480 0136

COLLECTIONAll you could want ... and more!

The CAMBRIDGE BUSKERS

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The opera composers

OK, so there are a lot of arias here. It’s nosurprise, after all, as they make the best piecesto sing along with or to recognise as you passby, or possibly to download to your mobilephone. The soap opera of melodies hereincludes some of the Cambridge Buskers’favourites, beginning with Figaro’s aria from The Barber of Seville, which describes thenocturnal activities of Figaro. The essence of thestory is straightforward: Count Almaviva enliststhe support of the barber Figaro to win the handof Rosina. Disguised as poor student ‘Lindoro’,Almaviva woos Rosina and they fall in love. ButRosina’s guardian, old Dr Bartolo, intends tomarry his ward himself. That’s all you need toknow. By the way, Figaro is also a barber’s shopin Limerick. Verdi’s Sempre libera is the aria thatgave La traviata its fame. It’s about freedom andlurv... Alfredo falls in love with the colourfulVioletta and he doesn’t know she is dying. Hisrespectable father wants her to give up his son;she gives in, goes back to her ex and slowlyfades away... Also thriving in the two-man bandtreatment is the sublime Intermezzo fromCavalleria rusticana.

Of Bizet’s masterpiece Carmen, Nietzsche said:‘His music is evil, subtly fatalistic; at the sametime it remains popular.’ In the Gypsy Song,Carmen and her friends dance up a storm in thelocal tavern, and there are 32 la las in the piece.

British critic Eric Blom called the Ride of the

Valkyries ‘the most tasteless piece of musicever written’. To which his colleague DeryckCooke replied, ‘What could have been the use ofa tasteful Ride of the Valkyries?’ – and whatcould be more appropriate than a tasty versionfor smaller forces.

The Baroque composers

What is Baroque music? Where does it comefrom? Is it a species of authentic performancepractice where the end point is to play as manyantique instruments as possible with as manyornamentations as possible? Well, it’s all of thatand more. With smaller and smaller ensemblesplaying larger works of the Baroque period, it’ssensible to reduce the music to its mostminimal art form – recorders, crumhorns andaccordion! Hear the Water Music suite (well,the short version!), originally performed onbarges rolling up and down the Thames in 1749,and the shortened Brandenburg Concertos

2 and 3 which were probably once busked in aGerman café by the well-named ZimmermanEnsemble led by Papa Bach himself. And there is of course Pachelbel’s Canon – with andwithout the artillery. Watch out for the littlerarities, Daquin’s onomatopoeic Cuckoo and the Te Deum by Charpentier, written in 1692 andused for some years as the prelude to theEurovision song contest!

Contrary to popular belief the Cambridge Buskers began as a duo. While atChurchill College at Cambridge (where else?), flute and recorder player MichaelCopley teamed up with accordionist David (Dag) Ingram and began playing at thelocal folk club as the Cambridge Buskers (who else?) which lead to an impromptutour of France and Germany using their witty classical arrangements to getenough money to travel. Of course, like all superstars in the making, they soonfound themselves with a recording contract for Deutsche Grammophon and therewas a record, which languished in the vaults for two years whilst they appearedwith a German comedian as backing goop on 123 television shows. Howevertheir first disc, A Little Street Music (which was originally called Zwischen Pinteund Podium) soon hit the charts, followed by four more equally successfuldiscs.This collection is more than a street corner’s worth and more than thegreatest hits. It’s the best of the best and more so: the best of Bach, Handel,Mozart, Rossini and of course the remarkable Nine Symphonies of Beethoven injust over 3 minutes!

Happily Michael Copley continues the tradition today as The Classic Buskers with a new accordion player Ian Moore. Michael plays more than 40 woodwindinstruments, ranging from recorders, flutes, panpipes, crumhorns and ocarinas to a Pico Pipe and a rubber trout, accompanied by Ian Moore on a small butperfectly formed accordion, either pink or yellow.

My thanks to Michael for his invaluable notes.

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CD1 [72’19]

SOAP OPERA

On this record we tried to reproduce thespontaneity and fun of live pavement work.It was not recorded on a street corner orsubway station, as we found that the digitalcomputer and balance console blocked thesidewalk and people kept throwing coins to the producer. Instead it was made inHornsey Town Hall in North London overtwo days in late April 1982. There was noaudience, but both of the Hall cleaningladies liked what they heard and asked for a free copy.

GIOACHINO ROSSINI 1792-1868

1 Largo al factotum (Figaro’s aria)

from The Barber of Seville 3’03

GIUSEPPE VERDI 1813-1901

2 La donna è mobile from Rigoletto 1’58

GEORGES BIZET 1838-1875

3 Gypsy Song from Carmen 2’22

GIOACHINO ROSSINI4 Overture from Semiramide 3’51

WOLFGANG AMADEUS MOZART 1756-1791

5 Dove sono i bei momenti

from The Marriage of Figaro 2’366 Monostatos’ Aria

from The Magic Flute 1’12

KURT WEILL 1900-19507 Happy Life Song

from The Threepenny Opera 1’58

ARTHUR SEYMOUR SULLIVAN 1842-19008 Little Buttercup from HMS Pinafore 1’28

GIOACHINO ROSSINI9 Una voce poco fa

from The Barber of Seville 3’17

RICHARD WAGNER 1813-18830 Ride of the Valkyries from The Valkyrie 1’39

GIUSEPPE VERDI! Act III Quartet from Rigoletto 2’29

GIOACHINO ROSSINI@ Overture

from The Italian Girl in Algiers 3’45

WOLFGANG AMADEUS MOZART £ Mandolin Serenade

(Deh vieni alla finestra)

from Don Giovanni 1’49

GIUSEPPE VERDI$ Sempre libera from La traviata 1’45

PIETRO MASCAGNI 1863-1945% Intermezzo from Cavalleria rusticana 1’55

FRANZ VON SUPPÉ 1819-1895^ Overture from Poet and Peasant 5’08

WOLFGANG AMADEUS MOZART & Non più andrai

from The Marriage of Figaro 2’57

The symphony composers

Fame can have its advantages. You can buy anew car, live in a luxurious home or, like most ofthe symphonic composers on this disc, strugglealong writing the most famous melodies of alltime without a credit card. No need to spend allthat time and money listening to all thosesymphonies: the Cambridge Buskers have madeit all easy. In less than three and a half minutes,we have the complete Nine Symphonies of

Beethoven, written between 1799 and 1825 andcontaining the unique creation of Beethoven’slife. (After all, he once said, ‘Symphonies are thebest representation of my true self. I alwaysseem to hear within me the sounds of a greatorchestra.’) There’s also a tribute to Mahler’s

Symphony No. 4 – probably the only symphonywith vegetarians in mind! As it says in the lastmovement: ‘Good greens of every sort grow inthe heavenly vegetable patch, good asparagus,string beans, and whatever we want. Wholedishfuls are set for us!’ And we can enjoy all thecolour and movement of the Peer Gynt suite injust over 4’30”. But above all we can becomforted by the fact that the 1812 Overture

need not take 13 minutes to get to its explosiveclimax. In his own words, Tchaikovsky found it‘very loud and noisy’.

It seems that these four CDs represent thewhole world of classical music in miniature. Theyalso represent the charm and excitement of amicro-group that can provide several hundredpieces in a repertoire that would be the envy ofmost symphony orchestras. And yes, for allthose buskers out there, they did start theirbusking career with Eine kleine Nachtmusik

and Scott Joplin’s The Entertainer.

Felix Hayman

6 7

JACQUES OFFENBACH 1819-1880* Can Can

from Orpheus in the Underworld 1’48

Michael Copley flute 2, 3, 5, 7-9, !,

£-&, sopranino recorder 1, 4, 6, 0, @,

^, *, crumhorn 0

Dag Ingram accordion

THE CAMBRIDGE BUSKERS

HANDEL BACH

with their Academy of Original

Instruments-in-the-Streets

Baroque. The Americans pronounce theword to rhyme with ‘joke’, the British, likethe German Barock, with ‘shock’. Thisrecording exposes the listener tomagnificent examples both of the barokejoke and the barock shock.

JOHANN SEBASTIAN BACH 1685-1750Brandenburg Suite

( Concerto No. 2 2’31) Concerto No. 3 0’12¡ Grand Finale – Medley

(Concertos Nos 1-6) 1’37Dr A. Everett Paul-Arbenz page-turner )(musicologically necessitated by theseparation of the two chords in the BachSonderausgabe)Evelyn Nallen 2nd recorder ¡

ANTONIO VIVALDI 1678-1741™ Spring from The Four Seasons 3’19

GEORGE FRIDERIC HANDEL 1685-1759# Harp Concerto in B-flat major 2’47

TOMASO ALBINONI 1671-1751arr. REMO GIAZOTTO 1910-1998

¢ Adagio 2’44

GEORGE FRIDERIC HANDEL Water Music Suite

∞ Overture 2’26§ Air 2’13¶ Menuet 2’11• Finale 3’09

‘Original’ rowing sounds courtesyPhonogram GmbH

DOMENICO SCARLATTI 1685-1757ª Sonata in D major, K491 2’18

GEORGE FRIDERIC HANDEL º Concerto in F ‘a due cori’ 1’46

CD2 [73’10]

GEORGE FRIDERIC HANDEL 1 Hallelujah Chorus from Messiah 1’43

HENRY PURCELL 1659-16952 Abdelazar, or The Moor’s Revenge 1’50

LOUIS-CLAUDE DAQUIN 1694-17723 Le Coucou (The Cuckoo) 2’05

JOHANN SEBASTIAN BACH4 Harpsichord Concerto in F minor /

Polonaise from Orchestral Suite No. 2 in B minor 5’02

JEAN-JOSEPH MOURET 1682-17385 Rondeau from Fanfares 2’04

GEORGE FRIDERIC HANDEL 6 Arrival of the Queen of Sheba

from Solomon 2’08

JOHANN PACHELBEL 1653-17067 Can(n)on / Kanon(e) 0’34

Cannon (‘authentic’ period weapon) fromthe recording of Tosca on DG 2707 121

JOHANN SEBASTIAN BACH8 Toccata (without Fugue) in D minor 2’08

JOHANN SEBASTIAN BACH9 Gavotte from French Suite No. 5

in G major 1’15

ARCANGELO CORELLI 1653-17130 Pastorale (Largo)

from the Christmas Concerto 1’19

MARC-ANTOINE CHARPENTIER 1643-1704! Te Deum 1’35

JOHANN SEBASTIAN BACH@ Siciliano from Flute Sonata No. 2

in E-flat major 2’18

GEORGE FRIDERIC HANDEL Music for the Royal Fireworks

£ Overture 2’25$ Menuet 1’10

Fireworks taped during the Alster CherryBlossom Festival (Kirschblütenfest) of theJapan-Haus Verein, Hamburg

Michael Copley flute CD1 ), ¢, º, CD2

4, 7, 0, @, sopranino recorder CD1 ¡,

™, ∞, ª, CD2 6, 9, !, descant recorder

CD1 (, ¡, ¶, •, CD2 2, 3, 5, @-$, alto

recorder CD1 ¡, #, CD2 2, soprano

crumhorn CD2 1, bass crumhorn CD1 §

Dag Ingram accordion

THE EXPLOSIVE SOUND OF THE

CAMBRIDGE BUSKERS

The Cambridge Buskers, on this record,have also now reached their own particularapotheosis. To illustrate this with a storyfrom that well-known musical anecdotistBen Trovato: ‘After the Amadeus StringQuartet had played at some civic function inLiverpool, the Lord Mayor, a burly ex-docker,made a speech of thanks. “We wish themmore and more success,” he said, “so that

JOHANNES BRAHMS 1833-1897› Academic Festival Overture 3’33

Michael Copley flutes and recorders

Dag Ingram accordion

CD3 [74’03]

ANOTHER SERIOUS ALBUM

You will notice that most of the composersare long since dead. We think they wouldhave liked Michael and Dag’s lightheartedtreatment of their music, but we aren’ttaking any chances.

JOHN PHILIP SOUSA 1854-19321 The Stars and Stripes Forever 1’57

KURT WEILL2 Tango Ballade

from The Threepenny Opera 2’07

JOHANN PACHELBEL3 Canon 2’11

TRADITIONAL4 Belfast Reel 1’39

ANTONIO VIVALDI5 Recorder Concerto Finale 2’42

TRADITIONAL6 Cod Piece (Pavan and Frog Galliard) 2’17

ALEXANDER BORODIN 1833-18877 Polovtsian Dances from Prince Igor 4’08

JOHN LENNON 1940-1980 andPAUL McCARTNEY b. 1942

8 Here,There and Everywhere 2’02

GEORGES BIZET9 Carmen Entr’acte 1’44

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in time, maybe, Mr Brainin will be able toenlarge his little band.”’ He would have saidnothing of the sort about the CambridgeBuskers. They number only 50% of theAmadeus’ strength but their repertoirealready surpasses that of most bigsymphony orchestras.

PYOTR IL’YICH TCHAIKOVSKY 1840-1893% 1812 Overture 5’23

Cannons courtesy of PhonogramInternational B.V./Phillips, used by kindpermission of Daniel Barenboim, from hisChicago Symphony recording 2532 022

GIOACHINO ROSSINI^ Overture from The Barber of Seville 2’10

FRANZ SCHUBERT 1797-1828& Symphony No. 8 ‘Unfinished’ 1’59

GUSTAV MAHLER 1860-1911* Symphony No. 4 0’33

WOLFGANG AMADEUS MOZART( Symphony No. 41 ‘Jupiter’ 1’59

ANTONÍN DVOŘÁK 1841-1904) Symphony No. 9

‘From the New World’ 2’42

PYOTR IL’YICH TCHAIKOVSKYThe Nutcracker Suite

¡ March 2’07™ Chinese Dance 0’59

FRANZ VON SUPPÉ # Overture from Light Cavalry 3’35

FELIX MENDELSSOHN 1809-1847

¢ Violin Concerto 2’30

Attrib. LUDWIG VAN BEETHOVEN 1770-1827

∞ Tuning Up 0’21

LUDWIG VAN BEETHOVEN§ The Nine Symphonies 3’21

EDWARD ELGAR 1857-1934

¶ Pomp and Circumstance March No. 1

‘Land of Hope and Glory’ 2’58Steven Paul cymbals

FRANZ SCHUBERT• The Trout 1’34

EDVARD GRIEG 1843-1907

Peer Gynt Suite

ª Morning 1’56º Anitra’s Dance 1’20⁄ In the Hall of the Mountain King 1’21

Birds from the Polydor International SoundEffects Archive, Werk II, Hanover, West Germany

ROMAN HOFFSTETTER 1742-1815

¤ Haydn Serenade 3’33

PYOTR IL’YICH TCHAIKOVSKY‹ Piano Concerto in B-flat minor 1’34

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WOLFGANG AMADEUS MOZART# Champagne Aria from Don Giovanni 1’12

GIOACHINO ROSSINI¢ Overture from The Silken Ladder 3’54

JOHANN SEBASTIAN BACH∞ Largo from Concerto for Two Violins

in D minor, BWV1043 3’47

WILLIAM BOYCE 1711-1779§ Gigue from Symphony No. 7

in B-flat major 1’57

CHRISTOPH WILLIBALD VON GLUCK 1714-1787

¶ Dance of the Blessed Spirits

from Orpheus and Eurydice 3’02

MICHAEL PRAETORIUS 1571-1621• Courante from Terpsichore 1’51

GEORGE FRIDERIC HANDELª La Réjouissance

from Music for the Royal Fireworks 1’16

VITTORIO MONTI 1868-1922º Czárdás 2’51

GEORGES BIZET⁄ Farandole

from L’Arlésienne Suite No. 2 2’20

Michael Copley sopranino and

soprano recorders, flute

Dag Ingram accordion and swan

CD4 [75’45]

EINE KLEINE STRAßEN-MUSIK

(A LITTLE STREET MUSIC)

When you think about it, it really is nice toknow that they’ve made the streets safe forgood music again.

JOHANN STRAUSS I 1804-18491 Radetzky March 1’18

PYOTR IL’YICH TCHAIKOVSKY2 Dance of the Reed Pipes

from The Nutcracker Suite 2’34

LÉO DELIBES 1836-18913 Pizzicati from Sylvia 2’03

WOLFGANG AMADEUS MOZART4 Rondo (Allegro) from Serenade

in G major, KV525 ‘Eine kleine Nachtmusik’ 3’35

GIOACHINO ROSSINI5 Overture from La Cenerentola

(Cinderella) 2’42

LUDVIG VAN BEETHOVEN6 Finale (Ode to Joy)

from Symphony No. 9 2’33

TRADITIONAL7 Moscow Nights 2’17

AMILCARE PONCHIELLI 1834-18868 Dance of the Hours from La Gioconda 1’39

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TRADITIONAL0 Good Beer Jig 1’44

JOHANN SEBASTIAN BACH! Brandenburg Concerto No. 2 2’14

ERIK SATIE 1866-1925@ Gymnopedie No. 1 2’59

NOEL GAY 1898-1954£ The Lambeth Walk 2’06

TRADITIONAL$ Two Rumanian Folk Tunes 3’23

MAURICE RAVEL 1875-1937% Bolero 4’00

Michael Copley recorders (Garklein

Flötlein, sopranino, descant, treble,

tenor and bass), piccolo, flute,

alto flute, crumhorn

Dag Ingram accordion, grand piano,

electric piano

Sheila Bromberg harp

Barry Guy double bass

Lennie Clark drums

Robert Howes percussion

NOT LIVE FROM NEW YORK

Since it is not live, your glassware willremain intact… What may get fractured isyour funny-bone, tickled by theseaffectionate caricatures of classicalcharacters. If you find classical music tooserious, beware! This recording may behazardous to your opinions, although theSurgeon General has not determined thathumour is harmful to your health.

FRANZ SCHUBERT^ Marche Militaire 2’08

JOHANNES BRAHMS& Hungarian Dance No. 1 3’19

WOLFGANG AMADEUS MOZART* The Birdcatcher’s Song

from The Magic Flute 1’14

PYOTR IL’YICH TCHAIKOVSKY( The Dying Swan and Dance of the

Young Swans from Swan Lake 2’26

ANTONIO VIVALDI) Largo from The Four Seasons (Winter) 2’03

ARAM KHACHATURIAN 1903-1978¡ Sabre Dance from Gayaneh 1’41

GEORGE FRIDERIC HANDEL™ Gigue (Country Dance)

from Water Music 1’35

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MICHAEL PRAETORIUS§ Bourrée 1’29

WOLFGANG AMADEUS MOZART¶ Molto allegro

from Symphony No. 40, KV550 1’59

TRADITIONAL RUSSIAN• Dark Eyes 2’41

FRÉDÉRIC CHOPIN 1810-1849ª ‘Minute’ Waltz (Waltz in D-flat major,

Op. 64 No. 1) 1’41

JEREMIAH CLARKE c.1674-1707º Trumpet Voluntary 1’23

MARVIN HATLEY 1905-1986⁄ Dance of the Cuckoos

(Laurel and Hardy Theme) 1’04

WOLFGANG AMADEUS MOZART¤ Voi che sapete

from The Marriage of Figaro 3’09

LUIGI BOCCHERINI 1743-1805‹ Minuet from String Quintet

Op. 13 No. 5 1’43

GRIGORAS DINICU 1889-1949› Hora Staccato 1’27

Michael Copley flute &, ), #, ∞, ¶-º,

¤, ‹, piccolo ™, Garklein Flötlein ∞, ⁄,

sopranino recorder *, (, ¡, ¢-§, ›,

descant recorder ∞, tonette ∞, ocarina ⁄

Dag Ingram accordion

KING’S PARADE

TRADITIONALfi King’s Parade 2’16

TRADITIONALfl Piper’s Dance 2’32

Michael Copley flutes

Dag Ingram accordion

All tracks arranged by Michael Copley and DagIngram except CD1 ¡ arr. Michael S. Murray,and CD4 &, (, ∞, ¤, ‹ arr. S. Everett Paul.

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GEORGE FRIDERIC HANDEL9 Hornpipe from Water Music

Suite No. 1 in F, HWV348 3’29

JOHN W. BRATTON 1867-19460 Teddy Bears’ Picnic 1’43

GABRIEL FAURÉ 1845-1924! Sicilienne from Pelléas et Mélisande 2’31

TRADITIONAL SCOTTISH@ Loch Lomond 1’58

JOHANN CHRISTIAN BACH 1735-1782£ Andantino from Quintet in D major 2’13

WOLFGANG AMADEUS MOZART$ Rondo (Allegro vivace)

from Horn Concerto No. 4 in E-flat major, KV495 2’54

RAY DAVIES b. 1944% Boss Cat 1’11

GIOACHINO ROSSINI^ Overture from The Barber of Seville 2’41

Michael Copley Garklein Flötlein 8,

sopranino recorder 1, 5, 6, 8-0, @, %,

descant recorder 6, 9, @, tenor recorder

9, flute 2, 4, !, £, ^, alto flute 2, £,

piccolo 3, ocarina $

Dag Ingram accordion

ZWISCHEN PINTE UND PODIUM

(BETWEEN PUB AND PODIUM)

The Buskers met at Cambridge Universityand subsequently built a career playing inunderground stations and performing inconcert halls – surely proof of theimportance of going to college!

WOLFGANG AMADEUS MOZART& Turkish March (Rondo alla Turca)

from Piano Sonata in A major, KV331 2’50

GIOACHINO ROSSINI* Overture from The Thieving Magpie 1’31

TRADITIONAL( Hornpipe: What Shall We Do with

the Drunken Sailor? 1’48

JOHANNES BRAHMS) Hungarian Dance No. 5 2’23

SCOTT JOPLIN c.1867-1917

¡ The Entertainer 1’56

JOHANN SEBASTIAN BACH™ Badinerie from Orchestral Suite No. 2 1’26

JOHANN SEBASTIAN BACH# Two-Part Invention No. 8 1’06

GIOACHINO ROSSINI¢ Overture from William Tell 2’22

TRADITIONAL∞ In dulci jubilo 1’20

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Coordination: Cyrus Meher-Homji (Universal MusicAustralia); Alan Newcombe (Deutsche GrammophonGmbH, Hamburg); Evert Menting (Emil BerlinerStudios); Robert Patterson, Hilary Shrubb, NatalieShea (ABC Classics). Cover and Booklet Design byImagecorp Pty Ltd. Photos (cover, p4, p15) © HolgerMatthies / Deutsche Grammophon

Recordings:

CD1: Hornsey Town Hall, UK, April 1982 1-*; Henry WoodHall, London, UK, December 1983 (-ºCD2: Henry Wood Hall, London, UK, December 1983 1-$,April 1983 %-›CD3: Polydor Studios, London, UK, January 1981 1-%; PolydorStudios, Hamburg, Germany, April & July 1979 ^-⁄CD4: Polydor Studios, Hamburg, Germany, October 1977 1-^,December 1976 &-›, 1978 fi-flRemastered from the original tapes by Lennart Jeschke,Wunstorf, Germany, September 2007 (CD1, CD2); Emil BerlinerStudios, Langenhagen, Germany, September 2007 (CD3, CD4).

CD1: � 1982 1-*, � 1985 (-º Deutsche GrammophonGmbH, HamburgCD2: � 1985 Deutsche Grammophon GmbH, HamburgCD3: � 1981 Polydor Ltd (UK) 1-%; � 1979 Universal MusicDomestic Division, a division of Universal Music GmbH ^-⁄CD4: � 1979 Universal Music Domestic Division, a division of Universal Music GmbH 1-^; � 1977 UniversalMusic Classics & Jazz, a division of Universal Music GmbH &-›; Universal Music Domestic Division, a division ofUniversal Music GmbH fi-fl

This compilation was first published in 2007 and any and allcopyright in this compilation is owned by the AustralianBroadcasting Corporation / Universal Music Australia PtyLimited. © 2007 Australian Broadcasting Corporation /Universal Music Australia. Distributed in Australia and NewZealand by Universal Music Group, under exclusive licence.Made in Australia. All rights of the owner of copyright reserved.Any copying, renting, lending, diffusion, public performance orbroadcast of this record without the authority of the copyrightowner is prohibited.

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