booklet pdf template.qxd 29/04/2008 13:17 Page 1

Golem Music Projects / London Richard Bernas conductor booklet pdf template.qxd 29/04/2008 13:17 Page 2

Cast

Maharal a Rabbi, leader of his community Adrian Clarke baritone CD1 (50’26) Golem a large figure made from clay John Hall bass baritone Miriam the Maharal’s wife Patricia Rozario soprano Prelude Ometh a wounded, chained person Christopher Robson countertenor 1 Introduction Four people from the town: Maharal Receive, remember 2’50 Stoikus a senior figure Paul Wilson tenor 2 Chorus Formed of ribs 1’33 Jadek an old man Richard Morris baritone 3 Maharal I made a golem 0’43 Stump a cripple Paul Harrhy tenor 4 Maharal He had youth and strength 1’15 Gerty a middle-aged woman Mary Thomas mezzo-soprano 5 Maharal From their fingers 0’49 6 Maharal Lust turned in him 1’16 7 Golem Where now, master? 3’15 8 Ometh Do not forget this naked man 1’29 Music Projects/London 9 Chorus Awake, arise 1’07 conductor Richard Bernas 10 Maharal Water, earth 1’11 11 Maharal Earth only, and water 1’31 flute/alto flute/piccolo Nancy Ruffer 12 Maharal Give me the splendid, silent sun 3’06 cor anglais Joseph Saunders clarinet/bass clarinet Colin Honour soprano saxophone/alto saxophone Stephen Cotterell Legend horn Judith Beswick trombone Roger Williams Scene 1 percussion David Hockings 13 Introduction 6’59 harp Hugh Webb 14 Maharal The dark air clings 1’05 violin Belinda McFarlane 15 Maharal Who? Who speaks? 1’23 cello Robert Irvine 16 Maharal No! Come he must! 0’52 double bass Sophia Preston 17 Maharal What clouds his coming? 1’24 18 Ometh Grind of bone 0’53 administrator Alan Davis 19 Ometh Three in one 0’58 electronic tape part created by the composer in the Electronic 20 Maharal How can this be? 1’42 Music Studio of the University of Durham 21 Maharal I know the pain you feel 1’54

2 3 booklet pdf template.qxd 29/04/2008 13:17 Page 4

Scene 2 14 Maharal His strength shall not be used for this 0’35 22 Maharal First, you must walk 1’23 15 Maharal Those ancient Gods 1’09 23 Maharal You, a man 1’23 16 Maharal Fists to smash the tyrants 1’04 24 Maharal Be still! Obey! 0’51 17 Ometh My heavy chains ring on 2’44 25 Maharal Now, a simple job 2’15 26 Maharal Now, to work 1’41 Scene 5 27 Maharal Swing your body 0’56 18 Introduction 28 Maharal A long journey 0’54 Stoikus My shining beauties 2’04 29 Jadek, Stump Swing… axe… cracks 1’01 19 Jadek Forever talking, forever weeping… 1’23 30 Maharal I found this man 1’33 20 Gerty Petal, petal… prattle, prattle… 0’52 31 Miriam He is that wanderer 1’08 21 Stump, Stoikus Eviction, persecution… 0’56 22 Stoikus We wait 1’04 23 Gerty I screamed, and screamed again 1’25 CD2 (48’39) 24 Gerty Fingers… night… river… 0’22 25 Stoikus You! What’re you doing here? 1’20 Scene 3 26 Golem No, no! My task is that of helper 0’42 1 Stoikus Axe? Axe? 1’21 27 Gerty, Stump, Jadek Join us! 0’29 2 Golem Flies away… 1’02 28 Jadek You old virus! 0’31 3 Stoikus Pah! You’ll never know 0’48 29 Stump, Jadek Goylem foil ‘em 1’22 4 Miriam White sheets, river deep 1’29 30 Golem Axe splits 1’29 5 Miriam Oh, it’s you Olem 1’28 31 Golem Gone. Where have you gone? 1’20 6 Miriam Wring them dry 0’37 32 Golem So much not done 1’19 7 Golem Her golden hair 1’38 33 Golem A wounded body 2’48 8 Golem And from a tree of holy fruit 1’06 34 Ometh I saw your lonely life here 1’39 9 Golem Sweet meadows through a gate 1’43 35 Golem At last I find in you my equal 1’26 10 Maharal The time has come for you to rest 1’18 36 Maharal It is me you need, me beside you 0’56 37 Maharal See beyond the visible 0’33 Scene 4 38 Maharal I am your father! 2’55 11 Miriam Another stranger here? 1’21 12 Maharal What intrusion is this? 1’19 13 Ometh The penalty for your deaf ears 0’55 Photo page 2: The Maharal (Adrian Clarke) - Ivan Kyncl Photo page 4-5: The Maharal and Ometh (Adrian Clarke and Christopher Robson) - Ivan Kyncl 4 5 booklet pdf template.qxd 29/04/2008 13:17 Page 6

Golem by John Casken

Golem stories have been known in the became a way of coping with the outrage In developing the synopsis for my opera I creature who does not understand the Jewish communities of Central Europe of these accusations and the inevitable introduced a novel figure into my nature of his own disobedience has to be for hundreds of years, but much earlier persecution that followed. exploration of the legend, namely that of unmade and returned to clay. evidence for the idea of the golem can Ometh, Promethean figure of hope and be found in the Book of Psalms. In Psalm A golem is created by forming clay into conscience, wounded and chained. He The golem is a metaphor for all creation, 139 we find the image of life being the shape of a man, breathing life into the seeks a union with the golem, begging including artistic creation. It offers a shaped from the depths of the earth, an figure, and reciting all combinations of the him to break the chains so that they can comment on the power of things we image of creation that speaks to us 22 letters of the Hebrew alphabet. It is work together to cleanse humanity of create and their independent lives, it across the centuries to our own times, through this kabbalistic meditation that the evil, intolerance and persecution. The illuminates the relationship of creator and and that reflects on the divine mystery of Maharal communicates with the divine in Maharal, protective of his creation and created, and questions the role of God. creation and its consequences. But it is order to bring his creation to life. In order mindful of his mission, arrogantly refuses Like Faust, it echoes man’s eternal in the nineteenth-century version with the to control his creation, the golem has to to allow this and stops the golem from dream to have power over death, the legend of the Golem of Prague that the be made to rest on the Sabbath by helping Ometh. desire for eternal youth, and our need to story gained wider popularity. Here, Rabbi inscribing the letters emeth (truth) on his build insurances for the future. On a Loew (the Maharal: Moreynu Harav brow. Erasing the first letter spells the To the people from the town, the golem global level, as terrorism shakes the Loevy, or Our Teacher, Rabbi Loew), a word meth (death), and some versions of is a suspicious stranger. They treat him world, as nation continues to threaten famous sixteenth-century scholar and the legend show the rabbi forgetting to do scornfully as an outsider, interrupting nation, and as we pin our hopes on spiritual leader, creates a man from this, with the result that the golem grows their preparations to strike out against individuals, the legend of the golem has lifeless clay through the power of the too big, his strength out of control, and he their own miserable condition. Not able to powerful contemporary resonances. Not Kabbalah to defend his community has to be returned to clay. In other tellings understand their situation, or to only does the idea of artificial life raise against persecution. This man will use his of the legend, as in this opera, the golem comprehend his own role, he turns his the spectre of genetic technology and enormous strength to protect the develops a sense of curiosity and, rather strength against those he has come to cloning, it also extends to artificial innocent and to obey his master without surprisingly, begins to experience human protect, and he kills an innocent man intelligence and computers. By analogy, question. When Jews were being feelings, notably of desire. The parallels with his axe. The Maharal is faced with the story of the golem warns of the accused of murdering Christian children with how we control the future of our own the stark failure of his creation and is dangers of putting too much faith in and using their blood in Passover rituals creations, or anticipate the outcome of forced to realise that his golem must be technology, and assuming that a “star during the nineteenth century, this legend those things we create, are clear. destroyed. The innocent and inarticulate wars” solution will form the ultimate

6 7 booklet pdf template.qxd 29/04/2008 13:17 Page 8

John Casken’s Golem by Andrew Clements

protection against the aggressor. The Puttermesser, H. Leivick’s play The At first sight the legend of the golem different, but the need to respond vividly story of the golem reminds us of our Golem, as well as the Tarot and The Tree appears an unlikely operatic subject for a and to match the imagery of the story tendency to create artificial totems in of Life. British composer whose roots have with equally powerful music remained order to make our feelings of outrage always been fixed very firmly in the north unchanged. more tolerable, and it warns against I am very grateful to the poet Dick Davis of England, and whose music has assuming that the solutions to man’s for his most valuable contribution in continued to draw on that region for its Golem was commissioned by the problems rest not within man himself, but providing the verses of the Celestial imagery. But although it contains many Almeida International Festival of can be found in spite of man. Voices in Legend (Scene 1), and part of thematic strands, at the core of John Contemporary Music in London; its the ‘Swing your body’ material (Scene 2). Casken’s opera is the chronicle of a premiere there in June 1989 proved Many literary, poetic and visual sources My thanks also to Professor Peter community. The Maharal who creates the beyond doubt that Casken’s voice in relating to the golem were helpful to me Manning and Ron Berry at Durham golem does so from the best and most British music, always singular and in developing the synopsis and writing University for their help and advice in altruistic of motives: he seeks to provide interestingly independent, had become a the libretto. Gustav Meyrinck’s novel The creating the electronic tape part in his community with a saviour, a being to genuinely significant one. Born in Golem was central to creating an Legend, and to Jean Provine for playing be ‘Our shield and joy, A saint to do Yorkshire in 1949, and therefore part of imaginary world for the characters to the solo violin material that appears God’s work in secret’, only to discover too a high-profile generation of British inhabit, and Paul Wegener’s 1915 silent transformed on tape. At all times, I was late that his creation has itself become a composers that also includes Nigel expressionist film introduced me to a helped by Pierre Audi who commissioned threat to the very survival of that Osborne and Robert Saxton, Oliver further rich store of useful images. A visit the work for, and directed the first community. Although the opera begins to Knussen and Simon Bainbridge, Casken to Prague to research the subject also production at the 1989 Almeida Festival. unfold through the ageing eyes of the never seemed likely to develop along the provided the unforgettable experience of He was constantly inspiring and I owe Maharal, the story is less a personal preordained course of many of his seeing the Maharal’s grave in the Jewish him a great deal as a creative tragedy than a communal one. There was contemporaries; above all, he consistently cemetery. Some of the literary sources collaborator. Without his input, this work a sense of place and of cultural resisted the magnetic attraction that in are highlighted in this booklet, and others would not have been possible. continuity conveyed in Golem that was as the 1970s brought so many composers occur in Kafka’s Diaries, William Blake’s pervasive and potent as any of the to live, work and pursue their careers in The First Book of Urizen and The Book of images conjured out of Casken’s London. He lectured in music first at Ahania, Bruce Chatwin’s Utz, Cynthia surroundings in his earlier scores; the Birmingham and later at Durham Ozick’s short story Xanthippe and © 2005 John Casken location for the opera may be very University, where his pupils included

8 9 booklet pdf template.qxd 29/04/2008 13:17 Page 10

James MacMillan; since 1992 he has painting qualification. But the visual arts Firewhirl (1980), a setting of a poem by But the score of Golem strictly rations been Professor of Music at Manchester remained important to him, and his early George Macbeth describing a those moments of local colour. First University. scores show how significant the power of midsummer dance in Finland, is impressions of the 1989 staging at the evocation was to remain in his music – sustained and heightened until it Almeida Festival were of an operatic Casken had been an undergraduate at whether its source be pictorial, as in his achieves the erotic intensity of an world than had been made deliberately Birmingham University, where his first orchestral work, Tableaux des Trois operatic scena was an early precursor, as non-specific; the production by Pierre composition teachers were John Joubert Ages (1977), based on paintings by was the form of the 1982 oboe concerto Audi (who wrote the libretto with the and Peter Dickinson, before spending 18 Gustave Moreau; literary – Dylan Thomas Masque, which raises numerous composer) placed the opera in a months in Poland, studying with Andrzej in Music for the Crabbing Sun of 1974, questions about the dramatic relationship timeless, universalised setting, though the Dobrowolski. In Warsaw he first came and later and more pervasively the poetry between soloist and orchestra. But the libretto encourages a specific setting. into contact with Witold Lutoslawski, of the Northumbrian Basil Bunting; or score that Casken has specifically cited More immediate is the sense of a tightly whose example – the organisational geographical, as in the northern idylls of as preparing the way for Golem, or rather unified sound world, in which voices and basis for his music and emphasis on the choral To Fields We Do Not Know, finally providing him with access to the instrumental lines are closely interwoven, harmonic colour rather than specific and the orchestral Orion over Farne, both full range of musical styles which he and in which nothing is wasted. The stylistic traits – left its mark on Casken’s completed in 1984. In the major works needed to tackle a work on an operatic obvious set pieces, such as ‘Swing your music long after any more obvious debts that followed Golem – concertos for cello scale, was Vaganza, the ‘serious body’ in the second scene of the Legend, had faded. Some of the characteristic (1991) and violin (1995), a symphony entertainment in six movements’ for in which the Maharal teaches the golem clarity and economy of Casken’s music (2004) and a second opera God’s Liar chamber ensemble, which he completed to move, are points of articulation and, as Golem demonstrates, his ability to (based on a novella by Tolstoy) which in 1985. It is a deliberately ‘impure’ work carefully positioned in the opera. shape and articulate large spans of was first performed in 2001, the range of stylistically, and takes many fond music through lucid harmonic schemes, extra-musical references and points of backward glances to earlier periods; from A further dramatic layer is provided by might well be traced back to Lutoslawski. departure have grown ever more various, here it is a less radical step to the the pre-recorded tape, which was and that the increasing flexibility and ‘madrigalists’ who underpin the Maharal’s prepared by the composer in Durham In his teens Casken was torn between vividness of Casken’s music would remembrances in the first part of Golem, University’s electronic music studio. In the music and painting, finally opting for the eventually crystallise in an opera now the Prelude and to the echoes of folk course of the opera it serves a variety of former because a degree in music seems natural and obvious. The way in music that well up through the textures functions, providing extra instrumental seemed likely to be more useful than a which the dramatic thread of a work like of the second, the Legend. and vocal layers (a valuable economy in a

10 11 booklet pdf template.qxd 29/04/2008 13:17 Page 12

chamber work written to a commission seems almost incantatory. This was a a parallel stemming from an entirely the constraints of artistic endeavour, and for a specified number of performers), or method of working that Casken distinct, and much more ancient culture. human expectation and aspiration, and as contributing more generalised sound abandoned for large-scale use early in Casken’s opera taps into that such, carries resonances far beyond its effects. Thus the tape conjures up the his career, when he realised that it interconnected bundle of legends, relatively modest proportions. distant violin fragments which frame the produced music of great textural interest offering an allegory of the ways in which Prelude and punctuate the Maharal’s but made for harmonic stagnation; in the the human race could and should memories, as well as the ‘very quiet, thin context of Golem, however, these behave; but it is also a meditation upon © 2005 Andrew Clements sounds, floating, breathing, ringing’ with passages seem to provide a kind of which the Legend stirs into life; later it archaic reference point, so that alongside suggests the beating wings of the giant the score’s more specific references to bird as the Maharal creates the golem. At past styles there is an element which all times it enhances, rather than touches a less specific chord, and harks replaces, the instrumental ensemble. back to the kind of collective memory that is the starting point for so many The score of Golem mediates between myths. strictly notated writing for the singers and instruments, and sections in which Golem inevitably suggests parallels with their exact coordination is much more other operas and their treatments of loosely defined. These passages of other mythic traditions. Creative artists ‘aleatory counterpoint’, which are part of are naturally fascinated by the Casken’s inheritance from Lutoslawski, boundaries of creativity, and the theme of allow him to loosen productively some of the creation which escapes the artist’s the structural bonds. Through these the control. The treatments of the Faust music is able to breathe harmonically and legend in literature and music from the rhythmically; at such moments the rate of Middle Ages to Thomas Mann provide harmonic change slows and the the most pervasive example, that of

emphasis shifts towards a mode that Wagner’s Ring another. The golem offers Photo: Ivan Kyncl

12 13 booklet pdf template.qxd 29/04/2008 13:17 Page 14

Synopsis

Prelude Scene 4 Ometh appears, wounded and chained: An abandoned place. The Maharal in old age remembers how, as a young together, he and the golem could man, he created a golem. A chorus of ghostly madrigalists provokes the successfully root out evil. This does Maharal as he recalls reasons for the failure of his mission. He relives the not accord with the Maharal’s plans: death of the golem. The voice of Ometh comes as a stark reminder of his role he sees Ometh’s presence as trickery. in the fate of the Maharal’s creation. Scene 5 An encampment. The four townspeople are preparing to strike Legend out against their miserable state. Stoikus, the elder, awaits the help of a Scene 1 particular saviour. The golem intrudes The banks of a river. The Maharal as a young man creates the golem from on the reading of the tarot cards. He is clay against the wishes of the unborn spirits. A great bird casts its shadow interrogated and taunted by the group. over the scene. The disembodied voice of Ometh questions and challenges Stoikus, convinced that ‘he’ will come, the Maharal. The golem appears. becomes uncontrolled and the golem kills him. Scene 2 The golem steps forward into life. He is confused and agitated. He is given a Ometh reappears and is at last name, Olem. He is taught everyday tasks, chopping wood, and is made to obey together with the golem. The Maharal his master. He is observed by three people from the town and sees Miriam for intervenes to destroy the union the first time. between them. Unaware that the golem has killed an innocent man, the Scene 3 Maharal exultantly anticipates his The golem is confronted by Stoikus lamenting the loss of his son. The golem golem’s work. He sees the bloodied comes across Miriam washing sheets and experiences his first feelings of corpse of Stoikus and realises the

desire. The Maharal angrily dismisses the golem to the town. truth. Photo: Ivan Kyncl

14 15 booklet pdf template.qxd 29/04/2008 13:17 Page 16

Maharal Maharal In a bed of human fruit. CD 1 Not of ribs! But he began to want Once there, secret words, The things man wants. Seven times round, Chorus Prelude Ten points, Dumb clay revived, Chorus An abandoned place. The Maharal, an old man, The Tree of Life uprooted. 1 The clock is set, You were deceived, enters slowly, wearily. Lies and libels in his net. It was desire. Chorus Returned to fertile earth. Maharal Regal man, sceptre in hand, Maharal Surveys his kingdom Damned for killing, Receive, remember. Every girl was at his door, Spick and span. Damned to breathe no more. Sleep, a circle, Opening, burning. Crumbled... gone... Locked, Maharal Chorus Pure and fertile. 3 I made a golem, 7 The Maharal re-lives the death of the golem. Burning. A lake. Moulded life, Joy of youth. Voice of Golem Man, son of Adam, the source. Reached out beyond the soul. Where now, Master? Link by link, the chain gives way, ‘Shall make man’, Maharal Memory escapes... To toil for me: 5 From their fingers Maharal Chorus of ghostly madrigalists A golem without need. Liquid myrrh dripped Through the graveyard, Over the bolt. Over the crowded, leaning stones. 2 Formed of ribs, 4 He had youth and strength. Obscured in forests And now, walled up in old age... Hands turning, Hurry! Pressing, yearning, Monsters rose, Chorus Golem Hands opening, Rushed down like floods Forget old age: What must I do? Straining mud, In torrents of mud. There’s joy in youth, Rising, tearing. Maharal And sweetest scent. Maharal Hands turning, yearning. Do not ask. The breeze sings, ‘Shall make man’, I said. Soon you’ll see the place. The tide drifts, Chorus Had to be! Right to do it! Lie on the ground and wait. Dive deep, and swim. The will to live, Here! Chorus The urge to kill; Maharal Unnatural eggs The lust for life, Golem I breathed life into his soul, Hatching, howling on hills. The rage, the strife. Who comes? Gave him youth. Maharal Maharal Maharal Chorus Right to do it! 6 Lust turned in him Shoes off. Lie down. A golem has no soul, But not a monster formed of ribs! The will to live as man, Stretch your legs. And cannot die. The urge to kill as man. Chorus A golem is not man. Golem The only way to stop, No, not of ribs! What will you do? A lure to snare him

16 17 booklet pdf template.qxd 29/04/2008 13:17 Page 18

Maharal Infesting my body with worms, Maharal Maharal Lie down, still, Covering my skin with scabs. No, not alchemy! 12 Give me the splendid silent sun, Legs straight. Voice of Ometh Not that! Not cheating! Give me juicy autumnal fruit, Give me a field of fresh corn, Golem Nearby stood an oven, Chorus Give me a night of perfect quiet, Why do you walk round me like that? Cast-iron door red hot. Tell us some more of your elixir! Give me a garden, They dragged me to it Your stone, your medicine, Maharal Give me for marriage a sweet-breathed woman, Until my feet began to smoke. Sulphur and your mercury. Close your eyes. Give me a perfect child, They pulled me back Maharal Give me away aside from the noise, Golem And thrust me close again. Painted scenes Give me to warble spontaneous songs, Slipping, I’m slipping. Maharal And pageants of the brain! Give me solitude. Maharal When I think that bed will comfort, Mixtures of Merlin, you say? Miriam slowly approaches the Maharal bearing Breathe no more. That sleep will bring relief, No! a rose. He rises to his full height. She Dreams and visions Golem 11 Earth only, and water, stretches up to hand him the rose, sweet scent Toss me about Earth and water! Do not send me away! of youth. He remembers death. Infesting my body with worms. Chorus Maharal Chorus Your oil of height, Mouth now closed. 9 Awake, arise, Your tree of life, Body dries, breaks up. Legend Pull out your eyes Your blood, The final breath. And hear what time of day: Your marcasite, Scene 1 The Maharal comes back to his senses. And when you’ve done Your tutie, 13 By the banks of the river: a large, prominent Pull out your tongue Your magnesia. Memory escapes... rock. A young man, the Maharal, in And see what you can say! Maharal contemplation. From the distance, the sound of Voice of Ometh Maharal My tree of life!? beating wings approaches; a great bird casts 8 Do not forget this naked man, 10 Water, earth, My tree!? My blood!? its shadow over the scene. A rope around my neck Remote matter, And willing knives to stab me. Chorus Maharal Unctuous water, Your toad, your crow, The dark air clings. Maharal Crass and viscous earth. 14 Your dragon and your panther; A shadow, That intrusion nipped the golem’s need Together they make elementary gold. Broths, menstrues, Wings of thunder, For me... for me... But dry and lacking moisture, Hair o’the head, Beating, skimming... When I think that bed will comfort, Turn to stone... Burnt clouts, What is it? That sleep will bring relief, Chorus Chalk merds, What scrapes against the rock? Dreams and visions Alchemy’s a game! Clay. Toss me about The Maharal tries to fend off the shapes and Somewhat like the tricks of cards. Till morning light, sounds which seem to attack him.

18 19 booklet pdf template.qxd 29/04/2008 13:17 Page 20

Celestial Voices Through me he comes to strengthen, To suffer, None, none. to the golem Leave him... leave him... leave him... To help the weak-hearted, To hope, To raise up them that fall. All bound together, 21 I know the pain you feel, Maharal 19 Three in one. But come. 15 Who? Who speaks? Voices As the sun rises, so shall you. Maharal What sounds are these? A goylem! Almost with us, This must be the way! What sounds? You stand at the edge of a great journey: Maharal The magic letters will do their work. Step forward into life. Voices For our salvation Impotent, we rage at injustice, Leave him unborn; I must! But he, he will take the rage, The golem rises and struggles to his feet with Before light, before breath, 17 What clouds his coming? Point it at the evil, great difficulty. Before life, before death, Voice of Ometh Root out the rotten, Leave him unborn. A disembodied, bewildered cry of pain, as Restore us to Eden. Maharal though through the rock. The rock... it’s weeping... Scene 2 Unborn? Red... Voices Is this blood!? Maharal Voices Leave him in darkness, 20 How can this be? 22 First, you must walk. Without hope, without need, Deny him the air, Clay! One foot, now the other. Without grief, without greed, Before hope and regret, I’ve shaped this clay! Eyes see. Leave him. Before rage and despair, Ears hear. Slowly the form of the golem is revealed at Leave him unborn. Mouth for eating. Maharal the base of the rock; the shadow of the bird Leave him asleep in the clay. Tongue for speaking. 16 No! No! recedes. Try: Ah... oo... No! Come he must! Voice of Ometh 18 Grind of bone Silent now. Golem Voices Throb of heart But soon, the life I give Ah... oo... It is not our wish! Stretch of skin, Shall stand, a mighty shield Maharal Maharal What form of man, For those in need. 23 You, a man. Come he will! What size of him? Blind, mute, Me, I am Master. What shall he be? But soon, the life will flow, Voices Shall see, a glowing light Golem Do not call him into the sunlight, Maharal For our dark times. Master. Do not insist he enter the mind’s light. Is this madness? Shall see beyond the sight of man, How can this be? Maharal Maharal And hear beyond the lightest whisper. Your name is Olem. Come he will! Ometh Fire, water, Our shield and joy, Nature warns. Rock, whirlwind, Golem A saint to do God’s work in secret. To punish, None shall conquer him, Olem.

20 21 booklet pdf template.qxd 29/04/2008 13:17 Page 22

The golem is suddenly very agitated. Golem Maharal The golem’s movements seem to be running out of control. Jadek, Stump and Gerty fear that Maharal Master... stay... Swing your body, the golem’s axe will strike them all: they Quiet! Maharal Stretch your back. scatter. Miriam is heard singing in the distance. This turbulence within, You have to learn to be alone. Jadek, Stump, Gerty This force which grasps your throat, Wait here. Stretch... swing your body. Miriam Your arms, your legs, The Maharal goes to fetch the axe. The golem Swing, swing, Shall find a serious purpose in the world. Golem is left, disbelieving, lost. A humming is heard in Make it ring; First, put your strength to chopping wood, Swing... swing the distance. As it gets nearer, Jadek, Stump Swing your body, For fire, for warmth. and Gerty appear carrying axes. Maharal We shall sing. The golem becomes even more agitated. Yes, that’s it. Maharal Jadek, Stump, Gerty Swing your body... sharply, to the golem Where are you off to? Ma... ha... ha... Golem Enough! Golem The golem watches them approaching. The Body... to the others Off... Maharal returns with an axe for the golem. He’s tired... Jadek, Stump, Gerty Quiet... air... air! Seeing the golem, the three hesitate. Tired. Swing... swing... Throat... fire... 28 A long journey. Maharal Maharal A friend from distant parts, Maharal The golem, aware of Miriam’s voice, stands 24 Be still! Obey! A new helper, Swing the axe. spellbound. Miriam appears with a basket of You are my servant, tired. Olem is his name: 27 Swing your body, bread. The Maharal breaks the bread and A long journey, wandering. He’s strong. Swing the axe; hands it round, lastly to the golem But now you live with us, Be thankful. Hear the timber Here’s bread! A friend. 26 Now, to work. As it cracks. Let’s pray: give thanks. Golem The three go off to fetch logs. The Maharal Golem The golem wolfs his bread; Gerty, Stump and Off... tired... hands the axe to the golem who holds it with Swing... swing... Jadek watch, protecting their own morsels. Tired! uncertainty; he begins to swing it wildly. Gerty, Maharal Stump and Jadek return, rolling and carrying Maharal Hear the timber Jadek, Stump logs. No! Stay here! As it cracks. 29 Swing... axe... cracks... The golem makes as if to attack the Maharal. Maharal Golem Gerty to the golem Hear... timber... Mouth Quiet, Olem. No, no. Like this. Swing... swing... Like the jaws of an animal. 25 Now, a simple job Like this... Chopping wood. Jadek, Stump, Gerty Jadek Jadek, Stump, Gerty I’ll fetch the axe. Swing... swing... Head like an ox. Swing... swing... Wait. They leave, taking their axes. 22 23 booklet pdf template.qxd 29/04/2008 13:17 Page 24

Stoikus Maharal Maharal CD 2 aside On your feet! I see the darkness of the dripping brush, Bristles red... A poor and simple people, Walk to the town: Scene 3 Deprivation is their cross, You’ll find your way, Golem Stoikus enters, suddenly. Suspicion is their way. Use the river as your guide. Red... Miriam Golem Stoikus Stoikus looking at the golem Alone? 1 Axe? Axe? Thistles bled, Famished, starved, yet strong. I’ll show him how to use an axe! Maharal His poor head... I’m no tender-hearted barber. Maharal Alone! All night I lie with twisted limbs, remembering. Golem 30 I found this man on the edge of town, Miriam His poor head. Asleep. I invited him. Well, what of it? as though aware of something else But I... He’s lonely and confused. What if I do, what if I do? Another voice. The Maharal stops her abruptly and stares His needs are great, Child, where are you? Rings of iron clanging in my head, with authority at the golem. The golem leaves But not as great as ours. Where are you? Far away... Another pair of hands, slowly. So much for the shelter I gave Two strong legs To raise you free of conscience, Stoikus Miriam Free of pain. Mutilation, And two firm feet, to herself Screams of grief! Will help us with our load The golem enters, following the course of the 31 He is that wanderer. Pah! You’ll never know And daily burden. river. 3 Those legs pushing upwards This keening for the world. Golem Through the mud, You were sublime, to be worshipped. He was stronger than the rest, to himself That dream... Stronger than the eagle. Two strong legs... two firm feet... Golem Maharal Free of pain... Golem Maharal Indeed!? Stoikus turns to the golem. Beating wings, Now drink and wash. He will find his way. Slow, black wings, aside The day draws on. Stoikus Iron rings. All stains he’ll wash away. Come! Without him all hope flies away... Stoikus They leave. Golem Golem You... you... you’re not listening! washing, remembers Miriam’s song Sublime... I’ll break your bones, Swing, ring, You clodomite! Stoikus Swing your body. Dunderhead! Just flies... Miriam Wha’d’you know? Golem Make it ring. We shall sing. 2 Flies away...

24 25 booklet pdf template.qxd 29/04/2008 13:17 Page 26

Stoikus leaves. The golem follows slowly. Miriam Miriam Golem Miriam enters carrying sheets. She stops by 6 Wring them dry, Into my being, Master, it was my dream. the river and begins to wash the sheets. Swing, sing. Diving down, Maharal And I am not alone. Miriam The golem begins to enter a surrealist dream She is forbidden. inspired by Miriam, while she embarks on an 4 White sheets, river deep Golem 10 The time has come for you to rest. erotic fantasy prompted by the golem. All the Pound the linen, 8 And from a tree of holy fruit You will go to the synagogue time they are twisting and folding the sheets. The fish can’t sleep. Hang mirrors. To sleep White sheets, water wide, Golem Ten glass-green stones And wait. Scrub these clothes, Reflecting me in her... 7 Her golden hair, Golem The birds have died. The sun. Miriam Will you come too? Is this the warmth The golem enters My body reaches out. My Master spoke of? Maharal These dripping chains, White sheets, pools of tears, I must leave you. I make his shroud Miriam These coiling threads, Golem But no-one hears. The hunger is his eyes Come, come... Stops me in my stride Do not leave me! Golem Miriam turns and sees the golem watching her. And seeks my tenderness Drawn in by long white arms Maharal 5 Oh, it’s you Olem. Golem We are as one. There are other things to do. My work is washing sheets: White skin, curving stream, The garden spins and opens up... Go! Now! Why not help me? Two eyes aflame, There are coils of sheets everywhere: the The golem leaves. Her touch my dream. They wash the sheets together. golem and Miriam are locked face to face. It Miriam has been growing dark: the Maharal enters Now we have to wring them dry, What do I sense? carrying a torch. Miriam moves away from the Like this: Scene 4 His pulse? golem; the Maharal calms him. Turn and twist, His pain? Ometh enters, as if following the golem. Squeeze it tight, Golem His strangeness? Miriam Till the drops no longer drip. to the Maharal Golem 11 Another stranger here? 9 Sweet meadows through a gate: Golem In my dream She rose up Ometh Till the drops no longer drip. A gate leads into a meadow; And held a mirror to my face. This cruel grip Sweet-scented garden, Miriam With perfumed breath she sucked me in. I cannot escape. Steps down to a river. Yes, that’s it. Wandering, Secret paths, Maharal You’re learning. Shuddering... Her breasts, You cannot know such union! The twisting and wringing of sheets becomes She, Such perfection! Miriam rushes forward to help him. increasingly purposeful. Half-me. Woman does not belong in your world!

26 27 booklet pdf template.qxd 29/04/2008 13:17 Page 28

Maharal Ometh Ometh Maharal Don’t touch him! His voice I heard United, He alone will do the work! Calling for help across the universe, Two in one From God he comes Miriam Resisting your spell, The scales will stand correct. To strengthen, Husband, this man is wounded. Resisting the clay. Maharal To comfort, Maharal Have you forgotten the words: Your time has not yet come. To raise up them that fall. Leave him! ‘Nature warns!’? Ours belongs to Olem, Through me! There’s madness in his eyes. Through me! Maharal Man of clay. Beware: You presume to come with hope, 15 Those ancient Gods, Ometh His suffering is a trap! But doubt is your fanfare: Whose purpose you opposed Is this rock of clay Go home: Your chains tell all. To save mankind A mere machine to grind and crush Leave him to me. With gifts of fire and hope, The bones of men? Ometh They saw your tricks Miriam 13 These chains, my blood, my pain, As I see them now. Maharal We must nurse him. The penalty for your deaf ears. Machine? Ometh Maharal Maharal This is not a trick! Ometh Miriam, please go home! Not deaf! Maharal To crush the bones of men? Miriam leaves. Ometh Brute strength is what we need, In a rage the Maharal raises his arms and with to Ometh You did not heed the warnings; Not cunning! powerful gesture dismisses Ometh. 12 What intrusion is this? Too far the scales are tipped When evil men pounce Ometh And human blood shall be the price And tear the pure white throats of children, Ometh as he leaves For your make-believe, your clay pretence. What good is cunning then? Proud Rabbi, 17 My heavy chains ring on The time has come for me to stand, What good, elusive hope? Blind, Unheard by those who do men wrong. Unbound, Ometh You ways have little changed! My bleeding side pours out The rock of hope set free Good and pure in unison: The tears of human torment. Maharal And all men with it. What songs for mankind we could sing! Light and breath, Why this spectacle of tortured flesh? Maharal Maharal Life and death, Ometh Too late, the golem has been made. First my golem’s tasks: Hope and need, I follow the trail of him, His fists to smash the tyrants Grief and greed. Ometh A brother, the man And their offspring. Must these be yours alone? The golem’s strength must break these chains. With freedom written on his brow. 16 Fists to smash the tyrants. Alone? Alone?... Maharal Maharal Ometh The Maharal leaves. 14 His strength shall not be used for this! What do you know of his work here? Deaf... dumb... Blind... dying...

28 29 booklet pdf template.qxd 29/04/2008 13:17 Page 30

Scene 5 Jadek Stoikus Gerty You stay clear of him, Gerty old petal! Don’t mourn! 23 I screamed, and screamed again. An encampment: Stoikus, Stump and Jadek are 18 Then they stuffed my mouth with dirty rags, kneeling or squatting, polishing and sharpening Stump Jadek Tied me hand and foot their axes. Gerty consults her tarot cards. Petal!? No, strike out! And pulled a hood over my head. Stoikus Gerty Stump They rolled me back and forth, to the weapons 20 Petal, petal... prattle, prattle... Today’s the day... Sat me up, Knocked me down, My shining beauties, Stoikus Jadek Twisted my legs You pure, unstained virgins. Prattle... protect... Strike out, carve the way! Til I squirmed with pain. Beggars, your trusty servants, Prepare... prophet... Gerty Then all went still. And me, your lord and master! Perish... Soon, you’ll lose your shine: Hold! Suddenly, deep, We’ll plunge you Jadek We need new tactics, a plan. Something sharp stabbed into me, Into abysmal crevices. Forever talking, forever plotting... Who will strike first? From above, Who’s the strongest, From below... Jadek Stoikus Who’s the fastest? The card ritual begins. 19 Forever talking, forever weeping... You’ll see! You’ll see! Bristles red, yes, my word! Stoikus 24 Fingers... night... river... Stump No strike for now! Gerty All day, carry this, carry that, 22 We wait. Stump It’s here in the cards: Build this, build that, He comes, Rock... hermit... shroud... thorns... They’ll be back at any time. And then, by moonlight, He will, with arms and prayer, Vicious words, Jadek Hear him come. To lead. Poisoned smiles, Soul... wings... hanged-man... The scraping starts... Prepare your hearts... Eviction – inevitable Gerty Gerty Persecution – never-ending! Stump Ribs... fool... eyes... Forever working, forever moaning... Is ours a vigil then? Stump, Stoikus Stump Stump 21 Eviction, persecution... Stoikus Bread... mouth... rope... Cold, vermin, hard floor... Prepare your hearts. He comes. Gerty Jadek Gerty Stoikus is right. Stoikus goes off into a dream-world of his Worms... dream... chain... Set a beggar on a horse We should organise, own. The golem enters unseen. Gerty prepares And he’ll ride to the Devil! Be prepared. a ritualistic reading of the cards. She recalls Gerty, Stump, Jadek an episode from the past: Stump Think of his poor son. Blood... tree... sun... lasciviously Lips... garden... door... Stump I’d rather ride... Mutilated, bled to death. The golem, unnoticed, joins in.

30 31 booklet pdf template.qxd 29/04/2008 13:17 Page 32

Woman... heart... Stoikus Jadek Stump Axe... stone... Echoes? Echoes of what? Is yours some other weapon? Clone-bone, cloggy-nose... Child... clock... Jadek Golem Gerty Clay... If you’re a stranger here, Do not doubt my strength, You’ll scare him off! They all stop suddenly. Stoikus snaps out of How come you know the town so well? My eyes, my silent speed. his dream-world. Jadek Golem Stump 28 Quiet, you old virus! Stoikus Cellars, I only know the cellars. A wolf at full moon! He’ll soon bend! 25 You! Darkness I know very well. What’re you doing here? Gerty Golem You spying on us? Stoikus That’s it – our goylem! Simple beggars! Lying! They laugh My Master’s wrong. Golem You’re lying! I see your intention, Synagogue, Gerty, Stump, Jadek I hear beneath the surface Golem I’m looking for the synagogue, 27 Join us! Seething, blind desire: 26 No, no! My task is that of helper, To rest. Eye for eye, tooth for tooth. Chopping out the bad wood from the good. Stump Stump Rings of iron clanging in my ears... Practise... train... Gerty How come you’re not staying at your Master’s Stump house? Why not get him to join us? Jadek Go on, be our goylem! Put his strength to real use? Strike without remorse. Stoikus Gerty looks on nervously. Bastard woke me up, broke the dream! Stump Gerty, Stump Get him out of here! Join us!? Practise... train... Stump, Jadek Someone take him to the synagogue! He wouldn’t know a tyrant from a tree-trunk! Strike without remorse. 29 Goylem foil ‘em, goylem nail ‘em! Goylem boil ‘em, goylem flail ‘em! Golem Stoikus Jadek Goylem soil ‘em, goylem tail ‘em! I chop wood for my Master, Afraid of blood? Hit ‘em hard! And after that, away. Afraid of fire? Golem Golem ‘Away, alone’, he says. Strong back, soft heart, No! Leave me... A long road to the town... No good to us! He strikes out with his axe. Gerty, Stump and Stoikus No good, no good! Stump Jadek rush off, chased by the golem. Stoikus You come to creep on us, disrupt... You’ll see, you’ll see! Come on, clay-brain, clobber-head... re-enters. The golem returns, agitated. He leaves. Jadek Gerty Stoikus Clam-face, clumsy clown ... Why to the town, what’s there? Gerty confronting the golem Golem His clumsy axe will kill us all! Gerty One question! Dark cellars... lost echoes... That’s enough... One question!

32 33 booklet pdf template.qxd 29/04/2008 13:17 Page 34

His manner is wild and uncontrolled. He tries No rising, straining, Ometh You will awake and go, to grab the golem’s axe. There is a fierce For me... for me... We are together Defeating evil. struggle and the golem slays Stoikus. 32 So much not done, Victims of the same. You shall not spare those who plot to destroy us. So much denied. Those who desecrate our graves, Golem Golem Master! Abduct our children. 30 Axe splits, Peace, warmth, a quiet strength; Where are you? Let nothing distract you. Blood spills, All these in you. The red blood dries, Fire rages, chokes my heart. 37 See beyond the visible, Ometh Goes hard, like clay. Alone, forsaken. Hear beyond silence. Red clay. A chasm, black, near, In you is hope, Work alone, This crusty skin is like my own. Bigger... bigger... But not the way your Master wills it. Fearless, Stay away! Invincible. Howling man, now still. Golem Rope around my neck, Our Saviour, No sound, no smile. Let me bathe these wounds, Pulling... up... up... God’s will, Stand up! Let me ease your pain. Backward... downward. Through me created: You must walk. Let me touch and soothe your suffering. Ears ring. 38 I am your father! 35 At last I find in you my equal: He listens with his head on Stoikus’ chest. Clanging, deafening noise: I am as you. The Maharal stands proud and triumphant. Speak... Chains, chains... Then he notices the bloodied corpse of Stoikus Ometh Tongue for speaking... Ometh enters. next to the golem’s axe. Recoiling, he slowly No beating heart inside these ribs. I am as you. realises the awful truth. Jadek, Stump and Eyes... closed. 33 A wounded body: Sweet, gentle man. Gerty have reappeared and begin to withdraw, Hear... The ghost of him killed by my axe? These chains, this burden... very slowly, pulling the body of Stoikus. Release me and you release yourself. He tries to breathe life into the body through Ometh the nostrils. You; at last: Golem It is you. I will. End of opera 31 Gone. Golem Suddenly, the Maharal enters. With a Where have you gone? powerful gesture he immobilises the golem, Stiff, My ears did not deceive me. turning him into a rock which collapses, Cold, alone, Ometh destroying Ometh. Like me. Long have I followed you, Am I also cold, My poor dear friend. Maharal Unsmiling, dead? 34 I saw your lonely life here, to the fallen form of the golem Living man laughs and sings, Heard you calling before your birth. 36 It is me you need, me beside you. Is warmed by love: You cannot work unless I guide you. Golem That’s not for me... for me... My word shall be a lantern for your feet, You need help. No hot desires, burning, yearning, And for your path a light.

34 35 booklet pdf template.qxd 29/04/2008 13:17 Page 36

John Casken

Golem, John Casken’s first opera, received Maharal Dreaming, an orchestral fantasy orchestra, was premièred at the Barbican written for the Florestan Trio, and his its world première at the 1989 Almeida based on Golem, was premièred in 1989 by the Apollo Saxophone Quartet and the third work for the Lindsays, the single- Festival, where it as directed by Pierre and conducted by Ronald Zollman; his RNCM Wind Orchestra conducted by movement Choses en moi. His first Audi. In 1990 John Casken was awarded Cello Concerto, written for Heinrich Timothy Reynish in 1997; the related symphony, Broken Consort, was the First Britten Award for Composition for Schiff, was premièred at the 1991 work, Nearly Distant, for saxophone commissioned by the BBC for the 2004 Golem and, in 1991, this recording (issued Schleswig-Holstein Festival; and Darting quartet alone, was premièred by the BBC Proms and given there by the BBC on Virgin Classics) won the Gramophone the Skiff, for the strings of the Northern Apollos in 2000. To the Lovers’ Well, Philharmonic under Gianandrea Noseda. Award in the Contemporary category. Sinfonia, was first performed at the 1993 written for the Orlando Consort, received Casken’s most recent work is a Since the première, Golem has received Cheltenham Festival with the composer its first performance at the 2001 BBC commission for the Hallé (under Mark five further productions, by Opera Omaha, conducting, and subsequently toured in Proms. Major festivals have featured Elder) and the Lindsay Quartet, Northern Stage, Theater Dortmund, Aspen Germany, Austria and Spain. All three John Casken and his works: Bath premiered in Manchester in May 2005; Festival, and the Neue Operbühne Berlin. works have been reissued in NMC’s Festival; Musica Nova, Glasgow; he is also writing a work for the Northern Ancora series (NMC D086). In 1999, the Huddersfield Contemporary Music Sinfonia for 2006. A number of John Casken’s works reflect Northern Sinfonia gave the première of Festival, in 1986 and 1991; the BBC aspects of the landscape and literature the orchestral version of Après un silence Proms, in 1986, 1992 and 1995; Music of the North of England: Orion Over for violin and chamber orchestra, with Today, Tokyo; and the Aspen Festival. Farne (1984, for orchestra), To Fields We Kyra Humphreys as soloist. Do Not Know (1985, a Northumbrian Casken’s second opera, God’s Liar, was Elegy for unaccompanied chorus, written Casken’s Violin Concerto was premièred co-commissioned by The Almeida for the BBC Singers), and the orchestral at the 1995 Proms with Dmitri Festival and Theatre Royale de la song-cycle Still Mine, written for Thomas Sitkovetsky and the BBC Philharmonic Monnaie, and was presented by the Allen for the 1992 BBC Proms, and conducted by Yan Pascal Tortelier. Almeida at King’s Cross, London in July winner of the 1993 Prince Pierre de Sortilège was commissioned by and 2001, and in Brussels by La Monnaie in Monaco Prize for Musical Composition. premièred by the Philharmonia Orchestra, October 2001. It was subsequently conducted by Leonard Slatkin in 1996, broadcast on Radio 3, and received a His friendship with the Northern Sinfonia and Distant Variations, a concerto grosso new production in Vienna. John Casken’s has resulted in a number of works: for saxophone quartet and wind recent works include his Piano Trio,

36 37 booklet pdf template.qxd 29/04/2008 13:17 Page 38

NMC FRIENDS

Golem was recorded at Golders Green Hippodrome, London in July 1989 for BBC Radio 3 and first broadcast on 18th July 1989. As a first step towards placing This disc has been released with the generous support of NMC Friends: PHILIP TAGNEY Producer for BBC Radio 3 GEOFFREY KLINTON PARKER Recording engineer for BBC Radio 3 Remixed and edited at Raezor Studios, London, 1990. NMC Recordings on a FOUNDER MEMBERS JOHN CASKEN, RICHARD BERNAS, COLIN MATTHEWS Producers sustainable long-term financial W M Colleran • Richard Fries • Penny & Clive Gillinson • Elaine Gould • TOBY ALINGTON Recording engineer footing, we have launched Jeremy Marchant • Belinda Matthews • Colin Matthews • Neale Osborne • Released by arrangement with BBC Music Michael Squires • Graham Williams • Vukutu Ltd The electronic tape part was made by the composer with the generous NMC Friends. We very much assistance of Dr. Peter Manning, Ron Berry, Jean Provine and students BENEFACTORS from the Department of Music at the University of Durham. hope that you will want to join DAVID LEFEBER Mastering for Metier Sound & Vision • • • • us, and take this opportunity Dean Rowland Tim Frost Andrew Lockyer Jackie Newbould Stephen COLIN MATTHEWS Executive Producer Newbould • Dominic Nudd • Jane Manning & Anthony Payne • James Rodley FRANCOIS HALL CD booklet and cover design to support our continuing and Cover image Photo by Ivan Kyncl, from the original Almeida production FRIENDS of Golem designed by Kyobi Takubo. central role in the future of Golem is published by Schott & Co. Ltd. David Aldous • Raymond Ayriss • Peter Baldwin • Stephen Barber • Sebastian Bell • NMC Recordings is a charitable company established for the recording British contemporary music. • • • • • Sir Alan Bowness Martyn Brabbins Joan Brooks Gavin Bullock David Cairns of contemporary music by the Holst Foundation; it is grateful for Rebecca Dawson • David Mark Evans • Anthony Gilbert • Jenny Goodwin • funding from the Britten-Pears Foundation and Arts Council England. Ian Gordon • Cathy Graham • David Gutman • Matthew Harris • Dr Anthony COLIN MATTHEWS Executive Producer By becoming a Friend of NMC, HANNAH VLC˘EK Label Manager Henfrey • Dr Trevor Jarvis • Dr Stephen McHanwell • Gerry Mattock • David H J HANNAH TEALE Sales & Marketing Manager your donation will help us to Morgan • Dr Kieron O’Hara • Stephen Plaistow • Keith Purser • Clark Rundell • ANNE RUSHTON Business & Development Bernard Samuels • Howard Skempton • Ian Smith • Roger Stevens • Owen Toller • DISTRIBUTION record new and recent works NMC recordings are distributed in Australia, Austria, Belgium, Canada, Janet Waterhouse • James Weeks • Richard J Wildash • David Wordsworth Denmark, France, Germany, Greece, Hong Kong, Italy, Luxembourg, the by primarily British composers, Netherlands, New Zealand, Spain, Sweden, the United Kingdom and the DONATIONS United States, and are also available through our website giving you the opportunity to www.nmcrec.co.uk W T L Farwell • K J Salway • Anonymous donations FOR FURTHER DETAILS PLEASE CONTACT: play a vital role in contributing NMC Recordings Ltd. at 18-20 Southwark Street, London SE1 1TJ, UK. to the development and If you would like to help NMC to release more of the best of British contemporary Tel: +44 (0)20 7403 9445 Fax: +44 (0)20 7403 9446 realisation of our future music, please contact us for details at: E-mail: [email protected] Website: www.nmcrec.co.uk All rights of the manufacturer and owner of the recorded material NMC Friends, NMC Recordings Ltd reserved. Unauthorised public performance, broadcasting and copying activities. For more details, of this recording prohibited. 18-20 Southwark Street, London SE1 1TJ • Tel 020 7403 9445 Catalogue number: NMC D113 please contact us at the E-mail [email protected] • Web www.nmcrec.co.uk ® 1991 BBC © 2005 NMC Recordings Ltd address opposite. Reg. Charity No. 328052

39 booklet pdf template.qxd 29/04/2008 13:17 Page 40