STEPHEN CLEOBURY conductorCHOIR OF KINGS COLLEGE, CAMBRIDGEAILISH TYNAN sopranoNEAL DAVIES baritone

EMMA-RUTH RICHARDS Sciamachy (world premiere) 10 mins

BERNSTEIN Chichester Psalms 18 mins

INTERVAL 20 mins

VAUGHAN WILLIAMS Dona nobis pacem 36 mins

LONDON BARBICAN HALLSaturday 2 December – 7.30pm

PRE-CONCERT PERFORMANCE – 6.15PMBritten Sinfonia Academy give a free half hour Christmas concert in theBarbican’s foyer featuring Ralph Vaughan Williams Fantasia on Christmas Carolsand a selection of dances from Tchaikovsky’s Nutcracker.

BERNSTEIN’S CHICHESTER PSALMS

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A very warm welcome totonight’s concert, whichfeatures a performance ofChichester Psalms as part ofthe Leonard Bernsteincentenary celebrations takingplace around the world and,most notably of course, hereat the Barbican. Bernsteinwould, I hope, very much

approve of us opening this concert with a brand new pieceby Emma-Ruth Richards, a young British composer whois rapidly finding her place within the music scene bothhere in the UK and overseas. We are extremely gratefulfor the support of the William Alwyn Foundation inbringing this commission to fruition and for theirpartnership with us supporting emerging composers overthe past 6 years.

We are fortunate to enjoy a close relationship with TheChoir of King’s College, Cambridge and StephenCleobury and are currently undertaking a series ofrecordings with them as well as regular concertperformances – in fact, our most recent disc, which

features two of the works from tonight’s performance,will be on sale this evening in the foyer. I also hope thatyou have spotted the talented young players from ourBritten Sinfonia Academy performing in the foyer beforethis concert.

We are celebrating an anniversary of our own here atBritten Sinfonia – as some of you may know, we’re 25years young this year and are looking forward to the next25 years. Much of our pioneering work has been enabledby generous donations from individuals, and if you wouldlike to join this throng of enlightened music-lovers, pleasedo consider contributing to our £25 for 25 campaign –details are on our website.

Apologies that it’s still somewhat early in the season, butas this is our final Barbican concert of this calendar year,we’d like to take the opportunity to wish you all the verybest for the coming festivities and look forward to seeingyou in 2018 for more exhilarating music-making.

David ButcherChief Executive & Artistic Director

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LONDON WIGMORE HALLWednesday 24 January 2018, 1pm

JACQUELINE SHAVE Violin

CAROLINE DEARNLEY Cello

HUW WATKINS Piano

PRE CONCERT TALK, 12.15pmLeo Chadburn talks to Dr Kate Kennedyabout his new work.

Leo Chadburn’s new work for piano trio andelectronics is set amongst chamber repertoireboth new and old. The programme showcaseseach instrument in the piano trio.

BIBER Annunciation Sonata 1

PHILIP GLASS Orbit

LEO CHADBURN New work(world premiere tour)

ARVO PÄRT Spiegel im Spiegel

MOZART Piano Trio in B Flat

www.brittensinfonia.com

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Lë~ɪˈæãəâɪ L=noun (pl) -chies (rare) fighting your shadow

The word ‘sciamachy’ comes from the 17th-centuryGreek skiamakhia – a battle against imaginary enemies,from skia (a shadow) + makhesthai (to fight), but perhapsliterally ‘fighting in the shade’.

Sciamachy is for brass, percussion, harp, piano and strings,and journeys through varying fields of peace, conflict andresolution. The piece opens with material that is intendedto foreshadow, or summarise, the conflict that is to comelater in the work. Ethereal and hauntingly distortedmelodies start to appear and disappear behind a firstlyunobtrusive but tightly controlled rhythmic and harmonicbackground. As the piece moves forward this materialdevelops into more of a virtuosic continuum where most ofthe ensemble functions like a mechanical systemattempting to ‘strangle’ or ‘capture’ the solo, more melodicstrands. Each of the single lines struggle to grow throughand out of the shadows leading to furious explosions thatextinguish the rest of the ensemble. The light they emithowever doesn’t illuminate and their brightness just servesto intensify the surrounding darkness.

Knowing that Bernstein’s Chichester Psalms was toaccompany the premiere of this work, I have chosen tomirror the composer’s hopes for brotherhood and peace byincorporating the boy treble solo (Adonai ro-i, Psalm 23)from the second movement into my work; in rare momentsof quiescence fragments of this solo can be heard layeredwithin choral-esque strings writing. I have also been drawnto Bernstein’s use of motivic repetition which creates asense of hallowed rite, and so my piece does eventuallymomentarily transform into a peaceful world of bells and asense of fragile detachment once again resurfaces.

This commission has been made possible with generoussupport from:

Principal funderThe William Alwyn Foundation

Trusts and FoundationsPRS FoundationThe Leche TrustThe Garrick Charitable Trust

Individual donors to the Musically Gifted CampaignSusan Costello and Robert ClarkTrissa OrangePauline AdamsThree anonymous donors

Emma-Ruth Richards is a composer much in demand inthe UK and overseas, acclaimed for her understanding ofboth instrumental and vocal writing, earning her a role as afavourite among performing musicians and singers.

2017 will see the premieres of commissions from theLondon Sinfonietta, the MiN Ensemblet, Norway andTwo Worlds CD release of You Cannot Fold a Flood andher new opera, Traffick. Written with librettist NicChalmers, Traffick is commissioned and developed withthe Nordland Teater, Norway, the Royal Opera House,and the Mahogany Opera Group’s Various StagesFestival. 2018 will see a new CD release with ParmaRecordings and the New York premiere of Dark Radianceat Carnegie Hall. Also in 2018 will be the premiere of anew cello duet for Guy Johnston and BBC YoungMusician of the Year 2016 Sheku Kanneh-Mason, andAmerican premieres of Hora de la Cerc with CamerataPacifica, California.

Previously, she has been commissioned by Opera North,London Philharmonia, BBCNOW Chamber Players,Håkan Hardenberger, Colin Currie, Nicholas Daniel, MarkVan de Wiel, Paul Silverthorne, Dudok Kwartet, CamerataPacifica, and The Absolution Saxophone Quartet. Emma-Ruth's music has been performed internationally in HongKong, Den Haag, Banff, New York, Pennsylvania andFlorida. She is a Royal Northern Gold Medal composerand has featured in festivals including Aldeburgh, Music ofToday, Sounds New Canterbury, InternationaalKamermuziekfestival Den Haag, HuddersfieldContemporary Music Festival, Sound Scotland, Queen’sBelfast, North West, and the St Magnus Festival.

Emma-Ruth studied at Cardiff University and the RoyalNorthern College of Music, and has since studied withSir Peter Maxwell Davies, Oliver Knussen, AlexanderGoehr and Colin Matthews.

EMMA-RUTH RICHARDS (b.1985)

Sciamachy for chamber orchestra (2017)

I: Psalm 108 vs. 2, Psalm 100II: Psalm 23, Psalm 2 vs. 1-4III: Psalm 131, Psalm 133 vs. 1

By 1965, eight years after the premiere of West Side Story,Bernstein was ready to get to work on another hit musical.His position as musical director with the New YorkPhilharmonic meant there was little time in his schedule foranything other than conducting and so, keen that his careeras a composer not be overshadowed, he took a year’ssabbatical. In a light-hearted poem submitted to the NewYork Times, he outlined his intentions for his time off:

But not to waste: there was a plan,For as long as my sabbatical ran,To write a new theater piece.(A theater composer needs release,And West Side Story is eight years old!)And so a few of us got holdOf the rights of Wilder’s play The Skin of Our Teeth

Sadly, the plans for his new musical never came to fruition,but his sabbatical was not without its successes. With littleelse to distract him, Bernstein was able to turn his attentionto a proposal he had received two years earlier from theVery Reverend Walter Hussey, Dean of ChichesterCathedral in Sussex, requesting a new work to premiere attheir festival in August 1965. ‘The sort of thing that we hadin mind’, Hussey wrote, ‘was perhaps, say, a setting of thePsalm 2, or some part of it, either unaccompanied oraccompanied by orchestra or organ, or both.’ Later, he alsoadded: ‘I think many of us would be very delighted if there wasa hint of West Side Story about the music.’ In the event,Hussey got everything he asked for – and much morebesides – although the world premiere was given not inChichester but in New York, with Bernstein himselfconducting (the Chichester Festival had its own UKpremiere two weeks later).

The rather unusual scoring of the Chichester Psalms stemsfrom Hussey’s requirements for the cathedral which, hesaid, could accommodate ‘a piano, chamber organ,harpsichord and, if desired, a brass consort (three trumpets,three trombones)’ but not a full symphony orchestra ‘forreasons of space and expense.’ The three cathedral choirs(Chichester, Winchester and Salisbury) that would joinforces for the premiere would be all male voices, although itis now regularly sung by mixed choirs. And while Bernsteinheeded Hussey’s instructions to avoid a completesymphonic score, what he produced is still far from sparse:alongside a full string orchestra, Bernstein calls for twoharps, three trumpets, three trombones, timpani and a largepercussion section (requiring seven more players).Technically, Bernstein did not hold back either. The text –

which takes excerpts from several contrasting passages fromthe Book of Psalms – is written in the original Hebrew,making it notoriously difficult in performance.

But the choice of a Hebrew text was also a politicalstatement: a plea for peace at a time when Israel (then asnow) was in a state of turmoil. The piece was to be a chapterin what Bernstein referred to as the focus of his life’s work:‘the struggle that is born of the crisis of our century, a crisis offaith’. But while this message is a sombre one, much of themusic is derived from several of his theatre works, mixingmelodies from the Prologue to West Side Story (in the firstmovement) with material adapted from his ill-fated musicalThe Skin of Our Teeth (in the second). Far from austere, thisis music of hope, joy and exuberant celebration. It is firmlytonal, rhythmically energised yet still with room for deep andpeaceful contemplation. ‘It has an old-fashioned sweetnessalong with its more violent moments’, Bernstein wrote.

After a grand choral introduction instructing ‘Awake, psalteryand harp: I will rouse the dawn!’, the first movement gives wayto a joyous 7/4 dance, its rhythmic verve reminiscent of theoff-kilter metres in Bernstein’s overture to Candide. ‘Make ajoyful noise unto the Lord!’ the choir sings as the percussioncrash and jingle all around them. It is hard to imagine a morecarefree expression of joy.

If the second movement appears reserved by comparison,the treble soloist’s purity contrasting with the bombast ofwhat preceded it, has a striking effect. Making use ofmaterial from his unfinished musical The Skin of Our Teeth,this is Bernstein’s projection of tranquillity, of the tantalisingprospect of peace which, all too soon, is invaded by the malechorus in a violent rage, their every phrase punctuated bythe crack of a whip. While the treble and sopranos returnwith a serene message of peace, forcing the men to recedeinto the background, the murmurings of the brass andviolent jerk of the drum signal that there is still trouble afoot.

The final movement begins with a heady swathe of richstring writing – close-knit, dissonant and deeply expressive,as heartfelt as anything Bernstein ever wrote. But as thelilting piano and string accompaniment begins, a gentlehymn unfolds above it, its message a humble one:‘Lord, Lord, my heart is not haughty, nor mine eyes lofty... letIsrael hope in the Lord henceforth and forever’. A closingprayer, hushed and unaccompanied, draws the work to anunderstated close, its sense of hope left hanging in the air:‘Behold how good, and how pleasant it is, for brethren to dwelltogether in unity.’

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LEONARD BERNSTEIN (1918–90)Chichester Psalms (1965)

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TEXT AND TRANSLATION

Ps. 108, vs. 2:Awake, psaltery and harp:I will rouse the dawn!

Ps. 100, entire:Make a joyful noise unto the Lord all ye lands.Serve the Lord with gladness.Come before His presence with singing.Know ye that the Lord, He is God.It is He that hath made us, and not we ourselves.

We are His people and the sheep of His pasture.

Enter into His gates with thanksgiving,

And into His courts with praise. Be thankful unto Him, and bless His name.

For the Lord is good, His mercy is everlasting,And His truth endureth to all generations.

Ps. 23, entire:The Lord is my shepherd, I shall not want.

He maketh me to lie down in green pastures,

He leadeth me beside the still waters,

He restoreth my soul,He leadeth me in the paths of righteousness,

For His name's sake. Yea, though I walkThrough the valley of the shadow of death,

I will fear no evil,For Thou art with me. Thy rod and Thy staff They comfort me.

Thou preparest a table before me In the presence of mine enemies, Thou anointest my head with oil, My cup runneth over.Surely goodness and mercyShall follow me all the days of my life, And I will dwell in the house of the Lord.

Ps. 2, vs. 1–4: Why do the nations rage,And the people imagine a vain thing?The kings of the earth set themselves,And the rulers take counsel together

Chichester Psalms

I Ps. 108, vs. 2:Urah, ha.nevel, v’chinor!A-irah shah.ar!

Ps. 100, entire:Hariu l’Adonai kol haarets.Iv’du et Adonai b’simh.a.Bo-u l’fanav bir’nanah.D’u ki Adonai Hu Elohim.Hu asanu, v’lo anah.nu.

Amo v’tson mar’ito.

Bo-u sh’arav b’todah,

H.

atseirotav bit’bilah,Hodu lo, bar’chu sh’mo.

Ki tov Adonai, l’olam h.as’do, V’ad dor vador emunato.

II Ps. 23, entire:Adonai ro-i, lo eh.sar.

Bin’ot deshe yarbitseini,

Al mei m’nuh.ot y’nah.aleini,

Nafshi y’shovev,Yan’h.eini b’ma’aglei tsedek,

L’ma’an sh’mo.Gam ki eilechB’gei tsalmavet,

Lo ira ra,Ki Atah imadi.Shiv’t’cha umishan’tecbaHemah y’nah.amuni.

Ta’aroch l’fanai shulchanNeged tsor’raiDishanta vashemen roshiCosi r’vayah.Ach tov vahesedYird’funi ko.l y’mei h.ayai,V’shav’ti b’veit AdonaiL’orech yamım.

Ps. 2, vs. 1–4: Lamah rag’shu goyim Ul’umim yeh’gu rik? Yit’yats’vu malchei erets,V’roznim nos’du yah.ad

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Against the Lord and against His anointed.Saying, let us break their bands asunder,And cast away their cords from us.He that sitteth in the heavensShall laugh, and the Lord Shall have them in derision!

Ps. 131, entire:Lord, Lord,My heart is not haughty,Nor mine eyes lofty,Neither do I exercise myselfIn great matters or in thingsToo wonderful for me.Surely I have calmedAnd quieted myself,As a child that is weaned of his mother,My soul is even as a weaned child.Let Israel hope in the LordFrom henceforth and forever.

Ps. 133, vs. 1:Behold how good,And how pleasant it is,For brethren to dwellTogether in unity.

Al Adonai v’al m’shih.o.N’natkah et mos’roteimo,V’nashlichah mimenu avoteimo.Yoshev bashamayimYis’h.ak, AdonaiYil’ag lamo!

III Ps. 131, entire:Adonai, Adonai,Lo gavah libi,V’lo ramu einai,V’lo hilachtiBig’dolot uv’niflaot Mimeni.Im lo shivitiV’domam’ti,Naf’shi k’gamul alei imo,Kagamul alai naf’shi.Yah. el Yis’rael el Ad onaiMe’atah v’ad olam.

Ps. 133, vs. 1:Hineh mah tov,Umah nayim,Shevet ah. imGam yah. ad.

Leonard Bernstein

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urgency in equal measure. Just as in war, danger lurksaround every corner here, and as the opening movementseems to be subsiding, the distant roll of drums signifiesthe onset of the artillery fire. ‘Beat! Beat! Drums!’ is aspercussive as its title, a barrage of noise and chaos thatmimics the battlefield itself. ‘Make even the trestles toshake the dead where they lie awaiting the hearses’, shoutthe chorus, ‘So strong you thump O terrible drums—so loudyou bugles blow.’

After the onslaught, the third movement offers thepromise of reconciliation and a vision of life beyond thebattlefield, where time washes everything away: ‘Beautifulthat war, and all its deeds of carnage, must in time be utterlylost’. But this promise is bittersweet, at the same timerevealing the futility of a war that in time means nothing,each life lost – whether friend or foe – as god-given asthe next. This sentiment is echoed in the ‘Dirge for twoVeterans’, where the moon casts its light on ‘a new-madedouble grave’ for a father and son, killed together in battle.Here, the chorus gives voice, en masse, to the countlesswomen who lost sons, fathers and husbands, their griefgiving way to anger as ‘every blow of the great convulsivedrums, Strikes me through and through’. Finally, VaughanWilliams can hold back no more, and as the baritonesoloist opens the last movement by declaring thepresence of the ‘Angel of Death’, the chorus bursts forthwith a final desperate plea: Dona nobis pacem. While thewords of the Old Testament seem as relevant now asthey ever were (‘We looked for peace, but no good came’),Vaughan Williams’ closing message is an uplifting one, ofhope for the future, delivered by the baritone soloist whogives voice to God himself: ‘O man greatly beloved, fearnot, peace be unto thee, be strong, yea be strong.’

I: Agnus DeiII: Beat! Beat! Drums!

III: ReconciliationIV: Dirge for Two VeteransV: The Angel of Death has been abroad – O man

greatly beloved

When war broke out in Europe in 1914, Vaughan Williamswas 42 years old. While his age would have made himexempt from military service, Vaughan Williamsimmediately volunteered of his own accord, taking onambulance duties with the Royal Army Medical Corpsand transporting the wounded away from the frontline.Later, he travelled to France, where he served as anofficer in the Royal Garrison Artillery, witnessing at firsthand the reality and atrocity of war amidst the dailybombardment of shells and artillery fire. But it was theloss of many comrades and close friends – among themthe composer George Butterworth and his brother-in-law Charles Fisher – that affected Vaughan Williamsmost deeply. In the years immediately after the war,he composed very little. Then, as he gradually regainedhis voice he found renewed purpose in composing, usingit to vent his grief and seeking solace in his belief that –even in a time of war – music has the power to comfortand unite.

So when he was approached by the Huddersfield ChoralSociety with a commission to mark their centenarycelebrations in 1936, Vaughan Williams used theopportunity to compose a cantata in the name of peace.He began by revisiting an unpublished setting of WaltWhitman’s ‘Dirge for Two Veterans’ that he hadcomposed in 1911, prefacing it with two further settings ofWhitman poems, ‘Beat! Beat! Drums!’ and‘Reconciliation’. He added a setting of the Agnus Deifrom the Latin mass as the first movement, and – in anunprecedented move – chose a passage from a speechgiven in Parliament by John Bright in 1855 (at the timeof the Crimean War) as the basis of the finale, drawing ittogether with excerpts from the Old Testament thatspeak of hope for a peaceful future.

If Vaughan Williams’ sources for the work are wide-ranging, the message is clear: ‘grant us peace’. And whilethis, at the opening, is communicated as a plaintive pleafrom the solo soprano, it quickly becomes a message ofimpassioned force. Dissonant brass and forceful drumrolls hammer the meaning home, relaying anguish and

RALPH VAUGHAN WILLIAMS (1872–1958)

Dona nobis pacem (1936)

Programme notes by Jo Kirkbride

Programme designed and typeset byHugh Hillyard-Parker, Edinburgh

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TEXT

Dona Nobis Pacem

I Agnus Dei (Lento) Agnus Dei qui tollis peccata mundi Dona nobis pacem

2 Beat! beat! drums! (Allegro moderato) Beat! beat! drums! – Blow! bugles! blow! Through the windows – through the doors burst like a ruthless force, Into the solemn church, and scatter the congregation; Into the school where the scholar is studying; Leave not the bridegroom quiet – no happiness must he have now with his bride; Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain; So fierce you whirr and pound you drums – so shrill you bugles blow.

Beat! beat! drums! – Blow! bugles! blow! Over the traffic of cities – over the rumble of wheels in the streets: Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds; No bargainers' bargains by day – no brokers or speculators – would they continue? Would the talkers be talking? Would the singer attempt to sing? Then rattle quicker, heavier drums – you bugles wilder blow.

Beat! beat! drums! – Blow! bugles! blow! Make no parley – stop for no expostulation, Mind not the timid – mind not the weeper or prayer; Mind not the old man beseeching the young man; Let not the child's voice be heard, nor the mother's entreaties; Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums – so loud you bugles blow.

Walt Whitman (1819–1892)

3 Reconciliation (Allegro moderato) Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, wash again and ever again this soiled world; For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in the coffin I draw near, Bend down and touch lightly with my lips the white face in the coffin.

Walt Whitman (1819–1892)

4 Dirge for Two Veterans (Moderato alla marcia) The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave.

Lamb of God who takest away the sins of the world,Grant us peace

Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon.

I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they're flooding As with voices and with tears.

I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through. For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans, son and father, dropped together, And the double grave awaits them.

Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o'er the pavement quite has faded, And the strong dead-march enwraps me.

In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, 'Tis some mother's large transparent face, In heaven brighter growing.

O strong dead-march you please me! O moon immense with your silvery face you soothe me! O my soldiers twain! O my veterans passing to burial! What I have I also give you.

The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love.

Walt Whitman (1819–1892)

6 The Angel of Death has been abroad The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old . . . to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on.

John Bright (1811–1889)

Dona nobis pacem. Grant us peace

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We looked for peace, but no good came; and for a time of health, and behold trouble! The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones;for they are come, and have devoured the land... and those that dwell therein...

The harvest is past, the summer is ended, and we are not saved... Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered?

Jeremiah 8: 15-16, 20, 22

6 O man greatly beloved, fear not, peace be unto thee, be strong, yea be strong.

Daniel 10: 19 The glory of this latter house shall be greater than of the former ... and in this place will I give peace.

Haggai 2: 9 Nation shall not lift up a sword against nation, neither shall they learn war any more.

Isaiah 2: 4 And none shall make them afraid,... neither shall the sword go through their land.

Leviticus, 26: 6 Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven.

Psalm 85: 10 Open to me the gates of righteousness, I will go into them.

Psalm 118: 19 Let all the nations be gathered together, and let the people be assembled; ... and let them hear, and say, it is the truth.

Isaiah 43: 9 And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them ... and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain forever'.

Isaiah 66: 18-19, 22

Glory to God in the highest, and on earth peace, good will toward men. Luke 2: 14

Dona nobis pacem (TRANSLATION: Grant us peace)

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VIOLIN 1Jacqueline ShaveKatie StillmanFiona McCapraBeatrix LovejoyLucy JealJuan Gonzalez

VIOLIN 2Miranda DaleNicola GoldscheiderAlexandra CaldonAnna BradleyJudith Kelly

VIOLASClare FinnimoreJessica BeestonBridget CareyRachel Byrt

CELLOSCaroline DearnleyBen ChappellJulia Vohralik Raphael Lang

DOUBLE BASSESRoger LinleyLucy Shaw

FLUTEKatie Bedford

OBOE & COR ANGLAISDaniel Bates

HORNSLaurence DaviesTim Anderson

TRUMPETSBruce NocklesShane BrennanRebecca Crawshaw

TROMBONESMichael BuchananBecky Smith

BASS TROMBONEJoe Arnold

TIMPANIWilliam Lockhart

PERCUSSION Ignacio MolinsBarnaby ArcherElsa BradleyChris BlundellRichard CartlidgeJoe MathersOwen Williams

HARPSManon MorrisAnneke Hodnett

PIANOAlasdair Beatson

ON STAGE TONIGHT

BRITTEN SINFONIA CHOIR OF KING’S COLLEGE,CAMBRIDGE

CHORISTERSThomas AlbanAiken AndersonJack BowleySamuel CatesPhilip CurtisLev GodarJoseph HallElliot HaslerGeorge HillAlfred HopkinsLeo McNiffCharlie NicholsonJoshua O’NeillGeorge SheldonJulius Sirringhaus Samuel Trueman

CHORAL SCHOLARS

Alto George GibbonDaniel HendersonJacob PartingtonJoseph ZubierSalim Jaffar

Tenor Julius HaswellJack GoulderJames MicklethwaiteChristopher NehaulProtik Moulik

Bass Stephen WhitfordCharlie BaigentZac MoxonTrojan NakadeBarney WolstenholmeWilliam Crane

ORGAN SCHOLARSHenry WebsdaleDonal McCann

E-NEWSLETTERVisit www.brittensinfonia.com to sign up to ourmonthly e-newsletter. You’ll receive exclusivenews stories, updates on Britten Sinfonia activitiesin the UK and abroad, and more. We won’t passyour details on to anyone else and you canunsubscribe at any time.

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Stephen Cleobury has been Director of Music at King’sCollege, Cambridge for 35 years. His work there hasbrought him into fruitful relationships with leadingorchestras and soloists, among them the Academy ofAncient Music, the BBC Concert Orchestra, BrittenSinfonia, the Orchestra of the Age of Enlightenment andthe Philharmonia. He complements and refreshes his workin Cambridge through the many other musical activities inwhich he engages.

At King’s, he has sought to enhance the reputation of theworld-famous Choir, broadening its repertoire,commissioning new music and developing its activities inbroadcasting, recording and touring. He introduced theannual festival, Easter at King’s, from which the BBCregularly broadcasts, and, in its wake, a series of high-profile performances throughout the year, Concerts atKing’s.

From 1995 to 2007 he was Chief Conductor of the BBCSingers and is now Conductor Laureate. He was muchpraised for creating an integrated choral sound from thisgroup of first-class professional singers and for the manypremieres he conducted.

Beyond Cambridge he is in demand as a conductor,organist, adjudicator and leader of choral workshops: Thisseason has seen him take up residencies in Sewanee andNotre Dame in the USA, and he spent part of thesummer working with young musicians in Hong Kong.

Stephen is an active organ recitalist; this season has seenrecitals in Christ Church, Oxford, the Minster in Bern,and St Gereon, Cologne; he is a past President of theRoyal College of Organists and of the IncorporatedAssociation of Organists; he is currently President of theFriends of Cathedral Music and of the Herbert HowellsSociety. He was appointed CBE in 2009.

STEPHEN CLEOBURY CBE

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The Choir exists thanks to King Henry VI who, in foundingthe College in 1441, envisaged the daily singing of servicesin its magnificent Chapel, which remains the primarypurpose of the Choir’s sixteen choristers, fourteen choralscholars and two organ scholars. A number of famouspeople have attended events in the Chapel includingBritish monarchs, from Elizabeth I to the present Queen;political leaders such as Winston Churchill and MikhailGorbachev; and Charles Darwin, who loved the Choir somuch that he engaged the Choristers to come and sing inhis rooms when he was at Cambridge.

The Choir owes much to the five musicians who havemaintained its consistently high standards over the courseof the last 140 years: A.H. Mann (1876), Boris Ord(1929), David Willcocks (1957), Philip Ledger (1974) and,since 1982, Stephen Cleobury. Since 1870, the choristershave been educated across the river from the College atKing’s College School and receive scholarships from King’sCollege to help pay for their education. By the time theyleave the Choir they are able to take with them valuablemusical skills, with many aspiring to return to the Choir aschoral scholars. The choristers are selected at audition,advertised nationally, when they are in Year 2, 3 or 4(ages 6 to 9) at their school. Boys usually enter the Choirin Year 4 (ages 8 to 9).

The Choir of King’s College, Cambridge is managed byIntermusica Artists’ Management Limited.Stephen Lumsden – Managing DirectorPeter Ansell – Director, Head of International TouringKate Caro – Senior Manager, Film & Multimedia

in PerformanceKirsten Mackay – Associate Manager, International

TouringMarina Cook – Coordinator, International Touring

The Choir of King’s College, Cambridge is one of theworld’s best known choral groups. Every Christmas Evemillions of people worldwide tune into A Festival of NineLessons and Carols, which is the longest established annualbroadcast in history, reaching 90 years in 2018.Additionally, Carols from King’s, a televised Christmasservice also broadcast on Christmas Eve, celebrated its60th anniversary in 2014. The Choir’s international fameand reputation, enhanced by an extensive recordingcatalogue, has led to invitations to perform around theworld.

Last season’s much-anticipated tour of North Americafeatured performances and workshops in some of theregion’s finest halls including The Chan Centre(Vancouver), Benaroya Hall (Seattle) and The MormonTabernacle Church (Salt Lake City). In addition toperformances in London, Manchester and Dublin, theChoir’s 16/17 season ended with a summer tour, visitingVerbier Festival (Switzerland) and the Three ChoirsFestival in Worcester (UK) amongst others. Highlights thisseason include performances at the Vatican in Rome,Athens Concert Hall, and Bernstein anniversary concertswith Britten Sinfonia in the UK.

The College launched its own record label in 2012 withNine Lessons and Carols. In 2014, the Choir’s recording ofFauré’s Requiem remained on the UK classical chart for28 weeks making it one of 2014’s best-selling coreclassical albums, and the 2015 release of 1615 Gabrieli inVenice was the first classical album to use Dolby’s newAtmos technology, reproducing the acoustic of theChapel. Recent releases include a critically acclaimedBach St John Passion with the Academy of Ancient Musicand Duruflé Requiem with the Orchestra of the Age ofEnlightenment. The Choir also has a back-catalogue ofmore than 100 albums released with EMI and Decca.

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Neal Davies studied at King’s College, London and theRoyal Academy of Music, and won the Lieder Prize atthe 1991 Cardiff Singer of the World Competition. Hehas appeared with the Oslo Philharmonic Orchestraunder Mariss Jansons, BBC Symphony Orchestra underPierre Boulez, Cleveland and Philharmonia orchestrasunder Christoph von Dohnányi, Chamber Orchestra ofEurope under Nikolaus Harnoncourt, Orchestra of theAge of Enlightenment under Frans Brüggen, EnglishConcert with Harry Bicket, Gabrieli Consort under PaulMcCreesh, Hallé Orchestra with Sir Mark Elder,Concerto Koeln under Ivor Bolton, Scottish ChamberOrchestra with Adam Fischer, Bergen PhilharmonicOrchestra with Edward Gardner, Deutsches SymphonieOrchester Berlin with David Zinman, MelbourneSymphon Orchestra with Sir Andrew Davis, and theLondon Symphony and Vienna Philharmonic orchestrasunder Daniel Harding. He has been a regular guest of theEdinburgh Festival and BBC Proms.

His wide discography includes Messiah, Theodora, Sauland Creation (Gramophone Award 2008) underMcCreesh, Jenufa and Makropulos Case under SirCharles Mackerras, Barber’s Vanessa under LeonardSlatkin, Messiah under René Jacobs, the HyperionComplete Schubert Edition with Graham Johnson, andBritten’s Billy Budd with Harding (Grammy Award,2010).

Operatic appearances have included: Major GeneralStanley The Pirates of Penzance and Ko-Ko The Mikadofor the Lyric Opera of Chicago; Giulio Cesare, Figaro Lenozze di Figaro and Alaska Wolf Joe The Rise and Fall ofthe City of Mahagonny for the Royal Opera House,Covent Garden; L’Allegro, Zebul Jephtha, Publio Laclemenza di Tito, Ariodates Xerxes, Kolenaty TheMakropoulos Case and a new commission by RyanWigglesworth, A Winter’s Tale, for English NationalOpera; Radamisto for Opera de Marseille; Leporello DonGiovanni for Scottish Opera and Opera de Montreal;Curlew River for the Edinburgh Festival; Guglielmo andDon Alfonso Cosi fan tutte, Papageno Die Zauberflöte,Leporello, Dulcamara L’elisir d’amore, Zebul and SharplessMadame Butterfly for the Welsh National Opera;Agrippina for the Deutsche Staatsoper Berlin. WithWilliam Christie and Les Arts Florissants, Neal has sungin Theodora (Paris and Salzburg) and in the Aix-en-Provence Festival production of Charpentier’s David etJonathas (Aix, Edinburgh and New York), which is

NEAL DAVIES

available on DVD. He sang Traveler in the BarbicanCentre production of Curlew River, which toured to NewYork’s Lincoln Center, and Alaska Wolf Joe for theOpera di Roma.

This season Neal returns to the English National Operaas Garibaldo Rodelinda, the Garsington Opera for a newcommission by David Sawer (The Skating Rink), and tothe Deutsche Staatsoper Berlin for King Arthur; he willappear in concert with the Hallé Orchestra (Sir MarkElder), Spanish National Orchestra (David Afkham), andLes violons du Roy (Jonathan Cohen).

Academy of Ancient Music (EMI) and Mahler SymphonyNo.8 with the London Symphony Orchestra under ValeryGergiev (LSO Live) and the Philharmonia Orchestraunder Lorin Maazel (Signum Classics). She has alsoappeared as a guest commentator and jury member atBBC Cardiff Singer of the World.

Ailish Tynan trained at Trinity College, the Royal IrishAcademy of Music in Dublin and the Guildhall School ofMusic and Drama, London. She was a Vilar Young Artist atthe Royal Opera House, Covent Garden and a BBC NewGeneration Artist. In 2003, representing Ireland, Ailishwon the Rosenblatt Recital Prize at BBC Cardiff Singer ofthe World.

Operatic engagements include Gretel Hänsel und Gretel,Podtotschina’s daughter The Nose and Madame Cortese Ilviaggio a Reims (Royal Opera House, Covent Garden);Gretel Hansel and Gretel (Scottish Opera and WelshNational Opera); Tigrane Radamisto (English NationalOpera); Papagena Die Zauberflöte (Teatro alla Scala);Despina Così fan tutte (Théâtre du Capitole de Toulouse);Héro Béatrice et Bénédict (Houston Grand Opera,Opéra Comique and the Grand Théâtre de la Ville deLuxembourg); Anna Intermezzo (Garsington Opera);Sophie Der Rosenkavalier, Nannetta Falstaff and AtalantaXerxes (Royal Swedish Opera); Miss Wordsworth AlbertHerring (Opéra Comique and Opéra de Rouen) and VixenThe Cunning Little Vixen (Grange Park Opera).

Among her notable concert appearances are MahlerSymphony No.8 (Frankfurt Radio Symphony Orchestra,Philharmonia, Accademia Nazionale di Santa Cecilia andDresdner Philharmonie); Mahler Symphony No. 4 (PragueSymphony Orchestra and the Hallé) and Mahler SymphonyNo. 2 (Accademia Nazionale di Santa Cecilia and RoyalPhilharmonic Orchestra); Verdi Requiem (LudwigsburgerSchlossfestspiele); Handel Messiah (Academy of AncientMusic); Haydn The Creation (City of BirminghamSymphony Orchestra) and Vaughan Williams Hodie (RoyalConcertgebouw, Amsterdam). She performs regularly atthe BBC Proms where she has performed Bella in Tippett’sA Midsummer Marriage (BBC Symphony Orchestra) andGliere’s Concerto for Coloratura Soprano (BournemouthSymphony Orchestra).

In recital Ailish works regularly with pianists including IainBurnside, James Baillieu, Graham Johnson, ChristopherGlynn and Joseph Middleton at venues and festivalsincluding Wigmore Hall, Edinburgh, City of London,Gregynog, St Magnus, Brighton and West Cork MusicFestivals, and the Vinterfespill in Norway.

Her discography includes Fauré Mélodies (Opus Arte),Nacht und Träume (Delphian), From a City Window HubertParry Songs (Delphian) and An Irish Songbook (SignumClassics) all with pianist Iain Burnside; Il re pastore forClassical Opera (Signum Classics); Michael Head Songs(Hyperion) with Christopher Glynn; Messiah with the

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BRITTEN SINFONIAONLINE

Join us outside the concert hall toshare your thoughts on theperformance and stay up to datewith the latest Britten Sinfonianews. For videos, podcasts,recordings, news stories and linksto our blog visitwww.brittensinfonia.com orfollow our social media pages.

/brittensinf

@BrittenSinfonia

@brittensinfonia1

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£25 FOR 25 YEARS

Britten Sinfonia celebrates its 25th birthday this season. In just 25 years of existence, we havegiven more than 1,500 concerts, been heard by over half a million people in 25 countries andcommissioned over 300 new works. We have also made 36 recordings and worked with 125,000participants through our Creative Learning programme.

To ensure we can continue making trailblazing music we are asking music lovers to give a £25birthday donation to the orchestra. Britten Sinfonia gratefully acknowledges the support of thefollowing donors to the £25 for 25 years campaign:

Visit brittensinfonia.com for details of how to donate to the £25 for 25 years campaign and your name will feature in all our programmes for the rest of the season.

Paul AllattGeoff AndrewDame Mary ArcherEdward Baden-PowellJonathan & Clare BarclaySally BeamishDame Gillian BeerJerome BoothMeurig BowenJanet BrealeyNick BrealeyRichard BridgeAnthony & Barbara ButcherJoanne ButcherDavid ButcherMartin ChapmanHarry Christophers CBEStephen Cleobury CBEKieran CooperJane CraxtonDennis DavisJim DurrantHelen Egford Liz ForganTim FoxonSarah GarnierJonathan Groves

Sally GrovesRichard HalseyNick & Penny HeathKen HeskethHugh Hillyard-ParkerWaltraud & Richard JarroldMark JeffriesRichard KeelingGhislaine KenyonLady Mary KittyMark LittleLynsey MarshProf Timothy MathewsColin MatthewsLouise MitchellHeather Newill Tarik O'ReganKarys OrmanMatteo PizzoRuth RattenburyCharles Rawlinson MBE &

Jill RawlinsonTim RedmondPeter RenshawDuncan Hannay-RobertsonClark & Kathy RundellKate Sandars

In memory of Hans SandersRob Hammond &

Charlotte SankeyJohn SimsStephen J. Smith OBEDaniel Spindel & Emma AdamsJohn Stephens Robert StopfordM & A TaylorAlan TongueAndrew & Rosemary TusaRoderick & Miranda WilliamsStephen Green & Clare WilsonSir Rob & Lady Young32 anonymous donors

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Britten Sinfonia is one of the world’s most celebrated andpioneering ensembles. The orchestra is acclaimed for itsvirtuoso musicianship, an inspired approach to concertprogramming which makes bold, intelligent connectionsacross 400 years of repertoire, and a versatility that issecond to none. Britten Sinfonia breaks the mould by nothaving a principal conductor or director, instead choosingto collaborate with a range of the finest internationalguest artists from across the musical spectrum, resultingin performances of rare insight and energy.

Britten Sinfonia is an Associate Ensemble at theBarbican in London, has residencies across the east ofEngland in Norwich, Cambridge (where it is anEnsemble-in-Residence at the University) and SaffronWalden, where the orchestra became ResidentOrchestra at Saffron Hall in Autumn 2016. Theorchestra also performs a chamber music series atWigmore Hall and appears regularly at major UK festivalsincluding the Aldeburgh Festival and BBC Proms. Theorchestra’s growing international profile includes regulartouring to North and South America and Europe. Theorchestra made its debut in China in May 2016 with athree-concert residency in Shanghai, as well asperformances in Beijing and Wuhan.

Founded in 1992, the orchestra is inspired by the ethosof Benjamin Britten through world-class performances,illuminating and distinctive programmes where old meetsnew, and a deep commitment to bringing outstandingmusic to both the world’s finest concert halls and thelocal community. Britten Sinfonia is a BBC Radio 3broadcast partner and regularly records for HarmoniaMundi and Hyperion.

In 2017–18, Britten Sinfonia collaborates with artistsincluding Thomas Adès, Sir Mark Elder, Jeremy Denk,Cambridge’s King’s College Choir, Elizabeth Kulman,Nicolas Hodges and Ailish Tynan, with premieres fromcomposers including Mark-Anthony Turnage, Emma-Ruth Richards, Leo Chadburn and Nik Bärtsch.Following UK performances, many of thesecollaborations will tour internationally with performancesin some of the world’s finest concert halls. In 2018 theorchestra will perform for the second time at thePhilharmonie in Paris, and will make its debut at TheSistine Chapel, Vatican City.

Central to Britten Sinfonia’s artistic programmes is awide range of creative learning projects within bothschools and the community including the talented youth

ensemble Britten Sinfonia Academy and annualcomposition competition, OPUS2017, offeringunpublished composers the chance to receive aprofessional commission.

In 2013 Britten Sinfonia was awarded the RoyalPhilharmonic Society Music Award for Ensemble havingpreviously won the Chamber Music Award in 2009 andthe Ensemble Award in 2007. Britten Sinfoniarecordings have been Grammy nominated, received aGramophone Award and two ECHO/Klassik RecordingAwards, and most recently were awarded a BBC MusicMagazine Award for its recording of James MacMillan’sOboe Concerto. In 2014 Britten Sinfonia was nominatedfor an Olivier Award for its collaboration with theRichard Alston Dance Company.

Britten Sinfonia play with sinuous beauty andvirtuosic clarity. The Times 2015”“

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BRITTEN SINFONIA

FIRST VIOLINS Thomas Gould Leader

Supported by Charles Rawlinson MBE & Jill Rawlinson

Jacqueline Shave LeaderSupported by John & Jilly Wreford

Marcus Barcham Stevens Co-LeaderSupported by Barry & Ann Scrutton

Vacancy*Clara BissRuth EhrlichMartin Gwilym-JonesBeatrix Lovejoy

Supported by Sir Rob & Lady YoungFiona McCapraKatherine Shave

SECOND VIOLINSMiranda Dale

Supported byMr & Mrs Donagh O’Sullivan

Nicola Goldscheider Supported by Andrew & Rosemary Tusa

Alexandra CaldonSupported by Patrick Meehan

Anna BradleyMarcus BroomeJudith KellySuzanne Loze

VIOLASClare Finnimore

Supported by Michael & Penelope GaineVacancy*Bridget Carey

Supported by Jen Gilchrist Rachel Byrt

CELLOSCaroline Dearnley

Supported by Jonathan & Clare BarclayBenjamin Chappell

Supported by Sir Rob & Lady YoungJoy HawleyJulia Vohralik

Supported by an anonymous donor

DOUBLE BASSESStephen Williams

Supported by Dr & Mrs Jerome BoothRoger Linley

*Trials in progress

FLUTESEmer McDonough

Supported by Delia BrokeSarah O’Flynn

OBOESNicholas Daniel

Supported by John Stephens OBEEmma Feilding

CLARINETSJoy Farrall

Supported by Andrew & Jane SuttonVacancy*

BASSOONSSarah Burnett

Supported by Robert & Margaret MairSimon Couzens

HORNSMartin Owen

Supported by Dame Mary Archer DBETom RumsbyAlex Wide

TRUMPETPaul Archibald

Supported by Jeffrey Archer

TIMPANIWilliam Lockhart

Supported by Stephen & Stephanie Bourne

HARPLucy Wakeford

Supported by Richard & Fiona Walford

PIANOHuw Watkins

Supported by Barbara & Michael Gwinnell

HARPSICHORDMaggie Cole

Supported by Roger Bamber

BRITTEN SINFONIA VOICESDIRECTOREamonn Dougan

MANAGEMENT

David Butcher, Chief Executive &Artistic Director

Supported by Hamish & Sophie ForsythNikola White, Artistic Planning DirectorJames Calver, Concerts DirectorHannah Bates, Orchestra Personnel

ManagerHazel Terry, Concerts & Tours ManagerAlex Rickells, Concerts AssistantSarah Rennix, Creative Learning

DirectorMegan De Garis, Creative Learning

Co-ordinatorElaine Rust, Finance ManagerNick Brealey, Development DirectorStephen Wilkinson, Development

AssistantClaire Bowdler, Marketing DirectorMilly March, Marketing AssistantSophie Cohen, National Press & PR

Agent

TRUSTEES

Chairman Dr Jerome BoothDame Mary Archer DBEHamish ForsythDr Andy HarterJanis Susskind OBEBill Thompson

ADVISORY COUNCIL Jonathan BarclayCharles BarringtonStephen BourneDr Nigel W Brown OBEGermaine GreerMargaret MairCharles Rawlinson MBEProf John RinkJudith Serota OBEStephen Smith OBEJohn Stephens OBEJohn SummersFiona TalkingtonProf Michael ThorneSir John TusaJohn WoolrichJohn Wreford

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TRUSTS & FOUNDATIONSAnne French Memorial Trust Barbara Whatmore Charitable TrustBoltini TrustD’Oyly Carte Charitable TrustGarrick Charitable TrustHeadley TrustKirby Laing FoundationMarsh Christian TrustPaul Bassham Charitable TrustQuercus TrustRVW TrustSimon Gibson Charitable TrustThriplow Charitable Trust and other anonymous partners

Britten Sinfonia is proud to acknowledgethe support of numerous individuals, trustsand foundations, corporate partners andpublic funders who enable us to playoutstanding concerts to audiences acrossthe UK and the rest of the world.

Everything we do – each and everyconcert, project, collaboration andpartnership – benefits from the vision andgenerosity of all those listed and those whowish to remain anonymous.

For more information about giving to yourorchestra, please contact theDevelopment Team on 01223 558501 oremail support@brittensinfonia.com

PRINCIPAL FUNDER

PUBLIC FUNDERS & PARTNERSCambridgeshire Music PartnershipNorfolk & Norwich Festival BridgeNorfolk Music HubPeterborough Music PartnershipRoyal Opera House BridgeVivacity

SINFONIA CIRCLEAcademyDr Claire Barlow & Prof Jim WoodhouseJohn LebusBarry & Ann ScruttonCommissionsHamish & Sophie ForsythMeredith Lloyd-EvansConcertsDame Mary Archer DBEHamish & Sophie ForsythBarbara & Michael GwinnellCharles Rawlinson MBE & Jill RawlinsonTwo anonymous donorsCoreDr & Mrs Jerome BoothTwo anonymous donors

ORCHESTRA CHAIR PARTNERSGillian & John BeerSir Richard & Lady DearloveRoger & Susan MayRonald MillanJohn & Penelope RobsonDr Peter Stephenson

THANK YOU FRIENDSClive & Elizabeth BandyGillian & John BeerSir Alan Bowness CBES BradfieldJanet BrealeyPhilip Britton & Tom SouthernSheila BrownTim Brown Sue & Tim BurtonAnthony & Barbara ButcherPaul Cartledge & Judith PortraitJ CeybirdRobert Clark & Susan CostelloGeoffrey CollensAnn CurranKelly DicksonCaroline Dixey Andrew DuffShirley EllisSally & Michael FowlerSarah GarnierStephen Green & Clare WilsonColin & Vivienne GreenhalghNorman Greenhill Roy HallRob Hammond & Charlotte SankeyDavina HampsonMaureen HankePeter & Cynthia HardyRuth HarmerNick & Penny HeathMike HolleyRichard HopkinSarah Knights & Tony BarnettProf Angela LeightonAnna & Alistair LippSusan MaddockPauline MantrippMichael & Patricia McLaren-TurnerKaarina MeyerRod MillsHoward PhillipsJim PotterColin PurdomSusan PykeJudith RattenburyRuth RattenburyMargaret RoweRoger RoweDr Paul SackinJohn SennittRoderick & Thelma ShawGraham ShorterStephen Smith OBEMary Anne SutherlandColin & Elisabeth TraverseChristine & Peter WallMichael WallisGerald & Janet WatsonColin WillisCarolyn WingfieldOne gift in honour of Miranda Dale’s

musicianship23 anonymous donors