Charlotte Bray At the Speed of Stillness

Aldeburgh World Orchestra • Sir Mark Elder conductor • Lucy Schaufer mezzo-soprano Alexandra Wood violin • Birmingham Contemporary Music Group • conductor Claire Booth soprano • Andrew Matthews-Owen piano • Huw Watkins piano 1 At the Speed of Stillness 11’14 : Sound and Image by Bayan Northcott Charlotte Bray Aldeburgh World Orchestra At the Speed Sir Mark Elder conductor On hearing almost any score by Charlotte concerto for violin and chamber Fire Burning in Snow 10’45 Bray, one is likely to be struck by three ensemble Caught in Treetops (2010). of Stillness 2 Moonshot 5’26 characteristics. The first is the clarity of Inspired by poems of D G Rossetti and 3 Loose Ends 2’54 her ear and of her textures – virtually every Lorca and comprising a pair of nocturnes 4 Occupations 2’25 note sounds. This, in turn, seems to – the one turbulent the other melancholic Lucy Schaufer mezzo-soprano depend upon the second characteristic: an – the score often sounds fuller, and Birmingham Contemporary Music Group innate sense of how much material, how sometimes fiercer in texture than it looks Birmingham Contemporary much elaboration – no more and no less – on the page, in the way the spaces 5 Oneiroi 9’33 between the notes seem to fill with Music Group is needed to make a piece; a quality that Huw Watkins piano the young referred to as resonances. At the Speed of Stillness REPLAY/ FIRE BURNING IN SNOW 6 Replay 10’29 structural ‘efficiency’. And the third (2012) was commissioned for the large Melinda Maxwell oboe / cor anglais Huw Watkins piano characteristic is the rather exceptional forces of the Aldeburgh World Orchestra, Katherine Lacy clarinet / bass clarinet Birmingham Contemporary Music Group independence of her style for a still-young and, in finding plenty for them all to do, Alexandra Wood violin composer from any obvious influence. She she resorted, rather exceptionally, to the Songs from Yellow Leaves 11’33 Christopher Yates speaks warmly of her teacher Mark- favourite Turnage procedure of varied Ulrich Heinen cello 7 Still Standing 2’00 Anthony Turnage, and of the guidance she ostinati in contrasting riffs. But no matter 8 Collusion 3’32 has received from Oliver Knussen, but her how hyperactive some of the textural CAUGHT IN TREETOPS 9 While the bell tolls… 2’26 airy lines and figurations are quite distinct layers, the contrasts in speed and Farewell 2’23 Marie-Christine Zupancic flute / alto 10 from the grainy harmonies and tight- character between them are always clear 11 Old Tales 1’12 flute / piccolo locked rhythms of the one, or the densely – as they are in the three successive Victoria Brawn oboe / cor anglais Claire Booth soprano iridescent fantasies of the other. Indeed, patches of invention and their varied Mark O’Brien clarinet / bass clarinet Andrew Matthews-Owen piano her idiom might be described as tending recapitulation comprising Replay (2011) Mark Phillips horn for piano quartet. Her more linear, lyrical Caught in Treetops 16’49 towards a certain austerity and Jonathan Holland trumpet gifts are exemplified in the song-settings: 12 Part 1 10’46 abstraction, were it not so responsive to Edward Jones trombone the Shakespearian haiku-sequence of 13 Part 2 6’03 the many poetic and extra-musical shades Julian Warburton percussion Yellow Leaves (2011), with its luminously Alexandra Wood violin of meaning and feeling she draws into her Malcolm Wilson piano imagistic piano accompaniments, and the Birmingham Contemporary Music Group music. Robert Johnston harp sensitized word setting of Fire Burning in Oliver Knussen conductor Christopher Yates viola These qualities are already exemplified in Snow (2013) in its tracery of chill, Ulrich Heinen cello Total timing 71’03 the earliest piece in this collection, her sometimes stinging instrumental sounds.

2 3 restless shifts in perspective as one chases lament – the darkest part of the collection Notes by Charlotte Bray the power source across the countryside; – a deep emptiness is felt: disturbed, raw the constant duality of the power lines, an emotions that are never fully In the finely controlled nine-minute At the Speed of Stillness (2012) underlying energy – hidden and intimate comprehended, mysteries that persist, span of Oneiroi (2013) for solo for orchestra almost, yet zinging with immense power provide openings for other journeys. piano, she reverts to what is and force. At the Speed of Stillness was evidently an affinity for night imagery This takes part of its inspiration from a Delivered from a masculine perspective, commissioned for the 2012 BBC Proms and dreams, attributing this partly to surrealist poem by Dora Maar: Loose Ends is grounded and present. and premiered by the Aldeburgh World the influence of Henze, yet quite Emerging from an emotional landscape I rested in the arms of my arms Orchestra under Sir Mark Elder, and is transcending his tendency to turbid I no longer slept shaped by painful loss, newly found cloudiness. dedicated to Mark-Anthony Turnage. It was night in the summer, freedom, promise (a dream) of future happiness: the male character feels Although already a proficient cellist, winter in the day Fire Burning in Snow (2013) indestructible until he loses control, falls Charlotte Bray was 21 when she took An eternal shivering of thoughts for mezzo-soprano, oboe/ cor anglais, back to the dense earth with a thud and to composing in earnest. Yet in Fear love fear love clarinet/ bass clarinet, violin and cello the realisation that his attempts to bury the scarcely more than a decade, she Close the window open the window A BCMG Sound Investment commission memories of his lost love are superficial has built up a substantial catalogue You’ll see you’ll see supported by individual donors in memory and futile. of works in almost all the standard The hummingbird motionless as a star. genres; built up, too, a professional of Jack Phipps and dedicated to the poet A rich presence is felt throughout reputation of a composer who works The energy, sense of endless movement Nicki Jackowska and to the memory of Occupations: a love dovetailed into the hard and always delivers. Not least, and of exhaustion encapsulated in the Jonathan Harvey, Fire Burning in Snow narrator’s – internal, whilst still being free; she has refined a compositional style poem permeates the music. Important also sets three poems by Jackowska – constantly thrown back to recall what has and practice for herself, neither is the play with paradoxical ideas – the Moonshot, Loose Ends, and Occupations, been lost, until eventually, it escapes (once explicitly tonal nor atonal, but always contrary notion that something moving a sequence portraying lost love and a accepted, perhaps). Ultimately, some form cogent in its harmonic unfolding – quicker than the human eye is able to search for a way forward from this ‘place’. of resolution is found. token of an independent spirit from detect can appear to be motionless or still. Frozen, immersed in his absence, the Vivid diction threaded with sensory which much may be expected. Harnessed to this ‘energetic charge’ in the female protagonist in Moonshot craves references allow one to see, hear, smell, work are expressions of ideas that resulted closeness, reaching out for her lost love. and feel the poems – they are virtually from contemplation of Sizewell Power Peeling away the layers of personality that tangible, leaping off the page with a clear Station and the power lines stemming from gave her form, defined her, she dances and colourful voice. it, which I drew on as a source of alone in a light that she hopes will inspiration, mesmerised by the summon him, singing for comfort. In her © 2014 Bayan Northcott relentlessness of the structures, the solitude, in the quiet of this haunting

4 5 Oneiroi (2013) for solo piano Replay (2010) for piano quartet with each section recognisable in character the surface. Coming full circle, the beauty but distinctly different on its reappearance. of love is still blazing in Old Tales, ever In Greek mythology, dreams are As one of the winners of the Royal renewed. personified by dark-winged spirits called Philharmonic Society’s 2010 Composition Songs from Yellow Leaves (2012) Oneiroi. They emerge at night from their Prize, I was commissioned to write this for soprano and piano Caught in Treetops (2010) cavernous home in Erebos, the land of work for the 2011 Cheltenham Music for solo violin and ensemble This song-sequence, commissioned by the eternal darkness beyond the rising sun. Festival with prize money from the Susan Bradshaw Composers’ Fund. Richard Thomas Foundation, draws its This was commissioned by the Birmingham According to Homer, the Oneiroi passed texts from a collection of 154 haikus by the Contemporary Music Group, to whom it is through one of two gates: the deceitful As if engaged in an intimate conversation, poet Caroline Thomas based on dedicated, and by Sound and Music. The dreams through a polished ivory gate, agile cantabile lines are woven quietly Shakespeare’s 154 Sonnets. I selected 33 work is launched by an explosive cadenza: together to form the opening of Replay. while the prophetic, god-sent dreams issue of the haikus as the basis for nine themed inspired by Sonny Rollins’ Autumn Nocturne, This is the first of three contrasting musical from a transparent gate made of horn. songs, five of which are recorded here. The I wanted to capture the same kind of identities that the piece unfolds in Since dreams are essentially a private relentless energy. The concerto is continuous succession before returning to a variation cycle travels through a range of emotions but in two parts, responding to the poems inner space, a hidden dialogue of thoughts of each – the music flows constantly based on love, loss and deceit. The title, that were a central source: A Match with and emotions, the parallel of the Oneiroi is between these distinct identities. The Yellow Leaves – a line appearing in the the Moon by Dante Gabriel Rossetti and fitting in viewing the piece as a spirit of structure was prompted by images of poetry – signifies the completion of the dreams. spherical trigonometry. song cycle in Berlin in the autumn of 2012. The Moon Sails Out by Federico García Lorca. A sense of mystery pervades both Works by Hans Werner Henze and Oliver The second section is dark, rough and In Still Standing, a powerful and purely poems; the figurative language of the first Knussen inspired the piece. A dialogue of earthy. A low, rumbling piano line sits selfless love is presented, a total devotion has a fun and playful nature, while Lorca thoughts flow throughout – an incredibly under the strings that, in rhythmic unison, and sense of constant renewal. Here, the encapsulates a subtle but profound sense private inner space, in which melodies build the tension with syncopated patterns. poetic references to nature (waves, tides) of loss. Ideas for the concerto grew from a frequently re-emerge, as if flashes of Repetitive staccato gestures in the piano strongly influenced the composition. The solo violin work I wrote shortly before for dream were recurring. Sometimes dark, cut through, joined shortly after by the cello love has suddenly disappeared with violinist Alexandra Wood. The original work isolated and pensive, and at other times playing pizzicato. While these elements Collusion, which is is full of bitterness and included an improvised ensemble part for delicate, lyrical and warmer in character, continue underneath, a tender solo violin deceit. Attempting to forget, one feels the members of Birmingham Contemporary the music is in constant flux between a line takes centre stage, preceding an heart break and grief in While the bell Music Group; the improvisatory nature of clear and a blurred state – one questions intense third section, extreme in terms of tolls..: the poet’s use of colour and again, the solo piece remains in the larger work to whether it is a dream or reality. Oneiroi was register and dynamic, made up of the references to nature, are incredibly an extent, although the concerto has commissioned by the Festspiele syncopated riff-based variations. Gradually evocative. In Farewell, we feel sadness and ultimately taken on a life if its own. Europäische Wochen Passau and is falling back into the graceful weightless loss for what has passed. Sweet memories dedicated to Oliver Knussen. material of the opening; the replay begins, remain but something darker lies under © 2014 Charlotte Bray

6 7 Fire Burning in Snow Poems by Nicki Jackowska Songs from Yellow Leaves Poems by Caroline Thomas 2 Moonshot 7 Still Standing 9 While the bell tolls... 11 Old Tales Reaching out to trespass on that ice-sheet What then I sing alone will call Love – be like hunger – Grieve – while the bell tolls. Your beauty blazes where you are not; only the moonlight the moonlight in and rocking over all Not sated: like tides, or seasons, Less! – forget me, forget you in old tales, like prophecy. spreading fins across me, and where the bed, heat it where you are not Sharply renewed cared; Worth unknown; untold. should looking end if I go out and dance alone for all the world’s light. be spared their scorn. and tramp the lawn’s mud down Bare feet on an untreated lawn, seeding No curbs, no expectation: Nothing new; instead at night, when you have peeled away it late, the grass unruly, tufted. ‘myself entrammelled’ I am: yellow leaves; recitals – reviving love’s your selves and curled alone upstairs I crouch and moan under these dead trees So that you be free ruins; twilight; sunset; embers. instant first conceit. or in the hollow of a northern hill. and hope for lightning, roar from the sky. This frailty stirs you. Everyone I’ve loved It is not straying 3 Loose Ends 4 Occupations Converges in you But be contented: when my soul’s lodged with you, And all I am is yours this – the best I have to leave – my home, my rose, my all. He covered her hair. It shone too bright and made his days dazzle. He’s a presence among the leaves is already yours. He took her red shoes and locked them in a stout box. of jasmin, of old oak Waves, minutes, currents: He erased her name from their shared furnitures, and left Time’s incremental rise and He’s a footprint Wreck. Yet this stands still. his own scent on the cushions and the light-switches. 10 Farewell dovetailed into mine The full version of Moonshot was Then he left the house. It was good that the road was wide beneath the heel Farewell: the equity first published in News from the without neighbours. His travelling companions moved like shadows He’s a cloud of pollen 8 Collusion you thought you had in me Brighton Front (Sinclair- beyond the shores of that smooth, enclosed ice-river. Surely on the run was all illusion. Stevenson 1993). Loose Ends and he could tread the stone of this fine free highway forever? So sublime a start – a hive of cotton-threads so soon and suddenly spent. Your absence makes a the full version of Occupations For the birds sang, and his legs swung one weaving his cloth And I acquiesce. winter, dark and bare and mute, are published in Lighting a Slow after the other. He could have a fathomless lover Fuse – New and Selected Poems Sun does not penetrate of this lush summer. who would wait like a deep well he could sing into; she You chose to deceive, (Enitharmon Press 1998). his vein would not squeeze him like a bellows, or borrow the back of him. so spare me the remorse. Oh, And absence in spring: nor drum his ear real tears? Awed, I forgive. all its delights like shadows Nicki Jackowska’s poetry is So the fields arched and promised. He came to a river; he came published by Enitharmon Press. I dream him lustily dreamt of in winter. to a house and his indestructible bone-self frayed at the edge. Equivocation Her latest collection Behold has my tide rears him and is collusion. (I revel Violets, lilies, received considerable acclaim. In the café, a woman came to serve him, who wore red shoes, throws him back who disturbed with her word the dense earth where he had in this guilty pain.) marjoram, roses: their charms She is the author of seven buried her. Somewhere between the wave’s (and taints) filched from you. poetry collections, four novels crest and falling and the ground-breaking book © 2013 Nicki Jackowska this fish escapes © 2012 Caroline Thomas Write for Life.

8 9 Charlotte Bray Charlotte Bray has been rapidly recognized she wrote Caught in Treetops, premiered by ensembles, including London Symphony perceived as a training gap between as an outstanding talent of her generation. Alexandra Wood and Oliver Knussen. As Orchestra, London Philharmonic Orchestra, conservatoires and the music profession. It She was born in Britain in 1982, and the inaugural Composer in Residence with Birmingham Contemporary Music Group, has rapidly established a reputation as one studied at Birmingham Conservatoire under Oxford Lieder Festival 2011 she composed Ensemble 360, , Claire of the world’s leading centres of learning Joe Cutler, and subsequently at the Royal a new baritone cycle for Roderick Williams. Booth, Lucy Schaufer, , for exceptional young professional College of Music with Mark-Anthony Her orchestral piece At the Speed of , Julian Quentin and Mona musicians. Residential courses and Turnage. She participated in the Britten- Stillness was commissioned for the BBC Asuka Ott; and from the Aldeburgh, masterclasses take place throughout the Pears Contemporary Composition Course in Proms in 2012 and premiered by the Cheltenham, Savannah, Aix-en-Provence, year in the beautiful surroundings of the 2007 with Oliver Knussen, Aldeburgh World Orchestra conducted by Festspiele Europäische Wochen Passau Suffolk coast where Britten lived and and Magnus Lindberg; and attended the Sir Mark Elder, receiving its US premiere in and Verbier festivals. Notable conductors worked and participants benefit from an Tanglewood Music Centre in 2008 with Tanglewood’s 2014 Festival of who have performed her work include exceptional campus of performance spaces John Harbison, Michael Gandolfi, Shulamit Contemporary Music. Oliver Knussen, Daniel Harding and Jac and studios which has grown up around Ran and Augusta Read-Thomas. She was van Steen. the world-famous Snape Maltings Concert awarded the prestigious MacDowell Colony Other highlights from 2014 include: Black Hall, home of the Aldeburgh Festival. The Charlotte is currently writing a new work for Fellowship and was in residence at the Rainbow, commissioned by the City of Britten-Pears Young Artist Programme is the youth company of the Royal Opera MacDowell Colony, New Hampshire in the Birmingham Symphony Orchestra for its annually host to some of the world’s finest House for a Gala Concert in 2015, a choral summer of 2013. She was then resident at youth orchestra; Suya Dalmak for solo cello performers and teachers who lead, and work for the Chester Cathedral Choir, and a the Liguria Study Centre, Italy, having been and tape, commissioned by cellist Isang often participate in, intensive projects chamber opera commissioned by Nova awarded a Bogliasco Foundation Enders and premiered at Festival 3B in which mostly culminate in high-profile Music Opera in collaborating with librettist Fellowship. She is an Honorary Member of Germany; string quintet The Sun was performances. It is exceptionally well- Amy Rosenthal on the story of Ruth Ellis, Birmingham Conservatoire and winner of Chasing Venus for the Dover Quartet at funded, thanks in part to Britten’s legacy, the last woman to be hanged in England. the 2014 Lili Boulanger Prize. Savannah Music Festival, Georgia; pieces for with all successful participants receiving piano trio for the Albany Trio (London) and bursaries to cover course fees, As a result of winning the Royal the Oberon Trio (Berlin); and Circling Point accommodation and most of their travel Philharmonic Society Composition Prize, The Aldeburgh World Orchestra was for alto saxophone and piano, commissioned costs. she was commissioned to write Replay for devised as a celebratory project for the with funds from the Swedish Arts Council for piano quartet for the 2010 Cheltenham 2012 London Olympics as part of Britten- saxophonist Johannes Thorell who toured Festival. She was appointed apprentice Pears Young Artist Programme at the work in Argentina in August 2014. Information about the artists on this Composer-in-Residence with Birmingham Aldeburgh Music. The Programme was disc can be found on our website: Contemporary Music Group/ Sound and She has received commissions from of the founded over 40 years ago by Benjamin www.nmcrec.co.uk Music in 2009-2010, during which time most established performers and Britten and Peter Pears to bridge what they

10 11 Cover artwork created by Idil Ates, li, a student from the BA (Hons) Graphic Design With thanks to the trusts, foundations and individuals who course at Central Saint Martins College of Arts and Design. Students were briefed to create have invested in NMC’s Debut Discs series: cover artwork for the series and winning students selected to have their work used in NMC’s Debut Discs series; the judging panel included NMC’s Executive Producer Colin Matthews, The Astor Foundation designer Vaughan Oliver and journalist and broadcaster Tom Service. The Boltini Trust The John S Cohen Foundation About the artist: Idil Ates,li was born and raised in Istanbul. She moved to Colwinston Charitable Trust London to start her education in graphic design at Central The Fenton Arts Trust Saint Martins College. Intrigued by the wide array of directions that the course offered, she identified her way Nicholas and Judith Goodison of self-expression best through illustrating thoughts, Mercers’ Charitable Foundation embodying narratives and linking contexts to transfer Stanley Picker Trust messages visually. Nevertheless, her appreciation of order and pattern introduced her to information design and The Radcliffe Trust typography. Mainly interested in semantics and semiotic RVW Trust studies, typography and visual language, and any kind of printed material – especially books – she continues to Richard Thomas Foundation www.rthomasfoundation.com observe, analyse, produce and accumulates the outcomes Jennifer Roslyn Wingate in an expanding body of her digestive-tract.com About the design: The individuals who donated through The Big Give The distinctive tone and sound quality of this music Christmas Challenge December 2011 allows the listener to detect it in its surroundings and Photo: Levent Sindel distinguish it from a chaotic ‘sea of sounds’. This image (see www.nmcrec.co.uk/debut-discs) is the visualization of how a clear and a limpid piece of music is pulled out from its blurred and fuzzy environment to meet its audience.

NMC’s Debut Discs Series includes releases by Huw Watkins, Dai Fujikura, Richard Causton, Ben Foskett and Helen Grime. For more information visit our website at www.nmcrec.co.uk/debut-discs

12 NMC FRIENDS Specially created for the London 2012 Festival, the Aldeburgh World Orchestra As a charity NMC is non-profit-making, providing PRODUCERS’ CIRCLE project was supported with public funding from the National Lottery through public benefit through the contribution our work Anonymous, Robert D. Bielecki, Anthony Bolton, Luke Gardiner, Arts Council England and with a generous gift from General Electric on makes to enriching cultural life. Our ability to Jonathan Goldstein, Nicholas and Judith Goodison, Terry Holmes, behalf of Sir William Castell. Bursaries for orchestral players were record and promote the innovative, the Vladimir Jurowski, George Law, Colin Matthews, Robert McFarland, awarded by The British Council (players from Egypt, Jordan and challenging, the obscure and the lost is reliant James and Anne Rushton, Richard Shoylekov, Richard Steele, Palestine) and by The Leverhulme Trust. upon securing the support of individuals who are Charlotte Stevenson, Janis Susskind, Giles Swayne, Arnold Whittall as passionate about new music as we are. At the Speed of Stillness was recorded on 18 July 2012 at Snape FOR FURTHER DETAILS PLEASE CONTACT: Maltings Concert Hall, Snape, Suffolk. NMC Recordings Ltd, CORPORATE FRIENDS Friends membership (£50 / £20 concession for a STEVE PORTNOI Recording Producer/Engineer Somerset House, Third Floor, South Wing, BASCA, Faber Music, Freshfields Bruckhaus Deringer LLP, Strand, London, WC2R 1LA 12 month association) offers advance notice to Caught in Treetops was recorded live on 26 June 2011 at Snape The Incorporated Society of Musicians, The Music Sales Group, Maltings Concert Hall, Snape, Suffolk for BBC Radio 3 and first Tel. +44 (0)20 7759 1827/8 purchase new NMC releases, a substantial RSK Entertainment Ltd broadcast by BBC Radio 3 in Hear & Now on 16 July 2011. Fax. +44 (0)20 7759 1829 quarterly newsletter, and invitations to NMC SAM PHILLIPS Recording Producer E-mail: [email protected] TIM ARCHER Recording Engineer Website: www.nmcrec.co.uk events. 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In January 2013, NMC launched The BBC word mark and logo and the ‘BBC Radio 3’ logo are Marion Trestler, Peter Wakefield, Andrew Ward, Judith Weir, IDIL ATES, LI Cover image trade marks of the British Broadcasting Corporation and used the brand new Producers’ Circle inviting donors Hugh Wood FRANCOIS HALL Graphic design under licence. BBC Logo © BBC 2005 at £1,000+ to help us release particular ‘hidden NMC Recordings is a charitable company (reg. no. 328052) Caught in Treetops ® 2011 BBC. The copyright in the recording is gems’ while gaining an exclusive insight into and BENEFACTORS established for the recording of contemporary music by the Holst owned by the BBC. Foundation; it is grateful for funding from Arts Council England, the association with our work. At the Speed of Stillness ® 2014 Aldeburgh Music Bruce Adams, Anonymous, Peter Aylmer, Peter Baldwin, Sir Alan Britten-Pears Foundation and The Delius Trust. Fire Burning in Snow, Yellow Leaves, Replay, Oneiroi Please visit www.nmcrec.co.uk/support-us Bowness, , Tony Britten, Andrew Burke, Robin Translated poem by Dora Maar, ‘I rested in the arms of my arms’, ® 2014 NMC Recordings Ltd c.1942-43, © Mary Ann Caws; taken from Surrealist Love Poems, ed. Chapman, David Charlton, Susan Costello and Robert Clark, © 2014 NMC Recordings Ltd (or email [email protected] or phone Mary Ann Caws, Tate Publishing (2001). Reproduced by kind 020 7759 1826) for more information on Sheila Colvin, Anton Cox, Steven Foster, Matthew Frost, Anthony permission of Tate Publishing and University of Chicago Press. Produced in association with BBC Radio 3 Gilbert, John Gilhooly, Alexander Goehr, Jennifer Goodwin, Adam becoming a Friend and other ways that you can ANNE RUSHTON Executive Director invest in NMC’s unique contribution to new music. Gorb, Elaine Gould, Paul Griffiths, David Gutman, Barry Guy, HANNAH VLC˘EK Label Manager Thank you. 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