BBC Music Magazine - - THE FULL SCORE -

I have been pas­sion­ate about the mu­sic of Brit­ten since my univer­sity days, and in par­tic­u­lar I like his Noye’s Fludde – I have the orig­i­nal record­ing from 1961. It is a work that I find ex­tremely up­lift­ing and moving, and I also rather like the slightly ram­shackle na­ture of it in the way that it uses am­a­teur singers and peo­ple from the lo­cal com­mu­nity. I have never ac­tu­ally seen it live on stage, though that is some­thing that I long to do.

I love the wide open spa­ces of Co­p­land’s mu­sic, which I find in­cred­i­bly evoca­tive. His Lin­coln Por­trait is typ­i­cally lush and full of folk ref­er­ences. I know quite a few per­for­mances of it, but my favourite is the Cincin­nati Pops one with Katharine Hep­burn as the nar­ra­tor. She recorded it when she was into her 80s and has this in­cred­i­ble fragility, and yet tough­ness, to her – it’s a fan­tas­ti­cally im­pas­sioned per­for­mance, which I feel ev­ery­one ought to hear.

I’m de­lighted that I have tick­ets to see Thomas Adès’s opera The Ex­ter­mi­nat­ing An­gel, as I find his mu­sic so thrilling. On my record­ing of his Asyla by the London Sym­phony Orches­tra, I love the drama and rep­e­ti­tion of what is both a com­pelling and ex­cit­ing

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