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Arthur Benjamin Violin Sonatina Viola Sonata violin & viola Lawrence Power piano Simon Crawford-Phillips

CDA67969 - Booklet

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Arthur BenjaminViolin Sonatina

Viola Sonataviolin & viola Lawrence Powerpiano Simon Crawford-Phillips

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ARTHUR BENJAMIN(1893–1960)

Violin Sonatina (1924) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [16'10]1 Tranquilly flowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [7'44]2 Scherzo di stile antico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [2'43]3 Rondo: Con moto ma non allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [5'42]

Three Pieces for violin and piano (1924) . . . . . . . . . . . . [11'30]4 Arabesque (The Muted Pavane) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [4'31]5 Carnavalesque: Tempo di valse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [3'35]6 Humoresque: Non troppo allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [3'23]

7 A tune and variations for little people (1937) . . . . . . . . [3'23]

8 Le tombeau de Ravel Valses-caprices (1957) . . . . . . . . . . . . . [13'15]

Viola Sonata (1942) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [17'07]9 Elegy: Adagio e mesto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [7'07]bl Waltz: Quasi improvisatore – . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [5'48]bm Toccata: Allegro ma non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [4'12]

bn From San Domingo Allegro ma non troppo (1945) . . . . . . . . . . [2'51]

bo Jamaican Rumba (1937) arranged by William Primrose (1904–1982) [1'51]

LAWRENCE POWER violin 1–7 viola 8–bo

SIMON CRAWFORD-PHILLIPS piano

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ARTHUR BENJAMIN’, wrote Herbert Howells in anappreciation published in the Autumn/Winter 1960issue of Tempo, after the death of his lifelong friend,

‘endured two serious disabilities. He had conquered alarge part of the listening world with an enchantingbrevity (“Jamaican Rumba”). And he was an unashamedRomantic. By these two circumstances, rather than onevidence of greater validity, he was assessed. The firstenormously extended his popular fame but reduced hisstature in the view of high-powered criticism. The secondappeared to make him an anachronistic figure.’ Howellswent on to cite other factors: Benjamin was a pioneercomposer of film music, ‘perishable and short-lived’. Hehad ‘a brilliant flare [sic] for pastiche’. He ‘seemed to bea man minus technical problems; so much at ease inworkmanship as to appear superficial’. All the publishedobituaries (Benjamin had died in April) had taken note ofthese points. ‘Expected judge ments were delivered. Finalassessment neatly and mechanically performed its pigeon-hole task. Status was fixed. There was more than a glanceat his gifts as a first-rate amateur cook.’

Thus, eloquently and with civilized regret, Howellsdefined the critical problem surrounding a most un -problematic composer. Benjamin was a brilliantly assuredall-rounder, a master of many ingredients, whose gifts rancounter to the perceived evolutionary direction of seriousmusic in his time; and his obvious flair (or as Howells wouldhave it, ‘flare’) and commercial success in writing piecesthat were popular, entertaining, or served a modest sub -sidiary purpose led to the discounting of his very substantialachievements.

Ten years younger than Percy Grainger, Benjamin was,like his compatriot, one of the first Australian musicians toforge an international reputation. Though he was born inSydney on 18 September 1893, his family—both parentswere musical—moved to Queensland when he was three

and he was educated in Brisbane. Taught piano by hismother, he was something of a prodigy, giving piano recitalsat the age of six, and began to study with the city organistwhen he was nine. After a period playing in a piano store toprospective customers, at the suggestion of Thomas Dunhillhe entered and won an open scholarship that took him toLondon at the age of eighteen to study at the Royal Collegeof Music, where he studied harmony and counterpoint withDunhill and the piano with Frederic Cliffe. For compositionhe had Stanford, whom he considered a great teacher des -pite his bigotry (‘You Jews can’t write long tunes!’, Stanfordwould tell Benjamin). Almost immediately Benjamin madehis mark as a star pupil, and he became a leading figurein a circle of close friends that included Howells himself,Arthur Bliss, Ivor Gurney and Leon Goossens. He appearedat Queen’s Hall as soloist in Howells’s first piano concerto.Bliss recalled how they would all visit the Diaghilev balletand opera productions at Drury Lane together. ‘He seemedalready to be a cosmopolitan’, recalled Howells, ‘widelytravelled, confident, urbane, mature in conversation which,even so early, he could already sustain in three languages ofwhich “Australian” was not one.’ In 1914 Howells celebratedsome members of this circle in his remarkable orchestralsuite The B’s, reserving the finale, a brilliant and evengrandiose triumphal march, for Arthur Benjamin under thesobriquet of ‘Benjee’.

Like Bliss and Gurney, Benjamin eagerly enlisted forservice in World War I, first in the infantry in the trenchesfrom 1915; he then transferred in 1917 to the Royal FlyingCorps as a gunner. He was shot down over Germany in July1918 (the commander of the enemy squadron was an airace called Hermann Goering), and spent the remainder ofthe war writing music in Rüheleben prison camp, where hisfellow prisoners included the composers Edgar Bainton andBenjamin Dale.

In 1919 Benjamin returned to Australia at the invitation

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of Henri Verbrugghen to become professor of pianoforteat the New South Wales State Conservatorium of Music. Heremained in Australia for only two years, however, andin 1921 returned to London to pursue his composingambitions. In 1924 he won the Carnegie Award for his

Pastoral Fantasy for string quartet. He became a professorof composition and piano at the RCM in 1927 (Stanley Bate,Benjamin Britten, Muir Mathieson and Bernard Stevenswere among his piano pupils; much later Alun Hoddinottwas a private pupil) but he had also discovered talentsas a conductor. In 1931 his opera The Devil Take Her,championed by Thomas Beecham, confirmed his positionamong leading composers in Britain. In 1938 he resignedfrom the RCM and moved to Vancouver, where in 1941 hewas engaged to conduct the new Canadian BroadcastingCorporation Symphony Orchestra. In 1944–5 he also heldthe position of lecturer at Reed College, Portland, Oregon.

Returning to Britain in 1946, Benjamin resumed hisposition at the RCM, where he remained until his retirementin 1953. Continuing to compose and teach privately, hestayed interested and quietly influential in contemporarymusic, but his health was failing. Cancer was first detectedin 1957, and though he had a remission long enough to seehis opera A Tale of Two Cities put in production by SanFrancisco Opera, it recurred and he died on 10 April 1960at Middlesex Hospital, at the age of sixty-six.

In his unfinished autobiography Benjamin related howas a boy in Australia he discovered, played and fell in lovewith many different kinds of music—Beethoven, Grieg,Ethelbert Nevin, Chopin, Sidney Jones—without knowinganything of their relative critical standing. Until his firsttrip to Europe in 1907 he had no idea that they could beconsidered to be of different quality: they were ‘different instyle, yes, but not in value’. In a sense he retained thisoutlook, and it was a key to his own versatility, his ability toturn his hand to modest works sheerly designed to entertain(one light-music suite is unabashedly entitled Light Music)and to ambitious, sophisticated and even profound scoresin the great classical genres. As Hans Keller put it (inan article entitled ‘Arthur Benjamin and the Problem ofPopularity’): ‘Untouched in the most formative years by the

ARTHUR BENJAMIN

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conceptions of “great” and “deep”, and not having to intend,therefore, to be either, his mobile mind grew to incorporatemodern moods and methods and to attain the modernmarvel—light music which is not slight, and serious musicwhich renounces depth without risking shallowness.’

Benjamin’s creative output, which encompasses abouteighty works altogether, thus manifests a great variety ofidioms and genres. It includes many light-music miniatures,many of them infused with a jazz or Afro-Caribbean flavour:the most famous of these is the Jamaican Rumba. Butthere are also some impressive pieces of chamber musicand several concertos, ranging from the Romantic Fantasy(1936–7) for violin, viola and orchestra, a work that seemsa modern counterpart to Mozart’s Sinfonia concertante forthe same combination, to the once-popular HarmonicaConcerto written for Larry Adler (1953). There is themagnificent Symphony, the deeply felt Ballade for stringorchestra, the ballet Orlando’s Silver Wedding (1951) andfive operas—four for the stage and the fifth, Mañana, anearly example of opera for television. As Howells noted,Benjamin was also highly successful as a film composer,beginning in 1934 with The Scarlet Pimpernel andHitchcock’s The Man Who Knew Too Much, for which hecomposed the cantata Storm Clouds for use in the climacticRoyal Albert Hall sequence. The cantata was used again inHitchcock’s 1956 remake of the film, even though theother music for that version was composed by BernardHerrmann. Benjamin’s later film scores includes An IdealHusband (1947), The Ascent of Everest (1953), Above Usthe Waves (1956) and Fire Down Below (1957).

The Three Pieces for violin and piano are among Ben -jamin’s earliest published works—they appeared togetherin 1925, though ‘Carnavalesque’ and ‘Humoresque’ werewritten in Sydney in 1921 and ‘Arabesque’ at the village ofBeare Green in Surrey in 1924. ‘Arabesque’ is dedicated to

the well-known English violinist Sybil Eaton, who was alsothe recipient of works by Stanford and Finzi, and bears thesubtitle ‘The Muted Pavane’ (the violinist plays con sordinothroughout). In this beautifully effective piece, as the titlesuggests, the piano treads a grave dance-measure while theviolin spins an ecstatic, floridly decorated line above it, towhich the pianist adds amiable counterpoints from time totime. ‘Carnavalesque’ is a waltz whose flexible, bittersweetmelody is first spun over a single tolling tone in the pianobefore launching into full ballroom colours, subito ebruscamente; thereafter lyrical and full-bloodedly romanticideas alternate until the piece delicately evanesces intosilence. ‘Humoresque’ bears a dedication to the leadingSydney-based violinist Cyril Monk (1882–1970), an advocateof modern music who gave the Australian premieres ofmany works. It is a blithe and brilliant toccata for the twoinstru ments, taking a delight in virtuoso display, passingthrough a wide range of contrasted moods and textures, withmuch effective use of pizzicato.

The Violin Sonatina is, like the Three Pieces, dated‘Beare Green 1924’; it is dedicated ‘To Millicent’ (possiblyMillicent Silver, who though later renowned as a harpsi -chordist began her career as a pianist and violinist). Thediminutive generic title is perhaps hard to justify. Thisambitious, virtuosic and formidably accomplished work isneither a ‘little’ nor a particularly ‘light’ sonata (perhaps thelack of a slow movement was felt to debar it from full sonatastatus). Overall the Sonatina traces a tonal course fromB minor to B major. The spacious and sometimes ecstaticfirst movement begins with a peaceful, evocative melody,beautifully adapted to the prevailing �� time, over a calmlyundulating figure in the piano. A more skittish triplet motifforms a transition to a sonorous, grandly melodic secondsubject, first heard on piano and taken up by the violinagainst a bell-like ostinato in the pianist’s left hand. Apassionate development section puts these ideas (and others

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that arise along the way) through some strenuous pacesbefore the movement subsides to a serene close that recallsthe opening theme.

Benjamin entitled his E major middle movementScherzo di stile antico, but there is little that immediatelystrikes the ear as archaic in this very rapid scherzo thatskitters its way above a single nagging repeated bass note.Perhaps he was thinking of the more or less strict canonicimitations (an ‘antique’ discipline) between the violin andthe piano’s right hand. The romantic tune of the trio sectionturns itself after a while into a suppressed waltz; the scherzoreturns, deftly abbreviated.

The finale is a good-natured rondo with a rather French-pastoral main tune. Very soon, however, the basic �� timechanges to �� and the first movement’s opening idea is brieflyheard; indeed the episodes of this rondo tend to revealreminders of the first movement, often intermingled withthe rondo theme as if through a mysterious osmosis. Themovement drives towards its conclusion with increasingbrilliance, rising at last to a cadenza-like outburst from theviolin marked con summa forza ed ectasia (with fullestforce and ecstasy) before the decisive final bars.

Both the Sonatina and the Three Pieces show theinfluence of near-contemporary French music, perhapsRavel above all. But Benjamin is already able to adapt thatvocabulary to his own individual, more Anglophone ends;and he would later broaden his stylistic palette by referenceto North American and Caribbean music.

The best-known of all Benjamin’s light-music pieces,Jamaican Rumba was based on a tune he heard in the WestIndies while examining there for the RCM. First composedfor two pianos in 1937, as the second of Two JamaicanPieces, it was arranged for many combinations. The originalversion was in fact composed in a single morning for two ofBenjamin’s students, Valerie and Joan Trimble, who wereabout to give their first recital. The composer made a violin-

and-piano version, dedicated to Jascha Heifetz; and this wasin turn arranged for the viola by William Primrose andpublished in 1954. The high-spirited melodic and rhythmicconfection of the piece (Howells’s ‘enchanting brevity’)answered to a current vogue for South American andCaribbean idioms created by American jazz and popularmusic of the 1930s and 1940s.

From San Domingo is another Caribbean-style minia -ture. The title refers to the old Spanish name for the islandthat now accommodates the republics of Dominica andHaiti—a racial and musical melting-pot in which Spanish,African and Creole influences were freely mixed. Thoughthis may have been intended to exploit the market openedup by the Jamaican Rumba (and like that work, it wasoriginally scored for two pianos), it is in fact a quite differentsort of piece. The version for viola and piano, dedicated toPrimrose, appeared in 1945. The piano’s opening rhythmicostinato calls for the player to rap with the knuckles on thepiano lid, producing a rhythmic figure of five rapid quaverswhich becomes an integral motif in the viola’s melody.Though the mood is generally raffish and carefree, towardsthe end comes a melancholy snatch of song in Spanish style;in the coda the violist is instructed to play the rhythmicfigure col legno, the wood of the bow answering the woodof the piano.

A tune and variations for little people for violin andpiano was composed in 1937 and published two years later;it consists of a theme, three variations and a coda. Thetheme is a simple melody with a slightly old-fashioned air,like a gavotte, and the variations are simple too: the first isa study in pizzicato; the second shifts the prevailing �� metreinto �� in order to set some mild rhythmic challenges. In thethird, slower variation we are presented with a romantic,nocturne-like version of the theme. The first part of the codamodulates back to a final statement of the tune. Altogetherthis is an unassuming but charming educational piece.

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At the other end of the scale as far as ambition goes, theViola Sonata was composed for and dedicated to WilliamPrimrose in 1942 while Benjamin was working in Van -couver, Canada: he almost simultaneously made a versionfor viola and orchestra under the title Elegy, Waltz andToccata (combining the titles of the three movements,which are played without a break). Benjamin’s associationwith Primrose went back to 1925, when they had presentedone of the earliest performances of the Violin Sonatina; andthey gave a series of performances of the new Viola Sonatathroughout Canada in 1942–3, beginning in Vancouver on14 October 1942. Primrose had large hands and was saidto play the viola as if it were a violin, and in this impressiveand powerful work Benjamin set him many technicalchallenges.

This wartime Sonata also manifests a spiritual affinitywith the large-scale and often elegiac Symphony thatBenjamin was about to begin composing, and it containsthe bleakest and perhaps the most deeply felt music on thepresent album. The opening E minor Elegy is a chill anddesolate meditation whose vein of dissonance and chro -matic disquiet are reminiscent of Alban Berg or FrankBridge; the central section has sinister march music inF sharp minor, driving to an Appassionato e largamenteclimax with sonorous viola octaves. The transition to thecentral Waltz, starting with a brief rhapsodic cadenza andthen pitting viola pizzicato against piano trills, is powerfullyand imaginatively achieved, and the waltz music itself,marked quasi improvisatore and con morbidezza, is aphosphorescent and fretful affair that sustains the darkmood of the opening movement, the viola’s circling tripletssuggesting a moth beating its wings against a window, unableto escape. Against it Benjamin juxtaposes a quicker, frostilyglittering episode, quoting the urgent march theme, thatstarts up as if offering a would-be playful contrast, butrapidly turns hectic and sinister, stopping just short of

catastrophe. The reprise of the waltz music also refers to theopening Elegy in its impassioned transition to the finale.This is the Toccata, which begins in powerful, almostmechanistic style but soon turns into a chattery andboisterously dancing piece that gives both performers astrenuous work-out while overturning the prevailing moodsof the previous two movements and replacing them with oneof pugnacious but basically good-humoured determination.The music culminates with a breathtaking coda in E major.This masterly work is one of the finest viola sonatas of thetwentieth century.

There is a distinct feeling of a debt being repaid inLe tombeau de Ravel, a set of Valses-caprices for clarinetor viola and piano composed in 1957 and one of Benjamin’smost delightful yet affecting works. This is among thecomposer’s last completed works. It sends us back to theearly violin works of the 1920s when the French influencewas at its height in his music. Though the original clarinetversion was written for the young Gervase de Peyer, in July1957 Benjamin informed his pupil Richard Stoker that hehad completed ‘a version for viola and piano as Brahms didwith his clarinet sonatas’. As with the Brahms works, it ispossible to feel that the substitution of the viola gives themusic an added plangency; and, as with the Brahms, theviola part is no simple transposition of the one for clarinetbut has many incidental differences in substance. The titlerecalls Ravel’s own memorial work, Le tombeau deCouperin, though the music from time to time is moreredolent of his Valses nobles et sentimentales.

The introduction, six waltzes and finale are playedwithout a break. The very fast, agitated F minor introductionleads into the melancholic first waltz, which has echoes ofboth café and ballroom and becomes more fretful as itproceeds. The second waltz (Presto, volante), played witha light touch and sparsely accompanied, hurries us into theF major third (Andante semplice), whose melodic intimacy

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and apparent simplicity over quietly sophisticated harmo -nies, though rising to an unexpectedly desolate centralclimax, mimic Ravel better than any quotation. No 4(Allegro, vigoroso) is a choppy, energetic dance vanishingin an upward spiral of triplets. No 5 (Allegretto, preciso, inF minor again) at first pits pizzicato viola against a simpleaccompaniment in the pianist’s left hand but soon opensout into a kind of hesitant firefly serenade, linking at lastinto the C major sixth waltz (Lento, intimo). Here the

memorial function and deeply elegiac vein that ultimatelyunderpin the entire work become most delicately, stylishlyexplicit. The finale, however, banishes these shadows in aconcluding waltz-fantasy that intermingles several themes,including reminiscences of previous waltzes, and thateventually returns us to the unquiet mood and music of theintroduction, as Benjamin closes the circle with a defiantgesture of dismissal.

CALUM MACDONALD © 2014

Recorded in All Saints’ Church, East Finchley, London, on 7–9 December 2012Recording Engineer BEN CONNELLANRecording Producer MATTHEW DILLEY

Piano STEINWAY & SONSBooklet Editor TIM PARRY

Executive Producer SIMON PERRYP & C Hyperion Records Ltd, London, MMXIV

Front illustration: Track by Charlie Baird (b1955)

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All Hyperion and Helios recordings may be purchased over the internet at

www.hyperion-records.co.ukwhere you will also find an up-to-date catalogue listing and much additional information

Also available from Lawrence Power and Simon Crawford-Phillips

YORK BOWEN (1884–1961)The complete works for viola & piano2 compact discs & download CDA67651/2‘What a delicious recording … Bravo!’(International Record Review) ‘Once againHyperion hits the jackpot’ (Gramophone)

JOHANNES BRAHMS (1833–1897)Viola Sonatas & Triowith TIM HUGH celloCompact disc & download CDA67584‘A superlative artist … [Lawrence Power’s] playingis so full of imagination, sensitivity and gorgeouslyample phrasing’ (The Guardian)

PAUL HINDEMITH (1895–1963)Viola SonatasCompact disc & download CDA67721‘Not since the days of William Primrose have Iheard Hindemith’s viola music played with suchwarmth and conviction’ (Gramophone) ‘All theperformances are superb’ (The Guardian)

DMITRI SHOSTAKOVICH (1906–1975)Music for viola and pianoCompact disc & download CDA67865‘One of the world’s finest exponents of the viola …This new recording fulfils all of my expectations’(International Record Review)

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LAWRENCE PowerLawrence Power is one of the foremost violists today and in2011 was shortlisted for the Royal Philharmonic SocietyInstrumentalist Award. He is regularly invited to performwith some of the world’s greatest orchestras, including theChicago Symphony, the Boston Symphony, the Royal Concert -gebouw, Bayerischer Rundfunk, Stockholm Philharmonic,Warsaw Philharmonic and the Bergen Philharmonic.

Lawrence has performed Berlioz’s Harold in Italywith the Chicago Symphony Orchestra conducted by SirMark Elder; Mozart’s Sinfonia concertante with thePhilharmonia at the Royal Festival Hall, Boston SymphonyOrchestra at Tanglewood Music Festival, Symphonie -orchester des Bayerischen Rundfunks and the RoyalStockholm Philharmonic; York Bowen’s Viola Concerto withthe Philharmonisches Staatsorchester in Mainz; Takemitsu’sConcerto, A String Around Autumn, with the OrquestaSinfónica de Tenerife, and Rózsa’s Concerto with the BBCScottish Symphony and Royal Liverpool Philharmonicorchestras. He has performed Penderecki’s Viola Concertoin a series of concerts with Camerata Salzburg conductedby the composer, and has also made critically acclaimedorchestral debuts in Australia.

Lawrence has made many recordings for Hyperion,including concertos by Bartók, Rózsa, Britten, McEwen,Walton and Rubbra, sonatas by Shostakovich and Brahms,and York Bowen’s complete works for viola and piano withSimon Crawford-Phillips. His three-disc Hindemith surveyhas become a benchmark recording of this repertoire. Hehas been Artist in Residence with the Bergen PhilharmonicOrchestra, and also enjoys a close relationship with theLondon Philharmonic Orchestra, with whom he hasperformed Walton’s Concerto with Yannick Nézet-Séguin andBritten’s Lachrymae with Vladimir Jurowski.

Lawrence Power has been appointed InternationalProfessor of Viola at the Zurich Hochschule der Kunst, and

is the founder and Artistic Director of the West WycombeChamber Music Festival.

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SIMON Crawford-PhillipsSimon Crawford-Phillips has established an unusually variedcareer as soloist, chamber musician, lieder accompanistand most recently as a conductor. Concerto appearanceshave included performances with the English and ScottishChamber Orchestras, BBC Scottish Symphony, Hallé, NHKSymphony and St Martin-in-the-Fields.

Simon Crawford-Phillips is a founding member of theKunsgbacka Trio. He also performs regularly in a piano duowith Philip Moore, and in collaborations with Alison Balsom,Emily Beynon, Colin Currie, Martin Fröst, Daniel Hope,Andrew Kennedy, Jakob Koranyi, Pekka Kussisto andLawrence Power. These have led to concert tours of Australia,North and South America, China, Japan and all the majorEuropean concert halls as well as several performances atthe BBC Proms. Simon has made numerous recordings,including discs of Brahms, Bowen, Hindemith andShostakovich with Lawrence Power for Hyperion. He is aregular guest with The Nash Ensemble and the Danish,Dante, Elias and Saconni string quartets and a visitorto numerous international festivals including the City ofLondon, Edinburgh, Mecklenburg, Oslo, Savannah andVerbier.

Simon holds teaching positions at the Royal Academyof Music in London, where he was awarded a Fellowshipin 2010, and at the Academy of Music and Drama inGothenburg.

Copyright subsists in all Hyperion recordings and it is illegal to copy them, in whole or in part, for any purpose whatsoever, withoutpermission from the copyright holder, Hyperion Records Ltd, PO Box 25, London SE9 1AX, England. Any unauthorized copyingor re-recording, broadcasting, or public performance of this or any other Hyperion recording will constitute an infringement ofcopyright. Applications for a public performance licence should be sent to Phonographic Performance Ltd, 1 Upper James Street, LondonW1F 9DE

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12 www.hyperion-records.co.uk