HANS PFITZNERCello Concerto in G major

JOHN MAYERPrabhanda • Ragamalas

ROHAN DE SARAMcello

Druvi de Saram pianoJohn Mayer tanpura

Netherlands Radio OrchestraBohumil Gregor

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This disc centres on the musicianship of Rohan deSaram – the British-born Sri Lankan cellistrenowned for his involvement in and advocacy ofboth classical and contemporary music, as well asthat of his native Sri Lanka. He is also a direct linkbetween the two seemingly removed composerswhose music is featured here.

Born to Ceylonese parents in Sheffield, de Saramstudied with Gaspar Cassadó in Siena andFlorence. In 1955 (when only 16) he was the firstrecipient of the Guilhermina Suggia Award,which enabled him to study in Britain withBarbirolli and in Puerto Rico with Casals. Hemade his Carnegie Hall début in 1960 with the New York Philharmonic, performingKhachaturian’s Cello Concerto. Earlier in hiscareer, de Saram worked with Kodály, Poulenc,Walton and Shostakovich and from 1979 to 2005he was a member of the Arditti Quartet; alsoworked with Markus Stockhausen’s PossibleWorlds group. He has premiered works by manycomposers including Iannis Xenakis (Kottos),Toshio Hosokawa (Chant), Jeremy Dale Roberts(Deathwatch) and Luciano Berio, whoseSequenza XIV incorporates drumming on thebody of the cello to reflect de Saram’s skills withthe Kandyan drum. He also plays standardclassical works such as the cello suites of Bachand Britten, and is a noted improviser.

Hans PFITZNER (1869-1949)

It was for de Saram’s teacher Gaspar Cassadóthat Hans Pfitzner wrote the second of his threecello concertos in 1935 (the other two being inA minor and sharing certain material despitebeing composed 55 years apart). Pfitzner wasborn in Moscow in 1869, where his father playedviolin in a theatre orchestra, though the familyreturned to his father’s native Frankfurt in 1872.In 1884 he wrote his first songs and, during1886-90, studied composition at the HochConservatory in Frankfurt, although hisprofessional breakthrough only came when hewas appointed director of the opera and alsohead of the conservatory at Strasbourg in 1908.The annexation of Alsace – includingStrasbourg – by France soon after the First WorldWar left Pfitzner destitute, leading to anembrace of German nationalism that saw hissupport for Nazi policies; a support that was notreciprocated by Nazi officialdom, who found hismusic too introspective to be effective ascultural propaganda. There was also the matterof his support for Jewish musicians – not leastBruno Walter, who gave the first performance ofhis greatest work, the opera Palestrina, atMunich in 1917. Before he died early in 1962,Walter ended his last letter with the convictionthat ‘’… Palestrina will remain. The work has all

Hans PFITZNER: Cello Concerto in G major John MAYER: Prabhanda • Ragamalas

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Rohan de Saram © Jane Baker

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the elements of immortality’’. Left homeless atthe end of the Second World War, Pfitzner wasde-Nazified and rehoused at a care home inSalzburg, from where he enjoyed a modest

revival in fortunes before his death in 1949.Despite assertions to the contrary, Pfitzner’smusic is generally forward-looking whatever itsrootedness in German Romanticism.

Hans Pfitzner, 1939

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1 Cello Concerto in G major

Playing continuously for barely more than 15minutes, the G major Concerto might seem tobe an unusually modest proposition. Certainlythe orchestration, for large Classical forces, issparingly deployed – with the audibility of thesoloist not for a moment in doubt. Yet Pfitzner’sformal ingenuity is evident in the way in whichevery thematic aspect is derived from themelody unfolded in the work’s opening bars,while the deft succession of slower and fasterepisodes gives the impression of severalmovements fused into a single and audiblyunified overall design; a formal procedure withantecedents which go as far back as Schubert.This concerto, moreover, exemplifies itscomposer’s standing as one who, while neverdivorced from the Austro-German tradition, wasable to re-invigorate its salient qualities to aconsiderable though understated degree.

Over a timpani roll, the Concerto begins with apensive theme for the soloist commented on bywoodwind, which is soon joined by the strings –the accompaniment becoming more intricate asthe piece unfolds. Presently reaching a point ofstasis, the music continues with the soloistmusing uncertainly against lower woodwind andhorns before increasing activity culminates in ananimated trumpet fanfare passed excitedlyaround the orchestra. A more subdued dialoguebetween soloist and woodwind once more sees

an upsurge of activity and a forceful chord fromthe brass, the soloist unfolding an eloquentsoliloquy against tremolo strings which is metwith a gently rapturous response from thewoodwind. Out of this soon emerges a pertinterplay between woodwind and strings, thesoloist at first being content to accompany beforeinfusing the music with greater eloquence on theway to a lively recollection of the main theme.This continues against wistful comments fromtrumpets then woodwind, winding down to apause prior to the blissful final phrase.

© Richard Whitehouse 2011

John MAYER (1929-2004)

John Mayer was born into an Anglo-Indianfamily in Calcutta in 1929. After studying withPhillipe Sandre in Calcutta and Melhi Mehta inBombay, he won a scholarship to London’s RoyalAcademy of Music in 1952, where he studiedcomparative music and religion in eastern andwestern cultures. He worked as a violinist withthe London Philharmonic Orchestra (1953-58) and the Royal Philharmonic Orchestra (1958-65),but was already writing fusions of Hindustaniclassical and Western classical forms. His ViolinSonata was performed by Yehudi Menuhin in1955. In the 1960s he worked extensively withthe Jamaican-born jazz musician Joe Harriott,with whom he formed the group Indo-Jazz

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Fusions, and which featured a jazz quintetalongside five Indian musicians. A newincarnation of the band, John Mayer’s Indo-JazzFusions featuring several of the composer’s

students, emerged in the 1990s and continuedto play live performances (featuring Mayer’s sonJonathan on sitar) up until Mayer’s untimelydeath in 2004. A musician who was at home

John Mayer(taken by Kenneth Thomas, early 1980s)

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across a wide range of styles and aesthetics (hecollaborated, for instance, with the rockmusician Keith Emerson on the latter’s PianoConcerto), among his larger-scale works might besingled out the flute concerto Mandala ki RagaSangeet, which was written for James Galway andpremiered by him in Birmingham in 1977. Mayerwas to enjoy a lengthy association with theConservatoire (formerly the School of Music) inBirmingham, where he was a professor andcomposer-in-residence, and where he introducedthe BMus Indian Music course in 1997.

The composer provided the following annotationsabout the two works which are featured on thisdisc:

Prabhanda for cello and piano

Prabhanda is an ancient Indian word used for agroup of pieces, which in its construction is notdissimilar to that of the western “suite”. Itconsists of eight pieces for cello and piano,drawing largely on the techniques of the ragasand talas of India, and was written in 1982 forthe duo of Rohan and Druvi de Saram.

2 I Ampari Kirtan IAmpari is a district of Bandaraduira in Sri Lankawhere most melodies encompass a scale of sixnotes, which means it is non-Buddhistic, sinceBuddhist chants cover only five notes. Kirtan isa devotional song of Bengal.

3 II Alaap IFollowing its predecessor without a break, this isthe introductory slow movement of a ragacomposition.

4 III TihaiTihai is a short melodic and rhythmic phrase,played in unison. This means that the melodicline is echoed in parallel rhythm and this isplayed three times.

5 IV Alaap II6 V Jhala This is the third section of a raga composition. Itis only here that an element of pulse isintroduced. The main feature is the repetitionof the tonic note after every melody-note isplayed.

7 VI Kirtan II8 VII RagatalRaga (scale) and tal (rhythm) are two of the mainfeatures of Indian music and in this movementthe melodic and rhythmic elements are used inthe form of tans (variations).

9 VIII Gat This is the final section in a raga compositionwith well-defined rhythmic patterns that are setto a particular tal (rhythm), which in this piececonsists of fifteen beats.

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Six Ragamalas for cello and tanpura

Written for cello and tanpura, the Six Ragamalaswere commissioned by and written for Rohande Saram in 1983, with funds provided by theArts Council of Great Britain. Each of these sixpieces has a pictorial description.

0 Ragamala IThis uses the notes of the raga Megh-Mallar.The rasa (mood) of this raga is happy, contented,gentle and sometimes commanding. ‘Megh-Mallar, a good wise king, enjoys the pleasuresof dancing. He is in the company of beautifulmaidens be-decked with jewels. He dances withthem bringing forth clouds of various colours inthe sky. The moving clouds thicken to theaccompaniment of thunder and lightning whichthen brings forth rain.’ [Translated from 14thCentury Ragamala painting, Anon.]

! Ragamala IIThis uses the notes of the raga Purvi. This ragahas a deeply serious and mysterious characterand depicts the passing of the day before nightfalls. ‘Charming, beautiful and scantily dressed,lotus eyed Purvi appears at the end of the day.Her eyes are heavy with sleep. Idle and tired,she suffers the pain of separation and dreamsof her lover.’ [Translated from Raga Sagara, 8thCentury , Anon.]

@ Ragamala III This uses the notes of the raga Jayjayvanti. Thisraga is considered somewhat romantic in itsvigour combined with tenderness, and is to besung or played at night. ‘Buxom and comely, witheyes like a gazelle’s, her golden skin fragrant withdevine flowers, Jayjayvanti is the consort ofMegha-raga, God of Rain. Drunken and playingupon a lute, she sings like a kokila (bird).’[Translated by N.N. Vasu from 19th CenturyRagamala painting, Anon.]

# Ragamala IVThis uses the notes of the raga Shri. This ragaexpresses the feeling of gentleness and depictsthe meditation on love, nostalgia and a call forevening prayer. The rasa is sad but spiritual. ‘Shriraga is seated on a throne in a heroic posture,one of his hands rests on the head of a tiger. Theprecious stones, set on his head-dress, sparkle inthe sun. Lovely women surround him.’[Translated from Raga Sagara, 8th Century text,Anon.]

$ Ragamala VThis uses the notes of the raga Miyan-ki-Mallar.This raga is said to have been created by MiyanTansen, the famous musician at the court ofAkbar the Great. It is the raga of the rainyseason. ‘This ragini is described as having a paleand colourless complexion, she is decorated withwhite jasmin and sits sad and alone trying tosoothe and forget her melancholy with the tones

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of her veena.’ [Translated by N.A. Willard, 1834.From 15th Century Ragamala painting, MianTansen.]

% Ragamala VIThis uses the notes of the raga Marva. The rasaof this raga is quiet and contemplative, yet alsouneasy and sometimes war-like with itspassionate emotions. It is a description of thesunset in India, where the night approachesmuch faster than in northern countries. Thiscreates a feeling of anxiety and solemnexpectation. ‘Marva stands beneath a mangotree near to Shiva, the three eyed lord of sleep.In her hands she holds a many coloured discus.His golden limbs are robed in red and richlyadorned with flowers. Smiling, she praises theknights on the battlefield.’ [Translated fromRaga Sagara, 8th Century , Anon.]

© John Mayer

Glossary:

Raga – Translates as “that which colours themind”. It is a musical mode upon which a soloistimprovises and is typical of North Indian classicalmusic.

Ragini – The raga-ragini is a particular ragaclassification scheme used from the 14th to the19th century. It usually consists of 6 ‘male’ ragaseach with 6 ‘wives’ (raginis) and a number ofsons (putras) and even ‘daughters-in-law’. Sinceit did not agree with various other schemes, andthe ‘related’ ragas had very little or no similarity,the raga-ragini scheme is no longer very popular.Ragini is generally referred to in fine art (theragamala paintings).

Ragamalas – The arts in North Indian are veryclosely entwined. For each raga there is acorresponding ragamala painting which is alsoaccompanied by a poem.

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Druvi de Saram commenced his musical studiesin Sri Lanka. After arriving in England at the ageof 16, he worked with a series of renownedmusicians including Dame Myra Hess, StephenBishop-Kovacevich, Daniel Barenboim and MariaCurcio. He also studied for two years at theMoscow Conservatoire. Druvi then gave hisLondon début at the Wigmore Hall after whichhe toured extensively as a soloist both in Europeand Asia, including tours of China, India andAustralia.

Performing as a duo with his cellist brother,Rohan, he has performed at leading Londonvenues and at prestigious international festivalsin both the UK and Europe. They also toured theformer Soviet Union several times. Also as achamber musician, Druvi has worked with theArditti Quartet as well as artists such as violinistSalvatore Accardo and clarinettist Anthony Pay.

Collaborating with contemporary composers, hehas given first performances of works byHumphrey Searle, Roger Reynolds and JohnMayer. He has also broadcast frequently for theBBC and several European radio stations.

Druvi currently teaches at the JuniorDepartment of the Royal Academy of Music andalso teaches privately.

Druvi de Saram(taken by Rohan de Soysa, early 1980s)

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Pfitzner Cello Concerto in G major:Recorded at AVRO Studios, Hilversum, Holland on 10 January 1980 by NCRV for radio broadcast

Mayer Prabhanda and Ragamalas:Recorded at Conway Hall, Londonin 1983 by Ben Turner

Original tape transfers by Mike SkeetOriginal issue produced by Ben Turner and Leonard Salzedo

First issued in 1983 on audio cassette AML502by Ray Pocock and in 2002 on CD EML 043 by Mike Skeet

Remastered by Jonathan MayerDesign and layout by David MurphyTypesetting by Nick Staines

Cover photo: Silver Wood (Tel Aviv, Israel),taken by Tal Bright in September 2005 (graphic editing by David Murphy)

FHR would like to thank Jane Baker(www.janebakerphoto.it), Tal Bright, Peter Bromley, Phil Hateley (Launch MusicInternational), NCRV, Rohan de Saram, Druvi de Saram, Nick Staines, Richard Whitehouse and Paolo Zeccara

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FHR14

Hans PFITZNER (1869-1949)

1 Cello Concerto in G major 16:02

Rohan de Saram celloNetherlands Radio Orchestra / Bohumil Gregor

First release on CD

John MAYER (1929-2004)

Prabhanda 21:002 I Ampari – Kirtan I 1:153 II Alaap I 1:584 III Tihai 3:265 IV Alaap II 3:226 V Jhala 1:257 VI Kirtan II 4:438 VII Ragatal 2:159 VIII Gat 2:36

Rohan de Saram celloDruvi de Saram piano

Six Ragamalas 22:490 Ragamala I 5:36! Ragamala II 4:45@ Ragamala III 3:24# Ragamala IV 2:06$ Ragamala V 1:44% Ragamala VI 5:15

Rohan de Saram celloJohn Mayer tanpura