FA B E R M U S I C N E W S S P R I N G 2 0 1 0

fortissimo!

Jonathan Harvey – international accolades, p 2

George Benjamin at fifty, p 3

Music to dance to!, p 4-5

Thomas Adès – new piano works, p 6

Colin Matthews – new work for choir, p 11

New orchestral arrangements, p 7

Music for Now: New signings – Nishat Khan & Gabriel Prokofiev, p 28

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Jonathan Harvey International accolades 2009-2010

Jonathan Harvey accolades 2009-2010Monaco prize!Magnificent news for Jonathan Harvey in his 70th year, whenon 15 October 2009 he became the 3rd British composer towin the Prince Pierre of Monaco Prize in MusicalComposition!

The inaugural prize was awarded in 1960 for fine arts,but later developed into a formidable accolade for musicalcomposition and literature.

This year the award (of 15,000 euros and a commission)for Harvey’s orchestral work Speakings (2008) was presentedto him by the Princess of Monaco at an extravagant ceremonyat the Prince’s palace in Monaco.

The musical council for the prize included internationalnames such as Arvo Pärt, Gilles Tremblay, Ivan Fedele and theUK’s own Julian Anderson. The Honorary President is HenriDutilleux.

International prizes for String Quartets disc Harvey’s latest recordings of all four ofhis Quartets and String Trio releasedon the Aeon label is now the recipientof two distinguished awards.

PPrriixx CCeecciilliiaa ddee ll’’UUnniioonn ddee llaaPPrreessssee MMuussiiccaallee BBeellggee 22000099This Belgian Award whichcelebrates the best recentmusical releases, is presentedyearly by the Belgian MusicalPress Union, (who representthe professional musicalcritics of Belgium), incollaboration with Palais des Beaux Arts(a main cultural venue in Brussels).

CChhaarrlleess CCrrooss GGrraannddss PPrriixx ddee DDiissqquueeHarvey was awarded the Charles Cros Academie’s mostprestigious award, the Prix du Président de la Republique(lifetime achievement award) for this disc. The prize wasawarded on 7 January in Paris.Reviews of the disc:

‘Harvey sculpts a force field of harmonics from anchoring fundamentals.These nebulous, thrilling unstable timbres are obviously born out of earsprimed in the electronic music studio, but then Harvey plunges his musiciansinto a plush soulful melody line.

Irrational passions are thus tossed together with a more cool and rationalunderbelly, and that’s a magical way to create art – especially when Harveyallows that magic to overspill the cauldron.

In the Second Quartet, an ecstatically lyrical cello line bolts for freedom,pulling together embedded hints of tonality that have peppered the score.Then… Harvey pulls that rug of harmonic stability from under the cellist, whoresponds with guttural, liberated yelps. The String Trio begins with what mightpass as invented folk music, ending 13 minutes later with the trio screamingmelodic contours in an alienated super-high register, moving beyond the frameof polite chamber music. In both works: harmony becomes noise becomesmusic’

Gramophone (Philip Clark), February 2010

Composer-in-Residence at HCMFComposer-in-Residence forHuddersfield ContemporaryMusic Festival 2009 wasanother tribute for Harvey inhis birthday year. For thispurpose the festival presenteda comprehensive profile,inviting foremost British andEuropean Artists, the ArdittiQuartet, New LondonChamber Choir, London Sinfonietta, pianist Ralph van Raatand Re-Mix Ensemble to perform in the feast of Harveyrepertoire (12 works in total) at the festival. In the‘Director’s Welcome’ heading up the programme book,Graham MacKenzie said:

‘I am delighted this year that our Composer-in-Residence is Jonathan Harvey.In what is a difficult year for the arts and artists, due to the well-documented

global recession, there can be no better reminder of the importance andpower of great art, than the music of Jonathan Harvey’.

The focus at the HCMF was selected asone of the top 10 classical musicevents of 2009 by Observer critic

Fiona Maddocks:

TToopp tteenn eevveennttss ooff 22000099

‘…Balm for the soul, however, came in works byJonathan Harvey (born 1939), a featured composer.

An online poll recently guessed whose music wouldstill be played 50 years on. John Adams won. I would

put Harvey high on the list. Beneath the compelling ebband flow, his music has a stillness and non-specific

spirituality which feed mind and spirit. His String QuartetNo 4, impeccably played by the Ardittis with real-time

electronics and spatial adventure, unites old techniques andnew. After the few million notes heard over the past seven days,

this is the work that shines on.’The Observer (Fiona Maddocks), 29 November 2009

UUKK pprreemmiieerree ooff‘‘SSrriinnggaarraa CChhaaccoonnnnee’’The UK premiere ofHarvey’s most recent workfor ensemble of 15 playersby MusikFabrik on 28November 2009 was a realhigh point in the festival.

‘Sringara Chaconne, full ofravishing, glittering textures conjured from the simplest sequence of chords…’

The Guardian (Andrew Clements), 30 November 2009

‘…Beneath thecompelling ebb andflow, his music has a

stillness and non-specific spirituality

which feed mindand spirit.’

‘…there can be nobetter reminder of

the importance andpower of great art,than the music ofJonathan Harvey.’

HIGHLIGHTS

George Benjamin at Fifty

3

George Benjamin turned fifty on 31 January 2010, and tocelebrate, numerous performances of his works, plus festivalresidencies and dedicated portrait concerts are organised forthe coming year.

Benjamin in San FranciscoIn the lead up to the birthday celebrations, the San FranciscoSymphony engaged Benjamin as Phyllis C. Wattis Composer-in-Residence for the city’s new ambitious Project San Francisco– a multi-faceted composer and artist residency series, whichaims to attract new audiences as the orchestra prepares tomark its 100th season in 2011-12. This meant a dizzyingschedule of work for Benjamin, both backstage and on thepodium, performing, and giving interviews – all of whichmade for an exceptionally eventful and momentous jubileecelebration.

On 7, 8, 9 & 10 January, David Robertson conducted theSan Francisco Symphony in performances of Dance Figures &Jubilation.

‘...Benjamin has a sensual streak, a flare for color… the orchestra played as iffor an old friend.’

Los Angeles Times (Mark Swed), 15 January 2010

On 7, 8, 9 & 10 January, David Robertson conducted the SanFrancisco Symphony in performances of Dance Figures &Jubilation.

‘Benjamin is no stranger to this city; the English composer has been associatedwith the orchestra for two decades, and this month’s cornucopia will permit us tocatch up with an artist whose carefully crafted music, always slow to gestate, hasresisted trends and “isms”. Benjamin’s range of dynamics and textures, his giftfor exquisite facture and delight in surprise command respect.’

Financial Times, Allan Ulrich, January 12 2010

Robertson also conducted three performances of aprogramme featuring Dance Figures with the New YorkPhilharmonic at the major New York City venue, Avery FisherHall from 18-20 February.

‘‘DDuueett’’ ppeerrffoorrmmaanncceessFrom 14-16 January the San FranciscoSymphony was joined by pianist NicolasHodges for the West Coast premiere ofBenjamin’s latest work, Duet for pianoand orchestra (2008) coupled withearly orchestral masterpiece Ringed bythe Flat Horizon (1980).On 17 January, violists from the SanFrancisco Symphony performedViola, Viola and George Benjaminplayed his Piano Figures.

‘…[Duet] is a work of striking imaginationand intensity… The writing for orchestra isstarkly atmospheric, with the voices of mutedtrumpets, brooding low strings, woodwinds, andcelesta occasionally emerging. Againstthis backdrop the piano, whichremains in a confined registerthroughout, comes across withstartling clarity.’

San Francisco Classical Voice(Georgia Rowe), 14 January 2010

‘…The sounds that flowed from the San Francisco Symphony in the momentsafter the deep breath were close to astonishing… Benjamin’s Duet was taut andanxious, bristling with atmospherics… ‘

The Mercury News (Richard Scheinin), 15 January 2010

In the UKLondon audiences were presented with two celebratoryconcerts – one in association with the Philharmonia Orchestrawho staged a magnificent performance of Benjamin’s 17-minute orchestral piece Dance Figures conducted by Esa-Pekka Salonen on 4 February at the Royal Festival Hall.

On 7 February the London Sinfonietta demonstrated itscommitment to Benjamin, with a composer portrait concert atthe Queen Elizabeth Hall. The ensemble performedorchestral pieces At First Light, A Mind of Winter (withsoprano Claire Booth) & Palimpsests with assistance from theRoyal Academy of Music’s Manson ensemble, conducted byBenjamin. Another dimension was added to Viola, Viola inthe form of a new choreography by young dancer MatthiasSperling, and was performed by the duo violists PaulSilverthorne & Eniko Magyar and a duo of dancers. Benjaminalso took to the stage to perform his solo piano work PianoFigures for his devoted audience.

‘…The shifting dawn colours of At First Light from 1982 were still entrancing,and in Benjamin’s setting of Wallace Stevens’s poem A Mind of Winter, theemergence of a familiar minor chord from a glacial swirl of string sound stillseemed the most perfect aural illusion.

As this marvellous concertproved, Benjamin is a composerwho keeps growing. We haven’theard the best of him yet.’

Daily Telegraph (Ivan Hewett),9 February 2010

The early orchestral works – theWallace Stevens setting A Mind of Winter, sung ravishingly by

soprano Claire Booth, and the first piece the Sinfoniettacommissioned, At First Light, inspired by a Turner

painting – remain as immediate as when they werenew, almost 30 years ago. Their bold gestures and

vivid splashes of colour, wonderfully imagined,may be a young man’s extravagance, but theconfidence with which the chamber orchestra ishandled and the astonishing range of coloursBenjamin draws from it have remained

hallmarks of his music. That was shown vividlyby Palimpsests, the fierce pair of orchestral pieces

Benjamin completed in 2002, which alsounderlined how his preoccupations have shifted –towards harder edges and greater harmonic

mobility – while keeping the beauty and wonder ofhis music intact.

Andrew Clements, Guardian, 11 Feb 2010

To see what else is happening for GeorgeBenjamin in 2010, please see page 10.

‘…Benjamin is a composerwho keeps growing. We

haven’t heard the best ofhim yet.’

PHOTO: GEORGE BENJAMIN © MAURICE FOXALL

Music to dance to!

4

Matthew Hindson — ‘E=MC²’‘One of the best pieces of new dance music this side ofStravinsky…’ so said The Sunday Express after the premiereon 23 September 2009, of Hindson’s 35-minute score writtenfor David Bintley and commissioned by the BirminghamRoyal Ballet. The four movement work, inspired by a bookabout Einstein’s Theory of Relativity, gave BRB’s ArtisticDirector David Bintley a chance to create his first non-

narrative ballet for almost 20years. Following the successfuldates at Birmingham’sHippodrome, the productiontoured to Plymouth and

Sunderland before arriving at Sadler’s Wells on 10 and 11November 2009.

The ballet won a South Bank Show Award in January2010, and is also nominated for an Olivier Award.

‘... a riveting orchestral score by the young Australian Matthew Hindson (ofwhom we shall surely hear more)’

The Independent (Jenny Gilbert), 15 November 2009

‘With E=mc², however, he has ventured light years from his comfort zone. Thekey to this investigation of Einstein’s equation is Matthew Hindson’s brilliantorchestral score, to which Bintley responds with force fields of gleaming, pared-back dance. In the first section, “Energy”, the fury of the interactions suggestsa particle storm…

…The second section, “Mass”, is announced by shivering strings and adelicate buzzing…

…What makes this work so memorable is the economy with whichBintley responds to the challenge of Hindson’s score.’

The Observer (Luke Jennings), 15 November 2009

‘This is without doubt a superb piece, Matthew Hindson’s strangely hypnoticscore matching Bintley’s inspired direction. Albert Einstein would have beenpleased – and not a little intrigued – by this homage to his famous equationon the theory of relativity.’

Worcester News (John Phillpott), 24 September 2009

‘Bintley’s explosive talent is matched by composer Matthew Hindson’s writingone of the best pieces of new dance music this side of Stravinsky.’

Sunday Express (Jeffery Taylor), 27 September 2009

‘…Bintley commissioned Matthew Hindson – who shares his interest inscience and the cosmos – to create the score and the result is a powerfullyemotive partnership in which choreographer and composer attempt to simplifyEinstein’s theory of relativity. It’s well worth the lesson.’

Birmingham Post (Susan Turner), 25 September 2009

Julian Anderson — ‘The Comedy of Change’The Comedy of Change is part-way through its mammothtour of over 80 performances. Originally a commission fromthe Dutch ASKO Ensemble, the idea developed into a jointproject involving Rambert Dance Company and its directorMark Baldwin. Baldwin and Anderson have beencollaborators on two previous occasions, but this one – aballet based on ideas emanating from Darwin’s The Origin ofSpecies – is the most extensive so far. 24 minutes of musicperformed by an ensemble of 12 inspired Baldwin toproduce some stunning choreography featuring courtshipdances, and nature’s use of camouflage. Production designsare by a leading light of contemporary art, Kader Attia. Don’tmiss the remaining performances of the Rambert tour,details on opposite page):

For information on The Comedy of Change as a stand-alone concert work, please contact the PromotionDepartment at Faber Music.

‘Anderson’s wondrous new score glistens with elliptical rhythms and scatterssounds like stars in the night sky…The Comedy of Change bears repeatviewing.’

The Times (Debra Craine), 5 November 2009

‘...In many ways, Comedy of Change is all about the dance. You don’t needto know much Darwin to see the point of its unison formations, mating duetsand competing solos. This is especially true as Baldwin is choreographing atpeak form, using the scintillating orchestral colours and clustering rhythms ofAnderson’s score to create dense, shape-shifting patterns and to marry soaringlines with quirky detail.’

The Guardian (Judith Mackrell), 5 November 2009

‘…a magnificent score from Anderson, such a fine composer, particularly fordance for which he somehow allows air within his sumptuous, highly sprungand yet light-touched music – and a score that, even if it exists thanks to theDrummond Fund for dance commissions, begs also to be played in concerthalls.

…Baldwin has created some of his most lyrically serious dance toAnderson’s lyrically serious music, a confident, constantly absorbing flow ofinvention that often makes something unusually interesting out of simple,uncluttered movements...’

theartsdesk.com (Ismene Brown), 4 November 2009

‘The result is greater clarity despite being a celebration of Darwin’s On TheOrigin of Species, a subject that could easily clot a work of choreography.Instead it has unexpected mysticism, in part Yaron Abulafia’s temple and void-like lighting, part Julian Anderson’s striking new score, and part Baldwin’s

PHOTO: ‘E=MC2’ © ROY SMILJANIC

‘...a rivetingorchestral score’

HIGHLIGHTS

5

PHOTOS: ‘THE COMEDY OF CHANGE’ © HUGO GLENDINNING

SSeelleecctteeddffoorrtthhccoommiinnggbbaalllleettppeerrffoorrmmaanncceessCarl Vine – ‘TheSilver Rose’ 19, 20, 22, 23, 24, 25, 26,27, 29, 30.3.10, The ArtsCentre, State Theatre,Melbourne, Australia:Australian Ballet/chor.Graeme Murphy9, 10, 12, 13, 14, 15, 16,17, 19, 20, 21, 22, 23, 24,26, 27, 28, 29.4.10, OperaTheatre, Sydney OperaHouse, Australia: AustralianBallet/chor. Graeme Murphy13, 14, 15, 16, 17.7.10,Adelaide Festival Theatre,Australia: chor. AustralianBallet/chor. Graeme Murphy

Julian Anderson– ‘The Comedyof Change’ Tour2010 withRambert DanceCompany19, 22, 23.4.10, NewcastleTheatre Royal, UK: RambertDance Company/LondonMusici28, 29.4.10, SheffieldLyceum, UK: Rambert DanceCompany/London Musici25, 26, 27, 28, 29.5.10(x2), Sadler’s Wells, London,UK: Rambert DanceCompany/London Musici

Malcolm Arnold– The ThreeMusketeers22.4.10, 6 & 21.5.10,28.5.10, Estonian NationalOpera, Tallinn, Estonia:Ballet of the EstonianNational Ballet/ch. DavidNixon/cond. Jüri Alperten &Mihhail Gerts

Carl Davis –Aladdin2, 3, 4, 5, 6, 7, 8.5.11,New National Theatre, Tokyo,Japan: chor. DavidBintley/cond.PaulMurphy/New National Ballet

Carl Davis – The Lady of theCamellias20, 24, 29.4.10 & 3, 8, 10,12.5.10, Croatian NationalTheatre in Zagreb, Croatia:Ballet HNK u Zagrebu/chor.Derek Deane/Dian Tchobanov

choreography which is a variant on Merce Cunningham’s strain ofcontemporary hieratics.’

Evening Standard (Sarah Frater), 4 November 2009

‘…Julian Anderson’s score provides fascinating sonorities...’Financial Times (Clement Crisp), 6 November 2009

The Comedy of Change was a commission by theRambert Dance Company and Het Concertgebouw,for Asko|Schönberg, with financial assistance from

The DrummondFund and the PRSFoundation.

Andrew Clarkfrom The FinancialTimes interviewedJulian Andersonabout his new balletscore, inspired byCharles Darwin:

‘...The piece is inspired by Darwin’s observation of nature as amoving force, ambivalent and fluctuating – a concept well-suited tomusic and dance.

Describing himself as an armchair ornithologist, Anderson sayshe became fascinated by Darwin’s observation of how birds indulgein ornate creations that do not always reflect the purpose for whichthey were intended…The idea of evolution “pushed me towardsgradual change [as a determining factor in the music]. I startedwith one chord – a sonority that, when you hear it, will be three-dimensional. I worked a lot on it, to get a depth of sound. Thereare very low notes on bass clarinet and harp, and very high stringharmonics, the combination of which leads to a strange sort ofresonance.”’

The Financial Times (Andrew Clark), 22 August 2009

Carl Davis — ‘Cyrano’Cyrano was the first collaboration between DavidBintley and Carl Davis. Originally mounted in 2007,the production was revived two years later to tourBelfast, Plymouth, Sunderland and London’s Sadler’sWells following its Birmingham performances. Thishilarious and heartbreaking story set in 17th centuryFrance, of one man’s truly self-sacrificing devotion,has touched the hearts of millions in various stageand film interpretations. The Bintley/Davis versionwas no less moving and made for a stunning andabsorbing evening.

‘...Cyrano’s famous love letters to Roxane begin (for the amorous,but uneducated Christian) and Parker shows the qualities of dancestrength, comic irony and emotional tenderness which have alwaysbeen his gift and with which he shapes an unforgettable Cyrano.Add to this Marion Tait’s work in various roles, glorious costumesand Carl Davis’ romantic score and you have something remarkable.’

The Stage (Richard Edmonds), 15 October 2009

Carl Davis — ‘A Christmas Carol’Coinciding with Cyrano, Davis’ 1992 ballet on AChristmas Carol was toured again by Northern BalletTheatre, receiving wonderful reviews:

‘…Northern Ballet Theatre’s adaptation of A Christmas Carol issomething out of this world … nothing short of brilliant … LezBrotherston’s stunning design and brilliant costumes werecomplimented by Carl Davis’ musical mix of carols and song … Thedancers were awe-inspiring; this has set the stage for what Christmasshould really be about.’

Northampton Herald & Post

Forthcoming ballet 2010Carl Vine — ‘The Silver Rose’In 2010 The Australian Ballet is presenting a newproduction of choreographer Graeme Murphy’sbrilliant ballet, The Silver Rose, with music by CarlVine, on a tour of Australia’s most prestigiousvenues/festivals from February to July. This will bethe first time the work is seen outside Munich.

Carl Davis — ‘Aladdin’ revival in TokyoFirst premiered in Japan in November 2008, DavidBintley’s magical realisation of Aladdin (to anexisting score by Carl Davis), is to return by populardemand to the stage of the New National TheatreTokyo, for a run of six performances in May 2011.This choreography of Aladdin has not yet visitedBintley’s Birmingham home, although the BRBfeatured a pas de deux from the ballet in its recentgala evening. Plans are underway to bring Aladdinto Birmingham in 2012/13 season, courtesy of a co-production with Houston Ballet to adapt the originalsets.

‘…Anderson’swondrous new score

glistens withelliptical rhythms

and scatters soundslike stars in the

night sky…’

6

‘Mazurkas’ for Emmanuel AxIt is almost 14 years since Thomas Adès composed for hisown instrument, the piano, but the beginning of 2010 hasso far seen new piano repertoire from Adès in the form oftwo world premieres of solo piano works.

The first to be performed was Mazurkas lasting 6-9minutes, championed by virtuoso pianist Emanuel Ax. Theworld premiere took place at Carnegie Hall in New York on2 February 2010, followed by the UK premiere at theBarbican in London on 5 March, and most recently in TheNetherlands at the Concertgebouw in Amsterdam shortlyafter on 7 March 2010:

‘Contrasting three Chopin mazurkas, elegantly played, with the premiere ofThree Mazurkas, Op. 27, by the British composer Thomas Adès was a greatidea. Mr. Adès, an accomplished pianist, pays tribute to Chopin by writingmodern-day, harmonically spiky, rhythmically fractured mazurkas thatimaginatively span the keyboard. In the second, he evokes the practice ofrubato (in which strict timing is toyed with) by having the left hand play asteady rhythmic figure while the right spins out a spiraling, trill-filled wash ofnotes.’

The New York Times (Anthony Tommasini), 12 February 2010

Mazurkas was co-commissioned by the Barbican Centre,Carnegie Hall, Los Angeles Philharmonic Association, SanFrancisco Symphony and Het Concertgebouw NV.

Two other performances are also scheduled: 20 April atWalt Disney Concert Hall, Los Angeles, and 25 April atDavies Symphony Hall, San Francisco.

‘Concert Paraphrase from Powder Her Face’Adès’s first opera Powder Her Face continues to provide thecomposer with inspiration – this time resulting in a virtuosowork for solo piano. It is co-commissioned by San FranciscoPerformances Inc., the Vancouver Recital Society and TheBarbican in London.

Concert Paraphrase from Powder Her Face was given itsdebut performance by the composer himself on 14 March,in Vancouver, Canada at the Chan Centre for the PerformingArts, then again in San Francisco 2 days later on 16 March.The 20-minute work will be receiving its UK premiereperformed again by Adès on 27 April at the Barbican,London. Adès describes the work in more detail:

‘For the Concert Paraphrase I have taken four scenes frommy first opera, Powder Her Face, and freely transcribedthem as a piano piece. The opera’s libretto, by the novelistPhilip Hensher, paints the portrait of a Duchess of a certainage at the end of the twentieth century and the end ofBritish aristocratic influence. In the opera the Duchess’sgrace and glamour are figured in the music by a certainvirtuosity which encouraged me to feel that parts of themusic would translate into a piano Paraphrase rather in themanner of Liszt or Busoni.

The first scene is Scene One, my “Ode to Joy”, here theDuchess’s perfume, Joy by Patou. The second scene in theParaphrase is Scene Five, “Is Daddy Squiffy?”. The thirdscene is Scene Four, the Aria “Fancy being Rich!”. TheParaphrase ends with the Eighth and final scene of theopera and the aria “It is too Late”, in which the dead Dukereturns as Hotel Manager to evict the Duchess from theroom in which she lives, and the closing Tango in which theroom is made ready for the next occupant.’

© Thomas Adès

Adès: piano music from the piano virtuoso

‘…harmonically spiky,rhythmically fractured

mazurkas thatimaginatively span the

keyboard.’

PHOTO: THOMAS ADÈS © MAURICE FOXALL

New orchestral arrangements

HIGHLIGHTS

7

PHOTOS: DAVID MATTHEWS (LEFT), COLIN MATTHEWS (RIGHT) © MAURICE FOXALL

Janácek’s evocative piano piece has inspired David Matthews to produce a fabulousorchestration. He explains:

‘The first five pieces of the two sets that Janácek called On an Overgrown Path were composed around1900, for harmonium. The first set was completed as ten piano pieces in 1908, and Janácek then gavethem their present titles. Janácek’s own orchestration is highly individual and instantly recognizable. I havestayed more or less within his sound world, though my orchestrations are often more elaborate than his. ’

© David Matthews

Originally intended for orchestra, this symphony by Debussy is a relatively earlywork written when the composer was a youthful 18. The only movement whichsurvived is the Finale, and even this part of the work only existed as a pianoreduction… until now that is. Last year Colin Matthews resurrected the Symphonyin B Minor in its intended form, for full orchestra at the invitation of Valery Gergiev.It was premiered at the Valery Gergiev Festival in Rotterdam on 30 September 2009,by the Rotterdam Philharmonic Orchestra.

The original work was composed by Britten in 1941 whilst on a trip to the US.When returning to the UK, the sketches were seized by US excise officials.Eventually the sketches were returned, but Britten was unable to complete thework in his lifetime. Colin Matthews has since devised and orchestrated thesketches, also using other Britten material, bringing new life to the 3-movement 17-minute clarinet concerto.

David Matthews very recently completed an orchestration of a set of themes fromSwan Lake, for the purpose of a recording with the young virtuoso violinist NicolaBenedetti.

David Matthews orchestrated some Dvorák love songs for medium voice and stringorchestra for performance by The Nash Ensemble and mezzo-soprano BernardaFink, conducted by Thierry Fischer on 14 March 2009.

On 12 & 13 November 2009, Colin Matthews’ orchestration of Mahler’s Nicht zuSchnell for piano quartet, was performed by The Netherlands’Concertgebouworkest, conducted by Lothar Zagrosek.

See page 17 for more information on this work.

It appears that the skills of several livingFaber composers in orchestrating,transforming or adapting works bycomposers of the past are much indemand.Several fascinating examples of ColinMatthews’ and David Matthews’ art usingmusic by Debussy, Britten, Janácek,Tchaikovsky, Dvorák, Mahler and VaughanWilliams, are listed below:

DDeebbuussssyy aarrrr.. CCoolliinn MMaatttthheewwssSymphony in B Minor (Finale) (2009)Duration 10 minutes. 2.2.3(III=bcl).2 - 4.2(=in C).3.1- timp - perc(2): tgl/susp.cym/cyms/SD/BD - harp -strings. Commissioned by the Gergiev FestivalRotterdam. FP: 30.8.09, Gergiev Festival Rotterdam,Rotterdam, The Netherlands: Rotterdam PO/ValeryGergiev

BBrriitttteenn oorrcchh.. CCoolliinn MMaatttthheewwssMovements for a Clarinet Concerto (2008)Devised and orchestrated by Colin MatthewsDuration 17 minutes. 2.2.0.bcl.2 - 4230 - timp -perc(1): SD/susp.cym/cyms/SD/glsp - harp - stringsFP: 22.5.08, The Sage Gateshead, Tyne and Wear, UK:Michael Collins/Northern Sinfonia/Thomas Zehetmair

JJaannáácceekk aarrrr.. DDaavviidd MMaatttthheewwssOn an Overgrown Path (2008)orchestra. Duration 27 minutes.2(II=picc).1.ca.2.2(II=cbsn) - 2230 - timp - perc(1):xyl/cyms/susp.cym/tamb/wdbl/tam-t/gong - harp -strings. Edinburgh International Festival commission forthe Scottish Chamber Orchestra made possible byDonald McDonaldFP: 29.8.08, Edinburgh International Festival,Edinburgh: Scottish Chamber Orchestra/OliverKnussen

TTcchhaaiikkoovvsskkyy oorrcchh.. DDaavviidd MMaatttthheewwssFantasy on themes from Swan Lake (2010)Violin and orchestra. Duration 9 minutes2(II-picc).2.2.2 - 4231 - timp - harp - strings.Commissioned by Decca Records for Nicola Benedetti

DDvvoorráákk aarrrr.. DDaavviidd MMaatttthheewwssLove Songs (2009)Medium voice and string orchestra. Duration 18minutes. Commissioned by the Nash Concerts SocietyFP: 14.3.09, Wigmore Hall, London, UK: BernardaFink/The Nash Ensemble/Thierry Fischer

MMaahhlleerr oorrcchh.. CCoolliinn MMaatttthheewwss“Nicht zu schnell” from Piano Quartet(2009)Duration 12 minutes. Commissioned by the RoyalConcertgebouw Orchestra. FP: 12.11.09,Concertgebouw, Amsterdam, The Netherlands:Concertgebouworkest/Lothar Zagrosek

DDaavviidd MMaatttthheewwss//VVaauugghhaann WWiilllliiaammssDark Pastoral (2009)Duration 11 minutes. FP: Summer 2010, UK

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessThe Comedy ofChange10, 12, 13.3.10, Theatre Clwyd,Mold, UK: Rambert DanceCompany/London Musici19, 22, 23.4.10, NewcastleTheatre Royal, UK: RambertDance Company/London Musici28, 29.4.10, Sheffield Lyceum,UK: Rambert DanceCompany/London Musici25, 26, 27, 28, 29.5.10 (x2),Sadler’s Wells, London, UK:Rambert Dance Company/London Musici

New work (world premiere)29.6.10, Westminster, London,UK: The Choir of WestminsterAbbey/James O’Donnell

New Work(world premiere)30.6.10, Royal Festival Hall,London, UK: LPO Brass/VladimirJurowski

Fantasias(UK premiere)4 & 5.8.10, Symphony Hall,Birmingham, UK: NationalYO/Semyon Bychkov6.8.10, Snape Maltings ConcertHall, Suffolk, UK: NationalYO/Semyon Bychkov

(London premiere)7.8.10, (details tbc) London, UK:NYO/Semyon Bychkov

Book of Hours 13, 14, 15.8.10, NJOMuziekzomer Gelderland,Netherlands: Nationaal JeugdOrkest/Christian Karlssen

‘Fantasias’ comes to the UKConductor Semyon Bychkov conducts the nextgeneration of UK’s talented musicians, the NationalYouth Orchestra for the UK premiere (and tour) ofFantasias. The challenging and exciting new workwill first travel to Birmingham’s Symphony Hall forthe UK premiere on 4 & 5 August 2010, followed by aperformance on 6 August at Snape Maltings ConcertHall in Aldeburgh, Suffolk, finally arriving in Londonon 7 August for the London premiere.

‘The Crazed Moon’ receives FrenchpremiereThe Crazed Moon – Anderson’s 13-minute work fororchestra first performed in the UK in 1997, receivedits French premiere on 4 February with the Orchestrede Paris conducted by Christoph Eschenbach at Paris’Salle Pleyel concert hall.

‘La filiation avec l’ouvre du londonien Julian Anderson estfrappante. The Crazed Moon (La Lune folle) crée d’emblée uneperspective spatiale avec une fanfare (entendue des coulisses) quiencadre la composition et donne le ton funèbre de ce “tombeau” enhommage à Graeme Smith, compositeur et ami d’Anderson décédé en1995. L’ouvre assez concise développe une texture polyphonique trèsmouvante dont résulte une couleur orchestrale étrange autant quesingulière.’

www.resmusica.com (Michèle Tosi), 9 February 2010

Mass for Westminster AbbeyAnderson is currently completing a 12-15 minute massfor the choir of Westminster Abbey to be performedthis summer at the historical venue in London. Thework was commissioned by the Dean & Chapter ofWestminster as part of the celebrations to mark the450th anniversary of the Abbey’s Collegiate Charter(granted by Elizabeth I in 1560) and will receive itsfirst liturgical performance by The Choir ofWestminster Abbey at a Sung Eucharist on the Abbey’spatronal feast day, St Peter the Apostle (Tuesday 29June) and a further (concert) performance on Friday

2 July.

‘Shir Hashirim’ at Tanglewood FestivalArtistic Director of the Tanglewood Festival, AugustaRead Thomas, programmed Anderson’s work forsoprano and orchestra at the 2009 festival.

‘Julian Anderson’s Shir Hashirim (2001), a setting of part of the Songof Songs, in Hebrew, examined ecstasy from a more sublimeperspective, by way of a dramatic, slightly exotic soprano line (sungpowerfully by Rosa Betancourt) wrapped in otherworldly orchestralswells and percussion sparkle.’

The New York Times (Allan Kozinn), 12 August 2009

‘Khorovod’ & Capoeira danceAnderson’s kaleidoscopic work for chamber orchestraKhorovod, inspired by Russian folk music is to bechoreographed by a London-based capoeira groupCordão de Ouro in a stunning new collaboration withthe Aurora Orchestra under the musical direction ofconductor Nicholas Collon. This collaboration is inperfect harmony as Capoeira is a dance form inspiredby the Russian folk tradition of the ‘round dance’,infused with elements of ballet, jazz, and house music.There will be two performances of the programme –first on 7 May 2010 at the Gulbenkian Theatre,Canterbury, then on 9 July 2010 at LSO St. Luke’s incentral London.

New work for LPOAnderson’s new residency with the LondonPhilharmonic Orchestra begins Autumn 2010, andprior to that he has been commissioned to write ashort 3 ½ minute fanfare for brass, to be performed bythe orchestra conducted by Vladimir Jurowski on 30June 2010 at London’s Royal Festival Hall.

New opera announcement!Anderson is writing his first opera for the EnglishNational Opera for performance in spring 2014. Thisearly news flash can now reveal that FrankMcGuinness is to write the libretto, on the subject ofOedipus, the Athenian tragedy by Sophocles. Moreinformation to be released in the next issue.

Julian Anderson‘Fantasias’ world premiere at Severance Hall’The Cleveland Orchestra, conducted by Jonathan Nott, presented the worldpremiere of Julian Anderson’s latest 23-minute orchestral work Fantasias on 19November 2009 – a commission for the orchestra supported by the YoungComposers Endowment Fund established by Jan R. and Daniel R. Lewis.Anderson visited Cleveland to hear the performance, and also gave a pre-concerttalk to the Cleveland audiences. Anderson describes the work:

‘The tradition of the fantasia in Western music is that of caprice anddeliberate willfulness on the surface of the music, as in the wonderfulkeyboard Fantasias of C.P.E. Bach, with an underlying harmoniccoherence holding the whole together. In this work I haveadopted both features. Caprice is certainly evident in many ofthese movements, though some – like the slow third – hold backtheir sharp contrast until the end, whilst others – like the fourth– present contrasts up front.’ © Julian Anderson

PHOTO: SEMYON BYCHKOV © THOMAS KOST

PHOTO: JONATHAN NOTT © RICHARD HAUGHTON

Jonathan Harvey

HIGHLIGHTS

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessString Quartet No 4 4.4.10, Ars Musica, Brussels,Belgium: Danel Quartet

Chant/Jubilus/Gong-Ring/Sprechgesang/String Trio(Swiss premiere of‘Sprechgesang’) 27.4.10, Studio Ernest-Ansermet, Geneva, Switzerland:Soloists of the EnsembleContrechamps/Peter Rundel/EricDaubresse (Sound Engineer)

Speakings 12.6.10, Agora Festival, SalleOlivier Messiaen, Maison de laRadio France, Paris, France:Orchestra Philharmonique de laRadio France/Pascal Rophé

Cello Octet 25.8.10, San SebastianInternational Festival, Spain:Cello Octet Conjunto Ibérico

String Quartet No 4/Body Mandala/Hidden Voice 2/SringaraChaconne/New Work (world premiere of a new work)(Japanese premieres of allworks)26 & 30.8.10, Suntory Hall,Tokyo, Japan: QuatroPiacerri/Tokyo PO/NumajiriRyusuke

Messages (Netherlands premiere)25.9.10, AmsterdamConcertgebouw, Amsterdam,Netherlands: GrootOmroepkoor/Radio FilharmonischOrkest/James Gaffigan

Ensemble Contrechamps portrait concertat Archipel FestivalSoloists from the Ensemble Contrechamps present aportrait concert of Harvey’s ensemble works on 27April 2010 at the Studio Ernest-Ansermet in Geneva,Switzerland. Five pieces will be performed in total,including Sprechgesang, String Trio, Chant, Jubilusand Gong-Ring.

Harvey in Japan Harvey is honoured by outings of several works inTokyo this year. A commissioned work is scheduledfor 30 August at the Suntory Hall, as part of the MusicToday 21 series. Alongside this premiere (by theTokyo Philharmonic conducted by Numajiri Ryusuke)are performances of String Quartet No 4, ensembleworks Sringara Chaconne, Hidden Voice II &orchestral work Body Mandala.Earlier in the year, Japanese radio broadcast Nataraja;Mortuos Plango, Vivos Voco; Concerto for Percussion;Song Offerings; Ricercare una Melodia (trumpet) andConcerto for Cello.

Two New discsHarvey is one of the most recorded modern daycomposers, and his catalogue is still receiving greatinterest from performersand record labels alike.This shows theconsistent popularity inhis repertoire and hislatest awards addsupport to this theory.Most recent releases onthe horizon are to bereleased on Aeon andHyperion (see below).

New book on Harvey’s music by MichaelDownesMichael Downes’s book Jonathan Harvey: SongOfferings and White as Jasmine, published in late2009, is an in-depth study of Harvey’s two featuredworks. The book can be purchased online at adiscount price. See www.ashgate.com

‘This is an informed study that benefits from interviews with JonathanHarvey and access to compositional materials. Also taking account ofother commentaries on Harvey’s music it offers an authoritative andbalanced perspective, and gives the reader a strong context helpfullypositioning the two works chosen for detailed examination. MichaelDownes’s lucid discussion goes some way to explain why Harvey’sconcern with philosophical and intellectual ideas has made him acomposer more esteemed in Europe than in the UK. Certainly issues oftranscendent spirituality and their musical expression are not simplematters to discuss. But Downes does not seek to reduce theparadoxical aspects of Harvey’s musical thought, but rather explains itall in ways that preserves the inherent intricacies of the underlyingideas. And despite the complex compositional processes in SongOfferings and White as Jasmine, the clarity of Downes’s explanations(well supported by music examples) and his avoidance of technicaljargon for the sake of it, goes to ensure that the non specialist will

also be able to follow and to draw much from hisdiscussion.’ David Wright, Reader in the Social History of Music, Royal

College of Music, UK

Publication date: December 2009 (Ashgate),ISBN: 978-0-7546-6022-4, Price: £35.00Online price: £31.50

TUNING IN

AAeeoonn CCDD ((pprroojjeecctteedd rreelleeaassee ddaattee JJuunnee 22001100,, FFrraannccee))Speakings for orchestra with electronics

Scena for ensemble with violin solo

Jubilus for ensemble with viola solo

Performers: BBCSSO conducted by Ilan Volkov

HHyyppeerriioonn CCDD ((pprroojjeecctteedd rreelleeaassee ddaattee JJuullyy 22001100))The Angels for unaccompanied choir (1994)

Ashes Dance Back, for choir and electronics (1997)

Marahi, forunaccompanied choir(1999)

The Summer Cloud’sAwakening, for choir, flute,cello and electronics (2001)

Performers: Latvian RadioChoir conducted by JamesWood and Kaspars Putnins

9

George BenjaminSSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceess

In the UKJune 2010: Featured composerat the Aldeburgh Festival, see box (at bottom of page)

Duet August 2010 (London premiere)

Three Inventionsfor ChamberOrchestra6.8.10, London, UK:BCMG/George Benjamin

In the USUpon Silence17.4.10, Boston: New EnglandString Ensemble/Federico Cortese

(George Benjamin is MusicDirector for the Ojai Festival in2010)Into the Little Hill(West Coast premiere)11.6.10, OJAI Festival, CA: AnuKomsi/Hilary Summers/Ensemble Modern/GeorgeBenjamin

At First Light/Viola,Viola13.6.10, OJAI Festival, CA:Libbey Bowl/EnsembleModern/George Benjamin

In EuropeUpon Silence23.3.10, Archipel Festival,Geneva, Switzerland: EnsembleContrechamps/Isabelle Henriquez/Peter Hirsc

At First Light24.4.10, Concertgebouw,Amsterdam, The Netherlands:Ensemble Intercontemporain/Susanna Mälkki

At First Light 6.5.10, Cité de la Musique,Paris, France: Ensemble Intercontemporain/Susanna Mälkki

At First Light9.5.10, Triennale, PhilharmonieCologne, Germany: EnsembleIntercontemporain/Susanna Mälkki

Duet (Netherlands premiere)3, 4.6.10, Concertgebouw,Amsterdam: DavidRobertson/KoninklijkConcertgebouworkest/Pierre-Laurent Aimard

At First Light25.9.10, AmsterdamConcertgebouw, Amsterdam:Members of the ConcertgebouwOrchestra/George Benjamin

Into the Little Hill(Spanish premiere)/Viola, Viola/ThreeMiniatures/Flight2, 3.12.10, Barcelona, Spain:Claire Booth/Susan Bickley/London Sinfonietta/Franck Ollu

Ojai for Benjamin!In June, Benjamin takes on the role of Music Directorat the Ojai Festival in California. Perhaps one of themost important new music events on the West Coastof the USA, the Ojai Music Festival is a necessarypilgrimage for anyone curious to know more aboutthe latest trends in composition. This year Ojai areproviding their audiences with “an encounter withone of the most intellectual and infectiously curiousmusical minds of our age, George Benjamin.”

The programmes range from music by youngcomposers to Stravinsky, and from Purcell Fantaziasto Indian music. Benjamin will conduct the EnsembleModern in works by Knussen, Messiaen, Boulez andLigeti, as well as the West Coast premiere of his Intothe Little Hill.

‘Into the Little Hill’ Tour 2010The London Sinfonietta and The Opera Group’s 2009performances of Into the Little Hill, were showeredwith glittering praise from critics – the work wasdescribed as a ‘masterpiece’ and ‘…a magical,imaginative piece’ and was also highlighted as one ofthe best works of the decade, amongst many otheraccolades. Following this success the LondonSinfonietta and The Opera Group plan a secondmulti-stop tour of Into the Little Hill for 2010beginning at the Aldeburgh Festival on 11 & 18 June,travelling to the Buxton Festival on 10 July, theLatitude Festival on 15-18 July, the Linbury Studio atthe Royal Opera House, Covent Garden for a run ofperformances 23-26 July and finally travelling toBarcelona at the end of the year on 2 & 3 December. For more details, please visit The Opera Groupwebsite www.theoperagroup.co.uk.

European celebrations

23 March 2010 - ‘Upon Silence’ at ArchipelBenjamin’s popularity in Switzerland continues togrow since his appearance at the Lucerne Festival in2008 and a return visit in 2009 for a performance ofA Mind of Winter. This year, the EnsembleContrechamps and Swiss mezzo soprano IsabelleHenriquez will perform Upon Silence at the ArchipelFestival in Geneva on 23 March.

BBeennjjaammiinn iinn TThhee NNeetthheerrllaannddss JJuunnee && SSeepptteemmbbeerrDavid Robertson will travel to Amsterdam to leadvirtuoso pianist Pierre-Laurent Aimard & theConcertgebouw Orchestra, in the Netherlandspremiere of Benjamin’s piano concerto, Duet.Aimard played the world premiere of the 15-minutework in Summer 2008 at the Lucerne Festival. Later in the year Benjamin himself will travel to thecity to conduct the orchestra in their interpretation ofhis early work At First Light.

‘‘AAtt FFiirrsstt LLiigghhtt’’ ttoouurriinngg wwiitthh EEnnsseemmbblleeIInntteerrccoonntteemmppoorraaiinnSusanna Mälkki is conducting the EnsembleIntercontemporain in three performances of At FirstLight. She will travel with the ensemble from theConcertgebouw in Amsterdam on 24 April, to theCité de la Musique in Paris on 6 May to thePhilharmonie Cologne on 9 May.

10

Benjamin at Aldeburgh in 2010 Benjamin is to be a featured composer at the UK’sAldeburgh Festival, where a cross-section of hisrepertoire will be presented between 11-24 June2010.

Performances at the Festival

11 & 18.6.10 Into the Little Hill (as part of the ‘Into the Little Hill’ Tour 2010)Claire Booth/Susan Bickley/London Sinfonietta/Franck Ollu

12.6.10 At First Light/J S Bach (transBenjamin) Canon & Fugue (UK premiere)Britten Sinfonia/Pierre-Laurent Aimard

19.6.10 ShadowlinesPierre-Laurent Aimard

19.6.10 PalimpsestsCity of Birmingham Symphony Orchestra/Jonathan Nott

19.6.10 Upon SilenceSusan Bickley/London Sinfonietta/George Benjamin

24.6.10 Piano FiguresPierre-Laurent Aimard

24.6.10 Dance FiguresBritten-Pears Orchestra/Oliver Knussen

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TUNING IN

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessLa cathédraleengloutie/Feuxd’artifice (Finnish premiere)24.3.10, Finlandia Hall,Helsinki, Finland (+ radiobroadcast): Finnish RadioSO/Ilan Volkov

Hidden Variables/selection ofDebussy Préludes30.4.10, Miami, FL, USA: NewWorld Symphony/Michael TilsonThomas

Violin Concerto (London premiere)28.7.10, London, UK: (tbc)

(Polish premiere)October 2010, Poland: LeilaJosefowicz/tbc

(US premiere)December 2010, Miami, FL,USA: Leila Josefowicz/New WorldSymphony/Oliver Knussen

(Finnish premiere)19.1.11, Finland: LeilaJosefowicz/Finnish RadioOrchestra/Sakari Oramo

(German premiere)March 2011, Germany: LeilaJosefowicz/Frankfurt RadioSO/Hugh Wolff

Colin Matthews

Mahler Festival 2010Music lovers will already be aware ofthe significance of 2010 as the 150th

anniversary of Gustav Mahler’s birth.To celebrate this the Hallé Orchestra has

joined with the BBC Philharmonic to present a cycleof Mahler’s symphonies at the Bridgewater Hall,Manchester. Each symphony is accompanied by acommissioned work from a living composer. BrothersColin and David Matthews, as prominent enthusiastsof Mahler’s music, were a natural choice forcommissions.. What the composers say:

‘Mahler has been the most important composer in my life for nearly50 years, although his influence is rarely on the surface of what Iwrite. Crossing the Alps is a case in point: not a homage to Mahlerso much as a humanist response to the Second Symphony, a settingof words from Wordsworth’s The Prelude for unaccompanied chorus.’

The Guardian (Colin Matthews), 10 January 2010

‘Mahler and Sibelius are the two greatest 20th-century symphonists.Mahler powerfully dramatised the existential problem of modernman: alone in the universe, searching for meaning. He is still verymuch our contemporary.’

The Guardian (David Matthews), 10 January 2010

‘‘CCrroossssiinngg tthhee AAllppss’’The Hallé’s Associate Composer, Colin Matthews, wascommissioned to produce a work for unaccompaniedvoices, written for the Hallé Choir to be programmedwith Mahler’s 2nd Symphony, performed by the choirconducted by Markus Stenz on 28 January.

‘Matthews says that he wanted to contrast Mahler’s setting of theResurrection Ode “with an essentially humanist message”. This ten-minute piece — setting stirringly transcendental lines fromWordsworth’s Prelude for eight-part chorus and a quiet, supportiveorgan — certainly didn’t try to compete with Mahler for grandeur, ortunefulness. But I liked its mesh of constantly shifting, bitonalharmonies and its mystical atmosphere, well sustained by the HalléChoir. It was rather like an updated version of Holst’s Hymn of Jesus.And its musical response to the text was cogent and, at the end, quitemoving.’

The Times (Richard Morrison), 1 February 2010

‘Faced with the prospect of composing a companion piece to Mahler’sSecond Symphony, Colin Matthews turned to Wordsworth forinspiration. Written for the Hallé Choir, Crossing the Alps is a settingof a passage from The Prelude dealing with the liberation of theimagination that comes with the awareness that “our home is withinfinitude and only there”. Matthews claims he did not wish toemulate Mahler, and that his “essentially humanist message” ismeant to contrast with the Second’s idiosyncratic theology. Yet the

choral writing has something of the majesty of the Symphony’sresurrection chorale, and the work is deeply Mahlerian in its sense ofwonder as its unfurling lines open on to unexpected harmoniclandscapes. Conducted by Markus Stenz, it was sung with ferventexpression and splendour of tone. It deserves repeated hearings.’

The Guardian (Tim Ashley), 1 February 2010

Colin Matthews’ ‘violin concerto is a joy!’Commissioned by the City of Birmingham SymphonyOrchestra with funds provided by the Feeney Trust.Leila Josefowicz, the CBSO and Oliver Knussen,successfully delivered the world premiereperformance of Colin Matthews’ eagerly anticipatednew 20-minute Violin Concerto at Birmingham’sSymphony Hall on 30 September 2010. Criticsapplauded the new work as ‘strikingly original’ and‘…beautifully written’. The US premiere is planned for 4 December in Miamiwith Leila Josefowicz, the New World Symphony andKnussen conducting.

‘… I wondered whether Matthews’s concerto might contain hiddensignificances. Its tone is strangely evocative. The first of the twomovements begins dreamily — the tempo marking is Sognando —with iridescent chatter in the background and a high-lying solo linethat shimmers like Szymanowski, whose First ViolinConcerto Matthews cites as an inspiration… Josefowiczwas the most exemplary of soloists. She had memorisedthe extremely taxing part and projected it with a passion.Not a bar of hers was not imprinted with her personalityand thought.’

The Sunday Times (Paul Driver), 11 October 2009

‘…Beautifully written and tailored for the particularsinging gifts of the soloist Leila Josefowicz, it pits a highviolin tessitura against a spectacularly bespoke orchestra… Theluminosity of Matthews’ violin writing recalls the concertos ofProkofiev and Szymanowski, the orchestral textures and colours recallMahler and Berg – all composers from the early 20th-centuryperiod so beloved of this composer, and who can blamehim.’

Birmingham Post (Terry Grimley), 2 October 2009

‘…a strikingly original work, which never does quitewhat you expect of a violin concerto. The writing forsolo violin is fluent and idiomatic, but all of a piecewith the musical argument. There’s no flashy display,nor a hint of a cadenza for the soloist – this,Matthews was quoted in the programme as saying,would have got in the way of the musical argument.Yet the violin’s lines soar eloquently over complexorchestral textures that become increasinglythreatening as the work goes on. …It’s a disquietingwork, and concertos are rarely that.’

The Guardian (Andrew Clements), 1 October 2009

‘…Beautifullywritten and

tailored for theparticular singinggifts of the soloistLeila Josefowicz’

PHOTO: COLIN MATTHEWS © MAURICE FOXALL

PPeetteerr SSccuulltthhoorrppee::SSeelleecctteeddffoorrtthhccoommiinnggPPeerrffoorrmmaanncceessKakadu13.3.10, Kirkby StephenGrammar School, UK

Earth Cry9.5.10, Brighton Festival, StBartholomew’s Church, Brighton,UK: Brighton YO/Steve Heath/Andy Sherwood

String Quartet No 18(world premiere)5.6.10, Montsalvat Barn Gallery,Melbourne: Flinders Quartet6.6.10, Iwaki Auditorium,Melbourne: Flinders Quartet7.6.10, Verbrugghen Hall,Sydney: Flinders Quartet

(European premiere)2.9.10, UK: Tokyo Quartet

Captain Quiros 19.6.10, Settlebeck High School,Sedburgh Festival, UK

New work4.4.10, Four Winds Festival,Bermagui Amphitheatre, NSW,Australia: GenevieveLacey/Flinders Quartet

Love Thoughts/Eliza FraserSings/New work:Kyrie (world premiere)15.5.10, Canberra InternationalMusic Festival, Canberra,Australia: ACCC Chapel CanberraChamber ensemble/Japanese &English speakers

Peter Sculthorpe Torsten RaschENO & Punchdrunk OperaTorsten Rasch is currently writing an opera forEnglish National Opera in collaboration with thetheatre company, Punchdrunk for performance inLondon in July this year.Details of the project and the venue are to beannounced shortly.

‘Excantare fruges’ again in GermanyHermann Bäumer, conducted the premiereperformances of Rasch’s first opera ‘Rotter’ in 2008,and is continuing to support the composer withperformances of his orchestral work ExcantareFruges:

‘Diese Sachkenntnis ist sicherlich nicht von Nachteil; jedenfallsführte Bäumer das Osnabrücker Symphonieorchester sehr sicherdurch die fragile Musik. Als Crescendo-Studie könnte man das gutzehnminütige Werk bezeichnen, ein Werk des Werdens undWachsens. Vom zartesten Piano ausgehend, brodelt die Musik,steigert sich zu heftigen Eruptionen, setzt neu an, verdämmertschließlich. Dabei bedient sich Raschs Musik der großenspätromantischen Palette und bekennt sich zur fasslichen Melodie.Das arbeiten die zum Riesenorchester plus jeder MengeExtraschlagwerk erweiterten Osnabrücker Symphoniker bestechendklar heraus – bei allem Getümmel, durch das Rasch seine Motivejagt.’

Neue Oznabrücker Zeitung (Ralf Döring), 1.2.2010

‘Le Serpent Rouge’ premiereAndre de Ridder is to conduct the BBC SO in thepremiere of Rasch’s latest major work for sopranoand orchestra in November 2010 at Maida ValeStudios, London.

The Two Moors Festival 2009The Two Moors Festival launched two of Rasch’slatest compositions in October 2010. Festivaldirector Andreas Haefliger commissioned a stringquartet performed on 8 October for the KussQuartett, and a ‘melodrama’ for ensemble (as inPierrot Lunaire) and narrator which uses a text byKokoschka. Die TräumendenKnaben.

Composer-in-Residence atMoritzburg Rasch is to beComposer-in-Residence at themusic festival basedin Moritzburg,Germany for its 2011season. Moreinformation to beannounced inthe next issue.

Sculthorpe wins Casa Asia AwardRecognised as a pioneer in composition of Australiancontemporary music, Sculthorpe is the recipient ofan international prize from Spain, the Casa AsiaAward. Sculthorpe, who turned 80 in April 2009,received the Casa Asia Prize for his stellar careerin music, and also for his highly acclaimed 22-minutework for brass, percussion and strings, CaptainQuiros – a five movement suite (arranged from hisearly opera Quiros), written to commemorate theexplorations of Pedro Fernandez de Quiros and LuisVaez de Torres.

The Spanish Embassy proposed Sculthorpe forthe prestigious award “for the bridge createdbetween the Australian and Spanish societiesthrough his music.” Captain Quiros was firstperformed by the Sydney Conservatorium SymphonyOrchestra in 2006, as part of the celebrations of thefourth centenary of the voyage across the Pacific in1605-06 by Quiros and Torres, when they named theisland “Austrialia del Espiritu Santo.”

Sculthorpe was invited to Madrid in December toreceive the honour. Queen Sophia of Spain gave herapproval for a special performance of the Suite at theceremony, by the Banda Sinfonica Municipal deMadrid conducted by Garcia Asensio.

Sydney 101 Compositions projectA new work for string orchestra and narrator will bea highlight of the Sydney Conservatorium of Music’s2010 concert program – and a jewel in the crown ofThe Conservatory’s ‘101 Compositions for 100 Years’project.The Sydney Conservatorium Symphony Orchestraunder the baton of Imre Palló will premiere the workas part of the Conductors’ Series on 29 & 30 October2010 – a performance that will prove Sculthorpe’scommitment to the 101 Compositions project as aMarquee Composer and contributing lecturer.

String Quartet No 18Sculthorpe has a more substantial body of works inthe string quartet oeuvre than all other modern-daycomposers. His latest is the String Quartet No 18

which is jointly commissioned by the EdinburghInternational Festival for the Tokyo

Quartet, and also by Peter Doyle for theFlinders Quartet. The world premiereis in Melbourne, on 5 June by theFlinders Quartet, with repeat

performances also on 6 June inMelbourne and 7 June in Sydney. Laterthis year at the Edinburgh Festival on 2September, the Tokyo Quartet willperform the European premiere. Weare delighted that Sculthorpe will bemaking the journey to the UK especially

for this performance.

TToorrsstteenn RRaasscchh::SSeelleecctteeddffoorrtthhccoommiinnggPPeerrffoorrmmaanncceessExcantare fruges 31.1.10 & 1.2.10, StadtischeBuhnen Osnabruck, Germany:Stadtische BuhnenOsnabruck/Bäumer

new work:Punchdrunk ENO(world premiere)*.7.10, English National Opera

Le Serpent Rouge (world premiere)18.11.10, BBC Maida ValeStudios, London, UK: BBCSO/André de Ridder

PHOTOS: PETER SCULTHROPE (LEFT) & TORSTEN RASCH (RIGHT) © MAURICE FOXALL

13

Thomas Adès

TUNING IN

New EMI disc ‘Tevot’ released! Adès’s latest EMI record wasreleased in early February2010, and reveals his mostrecent large-scale orchestralrepertoire in a stimulatingcompilation. Thebreathtakingly beautiful Tevotis the centrepiece, coupledwith other fantastic works,Dances from Powder Her Face,Violin Concerto, and ThreeStudies from Couperin.

‘…Adès takes the listener on a vivid sonicjourney, juxtaposing tensile motifs onwoodwinds, strings and percussion with constantly moving,seductively textured blocks of sound…’

Financial Times (Andrew Clark), 20 February 2010

‘…a magnificent orchestral journey through chaos to consolation.’The Times (Geoff Brown), 20 February 2010

‘Strongly recommended’International Record Review (David Gutman), February 2010

‘…a breathtakingly sustained atmosphere of cosmic grandeurtakes over… It’s spectacular and haunting’

The Metro (Warwick Thompson), 12 February 2010

New production of ‘TheTempest’ premiereswith Frankfurt OperThe Tempest has been stagedall over the world since itspremiere in 2004, butaudiences in Germany wereyet to experience the wonderof Thomas Adès’s secondopera… until this year that is,when Frankfurt Oper staged

six performances of a new production from KeithWarner, sympathetically conducted by JohannesDebus (between 10 January-2 February):

‘Among the new British operas of the first decade of the 21stcentury, Thomas Adès’s The Tempest — originally staged by theRoyal Opera in 2004 and revived three years later — looks set tohave the longest shelf life.’

The Times (Hugh Canning), 31 January 2010

‘Unbefangen betrachtet, ist Adès’ Oper ein prachtvolles Meisterwerkund eine höchst ambitionierte Shakespeare-Neuinterpretation…Das Instrumentalkolorit brücksichtigt grille Effekte ebenso wiefeinxiselierte, gelegentlich auch nach “unerhörten” Schönheitenstrebende Momente. Nicht Zuletzt schreibt Adès brilliant für diemenschliche Stimme.’

Frankfurter Rundschau (Hans-Klaus Jungheinrich), 12 January 2010

‘Sein „Sturm” lohnt den Opernbesuch.’Frankfurter Allgemeine (Julia Spinola), 12 January 2010

The Tempest is also being presented in a run of7 performances in Germany from 12 March to29 May 2010 at Theater Lübeck in anothernew production, by Philipe Bach.

‘Powder Her Face’ revivalGossip and scandal surround the life of theDuchess at the centre of Thomas Adès’smodern operatic classic Powder Her Face. With its fascinating mix of glamour andrealism, cynicism and sympathy, PowderHer Face was a sell-out success whenpresented at the Linbury Studio theatre,Covent Garden in 2008.

The revival of Carlos Wagner’s production inApril this year will also feature Joan Rodgers as theDuchess. See www.roh.org.uk for more information.

Adès in AustraliaAutumn 2010 sees Adès travel to Australia where theMelbourne Festival are to embrace a variety of hisworks into the programming for this year’s festival.More information to be announced in the autumn.

Tonsättarfestival focus — SwedenThe famous November Composer Festival(Tonsätterfestival) launched each year by theStockholm Philharmonic Orchestra has hosted keycomposers from around the world. From the UKonly Sir Michael Tippett was so honoured, until thisyear the focus came to Thomas Adès. A full–lengthphoto of a be-jeaned composer hung from the topof the Konzerthaus to the bottom, signalling theimportance to the town not only of musical culturebut of this composer. Six days of concerts embracedmuch of Adès’s output as well as featuring him aspianist and conductor in his own music. Many butnot all of the pieces (Tevot, Violin Concerto, PianoQuintet, In Seven Days,Asyla, Dances fromPowder Her Face,Arcadiana and pianoworks) were new toSweden but this did notinhibit the public fromshowing greatenthusiasm and interestin every concert. Aninspiring event.

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessConcert Paraphraseon Powder HerFace (world premiere)14.3.10, Chan Centre for thePerforming Arts, Vancouver,Canada: Thomas Adès

(US premiere)16.3.10, Herbst Theatre, SanFrancisco, USA: Thomas Adès

(New York premiere)27.3.10, Carnegie Hall, New York,USA: Thomas Adès

(London premiere)27.4.10, The Barbican Centre,London, UK: Thomas Adès

Lieux retrouvés (US premiere)19.3.10, Carnegie Hall, New York,USA: Steven Isserlis/Thomas Adès

(London premiere)18.4.10, Wigmore Hall, London,UK: Steven Isserlis/Thomas Adès

The Origin of theHarp/ConcertoConciso 24.3.10, Carnegie Hall, New York,USA: Ensemble ACJW

Three Studies fromCouperin/ChamberSymphony 2 & 3.4.10, Ordway Center for thePerforming Arts, St Paul, USA:Saint Paul CO/Thomas Adès

Concerto forViolin/Thesepremises areAlarmed/Dancesfrom Powder HerFace 8, 9 & 10.4.10, Walt DisneyConcert Hall, Los Angeles, USA:Anthony Marwood/Los AngelesPhilharmonic/Thomas Adès

Powder Her Face 8.4.10, Teatro Comunale, Lugo,Italy: dir. GiuseppeGrazioli/Orchestra TeatroCommunale di Bologna26, 28, 30.4.10 & 3, 5, 7, 8, 10,12.5.10, Linbury Studio Theatre,Royal Opera House, CoventGarden, UK: cond. TimothyRedmond

Mazurkas 20.4.10, Walt Disney Concert Hall,Los Angeles, USA: Emanuel Ax25.4.10, Davies Symphony Hall,San Francisco, USA: Emanuel Ax

Dances fromPowder Her Face 29.4.10, Vredenburg LeidscheRijn, Utrecht, Netherlands: AlejoPerez/Radio Kamer Filharmonie

Asyla 2.5.10, Cologne, Germany: KölnerPhilharmonie/Markus Stenz

Concerto forViolin/In SevenDays 11.5.10, Cologne Triennial,Germany: Chamber Orchestra ofEurope/Thomas Adès

Concerto for Violin 14, 18, 21.5.10, Lincoln Center,New York, NY, USA: New York CityBallet/chor: Wayne McGregor

Living Toys 1, 2. 3.6.10, Eugene GoossensHall, ABC Centre, Sydney,Australia: Richard Gill/SydneySinfonia

‘Thomas Adès’soutstanding

opera has been along time comingto Frankfurt, butit sounded simply

spectacular’

Arcadiana/Piano Quintet 9.10.10, Melbourne Festival, Australia: Calder Quartet/Thomas Adès

Darknesse Visible/Still Sorrowing/Traced Overhead 13.10.10, Melbourne Festival, Australia: Thomas Adès/Nicolas Hodges

Tevot 13.10.10, Melbourne Festival, Australia: Thomas Adès/Melbourne SO

In Seven Days/Concerto for Violin 16.10.10, Melbourne Festival, Australia: Thomas Adès/Melbourne SO/Nicolas Hodges/Tal Rosner(video)

Asyla 20, 21.10.10, Sydney, Australia: Sydney SO/Thomas Adès

Carl Davis

14

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessFlesh and theDevil(Luxembourg premiere)/ TheFloorwalker(Luxembourg premiere)/The Adventurer5.3.10, Cinémathèque de la Villede Luxembourg, Luxembourg:Orchestre Philharmonique duLuxembourg/cond. Carl Davis

Pride andPrejudice Theme 9.3.10, Preston Guild Hall, UK:Royal Liverpool PhilhamonicOrchestra/Carl Davis

The Rink/TheAdventurer(Canadian premiere)14, 15, 16, 17.4.10, SagebrushTheatre, Kamloops, BC (x2schools shows), Canada: BruceRodney Dunn/Kamloops SO

The Lady of theCamellias20, 24, 29.4.10 & 3, 8, 10,12.5.10, Croatian NationalTheatre in Zagreb, Croatia: BalletHNK u Zagrebu/chor. DerekDeane/Dian Tchobanov

Safety Last (Swiss premiere)21, 22, 23.4.10, CMS-HalleDreispitz, Münchenstein, Basel,Switzerland: BaselSinfonietta/Mark Fitz-Gerald

Waterloo (London premiere)22.4.10, Royal Festival Hall,London, UK: PhilharmoniaOrchestra/Carl Davis

An EasternWesterner 23.4.10, Symphony Hall,Birmingham, UK: CarlDavis/CBSO

Easy Street/OneWeek/Behind theScreen22.7.10, Prospect Park, NewYork, NY, USA: Carl Davis

Ballad for celloand orchestra(world premiere)1.1.11, Philharmonic Hall,Liverpool, UK: JonathanAasgaard/Royal LiverpoolPhilhamonic Orchestra/Carl Davis

The General 22.1.11, Princes Hall, Aldershot,UK: Farnborough SO/cond. MarkFitzGerald

The Immigrant 20.2.11, Paris, France: CarlDavis

More Silent films for UK audiencesOn 23 April Davis heads to Birmingham to conductthe City of Birmingham Symphony Orchestra, for aperformance of two great silent films – An EasternWesterner (featuring Harold Lloyd) and The GoldRush (featuring Charlie Chaplin). Davis’s silentmovie night is always a sold-out highlight of theCBSO season, as the Symphony Hall transforms intoa giant cinema and the CBSO performs a livesoundtrack that beautifully mirrors every action onscreen. This year the theme of the show is the WildWest. Lloyd’s comfortable East Coast gentlemanseems completely unprepared for the rough andtumble that greets him, while Chaplin’s lovable trampmakes do as best he can in the poverty andexcitement of the Gold Rush. This will be a joyousevening for film fans of all ages.

‘Flesh and the Devil’On Saturday 6 March Davis conducted the OrchestrePhilharmonique de Luxembourg in their liveperformance of the silent film classic, Flesh and theDevil. The film stars Greta Garbo, John Gilbert andLars Hanson, and was screened at the CinémathiqueMunicipale de Luxembourg.

Carl Davis Collection – latest releases!Formed for the production, recording anddistribution of Davis’ award winning music, the ‘CarlDavis Collection’ has now released its fifth disc on thelabel. The original soundtrack to the acclaimed BBCSeries Cranford, and festive delight Sacred Seasonswith the Philharmonia Orchestra and narration by

Timothy West are the latest in the catalogue, followingon from Davis’s ballet score from Cyrano, Alice inWonderland and film score The Understudy.

‘‘WWaatteerrlloooo’’ aatt WWaatteerrlloooo!!In a very special forthcoming event on 22 April at London’sRoyal Festival Hall, the Philharmonia Orchestra presents a livescreening of Waterloo, Karl Grune’s 1928 epic silent film. Theevening is all the more momentous due to the UK premiere ofCarl Davis’ specially composed soundtrack,which will be performed alongside the film.Waterloo was filmed in Munich at the veryend of the Silent Film Era, and tells the storyof Napoleon’s defeat. This remarkable filmfeatures a number of virtuoso set-piecesand extraordinary cinematic effects,including spectacular crowd andbattlefield scenes. On the evening, therewill also be a special pre-concert talk,given by silent film specialist, John Riley.

NNeeww BBooookk oonn ‘‘NNaappoolleeoonn’’ ffiillmmKevin Brownlow’s book on the making of Abel Gance’sauthoritative silent film Napoleon (1927), has been reissuedby Threefold Music, and can be obtained online from the CarlDavis Collection website or via Amazon. Accompanying thebook is a historic recording from 1983, which containsexcerpts from Carl Davis’s score.

Gramophone recently reviewed Cyrano:

‘…luxuriously scored, with sundry solos thateven include one for ondes martenot. Davisacknowledges his love of French music, and thereare indeed suggestions of Offenbach or Delibes,though Minkus and Glazunov seem even strongerinfluences. What is especially striking is thequality of the themes for the various charactersand situations, among them an especially lovely one for Roxane and astirring rataplan for Cyrano’s regiment. These themes are developedto considerable dramatic and emotional effect.

Paul Murphy and the Royal Ballet Sinfonia give the score asplendidly full-blooded rendition, and the sound is agreeablyspacious. It makes even a non-ballet lover such as myself wish toseek out the piece on the Birmingham Royal Ballet’s tour.’

Gramophone (Andrew Lamb), January 2010

TUNING IN

Matthew Hindson SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessCrime &Punishment(world premiere performances -Australian tour, Australian CO &Maxime Bibeau)11.3.10, Anita’s Theatre,Wollongong, NSW; 13.3.10,Canberra Theatre, Canberra, ACT;14 & 15.3.10, The Arts Centre,Melbourne, VIC; 16.3.10,Adelaide Town Hall, SA;17.3.10, Perth Concert Hall, WA;20, 23 & 24.3.10, City RecitalHall, Angel Place, Sydney, NSW;21.3.10, Sydney Opera HouseConcert Hall, Sydney, NSW;22.3.10, QPAC Concert Hall,Brisbane, QLD; 25.3.10,Newcastle City Hall, Newcastle,NSW

Funeral Windows18.3.10, City Recital Hall, AngelPlace, Sydney, NSW, Australia:Sydney Omega Ensemble

Repetepetition23.3.10, Atelier de la Main d’Or,Paris, France: Matthew Jones

Jungle Fever25.4.10, Llewellyn Hall,Canberra, ACT, Australia: DavidPereira/Timothy Young

Whitewater(Latvian premiere)7.5.10, Spikeru koncertzale,Riga, Latvia: RigaSinfonietta/Normunds Sne

Violin Concerto (Australian Postcards)(North American premiere)27.5.10, “Hear and Now - ANew Music Festival”, Eckhardt-Gramatté Hall, Rozsa Centre,University of Calgary, Canada:Lara St John/Calgary PO/PierreSimard

DangerousCreatures(Scorpion, Big Black Bear &Humans only)1-3.6.10, 27-30.7.10 & 26-29.10.10, Sydney, NSW,Australia: SydneySinfonia/Richard Gill

Headbanger19.6 & 26.10, Sedbergh Festival& Kendal Parish Church,Cumbria, UK: WestmorlandYO/Noel Bertram

Energy(first concert performance)2.9.10, Edinburgh Festival, UK:Sydney SO/Vladimir Ashkenazy

New work(world premiere)October 2010, tbc, Australia:Australia Ensemble

15

‘Crime & Punishment’: AustralianChamber Orchestra commissionCrime and Punishment is a 10-minute commission fordouble-bass and string orchestra from BarbaraBlackman for the Australian Chamber Orchestra, withsoloist, Maxime Bibeau (the ACO’s principal bass). Itpremiered in Wollongong on 11 March, the launch ofa 12-date Australian tour.

To paraphrase the composer’s note,

‘the writing for the soloist is virtuosic and draws ontechniques from the electric bass including slap-pizzand dead-notes, combined with some extraordinarylyrical moments. The double-bass takes on the roleof criminal, a repeat offender in a menacingenvironment. But beyond its menace it is capable oftenderness and beauty. Far from glamourisingcriminal intent, the solo part is a form of punishmentin itself. The string orchestra “chorus” demandsnothing less.’

Ashkenazy to premiere ‘Energy’ atEdinburgh FestivalThe first movement of Hindson’s award-winningballet score E=mc² (see p 4) is set to have a life of itsown on the concert platform. Vladimir Ashkenazywill launch the 10-minute work Energy, in this newcontext, with the Sydney SO on 2 September, at theEdinburgh Festival.

Lara St John gives North Americanpremiere of ‘Violin Concerto’Lara St John’s premiere recording of Hindson’svirtuosic Violin Concerto has done much to bring hismusic to audiences in North America. On 27 May shegives her first concert performance of the work,bringing it to a new listenership. The event will bepart of the “Hear and Now” being staged by theCalgary Philharmonic Orchestra. She also gives thepremiere with the Rochester PO and Sarah Ioannideson 17 & 19 February 2011. Since releasing herconcerto disc, St John has also premiered anotherHindson showpiece, his Maralinga for violin andpiano (commissioned for her by Wolf Trap).

Featured Composer with Sydney SinfoniaHindson’s music is a regular fixture on the educationprogrammes of orchestras worldwide. He is currentlyenjoying a special relationship in 2010 with theSydney Sinfonia, the education arm of the Sydney SO.The Sinfonia (under Richard Gill) will be includingorchestral music by Hindson in all their concerts thisyear. Selected movements from his DangerousCreatures suite (a London Philharmonic Orchestracommission) will feature in schools events inSydney’s Eugene Goossens Hall and in Sydney’sOlympic Park.

Meanwhile, earlier this season, the West AustralianSO gave the Australian premiere of the completeDangerous Creatures suite in a family concert on 8November, under the baton of Warwick Potter.

‘Comin Right Atcha’ in FloridaHindson’s tribute to James Brown, Comin’ RightAtcha was performed in a new orchestral version inFlorida on 27 February. Under the baton of DirkMeyer, the Sarasota Orchestra performed the 14-player version of the ensemble piece but utilisingmultiple strings, bringing a new Hindson work intothe orchestral repertoire.

Australia Ensemble commissionHindson is currently working on a 15-20 minutecommission from Justice Jane Mathews OA, for thethe Australia Ensemble, to be premiered by them inOctober.

New chamber worksA clutch of new chamber and instrumental workshave appeared in recent months.•Beauty, for solo cello, flute, clarinet, piano, twoviolins and viola is a 6-minute work, written in honourof the Australia Ensemble’s 30th season andpremiered by them on 12 September in a concert atthe University of New South Wales in Sydney.

• Central Australian Song was commissioned by theSouthern Cross Soloists and UK violinist Jack Liebeckand premiered by them on 4 October. The 15-minutepiece is scored for soprano, oboe, Eb clarinet, horn,violin, piano.

• An 8-minute Septet for flute, horn and string quintetwas the result of a commission from Ars MusicaAustralis and premiered by the Sydney SO Fellows on15 November.

TTwwoo iinnssttrruummeennttaall wwoorrkkss:: • Funeral Windows, an 8-minute solo for bassetclarinet, premiered by David Rowden of SydneyOmega Ensemble on 22 November

• Mandalay, a 6-minute solo violin piece was alsopremiered on 22 November, by Aubrey Murphy.

John Woolrich Oliver KnussenNew appointments!

PPrrooffeessssoorr ooff MMuussiicc aatt BBrruunneell UUnniivveerrssiittyyAs the recently appointed Professor of Music atBrunel University, Woolrich will be using hisexperience as an artistic director to connect Brunelto the wider UK musical scene, establishing newcontacts, whilst also creating a new institute ofcomposition.

AArrttiissttiicc DDiirreeccttoorr aatt DDaarrttiinnggttoonnThe Dartington Hall Trust announced in Februarythe appointment of John Woolrich as the new ArtisticDirector of the world-renowned DartingtonInternational Summer School. Woolrich has beenappointed on a three year contract for the 2011-13Summer Schools and will take over from GavinHenderson, who steps down after 26 years as ArtisticDirector at the end of August 2010. This new rolefor Woolrich will be aimed at developing an artisticvision for the future of the summer school.

‘Violin Concerto’ revisitedCarolin Widmann, the young virtuoso violinist whoso brilliantly championed the world premiereperformance of Woolrich’s Violin Concerto in 2008,is set to revisit the work on 9 April with the NorthernSinfonia. The first performance at Aldeburghreceived fantastic reviews:

‘The concerto, fast-moving, brightly focused, with a sort of lacqueredsurface and perfectly untroubled about an interior life, sustains agripping power that is really rather misterious.’

The Sunday Times (Paul Driver), 6 July 2008

Diego Masson will conduct the orchestra in thesecond performance at The Sage Gateshead.

Leicester International Music FestivalNicholas Daniel, Artistic Director of the LeicesterInternational Music Festival, has revealed preliminaryplans for 2010’s Festival theme Take 5 – Composerswhere he has selected works by Bach, Mozart,Schubert, Schumann and Woolrich who is this year’sComposer-in-Residence. There will be threeconcerts featuring works by Woolrich at the Festival,including his works The Kingdom of Dreams, ASinging Sky & Oboe Quintet. Nicholas Daniel explainswhy Woolrich is the Festival’s Composer-in-Residencefor 2010:

[Woolrich]… is the living composer with whom I have collaboratedmost closely, and who has written so many important and beautifulpieces for me. Leicester commissioned and I performed hisstaggering and haunting Oboe Quintet in the Festival a number ofyears ago, and we will be reviving this piece in 2010 with a specialpre-concert talk on the work… a major force in new music as wellas someone with a profound love of music and a greatunderstanding of the way music can affect people’s lives I know itwill be interesting to get to know him and his music better.

16

RSNO — 21st Century projectThe Royal Scottish National Orchestra areperforming Oliver Knussen’s Violin Concerto intheir 2010/11 season as part of a selection of 21st-century works. They have also assembled acomprehensive website to include information,images and audio visual media on all the piecesand composers.

Knussen at AldeburghKnussen has a comprehensive profile lined up forthe Aldeburgh Festival 2010. Highlights include aperformance of his Horn Concerto on 24 June byRichard Watkins and the Britten-Pears Orchestraconducted by Knussen at Snape Maltings concerthall, plus a concert on 21 June featuringinstrumental works, Autumnal (for violin andpiano), Secret Psalm (for solo violin) and AFragment from Ophelia’s Last Dance (for solopiano) interpreted by talented pianist HuwWatkins. The Hebrides Ensemble performKnussen’s Elegiac Arabesques on 14 June.

‘Symphony No 3’ in JapanKnussen will be travelling to Japan in October toconduct his Symphony No 3 with the OsakaPhilharmonic Orchestra.

‘Whitman Settings’ in AtlantaKnussen’s prolific conducting career has led him toperform with most of the major orchestras in theUS. This May is no exception where he travels toconduct performances of his Whitman Settings withsoprano Lisa Saffer and the Atlanta SymphonyOrchestra at Atlanta Symphony Hall.

SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessConcerto for Violin 9.4.10, The Sage, Gateshead,UK: Carolin Widmann/NorthernSinfonia/Diego Masson

Come and Go June 2010, UK: NorthernSinfonia/Alan Fearon

Ulysses Awakes8.7.10, Pittville Pump Room,Cheltenham International MusicFestival, UK: Brett Dean(vla)/Festival AcademyStrings/Neil Thomson

The Kingdom ofDreams 16.9.10, Leicester Festival, UK:Nicholas Daniel

A Singing Sky (UK premiere)17.9.10, Leicester Festival, UK

Oboe Quintet 18.9.10, Leicester Festival, UK:Nicholas Daniel

The Night will notdraw on 23.12.10, BBC Radio 3, UK:Eisenstadt Haydn Trio

Another StaircaseOverture (tour)7, 9, 10, 11 & 13.2.11, WestRoad Concert Hall, Cambridge &Queen Elizabeth Hall, London &Turner Sims Concert Hall,Southampton & Town Hall,Birmingham & Theatre Royal,Norwich, UK: Britten Sinfonia

OOlliivveerr KKnnuusssseennSSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessCantata 25.4.10, Radio Studio Ansermet,Geneva, Switzerland: Soloists ofthe Ensemble Contrechamps

Whitman Settings (orchestral) 20, 21, 22.5.10, SymphonyHall, Atlanta, GA, USA: AtlantaSO/Lisa Saffer/Oliver Knussen

Requiem 31.5.10, Alte Oper Frankfurt,Germany: EnsembleModern/George Benjamin

Requiem 13.6.10, Libbey Bowl, OjaiMusic Festival, USA: EnsembleModern/George Benjamin

ElegiacArabesques 14.6.10, Aldeburgh Church,Aldeburgh Festival, UK: HebridesEnsemble

Autumnal/SecretPsalm/A Fragmentfrom Ophelia’sLast Dance21.6.10, Aldeburgh Festival,Orford Church, Suffolk, UK:

Horn Concerto 24.6.10, Aldeburgh Festival,Snape Maltings Concert Hall, UK:Richard Watkins/Britten-PearsOrchestra/Oliver Knussen

Where the WildThings Are 15.8.10, 2010 TanglewoodFestival of Contemporary Music,USA: Stefan Asbury

PHOTO: OLIVER KNUSSEN © MAURICE FOXALL

The widespread successof the new film ofSendak’s Where theWild things Are, hascreated aresurgence of interestin the magical operaOliver Knussen created onthis subject.Amongst the current plansare a performance atTanglewood on August 15 thisyear, followed by a New YorkCity Opera ‘Opera in theSchools’ programme in Spring2011 which will involveperformances as well as aneducational project involving up to4000 children.

Wild Things 2011

Jonny Greenwood

TUNING IN

RRaallpphh VVaauugghhaannWWiilllliiaammssSSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessThe WaspsOverture 16.4.10, Dorking Halls (LeithHill Music Festival), UK: EnglishFestival Orchestra24.4.10, Highfields Church,Cardiff, UK: Rhondda SO24.4.10, Evans Leisure Centre,UK: Wilmslow SO6 & 7.11.10, Cornerstone Centre,Didcot, UK: St Giles Orchestra

Fantasia on aTheme by ThomasTallis 7.5.10, Royal Festival Hall,London, UK: London PO6, 8 & 9.5.10, Benaroya Hall,Seattle, WA, USA: SeattleSO/Andrew Manze22.5.10, Taipei NationalUniversity Concert Hall, Taiwan:Fugue Music Company/Cheng-Tu Su

Dark Pastoral(world premiere)5.9.10, London, UK: (tbc)

JJoonnnnyyGGrreeeennwwoooodd::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessPopcorn SuperhetReceiver(world premiere of new danceproduction)27.4-2.5.10, The Joyce Theater,New York, NY, USA: StephenPetronio Dance (chor. StephenPetronio)

(German premiere)12.5.10, Spex Festival,Berghain, Berlin, Germany:SolistenensembleKaleidoskop/André de Ridder

(Australian premiereperformances by Australian CO& Richard Tognetti)29.5 & 1,2.6.10 (Sydney RecitalHall, Sydney); 30.5 (SydneyOpera House Concert Hall); 6 &7.6 (Hamer Hall, Melbourne)1.7.10, Bridgewater Hall,Manchester, UK: Royal NorthernCollege of Music SO/André deRidder

(extract only)19.6-9.7.10 (7 perfs),Staatstheater Nürnberg,Germany: Staatstheater:BalletNürnberg/ch.Goyo Montero

smear15.5.10, “Faster Than Sound”,Snape Maltings, Suffolk, UK:London ContemporaryOrchestra/Hugh Brunt

17

‘Heroic Elegy’recording Mark Elder conducted theHallé Orchestra in theopening of the orchestra’sThursday concert serieson 8 October 2009, with asensational performanceof Heroic Elegy andTriumphal Epilogue.

Composed in 1901 when Vaughan Williams was stillvirtually unknown, it has taken 104 years for 19-minute orchestral work to have its first fullyprofessional outing. The Independent’s LynneWalker reported on the concert:

‘The first movement, Heroic Elegy, begins with an uneasilyinsistent string motif, over which a meandering theme isintroduced on trombones then horns. The brass worries away atthis material until a blazing climax is followed by a threateningtimpani ostinato and suggestions of a martial violence are finallysubdued with an eerie quietness.

In the longer Triumphal Epilogue we are on more familiarVaughan Williams territory. Within a slightly sprawling structure,the string writing, startling orchestral sonorities and expressiveeloquence are an early indication of his characteristically Englishidiom. Mark Elder and the Hallé players brought out the work’slyrical impulse and its instrumental detail in an authoritativemodern-day premiere.

The Independent (Lynne Walker), 13 October 2009

A new recording with the BBC Concert Orchestraconducted by John Wilson was recently released onthe Dutton label to critical acclaim:

‘In this rather miscellaneous collection of British music which haslain buried in different layers of oblivion, the piece that stands outas the most valuable – its is also by far the biggest – wascomposed by Vaughan Williams while still a student at the RoyalCollege of Music… though hardly characteristic of the maturemaster, it proves to be full of prophetic details of orchestration andmelodic contour, and more importantly it shows an impressivegrasp of large-scale symphonic form – indeed it is the first heavyhint of the symphonist VW was to become.’International Record Review (Calum MacDonald), February 2010

‘Dark Pastoral’Rumours of an unfinished cello concerto byVaughan Williams have pervaded the cellistfraternity for some years. In fact there exists only afragment from the slow movement of this work,which dates from 1942. However, the 4-minutefragment as it stands has attracted the attention ofcomposer David Matthews – who has incorporatedit into a new 11-minute work entitled DarkPastoral for cello and orchestra, with the fullapproval of the Vaughan Williams Estate. Aperformance is planned for later in the year.

‘Doghouse’ — new orchestral workDoghouse is a new orchestral work, scored forstring trio and orchestra and lasting some 25minutes. It was premiered at BBC Maida Vale,London on 28 February by the BBC ConcertOrchestra and Robert Ziegler. The premiereformed part of Greenwood’s ongoing residencywith the BBC CO, which began in 2004 with thepremiere of Popcorn Superhet Receiver. Thecomposer writes:

“I wrote this music mostly in hotels and dressingrooms while touring with Radiohead. This wasmore practical than glamorous – lots of time sittingaround indoors, lots of instruments about – andaside from picking up a few geographical workingtitles, I can’t think that it had any effect where, ontour, it was written.

There’s supposed to be a theme (or at least asource of inspiration) in music like this, but it’shard to pin down now as I write this. I was alwaysmindful of who I was writing for – the orchestra, itsplayers, its background in ‘light music’ and themetunes, and its status as part of an institution. Andthat there had once been specific Radio, Dance andTheatre Orchestras as part of the BBC, as well asvarious regional variations.

Perhaps this was also why it was important forme that the soloists should come from theorchestra itself, and why we kept to the standardTheatre Orchestra line-up.

One early conversation I had with Roger Wrightwas about access to the BBC music library: I nevergot to go, but I guessed it was full of faded scoresfrom radio themes of the 50’s, with parts missingand faded pages. (Most probably, it’s just a tidyroom in White City with not much of thatephemeral stuff surviving.)

Writing music in that style is, any case, beyondme – and a pastiche of that material would bewrong in all sorts of ways. Instead I took texturalideas from how sheet music would sound afterbeing physically damaged like this, and an orchestrahaving to play with what’s left.”

Stephen Petronio creates new dance workRenowned US choreographer Stephen Petronio isto premiere a new dance work in his company’sforthcoming season, set to Greenwood’s stringorchestra work Popcorn Superhet Receiver. Therewill be 7 performances in all between 27 April and2 May, taking place at The Joyce Theater.

Australian Chamber Orchestra tours‘Popcorn Superhet Receiver’One of the world’s finest chamber orchestras, theAustralian Chamber Orchestra, is to give theAustralian premiere performances of PopcornSuperhet Receiver in its forthcoming touringprogramme, with six performances in Sydney andMelbourne.

Vaughan Williams

‘Voices of Memory’ publishedVoices of Memory – a 24-minute set of orchestralvariations composed by Maw in 1995, is the first workto be printed posthumously, and a significant work inMaw’s repertoire. It was a BBC commission tocommemorate the Purcell Centenary, given its firstouting on 23 November 1995 under the titleVariations in Old Style, at the annual Royal Concert inLondon’s Royal Festival Hall, by the BBC SymphonyOrchestra conducted by Andrew Davis.

‘In this piece, the workmanship and resourcefulness with which heelaborates and explores his theme — taken from the first of his ownLife Studies for strings and apparently always intended for thevariations treatment — are admirable as ever.’

The Sunday Times (Stephen Pettitt), 3 December 1995

To purchase a score, please call or emailFM sales quoting ISBN 0-571-52101-0(contact details can be found on the backpage of Fortissimo).

‘Sophie’s Choice’ DVDreleased on Opus ArteThe world premiere performances ofMaw’s opera Sophie’s Choice can nowbe revisited, due to the long-awaitedrelease of a DVD, which beautifullycaptures those initial momentswhen the opera graced the stage.The DVD features originalperformers Sir Simon Rattle andthe Orchestra of the Royal Opera

House with Angelika Kirschlager as anunforgettable Sophie.

Memorial ConcertPlans for a memorial concert are underway. Details tobe confirmed in the next issue.

Nicholas MawNNiicchhoollaass MMaaww::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessOne Foot in EdenStill, I Stand 3.7.10, Chapter House of YorkMinster, York, UK: MicklegateSingers/Nicholas Carter

TTaannssyy DDaavviieessSSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessNew work(world premiere)8.9.10, London, UK: BBC SO

neonOctober, 2010, Vatroslav Lisinskiconcert hall, Zagreb, Croatia:Cantus Ensemble

New work(world premiere)8.11.10, Portsmouth Cathedral,Portsmouth, UK: PortsmouthGrammar School/London MozartPlayers

Iris/Falling Angel**.12.10, Birmingham, UK:BCMG/tbc

Tansy DaviesTansy Davies receives PHF Award!In November 2009Tansy Daviesreceived theprestigious PaulHamlynFoundation Awardfor composition. These generouslyfunded awards, aredesigned to giveartists the freedom to develop their own creative ideasat a critical point in their careers in order to contributeto their personal and professional growth, which in thecurrent climate for arts funding is more important thanever. Since their inception they have benefitted 81artists with around £2.8m.

The Awards for Artists were presented during anevening reception at the RIBA, in central London.

‘neon’ goes globalOn 28 February 2010, the London Sinfonietta, whilston tour in Australia, performed Davies’ vibrant pop-influenced neon amongst other contemporary works,in a concert featuring performances of world premieresby two Australian composers.

‘In neon, the use of rubato, double-stopping and aggressive pizzicatogave the piece a vibrant edginess. The repetitive rhythm conveyedconstant motion and kept Brad Lubman conducting like a humanmetronome directing traffic at a busy Italian crossroad.’

The Independent Weekly (G. Stewart Walker), 1 March 2010

neon was also performed at the Tanglewood Festival inAugust, which prompted Allan Kozinn to observe:

‘Ryan McAdams conducted a suitably brash, pulsing performance ofTansy Davies’s “neon” (2007), a septet rooted in a Zappaesqueraucousness.’

The New York Times (Allan Kozinn), 12 August 2009

Further to these widespread engagements, neon isto be performed again later this year in anotherinternational location, Croatia, by the CantusEnsemble, at the Vatroslav Lisinski Concert Hall, Zagrebin October 2010.

‘Wild Card’ for the BBC SOIn September 2010, Davies will unveil her latest 20-minute work for the BBC Symphony Orchestra.Further details to be announced soon.

London Mozart Players commissionOn 8 November 2010, the world premiere of a newrequiem for Portsmouth Grammar School Choir andcommissioners the London Mozart Players will befeatured as part of a project to commemorateRemembrance Sunday in Portsmouth Cathedral. Thenew work will incorporate a theatrical element underthe direction of Tim Hopkins.

PPlleeaassee sseeee ppaaggee 2222 ffoorr aa SSPPOOTTLLIIGGHHTT oonn TTaannssyy DDaavviieess

18

TUNING IN

New work for Dudamel & LA PhilBermel has been commissioned to write a newensemble work, Canzonas Americanas for GustavoDudamel and the Los Angeles Philharmonic NewMusic Group, to be premiered at the celebratedGreen Umbrella concerts in Disney Hall on 4 May.

Los Angeles CO stage West Coastpremiere of new orchestral pieceBermel is Composer-in-Residence with the LosAngeles Chamber Orchestra for 2010-13. The LACOlaunched the three-year residency with the WestCoast premiere of his homage to Bartók, A Shout, AWhisper, and A Trace, originally premiered by theAmerican Composers Orchestra in May 2009.Under the baton of LACO’s Music Director, JeffreyKahane, the performances on 12 and 13 Decemberdrew praise from the local press:

‘The three short movements of “A Shout, A Whisper, and A Trace”were inspired by Bartók’s letters from New York. The “shout” isSerbo-Croatian folk song given a merrily screwy postmodern touch.The slow middle movement touches on Bartók’s eerie night musicstyle, with the addition of a bluesy trumpet solo to evoke thelonely, naked city. The “trace” calls up ghosts: Bartók takes hisrightful place among the musical gods in a fluid melding of stylesfrom a composer comfortable with a great many… an idealbalance of tenderness and raucousness, of stillness and intricaterhythms…’

The Los Angeles Times (Mark Swed), 13 December 2009

Praise continues for ‘Voices’ CDMeanwhile, the recent orchestra disc ‘Voices’ hascontinued to attract plaudits:

‘Eclecticism is everywhere now, but Derek Bermel makes his style-hopping colleagues seem lazy in this set, which includes worksbased on Ghanian xylophone figures (“Dust Dances”), Bulgarianfolk music (“Thracian Echoes”) and an ear-catching blend ofspeech melodies, Irish tunes and contemporary jazz (“Voices,” aclarinet concerto with Mr. Bermel as the soloist).’

The New York Times (Allan Kozinn), 2 December 2009

‘Especially recommended is this fabulous, Super Audio CD of musicby composer/clarinetist Derek Bermel. If Voices, for solo clarinetand orchestra, doesn’t have you jamming by its end, it may betime for a one-way ticket to Valhalla.’

San Francisco Classical Voice (Jason Victor Serinus), 30 November 2009

‘Symphony No 7’ at Mahler Festival2010 marks the 150th anniversary of Mahler’s birth,and Manchester is celebrating this significant yearby presenting a complete Mahler Symphony cycle toaudiences in Manchester’s vibrant music scene. On24 April at The Bridgewater Hall, David Matthews’7th Symphony is given its world premiere by thecommissioners, and long-serving supporters ofMatthews, the BBC Philharmonic, conducted byGianandrea Noseda. This will be an evening ofSevenths, as David Matthews new work is to becoupled with Mahler’s 7th Symphony. It’s fittingthat Mahler is particularly close to Matthews’s heartand so this is sure to be a fantastic evening, and animportant event the calendar.

‘One Foot in Eden’ to The NetherlandsThe Dedoelen Ensemble are to give the Dutchpremiere of Matthews’ work for ensemble on 18April 2010 at the De Doelen concert Hall inRotterdam.

‘Dark Pastoral’See page 17 for furtherinformation on DavidMatthews’ latestarrangement.

String Quartets onToccata Classics Toccata Classics have released the first of 4 volumesby the Kreutzer Quartet of all of David Matthews’ 11String Quartets.

Derek Bermel David Matthews DDaavviidd MMaatttthheewwss::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessOn an OvergrownPath (French premiere)19.3.10, France: Orchestre deBretagne22.3.10, Le Quartz, Brest,France: Orchestre de Bretagne23.3.10, Quimper, Theatre deCornouaille, France: Orchestre deBretagne25.3.10, Opéra, Rennes, France:Orchestre de Bretagne26.3.10, Opéra, Rennes, France:Orchestre de Bretagne

One Foot in Eden(Netherlands premiere)18.4.10, De Doelen, Rotterdam,Netherlands: Doelenensemble

Symphony No 7 (world premiere)24.4.10, Bridgewater Hall,Manchester, UK: BBC PO/Gianandrea Noseda

DDeerreekk BBeerrmmeell:: SSeelleecctteedd ffoorrtthhccoommiinngg ppeerrffoorrmmaanncceess

Canzonas Americanas(world premiere), 4.5.10, Walt Disney Hall, Los Angeles, CA, USA: Los AngelesPhilharmonic New Music Group/Gustavo Dudamel

Nature Calls23.5.10, Copland House at Merestead, Mount Kisco, NY, USA: Rebecca Jo Loeb/Musicfrom Copland House

A Shout, A Whisper, and A Trace11.9.10, Albany, NY, USA: Albany SO/David Alan Miller

Benjamin Britten New production of ‘Owen Wingrave’Opera director Wally Sutlcliffe directed a newproduction of Owen Wingrave at Frankfurt’sBockenheimer Depot with Oper Frankfurt in January& February 2010. Thenew production usedDavid Matthews’recent chamberreduction (2007).

‘Owen Wingrave, BenjaminBrittens trauriger Held, ist einFriedenskämpfer aufverlorenem Posten…Glasklar wirkt zudem dievielschichtige wie feinnervige,den inneren Kampf des Helden untermauernde musikalische Anlage,von Opernkapellmeister Yuval Zorn und 15 solisten desMuseumsorchesters traumhaft sicher erstellt. Verdienter Beifall amEnde für alle Akteure, überwiegend dem Frankfurter Opernensembleentstammend, die im eher konventionellen inszenierungsrahmenindividuellen Charakter bezeugen – allen voran Bariton MichaelNagy Als Owen Wingrave.

Offenbach Post (Klaus Ackermann), 26 January 201019

BBeennjjaammiinnBBrriitttteenn::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessPhaedra 25, 26, 27.3.10, Weston Studio,Wales Millennium Centre, UK:Royal Welsh College of Music &Drama/cond. David Jones/dir.Martin Constantine

The Company ofHeaven31.3.10, Jacobikerk, Utrecht,Netherlands: BegeleidingsorkestArts Musica/Patrick van derLinden

Young Apollo 30.4.10 & 1.5.10, Kalamazoo,MI, USA: Raymond Harvey(pno)/Kalamazoo SO/DavidLockington

Curlew River 26, 27, 28, 30.5.10, Vancouver,Canada: City Opera Vancouver

Young Apollo 5.6.10, Bath Abbey, UK: EnglishNational Ballet/cond. GavinSutherland

Gemini Variations 12.6.10, Aldeburgh Festival, UK:Hebrides Ensemble

Elegy for SoloViola/Who arethese Children? 14.6.10, Aldeburgh Festival, UK:Hebrides Ensemble

Three Divertimenti 18.6.10, Aldeburgh Festival, UK:Benyounes Quartet

Carry Her Overthe Water/The Oxen 20.6.10, Aldeburgh Festival, UK:EXAUDI/Britten-Pears ChamberChoir/North Suffolk YouthChoir/The Abbey Chapel Choir

Reveille 21.6.10, Aldeburgh Festival, UK:Aisha Oraxbayeva

A BirthdayHansel/Canticle V 24.6.10, Aldeburgh Festival, UK:Lucy Wakeford/Lawrence Wiliford

‘Ihrem Britten-Schwerpunkt hat

die OperFrankfurt ein

Juwelhinzugewonnen.’

Franfurter Allgemeine Zeitung (Ellen Kohlhaas), 26 January 2010)

‘String Quintet’ in GermanyFrom 9-19 April the Kronberg Academy (inGermany) presents a concentrated music workshopfor young musicians called Chamber MusicConnects the World. Its leaders this year are GidonKremer, Yuri Bashmet, Steven Isserlis and AndrásSchiff. One of the featured works will be Carl’s newString Quintet, premiered in Australia lastNovember by the Jerusalem Quartet with ZviPlesser.

Dance in Tasmania — ‘Tribe’s Desire’2010 is a year of dance for Vine who has arrangedhis fifth string quartet for string orchestra, to bechoreographed by Graeme Murphy for the Tasdancecompany.

In much the same way that Smith’s Alchemy isthe string orchestra version of his third stringquartet, the new arrangement Tribe’s Desire is basedon Vine’s String Quartet No 5. The work will bepremiered by the Tasmanian Symphony Orchestra atthe Theatre Royal in Hobart, Tasmania, in July 2010. See page 5 for details and forthcomingperformances of his outstanding ballet The SilverRose.

New commissionThe Sydney Symphony Orchestra & the LondonPhilharmonic Orchestra have commissioned CarlVine to write a 20-25-minute piano concerto forpianist Piers Lane and the commissioning orchestrain the Sydney Opera House on 1st January 2012.The London premiere is not yet fixed.

‘Anne Landa Preludes’ — NewPublicationFaber Music is shortly to release Vine’s solo pianowork The Anne Landa Preludes. Vine’s success inwriting idiomatic & beautiful piano music isunrivalled. See page 24 for further information onthe new publication.

SSiirr MMaallccoollmmAArrnnoolldd::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessConcerto forClarinet No 2 24.3.10, Christchurch CathedralDublin, Ireland

The ThreeMusketeers22.4.10, 6 & 21.5.10, 28.5.10,Estonian National Opera, Tallinn,Estonia: Ballet of the EstonianNational Ballet/ch. DavidNixon/cond. Jüri Alperten &Mihhail Gerts

Four CornishDances 24.4.10, Huddersfield TownHall, UK: HuddersfieldPO/Natalia Luis-Bassa

Four CornishDances 25.4.10, Thornbury, UK

Four CornishDances 20.6.10, Halifax, UK: Orchestraof Square Chapel

Larch Trees 21.6.10, St John Smiths Square,UK: Kensington SymphonyOrch/Russell Keable

Peterloo 18.7.10, Muza KawasakiSymphony Hall, Japan: FreiheitSO/Masahiro Isaki

CCaarrll VViinnee::SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessSonata 1.5.10, ISCM World New MusicDays, Sydney, Australia: ElectricTrio

Sonata for PianoFour Hands 3.5.10, ISCM World New MusicDays, Sydney, Australia: SydneyConservatorium Keyboard Staff

String Quartet No4 8.5.10, ISCM World New MusicDays, Sydney, Australia: GoldnerString Quartet

String Quintet *.5.10, Kronberg Academy,Germany

Tribe’s Desire(world premiere)23, 24, 30.7.10, Theatre Royal,Hobart, Tasmania, Australia:Players of the TasmanianSO/Tasdance/Kenneth YoungFor performances of the SilverRose, please see p.5

Carl Vine Sir Malcolm Arnold Chandos ‘BalletMusic’ discAutumn 2009 sawthe release of animportant andexciting newaddition to theexpandingArnold/Chandosrecording catalogue:Sir Malcolm Arnold

– Ballet Music, with the BBC PhilharmonicOrchestra, conducted by Rumon Gamba.

Gamba’s reading of the Arnold ballet scores onthis disc – Electra, Rinaldo & Armida, and the twosuites from Homage to the Queen and Sweeney Todd– shows once again the empathy and feeling this fineconductor has for Sir Malcolm’s music. The BBCPhilharmonic deliver performances that combine allthe sweep and élan needed for ballet musiccontaining such brilliant colours; whilst in thehaunting lyrical passages of Rinaldo & Armida andHomage to the Queen especially, their playing is atonce nuanced and sensitive.

‘...Arnold was a master of orchestration.’International Record Review (Peter Marchbank), November 2009

GGrraammoopphhoonnee MMaaggaazziinnee ‘‘EEddiittoorr’’ss CChhooiiccee’’

‘Sir Malcolm Arnold’s great balletscores championed with heart-

warming commitment’

‘I need merely confirm that the BBC Philharmonic respond withcommendable polish and gusto for Rumon Gamba, and their effortshave been afforded typically ripe and lustrous Chandos sound. Ahearty endorsement whichever way you look at it.’

Gramophone Magazine (Andrew Achenbach), December 2009

‘...The four scores featured here have such strong musical ideas anddramatic narrative, to say nothing of their sheer beauty andpassion, that they come alive as pieces of music in their own right.’

BBC Music Magazine (November 2009)

OOnn tthhee DDiissccHomage to the Queen Suite Op 42; Rinaldo & Armida Op49; Sweeney Todd Suite Op 68a; Electra Op 79BBC Philharmonic, conductor Rumon Gamba, Chandos:CHAN10550

Anniversary in 20112011 will be the 90th anniversary of Sir MalcolmArnold’s birth in 1921. Please watch out for morenews on celebrations of this anniversary inforthcoming issues.

TUNING IN

TUNING IN

‘With Davies, contemporary music never livesin an airtight box. It’s out on the street,

friendly-aggressive, mingling with rock withoutever losing the poise that stems from the right

number of notes in the right place.’ The Times (Geoff Brown)

Live-wire Tansy Davies has all kinds of projects bubbling away. Herenergy and ambition was noticed recently by the Paul HamlynFoundation – who awarded her the coveted £15,000 prize to allow herto pursue some of these. A large-scale orchestral work, Wild Card, willbe premiered later in the year.

Faber Music’s contract with her is now embracing some of herearlier works: among these Grind Show (for 5 players and electronics),Saltbox (for 7 players), and Residuum (for strings). Not only is jazz andrhythm an essential feature of her style, but the titles of pieces arealways characteristic! Rift, Tilting, Streamlines, Falling Angel – allsuggest the kind of momentum and motion that is associated with hermusic.

There is talk of an opera – but the immediate project is a work forPortsmouth Grammar School choir – which will be accompanied by theLondon Mozart Players and will be premiered on 8 November this year.Tansy now divides her time between Oslo and the UK.

SPOTLIGHT ON… TANSY DAVIES

21

SELECTED WORKS BY TANSY DAVIESWorks for Orchestra

kingpin (2007)chamber orchestra. Duration 6 minutes. 2222 - 2200 - timp - strings (86442).

Score 0-571-53142-3 on sale, parts for hire

‘kingpin, named after the model T engine thatHenry Ford supposedly found never wore out.

Opening lurchings in the bass suggestedFrankenstein’s monster on the ballroom floor.

But the rhythmic machinery never collapsed as themusic wheeled around at conflicting speeds and

instrumental colours, clanking, tootling andchortling away until the final upbeat

“kerplunk”.The Times (Geoff Brown), 26 April 2007

Rift (2008)orchestra. Duration 16 minutes. 2(II=picc).2.2(I=Ebcl.II=bcl).2 - 4.3(in C).3.0 -

timp - perc(2):2 SD/BD/hi-hat/splash.cym/tin can/vib/susp.cym/cabasa - harp - strings

Streamlines (2006)orchestra. Duration 10 minutes. picc.2.3.3.2.cbsn - 4.3.2.btrb.1 - perc(4/5): pekingopera gong/2 rototom/2 thai nipple gong/2 tin can(sml & med)/metaldustbin/splash.cym/hihat.cym/BD/2 conga/tomtom(med)/2 log drums(lg)/vib/mar/2xyl - hp - strings

‘a mini-concerto for orchestra highlighting everysection along its funky, energetic progress, posingchallenges of articulation and execution…’

The Birmingham Post (Christopher Morley), 20February 2007

Tilting (2005)orchestra. Duration 7 minutes. picc.2.3(III=ca).3(III=bcl).2.cbsn -4231 - perc(3) 3 cowbells/3 log drums/large metal dustbin/tincan/large BD/hi-hat/susp.cym/splash.cym/siz.cym/vib/tam-t - harp -cel - strings

Spiral Housetrumpet and orchestra. Duration 22 minutes.

picc.2.2.ca.cl.2bcl.bsn.2cbsn - 432.btrb.1 - perc(3): 3 BD/6cowbells/bongos/4 car wheels/3 hi-hat cymbal/3 snare drum

(small/large/piccolo)/3 small/med log drum/taiko drum/metaldustbin/6 wdbl/tam-t/xyl/7 tin can/rototoms - strings

Wild Card (2010)orchestra. Duration 24 minutes. 3(II=picc.III=afl).3.3(II&III=bcl).3(III=cbsn with A extension)- 4.3.2.btrbn.1 - timp - perc(4): mar/vib/sizz.cym/hi-hat/cabasa/3 whips/oceandrum/guiro/ratchet/large rainstick/wind machine/5 tpl.bl/2 bongos/2 timb/1 conga/2 SD/pedalBD/BD/opera gong/tam-t - pno - harp - strings

Works for ensembleFalling Angel (2006)ensemble of 17 players. Duration 17 minutes. 1(=afl &picc).1(=ca).1(=bcl).1Eb(=bcl).1(=cbsn) - 2.2(1 & 2=fl.hn) - 2 perc (see score for details) -electric keyboard on harpischord setting (= prepared piano: paper placed between strings andhammers) - 2vln.vla.vcl.db

‘It’s high energy had a dark edge. Fanfares and marchesfuelled dense, multi-layered textures. A folk-like melodyintroduced a rustic quality, but there was an ever-present senseof danger, of teetering on the brink – the phrase ‘dancing on avolcano’ came to mind.’

Tempo (Paul Conway), October 2007Iris (2004)soprano saxophone and chamber ensemble of 15 players. Duration 14 minutes. 1111 - 1110 -perc(1): 2 large log drums/BD/pedal BD/5 cowbells/bongos/large tom-t/African rattle/SD/hi-hat/high wdbl/trash instruments/thundersheet/5 tin cans/pedal bin/reversible sticks- harp - pno -strings (2111)

Works for Chamber ensembleneon (2004)chamber ensemble of 7 players. Duration 10 minutes. bcl(with amplification).ssax - perc (1):mar/trash metal/BD/pedal BD/hi-hat/jingles/SD/large log drum/bongos/wdbl/tenor drum - eleckeyboard - vln/vlc/db (all with amplification)

‘neon whose funky approachability is generated by interlocking‘boxes’ of contrasting textures and impulses, achieving animprobable balancing act between pulsating dance music andultra-refined urbanity.’

BBC Music Magazine (Paul Riley) 2006

PHOTO: TANSY DAVIES © MAURICE FOXALL

22

NEW WORKS FROM THE PERFORMANCE DEPARTMENT

ORCHESTRALJULIAN ANDERSONFantasias (2009)

orchestra. Duration 23 minutes. 4(III & IV = picc, IV = picc detuned ¼ tone).3(III = ca).3(II =Bb cl detuned ¼ tone, III = Ebcl + bcl).3(III = cbsn) - 4.tpt in D (= Bb ptpt).3 in C (II = tptdetuned ¼ tone).3.1 - perc(4) - harp - pno (=cel) - synth (=pno sound; detuned ¼ tone) - strings.FP: 19.11.09, Severance Hall, Cleveland, USA: Cleveland Orchestra/Jonathan Nott

TANSY DAVIESWild Card (2010)

orchestra. Duration 24 minutes. 3(II=picc.III=afl).3.3(II&III=bcl).3(III=cbsn with A extension) -4.3.2.btrbn.1 - timp - perc(4): mar/vib/sizz.cym/hi-hat/cabasa/3 whips/ocean drum/guiro/ratchet/large rainstick/wind machine/5 tpl.bl/2 bongos/2 timb/1 conga/2 SD/pedal BD/BD/operagong/tam-t - pno - harp - strings. FP: September 2010, London, UK: BBC SO/Jirí Belohlávek.

MATTHEW HINDSONEnergy (2009)

orchestra. Duration 11 minutes. picc.1.2(II=ca).1.bcl.1.cbsn - 4231 - timp - perc(2): 2 glsp/drumkit/sleighbells/vib/3 c.bell/2 wdbl/log drum/tgl/Chinese.cym/susp.cym/BD/tam-t - harp - pno -strings. Commissioned by Birmingham Royal Ballet. FP: 23.9.09, Birmingham Hippodrome,Birmingham, UK: Birmingham Royal Ballet/chor. David Bintley/Paul Murphy. Score and parts for hire

DAVID MATTHEWSSymphony No 7 (2010)

orchestra. Duration 20 minutes. 3(III=picc).3(III=ca).3(III=bcl).2.cbsn - 4.3.3.bar.1 - timp -perc(2): t.bells/2 susp.cym (med & large)/ clashed.cym/3 gongs/tam-t/BD - harp(doubled if possible)- strings. Commissioned by the BBC as part of the 2010 Mahler Festival. FP: 24.4.10, BridgewaterHall, Manchester: BBC PO/Gianandrea Noseda. Score and parts for hire

DVORÁK, ARR. DAVID MATTHEWSLove Songs (2009)

medium voice and string orchestra. Duration 18 minutes. Commissioned by The Nash Concerts Society.FP: 14.3.09, Wigmore Hall, London, UK: Bernarda Fink/Nash Ensemble/Thierry Fischer. Score andparts for hire

TCHAIKOVSKY ARR. DAVID MATTHEWSFantasy on themes from Swan Lake (2009)

violin and orchestra. Duration 9 minutes. 2(II=picc).2.2.2 - 4321 - timp - harp - stringsCommissioned by Decca Records. Score and parts for hire

VAUGHAN WILLIAMS ARR. D MATTHEWSDark Pastoral (2010)

cello and orchestra. Duration 11 minutes. 2.1.ca.2.2 - 2000 - strings. Commissioned by the BBCScore and parts for hire

STRING ORCHESTRAMATTHEW HINDSONCriminal Intent (2009)

double-bass and string orchestra (strings 42321). Duration 10 minutes. Commissioned by BarbaraBlackman for the Australian Chamber Orchestra and its principal Double Bass, Maxime Bibeau FP: 11.3.10, Anita’s Theatre, Wollongong, NSW, Australia: Maxime Bibeau, Australian ChamberOrchestra, Richard Tognetti. Score and parts for hire

CHAMBER ENSEMBLEMATTHEW HINDSONSeptet (2009)

chamber ensemble of 7 players. Duration 8 minutes. fl - hn - 2 vln.vla.vlc. Commissioned by ArsMusica Australis for the SSO fellows. FP: 15.11.2009, Joan Sutherland Performing Arts Centre,Penrith, NSW, Australia: SSO Fellows. Score and parts for hire

INSTRUMENTALTHOMAS ADÈSConcert Paraphrase on Powder Her Face (2009)

piano. Duration 15 minutes. FP: 14.3.2010, Chan Centre for the Performing Arts, Vancouver, Canada:Thomas Adès. Commissioned by Vancouver Recital Society, San Francisco Performances Inc. and TheBarbican Centre, London. The Barbican, London has the right to record the concert for archivalpurposes, should they wish to and would also like the right to use up to 2 and a half minutes of thatrecording on their website. Exclusive until 31st December 2010. Contact promotion@fabermusic.comthereafter. (other performances) 16.3.10, Herbst Theatre, War Memorial Veterans Building, SanFrancisco; Thomas Adès. 27.4.10, Barbican Centre, London; Thomas Adès

THOMAS ADÈSMazurkas (2009)

solo piano. 6-8 minutes. Three Mazurkas (each approx 2 minutes). co-commissioned by the BarbicanCentre, Carnegie Hall, Los Angeles Philharmonic Association, San Francisico Symphony and HetConcertgebouw NV. Exclusive until 31.12.10. Please contact the Promotion Department for furtherdetails

MATTHEW HINDSONMandalay (2009)

solo violin.6 minutes. commissioned by Chris and Judy Fullerton. FP: 22.11.2009, Exeter, NSW,Australia: Aubrey Murphy. Score on special sale from the Hire Library

CHORALHOWARD GOODALLA Song of Hope (2009)

Upper voices, piano and strings. Duration 5 minutes. Piano (opt) – strings (student string parts forviolins 1 & 2, viola and cello are also included. These are optional, and can be omitted if so desired)Text: Howard Goodall (Eng). FP: 27.1.2010, Holocaust Memorial Day Trust National CommemorativeEvent 2010, Great Hall, Guildhall, London: Lady Margaret School Choir/RaphaelWallfisch(cello)/Aurora Orchestra/string players from Lady Margaret School/Howard GoodallFull score, vocal score and parts for hire

COLIN MATTHEWSCrossing the Alps (2009)

SATB choir and optional organ. Duration 6 minutes. Text: William Wordsworth (Eng). Commissionedby the Hallé Orchestra. FP: 28.1.10, Bridgewater Hall, Manchester, UK: Hallé Choir/Markus StenzScore and parts for hire

WORKS FOR SOLOCLARINETMMAALLCCOOLLMM AARRNNOOLLDDFFaannttaassyy ffoorr CCllaarriinneett OOpp 8877 ((11996666))Duration 5 mins. FP: May 1966, Birmingham Town Hall: Aurelian-Octav Popa. 0-571-50029-3 on sale

DDEERREEKK BBEERRMMEELLTThheemmee aanndd AAbbssuurrddiittiieess ((11999933))Duration 4 mins. FP: 02.93: Ann Arbor, MI: Derek Bermel. Playing score on special sale from the HireLibraryTThhrraacciiaann SSkkeettcchheess ((22000033))Duration 8 mins. Playing score on special sale from the Hire Library

JJOONNAATTHHAANN HHAARRVVEEYYRRiicceerrccaarree uunnaa mmeellooddiiaa ((22000033))Clarinet and electronics. Duration 6 minutes. (use Tpt playing score to sound a tone lower) 0-571-51185-6 on sale. CD-ROM (Mac) (fp) 0-571-56756-8

MMAATTTTHHEEWWSS HHIINNDDSSOONN FFuunneerraall WWiinnddoowwss ((22000099))Basset clarinet. Duration 8 mins. FP: 22.11.09, Sydney Conservatorium of Music, Sydney, Australia; David Rowden (Sydney Omega Ensemble). On special sale from the Hire Library

DDAAVVIIDD MMAATTTTHHEEWWSSTThhrreeee RRoommaann MMiinniiaattuurreess ((22000000))Duration 5 mins. First performance: 2.8.01, UK, Deal Festival: Catriona Scott. Score 0-571-56532-8 (fp) on sale

INSTRUMENTAL WORKS FOR CLARINETJJUULLIIAANN AANNDDEERRSSOONNTThhee BBeeaarrddeedd LLaaddyy ((11999944))clarinet and piano. Duration 9 mins. FP: 23.11.94, Cambridge Elgar Festival, Kettle’s Yard, Cambridge:Stuart Stratford (clarinet)/Richard Ormrod (piano). Score and part 0-571-51709-9 on sale

DDEERREEKK BBEERRMMEELLSScchhiiZZmm ((11999944))clarinet/oboe and piano. Duration 9 mins. FP: May 94: Ann Arbor, MI: Harry Sargous & Anton Nel May.Score and parts on special sale from the Hire LibrarySSoonnaattaa HHuummaannaa ((11999911))bass clarinet and piano. 13 mins. FP: October 1992: Midwest Composers’ Symposium, Oberlin, OH, USA:Robert Tuttle/Lynn Kompass. Score ans parts on special sale from the Hire Library

JJOONNAATTHHAANN HHAARRVVEEYYBBee((ccoomm))iinngg ((11997799))clarinet and piano. Duration 15 mins. FP: 22.10.81, Purcell Room, London: Julia Holmes/Julian Elloway.Piano score and part 0-571-50688-7 on sale

OOLLIIVVEERR KKNNUUSSSSEENNEElleeggiiaacc AArraabbeessqquueess OOpp 2266aa ((11999911))cor anglais and clarinet. Duration 4 mins. FP: 7.11.91, Concert Hall, Broadcasting House, London:Nicholas Daniel/Joy Farrall. Playing score 0-571-51481-2 on sale

MMAATTTTHHEEWW HHIINNDDSSOONNGGaammeeBBooyy MMuussiicc ((11999977))clarinet and piano. Duration 5 mins. FP: 9.5.01, finals of the Performing Australia competition, AustraliaHouse, London: Sarah Watts/Anita d’Attellis. Piano score and part (fp) 0-571-56665-0 on sale

MMAATTTTHHEEWW HHIINNDDSSOONNNNiinntteennddoo MMuussiicc ((22000055)) clarinet in A and piano. Duration 6 mins. FP: 29.3.06, Concert Hall, Royal Academy of Music, London, UK:Andrew Harper/Kristian Chong. Score and part on special sale from the Hire Library

MMAATTTTHHEEWW HHIINNDDSSOONNSSiieeggffrriieenndd IInntteerrlluuddee NNoo 22 ((11999999))clarinet and piano. Duration 4 mins. FP: 2000, Sydney, Australia: members of Sydney SO. Piano score andpart (fp) 0-571-56625-1 on sale

CCOOLLIINN MMAATTTTHHEEWWSSTThhrreeee SSttuuddiieess ((11998899))clarinet/bass clarinet and piano. Duration 12 mins. FP: 13.5.92, Dartington Hall: Edward Pillinger/Suzanne Cheetham. Piano score and part (fp) 0-571-55315-X on sale

PPEETTEERR SSCCUULLTTHHOORRPPEESSoonnggss ooff SSeeaa && SSkkyy ((11998877))clarinet and piano. Duration 16 mins. FP: 15.10.87, Sprague Memorial Hall, Yale University: Richard Stoltzman/Irma Vallecillo. Score and part 0-571-51157-0 on sale

PPEETTEERR SSCCUULLTTHHOORRPPEEAA SSoonngglliinnee ffoorr HHeennrrii ((22000066))bass clarinet and piano. Duration 1 min. FP: 28.11.06, Silver Jubilee concert, RotterdamSuperior Conservatoire, Rotterdam, The Netherlands: Henri Bok. Score and parts for hire

HHUUMMPPHHRREEYY SSEEAARRLLEECCaatt VVaarriiaattiioonnss ((11997711))clarinet in A and piano. Duration 6 mins. FP: April 1972, BBC Broadcast: AlanHacker/Paul Hamburger. Piano score and part (fp) 0-571-57014-3 on sale

WORKS FOR CLARINET& ENSEMBLEDDEEIIRRDDRREE GGRRIIBBBBIINNCCeelleessttiiaall PPiieedd PPiippeerr ((22000000))solo clarinet and chamber ensemble of 10 players. Duration 15 mins. solo cl -1(=picc).0.1(=Ebcl+bcl).asax(=ssax).0 - 1000 - perc(2) - vln.vla.vlc.db. FP:18.11.00, Huddersfield Contemporary Music Festival: David Campbell/ComposersEnsemble/Pierre-Andre Valade. Score 0-571-52067-7 on sale, parts for hire.

JJOOHHNN WWOOOOLLRRIICCHHSSii VVaa FFaacceennddoo NNoottttee ((11999922))clarinet and string ensemble of 11 players. Duration 20 mins. strings (6 vln.2 vla.2vlc.db). FP: 6.2.92, Salzburg Mozart Acadeum, Austria: Guildhall StringEnsemble/Anthony Pay. Score and parts for hire

WORKS FOR CLARINET& ORCHESTRAMMAALLCCOOLLMM AARRNNOOLLDDCCoonncceerrttoo ffoorr CCllaarriinneett NNoo 22 OOpp 111155 ((11997744))clarinet and orchestra. Duration 18 mins. 1.picc.2.0.2 - 2000 - timp(=perc):BD/SD/wdbl/c.bell/susp.cym - strings. FP: 17.8.74, Red Rock Music Festival, USA:Denver SO/Priestman/Benny Goodman. Score 0-571-50797-2, piano reduction andsolo part 0-571-50622-4, Cadenza (Thea King/Christopher Palmer) (fp) 0-571-56073-3 on sale, parts for hire

BBEENNJJAAMMIINN BBRRIITTTTEENNMMoovveemmeennttss ffoorr aa CCllaarriinneett CCoonncceerrttooclarinet and orchestra. Duration 17 mins. 2.2.0.bcl.2 - 4230 - timp - perc(1):SD/susp.cym/cyms/SD/glsp - harp - strings. FP: 22.5.08, The Sage Gateshead,Tyne and Wear, UK: Michael Collins/Northern Sinfonia/Thomas Zehetmair. Score and parts for hire

DDEERREEKK BBEERRMMEELLVVooiicceess ((11999977))clarinet and orchestra. 18 mins. solo cl - pic.2.2.Eh.3(Eb.bcl) - asax.2.cbsn - 4331- hp - pno - electric gtr - electric bass - timp - perc(4) - str. FP: May 1998:Carnegie Hall, New York, NY, USA: Derek Bermel/American Composers Orchestra/Tan Dun. Score and parts for hire

CCAARRLL DDAAVVIISSCCoonncceerrttoo ffoorr CCllaarriinneett ((11998844))clarinet and orchestra. Duration 25 mins. timp - strings. FP: 1984, Greenwich Festival,Royal Naval College, London: English CO/David Campbell/Carl Davis. Piano score and part 0-571-51440-5 on sale, full score and parts for hire

PPEETTEERR SSCCUULLTTHHOORRPPEESSyyddnneeyy SSiinnggiinngg ((22000033))solo clarinet and chamber orchestra. Duration 17 mins. solo cl - perc(1): tam-t/ch.cym/tgl/flexatone/BD/bongos/rain stick - harp - strings. FP: 12.8.03, Sydney Conservatorium, Sydney, Australia: SBS YO/Matthew Krel. Score and parts for hire

REPERTOIRE GUIDE… CLARINET

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THOMAS ADÈSViolin Concerto – Concentric Pathsfull score (projected release Autumn 2009)

0-571-53105-9

JONNY GREENWOODPopcorn Superhet Receiverfull score

Score 0-571-52204-1

COLIN MATTHEWS Four Moods solo viola

Score 0-571-53148-2

NICHOLAS MAWVoices of Memoryvariations for orchestra

Score 0-571-52101-0

PETER SCULTHORPEQuambychamber orchestra, with optional didjeridu

Score 0-571-53192-X

RALPH VAUGHAN WILLIAMSThe Waspsvocal score

Score 0-571-53190-3

RALPH VAUGHAN WILLIAMSTallis Fantasiafull score

Score 0-571-53196-2

CARL VINEAnne Landa Preludessolo piano

Score 0-571-53030-3

THOMAS ADÈSTevot; Violin Concerto; Three Studies

from Couperin; Dances from Powder Her Face

Berliner Philharmoniker/Sir Simon Rattle, Anthony Marwood (vln)/Chamber Orchestra of Europe/

Adès, National YO/Paul Daniel EMI: 50999 4 57813 2 2

Released on EMI Classics www.emiclassics.com (international) orwww.emiclassics.co.uk

CARL DAVISCranford (soundtrack)

Carl Davis Collection: CD www.carldaviscollection.com

Sacred SeasonsA Christmas Carol – Ballet Suite (arr. Nic Raine); The Nativity Story

(orch. Colin Matthews)Timothy West(narr.)/Philharmonia Orchestra/Carl Davis

Carl Davis Collection www.carldaviscollection.com

JONATHAN HARVEYSpeakings;

BBC Scottish SO/Ilan VolkovAeon AECD1090

The Angels; Ashes Dance Back; Marahi;The Summer Clouds Awakening

Latvian Radio Choir/Kaspars PutninsHyperion: 034571178356

MATTHEW HINDSONThe Metallic Violins

James Cuddeford (vln)/Yatsuko Yoshimoto (vln)Tall Poppies: TP207

DAVID MATTHEWSSymphony No 2 & Symphony No 6

BBC National Orchestra of Wales/Jac Van SteenDutton Epoch: CDLX 7234

DAVID MATTHEWSString Quartet No 4; String QuartetNo 6; String Quartet No 10; String;

Adagio for String QuartetKreutzer Quartet

Toccata Classics: TOCC 0058

NICHOLAS MAWSophie’s Choice (DVD)

BBC RecordingAngelika Kirschlager (Sophie)/Gordon Gietz/Rod Gilfry/Dale Duesing/

Royal Opera Chorus/Orchestra of the Royal Opera House/Simon Rattle/Dir. Trevor Nunn/

Opus Arte: OA 1024D

PETER SCULTHORPEString Quartets, vol. 3Goldner String Quartet. Tall Poppies: TP206

RALPH VAUGHAN WILLIAMSHeroic Elegy & Triumphal Epilogue

BBC Concert Orchestra/John WilsonDutton Epoch: CDLX7237

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SELECTED NEW PUBLICATIONS & RECORDINGS

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Brighton Festival launches ‘The SelfishGiant’1 May 2010 sees the premiere of The Selfish Giantfor narrator, childrens’ choir and orchestra, acommission from the Brighton Festival. Goodall’snew 20-minute setting of Oscar Wilde’s classic talewill be the festival’s opening event and will takeplace in the Brighton Dome concert hall. Thecomposer will conduct the Brighton Festival YouthChoir with the Brighton Philharmonic Orchestraand a guest narrator.

‘A Song of Hope’ — Holocaust MemorialDay commissionThe 5-minute choral work A Song of Hope waspremiered as part of the Holocaust Memorial DayNational Event in London’s Guildhall on 27 January.In a moving tribute, and in the presence of over 200Auschwitz survivors, the composer conducted theLady Margaret School Choir, together with stringplayers from the school and the Aurora Orchestra.

Gramophone Award for ‘EnchantedVoices’Goodall won the Specialist Classical Chart Award atthe 2009 Gramophone Awards, held at London’sDorchester Hotel on 2 October 2009.

The Award is in recognition of the fact that hishaunting choral album “Enchanted Voices” hadbeen riding high at No 1 in the Classic FM Chart for27 weeks, a record in the station’s 17-year history!

‘This is sheer quality from one of the most influential music makersof our times.’

The Sun (17 April 2009)

The album has now been shortlisted for Album ofthe Year at the 2010 Classical Brits. The result willbe announced in May.

‘Enchanted Carols’Goodall’s most recent choral album is “HowardGoodall’s Enchanted Carols”, a seasonal follow-upto the enormously popular “Enchanted Voices”.

Released in November 2009 “Enchanted Carols”shot straight to the top of the seasonal charts. “Enchanted Carols” is scored for the same hauntingline-up of eight high voices, solo cello, organ,synthesizer and handbells, and sees six new Goodallcarols, alongside his arrangements of the top tencarols as voted for by Classic FM listeners.

‘No gimmicks or self-conscious trendiness. Just perfectly judged,universally accessible arrangements of traditional carols, performedby Enchanted Voices with pure-toned sensitivity.’

Classic FM Magazine (Charlotte Gardner), December 2009

Keynote Speaker at Minneapolis choralconferenceGoodall was in Minneapolis from 2-6 March, asKeynote Speaker at the North Central AmericanChoral Directors Association conference. In hiscapacity at National Singing Ambassador he spoketo almost 1000 delegates about the UK ‘Sing Up!’project. He also led a workshop on his choralmusic with the Viterbo University Concert Choir,including The Lord is my Shepherd, Spared andLead, Kindly Light.

‘Love Story’ — a new musicalGoodall’s musicals are well-established. Works suchas The Hired Man, The Dreaming, The Kissing-Danceand Girlfriends often feature in the repertory ofyouth and adult theatre companies on both sides ofthe Atlantic. His latest theatrical work is Love Story,to a book by Stephen Clark after the novel by ErichSegal (also a celebrated film starring Ryan O’Nealand Ali McGraw). It premieres at the MinervaTheatre, Chichester in May, in a production directedby Rachel Kavanagh.

Karl Haas Award for Music EducationGoodall has been awarded the 5th Karl Haas Prizefor Music Education by The Klassix Society/Friendsof KXMS in Missouri, USA. Previous recipientsinclude Michael Tilson Thomas and ChristopherO’Riley.

Howard Goodall SSeelleecctteeddffoorrtthhccoommiinnggppeerrffoorrmmaanncceessEternal Light: ARequiem30.3 & 1.4.10, Symphony Hall,Birmingham: Alfie Boe/NatashaMarsh/City of BirminghamChorus & SO/Simon Halsey2.4.10, Church of St Peter & StPaul, Upton-on-Severn:Philomusica of Gloucestershire &Worcestershire/Linda Parsons10.4.10, St James’ Piccadilly,London: The Grove Singers/Brian Newman24.4.10, The Sage Gateshead:Sophie Bevan/BenjaminHulett/Neal Davies/NorthernSinfonia Chorus/NorthernSinfonia/Simon Halsey6.5.10, Cadogan Hall, London,UK: Charlotte Mobbs/RonanCollett/Choir of Christ ChurchCathedral Oxford/OxfordPhilomusica/Stephen Darlington13.5.10, St Saviour’s Church,Brockenhurst: The BrockenhurstChoir/Paul Colman

(reduced instrumentationversion)15.5.10, St Alban’s Cathedral, StAlban’s, UK: CharlotteMobbs/Ronan Collett/VictoriaDavies/Choir of Christ ChurchCathedral Oxford/OxfordPhilomusica/Stephen Darlington16.5.10, St Ninian’s Church,Stonehouse, Lanarkshire, UK:Strathaven ChoralSociety/Tomasz Pawlik

(Irish premiere)30.5.10, St Patrick’s Church,Wicklow, Ireland: Wicklow ChoralSocietyMay 2010, The Liturgical ArtsFestival of Springfield, ConventChurch of St Francis of Assisi,Springfield, IL, USA: tbc12.6.10, Arnside MethodistChurch, Arnside, Cumbria, UK:Tracie Penwarden/RobertThompson/Arnside ChoralSociety/Ian Allan3.7.10, St Martin’s Church,Salisbury, UK: St JohnSingers/Salisbury CathedralJunior Choir/John Powell

The Pearl(world premiere)25.3.10, Royal Festival Hall,London, UK: Coloma School Choir& Orchestra/Hilary Meyer

Girlfriends26 & 27.3.10, Albany Theatre,Deptford, London, UK: TrinityCollege of Music

The Selfish Giant(world premiere)1.5.10, Brighton Festival,Brighton Dome Concert Hall,BrightonNarrator tbc/Brighton FestivalYouth Choir/Brighton PO/HowardGoodall

Love Story(world premiere)May 2010, Minerva Theatre,Chichester, West Sussex: dir.Rachel Kavanagh

The Dreaming14-17.7.10, Wilde Theatre,Bracknell: Royal BerkshireAcademy of Performing Arts

Nishat Khan – sitar master signs toFaber Music Ltd

We are delighted to announce anew publishing relationshipwith the legendary Indian

sitar virtuoso and composerNishat Khan.

Khan has written threeconcerti for sitar and orchestra,

now available on hire fromFaber Music Ltd, for use in

performances with the composer.He also has writing credits on a

number of films, and on a recenttrack Love is the Answer by US rock

band Weezer from their 2009 chart-topping album Raditude.

Born in Kolkata, India, Nishat Khan transcends musicalbarriers with his technical mastery and his invigorating andcontemporary approach to Indian music. He is thetorchbearer of seven generations and the 400-year oldtradition of India’s most renowned musical family. The sonand disciple of Ustad Imrat Khan, he has mastered not onlythe North Indian classical idiom but also areas as diverse asGregorian chant, Western classical music, abstract jazz, andFlamenco. His remarkable intuition for other musicaltraditions has led to collaborations with performers andcomposers such as John McLaughlin, Philip Glass, PacoPena and Evelyn Glennie.

Khan has performed at major venues internationally,including Carnegie Hall and the Lincoln Center in NewYork, and the Royal Albert Hall in London. In 2004, he wasinvited to perform alongside Eric Clapton, Carlos Santana,Jeff Beck, John McLaughlin and others at the CrossroadsFestival in Dallas. In 2007 he toured India with violinistVanessa Mae, and in 2008 toured Europe with hispioneering ‘Spirit & Passion’ featuring Flamenco guitaristPaco Pena, and then later that year performed a soloconcert at the BBC Proms.

Gabriel Prokofiev’s ‘Concerto for Turntables& Orchestra’We are also delighted to announce a new publishingrelationship with the UK composer Gabriel Prokofievwhose cutting-edge Concerto for Turntables & Orchestra isnow available from us.

Born in London in 1975, Prokofiev is a London-basedcomposer, producer, and founder of the NONCLASSICALrecord label and club night. He has produced Dance,Electro & Hip-hop music under a variety of different guises.In 2003 he returned to his classical roots composing hiscritically acclaimed String Quartet No 1 for the ElysianQuartet (“defies comparison” Daily Telegraph) which hereleased on NONCLASSICAL, complete with Remixes of theoriginal Quartet. What gives his contemporary classicalwriting its unique edge is his background in dance musiccombined with his classical roots.His other compositions include a String Quartet No 2, acollection of piano pieces for Russian virtuoso GeNIA, aswell as the groundbreaking Concerto for Turntables &

Orchestra. It was premiered byDJ Yoda and the HeritageOrchestra at The Scala in KingsCross (London), and performedby the Royal Scottish NationalOrchestra with Beni G, inGlasgow. It was released onthe NONCLASSICAL label inNovember 2009 and wonBest Contemporary ClassicalAlbum of 2009 at the IndependentMusic Awards.Other recent works include (IMPORT/EXPORT) forpercussionist Joby Burgess’s group PowerPlant, and a piecefor solo violin and solo dancer for Rambert DanceCompany. Prokofiev made his conducting debut with hisconcerto for ‘dancing’ viola, string orchestra, trombones &percussion, in Amsterdam in 2008, and in March 2009, hisNONCLASSICAL club made its debut in New York and atthe Rock festival SXSW to great critical response.(seewww.nonclassical.co.uk)

Vladimír GodárIn the last issue we announced new representation for anumber of works by Slovak composer Vladimír Godár.This list has now been extended to include othercompositions including his much-performed ConcertoGrosso for 12 strings and harpsichord, Barcarolle for violin(or viola, or cello), harp, harpsichord and strings, LittleSuite for Little David for electric guitar, electric violin,strings and harpsichord and Tombeau de Bartók for largeorchestra.

On 8 July, Godár’s cantata Querela pacis (2009) ispremiered in a revised version at the Pohoda festival inSlovakia, under the baton of Andrew Parrott.To subscribeto the Music for Now e-newsletter, contactmusicfornow@fabermusic.com

CCoonncceerrttoo ffoorr TTuurrnnttaabblleess && OOrrcchheessttrraaDuration 21 minutes

1(=afl).1(=ca).1(=bcl).0 – 1.2.1.btrbn.0 – perc(4 incl timp) – strings

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PHOTOS: NISHAT KHAN (TOP LEFT), GABRIEL PROKOFIEV (TOP RIGHT)

Why Mahler?by Norman LebrechtPublication date:1 July 2010, ISBN: 978-0571-26078-2, Price: £17.99, Format: Hardback

A century after his death, Gustav Mahler is the mostimportant composer of modern times. Displacing Beethovenas a box-office draw, his music offers more than the usuallistening satisfactions. Many believe it has the power to healemotional wounds and ease the pain of death. Othersstruggle with the intellectual fascination of itscontradictory meanings. Long, loud andseldom easy, his symphonies are used toaccompany acts of mourning and Hollywoodmelodramas. Sometimes dismissed as death-obsessed, Mahler is more alive in the 21stcentury than ever before.

Why Mahler? Why does a Jewish musicianfrom a land without a name capture theyearnings and anxieties of post-industrialsociety? Is it the music, it is the man, or is itthe affinity we feel with his productive peak– a decade when Freud, Einstein, Picasso,Joyce and Mahler reconfigured the ways weunderstand life on earth?

In this highly original account ofMahler’s life and work, Norman Lebrecht– renowned writer, critic and culturalcommentator – explores the MahlerEffect, a phenomenon that reaches deepinto unsuspecting lives, altering the self-perceptions of world leaders, financechiefs and working musicians. WhyMahler? is a multi-layered explorationof the role that music plays as asoundtrack to our lives.

A Journeying BoySelected and Edited by John EvansPublication Date: 3 June 2010, ISBN: 978-0571-23884-2, Price:£12.99, Format: Trade Paperback

Best remembered for his operas and his WarRequiem, Benjamin Britten’s radical politicsand his sexuality have also ensured that heremains a controversial public figure.Journeying Boy is a selection of his diaries thatoffer the reader an unseen insight into thiscomplex man.

Encompassing the years 1928-1938, theyexplore some key periods of Britten’s life – his earlycompositions, his education first under composer FrankBridge and then at the Royal College of Music, an unhappybut productive period studying under John Ireland andRalph Vaughan Williams, and his reluctant and often painfulprocess of parting from the warm, safe environment of hisfamily home and his beloved mother.

The diaries cast light on an often misrepresentedmusician whose technique, originality and musical prowesshave entranced audiences for generations and whocontinues to inspire composers and musicians around theworld.

The Blue Momentby Richard WilliamsPublication Date: 1 July 2010, ISBN: 978-0571-24507-9, Price £7.99, Format: Paperback

The essential companion toone of the most influential

albums of all time. ‘It is the most singular of sounds, yet among themost ubiquitous. It is the sound of isolationthat has sold itself to millions.’

Miles Davis’s Kind of Blue is the best sellingpiece of music in the history of jazz, and formany listeners among the most haunting in allof twentieth-century music. It is also,notoriously, the only jazz album many peopleown. Recorded in 1959 (in nine miraculoushours), there has been nothing like it since.Its atmosphere – slow, dark, meditative,luminous – became all-pervasive for ageneration, and has remained the epitome ofmelancholy coolness ever since.

Richard Williams has written a history ofthe album which for once does not rip it out ofits wider cultural context. He evokes the essenceof the music – identifying the qualities that make itso uniquely appealing – while making effortlessconnections to painting, literature, philosophy andpoetry. This makes for an elegant, graceful andbeautifully-written narrative.

Electric Edenby Rob YoungPublication Date: 19 August 2010, ISBN: 9780571237524, Price: £16.99, Format:Trade Paperback

Electric Eden documents one of the greatuntold stories of British music over the pastcentury. While ostensibly purporting to be ahistory of that much derided (thoughcurrently fashionable) four-letter word,‘folk’, Electric Eden will be a magnificentsurvey of the visionary, topographic andesoteric impulses that have driven themargins of British visionary folk music from

Vaughan Williams and Holst to The Incredible String Band,Nick Drake, John Martyn and Aphex Twin. For the first timethe full story of the extraordinary period of folk rock fromthe mid 1960s to the mid 1970s will be told in a book withthe breadth of a social history touching on sonic worship,pagan architecture, land art, ley lines and ther outer fringesof the avant garde. Electric Eden identifies a particularlyEnglish wellspring of imagery and imagination, anundercurrent that has fed into the creative and organicstrand of Britain’s music over the past century. FromEdwardian composers assimilations of folk song andvisionary poetry, via folk rock of the 60s and 70s, the story isbrought up to date by placing these earlier movements in acontinuum that links through significant figures in 21stcentury pastoral electronica.

BOOKS ON MUSIC FROM FABER & FABER

27www.faber.co.uk

28

Head OfficeFaber Music Ltd

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Promotion tel: (212) 4616940Promotion fax: (212) 8104565

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Cover picture credits: JonathanHarvey © Maurice Foxall

Designed and edited by Lis Lomas

SALES PUBLICATION NEWS

MEDIA COMPOSERS

“Sweet is theMemory” —the new FaberMusic ChoralSamplerWe are delighted toannounce a newchoral samplerdisc, featuring top-class performances

by Schola Cantorum of Oxford, under the expertdirection of its Music Director, James Burton.

The disc, unlike many samplers, presents eachtrack in full, giving listeners an opportunity toexperience the pieces in their entirety, rather thanhaving to make a judgment from a small snippet. As aresult, it becomes a CD that one chooses to listen toin its own right.

On the CDFor the Fallen (Brendan Ashe)

Rest & Sweet is the Memory (Ken Burton)

Who killed Cock Robin? (Jonathan Dove)

Dormi, Jesu & Regina Coeli (Vládimír Godár)

Veni, Sance Spiritus & The Lord is My Shepherd TTBarB

(Howard Goodall)

Corpus Christi (Malcolm Hayes)

Jubilate Deo (Nigel Hess)

Ave Maria (Morten Lauridsen)

Prayers for Peace (Alexander L’Estrange)

Ecce Concipies (Matthew Martin)

No Longer Mourn for Me (Ralph Vaughan Williams)

“The pieces on the CD have a wide variety of musical styles, and arange of demands on the performers: some of them are morechallenging than others to put together. What unites them they areall well written for the voice, rewarding to sing and engaging to listento. Working with music is something that keeps me on my musicaltoes: one has to try to get to the heart of what composer is asking for,and then explore these new musical avenues with the choir. We hopewe’ve captured the essence of all these pieces on the CD, and thatother choirs might take the plunge and enjoy exploring Faber’s newchoral repertoire too.”

James Burton, Musical Director

To order your complimentary copy of the CD, pleaseemail: choral@fabermusic.com, or telephone +44(0)1279 828929. Excerpts from all of theserecordings, along with many more from our choralseries, are available to listen to online atwww.fabermusic.com.

New signings…

PPHHIILLIIPP SSHHEEPPPPAARRDDFaber Music is delighted to announce a newpublishing agreement with Philip Sheppard, whosevery diverse activities will entail his involvement withboth the Media Music and Repertoire Developmentareas of the company. A highly successful solo cellistand composer for film and TV, Philip is also wellknown for his involvement in large-scale theatre andmusical events – including being composer and musicproducer for the London 2012 Handover Ceremonyat the Beijing Olympics, where he worked with the

London Symphony Orchestra, Jimmy Pageand Leona Lewis. Recent film/TV scoresinclude the Apollo lunar missions

documentary In the Shadow of theMoon (which won numerousawards including the World

Documentary Prize at Sundance),and David Starkey’s acclaimedseries for Channel 4, Henry

Mind of a Tyrant. Philip’s stage works include the

ballet Sacred Monsters for SylvieGuillem and Akram Khan, and the

theatre dance piece In-I starringKhan and the actress JulietteBinoche. He regularly writes andplays with UNKLE and has written

and arranged tracks with numerousrock musicians including Scott Walker,

Jeff Buckley, Jimmy Page, Suzanne Vega,David Bowie and Jarvis Cocker.

Faber Music Media has also entered a couple of non-exclusive agreements with artists under which wehave acquired the right to license their music for usein film and television. Efterklang is a critically-acclaimed indie pop/rock group from Copenhagen,formed in 2000, with three studio albums to theircredit. Led Bib, whose music can best be described asa contemporary free jazz/rock crossover, werenominated for a Mercury Music Prize in 2009. Themusic of these artists joins a growing catalogue ofcopyrights suitable for film and TV licensing.

Other news…

HHOOWWAARRDD GGOOOODDAALLLLOur huge congratulations go to Howard, whose scorefor Into The Storm won him an Emmy Award at theceremony last September. Starring Brendan Gleeson,the TV film looks at the life and career of WinstonChurchill during the Second World War.

DDAANN JJOONNEESSIn 2007, Dan composed the score for the Anglo-Spanish co-production Manolete, a feature film aboutthe legendary bullfighter of that name who rose toprominence in the 1940s. Starring Penelope Cruz andAdrien Brody, the film is finally due for release thisSpring, initially in continental Europe.Last year Dan scored the second series of CriminalJustice, the BBC’s powerful series about the politicsand challenges of the criminaljustice system. This wastransmitted on BBC1 over fivenights from October 5th.

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