The North Wind Woman

THE NORTH WIND WAS A WOMAN

DAVID BRUCE THE NORTH WIND WAS A WOMAN he three pieces on this disc part of the natural world, which means that DAVID BRUCE (b. 1970) represent David Bruce’s just by observing nature, rain, weather, you highly personal musical and are in a very real sense ‘with your loved Cymbeline spiritual responses to nature. one’; a fact which is immensely consoling. Avi Avital mandolin / Dover Quartet Cymbeline (an old Celtic Bruce has a close relationship with [1] I. Sunrise [1.11] word meaning ‘Lord of the Sun’) draws on many of the featured artists, he has [2] II. Noon [6.26] Tancient religious attitudes to the sun, and is collaborated with Avi Avital on 5 pieces, [3] III. Sunset [7.35] framed as a trinity of birth, life and death, most recently a commission from NDR as represented by sunrise, noon and sunset. in Germany. Avital has toured Cymbeline The North Wind was a Woman The North Wind was a Woman song (commissioned by San Diego Symphony) Nora Fischer soprano / The North Wind Ensemble cycle treats various aspects of nature around the world including a recent [4] I. The Snow is Completely Without Hope [4.25] as human characters, as if they were North American tour with Dover Quartet. [5] II. The North Wind is a Woman [3.43] manifestations of human emotions. So the Camerata Pacifica have also worked [6] III. The Night Wants You to Forget [5.05] North Wind for example, is a jilted lover frequently with Bruce and commissioned [7] IV. The Crescent Moon is a Dangerous Lunatic [3.10] who ‘rattles your windows, bangs at your The Consolation of Rain from him in [8] V. The Mountain Shares her Solitary Dreams [5.31] doors’. Scored for a folk-imbued ensemble, 2017. The North Wind was a Woman featuring prominent parts for mandolin and was commissioned by Chamber Music The Consolation of Rain harp, the cycle ranges from the wild rage of Society of Lincoln Center and features Camerata Pacifica the ‘lunatic moon’ to the sombre and tender many of the same players involved in the [9] I. [4.49] loneliness of the mountain contemplating 2009 premiere, including harpist Bridget [10] II. [3.17] her only friend throughout the years – the Kibbey (another close collaborator, who [11] III. [6.18] night sky. also features on the Camerata Pacifica [12] IV. [3.50] The Consolation of Rain is a moving recording). [13] V. [4.50] reflection on loss and the restorative power of nature. When a loved one passes away Total Timings [66.11] the atoms of their body literally become CYMBELINE THE NORTH WIND WAS A WOMAN

ymbeline is a new work for son; and sunset is a time for contemplation have been lucky enough to spend John B Hedges and I was captivated as soon Mandolin and String Quartet, and reflection – the spirit. To me, these three some time recently collaborating with as I realized it was the Sea itself singing the written specially for mandolin states represent not just “father, son and the writer Aimee Bender. By chance opening lines - it was saying sorry to all the virtuoso Avi Avital. The title spirit” but also perhaps, the reflection upon I came across Aimee’s extraordinary ships it had to let sink because its shoulders is an old Celtic word meaning an action about to happen (sunrise), the action collection of short stories ‘Willful were too heavy and not meant for carrying ‘Lord of the Sun’. I think the idea of the itself (noon), and the reflection on the action Creatures’ and I instantly felt we shared many boats. I loved the idea of an ‘element’ singing, Cpiece being about the sun emerged out of the that happened (sunset). Iartistic goals and ideals. Aimee’s stories are and some time later the idea occurred to colours of the string quartet and the mandolin Cymbeline accordingly is in three often described as ‘modern fairytales’, they me that it could make for an interesting together. Although I don’t think of myself as movements, with two contemplative outer have something of the tone of a fairytale song-cycle to have a series of different a synaesthetic person I kept having a strong movements surrounding an energetic central (a generalised sense of place and time, a elements, each singing in the first person. I sense of the colour gold in the early sketches movement. I see the piece as a contemplation willingness to incorporate the magical or approached Alasdair Middleton (the librettist for the piece. The mandolin itself has always of our relationship with this firey giver of life, supernatural, and often, a rather savage for my opera A Bird in Your Ear) with this seemed to me to create a ‘golden’ sound, whose significance to us is often overlooked streak), but are unmistakably modern in idea. Alasdair latched on to the concept and when combined with the warmth of the in the modern world, but who still really does tone, and a million miles from the Victorian immediately - the first poem he produced was strings it seems now obvious that I should be rule over us all. sensibilities and morals of Hans Andersen or Wind who, marvellously, was in unrequited drawn towards something warm and golden. the Brothers Grimm. Aimee creates unique love; followed by a rather melancholy The sun was one of the first objects of and extraordinary worlds, full of color and and mysterious Night, and a crazed Moon worship and it has been surmised that the idea magic, tangential to our own, but somehow, in who ‘wants to kill’. I later added two of of a holy trinity (found not just in Christianity, an often witty and understated way, reflecting my own poems to the collection, a rather but in numerous earlier religions) relates back on our own world, returning us to it with bleak Snow that sees itself as ‘frozen tears’, to the three distinct positions of the sun – fresh eyes. It is an approach to art which I find and a Mountain that contemplates its only sunrise (= father), noon (= son), and sunset highly invigorating and inspiring. friendship over the years - with the night sky. (= spirit). Sunrise is ‘the father of the day’; Aimee showed me the libretto to an midday represents the fullness of energy, the opera she had written for the composer I. The Snow is Completely Without II. The North Wind is a Woman III. The Night Wants You to Forget Blood is hot Hope (text by David Bruce) (text by Alasdair Middleton) (text by Alasdair Middleton) I am not. Frozen tears are all I weep I still love you, Past the sunset’s flaming wreckage I am the moon. And where they fall nothing grows. Though you don’t love me anymore. Up to you I quietly creep; I want to kill I close my eyes and think of sleep, You used to, Forget about the smoke and trouble, And one night soon But tears of ice are all that flow. You once let me kiss you- Lean on me, my love, and sleep. I will. Pain in crystal Remember that time on the sea-shore? I will Piercing bright I still miss you. Now the starry Lion’s stalking Pain in endless white To the Virgin’s glittering breast V. The Mountain Shares her Solitary Just pain. Remember how we used to dance? Mother murmurs ‘Don’t remember.’ Dreams (text by David Bruce) I still love to dance, Lean on me, my love, and rest. My only friend through all the years With frigid hands I reach in vain, I still must, Looks down on me and holds my gaze, I cover you with my distress. Just, no-one will dance with me now; Planets, shrieking, see the future. Without purpose, without tears, I paint you white Just newspapers now; Stars are grieving o’er the past. Without judgement or praise. I paint you dead Just leaves, Constellations mourn the present. A blizzard of anguish around your Just dust. Lean on me and rest at last. Her giant eye reflects a million tones head; Of simple flutes and crystal I have no water with which to bless, I still love you. IV. The Crescent Moon is a Dangerous tambourines. Just my frozen tears of pain, I still want you to be mine, Lunatic (text by Alasdair Middleton) She reminds me, though I am alone, Just pain. That’s why I ravish your clothes on the I am the moon. That countless others share my dreams. washing-line. I am steel. I still love you. I’ve forgotten how to feel. And though her beauty makes me I rattle your windows. I am the moon. tremble and despair, I bang at your door. I want a knife. Her look contains the honesty of rain. I still love you. I want a knife She answers every question with her Though you don’t love me anymore. To take a life. infinite stare, I am the moon And In her darkness I feel small again. I want blood THE CONSOLATION OF RAIN Commissioned for Camerata Pacifica by Bob Klein & Lynne Cantlay.

e all take consolation Taking Debussy’s method of portraying the sea from different things, in La Mer as something of a model, the piece and without wanting is primarily an abstract musical construction, to be overly morbid, but one that constantly and variously evokes I would like to think different aural images of rain, whether it that after I die, my loved ones could take be rippling, glistening, dripping, rumbling, Wconsolation from the sense that I was quite swooshing or showering; gathering pace or literally all around them, in the air, water and subsiding; distantly echoing or vigorously earth as part of the natural cycle of things. present. But throughout, the impression is There are numerous poems on this theme, of rain not as dark and depressing, but as BIOGRAPHIES> including the famous “Do Not Stand At My something positive, consoling, life-affirming Grave And Weep” by Mary Elizabeth Frye in and renewing - the ‘gentle autumn rain’ which, rather than being dead, the deceased mentioned in the Frye poem. speaks directly to us: “I am a thousand winds The Consolation of Rain is in five short that blow, I am the diamond glints on snow, movements, each in a way, a kind of ‘song I am the sunlight on ripened grain, I am the without words’. gentle autumn rain. “ Clearly I am not alone in my way of thinking there is something very moving about the idea that you can reconnect with someone you’ve lost simply by looking at nature. Perhaps an inevitable topic for an Englishman, the focus in this piece is rain. DAVID BRUCE avid Bruce has achieved In the UK, David’s piece Sidechaining recognition as a composer was featured in the 2018 BBC Proms, and on both sides of the he was 2012-13 Composer-in-Residence Atlantic for music that is with the Royal Opera House, who co- richly colourful, poetic commissioned with Glyndebourne the and joyful. Recent commissions include opera Nothing (after the book by Janne Dfrom the BBC Proms, Carnegie Hall, Teller), which premiered in Glyndebourne Covent Garden and Glyndebourne. in February 2016. Bruce’s chamber opera Born in Stamford, Connecticut in 1970 The Firework Maker’s Daughter (after the David Bruce grew up in England and now Philip Pullman story) toured the UK and enjoys a growing reputation on both sides New York in 2013 and was shortlisted for of the Atlantic. both the British Composer Awards, and the In the 2013/14 season David was 2014 Olivier Awards for Best New Opera Associate Composer of the San Diego Production. Alongside composing, David Symphony, for whom he wrote three pieces, runs both the sheet music website 8notes. including Night Parade for the orchestra’s com and the popular YouTube channel highly successful Carnegie Hall debut ‘David Bruce Composer’. in October 2013; and the violin concerto davidbruce.net Fragile Light for Gil Shaham for 2014. His fourth Carnegie Hall commission That Time with You (2013) for mezzo- soprano Kelley O’Connor follows Steampunk (2011), Gumboots (2008) and Piosenki (2006), which have all gone on to be widely performed by leading ensembles around the world. © Steve Rogers AVI AVITAL

he first mandolin soloist to be nominated for An exclusive Deutsche Grammophon artist, he has a classical Grammy, Avi Avital is one of the made four recordings for the label including his ECHO foremost ambassadors for his instrument. Klassik Award-winning Vivaldi (2015). Passionate and “explosively charismatic” Recently released Avital meets Avital (2017) with oud/ (New York Times) in live performance, he is bassist, Omer Avital, explores their shared cultural heritage a driving force behind the reinvigoration of the mandolin and brings their differing classical and jazz musical repertory.T More than 90 contemporary compositions, 15 backgrounds into dialogue. of them concertos, have been written for him, while his Earlier releases featured his own Bach concerto inspired re-imaginings of music for other instruments transcriptions (2012) and Between Worlds (2014), a cross- include the arrangements heard on his 2014 recording generic chamber collection exploring the nexus between Between Worlds. classical and traditional music. He has also recorded for Enhanced by his infectious spirit of adventure and Naxos and SONY Classical winning a first ECHO Klassik the warm rapport he fosters with his audience, Avital’s Award for his 2008 collaboration with the David Orlowsky championship of his instrument is taking the mandolin Trio. centre stage. “The exciting part of being a classical Avi Avital appears courtesy of Deutsche Grammophon. mandolin player,” he says, “is that it opens a wide field aviavital.com for creative freedom. When I commission new pieces and engage with different musical styles, I feel that I am bringing to light new faces of this unique instrument, uncovering what is hiding there.” © Harald Hoffmann / Deutsche Grammophon DOVER QUARTET Joel Link violin Bryan Lee violin Milena Pajaro-van de Stadt viola Camden Shaw cello he phenomenal its status as “the young American string It was at Curtis that the Quartet first Dover Quartet quartet of the moment” (New Yorker). The formed, and its name pays tribute to Dover catapulted to Quartet serves as the quartet-in-residence for Beach by fellow Curtis alumnus Samuel international the Bienen School of Music at Northwestern Barber. stardom following University, Chamber Music Northwest, The group has since returned for a stunning sweep of the 2013 Artosphere, the Amelia Island Chamber residencies to Rice in 2011-13, and to Curtis, TBanff Competition, at which Music Festival, and Peoples’ Symphony in where it became the conservatory’s first they won every prize. Named New York, and was recently named the first- Quartet-in-Residence, in 2013-14. the Cleveland Quartet Award- ever quartet-in-residence for the Kennedy In addition, in 2015 the Dover was winner, and honored with Center. appointed the first Resident Ensemble of the coveted Avery Fisher Hailed as “the next Guarneri Quartet” Peoples’ Symphony Concerts in the 116- Career Grant, the Dover (Chicago Tribune), the Dover Quartet year history of New York City’s oldest has become one of the most draws from the lineage of that distinguished concert series. in-demand ensembles in the ensemble, as well that of the Cleveland doverquartet.com world. The Quartet’s rise from and Vermeer Quartets; its members studied up-and-coming young ensemble at the Curtis Institute of Music and Rice to occupying a spot at the top of University’s Shepherd School of Music, their field has been “practically where they were mentored extensively meteoric” (Strings). With its by Shmuel Ashkenasi, James Dunham, burnished warmth, incisive rhythms, Norman Fischer, Kenneth Goldsmith, Joseph © Carlin Ma and natural phrasing, the Quartet’s Silverstein, Arnold Steinhardt, Michael Tree, distinctive sound has helped confirm and Peter Wiley. NORA FISCHER

ora Fischer is challenging the Nora’s unique approach has taken her around way we listen to the voice. The the globe, from the Philharmonie de Paris and Walt Amsterdam-based singer is Disney Concert Hall to the Lowlands Pop Festival renowned for her adventurous or a mysterious forest at the Oerol Theatre Festival. approach to live performance She has premiered many new operas, most recently and her creative projects fusing classical and working with the Dutch National Opera and Pierre Ncontemporary repertoire. This can range from Audi for the world premiere of Andriessen’s traditional concert programmes to genre-defying Theatre of the World. Other contemporary collaborations – such as her debut album HUSH, collaborations include performances with the

which was released on Deutsche Grammophon © Sarah Wijzenbeek Photography Kronos Quartet, Asko|Schönberg Ensemble and in April 2018, and her work with Yo-Yo Ma’s l’Arpeggiata. legendary Silkroad. norafischer.nl Using her voice as a versatile instrument, Nora’s repertoire ranges from Monteverdi to the many compositions that have been written for her in the present day. Her “affinity with experimental classical styles and sharp dramatic instincts” (New York Times) have led to many collaborations with leading contemporary composers, including Osvaldo Golijov, David Lang & Michel van der Aa. During the 2017/18 season, Nora signed with Universal Music and was nominated by the Concertgebouw to perform in major concert halls across Europe for the ECHO Rising Stars Tour. THE NORTH WIND ENSEMBLE

Avi Avital mandolin Bridget Kibbey harp Dover Quartet Tara Helen O’Connor flute Romie de Guise-Langlois & Moran Katz clarinets Britton Matthews percussion Kris Saebo double bass

CAMERATA PACIFICA

Nicholas Daniel oboe Ani Aznavoorian cello Bridget Kibbey harp Svet Stoyanov percussion

“Induce a dozen and more high-ranking Camerata Pacifica is “the best chamber soloists to take time out of their busy global music reason to get out of the house in these schedules to give chamber-music concerts parts,” says the Los Angeles Times. Drawing in California, and you have the miracle of the finest chamber artists from around the modern artistic organization that is Camerata world, Camerata Pacifica explores the breadth Pacifica.”The Irish Times. of the chamber music genre in live, dynamic performances presented for a live, dynamic 21st-century audience. cameratapacifica.org Recorded Feb. 13-14, 2017 at American Any unauthorised broadcasting, public Academy of Arts and Letters, NY; performance, copying or re-recording of Signum and Oct. 21, 2017 in Hahn Hall, Compact Discs constitutes an infringement of Music Academy of the West, CA copyright and will render the infringer liable to an action by law. Licences for public performances or Producer: Erica Brenner broadcasting may be obtained from Phonographic Recording engineers: Jack Renner Performance Ltd. All rights reserved. No part (Feb. 2017); Michael Bishop, of this booklet may be reproduced, stored in Five/Four Productions, Ltd. (Oct. 2017) a retrieval system, or transmitted in any form Assistant engineer: Ian Dobie or by any means, electronic, mechanical, (Feb. 13-14, 2017) photocopying, recording or otherwise, without Editor: Erica Brenner prior permission from Signum Records Ltd. Mixing and mastering engineer: Michael Bishop Cat no: SIGCD599 Signum Classics, Signum Records David is most grateful to Sam Ersan, Ltd., Suite 14, 21 Wadsworth Road, Gordon Brodfuehrer and an anonymous Perivale, Middlesex UB6 7LQ, UK. patron for supporting this recording. Tel: +44 (0) 20 8997 4000 E-mail: [email protected] Cover image: Larisa Wiegant, www.signumrecords.com larisawiegant.com

Artwork design: Marcus Batley, www.dbmasters.co.uk