www.oup.com/uk/music

OxfordmusicnowWinter 2006

28

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Contents ❙ Page 2 Martin Butler’s Brighton residency ❙ Page 3 Howard Skempton’s chamber music ❙ Page 4 Michael Finnissy ❙ Page 5 Gerald Barry and Richard Causton ❙ Page 6 Gabriel Jackson ❙ Page 7 Chilcott and the BBC singers ❙ Page 8Walton and Vaughan Williams from the conductors ❙ Page 9 John Gardner at 90 ❙ Page 10 Michael Berkeley in Denmark ❙ Page 11 Music for Dance and Living Music❙ Page 12 Selected reviews ❙ Page 13 New titles ❙ Page 14 New CDs

Michael Berkeley’s Jane Eyre in St Louis

‘The story is compressed beyond mere telescoping.The score is musically and dramatically intense.’St Louis Post-Dispatch

ollowing on from theAustralian premiere in 2005Michael Berkeley’s opera

Jane Eyre received its US premierethis summer in a production stagedby Opera Theater St Louis.This wasin fact a sort of world premiere as atthe suggestion of the stage directorColin Graham, the composer turnedthe original two acts into one with abrief connecting orchestral interlude,that puts the total running time at ashort, but intense, 80 minutes.Erhard Rom’s set stuck strictly tothe period of the book with highmirrors and a winding staircaseleading to the attic that houses theunstable Mrs Rochester. Ghostlyimages of Thornfield Hall projectedon to the set heightened the gothicatmosphere. Kelly Kaduce and ScottHendricks (whom Graham called a‘dark, brooding actor’) led a strongcast as Jane and Rochesterrespectively, whilst members of theSt Louis Symphony were conductedby Andreas Mitisek, making hisdebut with the company.

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Ken Howard

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Martin Butler’s Brighton Residency

artin Butler took up hisposition as the BrightonPhilharmonic’s first ever

‘Composer in Focus’ in October2006. The orchestra’s GeneralManager, Ivan Rockey, writes onthe two-season tenure, which willculminate in the world premiereof a new orchestral work byButler in 2008:

“We were very fortunate in receiving agrant from a local arts charity for awork to be commissioned for theBrighton Philharmonic. BarryWordsworth (our Music Director andPrincipal Conductor) and I bothadmired Martin’s music and when wediscovered that he lived in Hove heseemed to be the natural choice for thecommission; the premiere of the newwork is scheduled for early 2008.

The position of ‘Composer in Focus’was then created for Martin becausewe wanted our audience to hear someof his music before the new piece was‘unleashed’ on them! I think anaudience responds much more to aworld premiere if it knows something

of the composer’s style in advance andcan better relate to it. Martin will alsobe taking part in some of our regularpre-concert talks, so that he canexplain his music in his own words,and the audience can gain an insightinto the way he works and the way hethinks about his own music.

From the orchestra’s point of view thisalso gives the musicians a chance to getto know a composer’s style. I believean orchestra can give a much moreinteresting interpretation of a work if ithas a greater knowledge of thecomposer’s style (something which isespecially true when giving a premiere).

The works which are programmed forthis coming season are (in my opinionat least!) a wonderful portrait ofMartin’s diverse styles. I have wanted tobe able to programme Dirty Beasts in afamily concert for a long time, since itappeals so well to both adults andchildren, and with a whole animal-themed concert this was too good anopportunity to miss!

The Piano Concertino, whileobviously not as light-hearted as Dirty Beasts, is agood introduction toMartin’s music and havingthe composer as soloist isan added, and extremelywelcome, bonus! So oftenthe only time an audiencesees a composer is whenthey are invited onstage totake a bow after their piece.

To have the composer on stage duringthe piece, giving what must surely bethe most ‘authentic’ interpretationpossible, is a massive step towardshelping an audience identify with him.

Fixed Doubles is a purely orchestralpiece which serves as a fitting‘overture’ for our colourful end-of-season concert.The new work thatMartin is writing for 2008 will also bea concert-opener, although since hehas recently been asking us whether hecan include harmonicas and a toypiano in the orchestral line-up (towhich the answer was an intrigued andexcited ‘yes’) it looks like it is going tobe even more colourful!”

Dirty Beasts and the Piano Concertinowere performed in October 2006,and were broadcast on BBC Radio 3.Fixed Doubles will be performed on25 March 2007, and the new workearly 2008.

Katie V

an Dyck

Composer Birthdays and Anniversaries2007Howard Skempton – 60th birthdayGordon Crosse – 70th birthdayJohn Gardner – 90th birthday

2008Vaughan Williams – 50th anniversary of deathMichael Berkeley – 60th birthday

Pete Jones

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Howard Skempton’s chamber music

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“What a supreme craftsman he is,and how deceptively straightforwardand instinctive his music soundseven when it is constructed withmeticulous care.”

ANDREW CLEMENTS, The Guardian

ebruary 2007 marks the start ofthe celebrations for HowardSkempton’s 60th birthday year,

with two major concerts taking place inLondon that feature his chamber works.

The Schubert Ensemble continueswith its highly successful and revealing‘Composer Portrait Series’ in 2007with a concert programmed byHoward Skempton.William Howard,Artistic Director and pianist of theSchubert Ensemble writes:

“On 8 February the SchubertEnsemble will make its own

contribution to Howard Skempton’s60th birthday celebrations with aconcert at the Purcell Room.This willbe the fourth in our ComposerPortrait Series, which was born out ofthe Ensemble’s long and fruitfulrelationships with several importantliving composers. In addition to twoworks that Howard wrote for theEnsemble a while ago (Party Piece andSpadesbourne Suite) the programme willfeature a new piece for violin, viola,and cello, which has the distinction ofbeing the first ever Schubert Ensemblecommission to omit the piano.Thecompensation for me is to haveanother chance to perform Reflections, abeautiful collection of piano pieces thatHoward wrote for me between 1999and 2002.

My first encounter with Howard’smusic was back in 1988, when Ipremiered a piece for oboe, cello andpiano at the Brno Festival. I was, Iconfess, surprised by the apparentsimplicity of the music, at a time whenI was more used to being confused bythe complexity of new scores. As myfamiliarity with his music grew overthe years, I came to love and respect itsextraordinary integrity andindividuality. I learnt more about howto approach it in performance when Iplayed Images, another collection of

solo piano pieces, many times on stagewith an improvising dancer, varyingthe order and selection of the pieceson the spur of the moment in eachperformance. As with Schubert’smusic, preparation has to bemeticulous, but you cannot fix toomany elements of the performance inadvance, especially tempi.The musicmust exist totally in the moment. Acritic wrote of Reflections:“to play thesepieces needs a purity of soul”. Nowthat is a challenge for us performers!”

http://www.schubertensemble.com

The London premiere of HowardSkempton’s award winning stringquartet, Tendrils, will be given byrevered Canadian group QuatuorBozzini on 11 February 2007 at theBBC Maida Vale Studios. We aredelighted that the quartet will also beperforming Skempton’s Catch in thisconcert, as well as Gerald Barry’s StringQuartet No.1. Tendrils received RPSand British Composer Awards in 2005.Quatuor Bozzini gave the Swedishpremiere of Catch and Tendrils inOctober, and the Canadian premierewill take place in Montreal on 12December 2006.

Adrian B

urrows

Alain Lefort

John Clark

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Michael Finnissy–Composer & Pianist

n June Michael Finnissy waschosen to be ‘Composer inResidence’ at the prestigious New

England Conservatory’s SummerInstitute for ContemporaryPerformance Practice in Boston,Massachusetts. During this week,Michael worked with composers andgave a recital of some his own music, aswell as works by Bernard Stevens,Elisabeth Lutyens, Judith Weir, HowardSkempton, Claudia Molitor, and AndrewToovey. This recital was reviewed in theBoston Globe by Richard Dyer:

“The British composer-pianist turns 60this year, but he’s still a maverick. Hisrecital for New England Conservatory’sSummer Institute for Contemporary

Performance Practice offered a briefsurvey of his life in music. It beganwith three pieces he wrote betweenthe ages of 12 and 14 and ended with ahomage to Satie, ERIK SATIE, likeanyone else which he composed in 2002.In between came short works by twoteachers and mentors, Bernard Stevensand Elisabeth Lutyens, and album leavesby colleagues, friends, and students.Even at 12 Finnissy had an unusualmind. Two Mazurkas are rescued fromconventionality by the fact that the rightand left hands are playing in differentkeys; the slightly later Romance (withIntermezzo) stands in the narrow territorybetween late Brahms and earlySchoenberg. The tribute to Satie, atabout 18 minutes, was the longestpiece on the program.The model hereis not any of the composer’s hit paradepieces, but instead the elegant andrelatively little-known Socrate and theNocturnes. Much of the music consistsof slow, quiet, two-part inventions inthe right hand, supplemented fromtime to time by more in the left. Pausesare significant as the music gradually

speeds up, develops a more complextexture, and a more playful mood.

“Finnissy is an amazing pianist,commanding a full spectrum of colors,textures, and dynamics which hedeploys in a very subtle way, evenwhen he is pounding the keyboardwith green-socked hands. He offered asingle encore.“It’s by Gershwin,” hesaid,“not me. It’s Swanee - or it was.”Finnissy’s version, dense incounterpoint, rich in harmony, andravishingly played, finds in it music ofnostalgia, regret, and profound sadness.”

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Images from ‘The Finnissy Weekend’, 23 – 24 September 2006, which celebrated thecomposer’s 60th birthday. Performers included EXAUDI, Plus-Minus, IXION, andMichael Finnissy on piano.

Michael Finnissy’s new song cycleWhitman will receive its world premiereat this year’s Huddersfield Festival ofContemporary Music, following thecancellation of this premiere in 2005.Kirsten Blaise (soprano) and NicHodges (piano) will give theperformance at 5pm on 23 Novemberin St. Paul’s Hall.

Michael Finnissy, Jonathan Powell and windquintet following a performance of PianoConcerto No. 7

Michael Finnissy with the ‘Finnissy Weekend’organisers and conductor James Weeksfollowing the concert given by EXAUDI inSt. Paul’s Church, Knightsbridge

Michael Finnissy after his dazzling solo recitalof English Country Tunes

erald Barry has justcompleted a brand new oneact opera for soprano and

orchestra, which sets to music the 19thcentury play La Plus Forte by AugustStrindberg. The work will be given itspremiere by the Philharmonia underThomas Adès, with Barbara Hanniganin the solo role, at the 2007 Paris‘Présences’ Festival next February.

Gerald Barry writes:

Strindberg wrote La Plus Forte (TheStronger) in December 1888 - January1889, as part of the repertoire for hisExperimental Theatre in Copenhagen.Like all his plays it is based on fact.Since his marriage to the actress Sirivon Essen he had had various flirtationswith other women. The part ofMadame X appears to be based mainlyon his wife Siri, and that ofMademoiselle Y (Amelie, a non-speaking role) on the actress HelgaFrankenfeldt, who Strindberg hadgiven up seeing in 1882 after she hadinsulted Siri at a party.

In La Plus Forte a traumatic encounterbetween the two women takes place ina cafe on Christmas Eve. Madame X,friendly and wary at the beginning,

gradually becomes vulnerable and thenviolent as it dawns on her thatMademoiselle Y had possibly had anaffair with her husband. To her horrorshe realises that this was why herhusband had chosen the name Eskil fortheir son (it was Mademoiselle’s Y’sfather's name) and had chosen for hercertain colours, authors, food, drink,because these were the favourites ofMademoiselle Y. She feels possessedand is filled with loathing. But in theend she says that she is the strongerbecause she did not run away, shestayed, but that Mademoiselle Y is nowalone, and bitter.

“Thank you for teaching my husbandto love! Now I am going home, tolove him.”

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Gerald Barry at the Présences Festival

ichard Causton has written anew choral work for uppervoices and four instruments

entitled Three Riddles. The work wascommissioned by the New LondonChildren’s Choir, who will give thefirst performance at their concert withpercussionists O Duo on 9 November2006 at LSO St Luke’s, London.

Fran Flowers, Choir Manager of theNLCC writes:

Causton is one of the most original ofthe younger generation of composersworking in the UK, bringing a balance

of stylistic influences together in alanguage that is immediate, emotional,engaging and challenging. He has set anumber of texts for solo vocalists, andthe choir has been looking for anopportunity to commission a workfrom him for children’s voices for anumber of years.

Richard Causton was approached to write a new piece for the choir,with flexible instrumentation,which could then beperformed in a variety ofspaces with or without piano.As Causton says: ‘I have longbeen an admirer of thepioneering work that the NewLondon Children’s Choir hasdone in commissioning andperforming new music at thehighest level.’

Three Riddles will also be performed atThe Aldeburgh Festival in summer2007.

For more information, please contact Fran Flowers: 020 7823 5523 ornlcc@nlo.co.uk

www.newlondonchildrenschoir.org.uk

Clive B

ardaS

teve Pyke

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Richard Causton

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Jackson’s Sanctum est verum lumenon tour

• In partnership with the CBSO,Worcestershire Arts Education has commissioned a new work for youth choir and orchestra from Chilcott,which will be premiered on 4 March 2007 in Symphony Hall. Butterfly’s Son is a fantasy that reflects on the thoughts and life of a young boy, bornto a Japanese mother and an Americanfather, growing up in San Francisco inthe Jazz Age.

• Gabriel Jackson has been invited to write a new work for the Choir of Wells Cathedral and Matthew Owens,as part of its ground-breaking Cathedral Commissions project in 2007.

• Oxford has signed US composer Mack Wilberg as a house composer.Mack will be appearing as a presenter at the 2007 ABCD conference. Moreto follow in the next issue of Oxford Music Now.

• In 2007 Oxford will be launching a monthly e-mail bulletin for all non-professional orchestras. By signing up to receive this bulletin you will receive new repertoire ideas as well as access to promotional offers on hire music from OUP. Sign up by sendingyour name and contact details to repertoire.promotion.uk@oup.com,with ‘email bulletin’ in the subject box

Zhou LongInternational performances continue tobuild for Zhou Long, his worksbecoming a regular part of therepertoire of ensembles and orchestrasthroughout the USA, Europe and hisnative China. He has a busy schedule ofcommissions over the next few yearsthat includes new works for theWestfield Symphony, the Network forNew Music (Philadelphia), the SyracuseChildren’s Choir and a Flute Concertofor the Pacific Symphony Orchestral,who championed Zhou Long’s musicon their recent European Tour.

he National Youth Choir ofGreat Britain took GabrielJackson’s motet in forty parts,

Sanctum est verum lumen, on tour withthem across Central Europe in August,culminating in a tour reunion concerton 16 September, and recording on 17September for the Delphian label.

Director Mike Brewer told us: ‘TheNational Youth Choir members werethrilled by “Verum Lumen” from dayone of rehearsal. It was exciting toexplore different sound colours foreach section of the piece, and to takeadvantage of the variety ofcombinations of the 40 voices.Thespatial effects were glorious.’

Sanctum est verum lumen was written asa companion-piece to Spem in alium tocelebrate the Tallis quincentenary.Jackson explores a variety of ways ofcombining the forty voices: there aremassive contrapuntal tuttis, antiphonalexchanges between groups of singers,huge monolithic chords, and an ‘übergimel’ for the eight sopranos alone.Thepiece is essentially about light, and thetext, though funereal in origin, isradiantly optimistic and invites avariety of ways of evoking that sense oflight in music – from gentle luminosityto fiercely dazzling brightness.

Links:www.nycgb.net,www.delphianrecords.co.uk

Katie V

an Dyck

T

News

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Chilcott and the BBC Singers

ob Chilcott spent twoweeks this summerdirecting the BBC Singers

in a recording of his music forrelease next year.We asked MichaelEmery, Senior Producer of theBBC Singers, to tell us about Bob’sspecial relationship with the choir:

“We are fortunate to work with someof the finest conductors on theinternational choral scene.All of thembring to the Singers a passion for theirwork, varied areas of expertise, anddifferent repertoire interests. But youalways know that a week with BobChilcott will add to these an extraingredient: fun. Bob’s been our PrincipalGuest Conductor for four years nowand the weeks when he works with theBBC Singers are always marked bythose qualities which anyone who’s hadthe privilege of being conducted byhim will instantly recognize: enthusiasm,friendship, a wonderful ability tonurture those with whom he works -and all underpinned by a passionatebelief in the value of singing togetherand the ability to communicate with anaudience through great music-making.Recording projects include a survey ofBob’s own choral music which will beused as the basis of a profile of him inBBC Radio 3’s weekly specialist choralprogramme The Choir, to be broadcastin Spring 2007, and released as a CD on

the Signum label later in the year.

And latterly, through the BBC Singers’ongoing programme of outreach andeducational work (which is – dare I sayit? – unrivalled on the UK choral scene,embracing as it does work with childrenand adults, amateurs and professionals,from all backgrounds and sectors ofsociety) we’re seeing Bob in a mentorialrole, something for which his patient,genial and easy personality makes himbrilliantly equipped.

Of course, most people will know Bobbest as a composer – one of greatpracticality with a highly realistic senseof what’s possible, what’s effective, andhow best to make it work. Last Spring,as I compiled the programme for theBBC Singers’ first tour of Japan, itbecame clear that we needed a reallybrilliant show-stopping finale to end thesecond half. Having put the programmetogether as a bird’s-eye-view of fivecenturies of British choral music, itseemed to me that it would be fun tofinish the concert with a piece dealingwith a characteristically Britishobsession: the weather. Bob took up thecommission with alacrity, disappearedoff to his composing-desk, and severalweeks later delivered Weather Report – asetting of traditional words, compiledand assembled in typically witty fashion,coupled to irresistibly jazzy music. It has

to be said that it’s not a piece for thefaint-hearted – it’s a sort-of virtuosochoral toccata – but for choirs who areup for a challenge it’s a terrific piece,and brought the house down in Japanevery time we performed it.

In December this year, Bob willconduct the BBC Singers in BBCRadio 3’s contribution to the annualday-long series of seasonal concertspromoted by the European BroadcastingUnion: Christmas across Europe. It’ll bebroadcast on BBC Radio 3 on Sunday17 December, but our concert will berecorded the day before, at 6pm in StGiles’ Church, in London’s Barbican.The theme of the concert is theconnection between English and Frenchmusic for Christmas (stronger than youmight think: many carol tunes whichwe reckon quintessentially English arejust as well-known on the other side ofthe Channel). Bob’s promised to writeus a new piece which will link thesethemes together.

A new CD sampler of Chilcott’s music isavailable on request – see p 15 for details.

B

Bob Chilcott directs the World Youth ChoirThe Making of the Drum forms thecentre-piece of the 06/07 wintersession’s programme for the World YouthChoir, ‘Sing we and chant it’.

In the last issue of Oxford Music Now webrought you news of Bob Chilcott’sprestigious invitation to direct the Choir,which is an exciting artistic and culturalcollaboration between the International

Federation for Choral Music, EuropaCantat, and the Jeunesses MusicalesInternational, involving the choralorganizations of over fifty countries.

The Choir will tour Belgium, France,and Germany in early January 2007.Thefull winter itinerary and programme isnow available to view online atwww.worldyouthchoir.org.

05/01: Centre Culturel les Roches,Rochefort, Belgium

06/01: Limburg, Germany07/01: Church of Sombreffe, Belgium10/01: Church of St Loup, Namur,

Belgium11/01: Mannheim/Ludwigshafen,

Germany13/01: Pont-à-Mousson, France14/01: Auditorium, Epinal, France

Sophie Laslett

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The DetroitSymphony Orchestrawill give 4 perform-ances Walton’s Partitafor orchestra in Mayand June 2007, underthe baton of Leonard

Slatkin. Slatkin also conducted Partitawith the National Symphony Orchestrathis year. He writes:

The first musical memories mostchildren have are of the songsheard by the cribside, or what wasbeing listened to by their parents.I had a resident string quartet inmy house and among the very firstpieces they played was the A minorQuartet by Walton. The composereven came to the house to helpsupervise the performance andsubsequent recording. The beauty

and energy of this piece alwaysstayed with me and so fromalmost a womb state, I wasenticed into his musical world.

Given the way in which hechanged the face of British musicearly in his compositional career,it is easy to look at some of hislater works as slightly lighterpieces. But it is hard to imaginethe likes of the 2nd Symphony,Cello Concerto or Partita as beinglesser in stature as thosegroundbreaking opuses. Waltonbegan to develop relationshipswith orchestras and artists livingin America. Perhaps because ofthis, some of his later musicindulges in moments of almostjazz-like rhythmic and melodicstructures. Certainly a work likethe Partita should be performedmore often, simply because it hasa universal musical appeal.

But like with most of Walton’smusic, there are a lot of notes. It isnot easy music in that sense. Apiece like the Hindemith Variationsrequires a virtuoso orchestra of thehighest calibre. But ultimately,these later pieces yield a great senseof satisfaction as well as introducingaudiences to a composer who is atonce accessible but with a veryindividual style and sound.

Walton would go on to make anexpanded version of his Quartet forfull string orchestra. As I satquietly on the steps, listening to myparents play the original version, itnever occurred to me that it wouldbe possible for another youngperson to hear this work in adifferent way. Perhaps this will be afirst listening experience foranother budding conductor. In anyevent, Sir William’s musical world isvery special and one journey verymuch worth taking.

Walton and Vaughan Williams:From the conductors

Steve J S

herman

Pittsburgh S

ymphony O

rchestra

Leonard Slatkin on Walton

2008 marks the 50thanniversary of thedeath of VaughanWilliams. Since 2004,conductor and violinistPeter Oundjian hasforged a committed

path in leading world class performancesof the Fourth and Sixth Symphonies, theFantasia on Greensleeves, and Dona NobisPacem, with orchestras including thePhiladelphia Orchestra, and the Detroit,St. Louis,Toronto, and San FranciscoSymphonies. The Detroit Symphonywill give a performance of the Sixth inMay 2007. Oundjian writes of his early

experiences of Vaughan Williams’ musicwhilst a pupil at the composer’s almamater, Charterhouse:

1972 was an important year for themusic of Vaughan Williams.As is sooften the case, it takes a centennialcelebration to bring a great artist’swork to the attention of a largeraudience. 1972 happened also to bethe centennial of celebration of theschool’s relocation from London toGodalming in Surrey.As a 4th yearmusic scholar at Charterhouse, aschool with a magnificent musicdepartment, I was immersed inperformances of many of VaughanWilliams’ greatest works, includingthe Sea Symphony, Pilgrim’s Progress,the Tallis Fantasy, Serenade to Musicand The Lark Ascending which I also

played at Down Ampney at aspecial celebration.The power andbeauty of his music wasoverwhelming for a 16 year old.

In recent times I have discovered apassion for the darkness and densityof his middle period pieces, theFourth and Sixth symphonies andDona Nobis Pacem, and regularlybring these pieces and others toNorth American listeners.

The significance of hiscontribution to our world cannotbe underestimated; a contrapuntalgenius with a profoundunderstanding of dramatic pacingand spiritual beauty and apowerful influence on many, bothof his generation and the next.

Peter Oundjian onVaughan Williams

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John Gardner at 90

ohn Gardner will celebrate his90th birthday on 2 March 2007.Here, his son Chris has provided a retrospective on his father’s

compositional career:

John Gardner is sometimes thought ofas a Mancunian, but his birth inManchester on 2nd March 1917 wasmerely the result of a quirk of familycircumstances. He was in fact broughtup in the North Devon town ofIlfracombe. Gardner began composing atthe age of six, and by the outbreak ofwar in 1939 he had more than 30juvenile opuses to his name. OUPpublished the Intermezzo for Organ in1935 and the anthem The Holy Son ofGod Most High in 1938. His Rhapsody forOboe and String Quartet attractedattention with a performance at theWigmore Hall in 1935, and the StringQuartet No.1 was performed andbroadcast by the Blech Quartet shortlybefore the outbreak of War.

During the War he served in the RAF,firstly as a bandmaster and then as anavigator. Opportunities to composewere few and far between, and it waswith some relief that he settled down towrite the Symphony No.1 in D minorOp.2 between 1946 and 1947. Barbirolliintroduced the Symphony at the 1951Cheltenham Festival where it caused aminor sensation. It was generally agreed

that rarely had a previously unknowncomposer made such an impressivedebut. Other major works followedincluding Cantiones Sacrae Op.12 at theThree Choirs Festival in 1952, and thePiano Concerto No.1, Op.34 at the 1957Cheltenham Festival. In 1957 hecemented his early reputation with theopera The Moon and Sixpence which hadits premiere at Sadler’s Wells.

John Gardner’s compositional stylereflects a deep understanding and loveof the music which preceded him. Hehas a remarkable contrapuntal skill, anda real gift for melodic invention. He issometimes influenced by jazz, and hismusic sometimes has echoes of thebaroque. His best music is witty,inventive and highly memorable. He hascomposed prolifically throughout hiscareer, almost exclusively tocommission, whilst also teaching at theRoyal Academy of Music, MorleyCollege and St Paul’s Girls’ School. In1976 was made a CBE.

He is best known for his choral music.His most important choral work isprobably ‘A Latter Day Athenian Speaks’,a 15 minute unaccompanied work to atext by Christopher Scaife. Louis Halsey,who conducted the first performance in1962, described it in the Musical Timesas “a robust and chunky work, toughand energetic, but so firmly based ontriads that there is no particular problemover pitch intervals.”

The Five Hymns in Popular Style Op.54,dedicated to Malcolm Williamson, wereat one time Gardner’s most popularwork.They were a deliberate attempt to“lower the brow” of the Church.“Inthese five hymns I have beeninspired…by the wonderful poetry ofBishop Heber, Henry Lyte and Mrs.Adams, so full of simple profoundthoughts, expressed in language which isboth noble, evocative and memorable.Popular art in the best sense, in fact!”.Ever the practical composer, Gardner

wrote these hymns for youngperformers but they work well withadults, and can be performedsuccessfully by many differentcombinations of vocal and instrumentalresources.

A much later work, The Burns Sequence,Op.213 is an absolute delight.As withmany of his larger choral works, themovements are a collection of pieceswhich work well as a group but can alsobe performed separately. In Oh Whistleand I’ll Come to Ye you will find one ofthe most catchy and memorable of allGardner melodies, and both this andWill ye go to the Indies my Mary? stand in their own right as charming choralsongs.

2007 will see two important CDsrelease.The long-awaited commercialrelease of the Symphony No.1 in D minor,Op.2, coupled with the Piano ConcertoNo.1 in B flat Op.34 will be on NaxosRecords in performances by the RoyalScottish National Orchestra, conductedby David Lloyd-Jones, with PeterDonohoe as soloist.Toccata Classics willbe releasing a choral CD comprising ALatter Day Athenian Speaks and theCantata for Easter, performed by theGuildford Camarata conducted byDavid Wordsworth.The CD will alsoinclude a re-release of the splendidperformance of A Burns Sequence by theScottish National Youth Choir,conducted by Christopher Bell.

For more information about JohnGardner and a complete catalogue ofworks please visit his website:-http://www.johnlintongardner.co.uk

J

OxfordMusicNow

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Michael Berkeley in Denmarkichael Berkeley was chosento be a ‘featured composer’at this year’s Holstebro

International Musikfestival - “KlassiskeDage 2006”, which, in its second year,took place in Holstebro, Denmark, inNovember. Flautist Janne Thomsen,with whom Michael has enjoyed a longstanding collaboration, explains whyshe invited Michael to the Festival:

I first met Michael about 6 years ago whenI was invited to play at the CheltenhamFestival, and I did a first performance in aGerman festival of a wonderful piece thatMichael wrote for flute and harp. As Ihave these past years been searching forworks for solo flute, Michael then agreed tolook at and perhaps revise a piece for solo

flute that he had done in earlier years. I amdelighted to say that it has now turned intoa completely new piece, ‘Inner Space’. I verymuch appreciate the collaboration withMichael and it has been a great privilege tobe able to work closely together on this piece.I am delighted to give this first performance,which will be broadcast by the Danish Radio.

The Festival’s final concert featured anew version of Touch Light, in whichviolin and flute took the place of thesolo voices the work was originallywritten for, accompanied by the Stringsof the English Chamber Orchestra.Janne Thomsen reports that “It’s a mostwonderful work which in fact rarelyleaves its place on my hi-fi at home.”

Several other works by MichaelBerkeley were performed at theFestival, which also featured a talk bythe composer: The first performanceof Inner Space for solo flute, played byJanne Thomsen, La Veillleuse, performedby Priya Mitchell, violin, and MauricioVallina, piano, and Ensemble MidtVestperformed Michael’s wind quintetCatch Me if you Can.

The Festival is situated in Holstebro inJutland, and ran from 9 - 12November.As well as music, theFestival shows films, street parades,sound installations, master classes,student concerts, children’s concertsand exhibitions. www.klassiskedage.dk

News from the USANew opera from Libby Larsen

Libby Larsen writes:What is rogue genius?How does a culturenurture its brilliantminds? Why suchromance and sport inwitnessing the self-

destruction of genius? Muse to thesequestions,American writer Jack Londonis the centrepiece of Libby Larsen’s newopera, Everyman Jack, (libretto: PhilipLittell; commission: Sonoma City Opera)which receives its world premiere runNovember 11-18, 2006 in Sonoma,California.

The opera’s subject concerns Everyman’sstruggle to live life to full potential whiledealing with chemical addiction, told byJack London in his autobiography JohnBarleycorn. Born in San Francisco in1876, London grew up witness to aworld in transition. America in the late1800s was a battleground forunscrupulous tycoons and robber barons.

In music, the Victrola and fledglingwireless radio telegraphy injected asudden melange of music fromcomposers Scott Joplin,Victor Herbert,John Philip Sousa and EdwardMacDowell, mixed with Vaudeville acts,church choirs, folk music and classicalEuropean music, into the culture.

Jack London absorbed all, living a hand-to-mouth existence as an oyster pirate,deep-sea sailor, hobo,Alaskan prospector.But most important of all Jack London’sadventures was his struggle to become awriter.Without guidance, writing underalmost impossible circumstances, for themost part educating himself, and facedwith continual economic hardship, hebecame the highest paid, most popularnovelist and short story writer of his day.

Presented by the Green Music Festival,Everyman Jack stars Rodney Gilfry asJack London, Jennifer Lane as CharmianLondon, and featuring John Duykers(Man), Susan Narucki (Woman), IlanaDavison (Girl) and Brad Bradshaw (Boy)with Earplay, San Francisco’s premiere

new music ensemble, Mary Chun,conductor, Joseph Graves, director,Margaret McKowen, costumes, NanZhang, lighting.

Hilary TannHilary Tann was guest of the ChamberMix Ensemble and Stanford University inOctober. Her residency includedrehearsals with three different orchestras(Oakland Civic Orchestra, Berkeley HighSchool Orchestra, and Palo Alto ChamberOrchestra), guest lectures at LickWilmerding High School and Stanford,two chamber music concerts (SanFrancisco Community Center andStanford’s Campbell Recital Hall), and aperformance of “Water’s Edge” for stringorchestra at Stanford’s DinkenspielAuditorium. Chamber Mix gave theWest Coast premiere of“The Gardens of AnnaMaria Luisa de Medici”(for flute, cello, piano)last May and continuesto champion HilaryTann’s work.

M

Lawrence W

hite

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Music for Dance from Oxfordust launched is our new catalogue‘music for dance and ballet’. Fullyupdated with comprehensive

information on all of the ballet anddance works in the Oxford catalogue,we have also included for the first timea separate section highlightingparticular composers choreographersmight want to consider when creatingnew dance works.

Oxford’s prestigious catalogue of housecomposers includes Vaughan Williams,Constant Lambert, and William Walton,all of whom played a major role in thecreation of an English ballet tradition –alongside some of today’s leadingcomposers from the UK and aroundthe world. Over the years the music ofour house composers has attracted the

attention of leading choreographers,resulting in some strikingcollaborations for the stage.

We offer a free consultancy service forany choreographer looking for theperfect music for their next danceproject. We would be delighted tomeet, by appointment, with anychoreographer in our offices inLondon, Oxford, or New York todiscuss collaborations with ourcomposers and their music, and onrequest we can supply sampler CDs ofthe music we publish. Contact WillHarriss, Promotion Manager, for moreinformation and to arrange a meeting.The ‘music for dance’ website can befound atwww.oup.com/uk/music/dance.

J

Oxford launches

xford is proud to announcethe launch of ‘Living Music’,an innovative new scheme

for amateur and youth orchestras.

The aim of Living Music is toencourage the performance by non-professional orchestras of recent workswritten by Oxford’s ‘house’ composers.We’ve selected fourteen outstandingworks composed within the last thirtyyears, and any non-professionalorchestra (based in the UK) whoprogrammes one or more of theseworks will benefit from substantiallyreduced hire fees. Participatingorchestras will also have access to otherpromotional offers from OUP. Fororchestras based in countries where wehave agency representation, pleasecontact your local agent for more details.

The featured works are:

Michael Berkeley: Meditations;The Romance of the Rose;Touch Light

Bob Chilcott: Tandem

Edward Harper: Chanson Minimale

Alun Hoddinott: Investiture Dances

Libby Larsen: ‘One Dance, ManyDancers’; Overture for the End of aCentury

William Mathias: Celtic Dances

John Rutter: Distant Land; FiveMeditations for orchestra

Howard Skempton: Lento

Hilary Tann: From the Feather to theMountain

Zhou Long: Chinese Folk Songs

The featured works have all beenchosen with non-professional orchestrasin mind - they vary in difficulty andduration, but they are all exciting to playand rewarding to listen to.

To discover more information on eachwork and composer, please visit theLiving Music website:

www.oup.com/uk/livingmusic.We have also produced a free CDsampler to accompany this scheme; toreceive your copy please email WillHarriss, Promotion Manager, atrepertoire.promotion.uk@oup.com

O

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Selected concert reviewsBerkeleyJane EyreOpera Theater of St. Louis,June 2006

“The score is musically and dramaticallyintense…Berkeley’s score effectivelyconveys Thornfield’s menace, its hiddenmistress’ madness, Mr. Rochester’sanguish and Jane’s evolving emotions.It opens effectively with the low windinstruments and builds spikily to theclimax.

Berkeley quotes briefly from Britten’s“The Turn of the Screw” and frequentlyfrom Donizetti’s “Lucia di Lammermoor.”Baritone Scott Hendricks broodednicely and sang strongly and withpresence. Mezzo-soprano ElizabethBatton as Bertha Rochester made therole her own, with a rich, dark voiceand edgy air of madness.As Mrs.Fairfax, mezzo-soprano RobynneRedmon made clear both thehousekeeper’s essential decency and herrole in Rochester’s deception. SopranoAdele Reiter sang sweetly as Adele andmade a convincing child.”SARAH BRYAN MILLER, St. Louis Post-Dispatch

CaustonSaraband/The Way the WorldEndsBritten Sinfonia,Aldeburgh Festival 2006

“An imaginatively written pair ofminiatures for string orchestra each ofwhich has a powerful emotional tug andsuggests Causton should mine this seamfurther.”MATTHEW RYE, Telegraph

FinnissyFavourite PoetsThe Chanctonbury Chorus, June 2006

“A remarkable work, full of vocal andinstrumental colour, striking inventionand musical architecture. Finnissy cleverlyset the words of seven “Favourite Poets”,including Edward Carpenter,WilliamMcGonagall and Vladimir Smolenskii.The very first setting had some magicallyshifting melodic lines for choir with off-stage interjections from solo horn andviola. There was some ravishing choralwriting and singing… delicate harparpeggios and gentle string pizzicatos.”JOHN ALEXANDER, Shoreham Herald

PhibbsTenebraeSt.Alban’s Bach Choir,April 2006

“In more than 50 years of concert-going I cannot remember an event thatmore electrified an audience than theworld premiere of Joseph Phibbs’Tenebrae. For the unaccompanied choir,Phibbs used words from the Latin Masswhile the main choir and orchestra wasprovided with settings of one modernpoem, David Gascoyne’s ‘The UncertainBattle’, and three 17th-centurymetaphysical pieces.Although theopening bars, an unaccompanied Kyrie,brought instant thoughts of the music ofSir John Tavener, they were dispelledwith the wonderfully-brassy and hard-sounding setting of The UncertainBattle.The deep and sombre setting ofHenry Vaughan’s ‘The World’ contrastedwell and the fast, staccato of HenryKing’s ‘Sic Vita’ added huge excitementto the work which concluded with anexquisite setting of Phineas Fletcher’sverse which begins ‘Drop, drop slowtears’.Written specifically for the choirand St Albans Abbey, the piece wasthoroughly exciting.”JOHN MANNING, Herts Advertiser

“So many good things arose from thisimaginative action, not least an unusualrequest for both Bach Choir and off-stage (Abbey Singers and Lay Clerks;director Simon Johnson) choirs, togetherwith solo high soprano and smallorchestra, Sinfonia Verdi. Merely a lookat the total text attracts interest, andPhibbs has added a thrilling composer’sdimension. The composer was wellpleased, the work deserves moreperformances, and quickly, after thissignificant world premiere.”JOHN WESTCOMBE, St.Albans Observer

SkemptonAnd there was War in HeavenOpus Anglicanum, September 2006

“And there was war in Heaven wasconstantly imaginative. It embracedshifting drones, uneasy interplay ofsemitone and tones, slurs almost likequartertones, and at one stage whatsounded like Skempton’s own pared-down version of Arvo Pärt’s rockingtintinnabuli technique.”RODERIC DUNNETT, Church Times

LentoBBC Concert Orchestra, October 2006

“Howard Skempton’s Lento was playedwith almost Wagnerian gravitas, drawingus inexorably into its world ofresignation, grief and consolation. It's abeautiful work, and deservedly popular.”TIM ASHLEY, The Guardian

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New titles BerkeleyShooting StarsFor symphonic wind ensemble 4’ (can act as a prelude for Slow Dawn)Score and parts on hire

Slow DawnFor symphonic wind ensemble 8 - 9’Score and parts on hire

Touch LightSoprano and counter-tenor soloists (or violin and flute), & string orchestra6 – 7’Score and parts on hire

CaustonPoems Almost of this WorldUnaccompanied solo female voice8’9780193356030

Saraband / The Way the World EndsString orchestra (min 7.5.3.3.2)5’Score and parts on hire

ChilcottThe Dove and the Olive LeafSATB, sop sax/clarinet, strings6’9780193869080

The Face of PeaceSATB, brass ensemble, and percussionScore and parts on hire9780193356856

A Little Jazz MassSATB, piano, optional bass & drum kit12’97801934332811

Missa ‘Cantate’SA(T)B & optional piano9780193356382

Remember, O thou manSATB & piano9780193356351

So fair and brightSSA & piano9780193356870

To those who matterSATB, upper-voice choir & piano9780193857520

The Skye Boat SongSSA & piano2’9780193356719

Weather ReportSSAATTBB unaccompanied9780193356443

White waves on the waterSSA (with divisions), piano, flute9780193356887

You Are My GodSATB & piano9780193356405

FinnissyBrighton!Solo tenor and string quartet10’9780193355965

Favourite PoetsSop. Solo, SATB, chamber orchestra (2 hn,hp, org, timp, vln, 2 vla, 2 vc, cb)30’Score and parts on hire

Magnificat and Nunc Dimittis ‘St PancrasService’SSATB choir or soloists, unaccompanied10’9780193356016

JacksonEdinburgh MassSATB (with divisions) unaccompanied13’9780193356191

LM-7:AquariusSaxophone quartetScore and parts on hire

Now I have known O LordSATB (with divisions) unaccompanied7’9780193355538

Sanctum est verum lumen40 part choir, unaccompanied10’Score and parts on hire

The following titles by Gabriel Jackson are now availablefrom Oxford University Press

LarsenAn Introduction to the MoonSymphonic winds, tuned water glasses,amplified voice9780193868960

Natus est EmmanuelSSAA unaccompanied9780193865730

RutterAve MariaSATB & piano9780193356634

Winchester Te Deum97801933568947-8’Vocal score on sale; orchestral material on hire

SkemptonAnd there was war in heavenATTBB solo voices unaccompanied5’9780193356085

WaltonMusic for Brass – ‘Walton Edition’9780193683198

Symphony No. 2, full score - ‘Walton Edition’27’9780193683198

AngelorumSolo piano8’9780193356825

Clarinet Quintet:In Prairial andThermidorClarinet & stringquartet19’9780193356818

Comerah LitaniesSolo organ10’9780193356771

EurydiceSolo clarinet9’9780193356801

Rhapsody in Red2 pianos17’9780193356849

Rhythm and BluesSaxophone quartet14’9780193356795

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BerkeleyAbstract Mirror, Magnetic FieldChandos CHAN10364

“In Abstract Mirror there’s a special richness aboutthe two cellos throughout and the parallel sixthsat the opening.The dramatic contrasts here andin Magnetic Field are consistently eloquent.”The Gramophone

“Berkeley knows how to generate intense passionin the fabulous falling, wailing finale (of MagneticField).”Sunday Times

“A sonic spectacular for the ensemble (MagneticField)… There is an eastern European flavour tomuch of the material, with deeply felt, Janacek-like ‘speaking’ lines and figures emerging withreal eloquence, and towards the end a spare,rather resignedly melancholic music sets in whoseexpressive stance is reminiscent of the lateShostakovich quartets… an absorbing work.”International Record Review

ChilcottSongs and Cries of London Town,TheMaking of the Drum,The Runner, Canticlesof Light, My Prayer,The Shepherd’s Carol,God so loved the world,And so it goesChamber Choir of Europe/Matt NicolBayer-records BR 100 342

The isle is full of noises‘Leith Hill Music Festival: Centenary 2005’Herald HAVPCDLH 2006A

Irish Blessing‘Inspiration’Canterbury Cathedral Choir/David FloodYork Ambisonic YORKCD 192

CaustonSeven States of Rain Darragh Morgan and Mary DulleaNMCD108

“Best of all is the large-

scale, engrossing narrative from Richard Causton.It moves from an arresting pizzicato studythrough five more ‘states of rain’ to reveal a pianocoda of Messiaenic peace. Endless grey rain (toquote the composer) has never sounded morecomforting.”The Strad

“Richard Causton surveys rain in a compendioussequence involving violin and piano separately orcombined – and ranging from intricate pointillistinterplay, via eloquent melodic writing, to choralesthat evoke a monochrome consistency, the wholepursues a cumulative arc of intensity that makesabsorbing listening irrespective of the subject.”Sunday Times

“Seven States of Rain by Richard Causton ‘invokesthe poetry of rain in its various moods and forms.’Pizzicato notes from the violin are echoed in thepiano by prepared, dampened strings, invokingimmediate memories of John Cage, but effectivelyuniting the violin and piano in a refreshing way.The piece’s seven sections progress through moreconventional bowed violin and untreated pianostrings, contrasting in nature from violencethrough gentler reflection in an expressive, ifsomewhat angular chorale.The elements arecombined and layered, and finally arch through aweighty climax toward a solo piano chorale: ‘theendless, grey rain of of an afternoon.’”Musicweb international

FinnissyStabant autem iuxta crucem (from SevenSacred Motets)The Choir of Gonville and Caius College,Cambridge/Geoffrey WebberSignum SIGCD 070

John GardnerSonata da Chiesa sopra un tema di ClaudioMonteverdi‘The Morning Trumpet’Michael Tunnell & Reese Land (trumpets),J. David Wagner (organ)Centaur CRC 2793

JacksonSalve Regina‘Macmillan and his British Contemporaries:Twentieth Century Masters Volume 2’The Choir of New CollegeOxford/Edward Higginbottom Robert Patterson; Nicholas Wearne (organ) Avie AV 2085

“Salve Regina by Gabriel Jackson . . . provides alovely, pacific, ending to the programme.”John Quinn, MusicWeb International

Magnificat and Nunc DimittisThe Abbey School Choir,Tewkesbury/Benjamin NicholasTewkesbury Abbey Schola Cantorum DCD34713

RawsthorneThe Creel

WaltonPortsmouth Point OvertureCampion Cameo CAMEO2036

LambertTrois Pièces Negres

RawsthorneComplete Piano WorksJohn McCabeDutton Laboratories CDLX7167

“This is definitive Rawsthorne and it fills gaps inthe current record catalogue. This cd is filled outwith Lambert’s delightful duets… The realRawsthorne begins with the Bagatelles and stays onthat level with the wry and sometimes comicSonatina… He made a valuable contribution to20th century British piano music.”The Gramophone

“Rawsthorne’s musical personality emerged in theFour Bagatelles of the late 1930s – clean and dry inthe manner of Hindemith, perhaps most personalin the quietly reflective epilogue. The FourRomantic Pieces explore a wider expressive range.”BBC Music Magazine

CD releases and reviews

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MathiasImprovisations for HarpOn ‘Catrin Finch – Byw’Kissan ProductionsKISSANCD007

RutterMass of the ChildrenWedding CanticleShadowsClare College Choir,Cambridge/Tim BrownNaxos 8.557922

“Rutter re-imagines Britten’s brilliantjuxtaposition of adult and children’s voices in ajoyful context… The shades of Britten and Pearshover over Shadows, a cycle of pleasant settings of16th and 17th century poems, playing tribute tothe lute-song tradition. The Wedding Canticle issweet, airy and graceful. Rutter’s many fans willnot be disappointed.”The Gramophone

TannLight from the Cliffs‘American Women Composers’Max Lifchitz (piano)North/South Recordings N/S R 1043

WaltonHenry V SuiteCello ConcertoViolin SonataOregon Symphony Orchestra/DePreistDelos International DE3342

Symphony No. 1 Prelude and Fugue:The SpitfireRoyal Liverpool PhilharmonicOrchestra/HandleyResonance Sanctuary Classics CDRSN3067

Symphony No. 1LSO/Colin DavisLSO Live LSO0076

“The hushed opening seems as though the musicis only just emerging into human consciousness.The mystery quickly evaporates as the naggingsyncopations of the ostinato figure become moreinsistent, developing into a powerful climax. Theclarity of texture and sharpness of attack add tothe impact…”The Gramophone

“The playing is staggeringly impressive – and SirColin’s reading is astounding in its insight andresistance to superficial effect… here is a greatrecord to add to your collection.”International Record Review

“It is clear that he (Davis) sees this Symphony asan emotionally coherent whole: there’s no sense ofa gulf between the end of the Andante and theFinale, and the triumphant ending feels in everyway a logical outcome.”BBC Music Magazine

“The weight, the darkness, the fury and agony ofthe LSO performance is exceptional. Davis drivesthe argument with unstoppable force, buildingtension across the ears like a scythe. ”Geoff Brown

“The first movement is one of the mostexhilarating in any 20th Century symphony, andall its power and propulsive energy is unleashed inSir Colin’s performance.The LSO coverthemselves in glory with crisp rhythms andvirtuosic playing from every department.”The Mail on Sunday

Viola ConcertoCallus (vla), New Zealand SymphonyOrchestra/TaddeiASV CDDA1181“The most beautiful account I have ever heard ofthe Walton Concerto. She brings out the warmthof Walton’s lyricism, one memorable theme afteranother and finds a rare mystery in the pianissimopassages, above all in the haunting epilogue.”The Gramophone

Cello Concerto Oslo Philharmonic Orchestra/Previn,Müller-Schott (cello)Orfeo C621

“An intense and fiery interpretation with theadvantage of Previn’s masterly ear”.International Record Review

String Quartet in A MinorCoull QuartetHyperion Helios CDH55218

Vaughan WilliamsFive Variants of Dives and LazarusPartita for Double String OrchestraEnglish Sinfonia/FarrerResonance Sanctuary Classics CDRSN3057

Tuba ConcertoSymphony No. 5Brandenburg State OrchestraGenuin GEN86064

‘An Introduction to Vaughan Williams’The Lark Ascending Fantasia on GreensleevesDavis (violin), London PhilharmonicOrchestra & London SymphonyOrchestra/Vernon Handley & BrydenThomsonChandos CHAN2028

Symphony No. 4 in f minor‘The Composers Conduct’BBC Symphony Orchestra/VaughanWilliamsNaxos Historical 8.111048

Promotional CDs available on request

Choral works by Bob Chilcott (SATB)A Little Jazz Mass; Be thou my vision;I share creation; Irish Blessing; Jubilate;TheLily and the Rose; O Danny Boy; SussexCarol;The Twelve Days of Christmas

Christmas choral highlightsA seasonal selection from our recent carolpublishing

OUP is delighted that Wyastone EstateLimited has released 37 titles in thecatalogue of record label Lyrita. Theseinclude the works of many of OUP’smost important figures from the 20thcentury, including a recording ofWalton conducting his own music.Please see www.lyrita.co.uk for fullcatalogue

OxfordMusicNow

Oxford University Press

UKRepertoire PromotionOxford University Press, 70 Baker Street, London,W1U 7DNTel. +44 (0)20 7616 5900Fax. +44 (0)20 7616 5901Web: www.oup.com/uk/music/reppromEmail: repertoire.promotion.uk@oup.com

David Wordsworth – Head of PromotionWill Harriss – Promotion ManagerChloë Brookes – Promotion Assistant

Hire, Sales & Marketing, Editorial, & Copyright:Music Department, Oxford University Press, GreatClarendon Street, Oxford, OX2 6DPTel. +44 (0)1895 353349Fax. +44 (0)1865 353749Email: music.enquiry.uk@oup.com /music.hire.uk@oup.com

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