www.oup.com/uk/music

OxfordmusicnowWinter 2005

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Contents ❙ Page 2 The Bitter Tears of Petra von Kant; Birthday celebrations for John Rutter ❙ Page 3 Proms 2005; From Station Island❙ Page 4 Sir John in Love at ENO ❙ Page 6 Zhou Long premieres ❙ Page 7 Finnissy’s Whitman ❙ Page 8 New works for symphonic wind ensemble❙ Page 9 News in brief ❙ Page 10 Selected reviews ❙ Page 12 New CDs ❙ Page 14 New Titles

OUP is delighted to announceits latest signing, BritishComposer Award winnerGabriel Jackson. Jackson has builtup a comprehensive portfolio as aBMIC ‘Contemporary Voice’,including choral, vocal, andinstrumental compositions. His workis characterized by the technicalaccomplishment than won himprizes as a student at the RoyalCollege of Music, and reflects hisown experience of choral singing atthe highest level. Drawing on stylisticinfluences from Tippett to Tavener,Jackson’s musical language is vivid,engaging, and distinctive.He writes: ‘I try to write musicthat is clean and clear in line,texture and structure; my piecesare made of simple melodies,chords, drones and ostinatos.They are not about conflict andresolution; even when animated,they are essentially contemplative.’Jackson’s music has beencommissioned, performed, andbroadcast by leading choirs andensembles across the UK and Europe.His 40-part motet Sanctum est verumlumen received its world premiere atthis year’s Lichfield Festival,performed by Ex Cathedra and

directed by Jeffrey Skidmore.Now I have known, O Lord, anextended choral work commissionedby the Vasari Singers, was alsopremiered recently as part of thechoir’s 25th anniversary celebrationsin St John’s, Smith Square, andappears on the Singers’ newrecording, 21st Century Anthems. TheObserver wrote of the ‘wonderfullythick harmonic texture’ of the work,which ‘shows a total understanding ofthe human voice.’Current instrumental projectsinclude Kenidjack, scored for altosaxophone, strings and percussion,and works for guitarist Tom Kerstens,organist Michael Bonaventure, andtrumpeter Mark O’Keefe. Jackson isalso writing a saxophone quartet forLunar Sax.

New choral titles fromGabriel Jackson in 2006

Jackson is already a central figure in OUP’s ‘New Horizons’contemporary choral series. Sixfurther titles will be published in theseries in 2006:

• Ave Maria

• Hymn to the Trinity (Honor,Virtus et Potestas)

• Lux Mortuorum

• Now I have known, O Lord

• Preces and Responses

• Salve Regina

Jackson’s signing coincides with therelease on the Delphian label of anew disc devoted to his sacredchoral music, featuring the Choir ofSt Mary’s Cathedral, Edinburgh,directed by Matthew Owens.For a full discography visitwww.oup.com/uk/music/repprom/jackson.

Oxford signs Gabriel Jackson

OxfordMusicNow

Birthday tributes to John Rutter

New opera opens ENO’s 2005/06 season

Choirs and orchestras across theworld have been paying tribute toJohn Rutter as the composerreached the age of 60 inSeptember. The Joyful Company ofSingers gave a special concert in hishonour on the milestone day itself,while the Bach Choir and RPO

marked the event with a sell-outperformance of the Requiem in StPaul’s Cathedral. Further afield,birthday concerts took place in NewYork and across the United States.Thebirthday season has given devotees toRutter’s music the chance to re-visitpopular classics, while at the same time

bringing rarely-heard gems into thespotlight, including his dazzling Hymn tothe Creator of Light.

The scale of this autumn’s celebrationsbears testament to the enduring appealof John Rutter’s music on theworldwide stage. Yet his extraordinaryglobal success has not distanced thecomposer from his roots. Significantly,it was in the surroundings of ClareCollege, Cambridge, where he was‘discovered’ by Sir David Willcocks andOUP as an undergraduate student, thatJohn celebrated his birthday amongfamily, friends, and the choir withwhich he has maintained an intimateand lasting connection.

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eptember saw the longawaited stage premiere of thelatest opera from Irish

composer Gerald Barry. Titled TheBitter Tears of Petra von Kant, the opera isbased on the play (and subsequent film) ofthe same name by the dramatist and film-maker Rainer Werner Fassbinder. In abold statement of intent, English NationalOpera chose this work as their opening

opera for 2005/06 – other works later inthe season include Mozart’s The Magic Fluteand Madame Butterfly by Puccini.

The opera has an all-female cast of six, andcentres on Petra, a fashion designer, and herobsessive love affair with a beautiful youngmodel named Karin. Petra persuadesKarin to model for her, and quickly fallsmadly in love. Blinded by this love, Petra

crumbles when she is eventually rejectedby Karin. There is also the mysteriousfigure of Marlene, Petra’s despised servant,who never speaks or sings a word andderives masochistic satisfaction from hermistreatment. Direct and emotional,Barry’s score perfectly captures thepowerful drama of Fassbinder’s play.

The Bitter Tears of Petra von Kant is Barry’sthird opera to date. In May 2005 itreceived its concert premiere in Dublin,and RTÉ has subsequently released arecording of the opera. The nextconfirmed staging will be in Basle in 2008.

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OxfordMusicNow

BBC Proms 2005

Oxford composers were much inevidence throughout this year’sProms season, with performances ofVaughan Williams’s Symphony No. 6,Britten’s Simple Symphony,Walton’sSymphony No. 1, and Rawsthorne’s

Piano Concerto No. 2. The worldpremiere of Michael Berkeley’sConcerto for Orchestra was one of thefestival’s notable highlights. Thecentral movement, subtitled ‘Threnodyfor a sad trumpet’, has at its centre a

bleak, mesmerizing trumpet obbligato,and was written in memory of a closefriend killed in the Asian tsunami.

The Last Night of the Promsshowcased some of the greatest namesin 20th-century British music,featuring Walton’s Portsmouth PointOverture, and Lambert’s The RioGrande. The final sequence alsoincluded three new folk-songarrangements specially composed byBob Chilcott, which were integratedinto Henry Wood’s Fantasia on BritishSea Songs. Fresh and imaginative, thearrangements (All through the night,Londonderry Air, and Skye Boat Song)are characterized by Chilcott’s skilfulhandling of voices and a perfectlyjudged orchestration. They werepremiered simultaneously in the Royal Albert Hall and at the Proms in the Park events in Glasgow, Belfast,and Cardiff.

From Station Islandn June 2005,The West CorkMusic Festival in Ireland wastreated to the Irish premiere

of From Station Island, AnthonyPowers’s atmospheric song cycle forbaritone, ensemble, and speaker, settingpoetry by Seamus Heaney. The poemsdepict a sequence of dreamencounters with familiar ghosts, set onStation Island on Lough Derg inCounty Donegal. On this occasion thespeaker’s role was taken by the poethimself, which made for an especiallyeffective performance. Furtherperformances of the work on otherinternational stages are planned for thenear future.

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Anthony Powers with Seamus Heaney

From Station Island

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A rare staging of Vaughan English National Opera’s new production of Sir John in Love by Ralph Vaughan Williams

opens at the London Coliseum on 2 March 2006, with further performances on 4, 11, 14,17, 23, 25 March, and 1 April. Michael Kennedy gives a pre-performance talk on 11

March, and there is a study afternoon devoted to the opera on 25 March.

alph Vaughan Williams

was particularly fond ofquoting the (apocryphal)

schoolboy, who said, ‘I could easily havewritten all that Shakespeare stuff myselfif only I’d thought of it’. This wasperhaps Vaughan Williams’s

characteristically bluff way of pointingup his view that Shakespeare (alongwith Bunyan, Blake, the Bible, andEnglish hymnody and folk-song) was auniversal source, a fountain-head, atwhich all may freely drink. As acomposer, a deep interest in Shakespearespanned his whole career, with his

earliest settings dating from the late1890s, and Shakespeare’s world verymuch inspiring the music he wrote forthe documentary film The England ofElizabeth in 1955. In the centre standthe opera Sir John in Love (1928), andthe peerless Serenade to Music (1938 –which is amongst the finest musicalsettings of Shakespeare ever made).There was indeed somethingShakespearean in Vaughan Williams’sability to engage directly with the livesand language of the people with whomhe made music, while simultaneouslytranscending those lives and language inorder to explore and reveal greater andhidden truths, for those people. Hismusic publisher and biographer HubertFoss expressed it thus: ‘In VaughanWilliams we hear the historic speech ofthe English peoples. What he gives us,in music, is the language of the breakfasttable. It is also the language thatShakespeare wrote.’

Just as Vaughan Williams’s lifelonginvolvement with Bunyan’s work beganin a small way (through his music for adramatic version of The Pilgrim’s Progressat Reigate in 1906), yet culminated inhis stage masterpiece, the great‘Morality’, The Pilgrim’s Progress (1951),so his modest musical contributions toF.R. Benson’s ‘Shakespearean Season’ atStratford-upon-Avon in 1913 resulteddirectly in his choice of The Merry Wives

of Windsor as the text for his opera SirJohn in Love. For Benson, VaughanWilliams wrote or arranged music forhis productions of Twelfth Night, andKings Richard II, III, Henry IV,V, as wellas The Merry Wives, and a play by GeorgeBernard Shaw. It is known that VaughanWilliams used the folk-song‘Greensleeves’ in the Merry Wives music,and his arrangement of this melodyeventually became the ‘hit’ number inthe 1928 opera (the arrangement thentaking on its own life as the now-famous orchestral fantasia). Sir John inLove was first performed at the RoyalCollege of Music on 21 March 1929,with Malcolm Sargent conducting.Vaughan Williams made various changesto the score from that point until theend of his life, and a definitive vocalscore was not published until 1971.

In choosing the subject of Sir JohnFalstaff on which to create an opera,Vaughan Williams knew for certain thathis own work would immediately beheld up for critical ‘comparison’ withseveral other already successful musicaltreatments of the theme. Some of thesehe enumerated in the Preface to hisscore: Verdi’s Falstaff, of course, andHolst’s The Perfect Fool. There was alsoNicholai’s The Merry Wives of Windsor,and Elgar’s symphonic poem Falstaff.And Vaughan Williams could scarcelyhave known that Antonio Salieri, in

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Ralph Vaughan Williams

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Williams’s Sir John in Love

2006 Phyllis Tate – 100th anniversary of birth

2006 Michael Finnissy – 60th birthday

2007 Howard Skempton – 60th birthday

2007 Hilary Tann – 60th birthday

2007 Gordon Crosse – 70th birthday

2007 John Buller – 80th anniversary of birth

2007 John Gardner – 90th birthday

2008 Michael Berkeley – 60th birthday

2008 Ralph Vaughan Williams – 50th anniversary of death

Birthdays and anniversaries

1799, had written Falstaff, an operaalong his own lines in that it skilfullyadapts The Merry Wives, reducing theplot to its essentials, and throwing thespotlight on its eponymous hero.Dismissing doubts that it might beconsidered ‘the height of impertinence’to write another opera about Falstaff ‘atthis time of day’, Vaughan Williamssimply claimed that Shakespeare was‘fair game’ – if soap and razormanufacturers could ‘use’ the great poet,then so could he. ‘My chief object in SirJohn in Love,’ he wrote, ‘has been to fitthis wonderful comedy with, I trust, notunpleasant music.’

Vaughan Williams took his text almostentirely from The Merry Wives, cuttingand adapting as necessary. To this headded lines and phrases of his own, andyet more taken from a variety ofsources: Thomas Middleton, BenJonson, Christopher Marlowe, PhilipSidney, and others. His ‘not unpleasantmusic’ quotes liberally (but notextensively) from folk-songs (includingthat celebrated ‘Greensleeves’, sung byMrs Ford in Act III Sc. 3), and utilizes inthe finale the folk dance ‘HalfHannikin’, complete with ‘authentic’instructions for choreography.Connoisseurs may also like to know that

the psalm tune ‘St Mary’ makes a briefand half-hidden appearance – this hadbeen chosen for inclusion in The EnglishHymnal by Vaughan Williams in hiswork as Music Editor for that book,which itself celebrates the centenary ofits publication in 2006. However, thevarious quotations and allusions are notin themselves significant. They simplyadd colour and flavour to a highlycogent, naturally flowing, and deeplyindividual score. ‘In this opera’, wroteHubert Foss in 1950, ‘the two earliermusics of England meet, the music ofthe aristocrat and the music of thepeasant…the characterization is exactand entertaining.’

The English National Operaproduction, generously sponsored byUrsula Vaughan Williams, promises anearly, very significant, and scintillatingtaste of the exciting celebrations thatwill take place in 2008 to mark the 50thanniversary of Vaughan Williams’sdeath, and as such provides the perfectcurtain-raiser on the composer’s world.Sir John in Love was recorded by RichardHickox for Chandos in 2001 (CHAN9928(2)), but has not been stagedprofessionally for 50 years. Ian Judge’sENO production, conducted by OlegCaetani, with Andrew Shore in the title

role, moves the mise-en-scène to an‘idyllic…early 20th-century England’,and promises an enchanting and livelyevening of music and theatre.

Simon Wright

Link: www.eno.org

Andrew Shore as Sir John Falstaff

Photo: M

ichele Turriani

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Zhou Long’s The EnlightenedWorld premieres: 30 September, 1 and 2 October, 2005

hen the Kansas CitySymphony decided to dosomething spectacular to

celebrate the inaugural concert withtheir new conductor, Michael Stern,they turned to internationallyrenowned composer Zhou Long. DrZhou has been a member of thecomposition faculty at the University ofMissouri, Kansas City since 2002, andhas made this attractive city in the USheartland his permanent home sincethen. Honoured by the request, heresponded with a 15-minute work, TheEnlightened, which was premiered at theopening concert of the Symphony’s2005/06 season.

Zhou Long is one of a group of Chinesecomposers living in the United States torevolutionize classical music over the lasttwo decades by creating a hybrid ofAsian and European styles. Deeplygrounded in the spectrum of hisChinese heritage, he is a pioneer intransferring the idiomatic sounds andtechniques of ancient Chinese musicaltraditions to modern Westerninstruments and ensembles.

As Paul Horsley, music critic of theKansas City Star, wrote in a recentprofile, ‘Like many immigrants, he oftenfeels torn between two cultures andvaguely outside of both. He has madehis mark precisely by tackling theconflicts and contrasts of living in bothworlds – in his music. “I am Chinese,and I am American, and I am Chinese-American,” he said.’

In his note, Zhou Long writes, ‘TheEnlightened is a companion piece to TheImmortal, commissioned and premieredby the BBC Symphony Orchestra at theRoyal Albert Hall, London, in July2004. The Immortal pays tribute to theinfluence of Chinese artists andintellectuals in the twentieth centuryand recognizes their enduring spiritthrough the abstract language of music.With The Enlightened I continue thistheme in a work that powerfullyexpresses my awareness of the presentworld struggles. Ancient Chinesephilosophy teaches that through properbehaviour – exercise, diet, breathing,meditation and positive mental attitude– we can acquire physical, mental and

spiritual well-being. This can besummarized in the three harmonicprincipals: Peace – Light – Love. Ibelieve that through music we canreflect on our relationships with allpeople, the planet, and the universe. Mynew work is a statement that we shouldbe moving toward hope, that we shouldfind peace and harmony betweenhuman beings.’

Suzanne Ford

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Zhou Long at the Moritzburg FestivalUnder the artistic direction ofthe German cellist Jan Vogler,the Moritzburg Festival is oneof the most significant festivalsof chamber music in Germany,attracting some of the world’sleading instrumentalists andensembles. Concerts take place inthe town’s church, and,predominantly, in the beautifulMoritzburg Castle.

Zhou Long was the featuredcomposer at the 2005 festival, andwas present for performances of hisworks, as well as rehearsals and

talks. Colin Jacobsen (violin), PeterBurns (cello), and Adam Neiman(piano) gave the Europeanpremiere of Zhou’s Piano TrioSecluded Orchid, which was receivedwith particular enthusiasm by theaudience. Two works involvingChinese traditional instrumentswere also given their respectiveEuropean premieres: Green forsheng and pipa (played by Wu Weiand Yang Jing) and Su for flute andpipa (Marina Piccinini and YangJing).

Zhou Long and Michael Stern

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Michael Finnissy’s WhitmanAs Michael Finnissy’s 60th birthday approaches in 2006, the composer tells

us about his major new song cycle, Whitman.

Photo: G

ay Wilson A

llen

his is thethird timeI’ve set

Whitman’s writing.He was a poet Iencounteredduring my teens,and his wordscapturedsomething of therising sap! The unbridled passion, theheady mixture of commonplace andprofound, the unrhymed vigour anddiscord – still qualities I love in hiswriting. But this longer ‘cycle’ isconceived as a portrait of him, anexercise in musical biography, and iscentrally focused on the documents heleft about America’s loss of innocenceduring the Civil War. Whitman asmythologist of the spirit of America,Whitman exposing both good and badin the rise of a powerful nation, andWhitman distancing himself and hisnative shore from European influence.

I began the composition in 1980, whenI was thirty-four, writing initially forsoprano or mezzo-soprano with pianoaccompaniment. As the piecelengthened, I grew more ambitiousabout the accompaniment, first tryingout smaller ensembles and thenconsidering orchestral forces as moresuited to the grandeur of theconception. But these plans eventuallyevaporated. I managed to make aninstrumental version with flute, oboe,and percussion which Suoraan and thewonderful mezzo Josephine Nendickbroadcast in 1984, and then I laid thepiece aside.

Twenty years later in conversation withNicolas Hodges the subject of‘Whitman’ comes up. How much of itis there? – about 45 minutes of draft-versions and a few rough sketches.AmI still interested to complete it? – well,

to be honest, I think one of the reasonsit ran aground was lack of techniqueand imagination on my part, so maybe(unless my brain is turning to dust)twenty years of experience can onlyhave helped – I’ll try.

Then, of course, and infuriatingly, it allfalls apart and unravels like knitting –and it’s not just ‘completing’, it’s acomplete re-write from start to finish.In the twenty-year gap since openingthis particular ‘file’ I’d visited Americaseveral times, and who on earth couldbe unaware of American events? Myvery precocious fascination (aged 11)with Charles Ives has not diminished,and it occurs to me that perhaps I’mconfusing Ives and Whitman. Even onoccasion I confuse myself with myerstwhile literary hero. In all probabilitythe final statement includes all of this:personal impressions alongside research;poetical and musical enthusiasms allrolled into one. It’s more referential toother music than it originally was. Ithought the first versions werecompletely ‘abstract’ in their musicalsetting, and some of this remains – butat other times I’ve made use of musicreferred to in the text.Auber’srevolutionary, and politicallyinflammatory, opera Masaniello (alsoknown as ‘The Dumb Girl of Portici’)was much admired by Whitman, and Ihave quoted parts of it to accompanythose sections of the text whichrecount the start of the American CivilWar.Where other music is mentionedin the text – hymns (‘On Jordan’sStrand’) and ‘quaint old songs’ – I havealso drawn from contemporary sources,including Scottish folk-songs arrangedby Beethoven, and for one section asong by Schubert.

Significantly, though maybe only forme, it ends with Whitman and meboth at age 60:

‘With the sentiment of thestars and moon such

nights I get all the freemargins and indefinitenessof music or poetry, fused in

geometry’s utmostexactness.

Here in solitude I havebeen musing over my life.’

Walt Whitman

Walt Whitman

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New works for symphonic wind ensembleMichael Berkeley – Slow Dawn and Shooting Stars

Tim Reynish writes about hismost recent commission:

When I began to teach and conductfor Sir John Manduell at the RoyalNorthern College of Music aboutthirty years ago, I fell under the spellof the very civilized music of John’steacher, Lennox Berkeley. It wasthus natural that when I began firstto commission works for theburgeoning wind ensemble in theeighties, I should turn early on to hisson, Michael. In the eighties,Michael was far too busy, but Ialways held out hope. His recentretirement from the CheltenhamInternational Festival coincided withplans for me to conduct a concert atthe Barbican to celebrate the 125thbirthday of the Guildhall School ofMusic and Drama. Yet another of myalmost annual letters winged its wayto Michael’s home in deepest Wales,and to my delight he respondedpositively. Hence the gestation

period for Slow Dawn has been a fullquarter of a century.

Shooting Stars has taken only adecade to mature. In the latenineties, we celebrated the retirementof Sir John with a splendid all-dayfestival, and I invited variouscomposers to contribute shortfanfares. Michael responded with anenergetic piece for wind ensemblecalled Hunt, and I immediately askedhim to extend its length and scoringto make a wind ensemble work, butto no avail. However, I suspect thatlike many composers, when facedwith a commission for a lyrical,gentle work, he was seduced by thepotential brilliance of the windensemble. The result is a pairing ofthese two strongly contrasted works,the one a poetic evocation of dawn,the other a brilliant jeu d’esprit whichthe composer originally entitledDodgems. Apart from the initialidea, the new title was my only

contribution to two major additionsto our repertoire.

Slow Dawn and Shooting Starswere premiered on 24 Octoberat the Barbican by the GuildhallSymphonic Wind Band. Theworks will receive their USpremieres next year.

Libby Larsen writes:

For me, composing for symphonic windensemble is quite different fromcomposing for orchestra.At the heart ofthe wind ensemble is breath.Therefore,my approach to musical constructionassumes certain breath-dependentgestures. Once these gestures are fixed,my process involves working with colorand rhythm to create the piece.

Strut (2002)

World premiere: 5 February 5 2003,Alice Tully Hall, New York

When I was invited to compose a workfor the renowned St Olaf Band, thephrase ‘strut your stuff ’ exploded intomy mind. I recognized that this new

work, Strut, had to spring from thatinspiration. ‘Strut.’ What a word! It is averb with many synonyms includingswell, bulge, thrust forth, stick out,contend, strive, quarrel, and bluster aswell as exult, swagger and ‘to stand erectat one’s full height.’ One might say thatprecision is the full height at which aworld class concert band stands. I tookthis to heart and built the music of Strutaround the idea of the ability of theband to play precisely within anunerring beat, which is never regularlyheard, but must be exactly felt andfollowed.

Libby Larsen – Strut and Introduction to the Moon

Tim Reynish in rehearsal

OxfordMusicNow

Introduction to the Moon (2005)Concert piece with eight improvisedsectionsFor symphonic winds, tuned waterglasses, and amplified voiceWorld premiere: 26 April 2005

In Introduction to the Moon, I want toengage the performers – musicians andspeakers – in the collaborative act ofcreating the piece. For each of the eightsections, I have suggested a theme for areading about the moon and theaccompanying musical improvisation:Musical Atmosphere,Whole ToneClusters, Jazz Environment, Silence,Feeling, Solos, Humor, and ImprovisedSilence. I would like the first reading tobe the poem Moon, by Billy Collins.For the other readings, the performersmay choose from among the poemssuggested in the score or they maychoose to create their own texts. Theperformers are also encouraged topresent creative interpretations of theselected texts – including visualelements such as lighting, slides,movement and other props – whichmay be performed live or pre-recorded.The total effect of this piece results fromthe imaginative combination of thecomposed score with the individualsections shaped by the performers. Itshould vary excitingly fromperformance to performance.

The strings of the National Youth Orchestra of Wales perform William Walton’sSonata for Strings and Two Pieces from Henry V at a concert to mark the acoustictest of the new Greek Theatre at the composer’s home on the island of Ischia

News in brief

I want to engage

the performers –

musicians and

speakers – in the

collaborative act of

creating the piece

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• St Louis Opera will stage the US premiere of Michael Berkeley’s chamber opera, Jane Eyre, in 2006.

• Gerald Barry’s new commission for the BBC Symphony Orchestra will receive its world premiere in March 2006. Barry is also composing a workfor The Nieuw Ensemble, to be premiered in April 2006, with three subsequent performances planned in the Netherlands and Spain.

• New quintets by Martin Butler and Michael Finnissy will be premiered at the Brighton Festival in May 2006.

• Richard Causton has received commissions from the London Sinfonietta and Gonville and Caius College, Cambridge, for works to be premiered in 2006.

• Bob Chilcott directs choirs from three countries in a performance of his Jubilate at the Carnegie Hall, New York on 20 November. The Voices Chorale (Princeton), Rutgers Presbyterian Choir (New York), and the New Orleans Youth Choir are joined by the Taipei Chamber Singers from Taiwan and the Addison Singers from London. This is one of a series of concerts organized by Mid-

America Productions in which choirs from all over the US and further afield enjoy the rare opportunity to sing under a renowned conductor in this world-famous concert hall.

• In April 2006 Gabriel Erkoreka’s new work for cello octet, Noche Serena, will be performed at the Amsterdam Musikgebouw by ensemble ‘Conjunto Iberico’. This follows its successful world premiere in August 2005.

• Howard Skempton is currently writing a piece for clarinet, viola, and piano, to be premiered in January 2006 at the newly-restored De La Warr Pavilion in Bexhill-on-Sea.This project will form part of a ‘portrait’ concert of artist James Hugonin, whose work will feature at the De La Warr.

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Selected Reviews

Gerald BarryThe Bitter Tears of Petra von KantENO, London Coliseum, September 2005

Michael BerkeleyJane EyreStopera/Rick Prakhoff, Street Theatre,Canberra,Australia, May/June 2005

[Berkeley] effectively creates the darkand foreboding atmosphere of thestory…clothed in warmly expressiveorchestral writing. In all ways this is anengrossing opera, which is constantlyrewarding both dramatically andmusically, and this exceedingly fine localproduction can be highly recommendedas offering a memorable operaticexperience.W. L. Hoffmann, The Canberra Times

A captivating operatic experience…Alarge sweeping discordant waltz in Act1, a cheeky reference to Donizetti’sLucia di Lammermoor, lovely vocalharmonies against richly coloured andtextured orchestral playing; the soundfull-bodied, but never swamping thesingers.With Jane Eyre, Stopera has set anew benchmark. The cast gave anevening of constantly unfoldingtheatrical pleasures superbly performedand richly rewarding the concentrationdemanded by the work, as well asproviding a stunning showcase for thetalents of all those involved. It is anevening that should not be missed byanyone with even a passing interest inthe art of opera.Bill Stephens, Artlook Magazine

Gabriel ErkorekaAfrika for solo marimba andorchestraBilbao Symphony Orchestra, Spain,October 2005

Gabriel Erkoreka, an exceptionallycreative musician, arrives at a remarkabledegree of expressiveness in his work,Afrika (2002)…The composer had oneof the greatest cheers ever heard inBilbao, for a work presented practicallyas a premiere.El Correo, Bilbao, Spain

Gabriel ErkorekaNoche Serena for soprano andcello octet‘Conjunto Iberico’, San Sebastien,Spain,August 2005

The premiere of Noche Serena, with textsof Fray Luis de León, demonstrated thecapacity of the Basque composer tocreate ambiences with a masterfulcontrol over the instrumentation, and avery sensitive treatment of the voice,magnificently interpreted by the giftedsoprano Pilar Jurado.El Diario Vasco, Spain

John Rutter60th birthday gala concertJoyful Company of Singers/PeterBroadbent, Cadogan Hall,September 2005

From the wafting spirituality of theAnglican tradition to the doo-wopharmonies of the King’s Singers, themusic of John Rutter has manyreference points, invoked in this skilfullydevised celebration of his 60thbirthday… Rutter’s exquisite Hymn tothe Creator of Light for unaccompanieddouble choir looks back to WilliamHarris’s Faire is the Heaven and toHerbert Howells… Another side ofRutter was exemplified in his Gloria andPsalm 150…Yet another side of him wasseen in the Birthday Madrigals… For theinfectiousness of his melodic inventionand consummate craftsmanship, Rutterhas few peers.Barry Millington,The Evening Standard

There is real expressive subtlety inthis score… it’s one of thestrangest but most satisfying ofrecent operas.Tom Service, The Guardian

I’ve never seen an audience soengaged post-show…Robert Thicknesse, The Times

The opera bursts withexuberance…on its own terms,this works. Petra von Kant will dowhat opera was originally meantto do: amuse and entertain, withan edge of wit.Seen and Heard Opera Review

The piece is invigorating, fresh, andcuriously satisfying. Barry perfectlycaptures the barren, pungent,desperate world of Fassbinder, butdoes so with unstoppably upbeatmaterial.Keith Clarke, Musical America

For theinfectiousness of his

melodic inventionand consummate

craftsmanship,Rutter has few peers.

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Howard SkemptonBen SomewhenBCMG, CBSO Centre, Birmingham,April 2005

Every new piece by Howard Skemptonseems like sleight of hand. How canhe achieve so much with so little, andhow do the slightest shifts in hismusical language take on such hugesignificance? Ben Somewhen is a sort ofchamber concerto for double bass andseven instruments. The bass is neverspotlighted, just ever present, whethergrounding quirky chorales orunderpinning trickling harp andwoodwind. It’s fragile, often verybeautiful music, seamlessly woventogether.Andrew Clements, The Guardian

Vaughan WilliamsThe Pilgrim’s ProgressThe Community of Jesus/ElizabethPatterson, Boston, Massachusetts, USA,June 2005

One seldom sees an operaticproduction as powerful in conceptionand polished in execution as thisPilgrim’s Progress. The music reflectsthe harmonies and melodic structuresof hymnody and folk song; it minglessimplicity and majesty.Richrad Dyer, Boston Globe

Zhou LongThe EnlightenedKansas City Symphony/Michael Stern,September/October 2005

…a dark, episodic journey throughnature, philosophy and the cosmos. Itbegan with piercing staccato outburststhat grew to a massive climax ofshimmering textures. Slow, microtonalwavers in the flute created a hypnoticeffect, and the explosive textures weresplashy while maintaining an innerintegrity. A passage of tiny squeaks andclusters suggested the outdoors, andafter a second and even morecataclysmic climax, the piece came to amysterious but satisfying close.Paul Horsley, The Kansas City Star

Selected Reviews

The central ‘threnody for a sad trumpet’is a dialogue of moon and tide,underpinned by moaning rhythms andstreaming tears of strings: this music,inspired by Berkeley’s friendship with atsunami victim, comes from the heart tothe heart.Andrew Clark, Financial Times

Berkeley makes sure he spotlights all thesections of the orchestra in turn. Hedoes that efficiently and sometimesstrikingly, in three movements thatoutline a fast-slow-fast scheme… thefirst movement contains its moments of reflection, tellingly scored withwoodwind and piano, just as there is a

moment to take stock in the equallydriven finale, launched in a clatter ofChinese gongs. But the emotionalcentre of gravity comes in theconcerto’s slow second movement,Threnody for a Sad Trumpet… aserenely sustained trumpet melodyunfolds over gently revolving strings andwoodwind, and tolling bells.Andrew Clements, The Guardian

Fizzing with scherzo-like high spiritsand awesome virtuosity…Berkeley’sConcerto for Orchestra is far more thanjust a showpiece. Though dynamic andtechnically demanding, the material isconceived in symphonic terms and

organically developed.Paul Conway, The Independent

[in Threnody for a Sad Trumpet] PhilippeSchartz sounded a Last Post with adifference – a melancholy melodygently unfolding over shifting strings,wailing woodwind and tollingbells…this potent work amounts to anawed, post-tsunami meditation on thedestructive powers of beauteous nature.Anthony Holden, The Observer

Michael BerkeleyConcerto for Orchestra BBC National Orchestra of Wales/Hickox, Philippe Schartz (trumpet), BBC Proms 2005

Fizzing with scherzo-like high spirits and awesome virtuosity . . .

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BarryThe Intelligence ParkAlmeida Ensemble/Robert HoulihanNMC D122

The Intelligence Park isjust about as jaggedas you please, withsee-saw melodicshapes and apreponderance ofextreme registers...Itprovokes feelings of

considerable unease, anxiety and shock.This is entirely appropriate in a setting of alibretto which deals with unrequitedinfatuation, artistic impotence andemotional betrayal…one is forced toadmire the skill with which Barry achieveshis effects and controls his materials.Barry Witherden, The Gramophone

The score derives much of its energy fromthe friction between words and music,giving the music a curiously weightlessquality. Consequently it seems an evenbetter piece now than it did 15 years ago:one moment grotesquely funny; the nexttouchingly beautiful. There is real pathosin some of the characters too, while an airof absurdity is ever-present.Andrew Clements, The Guardian

The Bitter Tears of Petra von Kant Rayanne Dupuis, Mary Plazas, StephanieMarshall, Deirdre Cooling-Nolan, SylviaO’Brien, RTÉ National SymphonyOrchestra/Gerhard MarksonRTÉ CD 261

‘Independence Quadrilles’In the Asylum Trio Fibonacci NMC D107

Berkeley‘Oboe Alone’SnakeNicholas DanielLéman Classics LC 42801

Causton‘Contours’Two pieces for two clarinetsKate RomanoMetier MSV CD92074 FP

Chilcott‘Spells’Spells, Peace Mass,Three Songs,TheElementThe Cotswold Children’s Choir/HilaryTadman-RobinsCotwold Children’s Choir CCC0401

Bob Chilcott has got it wonderfullyright…This disc is a tonic. The boys andgirls of the Cotswold Children’s Choir singwith unfailing musical tone, good dictionand fresh spirits.John Steane, The Gramophone

Finnissy‘Independence Quadrilles’In Stiller Nacht, Necessary and moredetailed thinking, Independence QuadrilleTrio Fibonacci NMC D107

In Stiller Nacht is an arrangement (or asFinnissy says, ‘derangement’) for trio ofBrahms’s wonderful arrangement ofGerman folk song, and a wonderfullyambiguous wash of sound.Paul Driver, The Sunday Times

‘Maldon – Choral works by MichaelFinnissy’Maldon, Palm-Sunday,Vertue, DescriptiveJottings of London,Anima ChristiEXAUDI/James Weeks, with Richard Jackson(baritone), Howard Skempton (accordion),Michael Finnissy (piano), Joby Burgess andJulian Warburton (percussion)NMC D110

This is an enthralling disc. From the initialhigh trombone swoops of Maldon to thefinal fervent soprano lines of Anima Christithis music grips heart, mind andimagination alike. Exaudi are stunningadvocates, effortlessly beautiful in theskewed strands of Palm Sunday making calminterjections into the Anglo-Saxon battlenarrative of Maldon and jauntily skippingthrough Descriptive Jottings of London. This iscompulsive listening for admirers ofFinnissy, and, as an excellent introductionto his sound world, it will win manyconverts to his music.Christopher Dingle, BBC Music Magazine

Gershwin Arrangments, More GershwinNicolas Hodges (piano)Metronome MET CD 1063

…dreamy, modernisticimpressionism…Finnissy plays onGershwin’s lovely, poetic bending ofharmony, essentially going him one better,as the famous melody weaves through achromatic progression, finally landing witha bittersweet resolution of counterpoint.Finnissy has some profound insights intoGershwin’s music. Nicolas Hodges playsthis daunting pile of notes, 22 songarrangements in all, with great spirit andskill.Peter Burwasser, Fanfare

Hoddinott‘Barddoniaeth Ddaear – Poetry ofEarth’Sonata for HarpCatrin Finch (harp), Nigel Foster (piano)Sain SCD2484

Jackson‘Gabriel Jackson: Sacred Choral Works’O sacrum convivium, Creator of the stars ofnight,Ane Sang of the Birth of Christ,APrayer of King Henry VI,Truro ServiceThe Choir of St Mary’s Cathedral,Edinburgh/Matthew OwensDelphian DCD34027

New CDs

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LambertPiano Concerto, Romeo and JulietJonathan Plowright (piano), EnglishNorthern Philharmonia/David Lloyd-JonesHyperion CDA 67545

Plowright and Jones are masterlyadvocates of this brilliant, entertainingmusic.Hugh Canning, The Sunday Times

Romeo and Juliet is a wonderfully fluentsequence of short numbers, gentlysubversive and affectionately evoking 18th-century dance forms.Andrew Clement, The Guardian

These are all works of the 1920s, shotthrough with jazzy influence in the crisprhythmic syncopations of the PianoConcerto… Lambert was a maverick,rebelling against convention, and thesedapper performances convey both hisbrilliant craftsmanship and his boundlesszest.Geoffrey Norris, The Daily Telegraph

‘Constant Lambert – Centenary Issue’The Rio Grande, Horoscope;Walton – Façade(narrated by Constant Lambert and Dame Edith Sitwell)St Michael Singers, Philharmonia OrchestraLiving Era Classics – Sanctuary ClassicsAJC8558

Mathias‘Orchestral and vocal music’Intrada for small orchestra, Songs ofWilliam Blake, Horn Concerto,ThrenosJeremy Huw Williams (baritone), DavidPyatt (horn)Welsh Chamber Orchestra/Anthony HoseMetronome MET CD 1066

Intrada… is fraught with the positiveenergy and effortlessly immaculatecraftsmanship characteristic of all hismusic. Mathias excelled in two genres inparticular – music for voices and musicfor strings. These are eloquentlycombined in his Songs of William Blake of1979, an integrated setting of 12 poemsdrawn from the famous Songs of Innocenceand Experience, which exemplify Blake’ssingular blend of simplicity andprofundity. This extremely well-mademusic is so authentic yet unpretentiousthat it is sure to have universal appeal.Paul A. Snook, Tempo

Powers‘In Sunlight: Pieces for Madeleine Mitchell’In SunlightMadeleine Mitchell (violin),Andrew Ball(piano)NMC D098

In Sunlight is a rapturous, languorous piece,with strong violinistic counterpoints andsome fine splashes of pianistic colour.Christopher Ballantine, International RecordReview

RutterFanciesCambridge Singers, City of LondonSinfonia/John RutterCollegium CSCD516

GloriaCambridge Singers, City of LondonSinfonia/John RutterCollegium CSCD515

Sprig of ThymeCambridge Singers/City of LondonSinfonia/John RutterCollegium CSCD517

Gloria, Magnificat, Psalm 150King’s College Choir, CBSO/StephenCleoburyEMI 557952-2

The King’s College Choir are in theirelement, their long tradition of servicesinging evident in the intimate ‘Etmisericorda’, the solo treble singing withdivine innocence above a most deliciousorchestral accompaniment…a raremoment of spine tingling excitement, themenacing organ and side drum duetmagnificently captured in EMI’s vividrecording…nothing mars the disc’scelebratory mood.Marc Rochester, The Gramophone

Skempton‘Homage to Joaquin Rodrigo’ReminiscenceTom Kerstens (guitar)BGS CD107

Tann‘Gardens of Anna Maria Luisa deMedici’Gardens of Anna Maria Luisa de Medici,The Cresset Stone,Windhover, LlefMeininger TrioProfil/Edition Gunter Hanssler PH05019

WaltonChristopher Columbus:A Musical Journey(arr. Davis & Garland), Hamlet andOphelia (arr. Mathieson)Julian Glover, Jamie Glover (speaker),Caroline Carragher (soprano), Jean Rigby(mezzo),Tom Randle (tenor), RoderickWilliams (baritone), Craig Ogden (guitar)BBCNO and Chorus of Wales/RichardHickoxChandos CHSA 5034

William Walton wrote nearly an hour’smusic for Louis MacNeice’s radio playabout Christopher Columbus’s epicvoyage, broadcast on October 1942 on the450th anniversary of his American landfall.The self-deprecating composer thoughtnone of it was worth salvaging. ButChristopher Palmer’s Suite includes somestirring choral and orchestral music and atouching song…including fascinatingexperiments with layered textures andchorus accompanied by percussion.Anthony Burton, BBC Music Magazine

Zhou Long‘Corigliano, Long, Saariaho’The ImmortalBBC Symphony Orchestra/SlatkinWarner Classics 2564-61952-2

OxfordMusicNow

New Titles BarryThe Bitter Tears of Petra von Kant Text by R.W. Fassbinder3 sopranos, 1 mezzo-soprano, 1 contralto, 1‘mute’ female character, orchestra [2(I+picc,II+afl&picc).2(II+ca).2.Bcl.3(III+Cbn)-4.2(I/II+Tpt in D).3.1-timp-2perc-pno-str]150’Score and parts on hire

BerkeleyNettlesTwo songs to poems by A.E. Housman andEdward ThomasHigh voice and piano5’0 19 345153 0

ButlerSuzanne’s River SongViolin and piano5’0 19 355719 3

ChilcottAdvent Antiphons0-19-343336-2SSAATTBB unaccompanied10’0 19 343336 2

And Every Stone Shall CrySATB unaccompanied4’0 19 343330 3

Put Memory AwaySATB, piano/brass, percussion [pf,electric/string bass, 5 tpt (1 + flugelhorn), 2tbn, 1 b.tbn, tba, 2 perc]3’0 19 343337 0

CredoSolo soprano, SATB chorus, orchestra[2.2.2.2 – 2.2.0.0 – timpani, 3 perc, str]17’Score and parts on hire

Dances in the Streets1 Soho2 ‘Paddington’ (Regent’s Canal)SATB choir (div.) unaccompaniedText: Paul Verlain

World Carols for Choirs (ed. Chilcott andKnight)SATB0 19 353231 X

You and Me SATB unaccompanied5’0 19 343319 2

Chilcott/HuntSongStream (Chilcott/Hunt)10 songs for youth choirs0 19 343545 4

FinnissyForget-Me-NotText by William McGonagallMixed chorus, guitar, double bass, piano,suspended cymbals 6’Vocal score and parts on hire

LarsenThe Ballerina and the Clown:‘A HansChristian Andersen Tale’SSAA and harp17’Score on sale 0 19 386673 0

Bid Call Alto saxophone and cello13’Score and parts on sale 0 19 386842 3

Black Birds, Red Hills B-flat clarinet, viola, piano 11’Score and parts on sale 0 19 386831 8

Dreaming Blue One-act opera with SSA chorus60’Vocal score on sale 0 19 386607 2Score and parts on hire

Fanfare: Sizzle Orchestra [Picc.2.2.2.2bcl.2-4.4.4.1-timp-3perc.pno-str]7’Score and parts on hire

Firebrand Piccolo/flute, violin, cello, piano 4’Score and parts on sale 0 19 386846 6

May Sky Mixed double chorus Score on sale 0 19 386622 6

Mephisto Rag Piano solo Score on sale 0 19 386589 0

My Antonia Soprano and piano19’Score on sale 0 19 386721 4

On a Day of Bells Organ 8’Score on sale 0 19 386786 914

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Penta Metrics: Five Pieces for Piano Solo(Intermediate Level)8’Score on sale 0 19 386931 4

Still Life with ViolinViolin and orchestra [3(2+picc).2.2.2-2.4.3.1-timp.2perc-str]13’Score and parts on hire

Trio Piano trio 19’Score and parts on sale 0 19 386695 1

Try Me, Good KingSoprano and piano15’Score on sale 0 19 386418 5

The Womanly Song of GodSSAA (div.)8’Score on sale 0 19 386755 9

Yellow JerseyTwo B-flat clarinets 8’Score and parts on sale 0 19 386841 5

A Young Nun Singing SSA unaccompanied 6’30”Score on sale 0 19 386855 5

PowersString Quartet No. 425’Score and parts on sale 0 19 358358 5

SkemptonBen SomewhenFlute, clarinet, harp, violin, viola, 2 cellos,double bass 12’Score and parts on hire

The Flight of SongSATB mixed ability voicesText by Henry Wadsworth Longfellow,embellished in opening section with wordsby Shakespeare, Shelley,Tennyson, Browning,Dryden, Milton,Wordsworth, Blake, Burns,and Coleridge10’Score on sale 0 19 338152 4 (NH27)

Hot Noon in Malabar (1997)Soprano and piano trioText by Kamala Das2’30”Score on sale 0 19 358886 2

Six FiguresSolo cello7’Score on sale 0 19 358881 1

Tann From The Feather to the MountainOrchestra [2+picc.2.2.2-4.3.3.1-timp.4perc.cel.hp-str]14’Score and parts on hire

The Gardens of Anna Maria Luisa de MediciFlute, cello, piano 13’Score and parts on sale 0 19 386856 3

Like LightningsSolo oboe6’Score on sale 0 19 386852 0

Pinnae Ventorum Organ 4’30”Score on sale 0 19 386853 9

Wings of the Grasses Voice and oboe4’Score on sale 0 19 386777 X

Vaughan Williams Dona Nobis PacemVersion for strings, piano, chorus, soprano,and baritone soloists36’Score and parts on hire

Zhou LongChinese Folk-Songs String orchestra 15’Score and parts on sale 0 19 386790 7

Concerto for Taiko and Timpani Taiko, timpani, and orchestra[picc.2.2.ca.2.bcl.2.cbn-4.3.3.1-timp-3perc(incl 3 taiko drums)-pno(+cel)-hp-str]15’Score and parts on hire

DhyanaFlute, clarinet, violin, cello, piano10’Score and parts on sale 0 19 386508 4

Ding B-flat clarinet, percussion, double bass10’Score and parts on sale 0 19 386509 2

The ImmortalOrchestra [picc.2.2.ca.2.bcl.2.cbn-4.3.3.1-timp-3perc-pno(+cel)-hp-str]13’Score and parts on hire

Spirit of ChimesViolin, cello, piano14’Score and parts on sale 0 19 386412 6

Taigu Rhyme Clarinet, violin, cello, percussion (3)12’Score on sale 0 19 386697 8

Wild Grass Viola solo8’Score on sale 0 19 386802 4

Wild Grass Cello solo8’Score on sale 0 19 386505 X

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Trade and Distribution:Oxford University Press, Music Group, Saxon WayWest, Corby, NN18 9ESTel. +44 (0)1536 454590Fax. +44 (0)1536 454577Email: music.orders.uk@oup.com

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