KGS0026 TECCHLER’S CELLO FROM CAMBRIDGE TO ROME GUY JOHNSTON Without Prince Jonathan's initial invitation to host friends and supporters for an evening concert TECCHLER'S CELLO in the Palazzo Doria Pamphilj, we would never have embarked on this journey to Rome. Guy Johnston FROM CAMBRIDGE TO ROME King's College and the artists thank the following for their generous support of this recording Peter Biddulph Ltd Sir Simon and Lady Robey Bob and Elisabeth Boas Charles Roskelly 1 Serenity (O Magnum Mysterium) Ola Gjeilo 05:39 Jill and David Bowman James Roskelly 2 Ein Celloleben David Matt hews [World Premiere Recording] 05:32 Nigel W Brown OBE (Stradivari Trust) William Roskelly David and Val Cornes Mike and Katrin Roskelly Ken and Fi Costa Richard & Anna Rothwell Piano Trio in D Major, Op. 70, No. 1 "Ghost" Ludwig van Beethoven Robin Daniels Alan Sainer 3 I. Allegro vivace e con brio 10:30 Jonathan and Veronica Davies David Souden 4 II. Largo assai ed espressivo 11:08 Caroline and Tony Doggart Sir Howard and Lady Rosemary Panter Kate Dugdale Stella Villares, Luisa, Arthur and Caio Franca 5 III. Presto 07:52 John Eatwell Mayri H I Voûte Patrice and Federica Feron Jane Waldfogel 6 Un Regalo Mark Simpson [World Premiere Recording] 06:26 Fernanda Giulini Avenue Nursery and Pre-Preparatory School Gill and David Johnston Harriet's Trust Six Cello Sonatas, Book 4, Sonata No. 4 for Two Cellos in G Major Jean-Baptiste Barrière David and Louise Kaye Ingles and Hayday, sponsoring Roberto González 7 I. Andante 04:31 Mr & Mrs H K Leventis Monjas, Alberto Mina and Ruggiero Sfregola Ms Anna Marra Royal Academy of Music 8 II. Adagio 02:33 Penny Wright and Andrew Neubauer Tarisio 9 III. Allegro prestissimo 02:33 Justin Pearson Anonymous sponsors 10 Perseus Charlott e Bray [World Premiere Recording] 07:55 King's College would also like to thank Accademia Nazionale di Santa Cecilia Melissa Greenwood 11 Adagio con variazioni (P 133) Ott orino Respighi 10:57 Adam Middleton Orchestra dell'Accademia Nazionale Becky Lees di Santa Cecilia Total Time 75:36 British School at Rome Palazzo Doria Pamphilj David Millinger Robin Hawkins Decca Classics Royal Academy of Music Track 1 Guy Johnston, Stephen Cleobury, The Choir of King's College, Cambridge Gabriel Fysh Royal Society of Musicians Tracks 2 & 6 Guy Johnston Gavin Elder Tarisio Tracks 3-5 Guy Johnston, Magnus Johnston, Tom Poster Hatfi eld House Thomas Rozwadowski Tracks 7-9 Guy Johnston, Sheku Kanneh-Mason (appears courtesy of Decca Classics) Jane Howell Wigmore Hall Track 10 Guy Johnston, Tom Poster Track 11 Guy Johnston, Carlo Rizzari, Orchestra dell'Accademia Nazionale di Santa Cecilia – Roma Matt hew Carkeek 3 Trust and the Royal Society of Musicians David Tecchler (c.1666-c.1747) In the months that followed, we performed TECCHLER'S along with some private contributors. I am a small concert in Tecchler's old workshop indebted to all these people who helped to David Tecchler is considered the most (now a garage), opposite where Rossini CELLO acquire such a beautiful instrument, without prominent of the Roman cello makers. composed The Barber of Seville; this was FROM CAMBRIDGE TO ROME whom none of this exciting journey would Originally from the Bavarian town of followed by an evening concert in the have been possible. It extends the cause for Füssen on the northern slopes of the Alps, historic Doria Pamphilj Palace thanks to celebration on this recording! Tecchler journeyed to Rome via Venice the kind permission of Prince Jonathan and Cremona, undoubtedly familiarising Doria Pamphilj. Guy Johnston introduces the journey himself with the great schools of making along the way. He arrived in Rome towards We invited around 50 supporters from the the end of the century, when he was in his UK to some of these wonderful experiences The journey began in 2014 when my cello, late twenties. to help fundraise for this recording. During made in Rome by David Tecchler, turned the visit I stayed above the old workshop, 300 years old. It was important to do There had long been a tradition of German preparing the Respighi for the recording and something special for such a momentous makers travelling to Rome. Well over 200 imagining what it must have been like with birthday, so I commissioned three new luthiers from the 16th century onwards Tecchler working downstairs three centuries works as gifts for the cello. At the same time, worked in Rome, often passing on their ago: quite a spiritual and uplifting experience. I began to imagine taking the instrument trade through the generations. Tecchler on a journey along my own musical roots arrived when a new direction for luthiers In search of a cello back to its birthplace in Rome. This would was evolving: until then, lutes and guitars indeed be a special 300th birthday. were the preferred instruments, but Tecchler Meeting a new cello is, for me, always an seized on an evolving opportunity to create exciting experience. As in any relationship, I came to know about Tecchler cellos through a tremendous output of violins, violas, fi rst impressions are important, and I was my inspirational teacher, Steven Doane, who basses and, primarily, cellos. immediately drawn to this att ractive- has played on one for most of his performing looking Tecchler. career. Many notable cellists, in fact, have Via dei Leutari, the street of the luthiers, is played on these instruments over the centuries based in the district of Parione where the During our "engagement" period, it was including Bernhard Romberg, Beatrice makers worked for their parish Saint Lorenzo important to play the instrument in lots Harrison and Emanuel Feuermann. in Damaso. While laying the groundwork of diff erent circumstances: with piano, in for this project, we were fortunate enough a string ensemble, and in concerto with The Tecchler cello on this recording came to get a foot in the door of number 16, orchestra. It was important for me to sense to me from a musician in Amsterdam in 2010, where Tecchler worked for a time. how the instrument felt and responded in thanks to funding raised by the Stradivari all these diff erent situations. My own instincts 4 5 were confi rmed by positive feedback from my 'cello doctor', and we would try minor Ola Gjeilo (b 1978) trusted colleagues and friends, and I began tweaks: changing the bridge, trying diff erent THE JOURNEY Serenity (O Magnum Mysterium) to get a good sense that this Tecchler cello tailpieces and strings, and tweaking the post. The Choir of King’s College, Cambridge might really be 'the one'. It takes time to understand an instrument, FROM CAMBRIDGE Stephen Cleobury but when it's right, you feel as one. It was, of course, a daunting process – even TO ROME I perform regularly with the Choir at Easter despite the successful fundraising for its This Tecchler cello has both a wonderful and Christmas and recently performed acquisition. Nevertheless, nerves soon turned depth and a clarity at the same time. It Serenity by Ola Gjeilo as part of the BBC to joy, as I began to develop my inner voice challenges me to search for the colours Carols from King's broadcast. It was a with this special cello in the knowledge that that I'm hearing in my ear. Our recording Chapter 1 – King's College memorable experience performing this I wouldn't have to give it back the next day. celebrates not only the tercentenary of the Chapel, Cambridge deeply moving piece during the procession cello, but also its soul that continues to live of the cross towards the altar. King's College The process of developing my sound with on all these years later. I hope that you'll I grew up in a musical family and some of Chapel seemed to be the perfect place in the instrument took some time initially. I hear this shining through in the variety of my earliest experiences of serious music- which to realise Ola's vision for the work – would take the cello to Eckhard Kopfreiter, performances on this recording. making were as a chorister with my brothers in his words: "I wanted to write a cappella at King's. These formative years continue music that has a symphonic, abundant feel. to have a lasting infl uence on my musical I love a warm, lush sound that can give a life and I have been drawn back to this feeling of space and evocativeness, but still spiritual place ever since. be intimate, somehow." 6 7 © Riccardo Musacchio Chapter 2 – Marble Hall, slow movement – found their way into the Hatfi eld House Trio. Following in the footsteps of Haydn and Mozart, the "Ghost" exemplifi es Beethoven's Hatfi eld House has become a musical home willingness to introduce an equal partnership for Tom Poster, Magnus Johnston and me between the violin and cello on the one since I founded the Hatfi eld House Chamber hand, and the piano on the other. The three Music Festival in 2012. We have given instruments are present together right from many performances together as part of the the opening unison gesture, which is explored Festival, including the Ghost Trio in the and developed throughout the movement. Marble Hall the night before recording it. I This energetic rhythmical motive is set in feel that the spirit of that performance has contrast with a beautiful lyrical theme been captured here. revealed by the cello after an unexpected F-natural already in the fi fth bar, stopping Ludwig van Beethoven (1770-1827) this initial outburst in its tracks, and which Piano Trio in D Major, Op.