, with a string for performance by professionals and the whole aesthetic of ‘the glorious trio, piano, and organ set aside a large amateur musicians. past’ which is so much a part of the ripieno orchestra made up of students contemporary ‘culture industry’. from the six schools. Stephen Lansberry, Head of Music, St Peter’s School The work lasts just over an hour, and The school has received grants from the its main musical aim is to re-locate Performing Right Society Foundation ‘diatonicism’ and various sorts of modality within modern structural practice, including a whole range of compositional premises from the recent past that will, provisionally, also provide instructive models for the teaching of 5th- and 6th-form music. A significant number of these ideas originate from outside the mainstream Western European tradition, although they are not without precedent within the tradition of modernism, and its dialogue with ancient Asiatic and African sources: Grainger, Milhaud, Ives, and Stravinsky providing the older archetypes. Photo: Simon Mason Michael Finnissy Pupils of St Peter’s School rehearsing Mankind

Six of Howard Skempton’s piano works received their South American premieres on 10 April in a recital entitled ‘Lo Bueno Viene en Frasco Chico’ (Good Things Come in Small Packages). Scott Lee Tinney, a long-time champion of Howard Skempton’s music, performed Three Nocturnes, Guitar Caprice, The Cockfight, Bolt from the Blue, Leamington Spa, and Resister at Pontifica Universidad Católica in Lima, Peru.

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Howard Skempton’s new work for string quartet and chamber choir: Expectancy

The University of Warwick Chamber Choir and the Coull Quartet, conducted by Paul McGrath, gave the world premiere of Howard Skempton’s Expectancy, in St Paul’s Church, Birmingham, on 7 March.

his poetry, having set Roundels of the Year Elegischer Gesang, Op. 118, a little- in 1993. His lyric poems are likeable known work for the same forces. It and palpably musical, and Expectancy is seems extraordinary that so little has one of his best. been composed for mixed choir and

Photo: Roger Coull string quartet. The fact that voices and Although there is no Music The Coull Quartet strings are similarly flexible should be Department at Warwick University, reason enough. he Coull Quartet was appointed there is a vigorous Music Centre based Quartet-in-Residence at at Warwick Arts Centre, at the heart of Howard Skempton the campus. Tthe University of Warwick Howard has given us a jewel of a piece Expectancy in September 1977 and The Chamber Choir is a fine ensemble to mark our 30th anniversary. It is a was commissioned by the University and gave the first performance of my beautiful, quite mesmerising setting to celebrate the first 30 years of its Two Poems of Edward Thomas in 1996. of a John Drinkwater poem—quietly residency. This new work is a setting intense and with many subtle shades If the first responsibility of any for choir and string quartet of a of darkness and light. We were looking composer is to write richly imaginative poem by John Drinkwater (1882- for a work to complement Beethoven’s music, the second is to ensure that it is 1937), a fine writer associated both exquisite yet rarely performed Elegischer manageable. The writing in Expectancy with Birmingham’s Old Repertory Gesang, Op. 118, for choir and quartet, is not without subtle chromaticism, and Theatre and with ‘leafy Warwickshire’. and Expectancy fits the bill perfectly. Drinkwater has just slipped out of the role of the quartet is primarily that copyright, and this may be one of the of a sensitive accompanist. In this way, it Nick Roberts, cellist, reasons I was prompted to look again at follows the example of Beethoven’s Coull Quartet

The Exon Singers record the choral works of Howard Skempton Delphian Records’ autumn CD Mag and Nunc to being completely For further details of Delphian Records release of the choral works of enraptured by his setting of the Song CD releases visit www.delphianrecords. Howard Skempton is the latest of Songs, which Mike Brewer recorded co.uk. collaboration between the with Laudibus for our Song of Songs composer, Delphian, and the disc (Delphian DCD34042). Given Exon singers. Paul Baxter, Managing Howard’s long working relationship Director of Delphian Records, explains: with Matthew (and the Exon Singers), he was thrilled that I’d suggested the ‘I first heard Howard’s Magnificat Exons for this new recording; so thrilled and Nunc Dimittis at its premiere was Howard that his commitment to in Edinburgh’s St Mary’s Episcopal the project extended to writing a Missa Cathedral in 2003. Matthew Owens Brevis between Christmas and New Year (now in charge of the music at Wells to be recorded on the fifth of January! Cathedral) had started up an innovative It was a great privilege to have Howard Capital Commissions Scheme. My present at the recording sessions. The experience of Howard’s music disc is scheduled for release in July of graduated from being struck by the this year (DCD45056).’ insistence and elegant economy of his Howard Skempton and Matthew Owens

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Anthony Powers: World premiere of Nightsongs

The Schubert ‘By turns delicate and passionate, heighten the expressive power of Ensemble gave the Nightsongs forms both a personal the piece. Although we have only world premiere of response and a musical tribute to performed Nightsongs twice, we all Anthony Powers’ one of the most magical gardens feel that it is a work we are going piano quartet, in the world.’ to want to come back to again Nightsongs, at the Anthony Powers and again.’ Purcell Room ‘This hauntingly atmospheric William Howard, pianist,

Photo: Malcolm Crowthers on 29 February. Schubert Ensemble The work was commissioned by work is a superb addition to the Schubert Ensemble in 2006, the Schubert Ensemble’s piano Nightsongs will be performed by the and performed as part of their 25th quartet repertoire. It is beautifully Schubert Ensemble at St George’s, anniversary concert. The piece was conceived for all four instruments Bristol, and broadcast on Radio 3, on inspired by the famous and atmospheric and there is a Fauré-like restraint 13 November 2008. garden of Ninfa, south of Rome. in the writing that serves to Hilary Tann: Songs of the Cotton Grass Matthew Jones plays the chamber works of Hilary Tann on a new recording to be launched at the Vale of Glamorgan Festival 2008. y association with Hilary Grass), as well as the more familiar The CD comprises the following pieces: began when I contacted combination of flute, viola, and harp. From the Song of Amergin*; The walls of Mher with a query from As with much of Hilary’s music, the Morlais Castle#, Duo*, The Cresset Stone, her solo viola work The Cresset Stone, ‘Welsh connection’ is strong, reflecting Songs of the Cotton Grass*, Nothing Forgotten#. which I had been studying and was the composer’s roots. due to perform. Following some email For further details visit www.deux- In addition to the natural satisfaction exchanges, Hilary invited me to visit elles.com or www.matt-jones.com. of bringing an idea to fruition and of her in her home in the Adirondack giving more people the chance to hear Matthew Jones Mountains in the north of New York some of this wonderful music, much State during my trip to New York The Cresset Stone is published as part of of the joy of the project has been in City. After working on Cresset, for OUP’s Oxford Contemporary Repertoire working with some of the finest young me one of the highlights of the solo (OCR) series 9780193863545 £5.00 musicians around: pianist Michael viola repertoire, we sat and listened to See page 15 for details of how to order Hampton, cellist Thomas Carroll, some of her other chamber works and OCR titles. harpist Lucy Wakeford, flautist Kathryn within an hour the idea of the CD * soon to be published in the OCR series Thomas, oboist Alun Darbyshire, and was born. It seemed absurd to me that # available from OUP in the USA (see page 16 soprano Elizabeth Donovan. for contact details) these beautifully crafted works had not been recorded, and I was delighted The recording took place in March when Patrick Naylor of Deux-Elles in Potton Hall, Suffolk, produced by Records expressed an interest in the Michel Ponder, with the composer project. The common thread in all but present, and will be released on one of the works is the presence of the Deux-Elles in September. Some of viola—used in imaginative, original the works will be featured in, and combinations such as oboe, viola, and the CD launched at, the 2008 Vale of cello (The Walls of Morlais Castle) and Glamorgan Festival on 12 September. soprano with viola (Songs of the Cotton Hilary Tann and Matthew Jones

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Mack Wilberg’s Requiem

In a style influenced by Vaughan Williams and Finzi, this work evokes a reflective and sometimes other-worldly atmosphere. Some movements are in Latin, others in English, and Wilberg has organized the work into seven movements, a structure also used in the Brahms and Rutter Requiems. Scored for SATB baritone and mezzo- soprano soloists, and piano or orchestra, Wilberg’s Requiem lasts 40 minutes and is appropriate for performance throughout the year. The vocal score of Mack Wilberg’s ack Wilberg’s Requiem, Requiem will be published by OUP which was premiered by 1. Requiem aeternam in July 2008. A full score and set of Mthe Mormon Tabernacle 2. Kyrie parts to the orchestral accompaniment Choir in April 2007 in Salt Lake 3. I will lift up mine eyes (3(III+picc).2(IIca).2.2-4.0.0.0-cel/ City, has since been recorded by 4. How lovely is your dwelling place glock-hp.pno.org[opt]-str) will be able the choir on the CD Requiem: 5. O Nata Lux on hire from Oxford University Press The Choral Music of Mack Wilberg 6. The Lord is my Shepherd Music Hire Library. (SKU4996466), featuring eminent 7. I am the Resurrection and the Life— soloists Bryn Terfel and Frederica Requiem aeternam von Stade.

London Festival of Rutter: Winchester Te Deum Contemporary Church Music The 2008 London Festival of Church ohn Rutter’s Winchester Te Music will take place from 10-18 May Deum received two high-profile at St Pancras Parish Church, London. performances in April this year. J This year’s festival will feature works John Rutter conducted the by numerous Oxford University Press orchestrated version of this recent house composers: Michael Berkeley, work, alongside his Gloria and Gabriel Jackson, Anthony Powers, John Haydn’s Nelson Mass, as part of the Rutter, Howard Skempton, and Ralph MidAmerica Production concert Vaughan Williams. series at Carnegie Hall with the New England Symphonic Ensemble and a Michael Berkeley will be giving a pre- large chorus of university and school concert talk on 10 May to introduce his choirs from across America. Winchester new motet,Time No Longer, which will Te Deum was also performed to great receive its world premiere by the Vasari acclaim later that same week by the Singers, directed by Jeremy Backhouse, National Youth Choir of Great Britain later the same evening. The Choral in a Gala Concert at Symphony Hall, 9780193356894 £4.95 (vocal score) Eucharist on 14 May will celebrate the Birmingham, in celebration of the Orchestral material is available on hire. Vaughan Williams 50th anniversary, with choir’s 25th anniversary. performances of his Mass in G minor and O Taste and See. For full festival details visit www.stpancraschurch.org

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National tour of Martin Butler’s Dirty Beasts beast, the angry mother, and the Schools and parents have responded greedy crocodile. The musicians love very positively and most venues have exaggerating the music clearly to depict sold out. We all believe in taking high- the poems: the grunting pig on the quality music to children and new bass clarinet, the bassoon and piano’s audiences—what better way to do descending scale of mummy fainting this than to combine wonderful music to the floor, and the truly horrible with hugely popular children’s writing, ‘snorting, grunting, grumbling sound’ performed by inspirational professional on the oboe and horn. musicians? In one of our first performances we Future performances will take erforming Dirty Beasts on Music dressed up a boy in the audience place at the Wigmore Hall, in the Round’s Around the as ‘Farmer Bland’. The way he London (24 May), Oakham School Country tour has been a joy P spontaneously strolled onto the centre Chapel, Oakham (17 June), and for us the musicians, and the audiences of the stage in the middle of the Oakengates Theatre, Telford have thoroughly enjoyed themselves. performance with his flat cap and pail (22 June). Alongside Ensemble 360, I have so far of pigswill and dramatically fell to the narrated performances of Roald Dahl’s Polly Ives, Music in the Round floor as ‘Piggy’ gobbled him up was hugely popular poems The Pig, Tummy www.musicintheround.co.uk astounding. His dramatic flair surprised Beast, and The Crocodile, accompanied the musicians and hopefully will be the by Martin Butler’s fabulous music, at start of his acting career! This inspired theatres in Sheffield, Milton Keynes, us to include our audience for future Warwick, and Dartington, as well as at performances, including three girls seven Sheffield primary schools, and for wearing plaits and curls (with jars of a live performance on BBC Radio 3’s butterscotch and caramel) and three In Tune!. boys (in caps and carrying pots of As the narrator, it has been great fun mustard) as a perfect feast for ‘Crocky taking on the voices of the tummy Wock’! Martin Butler: World premiere of From the Fairground of Dreams Martin Butler’s From the Fairground Orchestra was awarded funding from the fairground aspect of the city, and of Dreams was premiered by the the Arts Trust of Brighton and Hove to its geographical circularity. By having a Brighton Philharmonic Orchestra, commission a new work. It was natural resident of Brighton as our composer conducted by Barry Wordsworth, to begin our search for the composer not only have we acquired a magical on 18 January. close to home, and I was delighted new work for the orchestra and indeed when Martin Butler, who is currently for orchestras generally, but we have Professor of Music at the University of a magnificent piece of music which our Sussex, accepted our invitation to write audience and Brighton residents can this work for us. It is a wonderfully think of as their own.’ evocative and exciting work full of ‘Detailed and thought-provoking, memorable ideas brilliantly orchestrated, it’s a spider’s web of closely woven and our audience has been helped to complexity. Like Prospero’s island appreciate the composition as Martin it is full of strange sounds and Barry Wordsworth writes about the has become a familiar sight and sound enchantments’ orchestra’s two-year project with to them over a two-year period as our Martin Butler: Composer in Focus. The inspiration Mark Gale, Worthing Herald ‘In 2005 the Brighton Philharmonic for the composition is clearly Brighton,

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Also coming up: The Schubert Ensemble performs Martin Butler’s Sequenza Notturna and American Rounds. These works for piano quartet and piano quintet were written for the Schubert Ensemble in 2003 and 1998 respectively, and are available on NMC Records’ disc American Rounds: NMC D120. 29 April – CARDIFF UNIVERSITY Butler: Sequenza Notturna 8 July – CHELTENHAM FESTIVAL Butler: Sequenza Notturna 3 October – KINGS PLACE, LONDON Butler: American Rounds 30 October – ST GEORGE’S, BRISTOL Butler: Sequenza Notturna (Radio 3 broadcast) Richard Causton: Chorales ichard Causton’s new barung. The gendèr barung is a fourteen- work for the Cambridge keyed metallophone with resonators, Broadcasts and RGamelan Society, Chorales, traditionally played by one person will be premiered by Robert Campion using two padded mallets. Out of all Recordings and John Pawson, professional the Javanese gamelan instruments, I felt gamelan musicians, in May. Robert that this one had the greatest potential *Richard Causton’s ensemble work Campion writes of his association to stand as an instrument for which a As Kingfishers Catch Fire (originally with Richard Causton and how the repertoire of works could be performed entitled Divertimento), was given its commission evolved: at intimate venues. It can be used to play World, UK, and London premieres chordal passages or cantabile melodic by the Britten Sinfonia in December ‘My association with Richard Causton lines. Notes can be left to resonate, 2007. It was broadcast on Radio 3 began six years ago. We both happened whilst others are played staccato on 15 April. Causton explains: ‘It’s to be members of an ensemble about the extravagance, ebullience, fertility, and overblownness of ‘I resolved to persuade him to write a nature, the way there are always five more species of any animal piece for gamelan’ than there should be need for. When a piece is gestating, I put the performing new music for Javanese simultaneously. There is a wide range idea up on the wall, and the poem gamelan at a music festival in France. At and subtlety of touch available, mallet by Gerard Manley Hopkins from that point, I was familiar with some of against key. which I borrowed the title puts it his works and was particularly fascinated With this in mind, I decided to perfectly. Like the animals in the by the chamber work The Persistence of commission Richard to write a work poem, I want the instruments to Memory. As our friendship developed for gendèr. It will receive its world be unashamedly themselves. That and my knowledge of his other works premiere at a Kettle’s Yard New Music will mean a lot of open fifths in the increased, I resolved to persuade him Morning Concert in Cambridge on 25 strings.’ to write a piece for gamelan. I knew May 2008.’ that his detailed knowledge of the instruments’ capabilities would produce *The London Sinfonietta launched some interesting results. their recording of Causton’s Phoenix A full gamelan consists of up to 30 or in March. Richard won the 2006 40 instruments, including gongs, drums, Royal Philharmonic Society Award for and metallophones of various types. Chamber-Scale Composition with this It was for this large ensemble that I work. The CD will be released in late had initially wanted to commission spring 2008. Richard to write a piece. However, as a composer myself, I became increasingly interested in the new music potential of one particular instrument in the gamelan ensemble called the gendèr



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Any UK-based non-professional orchestra who programmes one or more of these works will benefit from substantially reduced hire fees, and will also have access to other promotional offers from OUP. (For orchestras based in countries where we have agency representation, please Living Music aims to encourage the performance, by non- contact your local agent for more details.) professional orchestras, of works written by Oxford’s house composers. The scheme features 14 outstanding works For more information on Living Music please composed within the last 35 years, which have all been visit the scheme’s website at www.oup.com/uk/ chosen with non-professional orchestras in mind. They vary livingmusic. in difficulty and duration, and the chosen works are all exciting to play and rewarding to listen to.

Untapped potential As the conductor of the amateur Buckinghamshire Chamber Orchestra (BCO), Catherine Rose is delighted that OUP has made a move to find new music which is within the range of amateur players through its Living Music scheme.

hy do so few amateur The issue of instrumentation also and tubular bells could break the bank. orchestras attempt works drives musical directors and Add a harpist and that’s another £150. Wby modern composers? programming committees round the Too many modern works have been I’ve known amateur orchestras play bend. BCO is a subscription band: commissioned by the no-expense-spared Tippett and Webern, but the number of everyone pays to play. We already have London Sinfonietta, and we simply can’t performances is tiny compared to those enough trouble with pieces with no afford them. who play Britten or Stravinsky. There clarinets, one flute, or an extra trombone If I can find a suitable late 20th or are lessons here for today’s composers. (thank you, Rossini). Living composers 21st century work which we (a) find who write for much stranger ensembles It isn’t necessary to write specifically for musically rewarding, (b) can amateurs in order to write music which amateurs can play. Pieces commissioned ‘It is possible to write music of depth and for youth or amateur orchestras often have a particular stamp: celebratory meaning, which is playable’ in style, fairly easy, rather lacking in are not going to get performances from afford to mount, and (c) uses all the serious musical intent—and hence not us. We can’t do ‘strings, bass flute, four members of the band, we would be very interesting. It is possible to write percussionists, and tape’: it leaves out too likely to perform it not once but twice, music of depth and meaning which is many paying members. The Holy Grail in two different venues. We’ve done this playable—listen to Howard Skempton’s for me is a fine modern work, within before (Keith Templeman’s Cor Anglais Lento in the Living Music list. There is our not-inconsiderable capabilities, Concerto), and we would do it again. a thirst for musical meaning and beauty which we can prepare in a rehearsal Schemes such as OUP’s Living Music (not just prettiness) among amateur period of six weeks alongside a classical are making it easier to find appropriate players—it’s what we get from Mozart, symphony, and which is scored 2.2.2.2- repertoire: we just need the composers Brahms, or Mahler. We’re not asking 2.2.0.0-timp-str for pieces in a reduced or backward- on our side. Another issue is cost. Extra percussion is looking style: we want works which we Catherine Rose, a problem because these days even the can engage with and to which we can Musical Director, Buckinghamshire lowliest youth orchestra percussionists give a meaningful performance. Chamber Orchestra, charge for their service. Hiring crotales www.bucksorchestra.org.uk

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Re-orchestration of Rawsthorne’s Kubla Khan Edward Harper’s exciting commission from the Ida Carroll Trust was to reconstruct the orchestral material of this setting of Coleridge’s well-loved poem.

lan Rawsthorne’s Kubla Khan, as he described it—is fascinating, and were very relevant to my approach in was originally commissioned when John Turner, on behalf of the Ida orchestrating Kubla Khan, but I was Aby the BBC and first Carroll Trust and with support of the working at one step removed, in that performed in a studio broadcast Rawsthorne Trust, asked me to consider I had a piano reduction to work from, from Bristol in June 1940. The score orchestrating Kubla Khan I was very not the original full score. One question and parts were destroyed when pleased to do so. was always at the back of my mind: to Rawsthorne’s flat was bombed what extent had the original score been The first and very important decision shortly after the performance, but simplified to make it playable on the to make was what forces to use in fortunately copies of the vocal piano? the scoring. Rawsthorne’s original score—chorus parts with piano scoring for Kubla Khan was for strings I would stress that, while it was necessary reduction of the orchestral parts— and percussion. However, the more I to work with a certain creative freedom survived, and it is this which made got to know the orchestral reduction because of the considerations outlined the reconstruction possible. the more I felt like parts of the music above, it has not been my intention to Edward Harper writes: seemed to call for rather larger forces make alterations and additions which ‘Kubla Khan had been written as part and a greater range of orchestral colour. in any way reflect my own musical of a joint commission for exchange My decision to score Kubla Khan for personality. Any additions to the texture broadcasts between the BBC and Swiss full orchestra was reinforced by two and any re-spacing are as a result of my Radio (the Swiss work was Honegger’s things: firstly, John McCabe reaches attempt to think myself into the creative oratorio La Danse des Morts). The a similar conclusion in his book on mind of Rawsthorne and, without Honegger was broadcast in April 1940 Rawsthorne. Furthermore, Rawsthorne claiming to write what he might have and the Rawsthorne two months later. himself had rescored the original done himself, to find an orchestral sound The destruction of the manuscript and version of his Piano Concerto No.1 (like which will do justice to the stature of the absence of any recording meant that Kubla Khan it had been for strings and this fine work.’ all that survived of the work was the percussion) for full orchestra. Much of vocal score used for the BBC broadcast. the orchestral thematic material appears Rawsthorne was never persuaded in the woodwind for the second version, Full article published in The Creel, to reconstruct the full score, but his confirming Rawsthorne’s wonderful ear volume 4, no. 3, Summer 2001. response to Coleridge’s poem—‘this for woodwind timbre. Examples of re- Reproduced by permission of Edward extraordinary burst of sustained genius’, thinking musical textures and colours Harper and The Rawsthorne Trust.

The first performance of Edward Edward Harper and asking if we would to accommodate 125 players and 200 Harper’s re-orchestration took like to premiere it. Of course I said ‘yes’ singers!) by returning to Rawsthorne’s place at the Bridgewater Hall, immediately—the problems then were home town of Manchester and their Manchester, on 30 March 2008. how and where. wonderful Bridgewater Hall. The concert was given by the The big ‘how’ problem was where Philip Mackenzie, Amadeus Orchestra, conducted by to get the choirs from—we decided Amadeus Orchestra, Philip Mackenzie. to couple Kubla Khan with Mahler’s www.amadeusorchestra.co.uk We first became involved in this project Second Symphony, which is always about three years ago when I received a popular with choirs and audiences alike phone call from John Turner of the and the right length to complement Rawsthorne Trust, explaining that the Rawsthorne. The ‘where’ question the piece had been re-orchestrated by was resolved (it had to be a big hall

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Michael Berkeley’s 60th birthday Dame Felicity Lott (soprano), Susan at the London Festival of Contemporary Bickley (mezzo), Julius Drake (piano), Church Music on 10 May (see page 7 and the Chilingirian Quartet will give for details), and players from the New a birthday concert at the Wigmore York Philomusica will perform Quartet Hall, London, on 20 October, and No. 1 at the Broadway Presbyterian Music Theatre Wales will embark on a Church on 1 May following their

Photo: BBC nationwide tour of For You, Berkeley’s performances of Odd Man Out, Funerals Michael Berkeley will celebrate new opera with Ian McEwan, following and Fandango, and For the Savage Messiah his 60th birthday on 29 May its premiere at the Guardian Hay Festival on 21 February. on 31 May. The tour will include the 2008. There will be a wide range Visit www.oup.co.uk/music/ work’s London premiere, due to be of performances of his works repprom/berkeley for more given in the Linbury Studio Theatre, throughout the year, including details on Michael Berkeley’s 60th Royal Opera House, at the end of major features at the Proms, birthday year performances. Cheltenham, Presteigne, Second October. The Vasari Singers will Glance, and St Endellion festivals. premiere a new motet, Time No Longer,

In celebration of Michael Berkeley’s 60th birthday year and his connections with the city, Music Theatre Wales are co-ordinating a year-long festival of his works in Cardiff. Participants include BBC National Orchestra of Wales, Music Theatre Wales, Royal Welsh College of Music and Drama, and the Cardiff New Music Collective. Berkeley is composer-in-association with the BBC National Orchestra of Wales and acts as visiting professor in composition at the Royal Welsh College of Music and Drama. Current confirmed performances include:

Students of the Chamber music; Among the RWCMD, 7pm 13 May Lilies, Music for Chaucer, Catch RWCMD Me if You Can 22 May BBC National St David’s Hall, 7:30pm 22 May Organ Concerto, Or Shall Orchestra of Wales we die? 31 May & 1 June

For You Opera Premiere, Theatr Brycheiniog, 31 May & 1 June Music Theatre Wales (Libretto: Ian McEwan) Brecon

2 November Music Theatre Wales For You New Theatre (Libretto: Ian McEwan) Launch of The Oxford Book of Flexible Anthems John Rutter lead an inspirational The Oxford Book of Flexible Anthems is workshop at the launch of The Oxford the perfect resource for church choirs Book of Flexible Anthems at St. Sepulchre- of all types and sizes. Each piece without-Newgate Church, London, in is presented with flexible scoring January 2008. Some 150 delegates and options, enabling performance by 15 contributors to the anthology— various combinations of singers. including Cecilia McDowall, Richard To request a promotional CD for Shephard, and the book’s editor, Alan this anthology, please call 01865 Bullard—attended the event. The day 355067 culminated in a rousing choral evensong conducted by John Rutter—a fitting 9780193358959 £12.50 (paperback)

Photo: Tom Allwood Photo: Tom launch for this major new publication. 9780193358966 £15.95 (spiral bound)

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English Hymnal day at the Turner Sims Concert Hall, Southampton Vaughan Williams at University the BBC Proms 2008

David Owen Vaughan Williams’s music will be a major feature of the 2008 BBC Proms. The exact Norris, Professor day of the composer’s death fifty years ago will be marked by a Promenade concert of Musical comprised entirely of his own works. All of the performances of Vaughan Williams’s Performance at music will be given by inspirational English orchestras, forming a fitting tribute to a Southampton composer who did so much to enhance English musical life. University, paid tribute to The The following concerts of the series will feature Vaughan Williams’s music: English Hymnal, music edited by Vaughan Williams, in an event 24 July 17 August on 23 February 2008. Symphony No. 4 Flos Campi As part of the celebrations marking 29 July 26 August (Anniversary Day) the 50th anniversary of the composer’s Symphony No. 8 in D minor Symphony No. 9, Fantasia on a theme death, Professor Norris and his keyboard 8 August by Thomas Tallis, Job-A Masque for students spent six hours performing Symphony No. 6, Five Variants of Dives Dancing, Serenade to Music the entire English Hymnal, appendices and Lazarus 27 August and all, to an enthusiastic audience. 12 August The Lark Ascending This wonderful event provided an Piano Concerto 10 September opportunity to hear many of the lesser- Sinfonia Antartica known hymns, the understanding of which was enhanced by Professor Norris’s illuminating commentary.

New Vaughan Williams catalogue Musical chairs To mark the 50th anniversary of OUP is delighted to announce the Both Anwen and Laura are based in the Vaughan Williams’ death, Oxford appointment of Laura Mizon as the Oxford Music Promotion office with University Press has produced a new new Choral Promotion Specialist Naomi Burgoyne, Promotion Assistant. catalogue of his works, including many and Anwen Greenaway as the new David Wordsworth, Head of Promotion, fascinating photographs from the Promotion Manager in the UK. remains in London. composer’s life. To request your copy please email repertoire.promotion. Key contact details for OUP’s Music [email protected]. Promotion offices are given on the back page of this issue.

David Wordsworth Laura Mizon Anwen Greenaway Naomi Burgoyne

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New and recent CDs

Crosse Rawsthorne Vaughan Williams Purgatory Alan Rawsthorne Koussevitsky Live Recordings Peter Bodenham (tenor), Practical Cats; Street Corner Overture; 1943–1948 Volume 2 Glenville Hargreaves (baritone), Madame Chrysanthème Ballet Suite; Symphony No.5 in D Orchestra and Chorus of the Royal Theme, Variations & Finale; Coronation Boston Symphony Orchestra, Northern College of Music, Overture Serge Koussevitzky (conductor) Michael Lankester (conductor) Simon Callow (narrator), Jeremy GUILD GHCD 2324 LYRITA SRCD.313 Huw Williams (baritone), Royal Liverpool Philharmonic Orchestra, Walton David Lloyd-Jones (conductor) Gerhard James Ehnes’ Barber/Korngold/ DUTTON DIGITAL CDLX 7203 Symphony No. 4 ‘New York’, Walton: Violin Concertos Violin Concerto Concerto for Violin and Orchestra Yfrah Neaman (violin), James Ehnes (violin), BBC Symphony Orchestra, Vancouver Symphony Orchestra, Colin Davis (conductor) Bramwell Tovey (conductor) LYRITA SRCD.274 CBC RECORDS/ONYX CLASSICS ONYX4016 Rawsthorne-Berkeley-Bush *Winner of the 2008 Grammy Chamber Music Award for the Best Instrumental Quartet for Clarinet, Violin, Viola, and Soloist(s) Performance Cello (with Orchestra) Aeolian Quartet Mathias LYRITA SRCD.256 Three British Composers Little Suite for Piano; Piano Sonata No.1 John Clegg (piano) PARADISUM PDS-CD14 Walton Piano Quartet The Three String Quartets (re-release) Skempton Piano Quartet in D minor The Chamber Music Society of String Quartet No.1, Op.38; String Canons + Hoquets Quartet No.2, Op.84; String Quartet Lincoln Center: Catch; Tendrils No.3, Op.97 Wu Han (piano), Ani Kavafian Bozzini Quartet (violin), Arnaud Sussmann (violin), The Medea Quartet COLLECTION QB CQB 0704 Paul Neubauer (viola), Fred Sherry METIER RECORDS, DIVINE (cello) ART LTD msvcd92005 CMS STUDIO RECORDINGS ‘The Walton Piano Quartet is such a sophisticated work, it’s hard to believe that Walton was only 16 when he wrote it.’ Wu Han

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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: tel. +44 (0)1684 773 883 or email [email protected]

Barry Ettelijke bange eenden OCR The Voice of the Bard OCR Serenade to Music First Sorrow OCR 9780193356764 9780193361690 9780193360020 9780193359567 Variable length 6’ 14’ 10’ For 3-7 performers SATB unaccompanied Vocal soloists or SATB and String quartet £6.00 Price tbc orchestra £15.00 £7.50 (vocal score) Le Lay de la Fonteinne OCR Thou whose birth OCR Orchestral material is available Berkeley 9780193453296 9780193359895 on hire: Second Still Life OCR 24’ 3’ 2(2+picc).1.ca.2.2-4.2.3.1-timp. 9780193359826 Solo voice Treble voices and organ perc.hp-str 7’ £15.00 Price tbc Oboe and harp £5.00 Not envious of rabbits OCR Skempton 9780193359888 A Dream Seven OCR 4’30 9780193356566 9780193359963 Unspecified ensemble 5’ 7’ Price tbc SATB unaccompanied Flute (+alto flute), oboe, clarinet, £2.10 Symphony No.5 tam-tam, harp, violin, and cello Possession du condamné OCR 9780193359420 Price tbc 9780193359857 Arioso/Grail Transformation and 35’ 9’30 Epiphany OCR £60.00 (score) Butler Clarinet in C (or violin), cello, 9780193359765 Matching, newly engraved From the Fairground of Dreams and piano 5’ orchestral parts will be available 9780193359581 Price tbc Solo cello on hire: 21’ £4.00 2(II+picc).1.ca.2.2.-2.2.3.0- Orchestra: Scotch Tape OCR timp-str picc.2.3.3.3-4.3.3.1-perc.hp- 9780193359864 The Moon is Flashing cel-str 3’ 9780193359758 Walton, edited by Score and parts on hire Clarinet in C (or violin), cello, 20’ David Lloyd-Jones and piano Tenor and orchestra: Chamber Music Walden Snow OCR Price tbc 2.2.2.2-4.2.3.1-timp.2 perc-str (Walton Edition Volume 19) 9780193359598 Score and parts on hire 9780193683174 (available July) 3’ Jackson Contents: Quartet for Violin, Viola and piano Aeterna caeli Gloria OCR Three Motets Viola, Cello, and Piano; String £5.00 9780193361683 9780193360105 Quartet (1920-2); Toccata for 6’ 5’ Violin and Piano; String Quartet Causton SATB unaccompanied SATB unaccompanied in A minor; Sonata for Violin Sleep OCR Price tbc £2.70 and Piano; Two Pieces for Violin 9780193359871 and Piano; Tema (per Variazioni) 2’ Angeli, archangeli OCR Vaughan Williams per Cello Solo; Passacaglia for Solo flute 9780193361713 The Lark Ascending Violoncello Solo; Passacaglia Price tbc 7’ 9780193360099 for Violoncello Solo (ed. M. SSATB unaccompanied 13’ Rostropovich) Finnissy Price tbc Solo violin and orchestra or £125.00 Comfortable Words piano 9780193360112 Magnificat & Nunc Dimittis £9.95 (violin & piano 3’ (Tewkesbury Service) OCR reduction) SATB and organ 9780193360136 Orchestral material is available £2.10 (vocal score) 10’ on hire: SATB and organ 2.1.2.2.-2.0.0.0-tri-str £7.50

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