Aria

withCraig Ogden guitarShiroma de Silva pianoCodettaSmith QuartetTrinity Laban

String Ensemble

GERARD MCCHRYSTALsaxophone

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Gerard McChrystal · Aria

I’ve always been fascinated by reflective music.When I was growing up in Derry, Northern IrelandI was only ever really interested in the slowmovements of pieces. If that movement didn’ttouch me, I lost interest in the piece. I realised atan early age that genuinely beautiful music hasthe power to touch us to our cores. Music is solelysound in air; however, it still amazes me what itcan do when it connects with a receptive listener.

I used to adore putting together compilation tapesand one such was simply called Slows. I spenthours getting the tracks to run in just the rightorder so that each song led into the next. I haveput this album together to run in the same way, sothat all of the pieces are linked to each other indifferent ways. This album was inspired by myyounger sister Paula, who died suddenly in 2006.

George Frideric HANDEL (1685-1759)

1 Largo (from Concerto grosso, Op. 3 No. 2 in Bflat major, HWV313; arranged by GerardMcChrystal)

The Largo is taken from the second of the Op. 3Concerti grossi that were published in 1734. I recorded this piece when I was at the GuildhallSchool of Music & Drama for a competition, whichled to my Wigmore Hall début in 1989. My sisterPaula heard the recording and asked me to playthis piece at her wedding. I’d been doingmouthpiece practice the day before her weddingand forgot to put it back in my soprano case. Iended up playing Bach on the alto sax instead. Ifirst performed this work in 2006 at her funeralmass.

Michael NYMAN (1964-)2 Why? (arranged by Ian Humphries)% If? (arranged by Ian Humphries)

Michael Nyman is best known for the music hewrote for the movie The Piano. His collaborationwith director Peter Greenaway resulted in manymemorable scores including The Cook, The Thief,His Wife and Her Lover. The two Nyman pieces onthis album, Why? and If?, are normally performedtogether. The versions heard on Aria werearranged by Ian Humphries, violinist from theSmith Quartet, for a tour of Ireland we did in 2008.The songs were written for the film The Diary ofAnne Frank in 1995 to words by Roger Pulvers.

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Michael McGLYNN (1964-)3 Aisling9 Behind the Closed Eye

I worked with Irish composer Michael McGlynnand his vocal group Anúna in the mid-1990s.Although well-known for their involvement in thehit show Riverdance, Anúna have developed theirown style based on the original compositions andarrangements of their director and founder,Michael McGlynn. After hearing their albumInvocation, I became obsessed with thecombination of Michael’s use of the voices andthe sound of the saxophone. The three works byMichael McGlynn on this album all come fromthat collaboration. Aisling means a dream and isan atmospheric work with an exquisite melodyfor soprano saxophone. I first played Behind theClosed Eye in a gala concert with the UlsterOrchestra and Anúna at a packed Ulster Hall,Belfast. Featuring alto saxophone, MichaelMcGlynn uses the instrument as another voicemaking it a true chamber work. I had a veryinspirational young music teacher called DónalDoherty at school who taught my class A-Levelmusic in a year. More than a few years later, itwas a real pleasure to begin a collaboration withthe choir he formed, Codetta, who are featuredon this recording.

Heitor VILLA-LOBOS (1887-1959)4 Aria (Cantilena) (from Bachianas Brasileiras No. 5; arranged by Gerard McChrystal)

The music of composer Villa-Lobos is often alovely combination of folk music from his nativeBrazil and western classical tradition, especiallyBach. Bachianas Brasileiras No. 5 was originallywritten for voice and eight cellos and is from agroup of nine written between 1930 and 1945.Like Bach’s Air on a G String, Bachianas BrasileirasNo. 5 has found fame as a stand-alone piece. Villa-Lobos wrote extensively for guitar and arrangedNo. 5 for guitar and voice in 1947.

Philip GLASS (1937-)5 Façades

Glass is often mentioned alongside fellowAmerican minimalist composers Steve Reich andJohn Adams. I had the pleasure of performingFaçades with Philip Glass in Ireland in 2008 before800 people in Drogheda Cathedral. It was alsothanks to this piece that I learned to circularbreathe, a technique I used for the middle sectionof the work. The strings repeat the same harmonicsequence with the saxophone floating melodicallyover the top, giving the piece a hypnotic effect.Façades was first recorded on the Philip Glassalbum Glassworks.

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Gerard McChrystal with Philip Glass, St Patrick’s Cathedral, Dundalk, IrelandPhotos © M&E Design

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Andy SCOTT (1966-)6 My Mountain Top

I studied in Manchester at the Royal NorthernCollege of Music in the mid-1980s with Andy Scott.He is a member of the Apollo Saxophone Quartetand I first heard My Mountain Top at a gig they didin London in 1998. This composition was part of agroup of pieces, which were a collaboration betweenthe quartet and poet Lemn Sissay loosely based onthe seasons. For this work Andy wrote the music firstand then Lemn added words. I was so touched withAndy’s piece that I asked him to rework it in a newversion for soprano saxophone. My Mountain Toprepresents summer and the crackle at the beginningof the track is reminiscent of someone’s skincrackling in the sun as they lose themselves to thewarmth as they drift off.

Eugène BOZZA (1905-1991)7 Aria

The title track of the album was written in 1936 forthe French classical virtuoso, Marcel Mule. He wasthe second Professor of Saxophone at the ParisConservatoire after Adolphe Sax, the inventor ofthe saxophone. Marcel Mule taught one of myteachers, Dr. Frederick Hemke who won the PremierPrix at the Paris Conservatoire in 1956. Aria is oneof the best-loved classical saxophone pieces.Although he is renowned for writing virtuosic windmusic, the luscious lines of Aria with its stunningpianissimo recapitulation demonstrate Bozza’saffinity with the melodic side of the alto saxophone.

Billy COWIE 8 Romance No. 2! Romance No. 1^ Romance No. 3

Billy Cowie is a Scottish composer, choreographerand artist. In 1998, Billy contacted me via mypigeonhole at Trinity College of Music, London, toask if I wanted to record some of his 30 short piecesfor saxophone and piano with him for an album. Wemet up shortly afterwards and played through themand I was struck by their beauty and simplicity. Werecorded the album Romances and Toccatas forSaxophone together in 1999. Cowie has since writtenother versions of some of his compositions I like, forcollaborations with The Smith Quartet, guitarist CraigOgden and for the String Ensemble of Trinity Laban.

Gabriel FAURÉ (1845-1924)0 Les berceaux (from 3 Songs, Op. 23, No. 1;arranged by Gerard McChrystal)

This is probably my favourite piece of music. I havealways loved Fauré for the purity of his sacred choralwriting. Whilst a student at the RNCM, I heard arecording of the English singer Felicity Palmersinging Les berceaux. I was captivated by the poetryof Sully Prudhomme married to Fauré’s melancholicand yearning music. Fauré uses a 12/8 rhythm toportray the women rocking their babies in theirprams (cradles) whilst they are on the quaysidewatching their loved ones sail out to sea. A few yearsago I found the same LP recording on eBay and wasrelieved that it had lost none of its magic.

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Claude DEBUSSY (1862-1918)@ Syrinx (arranged by Jean-Marie Londeix)

Maurice RAVEL (1875-1937)# Pièce en forme de habanera; arranged by Gerard McChrystal)

The two French masters, Debussy and Ravel, areoften linked due to their styles and era. I wasdelighted to discover that the last note ofDebussy’s Syrinx was the first note of Ravel’s Pièceen forme de habanera. It was a naturalprogression sonically to join the works togetherto complete their union. Syrinx, according toGreek myths, was a beautiful nymph who wasamorously pursued by the god Pan. When Syrinxreaches the river’s bank she pleads with the rivernymphs to help. They come up with the brightidea of turning her into a reed. Pan, not to bethwarted, cuts some of the reeds and turns theminto a pan flute and proceeds to play the yearningmelody that Debussy evokes here. A habanera isa slow dance in two from Cuba. Its infectiousrhythm appears at first in the viola before passingonto the cello. Sailors brought the habanera backto Spain and this influence is clear to hear in thesaxophone line. The harmony in the violin partsremind us that Ravel was one of the greatimpressionist composers. The piece was originallya vocalise. Bizet famously used a habanera inCarmen.

Karen TANAKA (1961-)$ Night Bird

The Japanese composer Karen Tanaka wrote NightBird for the current Professor of Saxophone at theParis Conservatoire, Claude Delangle, in 1997. It iswritten for alto saxophone and electronics. The altosaxophone uses a lot of reverb to create a moremystical sound. Karen Tanaka writes: “Night Birdis a love song filled with tender whispers of lovers.I have tried to weave colours and scent into thesound of alto saxophone and tape.”

Michael McGLYNN& From Nowhere to Nowhere

This beautiful air, written in the highlyornamented Sean-nós style of unaccompaniedtraditional Irish singing, is an example of howpracticality can become art. When I recordedthree soprano saxophone concertos for the albumMeeting Point for the Silva Classics label in 1995,we realised that we were six minutes under themagic hour mark for a full-priced disc. Michaelwas one of two composers who wrote me a solowork with alto to make up the time. FromNowhere to Nowhere is a lament for the manypeople who died toiling on public works reliefprojects during the Great Irish Famine in the1840s. Often roads were built where they werenot needed in remote rural areas, often literallygoing from nowhere to nowhere. Michael laterused the piece as the second movement of asonata called Visions that I premièred at London’s

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Wigmore Hall in 1996. I first played this piece at afuneral in Accrington Crematorium, the weekbefore playing it to a packed Ulster Hall in aconcert with Anúna.

Thanks to all of the musicians who took part inthe project. Thanks also to my sound engineer KenBlair for his considerable skill and good company.I am very grateful to Nic Pendlebury and TrinityLaban, David Woodcock and Harrow School,Christchurch, Derry, Blackheath Halls and mysaxophone repairer, Paul Windridge, my parents,William and Josephine McChrystal.

for Paula

© 2011 Gerard McChrystal

Gerard McChrystal comes from Derry, NorthernIreland. Initially self-taught, he studied at theRoyal Northern College of Music, Manchester,Guildhall School of Music and Drama, London andNorthwestern University, Chicago. His career hasessentially been project driven which has led tocollaborations and performances with Philip Glass,Soweto String Quartet, Tommy Smith, CraigOgden, Smith Quartet, Saxtet, Simon Mulligan,Rambert Dance Co., Fidget Feet, Ensemble Bash,economist Charles Handy and Anúna in countriesincluding USA, South Africa, Indonesia, Korea,Italy, Spain and Portugal.

Gerard has made concerto recordings withBBCNOW, Ulster Orchestra and London Musici.Albums include Meeting Point (1996) and Pluckbow(2006) with the guitarist, Craig Ogden. He hasperformed in over 30 countries. Venues includeSan Francisco Opera House, Baku Opera House,Azerbaijan and the Royal Albert Hall, London.

He is Professor of saxophone at Trinity LabanConservatoire, London and has been invited to bean ambassador for Derry-Londonderry UK City ofCulture 2013. He served on the jury of the 2010Royal Overseas Competition, London and the 5thAdolphe Sax International Saxophone Competition,Dinant, Belgium.

For more information, go to:www.saxsaxsax.com

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Trinity Laban String Ensemble is one of TrinityLaban’s flagship groups. It has given manyperformances not only at Trinity College of Musicin London but also on the international circuit,including performances at Slovenia’s LjubljanaFestival, Italy’s Emilia Romagna Festival and at theDartington International Summer School. Thegroup have performed with many internationalsoloists including oboist Nick Daniel, clarinetistsDimitri Ashkenazy and Darko Brlek, pianists DenizGelenbe and William Howard, violist Rivka Golani,organist David Titterington and saxophonistsGerard McChrystal and Julian Arguelles withwhom they recorded the critically acclaimedalbum As Above So Below.

The group has an eclectic range of repertoire fromstandards of the genre such as the Tchaikovsky andDvořák serenades to the works of living composerssuch as John Adams, Steve Reich and Eleanor Kats-Chernin. They have also given world premières byprominent composers such as Paval Novak,Graham Fitkin, Benjamin Ellin and David Matthews.

The ensemble has also collaborated with cross-genre artists including Barry Adamson and NickCave at the Queen Elizabeth Hall, London, JohnCale (Velvet Underground) at the Royal FestivalHall, London and jazz pianist Uri Caine in aperformance of Brahms’ Handel Variations.Experienced in working in contemporary dance,the ensemble has collaborated with variouschoreographers including Sonia Rafferty, HenriOguike and Lizzie Kew Ross.

Founder member and violist with the SmithQuartet, Nic Pendlebury is Head of Strings atTrinity Laban Conservatoire of Music and Dance inLondon and leads one of the most vibrant stringdepartments in Europe. There he conducts severalof the college orchestras including Trinity LabanString Ensemble with whom he has touredthroughout Europe collaborating with manyinternational soloists.

Nic was, for many years, principal guest conductorof the English Sinfonia and music director of theKarl Jenkins Ensemble whose Adiemus CDs toppedthe UK charts for many years. He is also co-founderof the Greenwich International String QuartetFestival which has established itself as one of theworld’s leading chamber music festivals.

The Smith Quartet, now into its third decade,remains at the forefront of the new music world.It has championed the works of the world’s mostcelebrated composers, commissioning over 150new pieces during its career.

Continually striving to go beyond the stringquartet’s traditional rôle in the concert hall thegroup has shared the stage with artists as diverseas rock group Pulp and Malian singer Rokia Traore.

The quartet has enjoyed a number of prestigiousresidencies recently, including Queens UniversityBelfast at the Sonic Arts Research Centre (SARC)and as Artists in Residence at the 2006Huddersfield Contemporary Music Festival.

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Gerard McChrystal with the Smith Quartet,(L to R: Nic Pendlebury viola, Darragh Morgan violin, Deirdre Cooper cello, Ian Humphries violin.)

Giant’s Causeway, County Antrim, Northern IrelandPhoto © Cian Flynn

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In 2005 the quartet released their début albumDifferent Trains for Signum Classics to muchcritical acclaim. This was swiftly followed by theirsecond album Ghost Stories described by the pressas “…a compelling blend of live ensemble andelectronics”. Their most recent album for Signum,Philip Glass Complete Quartets, receivedconsiderable critical acclaim and coverage in themedia. 2010 has seen the quartet back in thestudio recording for its new album of Dancepieces.

A 2011 concert highlight is a return invitation tothe Greenwich International String QuartetFestival to première a new string quartet byMichael Nyman.

Codetta is an internationally recognised chamberchoir, formed in 2000 to provide a progressionfrom the City of Derry Youth Choir and as arepresentation of choral excellence in the city.

Since its formation, Codetta has performed atfestivals throughout Ireland, Europe and America.Significant competitive successes have includedawards in Sligo, Cork, Maribor (Slovenia) andMontreux/Vevey (Switzerland).

In addition, the choir has performed andbroadcast regularly with the Ulster Orchestra,most recently in January 2011 in Belfast and Derryas part of the BBC invitation concert series. Theyhave also been at the forefront of new music, withdedicated commissions from composers such asHoward Goodall, Bob Chilcott and Ciarán Farrell.Most recently, Codetta performed Ian Wilson’sThe Bridge for the opening of the Peace Bridge inDerry in June 2011.

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Gerard McChrystal with Codetta and Dónal Doherty (far right, front row)

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Dónal Doherty was educated in the ScholaCantorum, Mullingar and at University CollegeDublin. In 1982 he moved to Derry as Director ofMusic in St Eugene’s Cathedral and Head of Musicin St Columb’s College. In 1992 he was co-founderand joint artistic director of the Two Cathedrals’Festival, along with Timothy Allen of St Columb’sCathedral. In 1996 he was appointed Head ofMusic with the Western Education and LibraryBoard. The City of Derry Civic Choirs, establishedin 1997, comprise five choral groups, ranging inage from eight years to adult. Codetta is thepremier ensemble of this choral programme.

Shiroma de Silva began having piano lessons agedeight. At ten she won a Junior Exhibitioner’sScholarship to the Royal Academy of Music,London studying piano, violin and singing.

Between the ages of 13-18 she was given minorchildren’s rôles at the Royal Opera House, CoventGarden and Sadler’s Wells Theatre. With them sheperformed in several productions, including televisionand commercial recordings in which lead rôles weretaken by singers such as Jon Vickers, Frederike vonStade, Thomas Allen and José Carreras.

She studied piano at Trinity College of Music,London. Here, she was presented an accompanistaward from Thea King. Shiroma received theJulliet Alvin Award and a scholarship from theGuildhall School of Music and Drama towardspostgraduate Music Therapy study.

She has performed with saxophonist GerardMcChrystal at Dartington International SummerSchool, The Selmer Saxophone Day at London’sGSMD as well as in concerts in London, Swansea,Cardiff and Leicester.

Shiroma currently works as a music therapist anda piano teacher in Leicestershire.

Shiroma de SilvaPhoto © Tom Moore

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Australian born guitarist Craig Ogden is one of themost exciting artists of his generation. He studiedguitar from the age of seven and percussion fromthe age of thirteen. In 2004 he became theyoungest instrumentalist to have received aFellowship Award from the Royal NorthernCollege of Music in Manchester.

One of the UK’s most recorded guitarists, hisrecordings for Virgin/EMI, Chandos, Nimbus,Hyperion, Sony and Classic FM have received wideacclaim. Ogden’s Classic FM albums The Guitaristand Summertime both shot straight to No. 1 inthe UK classical chart in summer 2010 and 2011respectively.

Craig Ogden has performed concertos with all ofthe main UK orchestras plus many abroad incountries including Latvia, Russia, South Africa,Sweden and Australia. In season 2011/12 hereturns to the Philharmonia Orchestra, LPO andUlster Orchestra and will be playing with the WDRRundfunk Orchestra in Köln the following season.

Craig Ogden regularly appears as soloist andchamber musician at the major London venuesand collaborates regularly with many of the UK’stop artists and ensembles. In 2008 Craig Ogdenmade his presenting début on BBC Radio 3 in TheSegovia Legacy co-presented by Louis deBernières and in 2011 Ogden also presented aseries of interviews with artists including JohnWilliams for ABC Classic FM (Australia).

Craig Ogden is Principal Lecturer in Guitar at theRNCM in Manchester and Visiting Lecturer atLondon’s Royal College of Music.

For more information, go to:www.craigogden.com

Gerard McChrystal with Craig Ogden Photo © Caroline Cowan

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George Frideric HANDEL (1685-1759)1 Largo

(from Concerto grosso, Op. 3, No. 2 in B flat major, HWV313;arranged by Gerard McChrystal) Trinity Laban String Ensemble Nic Pendlebury conductor

Michael NYMAN (1944-)2 Why?

(arranged by Ian Humphries) bSmith Quartet

Michael McGLYNN (1964-)3 Aisling †

CodettaDónal Doherty conductor

Heitor VILLA-LOBOS (1887-1959)4 Aria (Cantilena)

(from Bachianas Brasileiras No. 5; arranged by Gerard McChrystal)Craig Ogden guitar

Philip GLASS (1937-)5 Façades

Trinity Laban String Ensemble Nic Pendlebury conductor

Andy SCOTT (1966-)(Lemn Sissay, words)

6 My Mountain Top a

Andy Scott electronicsLemn Sissay speaker

Eugène BOZZA (1905-1991)7 Aria

Shiroma de Silva piano

Billy COWIE8 Romance No. 2 a

Trinity Laban String Ensemble Nic Pendlebury conductor

Michael McGLYNN9 Behind the Closed Eye a

CodettaDónal Doherty conductor

Gabriel FAURÉ (1845-1924)0 Les berceaux

(from 3 Songs, Op. 23, No. 1;arranged by Gerard McChrystal)Shiroma de Silva piano

Billy COWIE! Romance No. 1 a

Trinity Laban String Ensemble Nic Pendlebury conductor

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Claude DEBUSSY (1862-1918)@ Syrinx

(arranged by Jean-Marie Londeix)

Maurice RAVEL (1875-1937)# Pièce en forme de Habanera

(arranged by Gerard McChrystal)Smith Quartet

Karen TANAKA (1961-)$ Night Bird

Karen Tanaka electronics

Michael NYMAN% If?

(arranged by Ian Humphries) bSmith Quartet

Billy COWIE^ Romance No. 3 a

Trinity Laban String Ensemble Nic Pendlebury conductor

Michael McGLYNN& From Nowhere to Nowhere a

Gerard McChrystalalto, soprano saxophone

Specially written a / arranged bfor Gerard McChrystal

Recorded and produced by Ken BlairRecorded between August and November 2009Tracks 1, 5, 8, 11 & 16 recorded in Blackheath Halls, LondonTracks 3 & 9 recorded in Christ Church, Derry, Northern IrelandTracks 2, 4, 6, 7, 10, 12-15 & 17 recorded in Harrow School Concert Hall, London

Warner Chappell (tracks 3, 9, 17); Associated MusicPublishers Inc. (track 4); Dunvagen Music Publishers(track 5); Astute Music (track 6); Alphonse Leduc (track 7); Chester Music Ltd. (tracks 2, 15, 14); Billy Cowie (tracks 8, 11, 16); Gerard McChrystal(arrangements only) (tracks, 1, 4, 10, 13)

Cover photo: Richard Attenborough Centre taken by Colin Brookes on 9 July 2011Rear / CD label photo: Gerard and Paula McChrystaltaken on Lisfannon Beach by William McChrystal c.1970

Recorded and produced by Ken BlairRecorded between August and November 2009 inBlackheath Halls, London, Christ Church, Derry, Northern Ireland and Harrow School Concert Hall, LondonDesign and layout by David MurphyTypesetting by Nick Staines

FHR would like to thank Peter Bromley, Phil Hateley (Launch Music International), GerardMcChrystal, Eamonn Quinn and Nick Staines

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Photo © Colin Brooks

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