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Oxford musicnowSpring 2008

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Contents ❙ Page 2 Gabriel Erkoreka ❙ Page 3 Gabriel Jackson and Bob Chilcott ❙ Page 4 Michael Finnissy ❙ Page 5 Howard Skempton ❙ Page 6 Anthony Powers and Hilary Tann ❙ Page 7 Mack Wilberg and John Rutter ❙ Page 8 Martin Butler ❙ Page 9 Richard Causton ❙ Page 10 Living Music ❙ Page 11 Alan Rawsthorne ❙ Page 12 Michael Berkeley ❙ Page 13 Ralph Vaughan Williams and Proms performances ❙ Page 14 CD round-up ❙ Page 15 New titles ❙ Page 16 Contact details

New work from Gerald Barry for the Birmingham Contemporary Music Group

Gerald Barry discusses Beethoven—a BCMG Sound Investment commission. The work is a setting of Beethoven’s letter to his ‘Immortal Beloved’ and was premiered on 16 March at the CBSO Centre in Birmingham. BCMG was conducted on the occasion by Thomas Adès, with Stephen Richardson as the bass soloist.

Having worked with BCMG on Wiener Blut and Dead March, your relation-ship with the group spans back some years. What difference does it make when you know the ensemble you are composing for so well?Knowing BCMG over such a long period makes an enormous difference. I feel at home/at one with them and there’s no pressure at all when writing. I was really glad to have the opportunity to set the Beethoven letter for this—to work with a large ensemble of 15 players and with the singer Stephen Richardson and conductor Tom Adès, both of whom I trust completely. To work with these people and the musicians is a fantastic thing. You’re functioning at the highest level. Stephen has an extraordinary passion and presence, and an innate sense of things.

What is it about the letter The Immortal Beloved that inspired you to write Beethoven?Apart from being amusing, the Beethoven letter is dramatic, cinematic, and poign-ant. The woman (Antonie Brentano) represented Beethoven’s last chance to forge a relationship and, for whatever reason, he withdrew from it. That was a serious blow and precipitated a crisis and breakdown. It was emotionally disastrous for him. After this he never mentioned the hope of such a thing again.

CHRISTOPHeR CAlveRT, Project Assistant, BCMG

‘This must be the oddest love letter ever written, with its passionate avowals of love, mixed with covert fending-off of the beloved, and pointless news about travel conditions in Austria. It has a desperate and at times absurd pathos, which Barry’s setting wonderfully caught – much helped by the vividly tragic-comic performance of the bass Stephen Richardson.’ IvAn HeWeTT, The Telegraph

‘entitled simply Beethoven, and setting his anguished letters to Antonie word for word in the emily Anderson translation, its initial aura of slightly manic patter embodied Goethe’s description of the composer as “an utterly untamed personality”.’ RIAn evAnS, The Guardian

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I first met Gerald in the spring of 1990, during the rehearsals and preparations for the premiere of

The Intelligence Park. I was literally bowled over by his music. Not only because of its seeming complexity and technical difficulty—requiring no less than virtuosity from all performers, singers and players alike—but for its originality and accessibility. Here was a living composer with a really personal style, a presence like no other. I felt privileged to be involved. After that season at the Almeida, I was invited to sing the role of ‘Time’ in Gerald’s opera The Triumph of Beauty and Deceit. Here again was a piece that if it was a vinyl record on a turntable, and you dropped the needle anywhere on it for just five seconds, it would be immediately recognisable as Gerald’s music. Such is his style and musical gesture. Unmistakeable.

STePHen RICHARdSOn

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Erkoreka’s Jukal at the 2007 ISCM World Music Days in Hong Kong

Gabriel Erkoreka: Concerti recordings

Gabriel Erkoreka’s Jukal, a Guitar Concerto based on Flamenco Music, commissioned by the Nieuw Ensemble in 2000, was brilliantly performed at the International Society for Contemporary Music World Music Days 2007 in Hong Kong by the Dutch group Insomnio (ISCM Ensemble-in-Residence for 2007), conducted by Ulrich Pöhl. The solo guitarist was the magnificent Nelleke ter Berg.

Jukal was the only piece representing Spain at the 2007 ISCM event. The piece was also performed on a tour by the same players, which included the Time of Music Festival in Finland and the Huddersfield Contemporary Music Festival. It will be performed again in May in Utrecht, Holland.

‘It was a formidable experience to hear guitarist nelleke ter Berg play with such grace the intricate solo part of Jukal at the City Hall in Hong Kong. The members of Insomnio played with great inten-sity, capturing both the essence and intention of my piece.’

GABRIel eRKOReKA

Alun Hoddinott1929–2008

It is with great sadness that we announce the death of Alun Hoddinott. Alun died on 12 March at the age of 78.

As a former Professor of Music at University College, Cardiff, and Artistic Director of the Cardiff Festival 1967-1990, Alun Hoddinott had considerable influence in awakening interest in contemporary music in South Wales.

His breakthrough came in 1954 when his Clarinet Concerto was selected for performance at the Cheltenham Festival. The success of the premiere, given by

Gervase de Peyer and the Hallé Orches-tra, conducted by Sir John Barbirolli, enhanced Hoddinott’s reputation and led to increased performances of his works and many new commissions. The night before he died, the world premiere of his last string quartet was performed by the Sacconi String Quartet at the Wigmore Hall in London.

In a fitting tribute to a distinguished Welsh composer, the BBC National Orchestra of Wales’s new venue at the Wales Millenium Centre will be named Hoddinott Hall when it opens later this year.

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In July the Orquesta de la Comunidad de Madrid, conducted by José Ramón Encinar, will record all of Gabriel Erkoreka’s concerti to date with four internationally renowned soloists:

Afrika, for Marimba and Orchestra; Soloist-Pedro CarneiroKantak, for Solo Piccolo and Chamber Ensemble; Soloist-Harrie StarreveldJukal, for Solo Guitar and Chamber Ensemble; Soloist-Pablo Sainz VillegasAkorda, for Accordion and Orchestra; Soloist-Iñaki Alberdi

The composition of these four works took place between 1996 and 2004. Folk music is a common influence, both as a reference and as a pretext for experimentation.

The recordings will be released on CD in the autumn of 2008 on the Italian label Stradivarius: www.stradivarius.it.

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Gabriel Jackson Commission from the John Armitage Memorial Trust 2008

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Gabriel Jackson has recently completed his major new work commisioned by the

John Armitage Memorial Trust (JAM). JAM was founded in 2000, to encour-age, promote, and perform new music. It does this by commissioning a major piece each year (for choir, brass quin-tet, and organ) to front its annual music programme, which is predominantly comprised of submissions. Gabriel was delighted to be approached:

‘I was honoured and excited to be asked to write this year’s John Armitage Me-morial commission. The text—Joseph Addison’s well-loved 18th-century ode The Spacious Firmament—is full of vivid imagery which invites the kind of kaleidoscope of textures and colours a choir, brass quintet, and organ affords.

Akin to the large-scale motets of 17th-century Venice, the piece is built from antiphonies of variegated scoring—fan-faring trumpets, a hushed choral chant over deep organ pedals, dancing chorales for the brass, brazen, clanging tuttis, a whooping horn, glistening, coruscat-ing organ figuration ... all seeking to give vibrant voice to Addison’s celestial, ecstatic vision.’

To date, JAM has commissioned works from Judith Bingham, Jonathan Dove, Adam Gorb, Timothy Jackson, John McCabe, Paul Patterson and, for 2008, Gabriel Jackson.

Gabriel’s new work was premiered on 10 April 2008 by the BBC Singers, Onyx Brass, and Stephen Disley (organ), conducted by Nicholas Cleobury, at St Bride’s Church, Fleet Street. A repeat performance by the same ensemble took place the following day at Canterbury Cathedral to open the Sounds New Festival and will be broadcast on Radio 3 at a later date.

‘Gabriel was an obvious choice for JAM, being one of the country’s leading choral composers. We felt that he would work brilliantly with

JAM’s forces and were delighted when he accepted our commission. It is rare to find someone who is so obviously attuned to this unusual combination.’

edWARd ARMITAGe, Chairman, JAM

JAM tours its annual programme around the UK, visiting venues such as the ca-thedrals of Canterbury and Southwark; King’s and St John’s College Chapels, Cambridge; St Bride’s and St James’s Churches, London; St Cuthbert’s Church, Edinburgh. The next sched-uled performance of this piece is by the choir of Selwyn College Cambridge and Onyx Brass on Saturday 5th July at St Nicholas’ Church, New Romney. For further information, please email info@jamconcert.org.

Bob Chilcott at the World Symposium on Choral Music

Upcoming commissions: Gabriel Jackson is currently writing a Requiem, commissioned by the Vasari Singers. The premiere will be on Remembrance Day, 11 November 2008 at St Martin-in-the-Fields. For further details visit www.vasarisingers.org.

This summer Bob Chilcott will be appearing as a workshop leader at the 8th World Symposium on Choral Music, to be held at the new Opera House in Copenhagen, Denmark. His session ‘Finding Performance Energy Through Rhythm’ (25 and 26 July 2008) will explore how the internalization of rhythm motivates performance and thus helps singers to become more confident both individually and as a group. Bob is very excited about the prospect of his session:

‘When the process of rhythm becomes unified within a group it becomes a very empowering performance tool. We shall work with this idea in what will be a fully interactive and energetic workshop’.

The workshop will feature Chilcott’s The Making of the Drum as well as his upcom-ing new collection Jazz Folk Songs for Choirs, which is due to be published in July 2008.

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Last autumn Stephen Lansberry, Head of Music at St Peter’s School, took the unusual step

of contacting a living composer to ask if they would be interested to write a ‘sequel’, or maybe replacement, for Britten’s Noyes Fludde—a work mixing school forces (singers and instrumentalists) with a small core-group of more skilled or professional players. The request, happily accepted by me, also has the possibility of building a ‘cultural bridge’ to the past (Britten’s work dates from 1958), and—in setting a mediaeval text—also explores older dramatic models, and the whole aesthetic of ‘the glorious past’ which is so much a part of the contemporary ‘culture industry’.

The work lasts just over an hour, and its main musical aim is to re-locate ‘diatonicism’ and various sorts of modality within modern structural practice, including a whole range of compositional premises from the recent past that will, provisionally, also provide instructive models for the teaching of 5th- and 6th-form music. A significant number of these ideas originate from outside the mainstream Western European tradition, although they are not without precedent within the tradition of modernism, and its dialogue with ancient Asiatic and African sources: Grainger, Milhaud, Ives, and Stravinsky providing the older archetypes.

MICHAel FInnISSy

The new piece, entitled Mankind and based on the mediaeval morality play of the same name,

has been delivered and rehearsals have begun. Two professional singers will take the parts of ‘Mercy’ and ‘the Devil’, whilst all other principal singing and acting parts will be taken by students from St Peter’s School. The great chorus of little demons (there will be 180 of them) who accompany the entrance of ‘the Devil’ will come from St Peter’s School and from the five Catholic partner feeder schools. The orchestra will be similarly divided between professionals and children, with a string trio, piano, and organ set aside a large ripieno orchestra made up of students from the six schools.

The school has received grants from the Performing Right Society Foundation

and from the Britten-Pears Foundation to assist in the commission of the piece, and is bidding for a grant from ‘Awards for All’ towards the staging of the performances, which will take place in the Friary Church in Olton 26-28 September.

The music is challenging and some of it is difficult but the overall effect of the piece will be stunning. At St Peter’s we are all absolutely delighted with the piece—Michael Finnissy has provided a wonderful addition to that limited repertoire of stage works written by distinguished composers and suitable for performance by professionals and amateur musicians.

STePHen lAnSBeRRy, Head of Music, St Peter’s School

Finnissy: MankindMichael Finnissy’s exciting new opera for mixed professional and amateur performers will

be staged by St Peter’s School, Solihull, in September.

Pupils of St Peter’s School rehearsing Mankind

Six of Howard Skempton’s piano works received their South American premieres on 10 April in a recital entitled ‘Lo Bueno Viene en Frasco Chico’ (Good Things Come in Small Packages). Scott Lee Tinney, a long-time champion of

Howard Skempton’s music, performed Three Nocturnes, Guitar Caprice, The Cockfight, Bolt from the Blue, Leamington Spa, and Resister at Pontifica Universidad Católica in Lima, Peru.

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The Coull Quartet was appointed Quartet-in-Residence at the University of Warwick

in September 1977 and Expectancy was commissioned by the University to celebrate the first 30 years of its residency. This new work is a setting for choir and string quartet of a poem by John Drinkwater (1882-1937), a fine writer associated both with Birmingham’s Old Repertory Theatre and with ‘leafy Warwickshire’. Drinkwater has just slipped out of copyright, and this may be one of the reasons I was prompted to look again at

his poetry, having set Roundels of the Year in 1993. His lyric poems are likeable and palpably musical, and Expectancy is one of his best.

Although there is no Music Department at Warwick University, there is a vigorous Music Centre based at Warwick Arts Centre, at the heart of the campus.

The Chamber Choir is a fine ensemble and gave the first performance of my Two Poems of Edward Thomas in 1996.

If the first responsibility of any composer is to write richly imaginative music, the second is to ensure that it is manageable. The writing in Expectancy is not without subtle chromaticism, and the role of the quartet is primarily that of a sensitive accompanist. In this way, it follows the example of Beethoven’s

Elegischer Gesang, Op. 118, a little-known work for the same forces. It seems extraordinary that so little has been composed for mixed choir and string quartet. The fact that voices and strings are similarly flexible should be reason enough.

HOWARd SKeMPTOn

Howard has given us a jewel of a piece to mark our 30th anniversary. It is a beautiful, quite mesmerising setting of a John Drinkwater poem—quietly intense and with many subtle shades of darkness and light. We were looking for a work to complement Beethoven’s exquisite yet rarely performed Elegischer Gesang, Op. 118, for choir and quartet, and Expectancy fits the bill perfectly.

nICK ROBeRTS, cellist, Coull Quartet

Howard Skempton’s new work for string quartet and chamber choir: Expectancy

The University of Warwick Chamber Choir and the Coull Quartet, conducted by Paul McGrath, gave the world

premiere of Howard Skempton’s Expectancy, in St Paul’s Church, Birmingham, on 7 March.

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The Exon Singers record the choral works of Howard Skemptondelphian Records’ autumn Cd release of the choral works of Howard Skempton is the latest collaboration between the composer, delphian, and the exon singers. Paul Baxter, Managing Director of Delphian Records, explains:

‘I first heard Howard’s Magnificat and Nunc Dimittis at its premiere in Edinburgh’s St Mary’s Episcopal Cathedral in 2003. Matthew Owens (now in charge of the music at Wells Cathedral) had started up an innovative Capital Commissions Scheme. My experience of Howard’s music graduated from being struck by the insistence and elegant economy of his

Mag and Nunc to being completely enraptured by his setting of the Song of Songs, which Mike Brewer recorded with Laudibus for our Song of Songs disc (Delphian DCD34042). Given Howard’s long working relationship with Matthew (and the Exon Singers), he was thrilled that I’d suggested the Exons for this new recording; so thrilled was Howard that his commitment to the project extended to writing a Missa Brevis between Christmas and New Year to be recorded on the fifth of January! It was a great privilege to have Howard present at the recording sessions. The disc is scheduled for release in July of this year (DCD45056).’

For further details of Delphian Records CD releases visit www.delphianrecords.co.uk.

Howard Skempton and Matthew Owens

The Coull Quartet

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Anthony Powers: World premiere of Nightsongs

The Schubert Ensemble gave the world premiere of Anthony Powers’ piano quartet, Nightsongs, at the Purcell Room on 29 February.

The work was commissioned by the Schubert Ensemble in 2006, and performed as part of their 25th anniversary concert. The piece was inspired by the famous and atmospheric garden of Ninfa, south of Rome.

‘By turns delicate and passionate, Nightsongs forms both a personal response and a musical tribute to one of the most magical gardens in the world.’

AnTHOny POWeRS

‘This hauntingly atmospheric work is a superb addition to the Schubert ensemble’s piano quartet repertoire. It is beautifully conceived for all four instruments and there is a Fauré-like restraint in the writing that serves to

heighten the expressive power of the piece. Although we have only performed Nightsongs twice, we all feel that it is a work we are going to want to come back to again and again.’

WIllIAM HOWARd, pianist, Schubert Ensemble

Nightsongs will be performed by the Schubert Ensemble at St George’s, Bristol, and broadcast on Radio 3, on 13 November 2008.

Hilary Tann: Songs of the Cotton Grass

My association with Hilary began when I contacted her with a query from

her solo viola work The Cresset Stone, which I had been studying and was due to perform. Following some email exchanges, Hilary invited me to visit her in her home in the Adirondack Mountains in the north of New York State during my trip to New York City. After working on Cresset, for me one of the highlights of the solo viola repertoire, we sat and listened to some of her other chamber works and within an hour the idea of the CD was born. It seemed absurd to me that these beautifully crafted works had not been recorded, and I was delighted when Patrick Naylor of Deux-Elles Records expressed an interest in the project. The common thread in all but one of the works is the presence of the viola—used in imaginative, original combinations such as oboe, viola, and cello (The Walls of Morlais Castle) and soprano with viola (Songs of the Cotton

Grass), as well as the more familiar combination of flute, viola, and harp. As with much of Hilary’s music, the ‘Welsh connection’ is strong, reflecting the composer’s roots.

In addition to the natural satisfaction of bringing an idea to fruition and of giving more people the chance to hear some of this wonderful music, much of the joy of the project has been in working with some of the finest young musicians around: pianist Michael Hampton, cellist Thomas Carroll, harpist Lucy Wakeford, flautist Kathryn Thomas, oboist Alun Darbyshire, and soprano Elizabeth Donovan.

The recording took place in March in Potton Hall, Suffolk, produced by Michel Ponder, with the composer present, and will be released on Deux-Elles in September. Some of the works will be featured in, and the CD launched at, the 2008 Vale of Glamorgan Festival on 12 September.

The CD comprises the following pieces:

From the Song of Amergin*; The walls of Morlais Castle#, Duo*, The Cresset Stone, Songs of the Cotton Grass*, Nothing Forgotten#.

For further details visit www.deux-elles.com or www.matt-jones.com.

MATTHeW JOneS

The Cresset Stone is published as part of OUP’s Oxford Contemporary Repertoire (OCR) series 9780193863545 £5.00

See page 15 for details of how to order OCR titles.* soon to be published in the OCR series# available from OUP in the USA (see page 16 for contact details)

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Matthew Jones plays the chamber works of Hilary Tann on a new recording to be launched at the Vale of Glamorgan Festival 2008.

Hilary Tann and Matthew Jones

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Mack Wilberg’s Requiem

Mack Wilberg’s Requiem, which was premiered by the Mormon Tabernacle

Choir in April 2007 in Salt lake City, has since been recorded by the choir on the Cd Requiem: The Choral Music of Mack Wilberg (SKU4996466), featuring eminent soloists Bryn Terfel and Frederica von Stade.

In a style influenced by Vaughan Williams and Finzi, this work evokes a reflective and sometimes other-worldly atmosphere. Some movements are in Latin, others in English, and Wilberg has organized the work into seven movements, a structure also used in the Brahms and Rutter Requiems. Scored for SATB baritone and mezzo-soprano soloists, and piano or orchestra, Wilberg’s Requiem lasts 40 minutes and is appropriate for performance throughout the year.

1. Requiem aeternam 2. Kyrie 3. I will lift up mine eyes 4. How lovely is your dwelling place 5. O Nata Lux 6. The Lord is my Shepherd 7. I am the Resurrection and the Life— Requiem aeternam

The vocal score of Mack Wilberg’s Requiem will be published by OUP in July 2008. A full score and set of parts to the orchestral accompaniment (3(III+picc).2(IIca).2.2-4.0.0.0-cel/glock-hp.pno.org[opt]-str) will be able on hire from Oxford University Press Music Hire Library.

Rutter: Winchester Te Deum

John Rutter’s Winchester Te Deum received two high-profile performances in April this year.

John Rutter conducted the orchestrated version of this recent work, alongside his Gloria and Haydn’s Nelson Mass, as part of the MidAmerica Production concert series at Carnegie Hall with the New England Symphonic Ensemble and a large chorus of university and school choirs from across America. Winchester Te Deum was also performed to great acclaim later that same week by the National Youth Choir of Great Britain in a Gala Concert at Symphony Hall, Birmingham, in celebration of the choir’s 25th anniversary.

9780193356894 £4.95 (vocal score)

Orchestral material is available on hire.

London Festival of Contemporary Church Music

The 2008 London Festival of Church Music will take place from 10-18 May at St Pancras Parish Church, London. This year’s festival will feature works by numerous Oxford University Press house composers: Michael Berkeley, Gabriel Jackson, Anthony Powers, John Rutter, Howard Skempton, and Ralph Vaughan Williams.

Michael Berkeley will be giving a pre-concert talk on 10 May to introduce his new motet,Time No Longer, which will receive its world premiere by the Vasari Singers, directed by Jeremy Backhouse, later the same evening. The Choral Eucharist on 14 May will celebrate the Vaughan Williams 50th anniversary, with performances of his Mass in G minor and O Taste and See.

For full festival details visit www.stpancraschurch.org

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National tour of Martin Butler’s Dirty Beasts

Martin Butler’s From the Fairground of Dreams was premiered by the Brighton Philharmonic Orchestra, conducted by Barry Wordsworth, on 18 January.

Barry Wordsworth writes about the orchestra’s two-year project with Martin Butler:

‘In 2005 the Brighton Philharmonic

Orchestra was awarded funding from the Arts Trust of Brighton and Hove to commission a new work. It was natural to begin our search for the composer close to home, and I was delighted when Martin Butler, who is currently Professor of Music at the University of Sussex, accepted our invitation to write this work for us. It is a wonderfully evocative and exciting work full of memorable ideas brilliantly orchestrated, and our audience has been helped to appreciate the composition as Martin has become a familiar sight and sound to them over a two-year period as our Composer in Focus. The inspiration for the composition is clearly Brighton,

the fairground aspect of the city, and its geographical circularity. By having a resident of Brighton as our composer not only have we acquired a magical new work for the orchestra and indeed for orchestras generally, but we have a magnificent piece of music which our audience and Brighton residents can think of as their own.’

‘detailed and thought-provoking, it’s a spider’s web of closely woven complexity. like Prospero’s island it is full of strange sounds and enchantments’

MARK GAle, Worthing Herald

Performing Dirty Beasts on Music in the Round’s Around the Country tour has been a joy

for us the musicians, and the audiences have thoroughly enjoyed themselves. Alongside Ensemble 360, I have so far narrated performances of Roald Dahl’s hugely popular poems The Pig, Tummy Beast, and The Crocodile, accompanied by Martin Butler’s fabulous music, at theatres in Sheffield, Milton Keynes, Warwick, and Dartington, as well as at seven Sheffield primary schools, and for a live performance on BBC Radio 3’s In Tune!.

As the narrator, it has been great fun taking on the voices of the tummy

beast, the angry mother, and the greedy crocodile. The musicians love exaggerating the music clearly to depict the poems: the grunting pig on the bass clarinet, the bassoon and piano’s descending scale of mummy fainting to the floor, and the truly horrible ‘snorting, grunting, grumbling sound’ on the oboe and horn.

In one of our first performances we dressed up a boy in the audience as ‘Farmer Bland’. The way he spontaneously strolled onto the centre of the stage in the middle of the performance with his flat cap and pail of pigswill and dramatically fell to the floor as ‘Piggy’ gobbled him up was astounding. His dramatic flair surprised the musicians and hopefully will be the start of his acting career! This inspired us to include our audience for future performances, including three girls wearing plaits and curls (with jars of butterscotch and caramel) and three boys (in caps and carrying pots of mustard) as a perfect feast for ‘Crocky Wock’!

Schools and parents have responded very positively and most venues have sold out. We all believe in taking high-quality music to children and new audiences—what better way to do this than to combine wonderful music with hugely popular children’s writing, performed by inspirational professional musicians?

Future performances will take place at the Wigmore Hall, london (24 May), Oakham School Chapel, Oakham (17 June), and Oakengates Theatre, Telford (22 June).

POlly IveS, Music in the Round www.musicintheround.co.uk

Martin Butler: World premiere of From the Fairground of Dreams

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Richard Causton: ChoralesRichard Causton’s new

work for the Cambridge Gamelan Society, Chorales,

will be premiered by Robert Campion and John Pawson, professional gamelan musicians, in May. Robert Campion writes of his association with Richard Causton and how the commission evolved:

‘My association with Richard Causton began six years ago. We both happened to be members of an ensemble

performing new music for Javanese gamelan at a music festival in France. At that point, I was familiar with some of his works and was particularly fascinated by the chamber work The Persistence of Memory. As our friendship developed and my knowledge of his other works increased, I resolved to persuade him to write a piece for gamelan. I knew that his detailed knowledge of the instruments’ capabilities would produce some interesting results.

A full gamelan consists of up to 30 or 40 instruments, including gongs, drums, and metallophones of various types. It was for this large ensemble that I had initially wanted to commission Richard to write a piece. However, as a composer myself, I became increasingly interested in the new music potential of one particular instrument in the gamelan ensemble called the gendèr

barung. The gendèr barung is a fourteen-keyed metallophone with resonators, traditionally played by one person using two padded mallets. Out of all the Javanese gamelan instruments, I felt that this one had the greatest potential to stand as an instrument for which a repertoire of works could be performed at intimate venues. It can be used to play chordal passages or cantabile melodic lines. Notes can be left to resonate, whilst others are played staccato

simultaneously. There is a wide range and subtlety of touch available, mallet against key.

With this in mind, I decided to commission Richard to write a work for gendèr. It will receive its world premiere at a Kettle’s Yard New Music Morning Concert in Cambridge on 25 May 2008.’

The Schubert Ensemble performs Martin Butler’s Sequenza Notturna and American Rounds. These works for piano quartet and piano quintet were written for the Schubert Ensemble in 2003 and 1998 respectively, and are available on NMC Records’ disc American Rounds: NMC D120.

29 April – CARdIFF UnIveRSITy Butler: Sequenza Notturna 8 July – CHelTenHAM FeSTIvAl Butler: Sequenza Notturna 3 October – KInGS PlACe, lOndOn Butler: American Rounds30 October – ST GeORGe’S, BRISTOl Butler: Sequenza Notturna (Radio 3 broadcast)

Also coming up:

Broadcasts and Recordings*Richard Causton’s ensemble work As Kingfishers Catch Fire (originally entitled Divertimento), was given its World, UK, and London premieres by the Britten Sinfonia in December 2007. It was broadcast on Radio 3 on 15 April. Causton explains: ‘It’s about the extravagance, ebullience, fertility, and overblownness of nature, the way there are always five more species of any animal than there should be need for. When a piece is gestating, I put the idea up on the wall, and the poem by Gerard Manley Hopkins from which I borrowed the title puts it perfectly. like the animals in the poem, I want the instruments to be unashamedly themselves. That will mean a lot of open fifths in the strings.’

*The London Sinfonietta launched their recording of Causton’s Phoenix in March. Richard won the 2006 Royal Philharmonic Society Award for Chamber-Scale Composition with this work. The CD will be released in late spring 2008.

‘I resolved to persuade him to write a piece for gamelan’

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Untapped potential

Why do so few amateur orchestras attempt works by modern composers?

I’ve known amateur orchestras play Tippett and Webern, but the number of performances is tiny compared to those who play Britten or Stravinsky. There are lessons here for today’s composers.

It isn’t necessary to write specifically for amateurs in order to write music which amateurs can play. Pieces commissioned for youth or amateur orchestras often have a particular stamp: celebratory in style, fairly easy, rather lacking in serious musical intent—and hence not very interesting. It is possible to write music of depth and meaning which is playable—listen to Howard Skempton’s Lento in the Living Music list. There is a thirst for musical meaning and beauty (not just prettiness) among amateur players—it’s what we get from Mozart, Brahms, or Mahler. We’re not asking for pieces in a reduced or backward-looking style: we want works which we can engage with and to which we can give a meaningful performance.

The issue of instrumentation also drives musical directors and programming committees round the bend. BCO is a subscription band: everyone pays to play. We already have enough trouble with pieces with no clarinets, one flute, or an extra trombone (thank you, Rossini). Living composers who write for much stranger ensembles

are not going to get performances from us. We can’t do ‘strings, bass flute, four percussionists, and tape’: it leaves out too many paying members. The Holy Grail for me is a fine modern work, within our not-inconsiderable capabilities, which we can prepare in a rehearsal period of six weeks alongside a classical symphony, and which is scored 2.2.2.2-2.2.0.0-timp-str

Another issue is cost. Extra percussion is a problem because these days even the lowliest youth orchestra percussionists charge for their service. Hiring crotales

and tubular bells could break the bank. Add a harpist and that’s another £150. Too many modern works have been commissioned by the no-expense-spared London Sinfonietta, and we simply can’t afford them.

If I can find a suitable late 20th or 21st century work which we (a) find musically rewarding, (b) can

afford to mount, and (c) uses all the members of the band, we would be likely to perform it not once but twice, in two different venues. We’ve done this before (Keith Templeman’s Cor Anglais Concerto), and we would do it again.

Schemes such as OUP’s Living Music are making it easier to find appropriate repertoire: we just need the composers on our side.

CATHeRIne ROSe, Musical Director, Buckinghamshire

Chamber Orchestra, www.bucksorchestra.org.uk

As the conductor of the amateur Buckinghamshire Chamber Orchestra (BCO), Catherine Rose is delighted that OUP has made a move to find new music which is

within the range of amateur players through its Living Music scheme.

‘It is possible to write music of depth and meaning, which is playable’

Living Music aims to encourage the performance, by non-professional orchestras, of works written by Oxford’s house composers. The scheme features 14 outstanding works composed within the last 35 years, which have all been chosen with non-professional orchestras in mind. They vary in difficulty and duration, and the chosen works are all exciting to play and rewarding to listen to.

Any UK-based non-professional orchestra who programmes one or more of these works will benefit from substantially reduced hire fees, and will also have access to other promotional offers from OUP. (For orchestras based in countries where we have agency representation, please contact your local agent for more details.)

For more information on living Music please visit the scheme’s website at www.oup.com/uk/livingmusic.

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Re-orchestration of Rawsthorne’s Kubla Khan

Alan Rawsthorne’s Kubla Khan, was originally commissioned by the BBC and first

performed in a studio broadcast from Bristol in June 1940. The score and parts were destroyed when Rawsthorne’s flat was bombed shortly after the performance, but fortunately copies of the vocal score—chorus parts with piano reduction of the orchestral parts—survived, and it is this which made the reconstruction possible.

Edward Harper writes: ‘Kubla Khan had been written as part of a joint commission for exchange broadcasts between the BBC and Swiss Radio (the Swiss work was Honegger’s oratorio La Danse des Morts). The Honegger was broadcast in April 1940 and the Rawsthorne two months later. The destruction of the manuscript and the absence of any recording meant that all that survived of the work was the vocal score used for the BBC broadcast. Rawsthorne was never persuaded to reconstruct the full score, but his response to Coleridge’s poem—‘this extraordinary burst of sustained genius’,

as he described it—is fascinating, and when John Turner, on behalf of the Ida Carroll Trust and with support of the Rawsthorne Trust, asked me to consider orchestrating Kubla Khan I was very pleased to do so.

The first and very important decision to make was what forces to use in the scoring. Rawsthorne’s original scoring for Kubla Khan was for strings and percussion. However, the more I got to know the orchestral reduction the more I felt like parts of the music seemed to call for rather larger forces and a greater range of orchestral colour. My decision to score Kubla Khan for full orchestra was reinforced by two things: firstly, John McCabe reaches a similar conclusion in his book on Rawsthorne. Furthermore, Rawsthorne himself had rescored the original version of his Piano Concerto No.1 (like Kubla Khan it had been for strings and percussion) for full orchestra. Much of the orchestral thematic material appears in the woodwind for the second version, confirming Rawsthorne’s wonderful ear for woodwind timbre. Examples of re-thinking musical textures and colours

were very relevant to my approach in orchestrating Kubla Khan, but I was working at one step removed, in that I had a piano reduction to work from, not the original full score. One question was always at the back of my mind: to what extent had the original score been simplified to make it playable on the piano?

I would stress that, while it was necessary to work with a certain creative freedom because of the considerations outlined above, it has not been my intention to make alterations and additions which in any way reflect my own musical personality. Any additions to the texture and any re-spacing are as a result of my attempt to think myself into the creative mind of Rawsthorne and, without claiming to write what he might have done himself, to find an orchestral sound which will do justice to the stature of this fine work.’

Full article published in The Creel, volume 4, no. 3, Summer 2001. Reproduced by permission of Edward Harper and The Rawsthorne Trust.

Edward Harper’s exciting commission from the Ida Carroll Trust was to reconstruct the orchestral material of this setting of Coleridge’s well-loved poem.

The first performance of edward Harper’s re-orchestration took place at the Bridgewater Hall, Manchester, on 30 March 2008. The concert was given by the Amadeus Orchestra, conducted by Philip Mackenzie.

We first became involved in this project about three years ago when I received a phone call from John Turner of the Rawsthorne Trust, explaining that the piece had been re-orchestrated by

Edward Harper and asking if we would like to premiere it. Of course I said ‘yes’ immediately—the problems then were how and where.

The big ‘how’ problem was where to get the choirs from—we decided to couple Kubla Khan with Mahler’s Second Symphony, which is always popular with choirs and audiences alike and the right length to complement the Rawsthorne. The ‘where’ question was resolved (it had to be a big hall

to accommodate 125 players and 200 singers!) by returning to Rawsthorne’s home town of Manchester and their wonderful Bridgewater Hall.

PHIlIP MACKenzIe, Amadeus Orchestra,

www.amadeusorchestra.co.uk

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Michael Berkeley will celebrate his 60th birthday on 29 May 2008. There will be a wide range of performances of his works throughout the year, including major features at the Proms, Cheltenham, Presteigne, Second Glance, and St endellion festivals.

Dame Felicity Lott (soprano), Susan Bickley (mezzo), Julius Drake (piano), and the Chilingirian Quartet will give a birthday concert at the Wigmore Hall, London, on 20 October, and Music Theatre Wales will embark on a nationwide tour of For You, Berkeley’s new opera with Ian McEwan, following its premiere at the Guardian Hay Festival on 31 May. The tour will include the work’s London premiere, due to be given in the Linbury Studio Theatre, Royal Opera House, at the end of October. The Vasari Singers will premiere a new motet, Time No Longer,

at the London Festival of Contemporary Church Music on 10 May (see page 7 for details), and players from the New York Philomusica will perform Quartet No. 1 at the Broadway Presbyterian Church on 1 May following their performances of Odd Man Out, Funerals and Fandango, and For the Savage Messiah on 21 February.

visit www.oup.co.uk/music/repprom/berkeley for more details on Michael Berkeley’s 60th birthday year performances.

Michael Berkeley’s 60th birthday

In celebration of Michael Berkeley’s 60th birthday year and his connections with the city, Music Theatre Wales are co-ordinating a year-long festival of his works in Cardiff.

Participants include BBC National Orchestra of Wales, Music Theatre Wales, Royal Welsh College of Music and Drama, and the Cardiff New Music Collective. Berkeley is composer-in-association with the BBC National Orchestra of Wales and acts as visiting professor in composition at the Royal Welsh College of Music and Drama.

Current confirmed performances include: 13 May

22 May

31 May & 1 June

2 november

Students of the RWCMd

BBC national Orchestra of Wales

Music Theatre Wales

Music Theatre Wales

Chamber music; Among the Lilies, Music for Chaucer, Catch Me if You Can

Organ Concerto, Or Shall we die?

For You Opera Premiere, (Libretto: Ian McEwan)

For You (Libretto: Ian McEwan)

RWCMd, 7pm22 May

St david’s Hall, 7:30pm31 May & 1 June

Theatr Brycheiniog,Brecon

new Theatre

John Rutter lead an inspirational workshop at the launch of The Oxford Book of Flexible Anthems at St. Sepulchre-without-Newgate Church, London, in January 2008. Some 150 delegates and 15 contributors to the anthology—including Cecilia McDowall, Richard Shephard, and the book’s editor, Alan Bullard—attended the event. The day culminated in a rousing choral evensong conducted by John Rutter—a fitting launch for this major new publication.

The Oxford Book of Flexible Anthems is the perfect resource for church choirs of all types and sizes. each piece is presented with flexible scoring options, enabling performance by various combinations of singers.

To request a promotional Cd for this anthology, please call 01865 355067

9780193358959 £12.50 (paperback)9780193358966 £15.95 (spiral bound)

Launch of The Oxford Book of Flexible Anthems

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English Hymnal day at the Turner Sims Concert Hall, Southampton University

david Owen norris, Professor of Musical Performance at Southampton University, paid tribute to The English Hymnal, music edited by vaughan Williams, in an event on 23 February 2008.

As part of the celebrations marking the 50th anniversary of the composer’s death, Professor Norris and his keyboard students spent six hours performing the entire English Hymnal, appendices and all, to an enthusiastic audience. This wonderful event provided an opportunity to hear many of the lesser-known hymns, the understanding of which was enhanced by Professor Norris’s illuminating commentary.

Musical chairs

Vaughan Williams at the BBC Proms 2008

Vaughan Williams’s music will be a major feature of the 2008 BBC Proms. The exact day of the composer’s death fifty years ago will be marked by a Promenade concert comprised entirely of his own works. All of the performances of Vaughan Williams’s music will be given by inspirational English orchestras, forming a fitting tribute to a composer who did so much to enhance English musical life.

The following concerts of the series will feature Vaughan Williams’s music:

Anwen GreenAwAy nAomi BurGoyneLAurA mizonDAviD worDsworth

New Vaughan Williams catalogue To mark the 50th anniversary of Vaughan Williams’ death, Oxford University Press has produced a new catalogue of his works, including many fascinating photographs from the composer’s life. To request your copy please email repertoire.promotion.uk@oup.com.

OUP is delighted to announce the appointment of laura Mizon as the new Choral Promotion Specialist and Anwen Greenaway as the new Promotion Manager in the UK.

Both Anwen and Laura are based in the Oxford Music Promotion office with Naomi Burgoyne, Promotion Assistant. David Wordsworth, Head of Promotion, remains in London.

Key contact details for OUP’s Music Promotion offices are given on the back page of this issue.

24 July Symphony No. 4

29 July Symphony No. 8 in D minor

8 August Symphony No. 6, Five Variants of Dives and Lazarus

12 August Piano Concerto

17 August Flos Campi

26 August (Anniversary day) Symphony No. 9, Fantasia on a theme by Thomas Tallis, Job-A Masque for Dancing, Serenade to Music

27 August The Lark Ascending

10 September Sinfonia Antartica

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CrossePurgatoryPeter Bodenham (tenor), Glenville Hargreaves (baritone), Orchestra and Chorus of the Royal Northern College of Music, Michael Lankester (conductor)LYRITA SRCD.313

GerhardSymphony No. 4 ‘New York’, Violin ConcertoYfrah Neaman (violin), BBC Symphony Orchestra, Colin Davis (conductor)LYRITA SRCD.274

Mathias Three British ComposersLittle Suite for Piano; Piano Sonata No.1John Clegg (piano)PARADISUM PDS-CD14

The Three String Quartets (re-release)String Quartet No.1, Op.38; String Quartet No.2, Op.84; String Quartet No.3, Op.97The Medea QuartetMETIER RECORDS, DIVINE ART LTD msvcd92005

RawsthorneAlan RawsthornePractical Cats; Street Corner Overture; Madame Chrysanthème Ballet Suite; Theme, Variations & Finale; Coronation OvertureSimon Callow (narrator), Jeremy Huw Williams (baritone), Royal Liverpool Philharmonic Orchestra, David Lloyd-Jones (conductor) DUTTON DIGITAL CDLX 7203

Rawsthorne-Berkeley-Bush Chamber MusicQuartet for Clarinet, Violin, Viola, and CelloAeolian Quartet LYRITA SRCD.256

Skempton Canons + Hoquets Catch; TendrilsBozzini Quartet COLLECTION QB CQB 0704

vaughan WilliamsKoussevitsky Live Recordings 1943–1948 Volume 2Symphony No.5 in DBoston Symphony Orchestra, Serge Koussevitzky (conductor) GUILD GHCD 2324

Walton James Ehnes’ Barber/Korngold/Walton: Violin ConcertosConcerto for Violin and OrchestraJames Ehnes (violin), Vancouver Symphony Orchestra, Bramwell Tovey (conductor) CBC RECORDS/ONYX CLASSICS ONYX4016

*Winner of the 2008 Grammy Award for the Best Instrumental Soloist(s) Performance (with Orchestra)

Walton Piano Quartet Piano Quartet in D minorThe Chamber Music Society of Lincoln Center: Wu Han (piano), Ani Kavafian (violin), Arnaud Sussmann (violin), Paul Neubauer (viola), Fred Sherry (cello)CMS STUDIO RECORDINGS‘The Walton Piano Quartet is such a sophisticated work, it’s hard to believe that Walton was only 16 when he wrote it.’

WU HAn

New and recent CDs

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BarryFirst Sorrow OCR978019335956710’String quartet£15.00

Berkeley Second Still Life OCR97801933598267’Oboe and harp £5.00

Seven OCR97801933599637’Flute (+alto flute), oboe, clarinet, tam-tam, harp, violin, and cello Price tbc

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Ettelijke bange eenden OCR9780193356764Variable lengthFor 3-7 performers £6.00

Le Lay de la Fonteinne OCR9780193453296 24’Solo voice£15.00

Not envious of rabbits OCR97801933598884’30Unspecified ensemble Price tbc

Possession du condamné OCR97801933598579’30Clarinet in C (or violin), cello, and pianoPrice tbc

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Magnificat & Nunc Dimittis (Tewkesbury Service) OCR9780193360136 10’SATB and organ£7.50

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Thou whose birth OCR97801933598953’Treble voices and organPrice tbc

SkemptonA Dream 97801933565665’SATB unaccompanied£2.10

Arioso/Grail Transformation and Epiphany OCR97801933597655’Solo cello£4.00

The Moon is Flashing 978019335975820’Tenor and orchestra: 2.2.2.2-4.2.3.1-timp.2 perc-str Score and parts on hire

Three Motets 97801933601055’SATB unaccompanied£2.70

vaughan Williams The Lark Ascending978019336009913’Solo violin and orchestra or piano £9.95 (violin & piano reduction)Orchestral material is available on hire:2.1.2.2.-2.0.0.0-tri-str

Serenade to Music978019336002014’Vocal soloists or SATB and orchestra£7.50 (vocal score)Orchestral material is available on hire:2(2+picc).1.ca.2.2-4.2.3.1-timp.perc.hp-str

Symphony No.5978019335942035’£60.00 (score)Matching, newly engraved orchestral parts will be available on hire:2(II+picc).1.ca.2.2.-2.2.3.0-timp-str

Walton, edited by david lloyd-JonesChamber Music (Walton Edition Volume 19)9780193683174 (available July)Contents: Quartet for Violin, Viola, Cello, and Piano; String Quartet (1920-2); Toccata for Violin and Piano; String Quartet in A minor; Sonata for Violin and Piano; Two Pieces for Violin and Piano; Tema (per Variazioni) per Cello Solo; Passacaglia for Violoncello Solo; Passacaglia for Violoncello Solo (ed. M. Rostropovich)£125.00

Please note: OCR denotes a title that is published as part of the Oxford Contemporary Repertoire series, and should be ordered direct from the specialist supplier Goodmusic Publishing: tel. +44 (0)1684 773 883 or email sales@goodmusicpublishing.co.uk

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Music Department, Oxford University Press, 70 Baker Street, London, W1U 7DN Tel.: +44 (0)20 7616 5905 Fax.: +44 (0)20 7616 5901 E-mail: repertoire.promotion.uk@oup.com

Anwen Greenaway, Promotion Manager Laura Mizon, Choral Promotion Specialist Naomi Burgoyne, Promotion Assistant

Music Department, Oxford University Press, Great Clarendon Street, Oxford OX2 6DP Tel.: +44 (0)1865 355 021 Fax.: +44 (0)1865 355 060 E-mail: repertoire.promotion.uk@oup.com Internet: www.oup.com/uk/music/repprom

Sales & Marketing, Editorial, & Copyright: Music Department, Oxford University Press, Great Clarendon Street, Oxford, OX2 6DP Tel.: +44 (0)1865 355 067 Fax.: +44 (0)1865 355 060 E-mail: music.enquiry.uk@oup.com

Music Hire Library: Music Department, Oxford University Press, Great Clarendon Street, Oxford, OX2 6DP Tel.: +44 (0)1865 353 323 / 699 Fax.: +44 (0)1865 353 767 E-mail: music.hire.uk@oup.com

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