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ANAÏS NIN (2009-10) [38.48] DE STAAT (1972-76) [36.16] 1. Artaud [5.06] 10. Beginning [3.26] 2. Allendy [5.34] 11. Choir 1 [17.49] 3. I await my father [4.52] 12. Choir 2 [11.15] 4. Father story [4.40] 13. Choir 3 [3.46] 5. The seduction [7.01] SINFONIETTA 6. Strange days [3.45] SYNERGY VOCALS SOUND INTERMEDIA sound projection 7. The seventh day [1.54] DAVID ATHERTON conductor 8. Henry was tired [4.05] TOTAL TIMINGS: [75.02] 9. Basque song [1.51] CRISTINA ZAVALLONI soprano www.signumrecords.com UK premiere of London Sinfonietta co-commission with Accademia Musicale Chigiana, supported by the London Sinfonietta Pioneers

Generously supported by Music Center The , The Royal Netherlands Embassy and Société Gavigniès

Anaïs Nin ©Copyright 2010 by Boosey & Hawkes Music Publishers Ltd De Staat ©Copyright 1994 by Boosey & Hawkes Music Publishers Ltd Recorded live in concert at Southbank Centre’s Queen Elizabeth Hall, 14 April 2011. Engineered & Produced by Ian Dearden of Sound Intermedia.

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Anaïs Nin (2009-10)

“I await my father with deep joy and impatience. American diary author became famous, mainly because of her sexual frankness. After some research it emerged that she was the composer’s daughter. Much later still I Tomorrow, tomorrow, begins another romance!” realised that she had had a love affair with her father. Anaïs Nin After many years’ intensive collaboration with the Italian artist Cristina Zavalloni I Anaïs Nin is a monodrama, a musical stage play for one voice (Cristina Zavalloni), an realised that the role of Anaïs Nin would suit her very well. Meanwhile the volume of ensemble of eight on-stage musicians, without conductor, and projected film fragments. Anaïs’ diaries about her relationship with her father had been published unabridged in English under the title Incest. The voice, Anaïs Nin, sings of her love affair with her father, Joaquín Nin, whom she encounters again after 20 years’ absence, and of her lovers René Allendy, Antonin A few years ago two of my best friends, Gerard Bouwhuis and Heleen Hulst, Artaud and Henry Miller. They are given expressive voice, both in the film clips and founded a new ensemble, Nieuw Amsterdams Peil (‘New Amsterdam Water Level’) on tape, by the singer Hans Buhrs. with outstanding soloists who had decided to perform 20th and 21st century music for small ensembles (up to 12 players) without a conductor. All this prepared the As the piece begins we see Anaïs Nin and Antonin Artaud taking a romantic walk. ground for me to compose Anaïs Nin. Reading the diaries from the years 1932 to On the stage she sings of her ‘night of ecstasy’ with him. Anaïs Nin sings of her affair 1934 I learned that this father was only one lover amongst several. This led to my with her psychiatrist René Allendy, and of Artaud’s criticism of her behaviour. decision to give three of them a stage role: the French film actor, poet and playwright Artaud: “What have you done to Allendy? You have harmed him.” Antonin Artaud; Henry Miller, the American alcoholic whom Anaïs Nin turned into a Anaïs Nin then sings of her renewed encounter with her father (film clips). She is writer; and René Allendy. Under psycho-medical treatment himself, Artaud soon interrupted by a furious Henry Miller, but continues the story of her relationship with discovered Anaïs’ erotic hunger and advised her to consult his psychiatrist. Not long Joaquín. After a dramatic climax, she fantasises in a letter to her father about a afterwards Allendy was added to Nin’s tally of lovers. moment of great peace in which he is sitting on his bed. Later, in the room where My choice of instruments was influenced by the era when the selected diary extracts were Henry Miller is sleeping, Anaïs sings of her loneliness and her never-ending hunger. written, namely the early 1930s. This explains the use of saxophones, clarinets (Sidney As the piece ends, a 1930s’ gramophone recording of Joaquín Nin’s arrangement of Bechet, Coleman Hawkins) and percussion (drumset including a hi-hat and guiro). a Basque Christmas carol is heard from the stage. The music closely tracks the irony, despair and passion of this brilliant, many-sided I knew about the father before I heard about the daughter because my father’s sheet woman. music collection contained piano pieces and a volume of Spanish songs by the then © famous pianist and composer Joaquín Nin. A few years later, during the sixties, an Translated by Richard Wigmore

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De Staat (1972-76) country would the government take the time and trouble to spend thirty hours discussing my plays with me?” I wrote De Staat (The Republic) as a contribution to the discussion about the place of music in politics. To keep the issues straight it is necessary to differentiate De Staat has nothing to do with Greek music, except perhaps for the use of oboes between three aspects of the social phenomenon called music: 1. Its conception and harps and for the fact that the entire work is based on tetrachords, groups of (devising and planning by the composer), 2. Its production (performance) and 3. Its four notes, which also explains the scoring for the groups of four. consumption. Production and consumption are by definition if not political then at Just before the final choral section the orchestra splits into two identical halves, as least social. The situation is more intricate when it comes to the actual composing. announced earlier in the work. They play two melodies which sound like one because Many composers feel that the act of composing is “suprasocial”. I don’t agree. How their rhythms are complementary (the performers play one after the other). you arrange your musical material, what you do with it, the techniques you use, the Polyrhythm is introduced for the first time in the coda following the choral finale, with instruments you score for, all of this is determined to a large extent by your own the two orchestras each playing their own separate score. But this time they have social circumstances, your education, environment and listening experience, and the the same melody, a canon. Finally, in the last bars, they attain the homophony availability – or non-availability – of symphony orchestras and government grants. introduced shortly after the opening choral section. I regard this as the major subject The only point on which I agree with the liberal idealists is that abstract musical of the work. material – pitch, duration and rhythm – is suprasocial: it is part of nature. There is no such thing as a fascist dominant seventh. The moment the musical material is © Louis Andriessen ordered, however, it becomes culture and, as such, a given social fact. I decided to draw upon Plato to illustrate what I mean. Everyone sees the absurdity of Plato’s statement that the Mixolydian mode should be banned because of its damaging effect on the development of character. It is equally clear that he was confusing the issue in wanting to ban dulcimers and the craftsmen who made them from his ideal state. What he wished to ban was the social effect of the music played on them, something similar perhaps to the “demoralising nature” of the Rolling Stones’ concerts. My second reason for writing De Staat is in direct contradiction to the first. Perhaps I regret the fact that Plato was wrong: if only it were true that musical innovation represented a danger to the State! When Bertolt Brecht returned to Europe after the war he chose to settle in East Germany. The first play he wrote there was censored by the party. But Brecht said to the assembled Western journalists, “In what Western

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ANAÏS NIN Anaïs Nin Song Libretto p. 118 Artaud – the face of my hallucinations. The hallucinated eyes. The sharpness, the pain-carved features. The man-dreamer, innocent and diabolical, frail, nervous. Antonin Artaud p. 119 “Je suis le plus malade de tous les surrealistes.” p.393 Plusieurs choses nous rapprochent terriblement, mais une surtout: notre silence. Vous avez le même silence que moi. Et vous êtes la seule personne devant (“I am the sickest of all the surrealists”) qui mon propre silence ne m’ait pas gêné. Vous avez un silence véhément où l’on p. 192 I was haunted by Artaud. dirait que l’on sent passer des essences, je le sens étrangement vivant, comme une trappe ouverte sur un gouffre, où l’on sentirait le murmure silencieux et secret de la p.193 I met Artaud at the Viking. I was trembling. And then began a night of ecstasy. terre. Il n’y a pas de poésie inutile et fabriquée dans tout ce que je vous raconte, We left the café, we walked in a dream, in a frenzy, Artaud torturing himself with mad d’ailleurs vous le sentez bien. talk about eternity, God. We kissed violently; an ecstasy. He said: “Mon amour, mon grand amour! Entre nous il pourrait y avoir un meurtre.” (Many things bring us appallingly close together, but one thing above all: our silence. You have the same silence as I do. And you are the only person in whose (“My love, my great love! Between us there could be a murder.”) presence my own silence hasn’t disturbed me. You have a vehement silence, in p. 146 Métro Cadet. I’m late and Allendy thought I was not coming. Experience, which one seems to sense essences flowing. I sense it is strangely alive, like a curiosity, comedy. trapdoor opened on an abyss where one senses the silent murmur and the secret Allons donc! of the earth. There is no futile, manufactured poetry in anything I tell you, as you well know.) (Come on!)

p. 394 … je veux vous amener à faire vivre devant moi des images, des images où je Allendy doesn’t kiss me. He sits on the edge of the bed. “Now you will pay for sente notre propre vie. J’ai depuis hier le goût d’une bouche de femme qui me everything, for enslaving me and then abandoning me. Petite garce!” poursuit, mais comme une idée, comme une essence. Ce goût n’est plus une chose (You little bitch!) du corps, il me montre à nu le sens même d’une âme. And he takes out of his pocket a whip! (…I want you to bring alive for me images, images in which I sense our own life. Now, I had not counted on the whip. I didn’t know how to regard it. Since yesterday I have experienced a taste for the mouth of a woman who is pursuing me, but as an idea, an essence. This taste is no longer an affair of the p. 147 But I was enjoying Allendy’s fierceness – the fanatic eyes, his anger, the will body; it shows me, nakedly, the very meaning of a soul.) in him.

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p.149 What I hated today, with Allendy, seeing (…). Today I saw (…). I have walked Anaïs Nin through the universe of death. I was fucked by death! p. 204 First day of Father story. King Father arrives after conquering a paralyzing p.196 Artaud asked me, “What have you done to Allendy? You have done him harm.” lumbago. Pale. Suffering. Impatient to come. He appears cold and formal. He conceals “Why do you give that terrible impression – of evil – of cruelty – of seductiveness, his feelings. His face is a mask. trickery, superficiality? Is it an appearance?” p. 206 He talked about his love affairs as I do, mixing pleasure with creativity, interested p. 201 Strange days. Weather bad, so I created my own weather. in the creation of a human being through love.

p. 203 I await my father with deep joy and impatience. p. 207 Meals were brought to the room. I wore my satin negligee. The hours passed swiftly.

p.155 My Double! My evil Double! p. 208 Then he said, “You are the synthesis of all the women I have loved. I don’t feel toward you as if you were my daughter.” p. 179 When I talk, I feel that I lie imperceptibly in order to cover myself. I put on I said, “I don’t feel as if you were my Father.” costumes. Lies seem like a costume. He said, “What a tragedy. I have met the woman in my life, the ideal, and it is my The truth is I only face human beings in fragments. Henry, who has the largest daughter! I’m in love with my own daughter!” portion, Hugh, Allendy, Joaquín, Father. I always find the mensonge vital (vital lies) I said, “Everything you feel, I feel.” necessary – the one lie which separates me from each person. Will Father alone There was a long silence. have the whole, as the journal has? Father asked me to move nearer. He was lying on his back and could not move.

p. 203 I await my father with deep joy and impatience. p. 209 We kissed, and that kiss unleashed a wave of desire. And when his hand Tomorrow, tomorrow begins another romance! caressed me – oh, the knowingness of those caresses – I melted. With a strange violence, I lifted my negligee and I laid over him. Henry Miller “Toi, Anaïs! Je n’ai plus de Dieu!”

p. 201 Am waiting anxiously for a letter. What shall I do? I’m wretched. I hate telling (“You, Anaïs! I no longer have a God!”) you that I am miserable, but it’s the truth. Maybe all I want is to hear from you. It My yielding was immense, with my whole being. seems so long ago since I left Louveciennes. Write me at once. Everything looks rotten to me. I hate Paris. Hate the whole world. Jesus. I don’t know what’s come p. 245 Letter to Father: over me. I love you – terribly. I wouldn’t be able to do a damned thing without you. p. 246 … from the way I look at you, you will know that I love you, that I am moved by I’ve just realized that you’re the whole world to me. And when I talked so glibly about your voice, and your eyes, your bright smile. my self-sufficiency I was just a braggart and a liar. I’m completely disoriented.

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I love our serene hours and the way you make me laugh. How you can laugh! That DE STAAT will be our Sabbath – not a Sunday, but a seventh day of our own invention. A Translation of the Greek Text of Plato’s The Republic

At the dawn of the seventh day you will say, “It is good.” III 397 b 7 – c 2 I am going to sit on your bed, and we will spread out in front of us all that we have, ‘If it be given a musical mode and rhythm in accord with the diction, it may be all we possess. Those will be the days of our joy. And then, because of that performed correctly in almost the same mode throughout; that is, since character is wonderful seventh day, in six days you will create music so miraculously beautiful that so uniform, in one musical mode, and also in a similarly unchanging rhythm?’ I shall reward you with another seventh day… ‘Yes,’ he said, ‘that is certainly the case.’ p. 273 Henry was tired from a late night. We lay in bed, softly kissing. When Henry III 398 d 1 – 399 a 3 was asleep I felt a dark, dark loneliness. The noise of the door, as I went away, ‘A song is composed of three elements – words, musical mode, and rhythm.’ awakened him. “Are you all right, Anaïs?” ‘Yes,’ he said, ‘that is so.’ I knelt to kiss him. Then my despair stifled me and I bowed my head: “I’m lonely, Henry.” ‘Well, as for the words, will they in any way differ from words that are not to go with I’m lonely, I’m hungry – I’m so lonely nobody can ever heal me! But Henry thought I music so far as concerns their conformity to those canons of subject and manner was lonely for a few moments only, because he had gone to sleep. which we announced a little while ago?’ In the street I wept. I weep now while I write. ‘No, they will not.’ ‘And should not the musical mode and the rhythm accord with the words?’ Text Sources: ‘Of course.’ Anaïs Nin: Incest. From A Journal of Love. ‘But we said that in our poems we want no weepings and lamentations.’ Harcourt Brace Jovanovich, Publishers New York, , London ‘No, certainly not.’ © 1992 by Rupert Pole ‘What are the wailful modes? Tell me. You are musical.’ Reproduced by permission ‘Mixed Lydian and Hyperlydian, and some other similar ones.’ Antonin Artaud, Oeuvres, p 393-394, ‘Then these we must dismiss, must we not?’ I said, ‘For even in the training of Lettres à Juliette Beckers et Anaïs Nin. virtuous women they are useless, much more so in the training of men.’ Édition établie, présentée et annotée par Évelyne Grossman, Éditions Gallimard, 2004 ‘Certainly.’ ‘Then are not drunkenness, effeminacy, and idleness most unseemly in guardians?’ Translated by Richard Wigmore ‘Surely.’ Reprinted by kind permission of Boosey & Hawkes ‘Which are the soft and convivial modes?’ ‘There are Ionian and Lydian modes which are called slack.’ ‘Then, my friend, shall we use those for men who are warriors?’ ‘By no means,’ he said, ‘You seem to have Dorian and Phrygian left.’ 10 11

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III 399 c 7 – e 7 Louis Andriessen (b. 1939) ‘Then,’ I said, ‘we shall not require for our songs and melodies a variety of strings or Composer sudden changes of modulation?’ ‘I think not,’ he said. Andriessen was born in Utrecht in 1939 ‘Then we shall not maintain the makers of harps and dulcimers, and of all instruments into a musical family: his father Hendrik, which are many-stringed and many-keyed?’ and his brother Jurriaan were ‘I think not,’ he said. established composers in their own ‘Then will you allow flute makers and flute players into the city? Has not the flute right. Andriessen studied with his father more notes than any other instrument, and are not those many-keyed instruments and Kees van Baaren at the Hague really imitations of the flute?’ Conservatory, and between 1962 and ‘Obviously,’ he said. 1964 undertook further studies in ‘You have left,’ he said, ‘the lyre and the zither, which will be useful in town, and in and Berlin with Luciano Berio. Since the fields the herdsmen may have a pipe.’ 1974 he has combined teaching with his ‘So the argument tells us,’ he said. work as a composer and pianist. He is ‘We are making no innovation,’ I said, ‘when we prefer Apollo and Apollo’s now widely regarded as the leading instruments to Marsyas and his instruments.’ composer working in the Netherlands ‘No, by Zeus,’ he said, ‘I think we are not.’ today, and is a central figure in the Francesca Patella

‘Now, by the dog,’ I said, ‘here have we been purging the city which we said before international new music scene. C was too luxurious, and we never noticed it.’ From a background of jazz and avant-garde composition, Andriessen has evolved a ‘Well, it was very wise of us,’ he said. style employing elemental harmonic, melodic and rhythmic materials, heard in totally IV 424 c 3 – 6 distinctive instrumentation. His acknowledged admiration for Stravinsky is illustrated ‘He must beware of changing to a new kind of music, for the change always involves by a parallel vigour, clarity of expression, and acute ear for colour. The range of far-reaching danger. Any alteration in the modes of music is always followed by Andriessen’s inspiration is wide, from the music of Charles Ives in Anachronie I, the alteration in the most fundamental laws of the state.’ art of Mondriaan in De Stijl, and medieval poetic visions in Hadewijch, to writings on shipbuilding and atomic theory in De Materie Part I. He has tackled complex creative Translated by A. D. Lindsay issues, exploring the relation between music and politics in De Staat, the nature of Everyman’s library time and velocity in De Tijd and De Snelheid, and questions of mortality in Trilogy of David Campbell Publishers Ltd, London the Last Day.

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Andriessen’s compositions have attracted many leading exponents of contemporary Cristina Zavalloni music, including the two Dutch groups named after his works De Volharding and Soprano Hoketus. Other eminent Dutch performers of his work include Asko|Schönberg, Nieuw Amsterdams Peil, the Schoenberg Quartet, pianists Gerard Bouwhuis and Born in Bologna, , Cristina Cees van Zeeland, and conductors Reinbert de Leeuw and Lucas Vis. Groups Zavalloni’s musical background is outside the Netherlands who have commissioned or performed his works include the steeped in jazz, bel canto, and London Sinfonietta, Symphony, BBC Symphony Orchestra, Kronos composition. She attended the Quartet, , MusikFabrik, Icebreaker, the Bang on a Can All Stars, Conservatorio di Musica “Giovan the EAR Unit, and the Los Angeles Philharmonic. Battista Martini” and also studied classical and modern dance for Collaborative works with other artists include a series of dance projects, the full several years. length theatre piece De Materie created with Robert Wilson for the Netherlands , and three works created with Peter Greenaway: the film M is for Man, Music, Ms. Zavalloni has appeared at the Mozart, and the stage works ROSA The Death of a Composer and Writing to Montreux Jazz Festival, North Sea Vermeer, premiered at the Netherlands Opera in 1994 and 1999 respectively. Jazz Festival, Free Music Jazz Festival Recent film collaborations include The New Math(s) created with Hal Hartley in (Antwerp), Umbria Jazz, and the 2000, broadcast on TV and performed internationally. Nonesuch Records has London Jazz Festival. She has also released a series of recordings of Andriessen’s major works, including the complete performed at Carnegie Hall, Lincoln De Materie, ROSA The Death of a Composer and . Center, the Concertgebouw, the Teatro alla Scala, the Palau de la Recent commissions include La Commedia, an operatic setting of Dante for Música Catalana (Barcelona), the Netherlands Opera premiered at the Holland Festival in June 2008 in a production Maki Galimberti

Barbican Centre, the Auditorium C by Hal Hartley, and The Hague Hacking premiered by the Labèque Sisters and the Parco della Musica (Rome), Walt Disney Concert Hall, and La Biennale di Venezia. Los Angeles Philharmonic conducted by Esa-Pekka Salonen in January 2009. She has sung under the batons of Martyn Brabbins, Stefan Asbury, Reinbert de Louis Andriessen won the 2011 Grawemeyer Award for Music Composition for his Leeuw, Oliver Knussen, David Robertson and Georges-Elie Octors, and opera La Commedia. performed as a soloist with the London Sinfonietta, BBC Symphony Orchestra, Louis Andriessen is published by Boosey & Hawkes. l’Orchestra Sinfonica Nazionale della RAI (Torino), Schoenberg Ensemble, and Biography reprinted by kind permission of Boosey & Hawkes. Los Angeles Philharmonic.

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Her repertoire today ranges from Monteverdi to Mozart, and from 20th century music David Atherton (Cage, Berio, Ravel, Poulenc, Stravinsky, Milhaud, Satie, De Falla, Montsalvatge) to Conductor contemporaries including James MacMillan, Michael Nyman, Cornelis De Bondt, Paolo Castaldi, Gavin Bryars, Carlo Boccadoro, Fabrizio Cassol, Luca Mosca, and David Atherton studied music at Cambridge Emmanuelle Casals. University where his operatic conducting aroused much interest from the national In 1993, Ms. Zavalloni began a collaboration with Louis Andriessen, who wrote press. In 1967 Sir invited him to several works for her: Passeggiata in tram in America e return; La Passione; Inanna; join the music staff of the Royal Opera Letter from Cathy; and Racconto dall’ inferno, the recording of which resulted in her House, London, and the following year, at the being awarded a Diapason d’Or in 2008. Andriessen also composed the role of age of 24, he became the youngest Dante in La Commedia and the title role of Anaïs Nin for Cristina Zavalloni. conductor ever to appear there. In his 12 As a composer and a jazz bandleader, Ms. Zavalloni has conceived several years as Resident Conductor he gave nearly programs. She is currently signed with Italian label EGEA, for which she recorded 200 performances with Covent Garden, IDEA (2006) and Solidago (2009), which includes her own compositions and a including a highly successful visit to La selection of Charles Aznavour covers. Her new jazz album is expected to be Scala, Milan. As a guest conductor he has Mainly Mozart Festival

published at the beginning of 2012. returned there frequently, his most recent C engagements having been new productions of by Ravel, Stravinsky and www.cristinazavalloni.it Meyerbeer. Other operas he has conducted include Tosca, Wozzeck and Salome for Canadian Opera, The Makropulos Case (in New York) and A Midsummer Night’s Dream for Glyndebourne Festival Opera, and many new productions for including Turandot, The Love for Three Oranges, Der Rosenkavalier, Salome, and , a work he has championed with the San Francisco and Metropolitan Operas. He returns to the Met on a regular basis having also conducted The Barber of Seville, Peter Grimes and new productions of A Midsummer Night’s Dream and Death in Venice. David Atherton was co-founder of the London Sinfonietta in 1967 and, as its Music Director, gave the first performance of many important contemporary works. The London Sinfonietta, widely regarded as one of the world’s leading orchestras, has made countless recordings with him, including highly praised collections of works by

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Schoenberg, Janácˇek and Weill. His work in the recording studio has gained an Synergy Vocals , many Grammy Award nominations and the sought-after Grand Prix Micaela Haslam, director du Disque. He has also been honoured with the Serge Koussevitsky Critics’ Award and the Prix Caecilia. Of his recording of Tippett’s opera , for which he (l – r) was given the coveted International Record Critics’ Award, generally regarded as the Micaela Haslam world’s top recording prize, the composer wrote in his autobiography: “Some artists Rowan Fenner will show insight into my vision: an example would be David Atherton’s conducting... Amanda Morrison But then, Atherton is a conductor of genius.” Rachel Weston He became the youngest conductor in the history of the BBC Proms and Synergy Vocals is a unique subsequently appeared in 30 contiguous seasons. He travels widely, in particular to pool of voices covering a the USA where he has visited leading North American orchestras, notably those in broad spectrum of musical Atlanta, Dallas, Detroit, Los Angeles, Minnesota, Montreal, New York, Pittsburgh, genres and working and San Francisco. Other engagements have taken him to Australia, New Zealand primarily on microphone. and Japan, as well as to the Czech Republic (to open the Prague Spring Festival), Highly respected for its Sweden, Finland, Holland, Belgium, France, Spain, Portugal, Greece, Italy and seamless vocal blend, Germany (to open the Berlin Festival with the Orchestra). rhythmic precision and From 1980 to 1987 he was Music Director of the San Diego Symphony Orchestra dynamic performances, the team collaborates regularly with Steve Reich & and he returns to California each summer to direct the Mainly Mozart Festival, which Musicians, Ensemble Modern, Ictus, Asko|Schönberg and the London Sinfonietta. he founded in 1989. He has also held titled positions with the BBC Symphony, Synergy has performed all over the world with many other outstanding orchestras Royal Liverpool Philharmonic and BBC National Orchestra of Wales, as well as and ensembles, including the BBC Symphony, Boston Symphony, Brooklyn devising and conducting festivals in London featuring the complete works of Ravel, Philharmonic and Chicago Symphony Orchestras, The Colin Currie Group, Stravinsky, Webern and Varèse with the London Sinfonietta, London Symphony Ensemble InterContemporain, the London Symphony and LA Philharmonic Orchestra, BBC Symphony Orchestra and the . Orchestras, Nexus, the New York Philharmonic Orchestra, Percussion Claviers de From 1989 David Atherton was the Music Director of the Philharmonic Lyon, St Louis Symphony Orchestra, Tempo Reale Ensemble and the Smith Quartet; Orchestra. On his retirement from this position in 2000 and in recognition of his and in collaboration with the Royal Ballet (UK), Mark Baldwin (UK), Rosas services to the music of Hong Kong, he was awarded the OBE and made the (Belgium) and the Opéra de Paris dance companies. orchestra’s Conductor Laureate.

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Synergy Vocals is well-known for its close association with Steve Reich, but the London Sinfonietta group is also a favourite of Steven Mackey, Louis Andriessen and the Bang on a Can composers of New York. A great exponent of the works of the late Luciano Berio, The London Sinfonietta is one of the world’s leading contemporary music ensembles, Synergy was invited to the 40th anniversary celebration of Berio’s Sinfonia in New with a reputation built on the virtuosity of its performances and its ambitious York, where the group performed it at the Lincoln Center with the New York programming. It is committed to placing new music at the heart of contemporary Philharmonic, for whom the piece was written. They sang the UK premiere of Nono’s culture and pushing boundaries, and regularly undertakes projects with monumental Prometeo at London’s Southbank Centre, and the world premiere of choreographers, video artists, film-makers, electronica artists, jazz and folk musicians. Andriessen’s video opera La Commedia, recently relaunched in concert version for The ensemble is Resident Orchestra at Southbank Centre with regular performances the first US performances in Walt Disney Hall (LA) and Carnegie Hall (New York). from composer-conductors such as Oliver Knussen, Thomas Adès and George Synergy Vocals has undertaken educational and outreach projects for The Royal Benjamin, as well as some of the finest interpreters of 20th and 21st century Conservatoire in The Hague, Princeton University, Eastman College, Oberlin College repertoire including Diego Masson, Peter Eötvös and Martyn Brabbins. It continues and the Chicago Symphony Orchestra, both coaching vocal ensembles and working to take the best contemporary music to venues and festivals throughout the UK and with composers in the creation of new works involving singers. Micaela Haslam also worldwide with a busy touring schedule. coaches instrumental ensembles for Steve Reich in the preparation of his Music for The creation of new music has been at the core of the London Sinfonietta’s work 18 Musicians. since its foundation in 1968. The ensemble has commissioned over 250 works and The group’s recordings include Steven Mackey’s Dreamhouse with BMOP/Gil premiered many hundreds more, ranging from Luciano Berio and Harrison Birtwistle Rose; Steve Reich’s Music for 18 Musicians with Ensemble Modern; Tehillim with to Steve Reich. Its innovative Blue Touch Paper scheme, which has supported new LA Philharmonic/Stefan Asbury, Three Tales with Steve Reich & Musicians/Brad works from Naomi Pinnock, Dai Fujikura and Anna Meredith, gives composers and Lubman; Louis Andriessen’s De Staat with LA Philharmonic/Stefan Asbury; and Karl collaborators the opportunity to take risks and develop ideas with some of the Jenkins’ Imagined Oceans. Synergy is also featured on several television world’s finest musicians. Writing the Future, a new scheme, supports six composers advertisements and film soundtracks including Narnia: The Voyage of the Dawn in the development of work at a one-to-one level with the London Sinfonietta players. Treader, Harry Potter and the Goblet of Fire, Nanny McPhee, V for Vendetta and The Extending its support of emerging talent, the London Sinfonietta launched the annual Secret of Moonacre. London Sinfonietta Academy in 2009, giving young instrumentalists from across the UK the unparalleled opportunity to train and perform with some of the finest www.synergyvocals.com contemporary musicians in the world. The ensemble also continues to develop The Collective, a growing community of people across London and the UK who participate in high quality performance projects with the ensemble.

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The London Sinfonietta has its headquarters at Kings Place where it is developing Amos Miller trombone another strand of its programme for London and UK touring. It was awarded the Douglas Coleman trombone RPS Music Award for Ensemble for its work throughout 2009. David Stewart bass trombone London Sinfonietta performs with the generous support of Arts Council England, the Alexandra Wood† violin PRS for Music Foundation, and numerous other trusts, foundations, sponsors and Stephen Burnard viola individuals. Fiona Bonds viola Visit the ensemble’s website for exclusive interviews, news, music, film and Bridget Carey viola biographies, and sign up to the e-Zine to receive all the latest information. Jim Sleigh viola † www.londonsinfonietta.org.uk Luis Cabrera bass Manon Morris harp Gareth Hulse* oboe Sally Pryce harp † Katie Clemmow oboe John Constable* piano Joseph Sanders oboe/cor anglais Ian Brown piano † Owen Dennis oboe/cor anglais David Hockings* percussion Paul Stevens† clarinet/contrabass clarinet/soprano saxophone Huw Davies electric guitar Bradley Grant† clarinet/bass clarinet/alto saxophone Carl Herring electric guitar Michael Thompson*† horn Zoltan Dekany electric bass guitar Elise Campbell horn *London Sinfonietta Principal player Phillip Eastop horn †Anais Nin performer Michael Kidd horn Alistair Mackie* trumpet Anaïs Nin Production Torbjörn Hultmark† trumpet Bruce Nockles trumpet Jeroen De Man Director Christian Barraclough trumpet Joggen Simons/Inexcelsisvideo Producer (film) Byron Fulcher* trombone Hans Buhrs Singer

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