ForEwOrd PYOTR IL’YICH TCHAIKOVSKY (1840-1893) PIANO CONCERTO NO. 1 About 20 years ago I watched my first concerto and share the excitement of childhood with you, NUTCRACKER SUITE on TV – it was Tchaikovsky’s First Piano the listener! Concerto played by Emil Gilels from 1959. It hit me: the power, the energy, the sheer scale Heartfelt thanks to Marco Assetto, Bob and of this piece! I decided I wanted to play it, but Elisabeth Boas, Sir Vernon and Lady Ellis, Sir it took time until I felt ready. A few years George and Lady Iacobescu, Andrew Jackson, Sir Piano Concerto No. 1 in B-Flat Minor, Op. 23 later, whilst studying at the Guildhall School Harvey and Lady McGrath, Sara Naudi, Andrew 1 I. Allegro non troppo e molto maestoso [20.39] of Music and Drama with Ronan O’Hora, I felt and Samantha Popper for believing in me and 2 II. Andantino semplice [6.51] this was the time to approach the piece. After making this project happen! 3 III. Allegro con fuoco [7.18] a few good months of practicing, I started performing it in concerts. One of my most Alexandra Dariescu Nutcracker Suite, Op. 71a (arr. Mikhail Pletnev) fulfilling performances took place at the 4 I. Tempo di marcia viva [2.01] Royal Albert Hall with the Royal Philharmonic 5 II. Dance of the Sugar Plum Fairy: Andante ma non troppo [2.00] Orchestra. When the opportunity arose to record 6 III. Tarantella [1.23] 7 IV. Intermezzo [4.24] my first concerto disc, I knew it had to be this one. 8 V. Trepak – Russian Dance: Molto vivace [1.19] 9 VI. Tea – Chinese Dance: Allegro moderato [1.18] Coupling it with the Nutcracker Suite was 0 VII. Andante maestoso [5.43] inspired by another childhood memory of mine: I used to listen to musical stories on LPs

Total timings: [52.58] whilst drawing. The Nutcracker was one of my favourites, and 2016 marks 200 years since E. T. A. Hoffman wrote his original tale. Playing Pletnev’s beautiful arrangement of the music ALEXANDRA DARIESCU PIANO which captures the magic of the ballet, normally ROYAL PHILHARMONIC ORCHESTRA performed by an entire orchestra, gives me DARRELL ANG CONDUCTOR the opportunity to tell this wonderful story

www.signumrecords.com - 3 - TCHAIKOVSKY misjudgement, Rubinstein became one of the spirito) – a theme derived from a Ukrainian into delicacy. The fiery third movement is in Piano Concerto No.1 in B-Flat Minor concerto’s most enthusiastic advocates. What folksong traditionally sung by blind beggars. the style of a Russian dance in 3/4, with a Nutcracker Suite most disturbed this conservative academic The melodies of the second subject group strong accent on every second beat. Its Rubinstein was probably the audacious are lyrical and, like the opening theme of the opening theme, introduced by the piano almost Many works now firmly established in their originality of the concerto. There are two concerto, have that intensely memorable quality immediately, is based on a Ukrainian folksong respective repertoires, whether symphonies, striking aspects to the very first theme. This characteristic of Tchaikovsky greatest music. welcoming the arrival of spring. The strongly concertos or operas, initially met with either broad melody for strings is supported by In the development section Tchaikovsky contrasting second theme, a broad, serene rejection by musicians or a public reception massive chords on the piano, a thrilling solo generates great dramatic tension, while also melody first played gently by the violins, is ranging from indifference to downright entry which is a paradoxical combination transforming out of all recognition a tender loosely derived from yet another Russian hostility. Tchaikovsky’s Piano Concerto No. 1 of accompaniment and the grand manner. melody originally introduced by muted first folksong. This melody returns fortissimo near is among the most celebrated cases of a piece (Originally Tchaikovsky indicated these chords violins. A passage of alternating orchestral the end of the movement, now re-scored with which inspired total rejection by its intended to be played arpeggiated!) Equally unusually, and piano chords leads to a large-scale tremendous grandeur for piano and orchestra. soloist. When the composer gave a private this melody is never recalled. The initial cadenza, before the resplendent coda concludes Tchaikovsky’s Piano Concerto No. 1 was performance of his concerto for Nikolai double statement of the opening theme leads this massive movement (far longer than the premiered in Boston on 25th October 1875. Rubinstein, director of the Moscow Conservatory to a cadenza, some brief development and a other two movements added together) in Soloist Hans von Bülow was accompanied by from 1866 to 1881, he was deeply shocked restatement of the big melody with even more resplendent manner. a freelance orchestra under B. J. Lang. by his reaction. Three years later – still extravagant piano accompaniment. The types wounded – he recalled that scene: “Then of relationship between soloist and orchestra The second movement is simple in form – a During the first half of the 19th century, before sprang forth a vigorous stream of words … in Romantic piano concertos vary considerably placid opening section with a charming flute Tchaikovsky, the quality of ballet music seldom by degrees his passion rose, and finally he – ranging from a dialogue of equals to a melody, a brilliant central section in much rose above mediocre. Ballet-masters actually resembled Zeus hurling thunderbolts … My gladiatorial contest. Tchaikovsky sees his soloist faster tempo, then a return to the first section. required undistinguished music, so that the concerto, it turned out, was worthless and playing the role of a gladiator, with a piano In the dizzying, scherzo-like middle section, dancing should always command undivided unplayable … so clumsy, so badly written as part that – from the very outset – is heroically marked Prestissimo, the violas and cellos play a attention. They happily employed composers to be beyond rescue ... the music itself was assertive in character. This quality recurs melody based on a French cabaret song that such as Ludwig Minkus and Adolphe Adam, bad, vulgar …”. Rejection in itself was throughout much of the concerto, often in was popular in Russia – “Il faut s’amuser, who employed all the facile tricks of the trade damaging enough, but the gratuitously cruel fiercely demanding piano-writing. The opening danser et rire” (One must amuse oneself in providing stereotyped music of little manner in which it was expressed compounded paragraph ends calmly and reflectively, before with dancing and laughing). The solo piano individuality. This state of affairs meant the insult. Tchaikovsky refused to change the soloist embarks upon a new, jaggedly prepares the return to the opening melody also that serious composers of any ambition a single note. When he later realised his rhythmic theme in a faster tempo (Allegro con with a passage in which flamboyance dissolves tended to show little interest in writing for

- 4 - - 5 - the ballet. Before Tchaikovsky the outstanding of a man, but her brother Fritz breaks it. At Chinese Dance, originally orchestrated with omitted, the remaining movements being composer of ballet scores was Delibes, whose midnight she sneaks back for another look strutting bassoons and shrill flute and piccolo. March, Dance of the Sugar Plum Fairy, Coppélia remains central to the repertoire. at the broken nutcracker, only to be confronted Forming part of a double-bill with Tchaikovsky’s Tarantella (Variation 1, which follows the Himself a great admirer of Delibes’ music, by an invasion of mice. The toys all come to last opera, Iolanta, The Nutcracker was first Pas de deux), Intermezzo (No. 8 from Scene II Tchaikovsky expressed doubts about writing life and engage in a battle with the mice, staged in December 1892 at the Imperial of the ballet, with its wonderfully spacious ballet scores: “They tell me that during the at the height of which the Nutcracker and Mariinsky Theatre, St. Petersburg. and dignified melody), Trepak (Russian Dance, production of a new ballet, ballet-masters the Mouse-king fight a duel. Clara intervenes with Pletnev’s brilliant additions), Tea (Chinese treat the music very unceremoniously and to save the Nutcracker from defeat and, now Mikhail Pletnev (born 1957 in Archangelsk) is Dance) and the rapturous Pas de deux demand many changes and alterations. To transformed into a handsome prince, he one of the outstanding pianists of his generation (Andante maestoso) with its overwhelming write under such conditions is impossible.” invites her to the Kingdom of Sweets. Tchaikovsky and a conductor in great demand. He received climax. Only movements 1, 2, 5 and 6 are from However, this initial reluctance was subsequently again displayed his special genius for the gold medal in the 1978 International the orchestral suite. Pletnev’s magnificent overcome by professional expediency. By writing tactile music of great potency and Tchaikovsky Competition and has subsequently arrangement, while vividly orchestral in effect, October 1875, shortly after receiving his first his extraordinary affinity with the magical made numerous recordings of music including enhances the virtuoso pianist’s repertoire ballet commission, Swan Lake, he was able to world of ballet. Scarlatti, C. P. E. Bach, Mozart, Haydn, Beethoven, in the tradition of all the greatest transcriptions. write: “I accepted the work, partly because I Chopin, Tchaikovsky, Scriabin, Prokofiev and want the money, but also because I have long The Divertissement from Act 2 provides an Shchedrin. In 1990 he founded the Russian Philip Borg-Wheeler had the wish to try my hand at this kind of extremely varied sequence of entertaining National Orchestra, serving as its chief music.” Already in Swan Lake Tchaikovsky’s dances with no bearing on the plot. Many of conductor until 1999. inspired and utterly memorable music these dances are heard, in a different order, represented a tremendous advance on in the orchestral concert-suite Tchaikovsky As an arranger for piano he has transcribed – traditional ballet scores. His second ballet devised. The March, which accompanies the in addition to the Nutcracker Suite recorded score, The Sleeping Beauty, followed in 1889. children’s entrance in Act 1, is deft and piquant, here – suites from The Sleeping Beauty The Nutcracker (1892) is based on Nutcracker evoking the world of toys rather than the and from Prokofiev’s ballet Cinderella. His and Mouse-king, a story by E. T. A. Hoffmann parade ground. For the famous Dance of the transcription of seven movements from The combining reality with fantasy. It is Christmas Sugar Plum Fairy Tchaikovsky specially (and Nutcracker (published 1978) represents a Eve and the town president has planned a secretly, in case Rimsky-Korsakov or Glazunov personal choice rather than adherence to celebration for his children and their friends. heard of it and used it first) ordered from Paris the sequence familiar from Tchaikovsky’s Clara, the daughter of the house, receives a celesta, a relatively new instrument. A lively orchestral suite. In Pletnev’s piano version among her presents a nutcracker in the shape Russian Dance follows, then the brief but vivid the Overture from the orchestral suite is

- 6 - - 7 - ALEXANDRA DARIESCU Darrell Ang, Jiří Bělohlávek, Alexandre Bloch, Alexandra began her piano studies in her André de Ridder, Fabien Gabel, Ben Gernon, native Romania before moving to the UK at From the Royal Albert Hall in London to Carnegie Andrew Gourlay, Ivo Hentschel, Antony the age of 17 to study at Pocklington School Hall in New York, the young Romanian pianist Hermus, Daniel Huppert, Damian Iorio, Jakob and at the Royal Northern College of Music Alexandra Dariescu, named as “one of 30 Koranyi, Andrew Litton, Grant Llewelyn, Grzegorz as well as the Guildhall School of Music and pianists under 30 destined for a spectacular Nowak, Vasily Petrenko, Jamie Phillips, Timothy Drama. Selected by Young Classical Artists career” (International Piano Magazine), has Redmond, Uwe Sandner, Clemens Schuldt, Trust (YCAT) in 2008 she was the first pianist dazzled audiences worldwide with her effortless Gavin Sutherland, Alexandra Soumm, Tiberiu mentored by Imogen Cooper through the Royal musicality and captivating stage presence. Soare, John Storgårds, Maxime Tortelier and Philharmonic Society/YCAT Philip Langridge Ryan Wigglesworth. Mentoring Scheme. Alexandra was a Laureate Alexandra made important debuts at the at the Verbier Festival Academy in Switzerland Concertgebouw in Amsterdam, London’s Royal Dedicated to discovering new works, Alexandra where she won the Verbier CUBS Prize. She Albert Hall as well as Carnegie Hall in New gave the world premiere performance of Iris received the UK’s Women of the Future Award York at a special invitation of Sir András ter Schiphorst’s piano concerto Sometimes in the Arts and Culture category in 2013, Schiff. She is a regular guest at the Wigmore and Danyal Dhondy’s In Touch for piano and as well as becoming the youngest musician Hall in London and frequently appears at orchestra. Other premieres include Alberto to receive the Custodian of the Romanian festivals such as the George Enescu Festival Ginastera’s Concierto Argentino, Dinu Lipatti’s Crown Medal. in Bucharest. Alexandra plays with orchestras Concertino in Classical Style as well as such as BBC Symphony, BBC National Mesmerism for piano and orchestra by www.alexandradariescu.com Orchestra of Wales, Bournemouth Symphony, EU British Composer-Award winner Emily Howard, Chamber Orchestra, Anhaltische Philharmonie recorded with the Royal Liverpool Philharmonic Dessau, Mecklenburgische Staatskapelle Orchestra for NMC Records. Alexandra released Schwerin, Philharmonisches Orchester Cottbus, her second volume of complete preludes by KwaZulu Natal Philharmonic, Kymi Sinfonietta, Shostakovich and Szymanowski as part of Stavanger Symphony, Szczecin Philharmonic her trilogy project for Champs Hill Records. Orchestra, Sinfonia ViVA, Royal Northern The first volume of this project include the Sinfonia as well as the Royal Philharmonic complete preludes of Chopin and Dutilleux. Orchestra, Hallé and Royal Scottish Orchestra. Artists Alexandra collaborates with include

- 8 - - 9 - The Royal Philharmonic Orchestra (RPO) has The RPO has its own online radio station, The been at the forefront of music-making in the Sound of the Royal Philharmonic Orchestra, UK since its formation in 1946. Its home base which broadcasts via its website, and RPO since 2004 at London’s Cadogan Hall serves as TV, an online video channel streaming fly-on- a springboard for fourteen residencies across the-wall shorts written, directed and filmed by the country. With more concerts than any other the musicians. The Orchestra has become First Violin Viola Double Bass French Horn UK large ensemble, the RPO has truly become increasingly active on social media platforms, Duncan Riddell * Abigail Fenna * Anthony Alcock * Paul Gardham * Britain’s national orchestra. inviting audiences to engage on Facebook, Judith Templeman Chian Lim David Broughton Michael Kidd Twitter, YouTube, Instagram and the RPO blog. Kay Chappell Jonathan Hallett David Gordon Mark Wood The regional programme, plus regular It also offers a digital booking service on its Anthony Protheroe Stanislov Popov Benjamin Cunningham Tim Anderson performances at Cadogan Hall, Southbank app, RPO Rewards. Erik Chapman Martin Fenn John Holt Jocelyn Lightfoot Centre’s Royal Festival Hall and the Royal Rosemary Wainwright Helen Picknett Lowri Morgan Albert Hall, are conducted by a distinguished Although the RPO embraces twenty-first-century Cindy Foster Elizabeth Butler Trumpet roster of musicians: Charles Dutoit, Artistic opportunities, including appearances with pop Geoffrey Silver Jenny Wilkinson Flute Toby Street * Lynette Wynn Harry Winstanley * Adam Wright Director and Principal Conductor; Pinchas stars and on video game, film soundtracks and Jeremy Morris Cello Jennifer Doyne Zukerman, Principal Guest Conductor; Alexander on CD, its artistic priority remains paramount: Claire Raybould Louisa Tuck * Trombone Shelley, Principal Associate Conductor, and the making of great music at the highest level Sarah Buchan Roberto Sorrentino Oboe Dudley Bright * Permanent Associate Conductor Grzegorz for the widest possible audience. The RPO’s Niamh Molloy John Roberts * Richard Ward Nowak. International touring is also vital to the versatility and high standards mark it out as one Second Violin William Heggart Lauren Weavers Orchestra’s work, taking it to many prestigious of today’s most open-minded, forward-thinking * Jennifer Christie Shinko Hanaoka Bass Trombone destinations worldwide. symphony orchestras. Now it proudly looks * Stephen Payne Jonathan Few Clarinet John Heeley forward to the future. Sali Wyn Ryan Jane Oliver Tim Lines * For more than twenty years RPO Resound, the Colin Callow Clare Graham Katie Lockhart Timpani Robin Wilson Matt Perry * Orchestra’s community and education programme, www.rpo.co.uk Suzie Watson Bassoon has taken music into the heart of the regions Nicola Hutchings Helen Storey * * indicates principal player that the Orchestra serves. The team has worked Cecilia Romero Stuart Russell with a variety of participants in a range of Helen Cochrane settings including working with young people, Vernon Dean the homeless and recovering stroke patients.

- 10 - - 11 - DARRELL ANG In 2015, Darrell Ang made a triumphant initiative which brought together the best debut with the Royal Liverpool Philharmonic young musicians from China and Taiwan, leading Darrell Ang’s triumph at the 50th Besançon which led to an immediate reengagement in them in high-profile concerts at the national International Young Conductor’s Competition, the 2015-2016 season. The ambitious program concert halls of Beijing and Taipei. Darrell’s where he took all three top awards – Grand included Ravel Le Tombeau de Couperi, Hindemith latest project, The Young Musicians’ Foundation Prize, Audience Prize and Orchestra Prize – Concerto for Orchestra, and Shostakovich of Singapore and its resident orchestra, raises launched his international career, leading to Symphony No.9, as well as the UK premiere funds for young local musicians who wish the music directorship of the Orchestre of Wolf Totem, Tan Dun’s latest concerto, which to pursue a career in music. Symphonique de Bretagne and numerous featured the orchestra’s principal double guest conducting engagements with Orchestre bassist, Marcel Becker as soloist. www.darrellang.com Philharmonique de Radio France, Orchestre National de Lyon, and Orchestre Philharmonique In his native Singapore, Ang became the du Strasbourg, Orchestra Sinfonica di Milano youngest Associate Conductor of the Singapore “Giuseppe Verdi”, St. Petersburg Philharmonic Symphony Orchestra where he worked with Orchestra, Konzerthaus Orchestra Berlin, Vienna Lan Shui for five years. He also served as the Chamber Orchestra, Copenhagen Philharmonic Music Director of the Singapore National Orchestra, and RTVE Symphony Orchestra Youth Orchestra, bringing the ensemble to the Madrid, among others. Three years later Darrell ‘Young Euro Classic’ Festival at Konzerthaus Ang was selected to join the prestigious in Berlin. In 2010 Darrell Ang led the World International Conductors’ Academy of the Youth Olympic Games Orchestra in an Allianz Cultural Foundation and invited to take internationally-televised opening ceremony of on residencies with the London Philharmonic the first-ever World Youth Olympic Games Orchestra and the Philharmonia Orchestra. in Singapore. As a guest conductor, he has He is grateful to his mentors Vladimir Jurowski worked with Asia’s top ensembles including and Esa-Pekka Salonen for their invaluable the Hong Kong Philharmonic and National advice and support. Symphony Orchestra of Taiwan. As the chief conductor of the NTSO Taiwan-China Youth Orchestra, Darrell was at the heart of the

- 12 - - 13 - Heartfelt thanks to Marco Assetto, Bob and Elisabeth Boas, Sir Vernon and Lady Ellis, Sir George and Lady Iacobescu, Andrew Jackson, Sir Harvey and Lady McGrath, Sara Naudi, Andrew and Samantha Popper for believing in me and making this project happen!

In memory of Mark Ray.

Piano Concerto No. 1 recorded on 2nd August, 2014, in Henry Wood Hall, London Producer – Alexander Van Ingen Recording Engineer – Mike Hatch Recording Assistant – Chris Kalcov Editor – Dave Rowell

Nutcracker Suite recorded on 22nd June 2016, in All Saints Church, Durham Road, London Producer & Editor – Tim Oldham Recording Engineer – Mike Hatch

Cover Image and Photos of Alexandra – Andrew Mason Hair & Make up – Suki Miles Design and Artwork – Woven Design www.wovendesign.co.uk

P 2016 The copyright in this sound recording is owned by Signum Records Ltd © 2016 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]

www.signumrecords.com

Alexandra Dariescu and producer Alexander Van Ingen.

- 14 - - 15 - ALSO AVAILABLE on signumclassics

Tchaikovsky: Symphony No. 6 Tchaikovsky • Glazunov • Prokofiev Philharmonia Orchestra Jamie Walton cello Charles Mackerras conductor Royal Philharmonic Orchestra SIGCD253 Okko Kamu conductor SIGCD407

“This is a superb record - a magnificent and highly original “Walton embraces Glazunov’s tenderness with the warmth and live account of the ‘Pathetique’ Symphony that can stand suppleness of his tone...Walton interprets [the Prokofiev] with comparison with the most exacting competition.” impressive, seamless sweeps and refined dynamic shading.” International Record Review – ‘Outstanding Recording’ The Daily Telegraph

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 -