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BARTÓK THE MIRACULOUS MANDARIN DANCE SUITE CONTRASTS Live in Concert

Yefim Bronfman Zsolt-Tihamér Visontay Mark van de Wiel Philharmonia Voices Esa-Pekka Salonen

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BÉLA BARTÓK fortnight later centuries of Habsburg 1881 – 1945 monarchy were at an end, and within four BARTÓK months the first Hungarian Soviet Republic The Miraculous Mandarin, Op. 19 (1918-19) had been declared. The unassuming Bartók THE MIRACULOUS MANDARIN (1918-19) 1 Introduction: A bustling city street (Allegro) 3.29 Pantomime in one act found himself, in rapid succession, a Liberal 2 1st Decoy game (Moderato) 3.39 appointee to the Hungarian National Council 3 2nd Decoy game 3.21 ‘An amazing variety of sensations came into and then a member of the Communists’ 4 3rd Decoy game (Sostenuto) 1.39 being in my ears. There are some sudden music directorate. 5 The Mandarin enters … (Maestoso) 7.25 stabbing pains…I feel small ants scratching 6 The girl sinks down … (Allegro) 2.16 and causing an irresistible itching in the It is indeed strange that during these months 7 The tramps leap out … (Sempre vivo) 2.32 depth of my ears.’ For 23 days during October of death, mayhem and revolution Bartók wrote 8 Suddenly the Mandarin's head appears between the pillows 1918 Béla Bartók lay in bed with the the bulk of the composition that he loved and he looks longingly at the girl 3.15 Spanish influenza that was then stalking the more than any: his pantomime, The 9 The terrified tramps discuss how they are to get rid of the Mandarin 2.04 world. His friend Zoltán Kodály worried that Miraculous Mandarin. Strange, too, that the 10 The body of the Mandarin begins to glow (Moderato) 1.49 11 The Mandarin falls on the floor (Più mosso) 2.33 an acute inflammation of the ear might fates would conspire to ensure that he never permanently damage his hearing. Indeed, for saw his work on the Budapest stage during his DANCE SUITE (1923) CONTRASTS (1938) a while after doctors had opened his lifetime. Its stage première there would occur 12 Moderato 3.35 17 Verbunkos (Recruiting Dance) 5.30 eardrum Bartók was intrigued, for he heard in December 1945, in another period of strife 13 Allegro molto 2.19 18 Pihen (Relaxation) 4.39 anything played on the three notes and disorder, and just weeks after his death 14 Allegro vivace 3.07 19 Sebes (Fast Dance) 6.50 higher than normal! far away in New York. 15 Molto tranquillo 3.27 16 Commodo – Finale 5.00 Although Bartók survived the ‘flu, and his Bartók’s scenario originated in 1916 as a PHILHARMONIA YEFIM BRONFMAN PIANO hearing soon returned to normal, Hungary pantomime grotesque by Melchior Lengyel. PHILHARMONIA VOICES (The Miraculous Mandarin only) ZSOLT-TIHAMÉR VISONTAY VIOLIN was in terminal turmoil. The day after Bartók The Hungarian dramatist (later Hollywood ESA-PEKKA SALONEN CONDUCTOR MARK VAN DE WIEL crawled off his sickbed, the Hungarian screenwriter) had hoped to interest Bartók’s premier was assassinated. Four days later the renowned friend Ernst von Dohnányi in writing Total timings: 68.33 Austro-Hungarians achieved armistice, a something to rival the successes of the www.signumrecords.com 2 3

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pre-War Ballets Russes. But it was, rather, prostitute is tentative and fumbling. Gradually, construction, and shows his abilities in writing divided; the critics ranged from adulatory to Bartók who in the summer of 1917 started to however, his excitement grows, as does her for orchestra at their very finest. This music is apoplectic. The reputation of the music sketch out some ideas. By September 1918 revulsion. She tries to break away, but he about as discordant as Bartók ever became, director of the Cologne Opera, the Hungarian these ideas were taking more concrete form. pursues her in a classic chase scene (full and it is impossible to divorce the Jen Szenkár, was on the line. On the following To his wife and son he wrote: ‘If it works out it orchestra, with drums). overwhelming sense of angst in this Monday morning the young conductor was will be a devilish piece. Its beginning – a very pantomime from the chaos of his everyday life summoned before the Mayor of Cologne, short introduction before the curtain opens – Writing in March 1919 Bartók described what in disintegrating Hungary. Konrad Adenauer (later West Germany’s first is a terrible din, clattering, rattling, hooting.’ then happens: ‘The [pimps] attack him, rob Chancellor): how could it ever have crossed him, smother him in a quilt, stab him with a Despite the white-heat of Bartók’s creativity in Szenkár’s mind to perform such a ‘dirty The Mandarin story is simple. It stars one sword – but their violence is to no avail. They these fateful months, the final form of The piece’? Without discussion, Adenauer female prostitute, three male pimps and three cannot cope with the Mandarin, who Miraculous Mandarin came about with tighter promptly banned the work. Szenkár male clients: an old man, a young student and continues to look at the girl with love and temperature control. Although most of the considered resigning but was persuaded by a ‘weird’ oriental gentleman. Against the sonic longing in his eyes.’ This man from another music was composed in 1918-19, he only Bartók to stay on to fight another day. backdrop of the grimy city, the prostitute sets world does not play by the normal rules. wrote it out for full orchestra in 1924, when a to work in luring clients (seductive clarinet Somehow, he turns the tables on the première looked imminent. But he continued As well as the full pantomime version, music). The old man (snarling brass) is comic prostitute. She is made to feel genuine to play with the pantomime’s later parts until Bartók prepared a shorter suite, which ends and knows the score (no money, no sex), so is emotion, to realise that she, too, can 1931, ever trying to ensure that it remained as mid-way through the story, after the Chase given short shrift by the pimps. The young experience the power of love. Bartók lean and as mean as possible. Bartók was scene. He hoped that it might prove a more student () is shy and nervous, and concludes: ‘Finally, feminine instinct helps, keen to avoid the accusations of ‘dramatic attractive option for concert performance; engages the prostitute more deeply () and the girl satisfies the Mandarin’s desire; padding’ levelled against his ballet The indeed, it has a very satisfying musical, even but, despite his growing passion, he too is only then does he collapse and die.’ Wooden Prince. symphonic, coherence to it, despite the obviously a waster. obvious truncation of the plot. This This devilish Mandarin music is Bartók’s Although The Miraculous Mandarin failed to abbreviated form was premièred in Again the prostitute sets to work (more answer to Stravinsky’s ballet Le sacre du grace the Budapest stage in Bartók’s lifetime Budapest in 1928 under the baton of the desperate and higher clarinet music). The printemps (The Rite of Spring). While he is he did manage to see it live just once: at its composer for whom Lengyel had originally Mandarin emerges (the percussion gain a less rhythmically daring than the Russian, he controversial première at the Cologne Opera in intended the libretto of The Miraculous fuller workout), although interplay with the is just as boldly fragmentary in its 1926. The audience was rowdy and irrevocably Mandarin: Ernst von Dohnányi.

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Dance Suite (1923) Ernst von Dohnányi produced a Festival Bartók’s suite uses ‘idealised’ peasant music did draft a Slovak-styled movement as well – it Overture, Zoltán Kodály the Psalmus in various ethnic styles. That is, the themes are was to occur after the second movement – but Moderato Hungaricus and Bartók decided on a suite of of his own devising but according to a variety removed it in his final revision of the suite. In Allegro molto dances. All three works were premièred on 19 of different stylistic templates. The result is six musical practice, then, Bartók was already Allegro vivace November 1923 under Dohnányi’s direction. short movements, all run together, with a committing to the cultural pluralism that he Molto tranquillo common connecting (ritornello) theme would more publicly and controversially Commodo After four years of writing highly dissonant between most of them. Only between the third advocate in the decade of the 1930s. Finale: Allegro music, where tune and accompaniment were and fourth movements is there a real sense of often in opposition, Bartók’s Dance Suite a break in the music, where this connecting This suite also reveals Bartók as an On 17 November 1873 the three sister cities marked a retreat into greater consonance. We theme is conspicuously absent. Although orchestrator of growing confidence, and one of Buda, Óbuda and Pest united to create the can already hear in this suite some of the Bartók was, at the time, tight-lipped about the now well equipped to score his much more metropolis of Budapest. Over the next half- orchestral techniques that would 20 years ethnic templates he was invoking – the extensive pantomime, The Miraculous century the city’s population grew five-fold as later come to fuller flowering in another dance- political situation throughout central Europe in Mandarin. His interplay between strings and Budapest joined Vienna as co-capital of the inspired suite, his Concerto for Orchestra. 1923 was still very tense – he later gave a wind/brass is very skilful. The suite’s tranquil Austro-Hungarian Empire. By 1923, however, Although the reception of the Dance Suite was rollcall of his styles, with the connecting fourth movement, with its meandering opening that multi-ethnic empire of increasing only lukewarm at its première, where it was ritornello being in Hungarian style, his first melody on and , was economic prosperity had been shattered, somewhat overshadowed by Kodály’s new movement recalling a chromatic ‘Arabic’ style, an early herald of the hushed style of ‘night swept away in the aftermath of the First World oratorio, the work quickly went on to gain his second movement Hungarian and his third music’ that he would develop in his works from War. Budapest was still the capital city of immense popularity. It contained the sunny a mixture of Hungarian bagpipe and 1926 onwards. The snarling glissandos of the Hungary, but of a country barely one-third its optimism and stylistic sheen that had been Romanian violin styles. and upper strings in his second original size and stripped of most of its ethnic lacking in most of Bartók’s works of the movement was another highly effective minorities as well as nearly one-third of its previous decade. His publishers even took out His later three movements were of growing innovation, to which Bartók constantly own ethnic kin. Inflation was rampant; living advertisements in 1925 proudly proclaiming stylistic internationalism, leading to the returned throughout the movement. Of course, standards were precarious. Amid this gloom that his new suite would be heard in 60 cities medley of his final movement in which not all listeners were impressed. The Times’ some enlightened municipal authorities across Europe and North America during the ‘primitive’ and Hungarian themes critic of a February 1926 London performance determined to commission three compositions coming season. predominate. You might ask where the Slovaks remonstrated: ‘It is time that some protest was in celebration of the city’s 50th anniversary. were, amid this melodic melange. And Bartók registered against glissandos on the

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trombones, even if every other atrocity is original idea was for Bartók to write two ‘self- instrumental contrasts in higher relief Bartók Strings, Percussion and (1936). How admitted to the concert room.’ standing’ movements, able to fit the two sides deliberately keeps the piano in the this Relaxation movement raises the hairs on of a 78rpm disc of the day. That meant six or background, often as little more than rhythmic the back of our necks is simple: Bartók makes There was another, more personal reason for seven minutes of music, in total. Goodman’s accompaniment. Just occasionally, however, us listen to the inherent contrasts of tone Bartók’s new radiance in the Dance Suite: he other requirement was that there be cadenzas he cannot help himself and the piano breaks between the two instruments in a most simple was in love. During the summer of 1923, as somewhere both for clarinet and for violin. out into its own rhapsodic utterance or formula. Whenever the violin’s melody goes well as writing this suite he divorced his wife explores its own more percussive sonorities. up, the clarinet’s goes down, and vice versa. Márta Ziegler and rapidly married a 19-year- From an original slow-fast Rhapsody plan, The piano rumbles and ruminates in the old piano student Ditta Pásztory. But despite however, the work grew into Two Dances, and Contrasts is also a study in different movement background helping to choreograph the the divorce Ziegler, to whom Duke Bluebeard’s then Three Dances, and finally settled as the types. The first movement is in a highly stylised, movement from relaxation to an incredibly Castle had been dedicated, continued to help 16-minute Contrasts, of three movements. moderate-paced Verbunkos (recruitment tense climax, and then back towards a greater him in copying out the Dance Suite’s full score! Bartók himself quipped to Szigeti that it was dance) Hungarian idiom, and leads towards degree of repose. as if he had been commissioned to come up the clarinet’s cadenza. The third movement is a with clothing for a three-year-old yet had fast and cheeky medley leading to a virtuosic Bartók listened to records of Goodman’s Contrasts (1938) delivered enough for a full adult. violin cadenza and then a joyous, whooping playing, of both classical and jazz works, conclusion for all three instruments. But what before he set to work on Contrasts. Although Verbunkos (Recruiting Dance) The title Contrasts perfectly reflects the work’s are we to make of Bartók’s addition: the by no stretch of the imagination could Pihen (Relaxation) intentions: to play on the contrasts of timbre middle, Relaxation movement that Goodman Contrasts be called ‘jazz’, it is a creative Sebes (Fast Dance) between clarinet and violin, and the had not originally ordered? reinterpretation of Goodman’s musicianship, contrasting range of sonorities within each deliciously filtered through Bartók’s remarkable Contrasts is one of Béla Bartók’s most instrument’s grasp. Nowhere is that range This Relaxation (Pihen, in Hungarian) is a ethnomusicological ear. As with the imaginative forays into the world of chamber more exploited than in the third movement, further and utterly brilliant essay in contrasts. commissioning of the Solo Violin Sonata by music. His only chamber work involving a which begins with a deliberately mis-tuned It provides calmer, more neutral ground Yehudi Menuhin a few years later, Goodman’s woodwind instrument, Contrasts originated in a violin and the sharper-toned B flat clarinet, between the exhibitionism of the boisterous few hundred dollars led to an enduring, very commission from the American ‘King of Swing’, before Bartók progressively reverts to the outer movements. It shows Bartók as master personal addition to Bartók’s oeuvre. Benny Goodman, which was brokered by violin’s traditional tuning and the clarinet in A of the art of eerie, ‘frozen theatre’ – a talent he Bartók’s friend, the violinist József Szigeti. The used elsewhere in the piece. To etch these had already demonstrated in his Music for © Malcolm Gillies 2011

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E Today, the Philharmonia has the greatest claim Viola’s Tristan und Isolde (2010), Infernal D E O

R of any to be the UK’s national orchestra, Dance: Inside the World of Béla Bartók (2011) B

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L committed to presenting the same quality, live and Woven Words, a celebration of Witold E F

© music-making in venues throughout the Lutosławski’s centenary year (2013) – have country as it brings to London and the great been critically acclaimed. The Orchestra’s concert halls of the world. In 2015 the London programme includes two ambitious Orchestra celebrated its 70th birthday and the strands of free early-evening concerts in the 20th anniversary of the foundation of its Royal Festival Hall: the long-running Music of residency programme, which began in 1995 Today series, programmed by Korean composer with the launch of its residencies at London’s Unsuk Chin, who is Artistic Director; and the Southbank Centre and Bedford’s Corn chamber music recital series, programmed and Exchange. The Orchestra also has long-term performed by members of the Orchestra. partnerships with De Montfort Hall in Leicester (Resident Orchestra since 1997), the Anvil in The Philharmonia has a busy international Basingstoke (Orchestra in Partnership since touring schedule, with recent major series in 2001), and, more recently, at the Marlowe Taiwan and Japan with Esa-Pekka Salonen, a Theatre in Canterbury and Three tour to China with Vladimir Ashkenazy, and Festival (Resident Orchestra). concerts in Iceland, France, Germany, Austria, Belgium, Spain, Switzerland, Luxembourg and The Orchestra performs more than 160 . The Orchestra and Esa-Pekka Salonen The Philharmonia Orchestra is one of the world’s great . Widely acknowledged as one concerts a year, as well as recording music for were resident at the 2016 Festival of the UK’s foremost musical pioneers, and with an extraordinary recording legacy, the films, computer games and commercial audio International d’Art Lyrique d’Aix-en-Provence, Philharmonia leads the field for its quality of playing, and for its innovative approach to releases. Under Esa-Pekka Salonen a series of including two concerts from the Stravinsky: residencies, audience development, music education and the use of new technologies in flagship, visionary projects at the Royal Festival Myths & Rituals series. reaching a global audience. Together with its relationships with the world’s most sought-after Hall – Stravinsky: Myths & Rituals (2016); City artists, most importantly its Principal Conductor and Artistic Advisor Esa-Pekka Salonen, the of Light: 1900-1950 (2015), City of During its first seven decades, the Philharmonia Philharmonia Orchestra is at the heart of British musical life. Dreams: Vienna 1900 -1935 (2009), Bill Orchestra collaborated with most of the great

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classical artists of the 20th century. Conductors people since 1945 have enjoyed their first Creative Communication Award in 2010) for years supported talented musicians at the associated with the Orchestra include experience of classical music through a these projects. start of their careers. In 2016/17, the Furtwängler, , Toscanini, Philharmonia recording, and today audiences Orchestra relaunched the scheme as the Cantelli, Karajan and Giulini. engage with the Orchestra through computer The Philharmonia’s Education work sits at the Philharmonia MMSF Instrumental Fellowship was the first of many outstanding Principal games, film scores and its YouTube and Vimeo centre of the life and wider work of the Programme – an enhanced offer for young Conductors, and other great names have channels, featuring award-winning Orchestra. The department’s work falls into four musicians, supporting instrumentalists included Lorin Maazel (Associate Principal documentary films. In May 2010 the distinct strands – Schools and Young People, seeking an orchestral career and connecting Conductor), Sir Charles Mackerras (Principal Orchestra’s digital project RE-RITE was Communities and Family, Explore, and the them to the wider life of the Philharmonia and Guest Conductor), Riccardo Muti (Principal launched in London, and then toured the UK Emerging Talent programme, reaching tens of the expertise within its membership. Conductor and Music Director), Kurt Sanderling and internationally. Devised with Esa-Pekka thousands of people every year. Examples of (Conductor Emeritus) and Salonen, RE-RITE, secured the Philharmonia’s this work include instrumental projects with Recording and broadcasting both continue to (Music Director). As well as Esa-Pekka Salonen, position as a digital innovator. Its follow-up Music Hub partners; Key Stage 2 concerts play a significant part in the Orchestra’s current titled conductors are Christoph von audio-visual installation, Universe of Sound: Orchestra Unwrapped; intergenerational activities, notably through its partnership with Dohnányi (formerly Principal Conductor, now The Planets, premièred at the Science creative music-making community project Hear Signum Records, releasing new live recordings Honorary Conductor for Life) and Vladimir Museum in spring 2012. Both installations and Now in Bedford; a large-scale community of Philharmonia performances with its key Ashkenazy (Conductor Laureate). Since 1945 were at the heart of a major two-year audience commission to celebrate the finding of King conductors. Recent releases include the the Orchestra has been an active commissioner development and education initiative, Richard III’s remains in Leicester called The completion of Lorin Maazel’s Mahler Cycle, of new music: more than 100 new works from iOrchestra, which took place in South-West Last Plantagenet; a pioneering urban-classical and Bruckner Symphony No. 9 conducted by composers including Sir , Sir England during 2014 and 2015, and which project called Symphonize in Leicester; and Christoph von Dohnányi, recorded live at the , Mark-Anthony Turnage engaged over 120,000 people. The project The Firebird, an award-winning collaborative 2014 Salzburg Festival. Since 2003 the and Sir James MacMillan. also featured a pop-up interactive digital schools project working across Hounslow and Philharmonia has enjoyed a major partnership music installation, MusicLab, housed in a Richmond boroughs. with Classic FM, as The Classic FM Orchestra Throughout its history, the Philharmonia mobile trailer, which uses the latest on Tour, as well as continuing to broadcast on Orchestra has been committed to finding new technologies to create a series of hands-on The Philharmonia’s Emerging Talent BBC Radio 3. ways to bring its top-quality live performances musical games and interactions. The Orchestra programme includes the Composers Academy, to audiences worldwide, and to using new won the RPS Award for Audiences and linked to Music of Today, and the Martin The Philharmonia’s Principal International technologies to achieve this. Many millions of Engagement in 2010, 2012 and 2014 (and Musical Scholarship Fund, which has for many Partner is Wuliangye.

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PHILHARMONIA VOICES The has also worked with conductors L E

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including Vladimir Ashkenazy, Jakub Hruša, O U S

Philharmonia Voices was formed in 2004 by John Wilson, and Christoph von Dohnányi, and N I M A

Aidan Oliver at the invitation of the Edward Gardner. In former years the choir also J N E Philharmonia Orchestra and made its debut worked extensively with Lorin Maazel (notably B © with Bach’s in B minor under Sir András on his 2011 Mahler cycle) and with Richard Schiff. Since then the choir has established Hickox, featuring in his acclaimed accounts of itself as one of the most admired professional Vaughan Williams’s The Pilgrim’s Progress and choruses in London, attracting critical acclaim Britten’s Death in Venice. for its performances with the Orchestra in a wide range of repertoire.

The Choir’s close relationship with the Philharmonia Orchestra’s Principal Conductor, Esa-Pekka Salonen, is central to its work, particularly in 20th-century repertoire. Highlights have included performances of Stravinsky’s Oedipus rex and Schoenberg’s Gurrelieder, and operas including ESA-PEKKA SALONEN Dallapiccola’s Il prigioniero, Berg’s Wozzeck, Ravel’s L’enfant et les sortilèges and the Esa-Pekka Salonen has a restless innovation that marks him as one of the most important European and Proms premieres of artists in classical music. Salonen is the Principal Conductor and Artistic Advisor of the Shostakovich’s Orango. The choir also played a Philharmonia Orchestra and Conductor Laureate for the , where he major role in the Philharmonia’s exploration of was Music Director from 1992 until 2009. This season will find him as the Marie-Josée Kravis Stravinsky’s music under Salonen in its major Composer-in-Residence at the , a three-year position. He is Artistic 2016 series, Myths & Rituals. Director and cofounder of the annual Baltic Sea Festival, which invites celebrated artists to promote unity and ecological awareness among the countries around the Baltic Sea.

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Salonen takes the Philharmonia Orchestra to the prestigious Grawemeyer Award and was T YEFIM BRONFMAN S O

the Edinburgh International Festival, the BBC featured in a 2014 international Apple ad C A

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Proms, on tour in Switzerland and France, and campaign for iPad. In 2014 the Tonhalle Zurich R Internationally recognised as one of today’s A D will lead the Myths & Rituals festival, an Orchestra, where he was the first-ever Creative most acclaimed and admired pianists, Yefim © exploration of Stravinsky’s work that Chair, premiered for orchestra and Bronfman stands among a handful of artists continues into next season. He will make chorus, to great acclaim. Karawane will be regularly sought by festivals, orchestras, guest appearances with the North German performed this season by the Swedish Radio conductors and recital series. His commanding and Bavarian radio symphony orchestras; the Symphony Orchestra, the Bavarian Radio technique, power and exceptional lyrical gifts New York, Vienna, and Los Angeles Symphony Orchestra, the Los Angeles are consistently acknowledged by the press philharmonics; the Orchestre de Paris; the Philharmonic, and the New York Philharmonic. and audiences alike. Chicago Symphony Orchestra, and the joint forces of the Swedish Radio Symphony Salonen and the Philharmonia have curated Recent projects have included a residency with Orchestra and the Royal Stockholm landmark multi-disciplinary projects, such as the which includes all Philharmonic Orchestra, united for the first the award-winning RE-RITE and Universe of the Beethoven concerti conducted by Christian time, in addition to conducting Strauss’s Sound installations, which allow the public to Thielemann in Dresden and on tour in Europe. Elektra at the Metropolitan Opera and conduct, play, and step inside the Mr. Bronfman has also performed Bartók Bartók’s Le Château de Barbe-Bleue and Philharmonia with Salonen through audio and concerti with the London Symphony Orchestra Poulenc’s La Voix Humaine at the Paris Opera. video projections. Salonen also drove the and Valery Gergiev in Edinburgh, London, development of an app for iPad, The Vienna, Luxembourg, and New York. Recital Salonen’s work combines intricacy and Orchestra, which allows the user performances captured audiences with the technical virtuosity with playful rhythmic and unprecedented access to the internal cycles of the daunting complete Prokofiev melodic innovations. His pieces for symphony workings of eight symphonic works. sonatas over three concerts in Berlin, New York’s orchestra include LA Variations (1996), Foreign Carnegie Hall, and Cal Performances, Berkeley. Bodies (2001), (2002), Wing on esapekkasalonen.com Wing (2004), and (2011), as well as two Mr. Bronfman is a regular guest soloist at the concertos: for pianist Yefim Bronfman and for Vienna, New York and Los Angeles violinist Leila Josefowicz. The latter was awarded philharmonics, Mariinsky, Cleveland and

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Philadelphia orchestras, as well as the ZSOLT-TIHAMÉR VISONTAY Orchestra, touring throughout Europe, Russia, M A I

symphonies of Boston, Montreal, Toronto, San © Asia and the US. Francisco and Seattle. Following the success German-Hungarian violinist Zsolt-Tihamér of their first US tour, Mr. Bronfman rejoined Visontay began playing in 1988, taking In 2007, at the age of 24, he became Joint Anne-Sophie Mutter and Lynn Harrell in May lessons at the music school in Magdeburg, Concert Master of the Philharmonia Orchestra. 2016 for a European tour that took them from and went on to study under Professor Jost Since then his solo engagements with the Madrid to Berlin, Moscow and Milan. Witter at the Schloss Belvedere Music School Orchestra have included performing and the Franz Liszt Music Academy in Weimar. Ascending under both David Hill and Sir Mr. Bronfman was awarded the Avery Fisher Andrew Davis. He has recorded the John Prize in 1991, and the Jean Gimbel Lane Prize Laureate of several international solo prizes, Jeffreys Violin Concerto with the Philharmonia in piano performance from Northwestern including the International Louis Spohr Violin and Paul Bateman. In addition he has acted University in 2010. He has been nominated Competition and the International Henry as violinist/director with the Philharmonia and for three GRAMMY® Awards, one of which he Marteau Violin Competition, Zsolt’s solo the Academy of St Martin in the Fields. won with Esa-Pekka Salonen and the Los engagements include performing with a number Angeles Philharmonic for their recording of the of German orchestras. In 2005 he became Established as a sought-after chamber three Bartók Piano Concerti. Leader of the European Union Youth Orchestra musician, he has recorded the Rachmaninov (EUYO), performing under conductors including and Shostakovich Trios with Mats Litstroem and Born in Tashkent in the on 10 Vladimir Ashkenazy, and Sir Vladimir Ashkenazy for Decca as well as April 1958, Yefim Bronfman immigrated to Colin Davis, and a year later he also became recording this performance of Bartók’s Contrasts Israel with his family in 1973. Concert Master of the Philharmonic Orchestra with Mark van de Wiel and Yefim Bronfman. in Altenburg-Gera. He has led orchestras such as the Radio Symphony Orchestra Berlin, Collaborating with those artists already Hamburg Philharmonic, London Symphony mentioned as well as many others including Orchestra, Academy of St Martin in the Fields, Min-Jung Kym and Jamie Walton, he performs Royal Scottish National Orchestra, Orchestra in major venues such as the Mozartsaal, Nacional de Porto, City of Birmingham Vienna; Salle Gaveau, Paris; and Wigmore Symphony Orchestra and Bamberg Symphony Hall, London.

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A Philharmonia’s Music of Today series, and Opera. He joined the Philharmonia as R T S

E elsewhere the Spanish première of the Carter Principal Clarinet in 2000, and the London H C R

O Concerto, the UK première of the Carter Sinfonietta in 2002. He is also Principal with

A I

N Clarinet Quintet, and of Sir John Taverner’s the London Chamber Orchestra (with whom he O M

R Cantus Mysticus (at ), and the has appeared as soloist at La Scala, Milan), A H L I

H London première of Graham Fitkin’s Agnostic. For several years he was the clarinet and P

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E Recordings include Ben Foskett’s Hornet, basset horn soloist in Mozart’s Clemenza di R O

M Philip Cashian’s Blue Circus and Flint Tito at the Bayerisches Staatsoper. Mark has G I W

Juventino Beppe’s Distant Words with the been awarded an Honorary Associateship by Y U G Philharmonia and Vladimir Ashkenazy. the Royal Academy of Music, where he is a © Professor, and an Honorary Doctorate by Mark has been the clarinettist with Endymion Northampton University. Mark is the clarinet since its formation in 1980. Other chamber professor for the I, Culture Orchestra, and for music collaborators have included Pascal the British Isles Music Festival. He is a Rogé, Geoffrey Parsons, Elizabeth Leonskaja, committed teacher, and has given Kate Royal and the Brodsky Quartet, with masterclasses world-wide (recently in whom he gave the London première of Sir Australia, Singapore, Poland and Brazil). Peter Maxwell Davies’s Hymn to Artemis MARK VAN DE WIEL Locheia. Other highlights have included the Mozart Quintet in Brazil, and the Berio Mark van de Wiel is established as one of Britain’s leading and most versatile clarinettists. As Sequenza at the Sydney Opera House. principal clarinet of the Philharmonia Orchestra and the London Sinfonietta, and a well-known soloist, he performs at major venues throughout the world. Recent solo highlights include the Born in Northampton and educated at Merton Finzi and Nielsen concertos with the Philharmonia under John Wilson and Paavo Järvi in London College, Oxford, and the Royal College of and on tour, Boulez’s Domaines at the 2015 Proms, the world première of the van der Aa Music, Mark was appointed principal clarinet concerto Hysteresis, commissioned for him by the London Sinfonietta, and the Mozart clarinettist with Welsh National Opera and Concerto with the London Chamber Orchestra. Mark has given several London premières in the subsequently with Glyndebourne Touring

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291.0mm x 169.5mm SIGCD466_Booklet***.qxp_BookletSpread.qxt 20/06/2016 17:42 Page 12

CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos.

BARTÓK: DUKE BLUEBEARD’S CASTLE Sir John Tomlinson Bluebeard Michelle DeYoung Judith Juliet Stevenson Narrator Philharmonia Voices The Miraculous Mandarin – Recorded January 27 2011 in Royal Festival Hall, Southbank Centre Philharmonia Orchestra Dance Suite & Contrasts – October 27 2011 in Royal Festival Hall, Southbank Centre Producer – Misha Donat Esa-Pekka Salonen conductor Recording Engineer – Jonathan Stokes, Classic Sound Ltd SIGCD372

Design – With Relish (for the Philharmonia Orchestra) “... As dazzling as you always hope it will be ... A truly atmospheric recording that makes and Darren Rumney it easy to believe you’re in the dark bowels of a castle ... John Tomlinson’s dark intimidating bass in a role he knows so well makes Judith’s fate seem feel inevitable and Michelle DeYoung matches the scale of John Tomlinson’s performance ... P2016 Philharmonia Orchestra But it’s the orchestra as it builds the castle before our eyes that’s most impressive.” C2016 Signum Records BBC Radio 3

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291.0mm x 169.5mm CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title S 6 I G 6 N 4 U D M C G C I L S A S S I C S

A R T S B E A H R C

BARTÓK T R (1918-19) Ó

O THE MIRACULOUS MANDARIN K

1 Introduction: A bustling city street (Allegro) 3.29 : A

I T

2 3.39 H N 1st Decoy game (Moderato) E O

3 2nd Decoy game 3.21 M M R 4 3rd Decoy game (Sostenuto) 1.39 I R A A

H 5 The Mandarin enters … (Maestoso) 7.25 C L I 6 The girl sinks down … (Allegro) 2.16 U H L P O

7 The tramps leap out … (Sempre vivo) 2.32

U N 8 S I Suddenly the Mandarin's head appears between the pillows

R 3.15 M

A and he looks longingly at the girl A D

9 The terrified tramps discuss how they are to get rid of the Mandarin 2.04 N N D A

10 The body of the Mandarin begins to glow (Moderato) 1.49 A M R

11 The Mandarin falls on the floor (Più mosso) 2.33 I S N U

O P L (1923) (1938) H U DANCE SUITE CONTRASTS I L C 12 3.35 17 5.30 Moderato Verbunkos (Recruiting Dance) H A A R 13 2.19 18 4.39 I Allegro molto Pihen (Relaxation) R M M 14 3.07 19 6.50 Allegro vivace Sebes (Fast Dance) O E

15 Molto tranquillo 3.27 N H T I

A

: 16 Commodo – Finale 5.00

K O Ó R

T Total timings: 68.33 C R H A E B

PHILHARMONIA ORCHESTRA YEFIM BRONFMAN PIANO S T

PHILHARMONIA VOICES ZSOLT-TIHAMÉR VISONTAY VIOLIN R A

ESA-PEKKA SALONEN CONDUCTOR MARK VAN DE WIEL CLARINET S C I S S

A Signum Records Ltd, Suite 14, 21 Wadsworth Road, S L I C Perivale, Middx UB6 7JD, United Kingdom LC15723 G C M D U P

DDD 4

N 2016 Philharmonia Orchestra

www.signumrecords.com 6

G SIGCD466

I C 2016 Signum Records 24 bit digital recording 6 S 6 35212 04662 3 www.philharmonia.co.uk

201.0mm x 167.8mm