PARAM VIR

3 PARAM VIR Klangforum Wien WHEELING PAST THE STARS Eva Furrer flutes Markus Deuter oboe/cor anglais Olivier Vivarès clarinets Raga Fields Lorelei Dowling bassoons 1 I Void 7'14 Christoph Walder horn 2 Anders Nyqvist trumpet II Tranquil 9'14 Andreas Eberle trombone 3 III Vibrant 10'20 Gunde Jäch-Micko violin I Annette Bik violin II Soumik Datta sarod • Klangforum Wien Ulrich Mertin viola Enno Poppe conductor Andreas Lindenbaum cello Uli Fussenegger contrabass Virginie Tarrête harp 4 Björn Wilker percussion Before Krishna 8'39 Lukas Schiske percussion London Chamber Orchestra Joonas Ahonen piano & celeste Odaline de la Martinez conductor Schönberg Ensemble Ingrid Geerlings flutes Wheeling Past the Stars Evert Weidner oboe Poems by Rabindranath Tagore (trans. William Radice) Pierre Woudenberg clarinet 5 Liesbeth de Jong bass clarinet I Unending Love 7'21 Wilma van den Berge bassoon 6 II Palm-tree 4'44 Hans Dullaert horn Marc Busscher trumpet 7 III Grandfather’s Holiday 3'02 Toon van Ulsen trombone 8 Peter Brunt & Wim de Jong IV New Birth 5'07 violin Patricia Auchterlonie soprano • Ulrich Heinen cello Susanne van Els viola Hans Woudenberg cello Quirijn van Regteren Altena 9 13'26 contrabass Hayagriva Godelieve Schrama harp Schönberg Ensemble • Micha Hamel conductor Pauline Post piano Ger de Zeeuw Total timing 69'07 & Steef Gerritse percussion

Param Vir © Frans Schellekens 3 Wheeling Past the Stars: the music of Param Vir work’s intensely individual elements, the work heart the Krishna row appears in its original was fi rst developed as a set of sketches for form as a spiky, isorhythmic melody which ‘Whichever compositional techniques assimilation of the Mahlerian, inclusive view chamber quintet which were rehearsed in a ricochets around the whole orchestra. The underpin the notes, the musical image of music as a refl ection of life in all its aspects, workshop for soloist, composer and ensemble row is enveloped by swirling counterpoint, must always be crystal clear, arresting and and the Sibelian emphasis on profound logic to get to know each other. The blueprint was signalling the awakening of Mother Nature as comprehensible’. This statement of belief and organic development. It is, perhaps, then fully orchestrated and the outline of the she protects the newborn infant. Vir achieves by Param Vir is borne out by the integrity the creative tension between this desire material fl eshed out into a substantial three- very precise eff ects in the score with an array of his writing. There is no room for pastiche to incorporate diverse, often contrasting movement structure. Essential to the project of string techniques, ranging from pizzicato in his style as this would confl ict with the elements and the need for a coherent, was the input of British Indian virtuoso sarod and spiccato to sul ponticello and sul tasto. authenticity of expression which is a hallmark integrated argument that gives Vir’s music its player Soumik Datta, who collaborated closely These expressive details, though striking of his output. Though his music is often rich distinctive energy and expressive intensity. with Param Vir over many months and brought as individual gestures, are used primarily and complex, even at its most intricate and to embellish and heighten the unfolding In Raga Fields: Three Spaces for Sarod his artistry, insight and imagination to the challenging, the desire to communicate narrative. Also notable is a series of long- Soloist and Large Ensemble of 17 players improvised sections. directly and to generate a response is of breathed chords consisting of harmonics, (2014) there is no attempt at ‘crossover’. paramount importance. Raga Fields was commissioned by Birmingham which appears at a turning point in the score The Western ensemble is never required to Contemporary Music Group, Fulcrum Point and recurs in the closing bars, bringing the Connecting European modernism with an imitate Indian music. Instead, it harnesses New Music Project (Chicago) and Klangforum music to rest. Eastern sensibility, he draws freely from world rich, contemporary harmonic techniques Wien. It is dedicated to Vir’s longtime friend mythology, art and literature. His musical which facilitate the confl uence between the Before Krishna won the 1987 Benjamin Britten and mentor, the composer Randolph Coleman. voice is suffi ciently variegated and multifarious two rich and diverse musical traditions. These Composition Prize and put the composer’s to successfully embrace opera and large- traditions co-exist in parallel spaces, marked Before Krishna: Overture for Strings (1987) name on the musical map. This breakthrough scale orchestral pieces, and nuanced enough Void, Tranquil and Vibrant, providing the draws inspiration from images surrounding work is in no sense an apprentice piece: the to enhance the repertoire for small forces. sarod soloist with a unique route into each the birth of Krishna and the events leading composer’s fruitful fusion of progressive Virtuosity and simplicity are key aspects of performance as the music shifts from notated up to it. It remains Vir’s only piece to exploit techniques with Indian mythology may have his creative personality, the former placed passages to improvisatory episodes based on serial techniques with rigour. The ‘Krishna paved the way for further development by him at the service of the material and the latter traditional Ragas. row’ consists of the notes G#-A-D#-E-D-C- in other musical forms, but his command of hard won. Bold, life-affi rming passages C#-F#-Fî-G-Bí-Bî and the piece begins with string writing is already fully-fl edged. are juxtaposed with hushed, introspective A particular challenge was the creation of an an inversion of this sequence, heard as a episodes and sequences of technical bravura authentic harmonic language incorporating unison melody representing the inversion of Written at the behest of the cellist Rohan de are countered by sections of limpid clarity. the Indian Raga, which has a powerful identity. natural order in the kingdom of Mathura at Saram, Wheeling Past the Stars, for Soprano His scores might be considered a satisfying To ensure a convincing coordination of the the mercy of the tyrant Kans. At the work’s and Cello (2007) is a cycle of four settings

74 85 of poetry by the Indian poet Rabindranath cello line suggests fi rst a gathering wind and headed being known in Indian and Tibetan bells. The pulse of the music slows down for Tagore, in peerless translations by William then a storm as the tree rises and journeys sacred literature and art as an incarnation the fi nal panel, ‘blue’, which unfurls in a single Radice. Though the four poems were selected with the soprano. A return to earth signals a of Vishnu, associated with knowledge and span organised around a structural polyrhythm for their variety of character and pace, they reversion to the original steady tempo. wisdom. Hayagriva is a protagonist in various and a harmonic fi eld based on fourths. The share some thematic connections, refl ected legends, yet Vir does not tell a story in his material in this section is spare, splintered Vir’s setting of Grandfather’s Holiday is alert to in the composer’s sensitive treatments. piece, preferring instead to explore aspects and sombre, acting as a counterpoise to the playful nature of the text and its nursery- Containing a love poem, a nature poem, one of the character’s supernatural powers. style rhythmic patter. This celebration of the the robustness and self-assurance of the for children and one political in tone, together After a prefatory fl ourish, crowned by a rejuvenating eff ect of the presence of children work’s fi rst panel. In this austere, fragmented the cycle off ers a small but representative Tihai (rhythmic cadence appearing three on older people has a broader meaning, the soundscape, an eloquent melodic line for cor portrait of Tagore. Unfolding in lucid, two-part times), the fi rst main panel is unleashed, ‘holiday’ of the title being a state of mind anglais is adorned by the viola as the lower counterpoint, Vir’s music matches the poems’ grounded by nineteen cycles of seventeen encompassing delight, joy and freedom from strings trace a slow descending glissando, simplicity and directness. beats each in the form of a chaconne with restrictions. The verse becomes increasingly ambiguous and mysterious. A climactic point alternating and complementary harmonic In the substantial opening song, Unending exuberant and carefree and the song is reached in the other wind instruments, fi elds. In this vigorous ‘horse-panel’, ideas Love, the composer was attracted to the culminates in peals of laughter and yelps. followed by strings, and the work fi nishes and gestures fl it past. There are bravura challenge of setting the long lines of each with a small tailpiece: a distinctive twelve- Contrastingly serious in mood, the last song, passages and cadenzas for trumpet, horn verse and, in particular, the need to keep note fi gure quoted from Parade, an early, New Birth is a refl ection of Tagore’s social and piano, while the strings are virtually the music fl owing throughout. Vir saves the unpublished work by Peter Maxwell Davies, conscience. Intense, deeply expressive omnipresent. A repeated rhythmic fi gure is more melismatic vocal writing for climactic repeated freely for a few bars. This quotation moments, such as ‘Clad in the light of a counterpoint between voice and cello an aural representation of the chaconne. The is apt: not only was Vir’s work formulated pole-star.’ Initially the two protagonists have emphasises the gravity of the poem’s unfl agging energy of this section was derived during a visit to Max’s composition studio in contrasting yet mutually enhancing material, humanitarian message. The lines, ‘Infants from the earth-colours of red and crimson and Sanday, Orkney, in June 2005, but Parade but as the song develops the two melodic lines bring again and again / A message of its rhythmic drive rooted in a verse from the and Hayagriva both feature the same three become intertwined and fully attuned to each reassurance’ provides a poignant link with Book of Job beginning, ‘Hast thou given the primary colours in diff erent movements: other so that by the closing bars the soprano is the sentiments of the previous poem and the horse strength? Hast thou clothed his neck echoing the cellist’s glissandi. appearance of words such as ‘star’ and ‘light’ with thunder?’ Red, Green, Blue. contain resonances of the other two poems. In Palm-tree, the central episode depicts a There follows a sparkling bridge passage, © 2021 Paul Conway storm and a fantastic ride far above earth Hayagriva, for a Mixed Ensemble of 15 Players ‘green-gold’ in focus, associated with ‘wheeling past the stars’. In the quick central (2005) was commissioned by the Schönberg compassion, and featuring a duet for harp and section and with great economy of means, the Ensemble. The title refers to a horse- celesta, adorned with steel string and tubular

96 7 Wheeling Past the Stars II. Palm-tree III. Grandfather’s Holiday Song Cycle of settings of poems by Rabindranath Tagore (trans. William Radice) Palm-tree: single-legged giant, Blue sky, paddy fi elds, grandchild’s play, topping the other trees, Deep ponds, diving-stage, child’s holiday; peering at the fi rmament – Tree shade, barn corners, catch-me-if-you-dare, I. Unending Love It longs to pierce the black cloud-ceiling Undergrowth, pārul-bushes, life without care. I seem to have loved you in numberless forms, numberless times, and fl y away, away, Green paddy all a-quiver, hopeful as a child, In life after life, in age after age forever. if only it had wings. Child prancing, river dancing, waves running My spell-bound heart has made and re-made the necklace of songs wild. That you take as a gift, wear round your neck in your many forms The tree seems to express its wish In life after life, in age after age forever. Bespectacled grandfather old man am I, in the tossing of its head: Trapped in my work like a spiderwebbed fl y, its fronds heave and swish – Whenever I hear old chronicles of love, its age-old pain, Your games are my games, my proxy holiday, It thinks, Maybe my leaves are feathers, Its ancient tale of being apart or together, Your laugh the sweetest music I shall ever play. and nothing stops me now As I stare on and on into the past, in the end you emerge Your joy is mine, my mischief in your eyes, from rising on their fl utter. Clad in the light of a pole-star piercing the darkness of time: Your delight the country where my freedom lies. You become an image of what is remembered forever. All day the fronds on the windblown tree Autumn sailing in, now, steered by your play, soar and fl ap and shudder Bringing white śiuli-fl owers to grace your You and I have fl oated here on the stream that brings from the fount as though it thinks it can fl y, holiday. At the heart of time love of one for another. As though it wanders in the skies, Pleasure of the chilly air tingling me at night, We have played alongside millions of lovers, shared in the same travelling who knows where, Blown from Himālaya on the breeze of your Shy sweetness of meeting, the same distressful tears of farewell — wheeling past the stars – delight. Old love, but in shapes that renew and renew forever. Dawn in Āśvin, fl ower-forcing roseate sun, And then as soon as the wind dies down, Dressed in the colours of a grandchild’s fun. Today it is heaped at your feet, it has found its end in you, the fronds subside, subside: The love of all man’s days both past and forever: Flood my study with your leaps and your capers, the mind of the tree returns Universal joy, universal sorrow, universal life, Work gone, books fl ying, avalanche of papers. To earth, recalls that earth is its mother: The memories of all loves merging with this one love of ours — Arms round my neck, in my lap bounce thump – and then it likes once more And the songs of every poet past and forever. Hurricane of freedom in my heart as you jump. its earthly corner. Who has taught you, how he does it, I shall never know – You’re the one who teaches me to let myself go.

118 129 IV. New Birth Param Vir New deliverer – ‘[His] music is resounding in my heart as the Performing Right Society Composition The new age eagerly looks To the path of your coming. messages of great inner wealth. It is like a Prize (London) in quick succession. What message have you brought new idea of beauty and grace and has all the Vir quickly established himself as an opera To the world? In the mortal arena strength and the energy of great art.’ composer with his two one-act operas, What seat has been prepared for you? Hans Werner Henze What new form of address Snatched by the Gods (libretto by William Param Vir was born in Delhi, India. His mother Have you brought to be used Radice) and Broken Strings (libretto by David was a poet and classical Indian vocalist, In the quest for the sacred in humankind? What song of heaven Rudkin), commissioned by Hans Werner his father an electronics engineer and Have you heard before coming? Henze for the 1992 Munich Biennale, What great weapon for the fi ghting of evil mathematician. Vir's formative years at home and directed by Pierre Audi in ravishing were steeped in Indian classical music. He was Have you placed in the quiver, bound to the waist productions for Netherlands Opera. They won introduced to western music through piano Of the young warrior? the composer the Ernst von Siemens Stiftung lessons from the age of nine and composition Will you, perhaps, where a tide of blood besmirches your path, Förderpreis in 1993. Further productions Where there is malice and discord, lessons from the time he was fourteen; this followed at Almeida Opera in 1996 with Construct a dam of peace, timely exposure kindled a passion and vision London Sinfonietta, Scottish Opera in 1998, A place of meeting and pilgrimage? for original creative work which continues and Berlin State Opera and Musikwerkstatt Who can say if etched on your forehead unabated to the present day. Is the secret mark Wien in 1999. Muziektheater Transparant Of the triumph of some great striving? Vir's early compositions in India aroused revived the original Audi production in 2001 in Today we search for your unwritten name: the interest of Peter Maxwell Davies through Antwerp, Rotterdam and Rouen. You seem to be just off the stage, whose strong recommendation Vir moved to Like an imminent star of morning. London in 1984 on an Inlaks Scholarship to Vir’s fi rst full-length opera Ion with librettist Infants bring again and again study with Oliver Knussen (and subsequently David Lan (after Euripides) was commissioned A message of reassurance – with Jonathan Harvey and Randolph by Aldeburgh/Almeida Opera and premiered They seem to promise deliverance, light, dawn. Coleman). He won the Benjamin Britten at the Aldeburgh Festival in 2000, followed by Composition Prize (Aldeburgh), the Kucyna a touring co-production in 2003 with Opéra From RABINDRANATH TAGORE: SELECTED POEMS, translated by William Radice (Penguin, 1985) national du Rhin, the Berliner Festspiele and Copyright © William Radice, 1985. Used by permission of Penguin Books Ltd. International Composition Prize (Boston), the Text adapted slightly with permission for this composition only. Tippett Composition Award (Dartington) and Music Theatre Wales.

1310 1114 With Black Feather Rising in 2008, Vir Other signifi cant commissions include the Raga Fields was commissioned by Birmingham Contemporary Music Group, Fulcrum Point developed a substantial but intimate music- Theatre of Magical Beings and Constellations New Music Project, Chicago and Klangforum Wien. BCMG commission funds provided by theatre piece in collaboration with dramatist for the Birmingham Contemporary Music Arts Council England West Midlands and the following individuals through BCMG’s Sound David Rudkin, based on a Native American Group, He Begins His Great Trance for the Investment Scheme: folktale. These operatic works meanwhile were BBC Singers, …beyond the reach of the Catherine and Derrick Archer Carolyn Fisher Frank and June North interspersed with music for a variety of forces, world… (meditation for cello and percussion) Kiaran Asthana Anne P Fletcher Roy Parker including chamber pieces, larger instrumental for the soundfestival (Scotland), and the song Viv and Hazel Astling Richard Hartree Rosalyn and Philip Phillips ensembles and song cycles. Orchestral works cycles Shine Before My Eyes comissioned by Paul and Jean Bacon Jim Hawkins Alan and Barbara Rickinson created include Horse Tooth White Rock for the the Internationale Beethovenfeste Bonn and John Barnden Gina Hayes Maureen and William Scott BBC Philharmonic (1994) and Between Earth A Kinsman to Danger for Kissinger Sommer. Samantha Bird (In memory of John Hayes) Simon and Claire Scott Edwin Borman Fern Hodges Clare Smith and Sky, the latter inspired by Anish Kapoor’s Work in 2021 continues on Vir’s fi fth opera Alan S Carr Tony Howell William Smith sculpture Cloud Gate and premiered by the Christopher Carrier Bernard and Kate Hughes Michael B. Squires Awakening, commissioned by Theater Bonn, BBC Symphony Orchestra in 2006. The BBC Jonathan Chamberlain Lord Hunt of Kings Heath Nest Thomas to a dramatic poem by David Rudkin. Proms 2013 featured a third orchestral work, Kathryn Cole In memory of Anna Johnson Owen G Watkins the sharply chiselled Cave of Luminous Mind Penny Collier Barry and Frances Kirkham Judith Weir For more information visit www.paramvir.net Simon Collings Amanda Cadman and In memory of Elizabeth Withers with the BBC SO conducted by Sakari Oramo. Alan Cook Peter T Marsh Doreen and Harry Wright Ann Copsey Belinda & Colin Matthews Kath England Judith Matthews

This recording was made possible with support from PRS Foundation Composers’ Fund, the RVW Trust and the Hinrichsen Foundation.

Param Vir and Soumik Datta in Chicago © Stephen Burns

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