Page 300 - Media Coverage Book - 75th Aldeburgh Festival 2024

time the composer changed his views as to how Sprechstimme should
actually be notated.

Claire is a firm believer in the necessity of being accurate when it comes to
the pitches Schoenberg notated, and she points out that if you simply sing the
vocal line, then the pitches sung prove to be important to what is going on
musically underneath. Whatever else Claire does with the Sprechstimme, she
wants it to be accurate and she comments that with the majority of other roles
in the classical and 20th century repertoire, it is regarded as important that
you are accurate but with Pierrot Lunaire, there has developed the idea that
this does not matter. She goes on to emphasise that within the bounds of
respect for the notes that are written, there is still lots of scope; once you find
the notes, then there is lots that you can do with it. Schoenberg deserves that
you be rigorous.

Yet the piece is so much more than a technical experience. Yes, you have to
be accurate, but you should never lose sight of the need to listen to the
players, you are part of that world and though you are part, there are times
when you are not necessarily the most important voice. Since Jane Manning's
iconic recording of Pierrot Lunaire (she recorded it in 1991 but first recorded
the work in 1967) there was not been another British recording and Claire is
proud to be working on something passing that baton. It is a piece that Claire
is known for, but each time she performs it, she reminds herself that you have
to constantly make it new, yet remain within the parameters. If you start and
end with what is actually written on the page, you won't go far wrong.

Claire has put together what she calls a classical cabaret programme which
includes music by Schoenberg (some of his Brettl-Lieder) alongside songs by
Kurt Weill, Thomas Adès and John Woolrich. She has now commissioned Zoë
Martlew to write something to add to this programme. Ever since Oliver
Knussen died (in 2018) Claire has tried to think about ways to inhabit areas
important to him, including commissioning composers in the manner that he
did. Knussen admired the music of Zoe Martlew and Helen Grime, the two
composers whose work Claire has commissioned for this year. Claire calls
Zoë Martlew a terrific musician, adding that her vocal music is a triumph; she
comes at vocal writing dramatically. Zoë Martlew's piece for Claire, Hotel
Babylon is being premiered this Summer at Petworth Festival and Fishguard
Festival of Music with pianist Jâms Coleman, and they will be bringing the
work to the Wigmore Hall in the Autumn.