CELESTIAL BIRD is “very personal, showing different sides of me CELESTIAL BIRD Jessica Duchen and my music. There are many, and some that Roxanna Panufnik (b. 1968) people haven’t necessarily seen before.” This collection of choral music by Roxanna Panufnik emerges as the composer celebrates Unending Love, the most substantial work on her fiftieth birthday in 2018. A half-century the album, sets a poem by the Indian poet and can be a crucial moment for any creative artist, polymath Rabindranath Tagore (1861-1941), a time to take stock and assess one’s identity, a seminal figure in the mystically-inclined 1 Unending Love [9.14] achievements and aims. And for Panufnik artistic circles, among others, of the early 2 Celestial Bird [5.42] there is also plenty to celebrate: this recording 20th century. The piece was a response to 3 Salve Regina [3.41] is the latest in a series of landmark events, a commission from the National Youth 4 O Hearken [2.08] including the powerful impact of her ‘People’s , requesting a Tagore setting with 5 - 6 St Pancras Magnificat and Nunc Dimittis [10.09] Opera’ Silver Birch, premiered at Garsington accompaniment by the traditional South in 2017 and shortlisted for an International Asian ensemble Tarang – which includes the 7 Since We Parted [10.05] Opera Award, and a choral commission for Indian violin, percussion and sitar, as well 8 A Cradle Song [4.41] the Last Night of the Proms 2018. as a Carnatic singer. Panufnik based the 9 Deus est Caritas [3.52] work’s harmonies on Indian ragas: “I was 0 St Aidan’s Prayer [3.45] While many listeners associate her with choral eager to explore a multitude of kaleidoscopic q Child of Heaven [3.13] music, and with good reason – the genre Indian modes and instruments,” she says, accounts for around 70 per cent of her “and I instantly fell in love with this colourful Total timings: [56.33] compositions – this output encompasses great and passionate poem. I particularly wanted to variety, from ecstatic religious settings, such use some of the original Bengali words, as the St Pancras Magnificat and Nunc including those for ‘unending love’ – Jonme Dimittis or St Aidan’s Prayer, to the vivacious jonme juge juge – which provided the rhythm and the romantic (Since We Parted), as well for the entire last verse.” NYCGB requested a as influences from different musical traditions “a Bollywood ending” – and Panufnik says MILAPFEST as diverse as South Asia (Unending Love) she was delighted to oblige. JEFFREY SKIDMORE conductor and a hint of English and Celtic folksong (Celestial Bird). This album, Panufnik reflects, www.signumrecords.com - 3 - The album’s title, Celestial Bird, is from a but the raffle winner, Pamela Carrington, “Mag and Nunc” and her existing music kept “The whole piece is made up of my typical setting of a mystical poem by Jessica Powers persuaded her instead to write a new piece surfacing when she looked at the text. “A major-minor harmonic language which sets (1905-1988), who became a Carmelite nun for the Westminster Abbey Choir and its combination of advice from my ever-helpful a bittersweet atmosphere,” Panufnik says. in Wisconsin, but had Scottish and Irish director James O’Donnell. For the resulting Facebook friends and the fact that this was “The trumpets remind us, from time to time, of ancestry; Panufnik says she discovered this Introit, says Panufnik, O’Donnell requested that a cappella and in Latin (whereas the first the backdrop of war.” fact only after imagining the music with Celtic it should be “pithy” and celebratory. Panufnik’s one had been accompanied by organ and influences. “I have heard her described as young son, Benedict Macklow-Smith, is a set mostly in English) helped, and soon I was Panufnik set William Blake’s A Cradle Song an ‘artist, painting words’ – which fits my chorister at the Abbey: “It was the first time flying,” she says. in fulfilment of a long-standing wish to write overt style of word-painting in music,” Panufnik I’d heard my son sing my music,” she a Christmas carol in the style of a lullaby. writes. The piece was composed originally remembers. (He is not singing in this piece on Two works on the present album were Presented with this option by the Royal for VOCES8 in thanks for their participation the recording, but features later in the album.) commissioned by Ex Cathedra and Jeffrey Choral Society, she says she “leapt at it”. in another recording, and dates from 2013. Skidmore. The first is Since We Parted, The piece was commissioned by the RCS The St Pancras Magnificat and Nunc Dimittis written in 2014 as part of the choir’s “in affectionate memory of their chairman, The setting of Salve Regina is a tribute of a was commissioned by the London Festival of commemoration of the centenary of World War Anthony Forbes MBE”, who sadly had died different kind: Panufnik wrote it for the 80th Contemporary Church Music and first performed I. It is, says Panufnik, “extremely romantic, in 2017. “Just as I was starting to compose, birthday of Dame Raphael, a Benedictine nun by the Choir of St Pancras Church directed more romantic than the music people might photos appeared of a friend’s newborn baby formerly based at an abbey which the composer by Christopher Batchelor at the festival in associate me with, and it’s for mixed voices daughter, Daisy McNicholl, on Facebook. It used to visit on occasional retreats and who 2014 – therefore is named after that choir’s and instrumentation of trumpet, harp, cello brought home how the soothing nature of a has remained an artistic and spiritual home base. Panufnik often assigns place names and piano.” The words mingle two different lullaby is so important at every stage of the consultant ever since. “A friend of hers sent to her religious settings, following a pattern poems – a technique Panufnik increasingly ‘circle of life’,” Panufnik explains. me her favourite plainsong, which was the set with her breakthrough work, Westminster Mass. likes to use. The first is ‘A Year and a Day’ by Salve Regina,” says Panufnik. “I’ve set it Kathleen Coates, included in Vera Brittain’s Deus est Caritas, too, was commissioned in for unison women’s voices with piano Here the a cappella setting for six voices is Testament of Youth: written between 1910 and 2017 in “affectionate memory”, this time by accompaniment – in a very unplainsongy way.” both dramatic and colourful: “It has myriad 1913, it seems, says Panufnik, “prophetic of the lay clerk Marius Carney for the choir of different textures and overlapping harmonies,” the impending war in its depiction of a woman Peterborough Cathedral, in tribute to his late O Hearken’s genesis was a little more says Panufnik. “There’s a lot going on: it’s full and man in love, reluctantly separated and parents. “Marius asked for ‘profound joy’,” surprising: it started life as a raffle ticket prize of energy and is very vivid.” At first she was missing each other”. Foil to this, as refrain, is relates Panufnik. “I hope I’ve managed to at Westminster Abbey Choir School’s Summer nervous about writing it, she adds, since it ‘Since we parted, yestereve’ by the Victorian convey this with bright and vivacious harmonies Fête in 2015. Panufnik had promised a fanfare, was not long since she had previously set a statesman and poet Robert Bulwer-Lytton. and church peals.”

- 4 - - 5 - Panufnik’s chorister son, Benedict Macklow- mysterious Bhairavi mode, depicting barely TEXTS & TRANSLATIONS Tha dhim tha dhim ta-ka, Tha ka dhi mi… Smith, is the treble soloist for St Aidan’s Prayer, half-light as hints of dawn emerge from (mnemonics for Indian 4/4 rhythm) which Panufnik wrote in 2016 as an 80th the darkness,” says Panufnik. “As light 1 Unending Love You and I have floated here on the stream that birthday gift for her godfather, the Polish establishes we go onto the more ‘happy’ Kãfi Recording supported by Stephen Macklow-Smith brings from the fount artist Andrzej Dzierzyński. He lives part of mode...” The start of day is represented by At the heart of time love of one for another. the time in Italy and therefore Panufnik the Purvi mode: “mysterious but joyful,” as Ononto, ononto… (‘Numberless’) Tha dhi-gi na thom Tha kit-a… decided to set the words of St Aidan of Panufnik says. I seemed to have loved you in numberless forms, We have played alongside millions of lovers, Lindisfarne in both English and Italian. It numberless times, shared in the same was first performed by the choir of the Church And perhaps “mysterious but joyful” is also, In life after life, in age after age forever. Shy sweetness of meeting, the same distressful of Our Most Holy Redeemer and St Thomas in summary, a fine description of Panufnik’s My spell-bound heart has made and re-made the tears of farewell – More, Chelsea, in December 2016. “I’ll never musical voice. She expresses deep thanks necklace of songs Old love, but in shapes that renew and renew forget Uncle Andrzej’s face when he saw Ben to Ex Cathedra and Jeffrey Skidmore for their That you take as a gift, wear round your neck in forever. singing,” Panufnik says. “This album is all the excellent performances herein: “I’m thrilled your many forms more personal because Ben is in it. In a few that they have made this recording because In life after life, in age after age forever. Jonme jonme juge juge, Jonme jonme juge juge… years his voice will have broken, so it is I love working with them. They’re a brilliant (‘Unending’) wonderful to have this as a permanent record.” choir, they make the most glorious sound Bhalobasha, bhalobasha… (‘Love’) Today it is heaped at your feet, it has found its and they are a lovely group who understand Whenever I hear old chronicles of love, its end in you, Finally, commissioned by Ex Cathedra for exactly what I and my music are all about.” age-old pain, The love of all man’s days both past and forever: its ‘Summer Music by Candlelight’ concerts Its ancient tale of being apart or together, Cirokal (‘Forever’) Prithibibyaepi, Prithibibyaepi… in 2018, Child of Heaven finds Panufnik As I stare on and on into the past, in the end (‘Universal’) revisiting the enticing world of Indian you emerge Universal joy, universal sorrow, universal life, music. It forms part of the choir’s ongoing Clad in the light of a pole-star piercing the dark- The memories of all loves merging with this one ‘Dawn Choruses’ series from various composers. ness of time: love of ours – The words are drawn from the ‘Hymns You become an image of what is remembered And the songs of every poet past and forever. to Dawn’ in the Rig Veda (a collection of forever. Indian Vedic Hymns, translated by Ralph Text: Rabindranath Tagore (1861-1941), trans. William Radice T H Griffith [1826-1906]). “The melodies emerge from overlapping Indian modes, sung by one half of the choir. The first of these is the

- 6 - - 7 - 2 Celestial Bird I watched You in the avenues that make 4 O Hearken a radiant city on the western hills. O Sweet and luminous Bird, O hearken thou unto the voice of my calling, Having once heard Your call, lovely and shy, Yet since I knew You not, I sought in vain. my King, and my God: for unto thee will I make I shall be hungry for the finished word. I called You Beauty for its fleet white sound. my prayer. Across the windy sky But now in my illumined heart I can release the hound Text: Psalm 5. 2, 8 & 13 of all voiced longing and all music heard, I spread my net for Your bewildering wings, of love upon whose bruising leash I strain. 5 - 6 St Pancras Magnificat but wings are wiser than the swiftest hands. Oh, he will grasp You where You skim the sod, and Nunc Dimittis Where a bird sings nor wound Your breast, for love is soft as death, Recording supported by Mr & Mrs Nick Friend swifter than beauty is, and strong as God. I held my heart, in fear that it would break. Magnificat anima mea Dominum, My soul doth magnify the Lord. I called You through the grief of whip-poor-wills, Text: Jessica Powers, (1905-1988) et exsultavit spiritus meus in Deo Salutari meo, And my spirit hath rejoiced in God my Saviour. quia respexit humilitatem Because he hath regarded the humility of ancillae suæ. his handmaid; 3 Salve Regina Ecce enim ex hoc beatam for behold from henceforth me dicent omnes generationes, all generations shall call me blessed. Salve, Regina, Mater misericordiæ, Hail, holy Queen, Mother of Mercy, quia fecit mihi magna, Because he that is mighty, vita, dulcedo, et spes nostra, salve. Our life, our sweetness and our hope. qui potens est, hath done great things to me; Ad te clamamus exsules filii Hevæ, To thee do we cry, et sanctum nomen eius, and holy is his name. Ad te suspiramus, gementes et flentes Poor banished children of Eve; et misericordia eius, a And his mercy is from in hac lacrimarum valle. To thee do we send up our sighs, progenie in progenies generation unto generations, Eia, ergo, advocata nostra, illos tuos Mourning and weeping in this valley of tears. timentibus eum. to them that fear him. misericordes oculos ad nos converte; Turn then, most gracious advocate, Et Jesum, benedictum fructum ventris tui, Thine eyes of mercy toward us; Fecit potentiam in brachio suo: He hath shewed might in his arm: nobis post hoc exsilium ostende. And after this our exile, dispersit superbos mente he hath scattered the proud in the conceit of O clemens, O pia, O dulcis Virgo Maria. Show unto us the blessed fruit of thy womb, Jesus. cordis sui; their heart. O clement, O loving, O sweet Virgin Mary. deposuit potentes de sede He hath put down the mighty from their seat,

- 8 - - 9 - et exaltavit humiles; and hath exalted the humble. 7 Since We Parted Words which no time can touch are my life’s refrain, Esurientes implevit bonis He hath filled the hungry with good things; Commission and recording supported by Jane Arthur But each picture flies. et divites dimisit inanes. and the rich he hath sent empty away. All that was left to hold till I meet you again, Since we parted, yestereve Suscepit Israel puerum suum, He hath received Israel his servant, Your mouth’s deep curve, your brows where the I do love thee, love believe, recordatus misericordiæ suæ. being mindful of his mercy: shadow lies, Twelve times dearer, twelve hours longer, sicut locutus est ad patres nostros, As he spoke to our fathers, These are the things I strive to capture in vain, One dream deeper, one night stronger, Abraham et semini eius in sæcula. to Abraham and to his seed for ever. And I have forgotten your eyes, One sun surer - this much more And the way that your hair spun curls in the Than I loved thee, love, before. Gloria Patri, et Filio, Glory Be to the Father, and to the Son, beating of rain. et Spiritui Sancto, and to the Holy Ghost; Text: Robert Bulwer-Lytton (1831-1891) Sicut erat in principio, et nunc, As it was in the beginning, is now, Since we parted, yestereve I shall remember miraculous things you said et semper, et in sæcula sæculorum. and ever shall be, world without end. I do love thee, love believe, My whole life through - Amen. Twelve times dearer, twelve hours longer, Things to go unforgotten till I am dead; One dream deeper, one night stronger, But the hundredfold, adorable ways of you, Nunc dimittis servum tuum, Domine, Lord, now you let your servant go in peace; One sun surer - this much more The tilt of your chin for laughter, the turn of your head secundum verbum tuum in pace: Your word has been fulfilled. Than I loved thee, love, before. That I loved, that I knew - Quia viderunt oculi mei salutare tuum My eyes have seen the salvation Oh! While I fed on the dreams of them, these Text: Kathleen Coates (b.1891-1958) Quod parasti ante faciem Which thou hast prepared have fled! omnium populorum: before the face of all people: Lumen ad revelationem gentium, A light to reveal you to the nations et gloriam plebis tuæ Israel. and the glory of your people, Israel.

Gloria Patri, et Filio, Glory Be to the Father, and to the Son, et Spiritui Sancto, and to the Holy Ghost; Sicut erat in principio, et nunc, As it was in the beginning, is now, et semper, et in sæcula sæculorum. and ever shall be, world without end.

Amen. Amen

- 10 - - 11 - 8 A Cradle Song Sweet moans, dovelike sighs, 0 St Aidan’s Prayer q Child of Heaven Chase not slumber from thy eyes. Recording supported by Graham & Vivien Mackenzie Recording supported by Julia Fagan-King Sweet dreams form a shade Sweet moans, sweeter smiles, O’er my lovely infant’s head. All the dovelike moans beguiles. Bless O lord, this place. Shedding her light on human habitations this Sweet dreams of pleasant streams This Holy Place, Child of Heaven hath called us from her slumber; By happy, silent, moony beams. Wept for me, for thee, for all, Make it a place of joy and light She who at night-time with her argent lustre Sweet sleep with soft down When he was an infant small. Make it a place of holiness and hospitality hath shown herself e’en through the shades of Weave thy brows an infant crown. Thou his image ever see, Make it a place of grace and goodness darkness. Sweet sleep, Angel mild, Heavenly face that smiles on thee, And begin with me. Hover o’er my happy child. Dawns, bringing hither, to the man who worships, Smiles on thee, on me, on all; Preghiera di Sant’Aidan di Lindisfarne glory and power and might and food and vigour. Sweet smiles in the night, Who became an infant small. Benedici Signore, questo luogo. Now for the singer when he sings the praise-song. Hover over my delight. Infant smiles are his own smiles, Questo Luogo Santo, Even to one like me ye brought aforetime. Heaven and earth to peace beguiles. Sweet smiles, Mother’s smiles, Rendilo un luogo di gioia e di luce Shine on us as of old, thou Child of Heaven, on All the livelong night beguiles. Rendilo un luogo di santita’e di ospitalita’ him, rich Maid! Who serves like Bharadvaja. Give Text: William Blake (1757-1827) Rendilo un luogo di grazia e di bonta’, to the singer wealth with noble heroes, and upon A cominciare da me. us bestow wide-spreading Glory.

Text: A Prayer of St Aidan of Lindisfarne (d. 651 AD) Text: from The Rig Veda translated by Ralph T H Griffith 9 Deus est Caritas (1826–1906) Recording supported by Jill Robinson

Deus est caritas. God is love. Qui manet in caritate manet in Deo et Deus in illo. Who abides in love abides in God and God in him. Sit Deus in nobis, et nos maneamus in illo. May God be in us and may we abide in him.

Text: 1 John 4, 16

- 12 - - 13 - PERFORMERS Alto II MILAPFEST - track 1 Sacha Fullerton Ashnaa Sasikaran - Carnatic singer Conductor Harriet Hougham Slade * Dr Jyotsna Srikanth - Indian violin Jeffrey Skidmore Samantha Lewis Taaraga Uruthiraneson - Indian violin Andrew Round Akash Parekar - sitar EX CATHEDRA Pirasana Jeyanayagan - Indian percussion Tenor I Janarthan Sivarupan - Indian percussion Treble Declan Costello * Shiv Pattni - animateur Benedict Macklow-Smith - track 10 Nick Drew Jack Granby * Piano Soprano I Rupert Jeffcoat - track 8 Marianne Ayling Tenor II Alexander Mason - track 3 Ros Crouch Steve Davis Megan Rickard Sidharth Prabhu-Naik Organ Felicity Rogers Iain Sloan Rupert Jeffcoat - track 9 * Katie Trethewey Ashley Turnell Alexander Mason - track 10 Suzzie Vango * Bass I Trumpet Soprano II Paul Arthur Mark Bennett - track 7 Elizabeth Adams * Will Peart Simon Munday - track 7 Frances Brindley Andrew Randall Claire Hollocks Lawrence White * Harp Margaret Langford Lucy Wakeford - track 7 Alison Perrier-Burgess Bass II Shirley Scott John Cotterill Cello Myriam Toumi Timothy Emberson Ulrich Heinen - tracks 1 & 7 Amy Wood * Simon Gallear * Alto I Richard Green Linda Hardwick Bill Robinson Amanda Cowan * denotes singers for tracks 2, 4, 5 & 10 Jonathan Darbourne * Suzie Purkis

- 14 - - 15 - ROXANNA PANUFNIK Night of the Proms and a co-commissioned oratorio Roxanna’s compositions are published by Faithful Journey – a Mass for Poland for City of Peter’s Edition Ltd and recorded on many labels Roxanna panufnik (b.1968, ARAM, GRSM Symphony Orchestra and National including Warner Classics, Signum, Chandos, hons, LRAM) studied composition at the Royal Radio Symphony Orchestra of Poland, marking and EMI Classics. Academy of Music and, since then, has written Poland’s centenary as an independent state a wide range of pieces – opera, ballet, music and a new commission from Marin Alsop, roxannapanufnik.com theatre, choral works, orchestral and chamber for the Baltimore Symphony Orchestra in 2019. compositions, and music for film and television – which are performed all over the world. performances, and for setting the highest Roxanna has a great love of world music – this Ex Cathedra standards in performance and training. has culminated in her Four World Seasons Ex Cathedra is a leading UK choir and Early Alongside its reputation for historically-informed for violinist Tasmin Little, the world premiere Music ensemble with a repertoire that reaches performances, underpinned by detailed research, of which was picked by BBC Radio 3 to launch from the 12th to the 21st centuries. It is the group has an unparalleled record amongst their Music Nations weekend, celebrating the known for its passion for seeking out the UK for commissioning new work and London Olympics; her multi-faith Warner best, the unfamiliar and the unexpected giving world premieres. Classics CD Love Abide (loveabide.com) and This work was subsequently converted into an in the choral repertoire, for its dynamic Dance of Life: Tallinn Mass for Tallinn overture for the World Orchestra for Peace and Philharmonic (tallinnmass.com), commissioned premiered in Jerusalem and London under the to celebrate Tallinn’s reign as European Capital baton of Valery Gergiev, in 2008 and at the 2014 of Culture. BBC Proms.

She is especially interested in building musical Her 2017 opera Silver Birch, commissioned by bridges between faiths and her first project Garsington Opera, was met with great audience in this field was the violin concerto Abraham, and critical acclaim. commissioned for Daniel Hope, incorporating Christian, Islamic and Jewish chant to create 2018/9 holds some exciting projects, including a musical analogy for the fact that these two major choral-orchestral works for and three faiths believe in the same one God. Roxanna’s 50th Birthday year, for the BBC Last © Roger Cable

- 16 - - 17 - Founded in 1969 by Jeffrey Skidmore, Ex Vocal Music, comprising four training choirs, Jeffrey Skidmore Cathedra is a unique musical resource, from age 4 upwards. comprising specialist chamber choir, vocal Jeffrey Skidmore’s reputation as one of the Consort, period-instrument orchestra and a Ex Cathedra is often asked about its name. UK’s leading choral directors and an ardent thriving education programme. ‘Cathedra’ is the name for a bishop’s throne, advocate of the importance of singing in and thus a cathedral is the building that people’s lives today is rooted in his work with The group presents a series of concerts in houses that throne. When Jeffrey Skidmore Ex Cathedra, the ensemble he founded 45 Birmingham – where it is an Associate Artist and one of the founding members of the choir years ago in his home city of Birmingham. at Town Hall – throughout the Midlands were choosing a name for the new group, they and in London. It enjoys invitations to appear chose Ex Cathedra because it literally means Jeffrey’s driving passion has been to refresh at festivals and concert series across the UK ‘from the throne’ or in English usage ‘with and reinvigorate the choral repertoire and and has appeared as far afield as New York authority’. At the time, Jeffrey and several to make it accessible to as many people as and Tel Aviv. members of the choir sang at Birmingham possible. He and Ex Cathedra have long been Cathedral, so the pun was attractive. Researching known for exciting and innovative but always Comprising ten professional singers – who and understanding the repertoire so that it attractive programming. Under his direction, feature regularly as soloists – Ex Cathedra’s can be performed with authority, style and Ex Cathedra has also shown an enduring © operaomnia.co.uk Consort is both one of the UK’s premiere passion has been a guiding principle since commitment to vocal education from its As director of Ex Cathedra and its associated vocal consorts and the culmination of its those first performances in 1969. groundbreaking children’s singing programme, Consort and Baroque Orchestra, Jeffrey has commitment to choral training. It provides Singing Playgrounds, to the nurturing of appeared in many concert halls and festivals opportunities at the highest level for the UK’s excathedra.co.uk professional singers at the start of their careers. across the UK and overseas. He has made best emerging consort singers. a number of highly-acclaimed recordings Jeffrey is a pioneer in the field of research ranging from Renaissance polyphony to Latin An extensive programme of participatory and performance of choral works of the 16th, American and French Baroque. He has also schools, arts in health, and community projects 17th and 18th centuries, both in the old worked with other ensembles including the is delivered by Ex Cathedra’s team of expert and new worlds. He is also a champion of City of Birmingham Symphony Orchestra, vocal tutors, and reaches tens of thousands contemporary choral music. the Orchestra of the Age of Enlightenment, of children across the UK every year. Nurturing Aalborg Sinfoniorkester, the Irish Baroque young singers is also at the heart of Ex Orchestra and the BBC Singers. Cathedra’s work, and it runs an Academy of

- 18 - - 19 - In the field of opera he has worked with MILAPFEST renowned composer and musician, Jyotsna Birmingham Opera Company; Welsh National Srikanth, on the track Unending Love. Opera; and David McVicker Milapfest is an international arts organisation at the Théâtre des Champs-Elysées in Paris; based in England that specialises in the www.milapfest.com and has given the first performances in modern promotion and advancement of Indian arts times of the French Baroque operas Zaïde by through performances, education and artist Royer and Isis by Lully. development. Their work is designed to inspire, educate and entertain people of all Jeffrey is a Research Fellow at the University backgrounds and is delivered across the UK of Birmingham and an Honorary Fellow at and internationally through a world-class, Birmingham Conservatoire where he is Artistic year-round programme of productions and Director of the programme. He is projects whilst supporting the development a regular contributor to the choral programme of new audiences, students and artists. at Dartington International Summer School and to a wide range of choral workshops and One of the most important strands of Milapfest’s summer schools at home and abroad, most work is their ensembles – a training and recently as ‘professor’ of ‘coro barroco’ in the performance programme for the best young 32nd Festival of Music in Curitiba, Brazil. musicians and singers in the country, trained in Indian classical music. They consist of Jeffrey was awarded an OBE for services to SAMYO, the National Youth Orchestra for choral music in 2015, and made an honorary Indian Music, SABRANG, the National Youth Doctor of Music by the Choir for Indian Music, and the groundbreaking in 2017. Contemporary-Classical collective, TARANG. Members regularly collaborate with orchestras and ensembles of different genres, and met Roxanna Panufnik during a project with the National Youth Choirs of Great Britain in 2016. Members of the three ensembles collaborate with one of their tutors, world-

- 20 - - 21 - Thank you

Roxanna Panufnik and Ex Cathedra would like to thank the following for their support in making this CD possible:

Arts Council England Recorded on 19th and 20th January 2018, in the Bramall Music Building, University of Birmingham, UK PRS Foundation Producer – Adrian Peacock Editors – Adrian Peacock, Dave Rowell Recording Engineer – Mike Hatch 5 anonymous donors Bob & Shirley Mackinnon Recording Assistant – James Waterhouse

Maxine Adams Graham & Vivien Mackenzie Cover Image – Photograph of Roxanna Panufnik © Benjamin Ealovega. Illustrations © Jem Panufnik. Jane Arthur Stephen Macklow-Smith Design and Artwork – Woven Design www.wovendesign.co.uk Peter & Kathy Baldwin Bob & Sandy Marchant David Brindley Revd Carol Murray P 2018 The copyright in this sound recording is owned by Signum Records Ltd © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Julia Fagan-King Robert & Angela Orme David Foster Ian Richards Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored Mr & Mrs Nick Friend Jill Robinson in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

Donald Hamilton Anne Roussel SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Helen Hoggarth Arnold Steeds +44 (0) 20 8997 4000 E-mail: [email protected] Walter & Linda Jennings Susan Scott www.signumrecords.com Michael Lunn Keith & Elisabeth Wellings Amy & Adam Maclean John Yarnall

- 22 - - 23 - ALSO AVAILABLE on signumclassics

Andrzej & Roxanna Panufnik: Dreamscape 99 Words Heather Shipp mezzo-soprano Sir John Tavener & Roxanna Panufnik Subito Piano Trio Voce Chamber Choir, Suzy Digby SIGCD380 Matthew Barley cello, Simon Russell Beale narrator James Sherlock organ, Charlotte Langley soprano “This is intensely personal music-making, beautifully performed.” SIGCD519 The Observer “The quality of meditation is so central to John Tavener’s music “The centenary of the birth of Andrzej Panufnik is marked in that indifferent performances of it can easily sound boring. There his adopted country by special performances and recordings, is no danger of that here … [Svyati] is shaped with great subtlety including these songs and trios by the composer who was born in by conductor Suzi Digby … Barley contributes a beautifully Warsaw at the start of the First World War, and by his daughter.” shaped and shaded cello obbligato, and his performance of Independent on Sunday the solo cello piece Threnos is equally eloquent.” BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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