1

STING

SYMPHONICITIES

2

1. Next To YouSting, Vocals; Jo Lawry, Backing Vocals; Rob Mathes, Piano; David Finck, Acoustic Bass; David Cossin, Percussion; Joe Bonadio, Percussion; Featuring the New York Chamber Consort (Lisa Kim, Concertmaster);

Conducted by Rob Mathes

2. Englishman In New YorkSting, Vocals; Jo Lawry, Backing Vocals; Rob Mathes, Piano; David Finck, Acoustic Bass; Aaron Heick, Clarinet Solo; David Cossin, Percussion; Joe Bonadio, Percussion; Featuring the New York Chamber Consort (Lisa Kim,

Concertmaster); Conducted by Rob Mathes

3. Every Little Thing She Does Is MagicSting, Vocals; Jo Lawry, Backing Vocals; Rob Mathes, Piano and Acoustic Guitar; David Finck, Acoustic Bass; David Cossin, Percussion; Featuring the London Players (Jackie Shave, Concertmaster); Conducted by Rob Mathes

4. I Hung My HeadSting, Vocals; Jo Lawry, Backing Vocals; Dominic Miller, Guitar; Ira Coleman,Bass; David Cossin, Percussion; Featuring the Royal Philharmonic ConcertOrchestra (Gerald Gregory, Concertmaster); Conducted by Steven Mercurio

5. You Will Be My Ain True LoveSting, Vocals; Jo Lawry, Vocals; Dominic Miller, Guitar; Ira Coleman, Bass; David Cossin, Percussion; Featuring the Royal Philharmonic Concert Orchestra

(Gerald Gregory, Concertmaster); Conducted by Steven Mercurio

6. RoxanneSting, Vocals; Jo Lawry, Backing Vocals; Rob Mathes, Piano and Acoustic Guitar; David Finck, Acoustic Bass; David Cossin, Percussion; Anthony Pleeth,Cello Soloist; Featuring the London Players (Jackie Shave, Concertmaster);

Conducted by Rob Mathes

7. When We DanceSting, Vocals; Jo Lawry, Backing Vocals; Dominic Miller, Guitar; Ira Coleman,Bass; David Cossin, Percussion; Featuring the Royal Philharmonic Concert Orchestra

(Gerald Gregory, Concertmaster); Conducted by Steven Mercurio

3

8. The End Of The GameSting, Vocals; Jo Lawry, Backing Vocals; Dominic Miller, Guitar; Ira Coleman,Bass; David Cossin, Percussion; Featuring the Royal Philharmonic Concert Orchestra

(Gerald Gregory, Concertmaster); Conducted by Steven Mercurio

9. I Burn For YouSting, Vocals and Acoustic Guitar; Jo Lawry, Backing Vocals; David Cossin, Per-cussion Soloist; Joe Bonadio, Percussion; Ben Wittman, Loop Program-ming; Featuring the New York Chamber Consort (Lisa Kim, Concertmaster);

Conducted by Rob Mathes

10. We Work The Black SeamSting, Vocals; Jeff Kievit, Lead Trumpet; Jim Hynes, James Delagarza, DylanSchwab, Trumpets; Larry DiBello, Chad Yarborough, David Peel, Theo Primus,Horns; Birch Johnson, Dick Clark, Trombones; Jeff Nelson, Bass Trombone;Marcus Rojas, Tuba; Joe Bonadio, Percussion; Conducted by Rob Mathes

11. She’s Too Good For MeSting, Vocals and Acoustic Guitar; Jo Lawry, Vocals; Dominic Miller, Electric Guitar; Rob Mathes, Acoustic Guitar; Ira Coleman, Bass; Joe Bonadio,Percussion; Chris Botti, Ed Cherney, Tracy Bufferd, Rob Mathes, KathrynSchenker and Sting, Rabble Rousers; Featuring the New York Chamber

Consort (Lisa Kim, Concertmaster); Conducted by Rob Mathes

12. The Pirate’s BrideSting, Vocals; Jo Lawry, Backing Vocals; Rob Mathes, Acoustic Piano; DominicMiller, Acoustic Guitar; Joe Bonadio, Percussion; Shelley Woodworth, OboeSoloist; Barbara Allen, Harp; Featuring the New York Chamber Consort

(Lisa Kim, Concertmaster); Conducted by Rob Mathes

Exclusive Digital Track13. Straight To My Heart

Sting, Vocals; Jo Lawry, Backing Vocals; Dominic Miller, Guitar; IraColeman, Bass; David Cossin, Percussion; Featuring The Royal

Philharmonic Concert Orchestra (Gerald Gregory, Concertmaster);Conducted by Steven Mercurio

4

Produced by Rob Mathes and Sting

All songs arranged by Rob Mathes, except“I Hung My Head” arranged by David Hartley,

“You Will Be My Ain True Love” and “When We Dance” arranged by Steven Mercurio,

“Straight To My Heart” arranged by Jorge Calandrelli

All songs recorded at Abbey Road Studios, London, UK by Jonathan Allen, assisted byLewis Jones except

“Next To You,” “Englishman In New York,” “I Burn For You,” “She’s Too Good For Me,”and “The Pirate’s Bride” Recorded by Elliot Scheiner, assisted by Tim Mitchell at Clinton

Recording Studios, New York, NY“We Work The Black Seam” recorded by Alex Venguer at Clinton Recording Studios and

MSR Recording Studios, New York, NY

Album Mixed by Elliot Scheiner, assisted by Mathew Scheiner, except “Next To You,” and“She’s Too Good For Me,” Mixed by Claudius Mittendorfer, “We Work The Black Seam,”

Mixed by Alex Venguer and “The Pirate’s Bride,” Mixed by Ed Cherney

Pro Tools editing by Alex Venguer and Tim MitchellAdditional editing by Lars Fox

Overdubs for “Every Little Thing She Does Is Magic” and “Roxanne” recorded at MSRStudios, New York, NY by Alex Venguer

Lead Vocals for “Every Little Thing She Does Is Magic” and “Roxanne” recorded atClinton Recording Studios, New York, NY by Elliot Scheiner

Lead Vocals for “Next To You,” “Englishman In New York,” “I Burn For You,” recorded atCapitol Recording Studios, Los Angeles, CA by Steve Genewick

Lead Vocals for “The End Of The Game,” “We Work The Black Seam,” “She’s Too GoodFor Me” and “The Pirate’s Bride” recorded at Capitol Recording Studios, Los Angeles, CA

by Ed Cherney, assisted by Aaron Walk

Mastered by Scott Hull at Masterdisk, New York, NY

Director of Audio Operations for Sting: Donal Hodgson Music Preparation: Mike and Lori Casteel

Guitar Technician: Danny Quatrochi

All songs contracted by the Royal Philharmonic Orchestra, Ltd. except “Every Little ThingShe Does Is Magic” and “Roxanne” contracted by Isobel Griffiths and “Next To You,”“Englishman in New York,” “I Burn For You,” “We Work The Black Seam,” “She’s Too

Good For Me,” and “The Pirate’s Bride,” contracted by Sandra Park

5

FIRST VIOLINSGerald Gregory

Maria OldakDorina MarkoffJennifer DearKirra ThomasAlison GordonMiranda Allen

Nia BevanMartin Lissola

SECOND VIOLINSStephen KearSusan Watson

Johanna McWeeneyClare Raybould

Non PetersVernon DeanJulia Stewart

VIOLASGrame MckeanAmanda DenleyCristina Gestido

Henrietta RidgeonNozomi Cohen

CELLOSAnna MowatTim Steggals

Roz GladstoneToby Turton

Tim Smedley

DOUBLE BASSESKylie Davies

Rebecca WelshNicola Davenport

FLUTESIan Mullin

David Cuthbert

OBOEHelen Barker

CLARINETSCharys Green

Massimo Di Trolio

BASSOONJacqueline Hayter

FRENCH HORNSSamuel JacobsTim AndersonMark Wood

TRUMPETSChris Cotter

Miles Maguire

TROMBONEGraham Lee

TIMPANISteve Quigley

PERCUSSIONGerald Kirby

HARPDaniel De Fry

PIANO/KEYBOARDClive Dunstall

MANAGEMENT

MANAGING DIRECTORIan Maclay

FINANCE DIRECTORMichelle Johnson

CONCERTS DIRECTORElizabeth Forbes

TOURS MANAGERGraham Midgley

TOURS ASSISTANTJenny Chadwick

ORCHESTRA MANAGERIan Brignall

STAGE MANAGERChris OuzmanSteve Blendell

The Royal Philharmonic Concert Orchestra

6

VIOLINSJacqueline ShavePatrick Kiernan

Magnus JohnstonThomas BowesEmlyn SingletonWarren Zielinski

Julian LeaperBoguslaw Kostecki

Chris TomblingRita Manning

Dermot CrehanCathy Thompson

Mark BerrowJonathan ReesKathy Shave

Miranda DaleTom Pigott-Smith

VIOLASPete Lale

Bruce WhiteDon McVayBob Smissen

Claire FinnimoreKatie Wilkinson

CELLOSAnthony PleethCaroline DaleDave Daniels

Caroline DearnleyBen Chappell

BASSESChris LaurenceSteve Williams

Leon Bosch

FLUTEPhilippa Davies

FLUTE/PICCOLOHelen Keen

OBOE/COR ANGLAISDavid Theodore

CLARINETNicholas Bucknall

CLARINET, BASS CLARINET

Anthony Pike

BASSOONRichard Skinner

HORNSRichard WatkinsMike Thompson

TRUMPETSAndy CrowleyJohn Barclay

BASS TROMBONEPatrick Jackman

TUBAOwen Slade

HARPSkaila Kanga

PERCUSSIONGary Kettel

The London Players

VIOLINSPeter Bhang

Eva BurmeisterTom Carney

Katherine FongJoyce Hammann

Erin KeefeLisa Kim

Hyunju LeeAnn Lehmann

Liz LimJoanna Maurer

Yurika MokSuzanne OrnsteinAnnaliesa Place

Sein RyuLaura Seaton

Rob ShawJeanine WyntonSharon YamadaJung Sun Yoo

VIOLASDesiree ElsevierVivek KamathShmuel Katz

Daniel PannerRobert Rinehart

Becky Young

CELLOSJerry Grossman

Maria KitsopoulosJeanne LeBlancMelissa Meell

Joel NoyesMina Smith

Alan StepanskyJeremy Turner

BASSESRachel Calin

David GrossmanJeremy McCoyJohn Patitucci

HARPBarbara Allen

FLUTES, ALTO, CDiva GoodfriendKathleen Nester

OBOE, ENGLISH HORNShelley Woodworth

CLARINETS, B FLAT, BASSAaron Heick

BASSOONMarc Goldberg

HORNSLawrence Di Bello

David PeelTheo Primis

Chad Yarbrough

TRUMPETSBarry Danielian

James De La GarzaJim Hynes

Tony KadleckJeff Kievit

Dylan Schwab

TROMBONESRichard ClarkMike Davis

Birch JohnsonJeffrey Nelson

TUBAMarcus Rojas

The New York Chamber Consort

7

www.universalmusicclassical.comwww.deutschegrammophon.com/sting-symphonicities

Management : Kathryn Schenker/KSM, Inc .

A&R: Mar t in K ierszenbaum and Chr i s Rober ts A&R Admin is t ra t ion: Eve lyn Morgan and Amy Merxbauer Product ion Coord inat ion: Tracy Buf ferd and Dana Wise

Publ i c i t y : Tracy Buf ferd/Forge Ahead Media; Lucy Maxwel l -S tewar t/Red House PR

Cover and Package Des ign: S te fan Smi th Photograph: Fabr iz io Fer r i

L iner Notes Ed i tor : Jenni fer Fusco

Thanks to the s ta f f a t Deutsche Grammophon and Decca LabelGroup: Michael Lang, Dav id Butchar t , Lu t Behie l s , Paul Fo ley, Bob

Kranes and Olga Makr ias

Spec ia l Thanks to Wi l l iam Franc is , Theresa Lowrey, JosephBrenner, Joseph Penachio , A l i c ia DeRosa, Char l ie Hernandez,

Char les Z immer, Rober t Molnar, B i l l Zysb la t , Debbie Kassan andthe s ta f f a t RZO, Manfred Se ip t and the s ta f f a t Universa l Mus ic

Class ica l Management and Product ion

Rob Mathes would l ike to thank a l l the mus ic ians , the engineers ,Chr i s Rober ts , everyone at KSM, Jonathan Danie l , Eve lyn Morgan,Alex Venguer, Tammy Mathes for every th ing and S t ing for making

such beaut i fu l mus ic

Dominic Miller appears courtesy of Rutis Music Ltd., UK/Q-rious Music, GermanyChris Botti appears courtesy of Columbia Records

For fan club, tickets and the latest Sting information, visit www.sting.com

All songs written by StingNext To You © 1978 GM Sumner, Administered by EMI Music Publishing, Ltd. Englishman In New York © 1987 GM Sumner, Administered by EMI MusicPublishing, Ltd.Every Little Thing She Does Is Magic © 1981 GM Sumner, Administered by EMI Music Publishing, Ltd.I Hung My Head © 1996 Steerpike Ltd., Administered by EMI MusicPublishing, Ltd.You Will Be My Ain True Love © 2003 Steerpike (Overseas) Ltd.,Administered by EMI Music Publishing, Ltd.Roxanne © 1978 GM Sumner, Administered by EMI Music Publishing, Ltd.When We Dance © 1994 Steerpike Ltd, Administered by EMI MusicPublishing, Ltd.The End Of The Game © 1999 Steerpike (Overseas) Ltd.,Administered by EMI Music Publishing, Ltd.I Burn For You © 1982 GM Sumner, Administered by EMI MusicPublishing, Ltd.We Work The Black Seam © 1985 GM Sumner, Administered by EMI Music Publishing, Ltd.She’s Too Good For Me © 1993 Steerpike, Ltd, Administered by EMI Music Publishing, Ltd.The Pirate’s Bride © 1996 Steerpike, Ltd, Administeredby EMI Music Publishing, Ltd. Whenever I Say Your Name © 2003 Steerpike (Overseas) Ltd.,Administered by EMI Music Publishing, Ltd.Straight To My Heart © 1987 GM Sumner, Administered by EMI Music Publishing, Ltd.

8

It’s been said that the proof of a great songlies in its ability to sustain – indeed, to invite

and thrive amid – interpretation. That may be true, but it leaves the composers of those

great songs in a difficult spot. Certainly theyknow the pleasure, the excitement, of hearing

their songs transformed by other artists whofind possibilities in them that might not even

have occurred to the original writer. And, more sadly, they also know the grimace-

inducing frustration of having their songs flattened by unimaginative performers.

But how can songwriters find meaningful ways to interpret their own work? Every song

goes through metamorphoses – sometimesstartling ones – as it is being composed and

recorded. Casual listeners, ardent fans andeven knowledgeable, experienced critics often are

stunned to hear studio outtakes and alternativeversions that reveal the unlikely origins of a

song that they thought they knew intimately.Where a song begins and where it ends

up are, in many instances, two extremely different places.

Ultimately, however, good songs take the shapethey do for specific and significant reasons,

even if one of those reasons might simply be adesire for the relief of declaring a difficult

process completed. And in the case of a song-writer as meticulous as Sting, songs typically

end up the way they do for the absolute bestreasons: Many other approaches were tried and

rejected, and the most aesthetically satisfyingone became the inevitable choice. When audi-

ences hear a song, it should sound as if itcouldn’t possibly have turned out any other way.

That’s an effect Sting has routinely achieved inhis finest work with The Police and as a solo

artist – which is to say, in creating some of the mostcompelling popular music of the past half century.

Restlessness and daring are two of Sting’sessential artistic gifts, and together they have

made it possible for him to revisit his own songsin fresh musical ways. One of the fortunate

results of that desire to push himself and his workinto uncharted territory is the splendid new

album, Symphonicities, on which twelve ofSting’s songs have not simply been rearranged,

but fully reimagined in orchestral terms.

9

In general, the concept is not a new one. Dating back to the Sixties, we’ve had manyclassical treatments of popular music. All too often, they’ve proven uninteresting –or worse – for the same predictable reasons. The most typical one is an infuriatingdesire to “elevate” popular music, which insults both the composer of the originalmusic and its fans. The arrangements resemble the soundtrack for a particularly dullmusic appreciation class. The classical players feel like they’re slumming, and thepop musicians sound nervously, embarrassingly eager to impress.

Just as often the efforts are simply uninspired. Pop songs that succeed perfectly wellon their own terms are tarted up until they either drown in syrupy arrangements orexplode from over-inflated ones. The fact is that popular music does not require theredemption of classical respectability, and the classics have survived quite nicely,often for centuries, without exploiting the cultural immediacy of pop hits.

None of those misguided ambitions are evident here. Symphonicities sets out todetermine if its final performances can transcend the sum of their formidable parts,and it succeeds admirably. First of all, Sting understood that for this project to work,he had to free himself of his own preconceptions, as well as understand his own lim-itations. “While I’ve always loved symphonic music,” he wrote in the program notesfor his tour of this material, “I don’t have the adequate expertise to know how banksof string players are organized, or brass or woodwinds for that matter.” For help withthose matters he called on Rob Mathes (Lou Reed, Sade, Beck) to serve as one of the project’s arrangers as well as its musical director. Elliot Scheiner (Eric Clapton,Van Morrison) handled most of the mixes, with Claudius Mittendorfer (Franz

Ferdinand, Interpol) doing the mixes on “She’s Too Good For Me” and “NextTo You,” Alex Venguer (John Legend) mixed “We Work The Black Seam,” andEd Cherney (Bonnie Rait, Bob Dylan) mixed “The Pirate’s Bride.”

In his arrangements, Mathes treated Sting’s songs with respect, but not withreverence. For these new interpretations to be vital, they could not simply beelegant (and aesthetically inert) glosses on the original versions. They had tofeel new, surprising, alive and entirely satisfying in their own unique terms.

And they do. A few examples illustrate why. Given Sting’s flair for a certaintype of haunted, endlessly suggestive melody, it’s hardly a shock that a balladlike “I Burn For You” would lend itself beautifully to an orchestral treatment, asit does here. A tense rhythmic pulse maintains the song’s ardency below, whilethe eloquent textures on top all but moan with desire.

To hear an indisputable radio-hit masterpiece like “Every Little Thing She DoesIs Magic” discover such a wonderful complementary life is truly remarkable. Ifanything, the song’s wide-eyed sense of wonder at the intoxicating power oflove finds fuller, dreamier realization here. Even more impressively, the songhas lost none of its buoyancy. For all its delicacy, for all the ways in which newfacets of its melody are deftly teased out, it still swings like a gorgeous girl ina flirty summer dress.

“Englishman In New York” represents a similar triumph. You would not neces-sarily expect its particular virtues – at once playful, literary and streetwise – totranslate easily into a symphonic setting. Once again, however, the players letno subtlety go unexplored, enhancing the song’s sly humor, as well as itspoignancy. The romantic agony – the jealousy, yearning and desperation – of“Roxanne” also gets a powerful rendering here. The understatement of thesong’s treatment somehow only manages to intensify the singer’s near-madobsession. It’s “Roxanne” brilliantly redrawn as “Every Breath You Take.”

10

“You Will Be My Ain True Love” retains its Anglo-American folk honesty, withthe strings and horns providing added force. “When We Dance” attains aheavenly splendor; it is a paean to devotion that limns the connectionsbetween love in this world and the next. “We Work The Black Seam,” whichwas inspired by the miners’ strike in the UK in the mid Eighties, fluently incor-porates a brass ensemble, a conscious echo of the colliery bands that Sting,who was born in Newcastle, heard growing up. That knowing touch deepensthe song’s personal and historical roots. Meanwhile, the song itself, in its con-templation of our competing needs for energy, full employment and a vitalsense of community, has only grown more relevant to our times.

Perhaps the album’s most blinding moment is its spectacular version of “NextTo You.” Straight-up rock songs are rarely given orchestral treatments, and forgood reason. They almost always fail. That is far from the case here. As anygreat band loves to do to lead singers, this orchestra kicks Sting’s butt! It’sthrilling to hear him call on all his extraordinary vocal gifts to hold his ownagainst their onrushing power. It’s a breathtaking performance in all senses ofthe term.

That type of bracing artistic competition brings out the best in everyone, andthat’s the key to why Symphonicities is so invigorating. Sting is completely atease in this setting, willing to allow the orchestra its full impact and confidentenough to know that he’s too strong a singer ever to be overwhelmed by it.The players understand that they are collaborating with a world-class talent,but they are not afraid to challenge him. The result is as effortlessly pleasinga blend of classical and pop expression as you could ever hope to experience– smart, fun and exhilarating, a dazzling tribute to Sting, his extraordinarysongs, and these strikingly gifted players. – Anthony DeCurtis