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T

he King’s Singers are a British a cappella vocal ensemble founded in 1968. They are named after King’s College in Cambridge, England, where the group was formed by six choral scholars.

These a cappella masters, return with their program, Songbirds, which combines music written about some of our favorite feathered friends—spanning the last 500 years­—with music by “modern-day songbirds” from recent decades. These are singers and songwriters who have changed the course of popular music with their voices and musical ideas, inspiring and lifting the next generation of musicians to new heights.

Examples from the program in the abovecontemporary vein include the Fleetwood Mac number, Songbird; The Beatles piece Blackbird; Queen’s Good Old-Fashioned Lover Boy; alongside Ligeti’s The Cuckoo in the Pear Tree; Schubert’s Flucht; and Poulenc’s Pilons l’orge.

Opening Nights is pleased to partner with the Leon High School Madrigal Singers who will perform “And So It Goes” by Billy Joel and arranged by Bob Chilcott. This ensemble, is a group of juniors and seniors that audition and are selected from the Leon Choral Department and are under the direction of Tabitha Peck.

Throughout The King’s Singers’ history, the group has created a treasure trove of arrangements of pop, jazz, folk and spiritual songs that span the globe and celebrate the amazing variety of music in our world today.

Thank you and enjoy the performance.

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The King’s Singers WEDNESDAY, FEBRUARY 23 LEON HIGH SCHOOL AUDITORIUM • 7:30 P.M. • $50 | $35 • GENRE A CAPPELLA, VOCAL Initially founded in 1968 by six choral scholars from King’s College, the vocal make-up of the group has not changed over the course of their five-decade-long career. The King’s Singers have been welcomed on the world’s greatest stages, such as London’s Royal Albert Hall, the Sydney Opera House and Carnegie Hall. Today, the group is still charged by the same lifeblood — one that radiates the joy singing brings every day and gives life to audiences with their virtuosity and vision for an exciting musical future.

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The King’s Singers Continued from pg. 17

PROGRAM Songbird Fleetwood Mac, arr. Nicholas Ashby Blackbird The Beatles, arr. Daryl Runswick She’s like the swallow Traditional, arr. Bob Chilcott The Cuckoo in the Pear Tree György Ligeti The Phoenix and the Turtle Huw Watkins Flucht Franz Schubert Trois beaux oiseaux du Paradis Maurice Ravel Pilons l’orge Francis Poulenc Le chant des oiseaux Clément Janequin Come, Blessed Bird Edward Johnson Il bianco e dolce cigno Jacques Arcaldet Il est bel et bon Pierre Passereau The Musicians of Bremen Malcolm Williamson

Intermission And So it Goes Billy Joel, arr. Bob Chilcott With Leon High School Madrigal Singers Call Me the Breeze Beth Orton, arr. Christopher Bruerton Father Father Laura Mvula, arr. Eric Whitacre Good Old-Fashioned Lover Boy Queen, arr. Nicholas Ashby Songs in close-harmony Throughout The King’s Singers’ history, the group has created a treasure trove of arrangements of pop, jazz, folk and spiritual songs that span the globe and celebrate the amazing variety of music in our world today. Incorporating songs from recent EPs in our The Library series, we want to shine a light on all kinds of songbirds from around the world in this final set—and make you smile too.

Program Notes Songbirds combines music written about some of our favorite feathered friends—spanning the last 500 years—with music by modern-day songbirds from recent decades. These are singers and songwriters who have changed the course of popular music with their voices and musical ideas, inspiring and lifting the next generation of musicians to new heights.

Although this programming idea is new to our group, the phenomenon of birdsong has been an inspiration to composers and songwriters for centuries. In medieval England,

the 12th-century folksong ‘Summer is y-cumen in, loude sing ‘cuckoo’’ is a good example of the sounds of birdsong finding their way into popular culture. In other places within the Western canon, Beethoven, Rachmaninov and Messiaen used birdsong to inspire and color their creations. Today’s program looks much further than just medieval or even just classical music, into pop songs, folksongs and avantgarde compositions. In all of these parts of the Songbirds program, we hear the inspiration and influence of birdsong on musicians across the world and across the centuries. This inspiration has in fact led to the use of ‘songbird’ as a term to describe songwriters in the present day.

Christine McVie (b.1943)—one of the longstanding members of Fleetwood Mac, wrote our title song for this program, ‘Songbird,’ for the band’s 1977 album Rumours. The song came to McVie late at night, during a period of recording sessions. With no one else awake to record her creation, she simply stayed awake all night to ensure she remembered the song, and put it on record the following morning.

Since its release, it has been covered by many artists—most famously Eva Cassidy. Nine years earlier, in 1968, The Beatles recorded and released The White Album, which contained the next song in our program. ‘Blackbird’ is the first of in a trio of songs we’re including, covering three birds: the blackbird, swallow and cuckoo. Our arrangement of ‘Blackbird’ was made by our long-term collaborator Daryl Runswick, who wrote many of the most iconic OPENINGNIGH T S .F SU.ED U | 2 1

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King’s Singers arrangements in our history, and continues to work with us to this day.

‘She’s Like the Swallow’ is a folksong which came from Newfoundland in Canada, and was collected in 1930 by Maud Karpeles, who first published it in a compendium called Folksongs from Newfoundland. Since then it has been arranged hundreds of times, including this version by the composer and conductor Bob Chilcott (b.1955), written while he was a member of the group in the 1990s. The final in this set comes from the visionary Hungarian composer György Ligeti (1923–2006).

Between 1988 and 1993, he wrote a set of six pieces for The King’s Singers, called ‘Nonsense Madrigals,’ setting fantastical and eccentric texts, including some from Alice’s Adventures in Wonderland. The second movement of the set is ‘The Cuckoo in the Pear-Tree,’ setting a text by William Brighty Rands; through the brief but complicated piece, humor comes from an insistent and irritating cuckoo who never fails to interrupt whatever is going on around him!

The British composer and pianist Huw Watkins (b.1976) wrote ‘The Phoenix and the Turtle’ in 2014 for the British vocal ensemble Stile Antico, who premiered it at London’s Wigmore Hall. It sets an unusual text by William Shakespeare, in which the two birds—a phoenix and a turtle (dove)—die. At their funeral, the death of love itself is mourned through the presence of many different birds.

Huw Watkins plays with different textures and complicated rhythms to breathe a modernity into an ancient and complicated poem. For this program, the pieces provides an insight into the well-known symbolism associated with many different birds in the middle ages, amongst which the phoenix (love) and the dove (loyalty) were two of the most important.

The next trio of pieces in the program come belong to major figures from the classical canon.

Franz Schubert (1797–1828) wrote ‘Flucht’ in 1825, as the third in a set of works for unaccompanied male chorus, and the text plays with the idea of ‘flight’ as both flying, but also escaping. The poet, Karl Lappe (1773–1843), depicts birds as having a freedom which we should all envy. Maurice Ravel’s (1875–1937) ‘Trois beaux oiseaux du Paradis’ is the first in a series of French works. It comes from his only a cappella choral work—Trois chansons (1914–

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15)—which was written in response to the outbreak of war in France in 1914. In ‘Trois beaux oiseaux,’ Ravel focuses on the vivid colors of these birds of paradise, which reflect the red, white and blue of the French flag. In Francis Poulenc’s (1899–1963) ‘Pilons l’orge’ we hear the babble of gossiping farm-hands, blending into the manic tweeting of birds in the sky above them. It comes from his Chansons françaises (1945-46), written in the heady days of France immediately after the Second World War. The earliest work in the program is also one of the most extraordinary. Clément Janequin (1485–1558) wrote his madrigal ‘Le chant des oiseaux’ in 1529, using unusual and imaginative techniques to capture the sound and character of various different birds, including the nightingale and the cuckoo. Much like with his other epic madrigal ‘La Guerre,’ this madrigal fuses sentences of recognizable French text with vocal sound effects to create a virtuosic masterpiece which would have been particularly remarkable in its time.

These works by Janequin had a huge influence on the whole genre of madrigals (or, in France, chansons), which were a hugely popular musical form all over Europe for at least another 100 years after Janequin’s death. In France, Pierre Passereau (1490–1547) was a contemporary of Janequin who was almost as famous for his chansons. His ‘Il est bel et bon’ has proved popular right through to the modern day. Its startling and hilarious depiction of chickens clucking in a courtyard has made it a favorite with choirs all over the world, and an irresistible selection for this Songbirds program. The madrigals by the Englishman Edward Johnson (1572–1601) and the Flemish composer Jacques Arcadelt (1507–1568) are slightly more dignified and restrained examples of the same madrigal form which had exploded in medieval France decades earlier.

The final work before the intermission is another extended work, this one written for The King’s Singers in 1972. ‘The Musicians of Bremen’ was one of the group’s earliest major commissions and remains popular to this day.

Its composer, Malcolm Williamson (1931– 2003), was born in Australia but spent much of his working life in the UK, eventually holding the coveted position of Master of the Queen’s Music from 1975 until his death. This piece is a setting of the ancient folk story about mistreated animals who decide to get together and travel to the German city of Bremen to join an orchestra. They have many adventures on the way, picking up new animals and encountering some dangerous robbers too!

After the intermission, we explore the other interpretation of the word ‘Songbird’, selecting songs by some iconic singers and songwriters from the last fifty years. From Freddie Mercury to Laura Mvula, there will be a few familiar songs for everybody, and certainly a few old King’s Singers favorites included too.

ABOUT THE KING’S SINGERS Patrick Dunachie countertenor Edward Button countertenor Julian Gregory tenor Christopher Bruerton baritone Nick Ashby baritone Jonathan Howard bass The King’s Singers have represented the gold standard in a cappella singing on the world’s greatest stages for over 50 years. They are renowned for their unrivaled technique, versatility and skill in performance, and for their consummate musicianship, drawing both on the group’s rich heritage and its pioneering spirit to create an extraordinary wealth of original works and unique collaborations.

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“

I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.

- - Thornton Wilder

”

Saluting OPENING NIGHTS

at Florida State University

WEST PALM BEACH / TALLAHASSEE  8OO.78O.86O7  WWW.SEARCYLAW.COM 

Kimberly & Marshall Criser Proud supporters of Opening Nights

What has always distinguished the group is their comfort in an unprecedented range of styles and genres, pushing the boundaries of their repertoire, while at the same time honoring their origins in the British choral tradition. They are known and loved around the world, and appear regularly in major cities, festivals and venues across Europe, North America, Asia and Australasia, including Carnegie Hall, Elbphilharmonie Hamburg, Leipzig Gewandhaus, Mozarteum Salzburg, Tonhalle Zurich, Concertgebouw Amsterdam, Edinburgh International Festival, Helsinki Music Centre, Sydney Opera House, Tokyo Opera City and the National Centre for the Performing Arts, Beijing. They also work with orchestras, recently including the NDR Radiophilharmonie and the Royal Scottish National Orchestra, with whom they performed a specially commissioned work by Sir James MacMillan.

The King’s Singers’ extensive discography has led to numerous awards including two Grammy Awards, an Emmy Award, and a place in Gramophone magazine’s inaugural Hall of Fame. As part of their 50th anniversary celebrations in 2018, the group undertook a series of major tours worldwide, supporting the release of a special anniversary album GOLD (also nominated for a Grammy Award), which featured important works in the group’s history and new commissions by Bob Chilcott, John Rutter and Nico Muhly.

This commitment to creating a new repertoire has always been central to the group, with over 200 commissioned works by many leading composers of the 20th and 21st Centuries, including John Tavener, Judith Bingham, Eric Whitacre, György Ligeti, Luciano Berio, Krzysztof Penderecki and Toru Takemitsu.

These join a unique body of close-harmony and a cappella arrangements, including those by individual King’s Singers past and present.

Many of their early collaborators’ own experience with brass bands helped to inform the distinct ‘King’s Singers sound’ and a large number of their commissioned works and arrangements are available in their own signature series with Hal Leonard, selling over two million copies worldwide. A key to the group’s success has been their ability to evolve and innovate over many years—and through 28 individual members—while always retaining this special sound and musical integrity.

They also lead educational workshops and residential courses across the world, working with groups and individuals on their techniques and approaches to ensemble singing. In 2018, they founded King’s Singers Global Foundation to provide a platform for the creation of new music across multiple disciplines, coach a new generation of performers and provide musical opportunities to people of all backgrounds.

The King’s Singers were formed in 1968, when six recent choral scholars from King’s College, Cambridge gave a concert at London’s Queen Elizabeth Hall. By chance, the group was made up of two counter-tenors, a tenor, two baritones and a bass, and the group has maintained this formation ever since that debut.

LEON HIGH SCHOOL MADRIGAL SINGERS The Leon High School Madrigal Singers was established in 1966. The group is comprised of highly-select and auditioned junior and senior members of the Leon Choral Department.

The Leon Madrigal Singers perform annually at a multitude of events, including adjudicated Performance Assessments, always earning “superior” ratings, and have been named a “Choir of Distinction” in the State of Florida.

They perform a variety of repertoire, from traditional Renaissance Madrigals, to vocal jazz, to SATB choral chamber music. Additionally, the Leon Madrigal Singers host an annual Elizabethan Renaissance Madrigal Dinner for the Tallahassee community that features songs of the Renaissance period and traditional carols.

Anjohrin, Olajiire Bodiford, Sam Branca, Isaac Brown, DeShawn* Cerra, Morgan* Friedman, Ella Hammons, Joey Jimenez, Alyssa Laguins, Christian Lincicome, Indya Littlefield, Hayden Malley, Theresa Reynolds, Ria Ruis, Noah Schrader, Max Sellars, Lance

Senior, Zoe Shippen, Sibley* Tamplin, Ansley Vera, Mahalie Williams, Keen * Student Leaders

THE KING’S SINGERS GLOBAL FOUNDATION Music is a universal language, shared by people all over the world regardless of the boundaries of wealth, age, gender, race or background.

Countless times through history, music has been a force for good, bringing people together in times of difficulty, and helping to heal divisions in societies. Today, in a world which feels more fractured than ever, the six of us are determined to do whatever we can to make a positive impact on people’s lives through music. That’s why we set up The King’s Singers Global Foundation in 2018.

With an experienced board, and an advisory panel of world-renowned musicians and educators, our Global Foundation aims to champion music as a tool for finding musical and social harmony. The Foundation has a wide remit, including commissioning new music by composers of different backgrounds, arranging high-quality choral training and live music experiences for young people who could not afford it, and harnessing technology to bring music into the lives of millions of people worldwide. In the last two years, the Foundation has commissioned over 15 new musical works, arranged free workshops for over 100 singers, reached an audience of over 600,000 through collaborations with musical charities online, and arranged a composition prize which inspired 350 brand new choral compositions from composers aged 15 to 70.

As members of The King’s Singers, the Global Foundation helps our work reach far beyond just the concert platform and recording catalogs. It helps us focus on the people and places where music—particularly singing—can truly change lives, create joy, and find harmony.

You can find out more about the Global Foundation, and make a gift, by heading to our website, or by speaking to one of us after the concert. We would be so grateful for any support you can offer. kingssingers.com OPENINGNIGH T S .F SU.ED U | 2 7

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