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Contents ❙ Page 2 Gabriel Jackson ❙ Page 3 Howard Skempton ❙ Page 4 Libby Larsen ❙ Page 5 Walton’s Troilus and Cressida ❙ Page 6 Gerald Barry ❙ Page 7 Martin Butler ❙ Page 8 Bob Chilcott ❙ Page 9 Vaughan Williams ❙ Page 10 Michael Berkeley ❙ Page 11 Anniversary celebrations ❙ Page 12 New Composer Catalogues ❙ Page 13 New CDs ❙ Page 14 New Hire & Sales titles ❙ Page 16 Contact details

Gabriel Jackson Requiem

My new Requiem interweaves sonorous, slow-moving settings of the hieratic, unchanging words of the Latin rite with more immediately personal meditations on death by Tagore, Hôjô Ujimasa, Walt Whitman, the Australian Aboriginal poet Kevin Gilbert, and the eighteenth-century Mohican Chief Apuhumut. The interesting thing about these various texts from other spiritual traditions and

other times is that in their very different ways they all express a similar view of death to the Christian one—that it is not the end, but the gateway to another life. There will always be a need for Requiems, for we will always need to mourn, to memorialise, and to be granted some brief glimpse of a better world. And there will always be a need for new Requiems, to reflect our ever-evolving understanding of the world

and our place it in, and of the meaning of loss. When set to music—with all its unique capacity to console and to uplift—the ritual power of ancient texts, their structure unchanged through the centuries, offers a very special act of healing.

GABRIEL JACKSON

The Vasari Singers gave the world premiere of Gabriel Jackson’s Requiem at St Martin-in-the-Fields on Tuesday 11 November. The Vasari Singers, who commissioned the work, have a long tradition of performing and commis-sioning new music, and remain at the forefront of the contemporary choral music scene.

Jeremy Backhouse, Music Director of the Vasari Singers, and Gabriel Jackson reflect on the Requiem:

I had long been an admirer of the choral output of Gabriel Jackson, one of the leading composers of his generation, and had been delighted with his anthem Now I have known, O Lord, written for our 25th Anniversary in 2005. That encour-aged me to approach Gabriel to write us a more extended work and thus the idea of a Requiem was born.

I wanted the traditional format to be given a wide-ranging appeal. My brief for the set of ten anthems had suggested that they should be able to

sit comfortably within the context of a cathedral Evensong, but that the works could also look beyond any constraints of Liturgy or formal religious doctrine to embrace a wider, more ecumenical audience; something more humanistic perhaps, that might connect more relevantly with multi-cultural, multi-faith societies of the world in the twenty-first century. In a similar way, Gabriel and I were keen to look beyond the Latin Requiem texts by introducing verse that resonated more personally and relevantly

with people today. We worked closely on the choice of poems and those which Gabriel ultimately selected for musical setting reflect our desire to focus on life renewal rather than death.

The result is a unique blend of the traditional and the refreshingly unfamiliar. Gabriel infuses the whole with his luminous and ecstatic writing, producing a sublime work of true profundity and vibrancy.

JEREMY BACKHOUSE

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The first music to be heard at the exciting new London venue during the opening concerts in October included works by Berkeley, Butler, and a Jackson premiere.

Oxford composers at Kings Place

The opening of Kings Place was heralded by a performance of Martin Butler’s Hunding, his show piece for solo horn. Taking place from 1-5 October, and incorporating a staggering 100 concerts, the opening festival introduced Kings Place to concert-goers and art-lovers in style.

Kings Place is a brand new building on Regent’s Canal, near to Kings Cross/St Pancras station. The building houses the first newly built concert hall in London since the Barbican opened 26 years ago. The five-day opening festival turned Kings Place into a hive of artistic activity, with performances taking place in the foyer and two art galleries, as well as in the recital hall (Hall One), and the smaller, flexible performance space (Hall Two).

As well as Butler’s Hunding, Michael

Berkeley’s Music for Chaucer was performed by the Royal Academy of Music Brass Soloists, and Martin Butler’s American Rounds was performed by the Schubert Ensemble.

The final day of celebration saw the much-anticipated world premiere of Gabriel Jackson’s new work for voices and electric guitar. Specially commissioned for the opening of Kings Place, Ave, Regina caelorum was magnificently performed by Tom Kerstens and The Sixteen. Gabriel Jackson was thrilled to be involved in the opening festivities at Kings Place, and wrote of his new work: ‘The archetypal Spanish associations of the guitar suggested an obvious resonance with the great Iberian polyphonists that are such a speciality of The Sixteen,

and the choice of an electric instrument opened up all sorts of timbral possibili-ties through the use of effects pedals. The text, Ave, Regina caelorum, is one of the four great Marian Antiphons, originally sung at None on the Feast of the Assumption, and interpolated into the Latin are some lines in English by Christina Rossetti.’

Kings Place Hall 1

N otti stellate a Vagli is named after a fourteenth-century Tuscan hamlet, Borgo di Vagli, which has been restored by the award-winning architect Fulvio Di Rosa. Di Rosa is also the founder of the contemporary classical musical foundation Atopos, who commissioned Skempton’s new piano work.

Howard Skempton is not the first composer to have been commissioned by the Foundation, but all of the works have had a common inspiring theme at their base, as Fulvio Di Rosa explains:

‘All the composers were asked to refer their compositions to a place, i.e. one of my restorations in Tuscany, or a specific magical area in Brazil, or ...... Howard dreamt of a starry night over the hills around Cortona, where Borgo di Vagli—the latest of my restorations—“sleeps”.

He hasn’t been there... so far.

But he couldn’t have expressed more intimately the emotions and the feelings of a whole night there.’

‘Notti stellate a Vagli is a companion piece to Triadic Memories and a homage to Morton Feldman. It is nocturnal in tone and stellar in texture. In place of memories we have an image of Tuscany.’

HOWARD SKEMPTON

The celebrated pianist, John Tilbury, performed the world premiere of Howard Skempton’s work for solo piano, Notti stellate a Vagli on 10 June 2008 at St. John’s, Smith Square. The concert was preceded by a feature on BBC Radio 3 In Tune on 6 June, in

which Tilbury performed an extract of the new work.

Howard Skempton

Michael Finnissy in Norway

Established in 2003, the Borealis Festival is held at venues across Bergen, a picturesque medieval town on the west coast of Norway. The 2009 festival will take place over five days 24–29 March. Performances of Finnissy’s works will be given by visiting ensembles, as well as Norwegian groups such as the Bergen Philharmonic Orchestra and the BIT20 Ensemble.

Alwynne Pritchard, Artistic Director of Borealis, writes:

‘The Borealis Festival in Bergen, Norway will be presenting the music

of Michael Finnissy as featured composer in 2009. Michael’s music will form the basis of a wide range of concerts, seminars, and film screenings, including works for ensemble, organ, and piano, as well as projects for amateurs, children, and local homeless organisations.

We are really looking forward to having Michael spend five days with us in March, not only as a dynamic and inspiring teacher and a brilliant pianist, but also because both he and his music make for provocative and stimulating company.’

Borgo di Vagli

Gabriel Erkoreka wins the Reina Sofía PrizeErkoreka’s orchestral work Fuegos (Fires) was chosen from submissions by 150 composers from around the world to win the 25th Reina Sofia Prize.

The final of the competition was held in Madrid on 10 October, when the short-listed compositions were performed by the Orquesta de RTVE.

Gabriel Erkoreka joins an illustrious list of composers who have won this international prize, including W. Lutoslawski and X. Montsalvatge.

David Wilde plays Gabriel Jackson’s Piano Sonata

Although the tonal idiom is approachable, Jackson’s Piano Sonata is highly original in unexpected ways. For instance, the composer’s love of rhythmic canons using different tones demands ambidextrous skills. His skill at writing near, but not exact, repeats of short phrases also requires an alertness from the performer that must never be relaxed for a moment.

Gabriel Jackson’s admiration for Stravinsky is apparent in the baroque-style articulation of much of the music and

in its use of variable meter, but the harmonies are not nearly so acerbic as Stravinsky’s. In the first movement there is a beautiful, long, winding melody with florid accompaniment, starting on the same tone as the second subject of Chopin’s B minor Sonata— F Sharp—and in a closely related key, suggesting to me a comparable lyricism that contrasts most effectively with the Stravinskian element.

The eloquent slow movement was the first I received, and I gave a pre-premiere performance of it when I inaugurated

the new Steinway at St Mary’s Episcopal Cathedral, Edinburgh, in 2007. It remains, for me, the heart of the Sonata. Beginning in a tranquil mood, its ever-increasing floridity builds to a climax that is intensely dramatic. After this, the music subsides to a passage over a ground bass like the tolling of a bell.

The finale, an ebullient dance, brings the Sonata to a triumphant, but not triumphalist, conclusion.

DAVID WILDE

On 29 May, pianist David Wilde gave the world premiere of Gabriel Jackson’s Piano Sonata at the Queen’s Hall, Edinburgh. Commissioned by David Wilde with funds provided by the Scottish Arts Council and the Britten-Pears Trust, the Sonata was

enthusiastically received.

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Libby Larsen in Opera News Walton’s Troilus and Cressida at Opera Theatre Saint Louis

Larsen is currently working on a text-driven opera, a commission from the University of North Carolina at Greensboro’s School of Music, based on

William Inge’s 1953 play Picnic. It is a drama, she says, filled with one-syllable words, pregnant silences, and dense subtext. Her arrangement with Inge’s publishers allows her very little room to deviate from the text as printed. But it’s not clear that she would deviate in any case. ‘It’s a real struggle to understand what he expects of the silences and the space around his words,’ she says. ‘And that’s where my work is very hard and very interesting.’

Larsen admires Inge’s mastery of the American vernacular of the mid-century. But she is emphatic about the need for composers to have access to contemporary literary texts of the highest quality. The cost of using contemporary literary texts is driving

composers away from the language of their own time and back to the out-of-copyright narratives of the past. The effort to secure literary rights is stultifying, she says. And the opera world needs to meet with the literary world and do something about it.

If text-driven opera is the future—and it certainly seems to be the present—the effects in the opera house could be profound. If operas are text-driven, audiences need to understand the texts, which may be all but impossible in very large opera houses, especially if the text is complex. There is a solution, she argues, but the opera world isn’t necessarily ready for it—amplification, or rather the incorporation of microphones as ‘companion’ instruments into the orchestra.

‘I have been waiting for the conventions of opera production to blow open the windows and allow technological sound production to be part of the process,’ Larsen says. With that, in one sense, she has

come full circle. It was theatrical sophistication, the willingness to use all the technological means necessary for a dramatic effect that she admired in Glass’s Satyagraha. And while she has moved personally to a notion of opera much different from that of Glass, she is still struggling for a comprehensive theatrical palette that she was exploring in Frankenstein two decades ago.

She does not, she insists, believe that old operas meant for standard, acoustic opera spaces should be amplified. Text-driven music of the past—from eighteenth-century recitative to Benjamin Britten—doesn’t need assistance. But for her own work she wants the immediacy of much of what has become standard in popular culture. That includes music with complex and compelling texts, and whatever technology is necessary to get that text across in all its closely read, densely pondered nuance.

PHILIP KENNICOTT, Culture Critic, The Washington PostReprinted with the permission of Opera News.

Are words, more than music, the driving force in contemporary opera? Libby Larsen discussed this question and her new opera commission with Philip Kennicott

in the August issue of Opera News, the magazine of the Met Opera Guild.

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Opera Theatre Saint Louis’ newly commissioned orchestral reduction by John Gibbons was universally acclaimed in the press and enthusiastically received by audiences at its

world premiere performance in June.

A note on the OTSL production by the director Stephen Lawless:

William Walton’s opera Troilus and Cressida is based on a romantic poem by Geoffrey Chaucer, but does contain areas of congruence with Shakespeare’s play of the same name. Both opera and play take the romantic idea of the Trojan War and turn it inside out to reveal the real motives of the characters involved, and to question the whole idea of chivalrous conduct and the code of honour. The opera starts near the end of the Trojan War—which according to Homer lasted nearly ten years—and we find a city under siege, the conflict stagnant and lacking momentum.

Walton himself had recently been through the Second World War in Britain, where cities like London were under a similar siege, only this time from the Luftwaffe. Indeed, Walton’s house in London had been destroyed in the bombing of May 1941. To escape the bombing Londoners took to the Underground; it is this ‘bunker’ mentality that Walton seems to encapsulate in his score, and that the designer Gideon Davey and I sought to create in our design for the opera. We tried to capture the claustrophobia of Troy and the false dawn of the scenes in the Greek camp, mixing classic and contemporary reference.

Where the opera departs radically from the Shakespearean norm is with Cressida. Cressida is not mentioned in Homer, but makes her first literary appearance as Briseida in Benoît de Sainte-Maure’s twelfth-century romance Le Roman de Troie, before

being taken up by Boccaccio, then by Chaucer and Shakespeare. She is a by-word of inconstancy in all of them, as she leaves Troilus for Antenor in an exchange of hostages arranged by her father, Calchas. She changes her affections—apparently easily—to Diomede in the Greek camp.

Walton and his librettist Christopher Hassall broke with this tradition and make Cressida reluctant to give up Troilus, only doing so when tricked by Evadne into believing that he is disloyal. She realizes her mistake too late, and when Troilus is treacherously murdered by Calchas whilst under a truce, she is forced to choose between a dishonourable existence and an honourable death. She becomes a very twentieth-century tragic figure.

‘Troilus emerged here with powerful sweep in a new performing edition that boasts slightly slimmer orchestration and takes account of cuts made by the composer himself in 1976 when the role of Cressida was transposed down for Janet Baker. It restores dramatic sense by giving the role back to a soprano, and gains theatrical urgency in this tightened form.

OTSL’s 2008 legacy will be the rebirth of Troilus and Cressida. British companies should follow its lead and bring the work home.’

JOHN ALLISON, The Sunday Telegraph

‘The score is full of colour, even a little glitzy, but it uses dissonance for expressive ends and the vocal lines are eminently lyrical...The opera was performed in a new orchestration that reduces Walton’s elaborate wind scoring but still sounded sumptuous.’

GEORGE LOOMIS, Financial Times

‘Troilus and Cressida was the season’s most exotic offering, and a real find. It’s a very satisfying piece, a kind of musical cross between Britten and Strauss, with a modernistic edge softened by melodic lyricism…. The music has an erotic charge, and it is a wonderful vehicle for its soprano heroine.’

HEIDI WALESON, The Wall Street Journal

This will be hard to outdo as the operatic revelation of the year. A gripping story of love botched by war is clothed in music by turns brilliant, unsettling, and ravishing, with soaring arias to take your breath away.’

SCOTT CANTRELL, Dallas Morning News

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Zhou Long’s Flute Concerto, Five Elements, a joint commission from the Singapore Symphony Orchestra and the Pacific Symphony Orchestra, received its world premiere in Singapore on 17 July. The Singapore Symphony Orchestra was conducted by Lan Shui, with flautist Sharon Bezaly as soloist. The Pacific Symphony Orchestra will perform Five Elements in California in the autumn of 2009.

‘Five Elements is like an incredible painting. With the different elements of Metal, Wood, Water, Fire, and Earth in the music, you can visualize this amazing picture in front of you. And it leads you into a fantasy world, into a dream. I have always enjoyed very much conducting Zhou Long’s music and I’m definitely looking forward to more in the near future.’

LAN SHUI

World premiere of Zhou Long’s flute concerto, Five Elements

Zhou Long, Sharon Bezaly, Lan Shui, and the Singapore Symphony Orchestra

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Gerald Barry – Overseas PremieresThe Bitter Tears of Petra von Kant, Gerald Barry’s 2005 opera on a text by Fassbinder, was performed at the Theater Basel in Switzerland in May 2008.

Using the same striking sets as the 2005 English National Opera production, the European premiere on 4 May at Theater Basel was followed by five further performances. The performances were critically and popularly acclaimed, as they were when the opera was presented at ENO.

‘There is real expressive subtlety in this score…it’s one of the strangest but most satisfying of recent operas.’

TOM SERVICE, The Guardian

‘I’ve never seen an audience so engaged post-show.’

ROBERT THICKNESSE, The Times

‘The piece is invigorating, fresh, and curiously satisfying. Barry perfectly captures the barren, pungent, desperate world of Fassbinder, but does so with unstoppably upbeat material.’

KEITH CLARKE, Musical America

‘The opera bursts with exuberance… on its own terms, this works. Petra von Kant will do what opera was originally meant to do: amuse and entertain, with an edge of wit.’

Seen and Heard Opera Review

La Plus Forte (The Stronger), Barry’s one-act opera on the Strindberg play, will receive its US premiere in late November with Barbara Hannigan performing the solo soprano role.

The New World Symphony Orchestra, conducted by Thomas Adès, will present a programme comprising La Plus Forte as well as the US premiere of Barry’s Diner, at the Lincoln Theatre Miami on 22 November.

Originally commissioned by Radio France for the 2007 Festival Presences, the opera’s Irish premiere took place in June this year at the National Concert Hall in Dublin, performed by RTE National Symphony Orchestra.

Le Vieux Sourd, Gerald Barry’s latest solo piano work, was commissioned by Betty Freeman and given its world premiere by Gloria Cheng in Los Angeles in September.

Gerald Barry writes:

Le Vieux Sourd means ‘The old deaf one’, Debussy’s nickname for Beethoven.

The music begins in mid-stream—as if you opened a door to a room and happened on someone playing, and stood there listening, unseen by them.

They’re in a private world.

I played the first two pages to a friend who said that the music was visible and invisible at the same time. I think what he meant was that the music has traditional/classical sounds in it but by the time you’ve noticed them they’ve slipped from your grasp.

It’s like an illusion, a magician performing. You think you’re hearing something straightforward—some of the sounds seem like that—but then the music slips away from you into something strange.

Perhaps like a series of non sequiturs, except I think it has its own logic nevertheless.

*Gerald Barry was the subject of an in-depth feature on BBC Radio 3’s Music Matters. The programme, which took a detailed look at music in Ireland, was broadcast on 11 October 2008.*

Theater Basel production of The Bitter Tears of Petra von Kant.

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Martin Butler in International Piano Magazine

Three Little Folk Games is the sixth in a series of eight miniatures which make up the collection of piano pieces, Small Change.

Like most composers, Martin Butler has often found that a useful way to generate ideas for larger works has been to write short ‘studies’ for them—two of the three movements of Three Little Folk Games were later re-composed and

expanded by the composer to become movements of his work for piano quintet, American Rounds.

Three Little Folk Games is published in Lucifer’s Banjo and other pieces for piano

ISBN 978-0-19-372402-0Price £13.50

Martin Butler’s Three Little Folk Games was the featured piece in the free music section of September/October 2008 issue of International Piano.

The Linos Quintet perform Martin Butler at

the Wigmore HallThe Linos Wind Quintet, winners of the 2004 Royal Overseas League Competition, programmed two of Martin Butler’s works in their Wigmore Hall debut recital in July. Down Hollow Winds and Dirty Beasts were performed by the quintet with great skill and aplomb.

‘Down Hollow Winds, a pastoral idyll, beautifully laid out for the five instruments, full of interesting twists and turns, and, best of all, thoroughly melodic. A real winner of a piece.’

BOBB BRIGGS, Seen and Heard

The Civitella Ranieri Center, is a workplace for gifted artists from different disciplines and countries, located in the fifteenth-century Civitella Ranieri castle in the Umbria region of Italy. Richard Causton was the recipient of an invitation to the centre this summer.

In keeping with the spirit of its founder, Ursula Corning, and the tradition of hospitality and support for the arts that she established at the castle, the Center brings together visual artists, writers, and musicians from around the world who demonstrate exceptional talent and an enduring commitment to their disciplines. The Civitella Ranieri Center provides Fellowships to artists on an invitational basis, and seeks to support the dissemination of ideas, to foster a collaborative spirit, and to enable Fellows to

pursue their work and to exchange ideas in a unique and inspiring setting. Causton writes:

‘I’ve been incredibly fortunate this year in having six unbroken weeks of dedicated composing time in a castle in Umbria, central Italy, as a Fellow at the Civitella Ranieri Center. This artist residency is international and multidisciplinary, and it was wonderful to be able to compare notes not only

with composers from France and the US, but visual artists and writers from Japan, Korea, and Norway as well. I used the opportunity to work intensively on my new piece for the Birmingham Contemporary Music Group which will be played late next year and is a kind of musical study in colour and black and white.’

Richard Causton at the Civitella Ranieri Center

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Bob Chilcott in Japan

The JCA’s ‘Golden Week’ workshop, held in Tsu’s state-of-the-art concert hall, attracted over 1500 delegates from choirs across Japan. In a series of rehearsals and lectures, Chilcott conducted a massed choir of over 400 singers accompanied by a professional jazz trio, performing his ever-popular A Little Jazz Mass. Repertoire from Chilcott’s Songbook also featured at the convention, notably his arrangement of Aka-Tonbo sung by all of the delegates at the close of the convention—a rousing finale to a wonderful event.

Bob was thrilled by the standard of the Japanese singing:

‘Japanese choral singing comes straight from the heart…the choirs had an inspirational energy and a passion for singing, making it a truly memorable visit.’

Chilcott has been invited to return to

Japan for the 2009 JCA convention, to be held in Chilba City. The 2009 event will herald the first ‘Asia-Pacific Cantat’, where Chilcott will workshop a selection of his new arrangements and compositions: the well-loved Japanese folksong Sakura, recently published in Jazz Folk Songs for Choirs, which the composer has dedicated to the JCA, and his new work Aesop’s Fables, which sets 5 contrasting fables for choir and piano.

Bob Chilcott has been selected to present sessions at two major events in the American Choral Calendar 2009: American Choral Director’s Association National Convention (Oklahoma City, March 2009), Chorus America (Philadelphia, June 2009).

Bob Chilcott travelled to Tsu City in Spring 2008 for the Japan Choral Association (JCA) convention, at which he was the international guest conductor and lecturer.

Bob Chilcott at the Japan Choral Association convention

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Vaughan Williams Fiftieth Anniversary Year

2008 has seen numerous celebrations of the music of Vaughan Williams, marking the fiftieth anniversary of the composer’s death.

These celebrations have been truly international, including performances of major works in Israel, Spain, and the USA. The Pilgrim’s Progress was enthusiastically received at its concert performance at the Sydney Opera House and was also brought to Sadler’s Wells Theatre, London, in two semi-staged performances by the Philharmonia Orchestra and Voices, conducted by Richard Hickox.

The BBC featured Vaughan Williams’s music extensively at the 2008 Proms, including an all-Vaughan Williams programme on the anniversary of the composer’s death, 26 August. This

commemorative concert received stunning reviews:

‘For Vaughan Williams devotees the programme was a dream combination of

masterpieces that ranged right across his long career.

Even after fifty years the Ninth remains Vaughan Williams’s least known and most misunderstood symphony. Maybe in the hands of Andrew Davis its time has come. He understands the way it manages to be both valedictory and reveals new paths of sound for the composer. It rounded off a true celebration of Vaughan Williams, the musical explorer.’

MATTHEW RYE, The Telegraph

Vaughan Williams’s Riders to the Sea at the ColiseumFollowing the new production of Sir John in Love in 2006, English National Opera resumes

its exploration of the works of Vaughan Williams with a major new production of his one-act opera Riders to the Sea in November.

Closely based on J. M. Synge’s 1907 play of the same name, Vaughan Williams’s Riders to the Sea is his most moving and compelling opera. Elemental and hauntingly lyrical, the music communicates all the raw directness of a primitive myth. Although completed in 1927, Riders to the Sea did not enter the repertoire of the Sadler’s Wells Opera until 1953, and this 2008 production will be the first ENO production since that time.The short but powerful drama will be conducted by British music specialist Richard Hickox and directed by the acclaimed actress Fiona Shaw. Fiona Shaw and her creative team interpret the story using film shot on

the Aran Islands; the original setting for Synge’s play. Fiona Shaw says:

‘The inhabitants of this land, which lies geographically on the edge of the Atlantic Ocean, are also psychologically on the edge, because every potential hazard could be fatal. They seem to be resigned, just waiting for nature to take over; nature just screams in through an open door.’

Three performances will take place at the London Coliseum on 27, 28, 30 November. There will be a pre-performance talk by Tony Palmer on 28 November.

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A Life in Music reveals the fascinating life story of Sir David Willcocks, the renowned conductor, organist, and composer who remains very much in international demand as he approaches his ninetieth birthday in 2009. Through a series of interviews with the book’s editor, William Owen, Sir David tells his extraordinary life story: his idyllic childhood and choristership at West-minster Abbey; his experiences in the Second World War; and his Director-ships at King’s College, Cambridge and the Royal College of Music. There are a wealth of anecdotes revealing Sir David’s

zest for life and impish sense of fun.Each chapter is followed by reflections from esteemed friends and colleagues, from Dame Janet Baker to John Rutter with whom Sir David worked closely on the famous Carols for Choirs series. The book also includes a CD which intersperses extracts from many legendary recordings and breathtaking performances with spoken reminiscences from Sir David.

Together, the book and CD provide a rich and moving chronicle of the life and music of a truly inspirational musician.

A Life in Music, edited byWilliam Owen RRP £19.99 (hardback)ISBN 978-0-19-336063-1

Celebrating a life in music - Sir David WillcocksThe life of one of British music’s most eminent living figures is celebrated in a new book

published by Oxford University Press.

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Michael Berkeley’s Festival Commissions

Continuing the celebrations of Michael Berkeley’s sixtieth birthday year, summer 2008 saw the world premieres of two new works commissioned by major UK music festivals: When I hear your voice, for mezzo-soprano and orchestra, was commissioned by the Cheltenham Festival, and an orchestral arrangement of Slow Dawn was commissioned by the BBC Proms.

Michael Berkeley writes:

Having spent a decade attending every Cheltenham Festival Concert it was a great pleasure, following a break of some years, to return by invitation of Meurig Bowen who has succeeded Martyn Brabbins as Artistic Director.When asked for a piece for this programme I was hard at work on my opera For You and could not dislocate my mind into writing something completely different. The conductor,

Jac Van Steen had been at a couple of the Brecon rehearsals for the opera and at one point lent over my shoulder to say ‘You should create a concert piece from that scene.’ So that is exactly what I did for Cheltenham. When I hear your voice is an intensely static (and statically intense) moment in which Maria, a central character, reveals, chillingly, the machinations of her mind. It is really for a mezzo but Anna Dennis seemed comfortable and persuasive with the line under Martyn Brabbins’s baton. Essentially, the harp has a mantra-like accompaniment around which the vocal line unfolds.

The following month saw another adaption—a piece for wind, Slow Dawn, re-worked for orchestra. I had wanted to do this ever since Tim Reynish (who commissioned the work in memory of his son William) premiered the music at the Barbican in 2005. I liked the wind version but could also see the

piece sounding good with strings and conventional wind, and I wanted to re-write the ending. So Roger Wright’s invitation to make a contribution to the 2008 Proms presented an ideal opportunity. Edward Gardner, who conducted the BBC Symphony Orchestra for the premiere of the orchestral version of Slow Dawn, was particularly keen to place it next to the Sibelius Night Ride and Sunrise since he felt (rightly, I think) that it shares a similar sensibility.

‘Michael Berkeley’s Slow Dawn followed a smooth arc, with its intensifying sonorities emerging gradually over the horizon towards a climax.’

GEOFFREY NORRIS, The Telelgraph

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Allison Cook as Maria in Music Theatre Wales’ production of Michael Berkeley and Ian McEwan’s new opera For You

Michael Berkeley For You; new performance dates

The world premiere of Michael Berkeley and Ian McEwan’s new opera For You took place at the Linbury Studio, Covent Garden on 28 October 2008.

Following a run of four performances in London (28 October, 30 October, 1 November, 2 November), Music Theatre Wales toured the production to Cardiff ’s Sherman Theatre (11 November), and the Gala Theatre in Durham (24 November).

For full details visit www.musictheatrewales.org.uk/foryou

L’Opera di Roma will give the European premiere of For You on 8 April 2009 at Teatro dell’Opera di Roma. Two further performances will follow in Rome on 9 and 10 April.

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Anniversary celebrations in 2009Andrew Carter will turn seventy in 2009, Alun Hoddinott would have celebrated his

eightieth birthday, and William Mathias would have been seventy-five.

Tthere will be many concerts and broadcasts celebrating these anniversaries, including chances to hear some of the lesser-known works of the composers’ catalogues.

Andrew Carter was born in 1939 into a Leicestershire family of tower and handbell ringers. Following a music degree at the University of Leeds, he joined York Minster choir as a bass songman under the direction of Francis Jackson.

Carter has composed several large-scale works for choir, soloists, and orchestra. He has been commissioned by numerous British choral societies, and also by a number of American Lutheran choirs.

In the field of church music Carter is regularly asked to write for choir and organ. His many carols continue to be deservedly popular.

As a composer and choir director Andrew Carter has travelled extensively in the United States, and he regularly workshops his music at home and abroad.

Alun Hoddinott was born in Bargoed, Glamorganshire in 1929 and died in March 2008. His compostional talents developed early, and he won a scholarship to University College, Cardiff at the age of sixteen. Hoddinott achieved a mastery of composition which embraced almost every musical medium. His strong creative urge, stimulated by a tremendous variety of eminent performers, is reflected in a substantial body of works. Essentially chromatic, his music often shows a dark Celtic intensity, manifested in his nocturnal slow movements.

William Mathias was born in Whitland, Dyfed in 1934 and died in 1992. He began to compose at an early age, studying first at the University College of Wales, Aberystwyth, and subsequently on an Open Scholarship in composition at the Royal Academy of Music. A house composer with Oxford University Press from 1961, his compositions cover an extraordinarily wide range. Mathias’ musical language embraced both instrumental and vocal forms with equal success, and he addressed a large and varied audience both in Britain and abroad. He made a highly significant contribution to twentieth-century organ music, and his church music and carols are still regularly performed world-wide.

Pho

to: J

ohn

Ros

s

William Mathias

Andrew Carter

Oxford is proud to publish the music of these three remarkable composers, and we very much hope you will join us in celebrating

their lives and music in 2009.

Alun Hoddinott

12

New Composer CataloguesOxford University Press are proud to introduce a new range of catalogues

for a number of Oxford composers: Gerald Barry, Michael Berkeley, Martin Butler, Richard Causton, Michael Finnissy, Gabriel Jackson,

Anthony Powers, and Howard Skempton.

To request your copy of any of the new catalogues please email repertoire.promotion.uk@oup.com

This highly original composition, Musorgsky’s only substantial orchestral work, consists in the main of totally different music to that contained in Rimsky-Korsakov’s familiar version, known as A Night on the Bare Mountain. The work was first published in the Soviet Union in 1968 in a very limited impression which was flawed in many respects. David Lloyd-Jones, whose

edition of the original versions of Boris Godunov (OUP) is highly respected and performed worldwide, has now extend-ed his services to Musorgsky by produc-ing an authoritative critical edition of St John’s Night on Bare Mountain—the composer’s authentic title for the work.Available as score and parts from the OUP Hire Library (contact details p.16)

The full score can also be bought by special arrangement.

Orchestration: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 2 Cornets, 2 Trumpets, 4 Trombones, Timpani, Percussion (3 players), Strings.Duration: 13 minutes

Gerald Barry

www.oup.com/uk/music

2

“Each piece by Barry is like a signature in music. It’s utterly

personal and instantly recognisable.” The Musical Times

“Sounds like a barn dance devised by a chaos theorist.” Tempo

Michael Finnissy

www.oup.com/uk/music

2

“What’s striking about the music is its feeling of utter spontaneity, and

it’s incredible emotional power . . . the remarkable thing about Finnissy’s

music is that depite its frequent sorrow and anger, it has a marvellous

power to affirm..”

IVAN HEWETT, The Telegraph

Anthony Powers

www.oup.com/uk/music

2

“I warm to Powers’s ability to tackle his subject free of

touristy clichés, and to the intricate subtlety of his formal

pattern ... stirring and fascinating.”

MAX LOPPERT, Financial Times

13

BerkeleyRE-RELEASEBritish ComposersOr shall we die?Heather Harper (soprano), David Wilson-Johnson (baritone), London Symphony Chorus and Orchestra, Richard Hickox (conductor)

EMI CLASSICS 505 9212

CaustonJerwood 4: Attwood/Bailie/CaustonPhoenix; SleepSebastian Bell (flute), London Sinfonietta, Nicholas Kok (conductor)

LONDON SINFONIETTA SINF CD1-2008

ChilcottMaking WavesThis Day; A Little Jazz Mass; Catch a falling star; Making Waves; Swansongs; So fair and bright; Like a Singing Bird; Like a rainbow; The Lily and the Rose; All for love of one; All things pass; Circles of motionThe Sirens, Iain Farrington (piano), Bob Chilcott (conductor)

Jazz trio (A Little Jazz Mass): Alex Hawkins, Derek Scurll, Michael Chilcott

SIGNUM CLASSICS SIGCD142

JacksonChristmas from TruroNowell sing we; Mathias Sir Christemas; Skempton Rejoice, rejoiceTruro Cathedral Choir, Christopher Gray (organ), Robert Sharpe (conductor)REGENT RECORDS REGCD281

Sanctum Est Verum LumenSanctum Est Verum LumenNational Youth Choir of Great Britain, Mike Brewer (conductor)DELPHIAN DCD34045

RutterA Christmas FestivalAve Maria; New Year; Rejoice and be Merry; I wish you Christmas; Chilcott The Shepherd’s CarolThe Cambridge Singers, Farnham Youth Choir, Royal Philharmonic Orchestra, John Rutter (director)COLLEGIUM RECORDS COLCD133

Skempton Howard Skempton: The Cloths of Heaven Choral music and songsUpon my lap my sovereign sits; O Saviour of the world; Locus iste; The Song of Songs; O life!; Nature’s Fire; Adam lay y-bounden; Magnificat & Nunc dimittis (Edinburgh Service); Lamentations; Beati quorum via; Emerson Songs; He wishes for the cloths of Heaven; Ave virgo sanctissima; Missa brevis; Ostende nobis Domine; Recessional The Exon Singers, Matthew Owens (organ/director)DELPHIAN DCD34056

‘His elegance of line and economy of means creates a

sound world whose individuality and expressive beauty is revealed to memorable effect by the Exon Singers under conductor Matthew Owens. Some of the music has the cast of plainsong; all of it is carefully calculated and beautifully written, not least the ravishing He Wishes for the Cloths of Heaven. A lovely recording.’ Yorkshire Post

TannHilary Tann: Chamber MusicThe Walls of Morlais Castle; Songs of the Cotton Grass; The Cresset Stone; From the Song of Amergin; Duo; Nothing ForgottenMatthew Jones (viola), Alun Darbyshire (oboe), Elizabeth Donovan (soprano), Thomas Carroll (cello), Lucy Wakeford (harp), Kathryn Thomas (flute), Michael Hampton (piano)

DEUX-ELLES DXL1132

Vaughan WilliamsRalph Vaughan Williams: a cappella choral works*Classic FM disc of the month September 2008*The Souls of the Righteous; Greensleeves; Three Shakespeare Songs; Prayer to the Father of Heaven; Silence and Music; Heart’s Music Laudibus, Mike Brewer (conductor)

DELPHIAN DCD34074

New and recent CD releases

OxfordMusicNowOxfordMusicNow

Living Music aims to encourage the performance, by non-professional orchestras, of works written by Oxford’s house composers.

The series has now been refreshed and revised to include an amended selection of works. There are fourteen outstanding works featured in the new list. They vary in difficulty and duration, and all are exciting to play and rewarding to listen to.

Newly added tothe scheme are:• Martin Butler Calvacade • Libby Larsen Solo Symphony • Hilary Tann The Open Field

In addition, to celebrate their anniversary years, ALL hire works by Hoddinott and Mathias have been added to the Living Music promotion for the duration of 2009.

Any UK-based non-professional orchestra which programmes one or more of the

Living Music works will benefit from substantially reduced hire fees. (For orchestras based in countries where we have agency representation, please contact your local agent for more details.)

For more information on Living Music, and a full list of featured works, please visit: www.oup.com/uk/livingmusic or email: repertoire.promotion.uk@oup.com

New Edition of St John’s Night on Bare Mountain by Musorgsky

Based on the autograph full score in the St. Petersburg Conservatoire, this new edition by David Lloyd-Jones is now available from the OUP Hire Library.

OxfordMusicNow

14

New Hire & Sales titles

BarryBeethoven18’Bass voice and ensemble: flute, cor anglais, clarinet, bass clarinet, contrabassoon, horn, trumpet, trombone, piano, and stringsScore and parts on hire

Bob OCR978-0-19-355309-513’2 clarinets, violin, cello, piano, marimba£28.00

1998 (String Quartet No.2) OCR978-0-19-355321-7 20’String quartet£9.00

Piano Quartet No. 2 OCR978-0-19-355347-712’Violin, viola, cello, piano£25.00

Quintet OCR978-0-19-355380-411’Cor anglais, clarinet (+bass clarinet), piano, cello, double bass£30.00

Sextet OCR978-0-19-355377-48’Clarinet, bass clarinet, trumpet, double bass, 2 marimbas, piano£25.00

Six Marches for String Quartet OCR978-0-19-355352-115’String quartet£12.00

Ø (symbol) for piano quartet OCR978-0-19-355381-17’Violin, viola, cello, piano £15.00

Things that gain by being painted OCR978-0-19-355339-2 20’Singer, speaker, cello, piano£25.00

BerkeleyInner Space OCR978-0-19-335891-15’Flute solo£4.00

Last Breath OCR978-0-19-335892-85’Flute and harp£7.50

We wait for thy loving kindness, O God OCR978-0-19-350462-26’SATB and organ£3.50

ChilcottCrescent City Magnificat OCR 978-0-19-335978-97’Children’s chorus, piano, bass guitar, xylophone, congas£7.50

High Flight OCR978-0-19-336378-67’SATB and male-voice choir (AATBarBarB) unaccompanied£3.50

The Modern Man I Sing OCR978-0-19-335977-27’SATB unaccompanied£7.50

ErkorekaRondó OCR978-0-19-336276-510’Bass clarinet, violin, viola, cello, piano£10.00

Yidaki OCR978-0-19-336277-210’Baritone saxophone solo£4.00

Finnissy Liturgy of Saint Paul OCR978-0-19-336379-330’Counter-tenor, 2 tenors, baritone, and chamber organ£14.00

Multiple Forms of Constraint OCR978-0-19-335674-08’2 violins, viola, cello£25.00

Fox (arr. Philip Lane) Carol Fantasia8’Orchestra:2.2.2.2-4(or2).2.3.1-timp-2perc.hp.pno/cel(opt)-strScore and parts on hire

JacksonPiano Sonata OCR978-0-19-335997-015’Piano solo£9.00

The Spacious Firmament OCR978-0-19-336323-6 (vocal score); 978-0-19-336321-2 (brass parts)11’SATB, organ, brass quintet£12.00 (vocal score); £10.00 (brass parts)

String Quartet No. 3: Llanandras Melodies OCR978-0-19-335955-04’String quartet£9.00

To Morning978-0-19-336177-52’SSATB (with divisions) unaccompanied£1.80

LarsenPsalm 121 OCR978-0-19-386364-49’SSSAAA unaccompanied£4.50

Slang OCR978-0-19-386036-013’Violin, clarinet, piano£25.00

String Symphony OCR978-0-19-386083-425’String orchestra, comprising violin I, violin II, viola, cello, contrabass£12.00 (score)

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

sales@goodmusicpublishing.co.uk

A wide selection of orchestral accompaniments to Christmas carols, as well as many other festive musical gems, are available from the Hire Library www.oup.co.uk/music/hire/xmas

McDowall

Magnificat978-0-19-335948-2 (vocal score)28’SATB, soprano and mezzo-soprano solos, and chamber orchestra/piano£8.95 (vocal score)Orchestral material is available on hire:0.2(2+ca).0.1-str

Musorgsky ed. David Lloyd-JonesSt John’s Night on Bare Mountain13’Orchestra: picc.2.2.2.2-4.2cornets.2.4.0-timp-perc-strScore and parts on hire

RutterI wish you Christmas978-0-19-336492-93.5’SATB and piano/orchestra£2.70 (vocal score)Orchestral material is available on hire:2.1.2.1-2.0.0.0-perc-hp-str

New Year978-0-19-335939-0 (vocal score)4’SATB and organ/orchestra£2.10 (vocal score, published 2007)Orchestral material is newly available on hire:2.1.2.1-2.0.0.0-hp-str

To every thing there is a season978-0-19-336275-8 (vocal score)5’SATB and piano/orchestra£2.70 (vocal score, published 2007)Orchestral material is available on hire:2.1.2.1-2.0.0.0-tubular bells-hp-str

Winchester Te Deum978-0-19-335689-4 (vocal score, published 2007)7’SATB and organ, or organ with 5-part brass ensemble/orchestra£4.95 (vocal score)Orchestral/Brass accompaniments are newly available on hire:Brass: 1.2.1.1-timp(opt.)-perc(opt.)-orgOrchestra: 2.2.2.2-4.3.2.btbn.1-timp-2perc-hp-str

SkemptonLamentations OCR978-0-19-336380-915’Bass voice and theorbo£9.00

Plain Sailing OCR978-0-19-336322-92’Piano duet£4.00

TannThe Cresset Stone OCR978-0-19-385954-89’Violin solo£5.00

Duo OCR978-0-19-385848-010’Oboe and viola£4.00

From the Song of Amergin OCR978-0-19-386006-310.5’Flute, viola, harp£15.00

Songs of the Cotton Grass OCR978-0-19-336454-720’Soprano and oboe (or other melody instrument)£8.00

WaltonREMINDERWalton Edition Volume 19General Editor: David Lloyd-Jones

Chamber MusicEdited by Hugh MacdonaldThis volume presents new editions of all Walton’s chamber music, including the first publication on sale of the Toccata for Violin and Piano, String Quartet, and Tema (per Variazioni) per ‘Cello Solo978-0-19-368317-4

Contents: Quartet for Violin, Viola, Cello, and Piano; String Quartet (1922); Toccata for Violin and Piano; String Quartet in A minor; Sonata for Violin and Piano; Two Pieces for Violin and Piano; Tema (per Variazioni) per ‘Cello Solo; Passacaglia for Violincello Solo; Passacaglia for Violoncello Solo (ed. M Rostropovich)£125.00

Wilberg

Requiem978-0-19-380454-840’Mezzo-soprano and baritone soli, SATB, and orchestra£9.95 (vocal score)Orchestral material is available on hire:3(3+picc).2(2ca).2.2-4.0.0.0-cel/glock-hp.pno.org(opt.)-str

OxfordMusicNow OxfordMusicNow

15

OxfordMusicNowOxfordMusicNow

Oxford University Press

UKRepertoire Promotion:

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

David Wordsworth, Head of PromotionAnwen Greenaway, Promotion ManagerLaura Mizon, Choral Promotion Specialist Naomi Burgoyne, Promotion Assistant

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

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

To order music, please contact:Oxford University Press, Music Group, Saxon Way West, Corby NN18 9ESTel.: +44 (0)1536 454 590Fax.: +44 (0)1536 454 577E-mail: music.orders.uk@oup.com

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