Thea Musgrave (b 1928)
Wind Quintet

Hedwige Chrétien (1859-1944)
Quintette à vent

Andante –
Allegro con moto

Yi Chen (b 1953)
200 PIECES Mountain Song (world premiere)

Fergus McCready oboe

Amy Beach (1867-1944)
Pastorale for wind quintet, Op 151

Nicola LeFanu (b 1947)
200 PIECES After Lindisfarne (world premiere)

Prelude. Crossing the Causeway
Study (moto perpetuo). In the sand dunes
Nocturne. St Cuthbert's isle and seals

Joseph Longstaff horn

Valerie Coleman (b 1970)

Sylva Winds
Yi-Hsuan Chen flute
Drake Gritton oboe
Rowan Jones clarinet
Guylaine Eckersley bassoon
Zoë Tweed

As a Distinguished Professor at the UMKC Conservatory of Music and Dance, a prolific composer, and recipient of the Ives Living Award from the American Academy of Arts and Letters, Yi Chen blends Chinese and Western traditions, transcending cultural and musical boundaries. Her music has reached a wide range of audiences and inspired peoples of different cultural backgrounds throughout the world. She holds a BA and MA in music composition from the Central Conservatory of Music in Beijing, and a DMA from Columbia University in New York City, studying composition with Wu Zuqiang, Chou Wen-chung and Mario Davidovsky. She was elected to the American Academy of Arts and Sciences in 2005, and the American Academy of Arts and Letters in 2019.

She has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts, as well as the Lieberson Award from the American Academy of Arts and Letters. Recent premieres include Plum Blossom for piano solo at the Fifth Hong Kong International Piano Competition by 15 semi-finalists at HK City Hall Concert Hall in October 2019, a three-movement symphonic work Introduction, Andante, and Allegro first performed at Benaroya Hall by the Seattle Symphony and Fire for 12 players (commissioned by Chicago Center for Contemporary Music) by Grossman Ensemble at Logan Center Performance Hall at the University of Chicago in 2019

A strong advocate of new music, American composers, Asian composers, and women in music, she has served on the advisory or educational board of the Fromm Music Foundation at Harvard, the John Simon Guggenheim Memorial Foundation, Chamber Music America, Meet The Composer, the American Music Center, New Music USA, the American Composers Orchestra, the League of Composers/ISCM, the International Alliance of Women in Music, and the Women’s Philharmonic Advocacy.

She is a cultural ambassador who has introduced hundreds of new music compositions and a large number of musicians from the East and the West to music and education exchange programs in the USA, Germany, the UK, and Asian countries, particularly in recent years through programs of the Beijing Modern Music Festival, the Beijing International Composition Workshop, the Shanghai Spring Festival, the Tianjin May Festival, the China-ASEAN Music Week, the symphony orchestras throughout China and some other Asian countries, and the Thailand International Composition Festival.

Nicola LeFanu was born in England in 1947, the daughter of Irish parents: her father William LeFanu was from an Irish literary family, and her mother was the composer Elizabeth Maconchy. LeFanu studied at the University of Oxford, the Royal College of Music and, as a Harkness Fellow, at Harvard University. She has Honorary Doctorates from Durham, Aberdeen and the Open University, and is an Honorary Fellow of St Hilda’s College, Oxford.

She has composed around one hundred works which have been played and broadcast all over the world; her music is published by Novello and by Peters Edition. She has been commissioned by the BBC, by festivals in UK and beyond, and by leading orchestras, ensembles and soloists. Many works are available on CD, including music for strings (Naxos), and her Horn Concerto (NMC) and Saxophone Concerto (NEOS).

She has a particular affinity for vocal music and has composed eight operas: Dawnpath, the radio opera The Story of Mary O’Neill, the children's opera The Green Children, Blood Wedding, The Wildman, Light Passing, Dream Hunter, and Tokaido Road.

She is active in many aspects of the musical profession, as a composer, teacher, director and as a member of various public boards and new music organisations. From 1994-2008 she was Professor of Music at the University of York, where many gifted composers came to study with her. Previously she taught composition at King's College, London, and in the 1970s, she directed Morley College Music Theatre.

Recent premieres include works for chamber ensemble, for solo instrumentalists, and Threnody for orchestra, premiered in Dublin in 2015 by the RTÉ National Symphony Orchestra.

In 2015 she was awarded the Elgar bursary, which carries a commission from the Royal Philharmonic Society for BBC Symphony Orchestra.

These three miniatures are linked by shared ideas, but separately characterised, as their titles suggest: Prelude, Study (moto perpetuo) and Nocturne. I have aimed to write for the beautiful tone quality of the horn, as well as its capacity for timbral variation and microtonal inflection. Each miniature lasts a couple of minutes.

The title After Lindisfarne reflects my love of visiting ‘Holy Island’ in Northumberland. Prelude (Crossing the Causeway) suggests the spacious sands – serene or treacherous, according to the tide. Study (In the sand dunes) evokes the unfrequented wild places along the north coast of the island.

At night, the sound of Lindisfarne is the ‘song’ of the seals. Nocturne (St Cuthbert’s isle and seals) conjures up something of this haunting soundscape:

‘the isle is full of noises

sounds and sweet airs, that give delight and hurt not..’

Nicola Lefanu