Par BENJAMIN GEORGE. A beguiling 20-minute work for countertenor, women's voices and orchestra, Dream of the Song, George Benjamin's first work since his ground-breaking opera Written on Skin, was premiered in 2015 by the countertenor Bejun Mehta, the Netherlands Chamber Choir and the Royal Concertgebouw Orchestra conducted by the composer. Employing a reduced orchestra (two oboes, four horns, two percussionists and two harps and strings), the work sets verse by three major poets who spent formative years in Granada- two Hebrew poets of mid-11th century, Samuel HaNagid and Solomon Ibn Gabirol (sung by solo countertenor in English versions by Peter Cole), and Gabriel Garcia Lorca (sung by the female chorus in the original Spanish). This inspired pairing of texts creates a rich, melancholy and strange poetic conjunction, expressed most beautifully in the final movement which, overlaying soloist and choir, offers two simultaneous visions of dawn, conceived a millennium apart./ Répertoire / Choeur

Le supercontinent du Gondwana réunissait il y a 500 millions d?années l?Afrique l?Amérique du Sud l?Antarctique l?Australie et l?Inde la péninsule arabique Madagascar les grandes îles de Ceylan de la Nouvelle-Zélande et de Tasmanie. On y trouvait une abondante flore et une jolie faune. Le compositeur singapourien Benjamin Yeo nous livre les secrets de la vie dans le sanctuaire du Gondwana à travers des couleurs et des sons primitifs une mélodie paisible et un finale monumental qui amorce le démembrement du paléocontinent.

Angel View by Juliana Hodkinson scored for seven or more performers and electronics. 'Angel View is an assemblage of urban and musical debris somewhere between a wordless live radio play enacted film soundtrack and instrumental theatre. Chiseling cement falling debris scraping cutlery breaking glass criss-crossing cables squealing tram-wheels an upturned bicycle a grid of cables a travel souvenir a shop window a revolving carousel a brace of monkeys a wall under siege a dining table laid for an ancestral dinner – it is a sonic bazaar. Made up of over 20 parts each designed to overlap the work’s architecture is full of of non-sequiturs and arbitrary cross-relations between imagined streets intersecting and running parallel reflecting the surrealism of everyday life described in Walter Benjamin’s Einbahnstrasse and still present in the contemporary dilemmas and opportunities of Berlin today. All this is heard as if from an aerial perspective perhaps the Victory Column where angels sit in Wings of Desire from where Berlin below is observed as a series of tragedies.' Juliana Hodskinson

Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall Krakow Poland on Sunday 13th January 2008 with Jacqueline Shave (Violin) Miranda Dale (Violin) Clare Finnimore(Viola) Catherine Musker (Viola) Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins 2 Violas and 2 Cellos)Duration: 10 minutes Composer'sNotes 'Into The Faded Air is cast in four movements although the last three movements are played without a break.In the first movement the sextet is divided into twogroups. The first group consisting of violin viola and cello plays a sustained melody while the second group (also violin viola and cello) contributes more jagged and intricate material. The second movement is an extended duetfor two violas accompanied by the other instruments. As the movement progresses the accompanying instruments become more prominent. The third movement is the only fast movement in the piece with rapid semiquavers and much useof pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos.' - HelenGrime

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