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096Bookletv2 22/2/07 21:53 Page 1

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On Buying a Horse Remember Your Lovers


The Songs of Judith Weir Songs by Tippett, Britten, Purcell & Pelham Humfrey
SIGCD087 SIGCD066

Much loved mezzo-soprano, Susan Bickley, and fast-rising stars Tippetts songs are few in number, but dazzling in quality. We
Ailish Tynan and Andrew Kennedy perform songs written by one of contrast them here with one of Tippetts sources of inspiration,
Britain's leading composers, Judith Weir. Henry Purcell, in an excellently performed programme featuring
John Mark Ainsley & Iain Burnside.

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Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000
096Bookletv2 22/2/07 21:53 Page 3

Moonstruck Moonstruck
Songs of F G Scott Songs of F G Scott
I get it, Roddy Williams burst out, hes the
Scottish Charles Ives! We had just read through
1. Milkwort and Bog-cotton [2.32] 18. I wha aince in Heavens Heicht [1.24]
the first half dozen Scott songs for this CD. Not at
2. Crowdiknowe [1.36] 19. An Apprentice Angel [2.08] all, I came back at him, hes Scotlands Hugo
3. Moonstruck [2.37] 20. Hungry Waters [1.49] Wolf. Or perhaps Scotlands Gerald Finzi. The Ives
4. The Eemis Stane [2.03] 21. Te Deil oBogie [2.48] parallel had never struck me, but halfway through
5. The Sauchs in the Reuch Heuch Hauch [1.12] 22. To a Lady [2.32] the next song I saw Roddys point. Like Ives, Scott
6. Ay Waukin, O [3.52] 23. Cupid and Venus [2.33] uses his songs as a sort of chemistry lab, the
7. Amang the Trees [1.26] 24. The Old Fisherman [2.24] crucible for wild experiments in musical language,
8. The Discreet Hint [1.36] 25. Im Tiroler Wirsthaus [1.02] decades ahead of his time. He loves contrast, the
9. Je descendis dans mon jardin [2.22] 26. In Time of Tumult [2.05] vernacular nestling cheek by jowl with the radical.
10. Florine [1.46] 27. The Man in the Moon [2.07] He makes you laugh. And as with Ives, Scotts
11. Lourd on my Hert [1.22] 28. First Love [1.46] songs show a gruff man, filled with huge,
12. The Watergaw [2.26] 29. Empty Vessel [1.13] unconventional energy.
13. Country Life [1.14] 30. The Wrens Nest [1.09]
14. Wheesht, Wheest [1.31] 31. Love of Alba [1.53] Yet those other comparisons are valid, too. Like
15. O, wha my babie-clouts will buy? [2.04] 32. The Wee Man [1.10] Wolf, Scott longed to be acknowledged in larger
16. My wifes a wanton wee thing [1.33] forms, while excelling primarily in song. And like The settings Scott made of MacDiarmid poems in
Total [62.26] Wolf, his work falls naturally into songbooks - the 1920s and early 1930s are the heart of his
17. The Innumerable Christ [3.06]
musically defined collections setting different work, and the starting point for my personal
poets. Like Finzi, Scott will be remembered above selection of his songs. Their poetic range is
Lisa Milne Soprano all for his closeness to a single poet. Where Finzi extraordinary: the condensed madness in Moonstruck,
Roderick Williams Baritone had Thomas Hardy, Scott has Hugh MacDiarmid; the tenderness of Milkwort and Bog-cotton;
the vital difference is that Finzi was not Hardys self-mocking, grumpy Scottish agitprop in Lourd
Iain Burnside Piano
English teacher. on my hert, heart-wrenching simplicity in Empty
www.signumrecords.com Vessel. It is in these MacDiarmid settings that
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Scott is at his most radical. Such harmonic daring, sound, a canvas for his singers thoughts and Elsewhere Burnss battle of the sexes rages on F.G. Scott (1880-1958)
from a contemporary of Roger Quilter! emotions. It is a process that goes back to Schubert with much twinkling of the eye, whether in the
and beyond, a synergy placing Scott and MacDiarmid raunchy Discreet Hint or the rampantly, jubilantly, Francis George Scott was a Borderer, born in the
A contemporary, but by no means a compatriot. firmly on the family tree of European song. politically incorrect My wifes a wanton wee thing. town of Hawick in Dumfriesshire, twenty miles
Nothing in these MacDiarmid songs, musical or north from England. He grew up in a Scots-
verbal, links them to musical life south of Together with Robert Burns, they also belong, It is when Scott turns the poetical clock back speaking community where a blind great-uncle, a
Hadrians Wall. Scotts points of reference are proudly, on the family tree of the anti-clerical. Can beyond Burns that parallels arise with English fine Scots fiddle-player, identified the young F.G.
European: a nod to Schoenbergs Pierrot Lunaire in any self-respecting member of the Church of song. Peter Warlock would have felt at home with by running his fingers over the boys head and
Moonstruck, a wink to Bartok in Country Life, with Scotland listen in comfort to the magnificent bile the texture of Je descendis dans mon jardin; while feeling the frontal bones good musical bones!
all its farmyard high jinks. Elsewhere, resonances that is An Apprentice Angel? How Burns would Scotts neo-baroque style finds its highest he called them.
of a French sound world appear. How tantalising, have approved! Earlier in the CD we meet that expression in the counterpoint underpinning Mark
that Scott was offered a period of study in Paris; peculiarly Scottish instrument of public torture, Alexander Boyds ravishing sonnet Cupid and Through his childhood, Scott would commonly
how sad that the hard choices of family life should the creepie chair, a special place in the Kirk where Venus. Other songs on the disc show great hear his family singing the Border Ballads in their
have held him back. fornicators sat to be denounced and humiliated. It simplicity. The Old Fisherman uses a scant home and he attributed his sense of what poetry
features in the Burns setting O, wha my babie-clouts handful of chords to wonderful effect. The can do to his mother. He spent his first seventeen
Leaving aside the personal connections between will buy, one of Scotts quieter masterpieces. No harmony of Florine would not have caused years in the Borders before leaving for Edinburgh
Scott and MacDiarmid, there is something Schoenbergian harmonies here, no cascades of Mendelssohn to raise an eyebrow; yet it manages University where he was taught English by George
European, too, in the qualities that drew the rippling pianism: just a single mother contemplating to be both touching and original, its little piano Saintsbury and enrolled as a pupil-teacher at
composer to his younger friends work. Scott had her fate with remarkable dignity, to a tune which interlude continuing the singers thought. Moray House College of Education. He had
the truffle hunters nose of the true song seems to have been there for ever. absorbed more than poetry and song from the
composer, that acute instinct for what he needed And originality is what we are left with, as the sum Borders there was also a fiercely independent
from a poem. The way MacDiarmid moves between While Scotts musical vocabulary for Burns is more of all these parts. The talents of this man blazing spirit. He never completed his degree at
the natural and the personal, between image and conventional, he remains true to his poet. Never is with spiritual energy, as MacDiarmid put it, are Edinburgh, stubbornly refusing to apologise for
emotion, gives Scott space for his music. The there a whiff of sentimentality, never a glimpse of surely much too strong to be overlooked any having offended one of his lecturers, and although
Watergaw is clearly about more than a rainbow, the shortbread tin. Instead the high energy longer. At a time when Scotland is drawing new eventually he took a B.Mus. degree from Durham
the bitonal Eemis Stane about more than a snowy feistiness of Amang the trees sits next to Ay strength from its place within Europe, when it is University in 1909, he was in many respects an
Borders night: in both, the natural provides a waukin O, infinitely gentle and the earliest song in looking again at its national identity, let us utterly dedicated autodidactic student of music.
creative springboard for poet and composer, a this selection. Its tune, too, manages to sound celebrate this most European of Scottish composers. His father would find him up till 3 a.m. in the early
visual element that Scott can translate into traditional, while being freshly composed. days, making his first attempts at composition.
Iain Burnside

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His first song was written for the local Riding of the winter of 1914), Lilias, George and Malcolm. MacDiarmids poems over the following ten years
the Marches, the high-spirited annual festive He volunteered for military service for World War One, or so, through a period in which he closely studied
riding round the territorial boundaries of Hawick. but was rejected on medical grounds. Through the the works of Bartok, whom he met when his fellow-
war years and immediately after, Scott made firm Scottish composer Erik Chisholm brought Bartok
Through the late 1890s and into the twentieth friendships with a number of writers and artists to Glasgow. At the same time, beginning in 1923,
century, Scott taught English at various Scottish associated with the Scottish Renaissance movement he attended the series of International
schools. From 1903-1912 he was in Langholm of the 1920s the artist William McCance, the Contemporary Music Festivals at Salzburg and
Academy, back in the Borders a dozen miles from poet and critic Edwin Muir and his wife the absorbed the work not only of Bartok but also of
Hawick. Here he was in charge of a class in which novelist Willa Muir, the poet William Soutar and Schoenberg; meanwhile at home he was
a pupil named Christopher Murray Grieve was to the French critic and scholar Denis Saurat. researching the music of the Scottish Border
catch his attention as a young writer of clearly Ballads and the classical music of the Highland
high potential. One day, when Grieve was sitting Saurat took Scott to Paris, where he was bagpipe, pibroch or Piobaireachd which
immobile, thinking about a writing exercise, Scott introduced to the composer Roger-Ducasse, who informs the beautifully sustained melodic poise of
rapped him on the brow and said, Dont worry immediately recognised the quality of Scotts Milk-Wort and Bog-cotton.
Christopher, theres just so much in that big head compositions and invited him to stay and work
of yours, itll all come out in time! Its said that with him and the inner circle of the Paris Through the 1920s, the Scott family often
Scott also gave the boy at least one dose of Conservatoire Faure, Debussy, Ravel. But Scott holidayed in Montrose (MacDiarmids home at this
corporal punishment. Recollecting this later, pulled back, acknowledging his own family time) and Scott and MacDiarmid would get
Grieve commented that he couldnt remember commitments in Glasgow. In 1922, his former pupil Christopher Grieve had together for Wagnerian conversations about
what it was hed done but he was sure that hed started publishing poems under the name Hugh poetry, music and the artistic regeneration they
deserved it. We were all juvenile delinquents, and In 1925, he became a Lecturer in Music at MacDiarmid. He was to become the major Scottish both saw as essential to a revitalised Scotland.
consequently up to pranks which today would Jordanhill, Glasgows Training College for poet of the twentieth century, recognised as such The composers cousin, the artist William
condemn us to a remand home or borstal. Teachers, and the family moved to 44 Munro Road, by Yeats, Eliot and Pound. Another old Langholm Johnstone, described them at this period. Scott,
a grey sandstone terrace house, which was to be teacher, William Burt, showed some of Johnstone said, became greatly excited by what
Not long before the outbreak of the First World War, their home and a central powerhouse of the MacDiarmids poems to Scott and they met again he saw as the possibility of a splendid revival, a
Scott fell in love with and married a fellow teacher Scottish Renaissance in the 1920s, what Saurat in 1923. Scott recognised his former pupil and Scottish Renaissance of the arts. We three were to
at Dunoon Grammar School, Burges Gray, a fine called the beginning of a sort of furious spiritual recognised in the poems exactly the sort of work be the core of this Renaissance. He felt that if we
mezzo-soprano, and they had four children, awakening among some people in Scotland who that he needed for the song-settings which are the all pulled our weight together and tried,
Francise (who was born while they were in Paris in looked to Scott as their master. heart of his achievement. Scott continued to set Christopher with his poetry, I with my painting and

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Francis with his music, all having a revolutionary effectively. Moreover, the fourth member of this their careers as schoolteachers, and practising The biography suggests some of the composers
point of view, we could raise the standard of the group of friends, Edwin Muir, asserted in 1936 them in choral singing and training a small essential qualities. His first twenty years were
arts right from the gutter into something that that the only way forward for Scottish literature orchestra. He also served as an Inspector of spent in the nineteenth century: he came from an
would be really important. It was to be a great was for it to be written exclusively in English. This Schools, in Central and South West Scotland. older Scotland and a specific part of it. As a
resurgence of the arts in Scotland. led to Muirs bitter alienation from MacDiarmid Occasional concerts after the war succeeded in Borderer, Scots was a language he grew up with
and Scott himself saw Muirs statement as a getting Scotts songs heard by a small, and knew in his bones, a language earthed in body
This vision was fragmented in the 1930s. criticism of his own musical idiom which appreciative public but there was very little and physicality, yet given to song and melody, as
MacDiarmid, isolated personally and increasingly confirms that he thought of his own compositions prospect of seriously establishing them in the Burns and the folk tradition demonstrates so
politically extreme, moved to the Shetland Islands as occupying a distinctly Scots musical language, British concert repertoire. When a number of clearly very different from the airs of the English
and Johnstone went to work as a teacher in to match the Scots written language employed French concert enterprises came to nothing, choral tradition or the magniloquent tradition of
London. Both kept up a high output of brilliant by MacDiarmid. Scotts hopes for a European response to his work English verse, from Chaucer through Shakespeare
work but they were too far apart to combine forces were dimmed. An orchestral ballet score setting of to Milton and Wordsworth. The poetry of Dunbar,
By now, however, MacDiarmid was writing long William Dunbars poem The Dance of the Seven Burns and MacDiarmid breathes differently.
poems and there were fewer of the intense lyrics in Deadly Sins was considered by Sadlers Wells and
Scots of the previous decade for Scott to set. They Leonide Massine but came to nothing. A concert Also, Scott was possessed of a Borderers
kept up their friendship though, partly through a overture, Scottish Renaissance similarly has sensibility the sense that just over the border
common meeting ground in St Andrews, from been languishing in the archives of the Scottish was the enemy, not in terms of military might but
where the sophisticated cultural periodical The Music Centre in Candleriggs, Glasgow, and in terms of an alien sensibility: over-genteel,
Modern Scot was being produced, which published deserves fresh performance, and there is also a crippled by propriety. His songs animate a very
both of them. When, after the break-up of his first small manuscript collection in the Scott archive in improper sense of the eldritch and eerie, moonlit
marriage, MacDiarmid suffered severe nervous Glasgows Mitchell Library. And there is an worlds of liminality and transformation. They
and physical breakdown in 1935 and was unrecorded series of piano pieces, Intuitions never rest complacently irony keeps them sharp
hospitalised, Scott was there to help. And when begun in 1943 and written into the 1950s, housed and the humour is sometimes merciless,
the poet returned to live in Glasgow, Scotts home in the Scottish Music Centre. Glasgow University possessed of what the poet Norman MacCaig once
was always open to him. gave him an Honorary Doctorate in 1957, noting called the homicidal hilarity of a laugh in a
his characteristics: intensity, humour and exacting ballad. But the other side of that is a sense of
Scott remained at Jordanhill till 1946, when he fastidiousness but by then he was an ailing man. tenderness, a poised sensitivity to the
retired. His duties included lecturing on theory and He died in 1958 and is buried in the Borders, in the vulnerabilities of childhood and old age which
musical appreciation to students about to begin Wellogate Cemetery, overlooking his native Hawick. counterpoints the vigorous expressions of force

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and power. There is something elemental in Scotts Translations of Hugh MacDiarmid Poems In sacrifice to let sic beauty be!
compositions that remains unforgettable. If But deep surroondin darkness I discern
exaggerated, such qualities might deliver Scots is a different language from English. They Is aye the price o licht. Wad licht revealed
excessive sentimentalism but Scotts songs never both have common roots but each developed Naething but you, and nicht nocht else concealed.
indulge themselves. There is a precisely-judged through different histories, localities, literary
universal quality of sentiment, an adamantine traditions and political contexts. Most of F.G. Come away with me! Eyes [blue] like milk-wort
strength of character, an absolute trust in self- Scotts settings of poems in Scots are approachable and hair [white] like bog-cotton! I love you, earth,
determination and an exemplary confidence about with a glossary but sometimes the density of the in this mood best of all, when the shy spirit moves
what is really worthwhile in life. Thats what roots language makes the idiom and atmosphere like a low wind [across the earth] and no shadow
these songs not only in Scotland but in the difficult to comprehend for an English-language can fall from the sky, because theres nothing
European tradition and the best that all the arts reader, in which case the song is perhaps best there to cast a shadow over eyes like milk-wort
can do, to help people to live. They are essentially approached as if the poem were in German or and milk-white cotton hair. If only no leaf upon
popular not in the facile sense of fashionable, French, with the sense that it inhabits an entirely another wheeled and cast a shadow, and no root
but in the real sense of, of the people they show different atmosphere. Translations of some of the needed to dig itself down in sacrifice to let such
us the things that, if we are honest, are worthwhile poems of Hugh MacDiarmid, by Alan Riach, University beauty be! But deep surrounding darkness, I
being honest about. of Glasgow, are supplied with the texts below. understand, is always the price of light. If only
light revealed nothing except you, and night
References 1. Milkwort and Bog-cotton (Hugh MacDiarmid) concealed nothing else either.
William Johnstone, Points in Time: An Autobiography
(London: Barrie and Jenkins, 1980) Cwaeen like milk-wort and bog-cotton hair! 2. Crowdieknowe (Hugh MacDiarmid)
Photograph by Lida Moser c.1953 Maurice Lindsay, Francis George Scott and the Scottish
I love you, earth, in this mood best o a
Renaissance (Edinburgh: Paul Harris Publishing, 1980)
John Purser, Scotlands Music: A History of the Traditional
When the shy spirit like a laich wind moves Oh to be at Crowdieknowe
and Classical Music of Scotland from Earliest Times to And frae the lift nae shadow can fa When the last trumpet blaws,
the Present Day (Edinburgh: Mainstream, 1992) Since theres nocht left to thraw a shadow there An see the deid come loupin owre
Owre een like milk-wort and milk-white The Auld grey was.
Alan Riach, University of Glasgow cotton hair. Muckle men wi tousled beards,
I grat at as a bairn
Wad that nae leaf upon anither wheeled ll scramble frae the croodit clay
A shadow either and nae root need dern Wi feck o swearin.

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An glower at God an a his gang Shes seen me shes seen me an straucht Like a yowdendrift sos I couldna read As the deils ain hert are thrawn.
O angels i the lift Loupit clean on the quick o my hert, The words cut oot I the stane The winds ud pu them by the roots,
- Thae trashy bleezin French-like folk The quhither o cauld gowds fairly Had the fug o fame Tho it broke the warl asunder,
Wha gard them shift! Gien me a stert. An historys hazelraw But they rin richt doon thro the boddom o Hell,
No yirdit thaim. And nane kens hoo fer under!
Fain the weemun-folkll seek An the roarin oceans noo
To mak them haud their row Is peerieweerie to me: In the darkest time of the cold harvest night, the Theres no a licht that the Heavens let loose
- Fegs, Gods no blate gin he stirs up Thunners a tinklin bell: an Time world, like an precariously-poised stone, is Can calm them a hanlawhile,
The men o Crowdieknowe! Whuds like a flee. unsteadily rocking in the sky, and my strange Nor frae their ancient amplfeyst
memories are coming down onto it like a snowfall. Sall Gods ain sel them wile.
Oh to be at Crowdieknowe Graveyard when the last When the world seems settled and secure, as still Like a snowfall so that I could not read the words
trumpet blows, and see the dead come jumping as a spinning-top that has stopped moving, the cut out in the stone, had the mossy overgrowth of There are tough willow trees growing in this rough
over the old grey walls. Great big men with tangled moon is perched on the four cross-winds lightly gossip and chatter and the lichen or moss of field; they are like the souls of the damned, each
beards that made me cry when I was a child will like a crow, looking hungrily all around. Shes seen history not already buried them. one yoked in its own whirling motion, spinning like
scramble from the crowded clay with lots of me! and instantly leapt straight on the quick of a childs toy all day long. We come down from our
swearing, and glower at God and all his gang of my heart. The shivering light of cold gold has 5. The Sauchs in the Reuch Heuch Hauch stormiest moods and calm down like a bird
angels in the sky, those trashy, gaudy, French-like certainly made me jump! And the roaring of (Hugh MacDiarmid) landing in the hand, but these tough willow trees
folk who have ordered them to get up. Anxiously, oceans now is a little thing to me. Thunder is a (for George Reston Malloch) are as twisted as the devils heart. The winds
the women will try to make them keep quiet. tinkling bell and Time jumps around like a flee. would try to pull them up by their roots even if it
Indeed, God is not afraid or cautious if he dares to Theres teuch sauchs growin i the Reuch tore the world to pieces, but their roots run right
stir up the men of Crowdieknowe. 4. The Eemis Stane (Hugh MacDiarmid) Heuch Hauch. down through the bottom of Hell, and nobody
Like the sauls o the damned are they, knows how far they go even under that! There is no
3. Moonstruck (Hugh MacDiarmid) I the how-dumb-died o the cauld hairst nicht And ilk ane yoked in a whirligig light that comes from the Heavens that could
The warl like an eemis stane Is birlin the lee-lang day. calm them even for a little while, and not even God
When the warls couped soon as a peerie Wags I the lift; can persuade them away from their ancient
That licht-lookin craw o a body, the moon, An my eerie memories fa O we doon frae oor stormiest moods, amplitude of feistiness.
Sits on the fower cross-wins Like a yowdendrift. And licht like a bird i the haun,
Peerin a roon. But the teuch sauchs there i the Reuch
Heuch Hauch

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6. Ay Waukin, O (Robert Burns) When there cam a yell o foreign squeals, 9. Je descendis dans mon jardin (Amy Sylvel) You asked me for these spoils;
That dang her tapsalteerie, O! I gave them to you but it was in vain;
Simmers a pleasant time, Je descendins dans mon jardin, Was it late or still morning?
Flowrs of evry colour; Their capon craws and queer ha, has Pour y cueillir du romarin; I dont know anymore; I know nothing.
The water rins oer the heugh, They made our lugs grow eerie, O; Etait il tard ou bien matin?
And I long for my true lover! The hungry bike did scrape and fyke, Je ne sais plus; je ne sais rien. Farewell, rare and furtive sweetness...
Ay waukin, O Till we were wae and weary, O. Was this good or evil?
Waukin still and weary: But a royal ghaist, wha aince was cased Nen avais pas cueillitrois brins, Did it have to turn out so mean?
sleep I can get nane, A prisner aughteen year awa, Que tu parus dans le chemin; I dont know anymore; I know nothing.
For thinking on my Dearie. He fird a fiddler in the north, Etait il tard ou bien matin?
When I sleep I dream, That dang them tapsalteerie, O! Je ne sais plus; je ne sais rien. Translation: Matt Hall
When I wauk Im irie;
Tu mas demand ce butin;
Sleep I can get nane 8. The Discreet Hint (Robert Burns) 10. Florine (Thomas Campbell)
Je te lai donn, mais en vain;
for thinking on my Dearie.
Etait il tard ou bien matin?
Lass, when your mither is frae hame, Could I bring back lost youth again
Je ne sais plus; je ne sais rien.
Lanely night comes on, May I but be sae bauld - And bew what I have been,
A the lave are sleepin: As com to your bower window, Adieu, douceur furtive et rare Id court you in a gallant strain,
I think on my bony lad And creep in frae the cauld? Etiat ce un mal? tait ce un bien? My young and fair Florine.
And I bleer my een wi greetin. As come to your bower window, Falait il se montrer avare?
And when its cauld and wat, Je ne sais plus; je ne sais rien. But mines the chilling age that chides
7. Amang the Trees (Robert Burns) Warm me in they fair bosom Devoted raptures glow,
Sweet lass, may I do that? I went down into my garden, And Love that conquers all besides
Amang the trees, where humming bees Young man, gin ye should be sae kind, To pick some rosemary; Finds time a conquring foe.
At buds and floers were hingin, O, When our gude-wifes frae hame, Was it late or still morning?
Auld Caledon drew out her drone As come to my bower window, I dont know anymore; I know nothing. Farewell, were severed by our fate
And to here pipe was singing, O: Where I am laid my lane, As far as night from noon;
Twas pibroch, sang, strathspeys, and reels - To warm thee in my bosom, Id only picked a few sprigs, You came into the world too late,
She dirld them aff fu clearly, O, Tak tent, Ill tell thee what; When you appeared on the path And I depart so soon.
The way to me lies through the Kirk Was it late or still morning?
Young man, do ye hear that? I dont know anymore; I know nothing.
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11. Lourd on my Hert (Hugh McDairmid) diffusing their dullness round and round like soot, that foolish light ever since then and I think that Its guid to see her lie
keeping the sunlight out. No wonder if I think I see maybe at last I know what your look meant then. Sae snod an cool,
Lourd on my hert as winter lies a lighter shadow than the next Im eager to cry, A lust o lovin by
The state that Scotlands in the day. The dawn! The dawn! I see it breaking in the 13. Country Life (Hugh MacDiarmid) Wheesht, wheesht, ye fule!
Spring to the North has aye come slow East! But ach, its just more snow!
Bot noo dour winters like to stay Ootside! Ootside! Hush, my foolish heart, for well you know that I
For guid, 12. The Watergaw (Hugh McDairmid) Theres dooks that try tae fly would not have you start old tricks again. Its good
And no for guid! An bumclocks bizzin by, to see her lie so snug and cool, all lust of loving
Ae weet forenicht I the yow-trummle A cornskriech an a cay over Hush, you fool!
O waes me on the weary days I saw yon antrin thing, An guissay I the cray.
When it is scarce grey licht at noon; A watergaw wi its chitterin licht 15. O wha my babie-clouts will buy
It maun be a the stupid folk Ayont the on-ding; Inside! Inside! [Poem titled The Rantin Dog of the Daddie ot]
Diffusin their dullness roon and roon An I thocht o the last wild look ye gied Theres golochs on the wa, (Robert Burns)
Like soot afore ye deed! A cradle on the ca,
That keeps the sunlicht oot. A muckle bleeze o cones O wha my babie-clouts will buy,
There was nae reek I the laverocks hoose An mither fochin scones. O wha will tent me when I cry;
Nae wonder if I think I see That nicht an nane I mine; Wha will kiss me where I lie;
A lichter shadow than the neist But I hae thocht o that foolish licht Outside! There are ducks trying to fly, beetles The rantin dog of the dadiie ot.
Im fain to cry: The dawn, the dawn! Ever sin syne; buzzing by, a corncrake and a jackdaw and the pig
I see it brakin in the East. An I think that mebbe at last I ken in the pigsty. Inside! There are earwigs on the O wha will own he did the faut,
But ah What your look meant then. wall, a cradle being rocked, a great blazing fire of O wha will buy the groanin maut,
- Its juist mair snaw! pinecones and mother, turning over scones. O wha will tell me how to cat,
One wet early evening in the cold time of year, The rantin dog the daddie ot.
Heavy on my heart as winter lies the state that when the shorn sheep are trembling, I saw that 14. Wheesht, Wheesht (Hugh MacDiarmid) When I mount the Creepie-chair,
Scotland is in today. Spring to the North has unusual thing, a broken shaft of rainbow with its Wha will sit beside me there,
always come slow but now miserable winter looks glimmering light, beyond the downpour of rain; Wheesht, wheesht, my foolish hert, Gie me Rob, Ill seek nae mair,
like its going to stay forever and not for good! O and I thought of the last wild look you gave, before For weel ye ken The rantin dog the daddie ot.
woe is me on the weary days when it is scarcely you died. It was a wild and stormy night, and my I widna hae ye stert
grey light at noon; it must be all the stupid folk feelings were like that too, but I have thought of Auld ploys again.

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Wha will crack to me my lane; I mony an unco warl the nicht Sib to dewdrop, rainbow to ocean, But as from that living flash of light the cruel
Wha will mak me fidfin fain; The lift gaes black as pitch at noon, No for me their hues and motion. features and crawling legs of its former state
Wha will kiss me oer again; An sideways on their chests the heids This foul clay has filed me till never quite vanish, I fancy your Presbyterian
The rantin dog the daddie ot. O endless Christs roll doon. Its no to ken Im water still Heaven will be haunted too, with a hellish trace.
An when the earths as cauld;s the mune
16. My wifes a wanton wee thing (Robert Burns) An a its folk are lang syne deid, I, who once in Heavens height gathered to me all 20. Hungry Waters (Hugh MacDiarmid)
On countless stars the Babe maun cry the light, can no more reply to fire, beneath dead
My wifes a wanton wee thing, An the Crucified maun bleed. leaves buried in the mire. Closely related to dewdrop, The auld men o the sea
She winna be guided by me. rainbow, ocean, not for me their hues and motion. Wi their daberlack hair
She playd the loon ere she married, Who knows on what Bethlehems Earth twinkles This foul clay has tarnished me until its difficult Hae dackerd the coasts
Shell do it again ere she die! like a star tonight, and what shepherds lift their to tell if Im not mainly made of water even now. O the country fell sair.
She selld her coat and she drank it, heads in its unearthly light? Beyond all the stars They gobble owre casles
She rowd her sell in a blanket; our eyes can see and further than their lights can 19. An Apprentice Angel (Hugh MacDiarmid) Chow mountains to san;
She winna be guided by me. fly, in many a strange world tonight, the destined Or lang theyll eat up
children cry. In many strange worlds tonight, the As the dragonflys hideous larva creeps The haill o the lan
She mindt na when I forbade her sky goes black as pitch at noon and sideways on Oot o the ditch whaur it was spawnd Lickin their white lips
I took a rung and I clawd her, their chests the heads of an endless number of and straight is turnd to the splendid fly, An yowlin for mair,
And a braw gude bairn was she! Christs roll down. And when the earth is as cold as Nae doot by Deaths belated hand The auld men o the sea
the moon and all its people have been dead for a Youll be changd in a similar way, Wi their daberlack hair.
17. The Innumerable Christ (Hugh MacDiarmid) long time, on countless stars the Babe must cry But as frae that livin flash o licht
and the crucified must bleed. The cruel features and crawlin legs The old men of the sea with their leek-like lengths
Wha kens on whatna Bethlehems O its form never vanish quite of seaweed hair have worn away the coasts of the
Earth twinkles like a star the nicht, 18. I wha aince in Heavens Heicht I fancy your Presbyterian Heavn country terribly. The gobble up castles, chew
An whatna shepherds lift their heids (Hugh MacDiarmid) Ll be haunted tae wi a hellish leaven mountains to sand; before long they will have
In its unearthly licht? eaten up the whole land. Licking their white lips
Yont a the stars oor een can see I wha aince in Heavens heicht As the dragonflys hideous larva creeps out of the and yelling for more, the old men of the sea with
An farther than their lichts can fly, Gethered to me a the licht ditch where it was spawned and straightaway is seaweed hair.
I mony an unco warl the nicht Can nae mair reply to fire turned to the splendid fly, no doubt by Deaths
The fatefu bairnies cry Neth deid leafs buriet in the mire, belated hand youll be changed in a similar way.

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21. The Deil o Bogie Gies back dear Deil o Bogie, Yea and a bairn brocht up in vanitie; 25. Im Tiroler Wirsthaus (Georg Britting)
Bi Ba Bogie, My auld calamitie. The next a wife ingenrit of the sea,
When I was young and ower young, and lichter nor a dauphin with her fin. Als erster kommt der Hahn.
German ballad, translation: Alexander Gray
I wad a deid aud wife; Unhappy is the man for ever mair Er krht im Tau sein Frh signal
But ere three days had gane by, That tills the sand and awis in the air; Beim Rhren brunen was ser fall
22. To a Lady (William Dunbar)
Gi Ga Gane by, I rued the sturt and strife. But twice unhappier is he, I lairn, Und nicht viel spter dann.
Sae to the kirk-yaird furth I fared, That feedis in his hairt a mad desire, Or gelt die brume Kuh
Sweet rose of virtue and of gentleness,
And to the Deil I prayed: And follows on a woman thro the fire, Ihr drhnend braunes, schallendes,
Delight some lily of evry lustiness
O, muckle Deil o Bogie, Led by a blind and tech-it by a bairn. Von der Holzwand wider hallendes,
Richest in bounty, and in beauty clear
Bi Ba Bogie, Come tak the rankled jade. Wiesen blumes Muh,
And evry virtue that is held most dear,
When I got hame the soor auld bitch 24. The Old Fisherman (George Campbell Hay) Dann schlagen Tren auf und zu,
Except only that ye are merciless
Was deid, ay, deid enough. Dann spritzt der erste Tropfen Licht
Into your garth this day I did pursue,
I yokkit the mare to the dung-cairt, Greet the bights that give me shelter, they will Mir mitten ins Gesicht
There saw I floeris that were fresh of hue,
Ding Dang Dung-cairt, And drove her furth hide me no more with the horns of their forelands; Ich fahr empor im Nu,
Baith white and reid maist lusty were to seen,
and leuch! I peer in a haze, my back is stooping, my dancing Tief aus der weiss und rot karierten Polster ruh,
and hale some herbis up on stalk is green:
And when I cam to the place o peace, days for fishing are over. Tief in die schwarzen Nagel schuh.
Yet leaf nor floeer find could I nane of rue.
The grave was howkd, and snod:
I doubt that Merch with his cauld blast is keen,
Gae canny wi the corp, lads, The old boat must seek the shingle, her wasting First, cock-a-doodle-do
Has slain that gentle herb that I of mean,
Ci Ca Corp, lads; Youll wauk her up, b God. side hollow the gravel, the hand that shakes must As the cockerel in the dew
Whose piteous death does to my hert sic pain
Ram in, ram in the bonnie, bonnie yird leave the tiller, my dancing days for fishing are over. Makes his early morning call
That I would mak to plant his root again,
Up on the ill-daein wife By the yard pump waterfall.
Sae comfort and his leaves unto me been.
When she was hale and herty, The sea was good, night and morning, the winds
Hi Ha Herty, She plagued me o my life. were friends, and the calm was kindly; the snow Next, what cows do;
23. Cupid and Venus (Mark Alexander Boyd)
But when I gat me hame again, seeks the burn, the brown fronds scatter, my The organ-drone soaring,
The hoose seemed toom and wide. dancing days for fishing are over. Brown-roaring, shaking-the-flooring,
Fra bank to bank, fra wood to wood I rin
For juist three days I waited, Meadow-flowery moo.
Our hail it with my feeble fantasie;
Wit Wat Waited, Syne took a braw young bride. Then doors open and slam to.
Like til a leaf that fall is from a tree,
In three short days my braw young wife Then, light; the first trace
Or til a reed our blaw in with the win
Had taen to lound rin me. Sprayed straight in my face.
Twa gods guides me; the ane of them is blin

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In a flash, up I flew Wi keeth in sicht o a there is, 29. Empty Vessel (Hugh MacDiarmid) 31. Love of Alba (Maurice Lindsay)
From deep in my white n red check feather-bed And bodily sicht o nocht.
Deep into each black hobnail shoe. I met ayont the cairney Her face it was that fanklt me, her skinklan hair
The moonbeams fly around the sky, and Earth, the A lass wi tousie hair lit up a lowe that gart me grene for aa her body rare.
Translation: Uri Liebrecht bare old stone, glitters under the seas of Space, Singin till a bairnie But whan wi me in luve she lay, twas breasts sae
white as a mammoths bone. And lifted over the That was nae langer there. white, nor een the preean o her flesh that gied me
26. In Time of Tumult (William Soutar) golden wave a dumfounded thought is looking out Wunds wi warlds to swing sic delyte.
eagerly, with ubiquitous and teeming perception Dinna sing sae sweet, It was the sicht o my tint saul reflectit in her ain
The thunder and the dark of everything there is, and physical sight of nothing. The licht that bends owre a thing Sae mixtie maxtie were they baith, They scarce
Dwindle and disappear: Is less taen up wit. were langer twain!
The free song of the lark 28. First Love (Hugh MacDiarmid)
Tumbles in air I met, beyond the small cairn of stones, a young 32. The Wee Man
The froth of the wave-drag I have been in this garden of unripe fruit woman with tangled hair, singing to a baby that
Falls back from the pool: All the long day, was no longer there. Winds with worlds to swing I dinna want a wee man [a wee man, a wee man],
Sheer out of the crag Where cold and clear from the hard green aples dont sing so sweetly. The light that bends over I winn hae a wee man, he wadna dae ava!
Lifts the white gull. The light fell away, everything is less concerned with it.
Heart! keep your silence still If I set him at the table [the table, the table], The
Mocking the tyrants mock: I was wandering here wit my own true love 30. The Wrens Nest (Robert Burns) cock would come and peck at him, and peck him
Thunder is on the hill; but as I bent o er, clean awa!
Foam on the rock. She dwindled back to her childhood again The Robin to the Wrens nest
And I saw her no more. Cam keekin in, cam keekin in If I set him in the garden [the garden, the garden],
27. The Man in the Moon (Hugh MacDiarmid) O weels me on your auld pow, The pig wad come and grumph him, and grumph
A wind sprang up and a hail of buds Wad ye be in, Wad ye be in? him clean awa!
The moon beams kilter in the lift, About me rolled, Thous neer get leave to lie without, If I set him on a hillside [the hillside, the hillside],
An Earth, the bare auld stane, Then this fog I knew before I was born And I within, and I within, The stanes wad fa upon him, and knock him
glitters aneath the seas o space, but now cold, cold! Sae langs O hae an auld clout clean awa.
Which as a mammoths bane, To rowe ye in, to rowe ye in. If I set him at the waterside [the waterside, the
An lifted owre the gowden wave, waterside], The tide wad rise, and catch at him,
Peers a dumfounered Thocht and wash him clean awa!

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O, I dinna want a wee man [a wee man, a wee GLOSSARY ca call, name eemis unsteady, loose
man], I winna hae a wee man, he wadna dae ava! cairney stone-heap to mark a place een eyes
ahint behind, beyond caller fresh, cool eerie sad, gloomy
Translated from Auvergnat by Willa Muir alane alone cannily cautiously, prudently enough enough
amplefeyst a fit of the sulks; spleen cauld cold
antrin rare cay jackdaw fail a turf or sward
athing everything chitterin shivering, quivering, flickering fain eagerly
auld old choppin small piece feck plenty, great deal
ayont beyond cornskreich landrail (bird), corncake Fegs Faith ! (as an oath)
coupd tumbled over, drunk off flee fly, flea
bairn, bairnie child couped tilted fleyd afraid, frightened
banes bones couth affectionately, comfortably flicht flight
ben inside, within cowl old woman in nightcap fochin turning (scones on a griddle)
bide endure, remain, stay, wait cray hutch, coop, pen forenicht early evening, dusk
bien complacent, smug croodit corwded fowr four
birlin whirring croud croak, groan, coo (as a dove) fug moss
bizzin buzzing cushies pigeons. doves
blate timid, shy, frightened cwa come away gae yer gate be on your way
blaws blows gane gone
bleezin blazing deed died gang go
blint blinded deid-auld dead old, decrepit gangrel vagrant, tramp
boarden table deil devil gard made
boddom bottom dern wither, hide garth garden (term in courtly love)
braw fine, excellent dochter daughter gif if
bricht bright dooks ducks gin if
bumclocks humming flying beetle dour stern, grim, hard golochs earwig(s)
bune (abune) above dree endure gowd, gowden gold, golden
dyke stone wall grat, greetin cried, crying, weeping
grumph grunt

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gude good lourd heavy quhither moonbeam stane stone


guissay pig luely softly ster(n) star
lowe flame, glow reek smoke stoup vessel, measure
hairst harvest reid red stoure strife, storm, difficulty
ham home maik partner, mate; make, shape reuch heuch hauch rough, low-lying ground by a straucht straight
hanla-while a moment maist most river; an area of country sturt vexation, trouble, strife
hause-bane neck-bone mane moan near Hawick syne since
hazelraw lichen maun must risp coarse grass; bulrushes
hert hart (male deer); heart Mavsey Malmsey wine ruffum (exclamation) or footstamping tane the one
heugh hollow, valley, glen, cleft in rocks mony many rankled wrinkled, crumpled techit taught
hicht height; raise, lift mou mouth teuch tough
houp mouthful; drink in mouthfuls muckle (meikle) great, large sabbin sobbing thaim them
how-dumb-deid dead silent depth mune moon saip soap theek thatch
howked dug out, pulled out sall shall thocht thought
nane none sark shirt thole suffer, tolerate, endure
ilka each, every neist next sauch willow thonder yonder
ingenrit engendered nicht night sauls souls thunner thunder
niggartness meaness sawis sows tither tousled
keen (it) look, peep, pry nocht nothing sawt salt tousie tousled
ken know, recognise noo now scroggam (name; scroggy-stunted) trouse trousers
scraggy tutemout whispering, lisping, muttering
laich light, low, soft on-ding downpour shift move, escape twa, tway two
lave remainder ourblawin overblowing sic such
laverock lark ourhailit overcome sickin sighing wad would
leelang livelong, whole simmer summer warl, warlds world(s)
leuch laugh peerie spinning top; little smoold stole (crept) wat know, inform
licht light peerie-weerie the faintest sound; anything snod neat, trim watergaw indistinct rainbow
lift sky very small soon sound waukin waking, awake
loupin jumping, leaping preif proof spreit spirit, soul waukrife wakeful

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weel well
weet wet BIOGRAPHies
wha who
whar where LISA MILNE
whase whose Soprano
wheesht hush
whirligig any rapidly revolving object, Scottish soprano Lisa Milne studied at the Royal
eddy, whirlpool Scottish Academy of Music and Drama. She
whuds rushes past, whisks past continues her studies with Patricia McMahon.
wir; wit with her, with our; with it
wonnd lived Her terrific 2006/07 season includes Pamina (Die
wund wind Zauberflte) and Eurydice (Glucks Orfeo) at the
Metropolitan Opera, New York and her role debuts
yane one as Countess Almaviva (Le nozze di Figaro) at the

Phiz Photography
yestreen last night English National Opera and as Donna Elvira (Don
yirdit buried Giovanni) at The Sage, Gateshead. In concert she
yokd harnessed, oppressed, will sing Marzelline (Fidelio) with the Boston
burdened Symphony Orchestra and James Levine; The
yon that, those Creation with the Berlin Philharmonic and Sir Micela (Carmen). Other engagements include
yowdendrift heavy drifting snow, blizzard Simon Rattle and Brittens Our Hunting Fathers Alcina, nnchen and Anne Trulove for the English
yow-trummle (ewe tremble) cold weather at the BBC Proms. National Opera; Servilia (La clemenza di Tito) for
after sheep-shearing the Welsh National Opera; Gretel at Stuttgart
She made her professional dbut with Scottish Opera; Ilia at the Royal Danish Opera; Marzelline
Opera where her roles with the company have at Dallas Opera and Atalanta (Serse) at the
included Semele, Adle (Die Fledermaus), Adina Gttingen Handel Festival. In the 2004/05 season
(LElisir dAmore), and four great Mozart roles, she sang Marzelline in performances in Japan of
Zerlina, Susanna, Ilia and Despina. At the the Salzburg Festival production of Fidelio
Glyndebourne Festival she has sung Pamina, the conducted by Rattle and made her Metropolitan
title role in Handels Rodelinda, Marzelline and Opera debut as Pamina with Levine. She

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subsequently returned to the Metropolitan Opera Her recordings include Ilia with Mackerras (EMI); RODERICK WILLIAMS
as Susanna. In the 2007/08 season she will Servilia, also with Mackerras (DG); Atalanta with Baritone
create the role of Sian in James MacMillans new McGegan (BMG); Handel and Vivaldi cantatas with
opera The Sacrifice for Welsh National Opera. the Kings Consort, songs by John Ireland and a Roderick Williams is an exceptionally versatile
solo album of Hebridean Folk Songs (Hyperion); artist whose intelligent musicality is admired in
A renowned recitalist, she has appeared at the Vaughan Williams Serenade to Music with music from Monteverdi to Maxwell Davies. He has
Aix-en-Provence and City of London Festivals; the Norrington (Decca); Songs by Roger Quilter become a familiar and commanding presence on
Usher Hall in Edinburgh; the Oxford Lieder (Collins Classics) and, most recently, the role of the operatic stage and has made something of a
Festival; the Palais des Beaux Arts in Brussels; at The Governess for the BBC TV film of The Turn of speciality of opera in concert. His burnished and
the Schumannfeste in Dusseldorf and she is a the Screw (Opus Arte). flexible baritone is equally in demand for recitals
regular guest at Londons Wigmore Hall. In 1998 and oratorio.
she made her Edinburgh Festival debut in a joint Awards include the Maggie Teyte Prize, the John
recital with Sir Thomas Allen. Her subsequent Christie Award and the Royal Philharmonic Society Born in North London, he took the Opera Course at

Kieth Saunders
appearances at the Festival have included La Award, as well as Honorary Doctorates of Music the Guildhall School of Music, garnering honours
clemenza di Tito, Saul, Messiah and Idomeneo from the University of Aberdeen and The Robert including second prize in the Kathleen Ferrier
with the Scottish Chamber Orchestra and Gordon University. She was awarded an MBE in the singing competition and the Lili Boulanger
Mackerras; MacMillans Parthenogenesis with Queens Birthday Honours in 2005. Memorial award. Important professional relationships
the City of Birmingham Symphony Orchestra and were established right at the start of his career,
Mahlers Fourth Symphony with the Berlin including those with Opera North and Scottish recently he performed Ned Keene in Peter Grimes
Philharmonic and Rattle. Other concert Opera, which have continued to flourish. (Opera North). Other notable world premieres
engagements include the world premiere of Simon include David Sawers From Morning to Midnight
Holts Sunrise Yellow Noise with the CBSO and For Opera North he has recently sung many of the and Martin Butlers A Better Place, both for
Ariadne auf Naxos with the London Symphony great baritone roles in Mozart Guglielmo in a English National Opera, and his debut with
Orchestra, both with Rattle; Thea Musgraves new production of Cos fan tutte, the title role in Netherlands Opera in Alexander Knaifels Alice in
Songs for a Winters Evening; Handels Samson Don Giovanni and the Count in The Marriage of Wonderland and Michel van der Aas After Life
at the BBC Proms and appearances at the Usher Figaro as well as Figaro in Rossinis The Barber (Netherlands Opera). Forthcoming highlights include
Hall and the Royal Albert Hall with Jos Carreras. of Seville. For Scottish Opera he has sung Marcello Handels LAllegro, il Penseroso ed il Moderato
In 2004, she made her New York concert debut in Puccinis La Bohme and Lord Byron in the (Opra National de Paris, with William Christie)
singing Mozarts Requiem as part of the Lincoln world premiere of Sally Beamishs Monster. Most and Papageno in The Magic Flute (Opera North).
Centers Mostly Mozart Festival.
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Among Roderick Williams many performances of Young Lovers with the Orchestre Philharmonique IAIN BURNSIDE
opera in concert are recent appearances with the de Radio France, and the world premiere of Piano
BBC Symphony Orchestra in Tippetts The Knot Birtwistles The Ring Dance of the Nazarene with
Garden (Barbican) and an acclaimed performance VARA Radio (repeated at the BBC Proms). Iain Burnside enjoys a unique reputation as
of Birtwistles The Second Mrs Kong (Royal Festival pianist and broadcaster. As a performer he is best
Hall). Also for the BBC he has sung the role of He is also an accomplished recital artist, who can known for his commitment to the song repertoire,
Eddie in Mark-Anthony Turnages Greek. He has be heard at Wigmore Hall, at many festivals, and forged through collaborations with leading
taken major roles in conductor Richard Hickoxs on Radio 3, where he has appeared on Iain international singers, including Dame Margaret
semi-staged performances of opera, including Burnsides Voices programme. Recital plans this Price, Susan Chilcott, Galina Gorchakova, Yvonne
Brittens Gloriana (Aldeburgh, 2003), Waltons season include re-invitations to the Cheltenham Kenny, Susan Bickley, David Daniels, John Mark
Troilus and Cressida and most of the Vaughan and Aldeburgh Festivals. His numerous recordings Ainsley and Bryn Terfel. Iain also works with some
Williams operas. Apart from English operas, his include Vaughan Williams The Pilgrims Progress, outstanding younger singers: Lisa Milne, Sally
concert performances include Henze, Strauss, Sir John in Love and The Poisoned Kiss, and Matthews, Sophie Daneman, Sarah Connolly,
Stravinsky and Wagner (Donner in Das Rheingold Brittens Peter Grimes, Billy Budd and Albert Herring Christopher Maltman, William Dazeley, Roderick
for ENO). Plans include Billy Budd with the London (all for Chandos). For Philips he has taken part in Williams and Jonathan Lemalu.
Symphony Orchestra and Daniel Harding, and Verdis Don Carlos conducted by Bernard Haitink.
Pilgrim in Vaughan Williams The Pilgrims Progress His most recent releases are Lennox Berkeleys A Iains broadcasting career covers both Radio and
with the Philharmonia. Dinner Engagement and Ruth for Chandos, a TV. As a presenter on BBC Radio 3, he has recently
premiere recording of Vaughan Williams Willow been honoured with a Sony Radio Award. He
Roderick Williams has sung concert repertoire Wood with the Royal Liverpool Philharmonic further combined roles as pianist and presenter in
with all the BBC orchestras, and many other Orchestra and two discs of English song (Finzi and The Music Party for BBC World Service. Other
ensembles including the Deutsches Symphonie- Vaughan Williams) with pianist Iain Burnside Radio 3 work has featured special celebrations of
Orchester Berlin, Russian National Orchestra, for Naxos. Dame Janet Baker, Elisabeth Schwarzkopf, Maria Current recording projects include a series
Academy of Ancient Music, and Bamberg Symphony Callas and Dietrich Fischer-Dieskau. His television co-produced between BBCs Voices and Signum,
Orchestra. Recent successes include Brittens War Roderick Williams is also a composer and has had involvement includes Cardiff Singer of the World, following their acclaimed first release of Tippett
Requiem with the Philharmonia, Elgars Dream of works premiered at the Wigmore and Barbican Leeds International Piano Competition and BBC with John Mark Ainsley. For Naxos he is recording
Gerontius in Toulouse, Tippetts The Vision of St Halls, the Purcell Room and live on national radio. Young Musician of the Year. a number of English songs discs with Roderick
Augustine with the BBC National Orchestra of Williams. Black box recorded Iain in Schoenberg
Wales at the 2005 BBC Proms, Henzes Elegy for with Sarah Connolly and Williams; Debussy with

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Lisa Milne and Susan Bickley; and Copland with


Susan Chilcott.

A number of organisations have invited Iain to


programme concert series: Musique et Posie,
Brussels; the Bath Festival; the International Song
Recital Series at Londons South Bank Centre;
Leeds Lieder+; and the Finzi Friends triennial Distributed under license from the BBC. BBC is a trademark of the British Broadcasting Corporation
and is used under license. BBC BBC 1996
festival of English Song in Ludlow.

All Hugh MacDiarmid texts reproduced by kind permission of Carcanet Press Limited,
His main educational commitment is with singers
from Hugh MacDiarmid - Complete Poems.
and pianists at Londons Guildhall School of Music
and Drama. Other masterclasses include the The Old Fisherman is reproduced with the kind permission of The Lorimer Trust, and taken
from Collected Poems and Songs of George Campbell Hay edited by Michel Byrne,
Juilliard School, New York, and the Banff Centre, Edinburgh University Press, 2000.
Canada. He is a Director of Grange Park Opera.
Recorded at The Warehouse, London, May 13 & 14 and July 15 & 16 2006
Engineers - Mike Hatch and Andrew Mellor (Floating Earth)
Producer and Editor - John H West
Design and Artwork - www.wovendesign.co.uk

P 2007 BBC
C 2007 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and
will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance
Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK.
+44 (0) 20 8997 4000 E-mail: info@signumrecords.com

www.signumrecords.com

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