HTTP/1.0 200 OK
Date: Fri, 17 Feb 2012 14:37:38 GMT
Server: Apache
Last-Modified: Sat, 16 Jul 2005 19:50:20 GMT
ETag: "8ca9e3-411b-3fc09ad263700"
Accept-Ranges: bytes
Content-Length: 16667
Connection: close
Content-Type: text/html

<!DOCTYPE HTML PUBLIC "-//SoftQuad Software//DTD HoTMetaL PRO 6.0::19990601::extensions to HTML 4.0//EN" "hmpro6.dtd">
<HTML> 
  <HEAD> 
	 <TITLE>David Drew - Annual Records of a Working Life 1988-89</TITLE> 
  </HEAD> 
  <BODY TEXT="#000000">
	 <CENTER>
		<TABLE WIDTH="650" BGCOLOR="#FFFFFF" CELLPADDING="4" CELLSPACING="0">
		  <TR>
			 <TD COLSPAN="2" BGCOLOR="#0000CC">&nbsp;</TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2">
				<TABLE WIDTH="645" BGCOLOR="#FFFFFF" CELLPADDING="0"
				 CELLSPACING="0">
				  <TR>
					 <TD VALIGN="TOP" ALIGN="CENTER" WIDTH="130"><IMG
						SRC="Images/carter.jpg" ALT="Elliott Carter" WIDTH="130" HEIGHT="147"
						BORDER="0" ALIGN="TOP"></TD>
					 <TD VALIGN="MIDDLE" ALIGN="CENTER" WIDTH="515">
						<P><B><FONT FACE="Comic Sans MS" SIZE="4"
						  COLOR="#000000">David Drew</FONT></B><BR><B><I><FONT FACE="Arial"
						  SIZE="-4">British writer, editor, music publisher, recording
						  producer</FONT></I></B></P>
						<P ALIGN="center" CLASS="MsoNormal"
						 STYLE="MARGIN-LEFT: 36pt; TEXT-INDENT: -36pt"><B><FONT FACE="Comic Sans MS"
						  SIZE="4"
						  COLOR="#000000">Annual Records 1988-89</FONT></B> <BR><B><I><FONT
						  FACE="Arial Narrow" SIZE="-4"> Jonathan Lloyd in Baden-Baden, Michael Vyner,
						  Hans Werner Henze and Schweinitz, Jewish Museum in Rendsburg, end of Soviet
						  communism </FONT></I></B></P></TD>
				  </TR>
				</TABLE></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" BGCOLOR="#0000CC" HEIGHT="3"></TD>
		  </TR>
		  <TR VALIGN="TOP">
			 <TD COLSPAN="2" VALIGN="TOP" ALIGN="CENTER">
				<P><FONT FACE="Verdana" SIZE="-2"><A HREF="index.htm">Home</A>
				  </FONT>| <A HREF="annrecords.htm"><FONT FACE="Verdana" SIZE="-2">Annual Records
				  of a Working Life</FONT></A> | <FONT FACE="Arial Narrow" SIZE="-2"><A
				  HREF="ar1930-50.htm">1930-50</A> | <A HREF="ar1950-53.htm">1950-53 </A>|
				  <A HREF="ar1953-55.htm">1953-55</A> | <A HREF="ar1956-58.htm">1956-58</A> |
				  <A HREF="ar1959-63.htm">1959-63</A> | <A HREF="ar1964-67.htm">1964-67</A> |
				  <A HREF="ar1967-70.htm">1967-70</A> | <A HREF="ar1971-74.htm">1971-74</A> |
				  <A HREF="ar1975-76.htm">1975-76</A> | <A HREF="ar1977-81.htm">1977-81</A> |
				  <A HREF="ar1982-84.htm">1982-84</A> | <A HREF="ar1985-87.htm">1985-87</A> |
				  <A HREF="ar1988-89.htm">1988-89</A> | <A HREF="ar1990-92.htm">1990-92</A> |
				  <A HREF="ar1993-99.htm">1993-99</A> | <A HREF="ar1999-2000.htm">1999-00</A> |
				  <A HREF="ar2001-2002.htm">2001-02</A> | <A HREF="ar2003.htm">2003 -
				  </A>|</FONT></P></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" BGCOLOR="#0000CC" HEIGHT="3"></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" ALIGN="LEFT">
				<TABLE WIDTH="640" BGCOLOR="#FFFFFF" CELLPADDING="0"
				 CELLSPACING="0">
				  <TR VALIGN="TOP">
					 <TD WIDTH="61" VALIGN="TOP" ALIGN="LEFT"><FONT FACE="Arial"
						SIZE="-2">1988</FONT></TD>
					 <TD WIDTH="704" VALIGN="TOP" ALIGN="LEFT">
						<P><FONT FACE="Arial" SIZE="-2"><I>February</I>: to
						  Baden-Baden (Germany) with <B>Jonathan Lloyd </B>for the rehearsals and
						  recording of his Second Symphony (by the S&uuml;dwestfunk Orchestra under
						  Lothar Zagrosek) followed by its public premiere on the 27th. In Heidelberg,
						  Lloyd and D attend a performance of Kresnik's dance-play <I>Macbeth</I>, with
						  music by<B> Schwertsik</B>. The production is successfully recommended to
						  <B>John Drummond</B>, then Director of the Edinburgh International Festival.
						  </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>9 March</I>: First meeting
						  of <B>Les Amis du Compositeur Igor Markevitch</B> in Lausanne. The work of the
						  committee will be continued for five years. Some of its aims are subsequently
						  reflected in the extended series of recordings of Markevitch's orchestral and
						  choral works conducted by Christopher Lyndon-Gee and released on the Marco Polo
						  label.</FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>March</I>:
						  <B><I>Postscript 1988</I></B> [to Tadeusz Marek's "G&oacute;recki in
						  Interview,1968] is published in <I>Tempo</I> No.168. </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><B>Wolfgang von
						  Schweinitz</B> has been commissioned by the city of Munich to write an opera
						  for Hans Werner Henze's Biennnale. He intends to use the entire text of the
						  Book of Revelations as his text. <B>Henze</B> asks D to help persuade
						  Schweinitz to consider some other and more 'dramatic' subject. After a long
						  discussion in Hamburg, D reports that Schweinitz is adamant. Henze accepts with
						  good grace, and resolves to engage Ruth Berghaus as director. Schweinitz
						  collaborates with <B>D.E. Sattler</B> on a libretto using the entire biblical
						  text. Sattler is an internationally respected H&ouml;lderlin expert who has his
						  own publishing house in Bremen - the <I>Bremer Bibel</I> is one of his many
						  idealistic projects. The libretto, like the opera based upon it, has the
						  post-H&ouml;lderlin title <I>Patmos</I>. </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>24-26 April</I>: D with
						  <B>Goldschmidt</B> in Duisburg for the German premiere of<I> Letzter
						  Kapitel</I>, given in one of the concerts of 'suppressed music' organised for
						  the Duisburger Akzente series by the composer <B>Juan Allende-Blin</B>. Visit
						  to Wilhelm-Lehmbruck-Museum; Felix Nussbaum exhibition. </FONT></P>
						<TABLE WIDTH="100%" BGCOLOR="#FFFFFF" CELLPADDING="0"
						 CELLSPACING="0">
						  <TR VALIGN="TOP">
							 <TD VALIGN="TOP" ALIGN="LEFT"><IMG
								SRC="Images/lloyd7.jpg" WIDTH="165" HEIGHT="239" BORDER="0"
								ALT="Lloyd, near Baden-Baden, February 1988"></TD>
							 <TD VALIGN="TOP" ALIGN="CENTER"><IMG
								SRC="Images/goldschmidt-4.jpg" WIDTH="296" HEIGHT="239" BORDER="0"
								ALT="Goldschmidt leaving for Germany, April 1988"></TD>
							 <TD VALIGN="TOP" ALIGN="RIGHT"><IMG SRC="Images/blin.jpg"
								WIDTH="135" HEIGHT="240" BORDER="0"
								ALT="Allende-Blin, Duisburg, April 1988"></TD>
						  </TR>
						</TABLE>
						<P ALIGN="CENTER"></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>May</I>: <B>G&oacute;recki
						  </B>- in Frankfurt with Fell and Drew - signs a publishing agreement with
						  Boosey &amp; Hawkes Music Publishers. <B>David Huntley</B>, a key figure in
						  B&amp;H's New York office, successfully promotes <B>G&oacute;recki</B> to
						  <B>Robert Hurwitz</B> of Nonesuch Records, and to Kronos (the internationally
						  renowned string quartet, led by David Harrington, and recorded by Nonesuch).
						  Drew suggests that a fragment for string quartet which G&oacute;recki had shown
						  him in Katowice the previous year might be a suitable starting point for a
						  piece for Kronos. David Harrington and his Kronos colleagues welcome the idea.
						  G&oacute;recki re-works the fragment as a 16-minute quartet, <I>Already it is
						  Dusk</I>. Four months later, <B>G&oacute;recki</B> brings the manuscript of
						  <I>Already it is Dusk</I> to Bremen, where D introduces him to Kronos and acts
						  as intermediary at a rehearsal. </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><B>Michael Vyner</B>,
						  Artistic Director of the London Sinfonietta, receives a package of scores and
						  recordings of G&oacute;recki's music. Together with David Atherton - co-founder
						  and first conductor of the London Sinfonietta - he decides to devote an entire
						  weekend in the spring of 1989, Friday-Sunday, to the music of G&oacute;recki
						  and <B>Alfred Schnittke</B>. D's correspondence with Schnittke has continued
						  since 1971 (and the inception of the Stravinsky project for <I>Tempo</I>) and
						  has led to several meetings and discussions in Germany and Switzerland.
						  </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2">Despite the difficulty of
						  reaching G&oacute;recki by telephone and the near-certainty that no call will
						  be uninterrupted, Drew has been able during the past fifteen months to maintain
						  contact week-by-week. During the winter of 1988-89 the frequency has had to be
						  increased, since the permits and visas required for a visit to England for the
						  Sinfonietta weekend seem to constitute an almost insurmountable obstacle.
						  Eventually, after countless phone-calls, the problem is solved on the Polish
						  side, only to recur, no less intractably, at the British Foreign Office.
						  Representations are made, MPs are lobbied, and a British visa for
						  G&oacute;recki is finally issued. </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>1-3 September</I>: With
						  <B>John Adams</B> in Edinburgh for UK premiere of <I>Nixon in
						  China</I>.</FONT></P>
						<P><FONT FACE="Arial" SIZE="-2">First discussions with the
						  Scottish composer <B>James MacMillan</B>; after an interlude with Universal
						  Edition, he will join Boosey &amp; Hawkes in 1991. During the winter of
						  1988-89, <B>Andrew Toovey</B> and <B>David Horne</B> sign publishing agreements
						  with B&amp;H.</FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>1-10 October</I>: In New
						  York as guest of the American Symphony Orchestra and Jesse Rosen, preparing for
						  the premiere at Carnegie Hall on the 9th of <I>Cry, the Beloved Country</I>
						  (Weill/Anderson/Paton), a concert sequence by DD commissioned by the ASO. The
						  conductor is Dennis Russell Davies.</FONT></P><BR></TD>
				  </TR>
				  <TR VALIGN="TOP">
					 <TD WIDTH="61" VALIGN="TOP" ALIGN="LEFT"><FONT FACE="Arial"
						SIZE="-2">1989</FONT></TD>
					 <TD WIDTH="704" VALIGN="TOP" ALIGN="LEFT">
						<P><FONT FACE="Arial" SIZE="-2"><I>17-19 March</I> : in
						  Brussels for the premiere of the opera <I>The Death of Klinghoffer</I> by
						  <B>John Adams</B>. </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>24 - 30 March-3 </I>:
						  <B>G&oacute;recki</B> visits London for the first time, staying privately with
						  the Drews. During the following days he attends rehearsals for the London
						  Sinfonietta Weekend, consents to his first interview with the Western press
						  (conducted, al fresco, by <B>Nicholas Kenyon</B> for <I>The Observer</I>),
						  reluctantly agrees to be photographed, is welcomed by the earliest of his
						  British admirers and advocates, <B>Adrian Thomas</B>, and joins Camilla and
						  <B>Andrzej Panufnik</B> for an informal evening in private. </FONT></P>
						<TABLE WIDTH="100%" BGCOLOR="#FFFFFF" CELLPADDING="0"
						CELLSPACING="0">
						  <TR>
							 <TD><IMG SRC="Images/gorecki6.jpg"
								ALT="Gorecki with Harrington" WIDTH="164" HEIGHT="230" BORDER="0"
								ALIGN="LEFT"></TD>
							 <TD>&nbsp;</TD>
							 <TD><IMG SRC="Images/gorecki7.jpg"
								ALT="G�recki, Adrian Thomas, Panufnik  " WIDTH="315" HEIGHT="227" BORDER="0"
								ALIGN="RIGHT"></TD>
						  </TR>
						</TABLE>
						<P><FONT FACE="Arial" SIZE="-2"><I>31 March-2 April</I>:
						  <B>Schnittke</B>'s health prevents him from attending the London Sinfonietta
						  Weekend, which is held at the Queen Elizabeth Hall (South Bank Centre). While
						  Schnittke already has a following in London, G&oacute;recki is still almost
						  unknown to the general public. The Sinfonietta's loyal public turns out in
						  force for the weekend, and the impression G&oacute;recki has already made on
						  the players and singers is confirmed at a well-attended public forum chaired by
						  Adrian Thomas. <B>Robert Hurwitz</B>, Artistic Director and Manager of Nonesuch
						  Records in New York, arrives for the Weekend. He has already recorded
						  <I>Already it is Dusk</I> with Kronos. On hearing the live performance of the
						  Third Symphony, he decides to schedule a recording with Dawn Upshaw as soloist.
						  </FONT></P><IMG SRC="Images/mitchell-2.jpg"
						ALT="Donald Mitchell with Isador Kaplan" ALIGN="RIGHT" WIDTH="192" HEIGHT="316"
						BORDER="0" HSPACE="25" VSPACE="0">
						<P><FONT FACE="Arial" SIZE="-2"><I>28 June</I>: Appointed a
						  <I>Trustee</I> of the <B>Britten-Pears Foundation</B> and a <I>Director</I> of
						  <B>Britten Estate Limited</B>. In drafting his Will, Britten had worked closely
						  with his friend and legal advisor, <B>Isador Kaplan</B>. The Will nominated<B>
						  Donald Mitchell</B> as Musical Executor, and outlined in some detail the
						  structure, aims, and ideals of a future Britten-Pears foundation. Drew now
						  receives from Kaplan an eight-page handwritten letter describing with great
						  eloquence and fervour the Foundation's philosophy and history so far.
						  </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>21-23 October</I>: With
						  <B>G&oacute;recki</B>, at the contemporary music festival in Donaueschingen.
						  G&oacute;recki is cold-shouldered by several of his erstwhile admirers,
						  including Josef H&auml;usler, who explains afterwards, "he is no longer one of
						  us". News of the death of <B>Michael Vyner</B> reaches Donaueschingen just
						  before the London Sinfonietta Singers are due to perform <B>Jonathan
						  Lloyd</B>'s Mass for solo voices. They dedicate the performance to Vyner's
						  memory. G&oacute;recki, who had been visibly shocked by the news, decides to
						  write a memorial piece. (The result will be <I>Good Night</I>, for soprano,
						  alto flute, piano, and 3 tam-tams). </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>October</I>: Subject to
						  negotiation, an appointment as Artistic Director of a leading European
						  contemporary music ensemble is formally offered to Drew, and becomes the
						  subject of intensive discussions, first at D's home and later at the Ensemble's
						  headquarters. Negative result. </FONT></P><BR>
						<P><FONT FACE="Arial" SIZE="-2"><B>M&uuml;rz Valley
						  Workshop</B>. Renewed acquaintance with <B>Mauricio Kagel</B>. <I>London Review
						  of Books</I> publishes under the title <B><I>War Requiems</I></B> D's review of
						  concerts in Germany marking the 50th anniversary of the Nazi invasion of Poland
						  (including a performance of G&oacute;recki's Third in the great church in
						  Brunswick). </FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>November</I>: D attends
						  the opening, on the 6th, of the Jewish Museum in Rendsburg (Schleswig-Holstein)
						  and the premiere, on that occasion, of <B>Berthold Goldschmidt</B>'s specially
						  commissioned Third String Quartet. Wolfgang von <B>Schweinitz</B> is also
						  present. Later, meetings in Hamburg with <B>Ligeti</B>.</FONT></P>
						<P><FONT FACE="Arial" SIZE="-2"><I>November/December</I>:
						  'Peaceful revolution' in the former German Democratic Republic and in most of
						  the other satellites of the USSR including Poland; collapse of Communism in
						  Europe and the USSR. From now on, <B>G&oacute;recki</B>'s appearances in the
						  West become more frequent, but are still largely confined to German-speaking
						  territories and The Netherlands.</FONT></P></TD>
				  </TR>
				</TABLE></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" BGCOLOR="#0000CC" HEIGHT="0"></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" HEIGHT="0">
				<TABLE WIDTH="650" BGCOLOR="#FFFFFF" CELLPADDING="4"
				 CELLSPACING="0">
				  <TR VALIGN="BOTTOM">
					 <TD VALIGN="BOTTOM" WIDTH="50" ALIGN="LEFT"><B><FONT
						FACE="Comic Sans MS" SIZE="2" COLOR="#000000"><A
						HREF="ar1985-87.htm">&lt;Previous</A> </FONT></B></TD>
					 <TD VALIGN="BOTTOM" ALIGN="CENTER" WIDTH="540">
						<P ALIGN="CENTER"><FONT FACE="Verdana" SIZE="-2"
						  COLOR="#000000"><B><I></I></B></FONT></P></TD>
					 <TD VALIGN="BOTTOM" ALIGN="RIGHT" WIDTH="50"><B><FONT
						FACE="Comic Sans MS" SIZE="2" COLOR="#000000"><A
						HREF="ar1990-92.htm">Next&gt;</A></FONT></B></TD>
				  </TR>
				</TABLE></TD>
		  </TR>
		  <TR>
			 <TD COLSPAN="2" BGCOLOR="#0000CC" HEIGHT="0"></TD>
		  </TR>
		  <TR VALIGN="TOP">
			 <TD COLSPAN="2" VALIGN="TOP" ALIGN="CENTER">
				<P><FONT SIZE="-2" FACE="Arial"> Material Copyright &copy; 2002
				  David Drew.</FONT></P></TD>
		  </TR>
		</TABLE></CENTER> </BODY>
</HTML>
