madonna of winter and spring, 28.01.2012, bbcso

Broadcast live in ‘BBC Radio 3 Live in Concert’ and available for seven days via the BBC iPlayer.

TOTAL IMMERSIONJONATHAN HARVEY

SATURDAY 28 – SUNDAY 29 JANUARY 2012

BBCSO9 Harvey 29Jan FINAL.indd 1 23/01/2012 17:52

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TOTAL IMMERSION

JONATHAN HARVEYSATURDAY 28 – SUNDAY 29 JANUARY

SATURDAY 28 JANUARY

11.00AM FILM SILK STREET THEATRE

Towards and Beyond: A Portrait of Jonathan HarveyThe world premiere of a new documentary film by Barrie Gavin, introduced by the director. UK, 2011, dir. Barrie Gavin, 48’

Admission by free ticket only. Limited availability but admission guaranteed with a Day Pass

1.00PM CONCERT BARBICAN HALL

Jonathan HarveyVersTombeau de MessiaenTranquil AbidingSongs of Li PoCalling Across Time

Guildhall Chamber OrchestraRichard Baker conductorJames Kreiling pianoMarta Fontanals-Simmons mezzo-sopranoGuildhall Electronic Music Studios sound projection

Programme notes: page 8

DIARY


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3.30PM FILM AND TALK SILK STREET THEATRE

Madonna of Winter and SpringProfessor Jonathan Cross (Oxford University) talks about Jonathan Harvey’s music and introduces the works in tonight’s two concerts; includes a short film introduction to Harvey’s Madonna of Winter and Spring.

Admission by free ticket only. Limited availability but admission guaranteed with a Day Pass

6.00PM CONCERT ST GILES CRIPPLEGATE

Jonathan HarveyMarahiForms of Emptiness *Come, Holy Ghost The Royal Banners Forward GoThe AngelsI Love the LordHow could the soul not take flight

BBC SingersDavid Hill conductor* Matthew Hamilton conductor* Tim Murray conductor



Jonathan HarveyBody MandalaMessages London premiereMadonna of Winter and Spring

BBC Symphony OrchestraMartyn Brabbins conductorBBC Symphony ChorusSound Intermedia live electronicsDavid Sheppard • Ian Dearden • Jonathan Green


10.00PM FREE EVENT BARBICAN FOYER

Electronic LateAn exciting collaboration between UK electronic artist Leafcutter John, members of the BBC SO and students from the Guildhall School of Music & Drama. Join them for new music inspired by Jonathan Harvey, with an evocative soundscape, compositions for live electronics and a set from Leafcutter John.

SUNDAY 29 JANUARY

3.00PM–6.00PM STUDY AFTERNOONSILK STREET THEATRE

A chance to explore Jonathan Harvey’s Wagner Dream with Professor Jonathan Cross, Dr Michael Downes and conductor Martyn Brabbins.

Admission is free to tickets-holders for the evening concert. Limited availability, please arrive early to guarantee entry.


Jonathan HarveyWagner Dream UK premiere

BBC Symphony OrchestraMartyn Brabbins conductorSoloistsOrpha Phelan directorCharlie Cridlan designerGilbert Nouno IRCAM computer music designer

Part of the Barbican’s ‘Present Voices’ series


INTRODUCTION

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‘I have the feeling,’ Harvey once said, ‘there’s some new type of music hovering on the horizon, which I can glimpse very fleetingly now and then, and which does seem like a change of consciousness.’ Any dawn, though, is also the return of yesterday, and the newness of Harvey’s music – a material newness of sound, of harmony, of rhythm, of shape and process, as well as an immaterial newness of mind – bites on the tail of an oldness: an oldness of ritual, of music as a spiritual agency, of sound as the radiance of unseen worlds.

The ego-less music to which he looks forward is a renewal of the music of pre-Renaissance Europe, and of cultures still further removed in time and space – particularly those of India, which seem specially sympathetic to a man whose indomitably sunny disposition suggests a gentle serenity (Harvey is never seen but smiling), and to an artist for whom sensuality and spirituality exist in an embrace.

Harvey’s humility and easeful, soft-spoken manner, and the luxuriation of his art, go along with a mental toughness that has led him to take some hard roads. While a student at Cambridge, in the late 1950s, he studied at Britten’s suggestion with Erwin Stein and Hans Keller, who gave him a thorough grounding in the Viennese tradition from Haydn to Schoenberg. Then in 1969–70, when he was 30 and well established as both composer and teacher, he went off to Princeton for a year to learn new lessons in deep musical structure from Milton Babbitt.

Since then he has gone on producing works that refresh, and are refreshed by, the basic musical elements of melody, harmony and timbre. His melodies generally flow (or bounce, for dance is important to him as well) among a relatively small number of fixed notes and, though they trace a long history, they also sound pristine. They closely relate, at the same time, to his harmony, which is often based on symmetrical chords, chords containing the same intervals up and down around a midpoint, as well as on natural overtone spectra. Harmonies of both these kinds easily introduce, as a special case, the triad of familiar tonality, made new by a new context.

As for timbre, Harvey has regularly challenged his orchestral imagination by adding an electronic component that enlarges how instruments can sound, imitate one another and join together. His major work of the mid-1970s was Inner Light, a triptych of pieces for groups of live musicians answering electronic sounds on tape, and he has since worked often at the major computer-music research institution in Paris (IRCAM) and at Stanford University, where he was on the faculty between 1995 and 2000, after 16 years as professor at the University of Sussex. Many of his works – including Madonna of Winter and Spring among those to be heard today – involve electronic transformation of humanly performed sound, as an image of expanding mental capabilities and reaching towards the unknown.

The drive can be the same, though, when the resources are unmodified voices and

NEW DAWNS IN SOUNDAs Paul Griffiths discovers, Jonathan Harvey’s hugely varied influences – from hard-nosed serial technique to Eastern spiritualism, and from the pure human voice to complex electronic manipulations – all lead to the goal of exploring the sensuousness of sound.


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of our own bodies (the sound and rhythm of breathing, for example) and from the physical nature of sound, in particular from the luminous stacking of overtones in the sounds of bells, of voices or of rippling water. Sound, for him, if it is composed aright and heard aright, becomes holy, a gateway.

Whither? Harvey has set sacred and mystical texts from the traditions of Christianity, Islam, Hinduism and Buddhism, but not as an adherent of any. The words or images are there as springboards, as questions to be answered by music, which will present us with questions of its own. In this sound, though, there is light.

Introduction © Paul GriffithsPaul Griffiths is the author of Modern Music and After, recently published in its third edition. His other books include A Concise History of Western Music and The New Penguin Dictionary of Music.

Jonathan Harvey in 2002

instruments. Harvey is one of the great choral composers of our time, and one who finds vocal melody – and vocal harmony – to be vital and inexhaustible, even if his music depends also on the many other things voices can do. He is, too, a virtuoso in his handling of instrumental resources, up to and including the large orchestra of tonight’s 8.00pm concert. Instruments are voices by other means, and their combining is like that of selfless participants in a ceremony, finding ways together to exceed the powers of any individual: to project visionary states of mind, to mediate between opposites (light and dark, improvised and prescribed, sensual and spiritual), and to strike towards new sounds.

Harvey’s ability to find those sounds, through a creative life now spanning half a century, has been consistent. Today’s concerts concentrate on the past decade and a half but have to leave out an oratorio (Weltethos, 2009–11) introduced last October in Berlin (and due to receive its UK premiere this June in Birmingham), various choral, orchestral, ensemble and solo instrumental pieces, and the fourth of his string quartets. These, with similarly varied compositions from earlier in his output, would be enough for a week-long immersion.

The new sounds discovered in all this music are contained in, grounded in, the context of the old. Harvey is indisputably a modernist, whose music is informed by Stockhausen as well as Babbitt, and by the French spectralists of his own generation. At the same time, he has learnt from plainsong and from Buddhist ritual, from the data


TIMELINE

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JONATHAN HARVEY1939Jonathan Harvey born on 3 May in Sutton Coldfield.

1948Chorister at St Michael’s College, Tenbury; later attended Repton School (1952–7), where he meets Benjamin Britten.

1957A student at St John’s College, Cambridge, he begins studies – on the recommendation of Britten – with Erwin Stein (himself a pupil of Schoenberg). Following Stein’s death a year later, Harvey studies with Hans Keller, again following advice from Britten.

1964–77Takes up a position in the Music Department at Southampton University, during which time he writes his first major work, Symphony (1966).

1968First encounters Stockhausen, at Darmstadt.

1969Harkness Fellow at Princeton University, where he studies with Milton Babbitt and begins a monograph on Stockhausen. Enters ‘high modernism’ phase.

1971Develops his use of serial techniques in his Cantata VII, On Vision, which includes a partfor tape.

1973–5Harvey continues to include material on tape in his Inner Light trilogy, largely a response to the writings of Rudolf Steiner and the idea of ‘the expansion of the consciousness towards God’.

1977Arditti Quartet commissions Harvey’s first String Quartet, premiered by the ensemble in Southampton in 1979.

1980Invited to Paris’s research institute IRCAM by Pierre Boulez, where he develops electro-acoustic techniques. Works include: Mortuos plango, vivos voco for eight-channel tape, which features recordings of the bell of Winchester Cathedral and Harvey’s son as boy treble; Bhakti (1982) for chamber ensemble and electronics; and Ritual Melodies (1985/90) for quadraphonic tape.

1981Passion and Resurrection, a church opera in 12 scenes, receives its first performance at Winchester Cathedral and is the subject of a BBC documentary film.


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1986BBC Symphony Orchestra under Peter Eötvös gives the premiere of Madonna of Winter and Spring for orchestra, synthesizers and electronics at the BBC Proms.

1993Sir Mark Elder conducts the first performance of Harvey’s opera Inquest of Love for English National Opera. Harvey is also the recipient of the prestigious Britten Award for composition.

1995Delivers the Bloch Lecture series at University of California, Berkeley. The lectures are published in 1999 under the title In Quest of Spirit: Thoughts on Music.

2000Mothers Shall Not Cry, a commission for the millennium season from the BBC, receives its premiere at the BBC Proms with the BBC SO under Jac van Steen.

2004Buddhist Songs, commissioned by the City of London Festival, is performed at the newly opened LSO St Luke’s venue.

2005–8Appointed Composer-in-Association with the BBC Scottish Symphony Orchestra; the orchestra’s recording (under Ilan Volkov)

of Harvey’s … towards a Pure Land (2005) and Body Mandala (2006) wins a Gramophone award. Speakings (2008) completes his orchestral triptych for the BBC SSO.

2007World premiere in Luxembourg of the opera Wagner Dream, which sees Wagner in his dying moments reflecting upon his unfinished opera Die Sieger (‘The Victors’), on a Buddhist theme.

2009Harvey receives the Prince Pierre de Monaco Composition Prize for Speakings and becomes the first British composer to win the Académie Charles Cros Grand Prix du Président de la République, awarded for a life’s work.

2010–11Harvey wins the St Caecilia Prize of the Belgian Musical Press Union for two consecutive years: in 2010 for a disc of the complete quartets; in 2011 for a recording of Speakings.

2011Commissioned by the Global Ethic Foundation to write a work that celebrates the six great religions of the world, Harvey’s Weltethos, for speaker, large chorus, children’s choir and large orchestra, receives its premiere in Berlin in October with the Berlin Philharmonic under Sir Simon Rattle.

Timeline by Úna-Frances Clarke © BBC


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Jonathan Harvey (born 1939)

Vers (2000)

James Kreiling piano

Harvey’s few piano pieces have tended to be brief homages, like this splash for the 75th birthday of Pierre Boulez, in 2000. As the composer has explained, the French title is used in its two senses of ‘verse’ and ‘towards’; this is a line of musical poetry moving towards a quotation – just three notes – from his Bhakti (1982), a work for mixed ensemble and electronics that Boulez commissioned in the early days of his computer-music institute, IRCAM. Set in a harmonic world flickering with intimations of Messiaen and Scriabin, the work follows an improvisatory course, to end still in the air on a coloured chord of B major.

Tombeau de Messiaen (1994)

James Kreiling piano

Messiaen is in the air here again, of course, though Harvey’s unusual achievement is to create a work that evokes Messiaen – in matters of modality and piano writing – but is not at all pastiche. A certain memorial atmosphere is sometimes present, perhaps particularly in the long reverberations, but Messiaen saw death as the door to new life, and this is a musical obelisk in that spirit. Harvey wrote it in 1994, two years after Messiaen’s demise.

For the first time in today’s concerts we hear electronic sounds, which characteristically represent not so much an alternative realm as a space extending and intersecting with that of the instrumental performance. The recording was made by the composer from piano sounds retuned to the overtone spectra of 12 notes –

BARBICAN HALLJonathan Harvey Vers 4’

Tombeau de Messiaen 9’

Tranquil Abiding 14’

Songs of Li Po 15’

Calling Across Time 16’

Guildhall Chamber OrchestraRichard Baker conductorJames Kreiling pianoMarta Fontanals-Simmons mezzo-sopranoGuildhall Electronic Music Studios sound projection

There will be no interval

Highlights recorded by BBC Radio 3 for broadcast in ‘Hear and Now’ tonight and next Saturday (4 February) at 10.30pm

1.00PM CONCERT


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sounds that will therefore conflict more or less, in many cases, with those of the live piano, sometimes suggesting the tuning systems of non-Western musical cultures.

Often the pianist has to play duets with the recording, frequently in garlands of interpenetrating melody. Joint arpeggios – more jubilant than lamenting – also feature, as well as the occasional grand downward sally of chords. Meanwhile the momentum remains sure, up to and through the spectacular close.

Tranquil Abiding (1998)

In this piece from 1998 Harvey uses a Mozartian orchestra, with the addition only of discreet percussion, and unfolds a soundscape that is at once clearly defined and wide open, personal and universal. Basic to it is something we all share: the rhythm of breathing when at rest – when in ‘tranquil abiding’, to use the Buddhist term that provides the title, a state of centredness. Indeed, this rhythm is more than human, for it may suggest also the rolling of a calm sea.

The low strings rise gently on one chord and fall as gently on another, which often has F in the bass and a sense of D flat major in first inversion. Over this regular but constantly changing pattern, melodies soon start to grow, from single notes to tunes of three notes (at first from the oboes, with a hint of the Near East), then five (violins introduce the first such pattern), eight (oboes again, with piccolo, in an extension immediately emulated by the rest of the woodwind) and 15. About a third of the way through, the breathing rhythm begins to burst into a dancing brilliance, but it is decisively restored at the initiative of the upper strings.

A second crisis arises with the overlay of so many woodwind and brass melodies, and is again resolved. Then the violins and violas set out on their own breathing, settling luminously on

F major. Increasingly the string desks start to breathe as individuals, until another bright shimmer moves the music towards its close. The last breath – surely a living breath, not a dying one – is exquisitely protracted.

Songs of Li Po (2002)

1 Gazing at the Lu Mountain Waterfall2 Night Thoughts at Tung-Lin Monastery on Lu Mountain3 Ching-T’ing Mountain, Sitting Alone

Marta Fontanals-Simmons mezzo-soprano

Mahler set versions of poems by Li Po – the most illustrious poet of a golden age for Chinese poetry, the eighth century – in Das Lied von der Erde and Harvey acknowledges ‘a sideways glance at Mahler’ in having a mezzo-soprano sing for the poet and in introducing pentatonic touches to this work that was first performed by Sarah Connolly

The eighth-century Chinese ‘solitary wanderer’ whose poems Harvey chose for his Songs of Li Po


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and the Northern Sinfonia at the 2002 Aldeburgh Festival. There are further glances towards where the poems originated, not only in the pentatonic elements but also in how the instruments are used. The harpsichord, tuned with quarter-tone adjustments to its F sharps (down) and B flats (up), and employing the buff stop (which alters the tone by pressing leather against the strings), sounds like the Chinese zheng (a zither), ancestor of the Japanese koto, while the string players, who also use quarter-tone tuning, occasionally suggest Chinese fiddles. Completing the orchestra are two percussionists, whose Thai gongs and Caribbean steel pans readily evoke the temple bells to which reference is made in the middle song. All three are mountain songs, and all three find the singer – easily identified with the protagonist of these first-person narratives – firmly centred, within a world whose stirrings are progressively lost in the move from waterfall to temple night to solitude.

After a solo violin has let free the first high jet of the musical cataract, the singer enters chanting on A, then rises to D as central note before returning to A as the song decelerates. The second song hovers between A and B as its focus, until finally it climbs away. The last is almost a monotone chant on G.

‘Li Po,’ Harvey notes, ‘is a solitary wanderer who, with Buddhist detachment and sometimes wry humour, glides through awesome landscapes caring nothing for health or safety. His rapture is one of identification, and the work progresses from the tumultuousness of mountain cascades to the silence of sitting before a mountain and ceasing to be – a transcendent diminuendo.’

For text, see opposite

Calling Across Time (1998)

One of Harvey’s typically evocative titles here particularly suits a work made in 1998 to celebrate the opening of the new British Library building, since a library is a storehouse of voices that call across time. The orchestra is again on a Classical scale, but now joined by a synthesizer and (not only for this addition) producing a very different effect from that of Tranquil Abiding. Matrix and melodies give way to a patchwork design whose elements are often dialogues, whether of soloists or groups, calling to one another (and to us) across time and also across space, in keeping with the seating plan indicated in the score.

The succession of segments flows naturally and openly, and yet a brief synopsis may be helpful. At the start the two horns answer one another from opposite sides of the platform, in an antiphonal arrangement that, together with the basso profundo register, might suggest a liturgy. Also present is the synthesizer, imitating pedal notes on trumpets. This music lifts off to lead into alternating chorales for the two wind groups, punctuated by duets for harps, real and synthesized, and for trumpets, similarly. The main body of the piece follows from here, and includes tuttis, often with colourful spatterings of staccato notes, as well as another real/synthesized duet, this time around the marimba, and a brass moment. Eventually the chorales reappear and the music winds back to where it began. Here and elsewhere it may seem to be calling into a remote past, but perhaps it signals also towards a potential future.

Programme notes © Paul GriffithsPaul Griffiths is the author of Modern Music and After, recently published in its third edition. His other books include A Concise History of Western Music and The New Penguin Dictionary of Music.

For Further Listening and Reading, see page 27

1.00PM CONCERT


1 Gazing at the Lu Mountain Waterfall

Climbing west toward Incense-Burner Peak,I look south and see a falls of water, a cascade

hanging there, three thousand feet high,then seething dozens of miles down canyons.

Sudden as lightning breaking into flight,its white rainbow of mystery appears. Afraid

at first the celestial Star River is falling,splitting and dissolving into cloud heavens,

I look up into force churning in strength,all power, the very workings of Creation.

It keeps ocean winds blowing ceaselessly,shines a mountain moon back into empty space,

empty space it tumbles and sprays through,rinsing green cliffs clean on both sides,

sending pearls in flight scattering into mistand whitewater seething down towering rock.

Here, after wandering among these renownedmountains, the heart grows rich with repose.

Why talk of cleansing elixirs of immortality?Here, the world’s dust rinsed from my face,

I’ll stay close to what I’ve always loved,content to leave that peopled world forever.

Songs of Li Po

2 Night Thoughts at Tung-Lin Monastery on Lu Mountain

Alone, searching for blue-lotus roofs,I set out from city gates. Soon, frost

clear, Tung-Lin temple bells call out,Hu Creek’s moon bright in pale water.

Heaven’s fragrance everywhere pureemptiness, heaven’s music endless,

I sit silent. It’s still, the entire Buddha-realm in a hair’s-breadth, mind-depths

all bottomless clarity, in which vastkalpas begin and end out of nowhere.

3 Ching-T’ing Mountain, Sitting Alone

The birds have all vanished into deepskies. The last cloud drifts away, aimless.

Inexhaustible, Ching-T’ing Mountain and Igaze at each other, it alone remaining.

from ‘The Selected Poems of Li Po’, translated by David Hinton. Used by permission of New Directions Publishing Corp.

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1.00PM CONCERT


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Marahi (1999)

Elizabeth Poole sopranoMargaret Cameron altoJennifer Adams-Barbaro speaker

Harvey started his musical life as a choirboy at a major Anglican institution – St Michael’s College, Tenbury – and again and again he has gone back to that formative world, to renew it with widening possibilities discovered later and elsewhere. What remains at the core is a sense of the choir as participating in a ceremonial, of choral music as sacred.

Written in 1999 for the vocal ensemble of South-West German Radio, Marahi is normally in eight parts and has a title compounding two names, those of the mother of Jesus and of the Hindu-Buddhist deity Varahi. The overlapping of prayers addressed to each of them – Latin hymns and antiphons associated with the Virgin Mary and Sanskrit sutras for Varahi – comes from Harvey’s vision of them as different forms of ‘the Divine Feminine’. This is, therefore, one of many works by him (Madonna of Winter and Spring, performed later this evening, is another) that seek to reidentify music as female, with implications not only for subject matter but also for harmony, rhythm and form, all of which may be more ambiguous, more accommodating, less driven, sure and assertive.

Melding two sacred personages in a single goddess, the work also brings together three realms of being in which the goddess’s love is active: angelic, human and animal.

The first is marked by ringing triads: those of D major (in the women’s voices) and E flat major (in the men’s) together at the start, with chords of E flat, D and A major shining through alone later, A major (from the men) and E flat major (from the women) being hurled at each other as

ST GILES CRIPPLEGATEJonathan HarveyMarahi 10’

Forms of Emptiness * 13’

Come, Holy Ghost 6’

The Royal Banners Forward Go 4’

The Angels 5’

I Love the Lord 5’

How could the soul not take flight 10’

BBC SingersDavid Hill conductor* Matthew Hamilton conductor* Tim Murray conductor

For texts, see pages 16–22

There will be no interval

Highlights recorded by BBC Radio 3 for broadcast in ‘Hear and Now’ tonight and next Saturday (4 February) at 10.30pm

6.00PM CONCERT


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the piece comes to its spectacular culmination. Meanwhile, the human sphere is distinguished by melodies, often looping around a fixed group of pitches (as in Tranquil Abiding, a work close in date to this – and there is a connection, too, with Songs of Li Po in the use of particular quarter-tones in making non-standard modes), besides displaying Harvey’s prowess as a melodist. The animal realm of grunts and growls and other noises, less frequently invoked, nevertheless makes its effect, and touchingly insists on a place for laughter at the altar.

Forms of Emptiness (1986)

Neil MacKenzie speakerEmma Tring, Sarah Dacey sopranosCharles Gibbs, Jamie W. Hall basses

There are cross-cultural connections again in this piece, intended for James Wood and his New London Chamber Choir, and setting the Heart Sutra and three poems by e. e. cummings. On a musical level of mingling, it brings together the largely monotone chant in which the sutra is delivered and the triadic homophony accorded the cummings, which Harvey thus surprisingly embraces into the Anglican cathedral tradition.

The sutra, probably the best known of Buddhist sacred writings, is not only sung in the original Sanskrit by two bass voices throughout the piece but also – in interludes that punctuate the poems – spoken in English, as at one point from which the work takes its title: ‘form is emptiness and the very emptiness is form’. It is a view with which cummings would concur, imagining in the first poem a blazing sound that ‘turns / houses to / people and streets / into faces and cities / to eyes’, or advising in the second: ‘seeker of truth / follow no path’.

Clangour in the first poem is realised as largely non-synchronised singing from the three

choirs into which most of the singers (excluding only the two sutra basses) are disposed. The single words of the second poem’s opening become separate chords of more complex character, forming a short middle section. Then the remainder of this poem flows into the final sonnet in a discourse of wonder and dance. The last words, though, are the sutra’s.

Come, Holy Ghost (1984)

Emma Tring, Margaret Feaviour sopranosEdward Goater tenorStephen Charlesworth baritone

Tracking through time, this piece begins by delving into the most ancient choral music that has been preserved by notation in Europe, plainchant, and gradually fans out from there to engage with much more recent ages in its non-tonal melodies and chords, as well as its free textures in which

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The Hindu goddess Varahi – one of the dual inspirations, along with the Virgin Mary – for Harvey’s Marahi


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individual singers and groups follow their own courses. Meanwhile, the music of 1,000 years ago remains always present, shaping the lines and resonating in the background.

The millennial chant is that for the hymn Veni, Creator Spiritus, which John Cosin, a 17th-century bishop of Durham, translated for Anglican use as ‘Come, Holy Ghost’ and made sure found a place in the 1662 Book of Common Prayer. Setting Cosin’s version, Harvey has the first verse sung by a soloist to its traditional melody, in F with a flattened leading note. Leaving aside this E flat, the melody’s other notes are gently sustained by the choir to build up a five-note chord (F–G–B flat–C–D), effectively strengthening the reverberation one might hear in a great cathedral. (Harvey wrote the piece in 1984 for a performance in Winchester Cathedral, with which he began a close association in the mid-1970s.)

The music is, Harvey says, based on this chord throughout ‘and reflects the floating rhythms of plainchant’. Each new verse introduces a new technique, without the old being lost: four-part canon, choral harmony with solo decoration, and dispersal of voices – in other words, polyphony, homophony and heterophony. Then everyone comes together to voice praise.

The Royal Banners Forward Go (2003)

Margaret Feaviour soprano

The larger works in this concert were not made to fit any act of worship; rather they could all be understood – even Come, Holy Ghost, which sets a Christian liturgical text – as acts of worship in themselves. With this piece, though, we move to Harvey’s additions to the regular repertoire of (suitably proficient) church choirs. He wrote it for that of St John’s College, Cambridge, setting the

ancient hymn Vexilla regis prodeunt, as translated by the Victorian hymn writer J. M. Neale.

Perhaps the idea of going forth encouraged Harvey to go fourth, for the piece is a study in that interval. The basic motif is a scalewise rise through a fourth, as at the opening, and this is consistently harmonised in fourths, whether by the lower pair of voices or the upper. Thus ascending, the gesture itself ascends by degrees, until, now and then, all four voices come together, the first such place being the magical sustained euphony of minor thirds on ‘glow’. The apostrophe to the ‘Tree of glory’ turns the motif upside down, beginning a more emphatic middle section, after which the music resumes its initial state. A high-flying soprano soloist emerges towards the close.

The Angels (1994)

This second Cambridge anthem was Harvey’s contribution to the annual Christmas Eve service of lessons and carols at King’s College, setting words by John V. Taylor, the former bishop of Winchester with whom he had collaborated before. The piece is for two four-part choirs, of which the second, humming almost throughout, oscillates between two chords in an image of calm breathing such as was found in Tranquil Abiding and will appear again in Messages (there, too, in an angelic context). Though this is not quite the ‘one chord of limitless communication’ mentioned in the text, one might imagine the quiet wordless thrum as that of the angels, contemplated by the first choir in phrases that are at first tentative and then increasingly confident. These phrases are often imitated from voice to voice in short canons, but come together on key words and statements.

6.00PM CONCERT


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I Love the Lord (1976)

Emma Tring, Elizabeth Poole sopranosJacqueline Fox altoRobert Johnston tenorMichael Bundy bass

Harvey wrote this piece for the Winchester Cathedral choir in 1976, close to the beginning of his involvement with that institution; it was, he has said, ‘the fruit of listening to the choir singing the liturgy week after week’.

Setting verses from Psalm 116, the piece is ready itself to serve that liturgy, as an anthem. Not entirely paradoxically, conventional expressive figures – adoring, imploring – feature here much more than in Harvey’s self-created rituals. To one of these figures he has himself drawn attention, noting that ‘a G major chord sounding through most of the anthem depicts the joyful love and irrepressible faith of a soul that clings to its Lord despite its suffering and anguish’.

How could the soul not take flight (1996)Olivia Robinson, Margaret Feaviour sopranosAndrew Murgatroyd, Neil MacKenzie tenors Charles Gibbs bass

Many threads are drawn together in this work for double choir, written in 1996 for the National Youth Choir of Great Britain, who gave its first performance in Fiji that summer. There are the modal but floating melodies that move among a few notes, and there is the instinct that singing should be a kind of dancing. The text is from Rumi by way of the poet/mystic Andrew Harvey, and – as in other works we have heard today – words are mixed with consonants and other non-verbal, or pre-verbal, sounds. Enriched triads also appear, and long drones.

From the poem comes a setting in four sections, each of which starts out (after a brief introduction in the case of the first) with basses intoning a low F to begin a ‘how’ question. The choral scoring is imaginative, illustrative and playful, responsive in all these ways to the words. As the imagery of flight takes hold again towards the end, the voices slowly and steadily ‘leave behind the stagnant and marshy waters’ – of dissonance and of words – to settle on F, now brilliant across four registers.

Programme notes © Paul GriffithsPaul Griffiths is the author of Modern Music and After, recently published in its third edition. His other books include A Concise History of Western Music and The New Penguin Dictionary of Music.

For Further Listening and Reading, see page 27

6.00PM CONCERT


1 [Angelic realm]Om söbhawa shudda sarwa dharma söbhawa shuddo hamDrone: Om ah vajra adarshe humSpoken: Everything becomes emptiness!

2 [Human realm]Ave Regina caelorum, Ave Domina angelorum: Salve radix, salve porta, ex qua mundo lux est orta.Drone: Ave Sancta Dei Genitrix, Sancta Virgo virginum

3Om namo bhagawati vajra varahi bam hum hum phat

Drone: Mater divina gratiae, Mater creatoris.

4 [Animal realm]Mater salvatoris.

5 Salve Regina, Mater misericordiae et spes nostra, salve.

Drone: Hum hum hum phat phat phat

6O clemens, O pia, O dulcis Maria.Drone: Ora pro nobis.

7Om ahrgham partitza söhaom padäm partitza söhaom vajra pupe ah hum söhaom vajra dhupe ah hum söha

Drone: om ah vajra adarshe hum

Marahi

All phenomena, including the visual object of the offering, lack inherent existence.Bless the offering of indestructible form.

Hail, Queen of the heavens; hail, Lady of the angels: hail root, hail gate, from whom light has arisen for the world.Hail, holy Mother of God, holy Virgin of virgins.

I prostrate myself to Vajravarahi, the Blessed Mother. Please dissolve outer and inner obstacles.

Divine Mother of grace, Mother of the Creator.

Mother of the Saviour.

Hail Queen, Mother of mercy, and our hope, hail.

Dissolve all obstacles, outer, inner and secret with the blessings of your body, speech and mind.

O merciful, O devout, O sweet Mary,Pray for us

Bless the offering of drinking water, bathing water, flowers and incense, and help me build the formation of all attainments.

Bless the offering of indestructible form.

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8 [Animal realm]Drone: Om ah vajra wini hum

9Mater inviolata,Mater amabilis,Rosa mystica,Stella matutinaRefugium peccatorum,Regina angelorum

Drone: Om vajra diweom vajra gandhe ah hum söhaom vajre newideom vajra shapta ah hum söha

10Om om om sarwa buddha dakiniyevajra warnaniye vajra berotzaniyehum hum hum phat phat phat söha

Drone:Mater purissima,Mater castissima,Mater inviolata,Mater intemerata

Spoken: Venerable mother Dakinis, clear-light mind, body and speech of all Buddhas, grant me your blessings so that I may attain a Buddha’s mind, body and speech, having great bliss inseparable from emptiness.

May your body, speech and mind bless the offering of sound.

Inviolate Mother,adorable Mother,mystic Rose,morning Star,refuge of sinners,queen of angels.

May your body, speech and mind bless the offerings of light, perfume, food and music, and help me build the foundations of all attainments.

O Trust, Enjoyment and Emanation Bodies of all Buddhas, clear-light Mind Dakini, indestructible Speech Dakini, indestructible Speech Dakini, indestructible From Dakini, please grant your blessings, pacify all obstacles and help me build the foundations of all attainments.

Most pure Mothermost chaste Mother,inviolate Mother,unsullied Mother.

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11Virgo prudentissima, quo progrederis, quasi aurora valde rutilans? Filia Sion tota suavis es et formosa: pulchra ut luna, electa ut sol.

Drone: Om namo vajra varahi maha yogini kame shöri khage hum

Spoken: When the most wise Virgin, who birthed Joy in the worlds, went above all the spheres and left the stars beneath in gleaming radiant light, she was surrounded by the nine-fold ranks and received by the nine hierarchies. You who inhabit eternally the dazzling lights of heaven – you archangels, you leaders of the spirits and angels, you thrones of princes, holy armies and powers, you dominions of heaven, fiery cherubim and seraphim, created from the Word – say whether such a feeling of joy has ever overwhelmed you as when you saw the assembly of the Mother of the Everlasting Almighty!

Drone: Hum hum phat shumtaya gyana vajra söbhawa ämako hum

Texts from traditional Latin Marian antiphons, hymns and the litany of Loreto; traditional Sanskrit Buddhist prayers and offerings to the goddess Varahi (English translation of the Sanskrit by the composer); English adaptation of the Renaissance Hymn to the Virgin, ‘Virgo prudentissima’, by Andrew Harvey (© 1996 by Andrew Harvey from ‘Mary’s Vineyard’, Quest Books, 1996).

Virgin most wise, where do you go, shining as the dawn? O Daughter of Sion, all sweet and beautiful thou art: fair as the moon, elect as the sun.

I bow to Vijravarahi, the Great Mother, the Dakini consort who fulfils all desires.

I become the Truth Body of inseparable bliss and emptiness

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Om namo BhagavatyaiArya Prajnaparamitayai!

!hopefaith!!lifelove!

bells cry bells(the sea of the sky isablaze with theirvoices) all

shallbe and wasare drowned byprodigious a now of magnificent

sound (whichmakes this whenworld squirm

turnshouses topeople and streetsinto faces and cities

to eyes) driftbells glideseetheglow

(undering proudlyhumbly overing)all bright allthings swim climb minds

(downslowly swoop wholly

upleaping through merciful

sunlight) toburst ina thunder of oneness

dream!!joytruth!!soul

Arya Avalokitesvaro bodhisattvo gambhiram prajnapara mitacaryam caramano vyavalokayati sma: panca-skandhar tams ca svabhavasunyan pasyati sma.

Avalokita, The Holy Lord and Bodhisattva, was moving in the deep course of the Wisdom which has gone beyond. He looked down from on high, He beheld but five heaps, and he saw that in their own-being they were empty.

silence.isa lookingbird: the

turning; edge, oflife

(inquiry before snow

iha Sariputra rupam sunyata sunyataiva rupam, rupan na prithak sunyata sunyataya na prithag rupam, yad rupam sa sunyata ya sunyata tad rupam; evam eva vedana-samjna-samskara-vjnanam.

Forms of Emptiness

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Here, O Sariputra, form is emptiness and the very emptiness is form; emptiness does not differ from form, form does not differ from emptiness; whatever is form, that is emptiness, whatever is emptiness is form, the same is true of feelings, perceptions, impulses and consciousness.

seeker of truth

follow no pathall paths lead where

truth is here

how many moments must (amazing eachhow many centuries) these more than eyesrestroll and stroll some never deepening beach

locked in foreverish time’s tide at poise,

love alone understands: only for whomi’ll keep my tryst until that tide shall turn;and from all selfsubstracting hugely doomtreasures of reeking innocence are born.

Then, with not credible the anywhereeclipsing of a spirit’s ignoranceby every wisdom knowledge fears to dare,

how the(myself’s own self who’s)child will dance!

And when he’s plucked such mysteries as mendo not conceive – let ocean grow again

prajnaparamita maha-mantro maha-para sangate bodhi svaha. iti prajnaparamita-hridayam samaptam. gate gate paragate para samgate bodhi svaha. vidya-mantro ‘nuttava-mantro’ samasama-mantrah, savva-duhkha-prasamanah, satyam amithyatvat. prajnaparamitayam ukto mantrah. tadyatha: gate gate paraagate

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6.00PM CONCERTGone, gone, gone beyond, gone altogether beyond, O what enlightenment, all hail.

para samgate bodhi svaha. iti prajnaparamita-hridayam samaptam. gate gate paragate para samgate bodhi svaha.

Gone, gone, gone beyond, gone altogether beyond, O what enlightenment, all hail.

Poems by e. e. cummungs reprinted by permission. English translations from the ‘Heart Sutra’ based on those of Edward Conze.

Come, Holy Ghost

Come, Holy Ghost, our souls inspire,And lighten with celestial fire;Thou the anointing Spirit art,Who dost thy sevenfold gifts impart.

Thy blessed unction from aboveIs comfort, life, and fire of love;Enable with perpetual lightThe dullness of our blinded sight.

Anoint and cheer our soiled faceWith the abundance of thy grace;Keep far our foes, give peace at home;Where thou art guide no ill can come.

Teach us to know the Father, Son,And thee of Both to be but OneThat through the ages all alongThis may be our endless song,

Praise to thy eternal merit,Father, Son and Holy Spirit.

Text by Bishop J. Cosin, based on the hymn ‘Veni, Creator Spiritus’


The Royal Banners Forward Go

The royal banners forward go,The cross shines forth in mystic glow;Where he in flesh, our flesh who made,Our sentence bore, our ransom paid.

There, whilst he hung, his sacred side By soldier’s spear was opened wide, To cleanse us in the precious flood Of water, mingled with his blood.

Fulfilled is now what David toldIn true prophetic song of old,How God the heathen’s King should be;For God is reigning from the Tree.

O Tree of glory, Tree most fair,Ordained those holy limbs to bear,How bright in purple robe it stood,The purple of a Saviour’s blood.

Upon its arms, like balance true,He weighed the price for sinners due,The price which none but he could pay,And spoiled the spoiler of his prey.

Original Latin text by Venantius Fortunatus (c530–c600/c609), translated by J. M. Neale (1818–66)

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6.00PM CONCERTThe Angels

Should you hear them singing among starsOr whispering secrets of a wider world,Do not imagine ardent, fledgling children;They are intelligences old as sunriseThat never learnt right from left, before from after,Knowing but one direction, into God,But one duration, now.

Their melody strides not from bar to bar,But, like a painting, hangs there entire,One chord of limitless communication. You have heard it in the rhythms of the hills,The spiralling turn of a dance, the fall of words,The touch of fingers at the rare, right moment,And these were holy, holy.

Text © John V. Taylor (1914–2001). Reproduced by permission of Faber Music Ltd.


TI_PROG_AD_23JANol.indd 1 23/01/2012 16:55

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I love the Lord, because he hath heard my voice and my supplications.Because he hath inclined his ear unto me, therefore will I call upon him as long as I live.The sorrows of death compassed me, and the pains of hell gat hold upon me: I found trouble and sorrow.Then called I upon the name of the Lord;O Lord, I beseech thee, deliver my soul.

Return unto thy rest, O my soul; for the Lord hath dealt bountifully with thee.For thou hast delivered my soul from death, mine eyes from tears, and my feet from falling.I will walk before the Lord, in the land of the living.

Psalm 116, vv. 1–4, 7–9

How could the soul not take flightWhen from glorious presenceA soft call flows sweet as honey, comes right up to herAnd whispers, ‘Rise up now, come away.’How could the fish not jumpImmediately from dry land into waterWhen the sound of water from the oceanOf fresh waves springs to his ear?How could the hawk not fly awayForgetful of all hunting to the wrist of the kingAs soon as he hears the drumThe king’s baton hits again and again,Drumming out the signal of return?How could the Sufi not start to dance,Turning on himself, like the atom, in the sin of eternity,So he can leap free of this dying world?Fly away, fly away, bird, to your native home,You have leapt free of the cage,Your wings are flung back in the wind of God.Leave behind the stagnant and marshy waters,Hurry, hurry, hurry, O bird, to the source of life!

Jalal al-Din Rumi (1207–73), translated by Andrew Harvey

6.00PM CONCERTHow could the soul not take flight

I Love the Lord


TI_PROG_AD_23JANol.indd 1 23/01/2012 16:55BBCSO9 Harvey 29Jan FINAL.indd 23 23/01/2012 17:52

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Body Mandala (2006)

A mandala (the Sanskrit word means ‘circle’) is a diagram with no explicatory text, a map of no known place. It may be a focus of meditation or a ritual object, and it may have any of many forms: a painting, a design made with coloured sand. Geshe Kelsang Gyatso, a Tibetan teacher working in England since the 1970s, sees the human body as potentially a mandala, and Harvey takes an epigraph for this work from his book Modern Buddhism: ‘… reside in the mandala, the celestial mansion, which is the nature of the purified gross body’.

Body Mandala was composed in 2006, under circumstances Harvey describes in the score:

I was in North India in 2006, where I witnessed purification rituals in Tibetan Buddhist monasteries. This work is influenced by those experiences. The famous low horns, tungchens, the magnificently raucous four-note oboes, gelings, the distinctive rolmo cymbals – all these and more were played by the monks in deeply moving ceremonies full of lama dances, chanting and ritual actions. There is a fierce wildness about some of the purifications, as if great energy is needed to purge the bad ego-tendencies. But also great exhilaration is present. And calm.

The body, when moved with chanting, begins to vibrate and warm at different chakra points and ‘sing’ internally. As it were, ‘lit up’ with sound.

Massive, totemic, the work begins with a deep bass A flat, throbbing in trombones and other instruments, with some of its overtones enhanced – notably the discordant D, yelled by trumpets and oboes. From this a hot clarinet solo

BARBICAN HALLJonathan Harvey Body Mandala 13’

Messages London premiere 25’

Interval: 20 minutes

Madonna of Winter and Spring 37’

BBC Symphony OrchestraMartyn Brabbins conductorBBC Symphony ChorusSound Intermedia sound projectionDavid Sheppard • Ian Dearden • Jonathan Green

Recorded by BBC Radio 3 for broadcast in ‘Hear and Now’ tonight and next Saturday (4 February) at 10.30pm

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bursts out, ignoring the strict time with which brass and woodblock attempt to snare it. Perhaps this is a departing ‘ego-tendency’, or perhaps a first streak of enlightenment, but it is soon overtaken by a return of the low A flat, another clarinet solo, and another return to the far bass, longer now and stepping up before the clarinet makes a third breakaway, this time to be joined by bass clarinet and piccolo. Extended again, in a passage of rapturous orchestration, the deep bass foundation is taken on a journey up through the registers to the very peak. Divided violins inhabit this realm, and the piccolo with super-high piano and harp, also shaking Tibetan cymbals, shortly before a hitherto unheard voice, that of the high trumpet in D, starts out on a solo. The final moments find space for lively solos within the orchestra’s time flow and illuminate a harmonic spectrum on A, until a final slide down takes us into new territory, unexplored, off the map.

Programme note © Paul GriffithsPaul Griffiths is the author of Modern Music and After, recently published in its third edition. His other books include A Concise History of Western Music and The New Penguin Dictionary of Music.

Messages (2007) London premiere

BBC Symphony Chorus

The messages conveyed by this work – composed for the Berlin Radio Choir, who gave the first performance in 2008 with the Berlin Philharmonic – are the names of messengers: those messengers of God who are the angels of Judaism, Christianity and Islam, among whom Harvey lists also the Buddhist divine being Kwanyin. All through the work the paradisial roll call goes on, the names most often being intoned on a crescendo chord (for the first and any middle syllables) followed by a decrescendo one

(for the last) – that is, with the same rhythm of breathing as formed the basis for Tranquil Abiding at the start of today’s celebration (and that haunts also the smaller angel piece Harvey wrote in 1994 for King’s College). The resting position of this rhythm is even the same now as in Tranquil Abiding, a relaxation from a first-inversion chord of E flat major to one of D flat major, a gesture which in Harvey’s music seems to have a particular feeling of peace. This is how Messages begins, and this is how it ends.

Angels have their home in heaven, and Harvey follows a widespread tradition – avouched by the Koran, by Talmudic writings and by Christian authors – that the latter is sevenfold. The work duly unfolds through seven linked sections, irregular in length: the fifth heaven, for instance, is traversed in half a minute, while the first and last, each occupying almost a third of the piece, have more the spaciousness of eternity.

The orchestra has no violins but a strong group of lower strings and also a glittering

R.u

.S. M

icha

ud/a

kg-im

ages

A 12th-/13th-century sculpture of the goddess of mercy Kwanyin, one of the named angels in Harvey’s Messages


26

collection of resonant instruments: piano, celesta, two harps, cimbalom, tubular bells, small tuned cymbals and glockenspiel. All these (and the woodwind and trumpets) rush around the voices at the beginning, the jangling tones of the cimbalom giving the music a quite special flavour. After a while the orchestral activity almost evaporates, to leave the choir with just a light texture of strings and percussion. The choral harmonies begin to climb, the orchestra to build back, and the eight strata of the choir to move independently. Harvey marks the start of ‘second heaven’ towards the end of this process, which continues until the singers are in their top registers.

What follows is whispered, shadowy, until, in ‘third heaven’, the slowly oscillating chords recommence and the choir is split into two factions, urging each other on as the tempo quickens. Again there is a crisis point, after which solemn trombones lead the way to ‘fourth heaven’, where angel names are sprung by small choral groups against a jazzy accompaniment. The singers then come together for a chorale with brass for ‘fifth heaven’, ending with a blaze of triumph that goes on into ‘sixth heaven’: a whirl and a stretch of choral polyphony with strings. ‘Seventh heaven’ seems to take up just before ‘first heaven’ left off, lifting off towards the vocal extremities, but then subsiding – or is it rising by other means? – to the slow respiration of chords, the dissolving of words, and the dissolving of everything.

Programme note © Paul Griffiths

For text, see page 28

INTERVAL: 20 minutes

Madonna of Winter and Spring (1986)

Sound Intermedia live electronicsDavid Sheppard • Ian Dearden • Jonathan Green

Clive Williamson, Stephen Betteridge synthesizers

Madonna of Winter and Spring, for orchestra, synthesizers and electronics, was commissioned by the BBC Proms and composed in honour of Mary, mother of Jesus. The piece portrays the action of her soft, yielding influence on forces which are assertive, brutal or despondent. The last 15 minutes or so belong to her, but her ‘touch’ is felt from time to time throughout. There are four mains sections: ‘Conflict’, ‘Descent’, ‘Depths’ and ‘Mary’.

‘Conflict’ opens with seven crashes interspersed with something like monstrous breathing. These seven chords supply the harmony of the work almost exclusively: the material is taken from these pitches in their fixed octave positions. ‘Depths’, however, puts them all down a minor ninth, and ‘Mary’ puts them all up a minor ninth. ‘Conflict’ introduces the 20 ‘melodies’ which dominate most of the piece. Some are more like gestures or figures for ostinatos than melodies; they form a chain in which each ‘primary’ melody is separated from its neighbour by a more busy one, which is the result of adding two neighbours together: A, AB, B, BC, C, CD, and so on, the last one leading back to the first. So a circular chain is available for the melodic argument to modulate along, or to jump across.

Often these ambiguous melodies are combined, either in developmental counterpoint (as in ‘Conflict’) or in texture-polyphony, in which many melodies make a web of weaving colours, played mostly by solo violins. ‘Conflict’, then, is mostly concerned with thematic working; that is to say, it uses comparatively memorable figures which are played off against each other to effect

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argument and the discourse of development.‘Descent’ follows a swirling and battering

climax at the end of ‘Conflict’. It is simply a single element (an augmented triad) from one of the seven harmonies, which slowly descends from high to low, effecting a change of consciousness-gear from ‘argument’ to inwardness. It sinks to ever darker sounds, largely played on the synthesizers, with only minimal orchestral participation. ‘Descent’ is essentially a transition to the next section, ‘Depths’.

Nearly all the sounds in ‘Depths’ are low, and the top notes remain rigidly frozen on pedal Es and Fs above the middle C (the axis around which the entire harmony mirrored itself in ‘Conflict’). One might describe this as music in a state of hibernation, remembering past melodies without moving a limb.

The final section, ‘Mary’, is as high as the previous one was low (mirror formation). A new melody is born, for the first time since the first five minutes of the piece. It is a fluid, gently urging form, which appears in many colours, and it now takes over, though supported by the earlier melodies.

The synthesizers which dominate the end have a role throughout. Thanks also to the BBC Radiophonic Workshop, I was also able to investigate sophisticated types of reverberation: this is often used in the piece to freeze a fragment of sound and hold it steady in the air while the orchestra carries on. In addition, some instruments are ring-modulated, others are amplified; all are projected around the two quad circuits of speakers, one high and one low, to ‘people’ the space. Those who have seen Tiepolo’s ceiling paintings with their flying cherub-trumpeters, for instance, will be familiar with such an image.

Programme note © Jonathan Harvey

Original electronics migrated to computers by the EU-funded Integra project

Further Listening and Reading

Tombeau de Messiaen, etc.: Philip Mead (piano) (Sargasso SCD28029)

Marahi, The Angels, etc.: Latvian Radio Choir/Kaspars Putnin≈, James Wood (Hyperion CDA 67835)

Madonna of Winter and Spring, etc.: Netherlands Radio Philharmonic/ Peter Eötvös (Nimbus NI5649)

In Quest of Spirit: Thoughts on Music Jonathan Harvey (Univ. of California Press)

Music and Inspiration Jonathan Harvey (Faber)

www.fabermusic.com/composers- details.aspx?composerid=297

www.chesternovello.com/default. aspx?tabid=2431&state_2905=2& composerid_2905=641

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10.00PM FREE EVENT BARBICAN FOYER

Electronic Late

An exciting collaboration between UK electronic artist Leafcutter John, members of the BBC SO and students from the Guildhall School of Music & Drama. Join them for new music inspired by Jonathan Harvey, with an evocative soundscape, compositions for live electronics and a set from Leafcutter John.


First HeavenKhabielGabrielSuriaDaharielAshrulyaiSabrielShoelShevielAdnachielShokadJekusielNahurielZahabrielTutrechielPhalegFanuelSarakielTufielTutrusiaiMufgarTashrielZortekDeheboryn

Second HeavenTagrielZacharielArfielSahrielSakrielArfielSahrielRagielRaphaelIsrafel

Third HeavenSheburielAnahelSavrielRetsutsielJabnielHarhazielHadrielDalquielBezrielRabacyaelUriel

Fourth HeavenPachdielZahrunZuhairSharhabiilShumnuBuhairBahrunShumbarnuSartarSarwanPyhahilZahari’ilRabiaTarwanTaliaDenuthHiiaRamRudSraoshaShurbaiMoakkibatAnharBahrat

QintarNuraithaHabshaba

Fifth HeavenTechielRaguelSandalphonGarielDrialJeremielShatqielMichaelBarbielNisrocTarshishRequelGrialAmaelUriel

Sixth HeavenZachielZebulRumialKatzfielRabacyelRemielChamuelHanielHamalielVerchielHashmalMichaelGavrielUrielRaphaelChayo

Messages

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Seventh HeavenCassielIsraelYahelChuschaTehomSchimuelZawarChamyelHasehaSchaddylAchusatonThronusSchawaytUzrielZaphkielRazielOrifielOphanielZofielCherubielZabkielSerafielBarkielKemuvelNathanaelKwanyinZeburialShamsielAdonaiosMetatronHayatItmonVeruahTsatsehiyahBatsranMidrashYahsiyaTatrielOzah

HadranielEstesHanielAnielA-ela – e

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Richard Bakerconductor

Born in the West Midlands, Richard Baker was a chorister at Lichfield Cathedral before attending Oxford University. He studied composition in the

Netherlands with Louis Andriessen and in London with John Woolrich, and first drew significant attention with two early works – a trio, Los rabanos (1998), performed and broadcast widely by the Composers Ensemble, and Learning to Fly (1999), a basset clarinet concerto premiered by the London Sinfonietta and Timothy Lines. He has received commissions from the Aldeburgh Festival and Birmingham Contemporary Music Group and in 2010 was featured in the Philharmonia’s Music of Today series. He has recently also taught as a professor of composition at the Guildhall School of Music & Drama.

As a conductor he works regularly with leading living composers. Last May he conducted Gerald Barry’s opera The Intelligence Park in Dublin, to great acclaim. He has built important relationships with many of the UK’s leading ensembles, including the London Sinfonietta, BCMG, Britten Sinfonia, Composers Ensemble and Apartment House. He has conducted musikFabrik at the Huddersfield Festival, and was music director for Franco Evangelisti’s Die Schachtel (‘The Box’) at the Ultraschall Festival in Berlin in 2006. He is a regular collaborator for the BBC’s Total Immersion days, conducting in recent portraits of Stockhausen, George Crumb and James MacMillan.

Mik

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BIOGRAPHIESMartyn Brabbinsconductor

Martyn Brabbins was recently announced as Chief Conductor of the Nagoya Philharmonic (Japan) from 2013, and continues as Principal Guest Conductor of

the Royal Flemish Philharmonic. He was Artistic Director of the Cheltenham International Festival of Music (2005–7) and Associate Principal Conductor of the BBC Scottish Symphony Orchestra (1994–2005). He studied composition in London and conducting with Ilya Musin in Leningrad, winning first prize at the 1988 Leeds Competition.

Since then he has regularly conducted all the major UK orchestras, including the Philharmonia and the BBC Symphony and BBC Scottish Symphony orchestras, and has appeared annually at the BBC Proms. He is also much sought after in Europe, Scandinavia, Australia and more recently Japan. He has regularly conducted opera productions at the major houses in Amsterdam, Berlin, Frankfurt, Hamburg and Lyons, as well as for English National Opera.

Martyn Brabbins is particularly known for his affinity for British music and last year gave a rare performance at the BBC Proms of Havergal Brian’s monumental ‘Gothic’ Symphony, leading over 1,000 performers. He has conducted hundreds of world premieres and has close links with many of today’s foremost composers.

This season he appears with the Royal Concertgebouw Orchestra, Deutsches Symphonie-Orchester Berlin, BBC Scottish Symphony and Tokyo Metropolitan Orchestra.

He has recorded over 30 discs with the BBC Scottish Symphony, and also now records with his Antwerp orchestra.

Sash

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Matthew Hamiltonconductor

Matthew Hamilton read Music at Worcester College, Oxford, where he held both Instrumental and Choral scholarships, before taking a Master’s

degree in composition at the University of Manchester. In 2008 he was awarded a full scholarship for choral conducting studies at the Royal Welsh College of Music and Drama in Cardiff, where his teachers included Simon Halsey and Adrian Partington. In addition, he has participated in the Eric Ericson Masterclass with the Netherlands Chamber Choir and Netherlands Radio Choir (2009), the Berlin International Masterclass (2010) with the Berlin Radio Choir and at Dartington International Summer School. In 2010 he was awarded the Bramstrup Conducting Award (Denmark).

As well as being Music Director of the Reading Bach Choir, Keele Bach Choir and Salford Choral Society, he has worked as chorus-master for the Rambert Dance Company and for two years was director of Ad Solem, the University of Manchester Chamber Choir.

As a guest conductor and chorus-master he has worked frequently with the BBC Symphony Chorus in music from Mahler to Peter Eötvös, and with youth choirs including the National Youth Choir and the Hallé Youth Choir. Last year he worked with the BBC Singers as chorus-master for a BBC Proms Saturday Matinee concert, featuring music by Sir Harrison Birtwistle and Sir Peter Maxwell Davies. This season sees him working further with the BBC Singers as both chorus-master and conductor, as well as appearing for the first time with the City of Birmingham Symphony Chorus.

Jaun

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Imag

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David Hillconductor

One of the leading choral directors in the UK, David Hill is Chief Conductor of the BBC Singers, Musical Director of the Bach Choir, Southern Sinfonia and the

Leeds Philharmonic Society, and Associate Guest Conductor of the Bournemouth Symphony Orchestra.

Born in Carlisle and educated at Chetham’s School of Music, of which he is now a governor, he was made a Fellow of the Royal College of Organists at the age of only 17. Having been Organ Scholar at St John’s College, Cambridge, he returned to hold the post of Director of Music from 2004 to 2007. His other appointments have included Master of the Music at Winchester Cathedral, Master of the Music at Westminster Cathedral and Artistic Director of the Philharmonia Chorus. He holds an Honorary Doctorate from the University of Southampton for services to music.

David Hill has appeared with the BBC, RTÉ National and Sydney Symphony orchestras, London, Royal Liverpool and Strasbourg Philharmonic orchestras, the Minnesota and Ulster orchestras, the City of London Sinfonia, Northern Sinfonia, Sinfonia 21, English Chamber Orchestra, BBC National Orchestra of Wales, Orchestra and Chorus of Welsh National Opera, Orchestra and Chorus of Opera North, Netherlands Radio Choir and RIAS Kammerchor, Berlin.

His wide-ranging discography covers repertoire from Thomas Tallis to Judith Bingham. As well as achieving prestigious Grammy and Gramophone awards, many of his discs have been recommended as Critic’s Choices.

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Tim Murrayconductor

Tim Murray studied at the Royal College of Music, Cambridge University and the Tanglewood Music Center, and is gaining recognition for his work

in contemporary operatic and orchestral repertoire.

Working with composers has become a mainstay of his career, most recently conducting the premiere of Mark-Anthony Turnage’s Undance at Sadler’s Wells, in a double bill with Twice Through the Heart.

Tim Murray’s opera credits include Weill’s Street Scene and The Enchanted Pig for The Opera Group, The Gentle Giant for ROH2, Stephen Deazley’s The Sleeper for Welsh National Youth Orchestra, Tobias Picker’s Fantastic Mr Fox for Opera Holland Park, Errollyn Wallen’s The Silent Twins for Almeida Opera and Jonathan Dove’s Tobias and the Angel at the Young Vic, as well as the premieres of over 20 operas as the former Music Director of the Tête à Tête opera company.

He has also conducted The Soldier’s Tale on tour in Japan and Julian Anderson’s Comedy of Change for the Rambert Dance Company. Among the orchestras with which Tim Murray has worked are the Philharmonia and the BBC Concert orchestras, and he made his BBC Proms debut in 1999 with the Birmingham Contemporary Music Group.

Future plans include Edward Rushton’s Babur in London for The Opera Group in the UK, Switzerland and India, as well as Porgy and Bess for Cape Town Opera at the London Coliseum.

Marta Fontanals-Simmonsmezzo-soprano

Marta Fontanals-Simmons is in her second year of postgraduate training at the Guildhall School of Music & Drama, studying under Marilyn Rees.

She has worked in masterclasses with Gerald Finley, Martin Katz, Malcolm Martineau, Graham Johnson, Emma Kirkby and Robert Tear, while her competition successes include first prize in the Maureen Lehane Vocal Awards (2011).

Recent operatic roles include Eva (Martin≤’s Comedy on the Bridge), Dido (Dido and Aeneas)and Lucifer in the world premiere of Peter Foggitt’s Genesis.

In concert and oratorio she has sung in Duruflé’s Requiem with the London Mozart Players at St John’s, Smith Square, and Howells’s An English Mass as part of the English Music Festival, as well as in works by Bach, Fauré, Handel, Haydn, Mozart, Rossini and Vivaldi. She has appeared in recital at St Martin-in-the-Fields and performed as a soloist on a forthcoming recording of Beethoven’s ‘Choral Fantasy’ with the City of London Choir and the Royal Philharmonic Orchestra.

Future engagements include Kate Pinkerton (Madam Butterfly) for Grange Park Opera and Hansel (Hansel and Gretel) for Clonter Opera.

Julie

Kim

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BIOGRAPHIES


Guildhall Electronic Music Studiossound projection

The Guildhall School’s Electronic Music Department was established in 1989 and provides a range of opportunities for students at junior, undergraduate and postgraduate level. At the heart of the department is a unique undergraduate Principal Study course, in which students study one-to-one with technology as an ‘instrument’ in pursuit of production, composition and performance goals.

Sound Intermediasound projection

Formed in 1996 by Ian Dearden and David Sheppard, Sound Intermedia is a creative and performing partnership working across contemporary art forms.

It specialises in contemporary classical music production, but also works on creative collaborations with a wide range of artists, most recently with cult singer-songwriter Björk, sculptor Antony Gormley, artist Matthew Ritchie and choreographer/composer Hofesh Shechter.

In forthcoming projects Sound Intermedia will work at the Barbican with Aaron and Bryce Dessner, from the acclaimed rock band The National, on their multimedia concert in collaboration with Matthew Ritchie, and for English National Opera on a new production of John Adams’s opera The Death of Klinghoffer.

Sound Intermedia is a principal player of the London Sinfonietta and Artist-in-Residence at the De La Warr Pavilion, East Sussex.

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James Kreilingpiano

James Kreiling began playing the piano aged 5, learning first with his grandmother and then with local piano teacher Raymond Chandler. From the age of 14 he studied

with John York. While working with Charles Owen and Martin Roscoe at the Guildhall School of Music & Drama, he gained his Masters with Distinction. He is currently a first-year Doctoral student at the Guildhall School, studying with Ronan O’Hora.

James Kreiling has performed in masterclasses given by Imogen Cooper, Christian Blackshaw, Peter Donohoe, Paul Roberts, Gary Hoffman, Philip Fowke and Bengt Forsberg. He has performed solo and ensemble concerts in venues including the Royal Festival Hall, the Barbican, St Martin-in- the-Fields, Wigmore Hall and Kettle’s Yard, Cambridge, as well as in Switzerland, Sweden, Greece and at the Edinburgh Festival.

In 2007 he performed in the BBC Proms Composer Portrait of David Matthews and on Radio 3 and in July 2008 he performed at the Spitalfields Festival as part of the Guildhall New Music Ensemble. In 2008 he became one of the Park Lane Group’s young artists, resulting in recitals at the Purcell Room, St Martin-in-the-Fields and at the Little Missenden Festival.

He was awarded second prize in the Eighth British Contemporary Piano Competition (2010) and the Ivan Sutton Chamber Music prize at the Guildhall School (2011). He is also currently a faculty member of the Mendelssohn International Chamber Music Festival, based on the Isle of Skye. This has included a concert tour with piano trio of venues in England, Scotland and Germany, including The Sage in Gateshead.

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BBC SO records for several commercial labels: its CD of works for piano and orchestra by Debussy, Ravel and Massenet with Jean-Efflam Bavouzet under Yan Pascal Tortelier won a 2011 Gramophone Award. Performing throughout the world, its current touring plans include concerts in Germany, Belgium and Spain.

All concerts are broadcast on BBC Radio 3, streamed live online and available for seven days via the BBC iPlayer; and a number are televised, giving the BBC Symphony Orchestra the highest broadcast profile of any UK orchestra.

The Orchestra is committed to innovative education work. Among ongoing projects are the BBC SO Family Music Intro scheme, introducing families to live classical music, BBC SO Student Zone and the highly successful BBC SO Family Orchestra, alongside work in local schools. Total Immersion composer events also provide rich material for education work and extensive plans are under way in partnership with the Barbican and with the Hammersmith & Fulham music services, the Royal College of Music and the Guildhall School of Music & Drama.

bbc.co.uk/symphonyorchestra

The BBC Symphony Orchestra has played a central role at the heart of British musical life since its inception in 1930. It provides the backbone of the BBC Proms with around a dozen concerts each year, including the First and Last Nights, and is Associate Orchestra of the Barbican.

The BBC SO has a strong commitment to 20th-century and contemporary music, with recent performances including commissions and premieres from Sir Harrison Birtwistle, Unsuk Chin, Marc-André Dalbavie, Peter Eötvös, Brian Ferneyhough, Detlev Glanert and Judith Weir.

Last season saw the BBC SO celebrate its 80th anniversary with a typically rich range of repertoire and highlights of the 2011/12 season include a Sibelius symphony cycle, Dvo∑ák’s opera The Jacobin, conducted by Ji∑í B∆lohlávek, a concert with Rufus Wainwright, Tippett’s A Child of Our Time, Total Immersion days dedicated to Brett Dean, Jonathan Harvey and Arvo Pärt and commissions and premieres from composers including Kaija Saariaho, Einojuhani Rautavaara, Alexander Goehr and Rebecca Saunders.

The BBC SO works regularly with its Chief Conductor Ji∑í B∆lohlávek, Principal Guest Conductor David Robertson, Conductor Laureate Sir Andrew Davis and Artist in Association Oliver Knussen. Central to the Orchestra’s life are studio recordings for BBC Radio 3 at its Maida Vale home, some of which are free for the public to attend. In addition, the

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BBC SYMPHONY ORCHESTRA

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twitter.com/BBCSymphonyOrch

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BBC SYMPHONY ORCHESTRAChief ConductorJi∑í B∆lohlávek

Principal Guest ConductorDavid Robertson

Conductor LaureateSir Andrew Davis

Artist in AssociationOliver Knussen

First ViolinsAnna Colman Sub-LeaderRichard Aylwin Ruth Schulten Charles Renwick Ruth Ben Nathan Regan Crowley Celia Waterhouse Colin Huber Emily Francis Shirley Turner Anna Smith Julian Trafford Elizabeth Partridge Edward Barry Anna Croad Katherine Mayes

Second ViolinsDawn Beazley † Hania GmitrukVanessa HughesPhilippa BallardLucy CurnowRachel SamuelTammy SeCaroline CooperHelen CooperKate TurnballJohn TruslerJulia WatkinsSheila LawShelley Van Loen

ViolasCaroline Harrison †Philip Hall Nikos Zarb Audrey Henning Natalie Taylor Michael Leaver Carolyn Scott Mary Whittle Patrick Cardas Peter Mallinson Miranda Davis Bryony Mycroft

CellosSusan Monks *Tamsy Kaner Mark Sheridan Clare Hinton Sarah Hedley-Miller Michael Atkinson Augusta Harris Anna Beryl David Lale David Bucknall

Double BassesDonald Walker †Richard Alsop Anita Langridge Michael Clarke Marian Gulbicki Adolf Mink Beverley Jones Samantha Riches

Piccolo Rebecca Larsen

Alto Flute Jane Mitchell

OboesDavid Powell †Imogen SmithAlison Alty

ClarinetsRichard Hosford *Peter Davis

Cor Anglais Alison Teale

ClarinetsAndrew Webster ‡Peter Davis

Bass Clarinet Jessica Lee

BassoonsJulie Price †Susan Frankel

Contra-bassoon Julian Partridge

Horns Martin Owen *Andrew Antcliff Christopher Larkin Phillippa Slack Caroline O’Connell

Trumpets John Holland ‡Martin Hurrell Joseph Atkins Tony Cross

Trombones Roger Harvey †Amos Miller

Bass Trombone Paul Lambert

Tuba Sam Elliott

Percussion David Hockings *Alex Neal † Joseph Cooper Ben Fullbrook Jeremy Cornes

Harps Louise Martin †Celine Saout Piano Elizabeth Burley

Celesta/Synthesizer Clive Williamson

Synthesizer Stephen Betteridge

Cimbalom Ed Cervenka

* Principal† Co-Principal‡ Guest Principal

The list of orchestral players was correctat the time of going to press

General ManagerPaul Hughes

Chief ProducerAnn McKay

Broadcast AssistantPeter Jones

Orchestra ManagerSusanna Simmons

Assistant Orchestra ManagerCharlotte Sandford

Contracts and Auditions AssistantJulia Vivian

Concerts ManagerMarelle McCallum

Tours ManagerKathryn Aldersea

Planning AdministratorRebecca Sackman

Chorus AdministratorAlison Dancer

Contracts ExecutivePenelope Davies

Head of Marketing, Learning and PublicationsKate Finch

Communications ManagerCamilla Thornton

Marketing ManagerSarah Hirons

Marketing and Learning ManagerEllara Wakely

Learning AssistantRebecca Dixon

Learning and Audience Development AdministratorLauren Creed

Business AccountantAmy Hayward

Senior LibrarianMoira Webber

LibrariansFiona WilliamsJulia Simpson

Senior Stage ManagerRupert Casey

Stage ManagerMichael Officer

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The Guildhall Chamber Orchestra features some of the Guildhall School’s finest orchestral musicians and performs a wide range of repertoire, presenting four major concerts during the academic year. The Orchestra performs regularly in the Barbican Centre and at Bishopsgate Hall and has toured to other UK venues and internationally.

Sian Edwards and David Corkhill are associate conductors, and recent visiting conductors have included George Benjamin, Martyn Brabbins, Sir Colin Davis, James Gaffigan, Adrian Leaper, Diego Masson, Paolo Olmi and Vasily Petrenko.

The Orchestra often benefits from sectional rehearsals led by London Symphony Orchestra players as part of Centre for Orchestra, an initiative in orchestral training and development which is part of a unique collaboration between the London Symphony Orchestra, Guildhall School and Barbican.

Future plans include a concert at the Barbican Hall in March conducted by James MacMillan, and the School’s prestigious Gold Medal final in May.

GUILDHALL CHAMBER ORCHESTRA

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First ViolinsMarcus Barcham-StevensJenna SherryMagda FilipczakMarko Pop RistovMonika KoscielnaHenry TongTimothy Chua

Second ViolinsDanae TamaalVeronica CristobalHun-Ouk ParkAlexandra LomeikoOliver CaveWilliam Newell

ViolasStephen UpshawMichael TrauerEmily HesterAlexandra Ursache

CellosJonathan BloxhamLaura SeargeantAndrew PowerDonald Bennett

Double BassesSebastian PennarFatima Aguero Vacas Elizabeth Faulkner

FlutesLuke RussellMartha LloydJessica Kabirat Sameeta Gahir

PiccolosJessica KabiratMartha LloydSameeta Gahir

Alto FluteSameeta Gahir

OboesKarla PowellRyan Dougherty

ClarinetsSimon Ibanez GinesAmy Morrow

Bass ClarinetsSimon Ibanez GinesAmy Morrow

BassoonsVivien LeeJamie White

Contra-bassoonJamie White

HornsAlexander WideJennifer Wright

TrumpetsJonathan AbrahamRebecca Toft

PercussionKatrina PettFelicity Hindle

HarpFionnuala Somerville

Harpsichord/SynthesizerJustin Snyder

The list of orchestral players was correct at the time of going to press


37

As a vital resource in the BBC’s music output, the BBC Singers hold a unique position in British musical life. Performing everything from Byrd to Birtwistle, Tallis to Takemitsu, the versatility of this virtuoso 24-voice ensemble is second to none.

The choir’s unrivalled expertise in performing the latest contemporary scores has brought about creative relationships with some of the most important composers and conductors of the 20th and 21st centuries – including Poulenc, Britten and Boulez.

Based at the BBC’s Maida Vale Studios, the BBC Singers perform all over the UK and abroad, working regularly with the BBC’s own orchestras, as well as a number of period-instrument and contemporary music ensembles.

Equally at home on the concert platform and in the recording studio, this world-class ensemble is committed to sharing its enthusiasm and creative expertise through its nationwide outreach programme. This includes regular collaborations with schoolchildren, youth choirs and the amateur choral community, as well as with the professional composers, singers and conductors of tomorrow.

For more information visit bbc.co.uk/singers

BBC SINGERS

Chief ConductorDavid Hill

Principal Guest ConductorsPaul BroughBob Chilcott

Conductor LaureateStephen Cleobury

Associate ComposerGabriel Jackson

SopranosJennifer Adams-BarbaroIldikó Allen Sarah DaceyMargaret FeaviourMicaela HaslamElizabeth PooleOlivia RobinsonEmma Tring

Altos Margaret CameronJacqueline FoxRuth GibbinsDeborah Miles-JohnsonEleanor MinneySusanna Spicer

Tenors Andrew BusherEdward GoaterRobert JohnstonNeil MacKenzieAndrew MurgatroydPeter Wilman

Basses Michael BundyStephen CharlesworthCharles GibbsJamie W. HallAdrian PeacockNicholas Perfect *Edward PriceJohn Ward *

* ‘Forms of Emptiness’ and ‘Marahi’ only

The list of singers was correct at the time of going to press

General ManagerStephen Ashley-King

Senior ProducerMichael Emery

Co-ordinatorRuth Potter

Learning ManagerGarth McArthur

Broadcast AssistantLizzie Coxhead

Publicity AssistantLottie Fenby

Music AssistantAlison Dancer


BBC SYMPHONY CHORUS

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premieres of works by Judith Weir and Sir Peter Maxwell Davies.

The Chorus also performs on its own and with other orchestras at venues in London and further afield. Most recently it has given concerts in the Canary Islands, in France and with the Philharmonia Orchestra and Lorin Maazel at London’s Southbank Centre. Next month sees the Chorus performing Berlioz’s Roméo et Juliette in London, Basingstoke and Paris with the Orchestra of the Age of Enlightenment under Sir Mark Elder.

As well as making dedicated studio recordings for BBC Radio 3 – the most recent of which being a programme of contemporary repertoire for choir, percussion and solo piano conducted by Chorus Director Stephen Jackson – the Chorus has also recorded for commercial record labels, including Foulds’s A World Requiem, a selection of choral works by Joseph Marx and Delius’s The Song of the High Hills and Appalachia with the BBC SO and Sir Andrew Davis.

To find out about the BBC Symphony Chorus visit bbc.co.uk/symphonychorus or contact the Chorus Administrator ([email protected] / 020 7765 4715)

One of the UK’s finest and most distinctive amateur choirs, the BBC Symphony Chorus was founded in 1928. Its early appearances included premieres of Bartók’s Cantata profana, Stravinsky’s Perséphone and Mahler’s Eighth Symphony and this commitment to new music is undiminished today, with premieres and commissions in recent years of works by Sir Peter Maxwell Davies, Judith Weir, Stephen Montague, Peter Eötvös, Sir John Tavener and Mark-Anthony Turnage.

In its performances with the BBC Symphony Orchestra, the Chorus performs a wide range of challenging repertoire, all of which is broadcast on BBC Radio 3. The current Barbican season’s concerts with the BBC SO include performances of Tippett’s A Child of Our Time with Sir Andrew Davis as well as concerts as part of this season’s Total Immersion events dedicated to Jonathan Harvey and Arvo Pärt.

As resident chorus for the BBC Proms, the BBC Symphony Chorus takes part in a number of concerts each season, usually including the First and Last Nights. Its 2011 appearances included performances of Janá∂ek’s Glagolitic Mass, Britten’s Spring Symphony, Verdi’s Requiem and

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BBC SYMPHONY CHORUSPresidentSir Andrew Davis

DirectorStephen Jackson

Vocal CoachDeborah Miles-Johnson

AccompanistPaul Webster

SopranosJacqui BarnettNicky BoothCarole CameronRachel ClarkeJenna ClemenceEmma CoxSara DaintreeMarian GarnettMary GeorgeSue HamptonJane HeathCatrin HepworthKaran HumphriesValerie IsittEmily JacksRuth JamesCharlotte JohnsonChristine LeslieSue LoweKatie MastersMadeleine McGrathJulia NeateHilary OliverRobina Redgard- SilerVeronika RettichWendy SheridanAnn StedmanAnne TaylorEvelyn ThomasAlice UsherEllie Williams

AltosCarolyn BodiamYvonne ConnellPat DixonAnn FloodAlison GrantJill GregsonSheila HaddonPhillippa HeggsChris HooperRosie HopkinsPat HowellChristine JasperKirsten JohnsonJudy JonesAnnika LindskogEthel LivermoreMiranda OmmanneySally PrimeJane RadfordIveta RozlapaJayne SwindinAnna SzypulaRosemary Venner

TenorsNicholas BowaterPatrick CallaghanAndrew CastleDavid EnglandJamie FoyeJaroslav GavrilovMaggie HeathPaul HeggsMichael HopeStephen HorsmanCharles MartinKen McCarthyBill RichardsTobias SchneiderDavid StocksPaul TindallGareth Treseder

BassesMike AbramsMalcolm AldridgeDavid BrookerClive BuckinghamRoger CarterSteven CopelandQuentin EvansTim GillottRichard GreenKevin HollandsAlan JonesDavid KentPaul MedlicottAmos ParanAndrew ParkinSimon PotterJeremy RawsonMark SprosonTony ThomasTim VennerRobin Wilson

The list of singers was correct at the time of going to press

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Programme produced by BBC Proms Publications

Printed by Cantate020 7622 3401www.cantate.biz


Sun 29 Jan 7.30pm (UK premiere)

The BBC Symphony Orchestra and star soloists perform Jonathan Harvey’s rich operatic fantasy.

Semi-staged performance

Tickets £10 – £25

Part of BBC SO’s Total Immersion Weekend (28 – 29 Jan)

Wagner Dream

020 7638 8891 barbican.org.uk

The City of London Corporation is the founder and principal funder of the Barbican Centre

Image: Claire Booth as Prakriti in the 2007 Netherlands Opera Production of Wagner Dream

HOMMAGE À KLAUS NOMIRECREATING THE SPIRIT OF A CULT ICONIN PORTRAIT: OLGA NEUWIRTHSaturday 11 February 2012

southbankcentre.co.uk

making new

music

Photo of Klaus Nomi © George-DuBose.Image of score by permission of G. Ricordi & Co. München.


madonna of winter and spring, 28.01.2012, bbcso

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