sign in sign up
<<
Home , Asyla, Ben McKee, Carducci (crater), Colin Matthews, Couperin (crater), Earth Dances

This isRattle A5programmefront page.indd1 Image: © Oliver Helbig Sir Harrison Sir Sat 23Sep Grime Helen Wed 20Sep Adès Thomas Mon 18 Sep Sat 16 Sep vision of classicalmusicintheirown way. composers respond to SirSimonRattle’s Four of Britain’s greatest contemporary Composer-curated concerts This isRattle: 01/09/2017 15:47 2 György Kurtág interval Niccolò Castiglioni Sir HarrisonBirtwistle Per Nørgård 7.30pm, CourtConcertHall Mon 18Sep2017 This isRattle: Adès RSVP Voices Marie-Christine Zupancic Claire Booth Oliver Knussen Birmingham Contemporary MusicGroup Oliver Knussen interval Sir HarrisonBirtwistle Stravinsky Stravinsky Patrick Brennan 7.30pm, Milton CourtConcertHall Sat 16Sep2017 This isRattle: Knussen Richard Baker Guildhall Musicians arr AdèsMadness, John Woolrich Osvaldo Golijov as well as viafeedback forms orthepods located around thefoyers. If anything limitsyour enjoyment pleaseletusknow duringyour visit.Additionalfeedback canbegiven online, images orusing recording devices duringaperformance isstrictlyprohibited. Please turnoff watch alarms,phones,pagers etc duringtheperformance. Taking photographs, capturing Programme produced by Harriet Smith;printed by Trade Winds ColourPrinters Ltd The Residency 20minutes 20minutes Renard Three JapaneseLyrics Two Poems of Balmont The Alps Hut Ab! conductor A Farewell A The Head of

conductor O Hototogisu! Életút Sarajevo Polly Roe Vallis Clausa Cardiac Arrest

Nine settingsof Celan

( premiere) Oliver Knussen & ColinMatthews Oliver Knussen, George Benjamin 7.30pm, Milton CourtConcertHall Wed 20Sep2017 This isRattle: Grime Tropes arranged for instrumentsby SirHarrison Varèse 7.30pm, Milton CourtConcertHall Sat 23Sep2017 This isRattle: Birtwistle Jacqueline Shave Stravinsky Britten Thomas Adès Helen Grime interval Martyn BrabbinsMartyn BBC Singers Sir HarrisonBirtwistle Sir HarrisonBirtwistle Byrd interval Birtwistle Lamentations 20minutes 20minutes Fantasia upononenote Sinfonietta Octandre Messe de Nostre Dame with Plainsong Messe deNostre DamewithPlainsong Dumbarton Oaks A ColdSpring Into theFaded Air Court Studies from ‘TheTempest’ Cantata conductor

/director A Purcell Garland

The Moth Pulse Sampler

premiere of aBarbican-commissionedpiece inaugural programme includingtheworld Sir SimonintheBarbicanHall,with the Alongside thefive concertsconducted by commissions andinstallations. programme withanumberof concerts, about, we’re joiningtheLSO’sThisisRattle new era of collaboration thatthiswillbring To celebrate SirSimon’sarrival, andthe together inasinglevisionfor thefuture. artistic creation, learninganddiscovery together performance, orchestral practice, music isfor everyone andwillseehimbring Sir Simon’s heartfelt beliefthatclassical This Artist-in-Association role reflects this isjustthebeginning. delivered inassociationwiththeLSO.And the School’sOrchestral Artistryprogramme in conductingalongsidehisinvolvement in a new Guildhallpostgraduate programme perform together, andthechampioningof musicians from theLSOandGuildhallSchool regular seriesof ‘side-by-side’ projects where performance of LSO co-commissionssuchastheupcoming realise aseriesof ambitious Barbican/ these three world-class organisations to This role willseeSirSimonwork across at theBarbicanandGuildhallSchool. also beginanew role asArtist-in-Association Barbican Resident theLSO,hewill Rattle taking thebaton asMusicDirector of We’re thrilledthatalongsideSirSimon Guildhall Schoolof Music&Drama. Orchestra, theBarbicanand exciting new chapter inthelife of theLondon Welcome to ThisisRattle, thebeginningof an Welcome programmed aseriesof concertsinMilton by Britishcomposer HelenGrime,we have Genesis Suite in January, a into anew projected artwork. interpret andvisualiseSirSimon’sconducting that usesmotion capture technology to award-winning artistic duoClearyConnolly Less thanThirteen poetry, visualartandanimation;thesecond, Variations across music,dance,illustration, to develop responses to Elgar’s‘Enigma community participantsfrom eastLondon Munro, whohave worked withover 100 Anna Meredith andtheartistJonathan Learning incollaboration withthemusician delivered by Barbican GuildhallCreative Interlock: Friends Pictured Within the BarbicanandLSO.Thefirst installation, digital artworks, jointlycommissionedby foyers willbebrought to life withtwo new wireless headphones andtheBarbican Sculpture Court’soutdoorcinemavia will alsoberelayed live to theBarbican Rattle’s openingconcertwiththeLSO from theGuildhallSchool. opening concertandincludingmusicians British composersfeaturing inRattle’s season Court ConcertHallcurated by thefour living Music &Drama Lynne Williams,Principal,Guildhall Schoolof Barbican Sir NicholasKenyon, Managing Director, We hopeyou canjoinusonthisjourney. audience. power of musicand theartsto awholenew memorable artisticevents thatbringthe of SirSimonRattle willcreate sometruly initiatives developed through theleadership We are sure thenew partnershipsand the Barbican,LSOandGuildhallSchool. the beginningof thisnew alliancebetween These concertsandcollaborations are just , isanew digital work from , has been , hasbeen

3 Welcome 4 RSVP Voices Zupancic Marie-Christine Booth Claire Oliver Knussen ContemporaryBirmingham Music Group Renard Stravinsky Igor Hototogisu! O Knussen Oliver Silbury Air Sir Harrison Birtwistle Lyrics Japanese Three Two of Poems Balmont Stravinsky Igor RoePolly Brennan Patrick Rattle: is Knussen This September 16 Saturday (1915–16) (2014) soprano (1977) conductor

(2017)

(born 1952)(born

(1882–1971) London premiere (born 1985) (born flute (1912–13) 1954) arr (1911, (born 1934) (born

Lyrics the opus, song next his in used ensemble the for accompaniments their 1954, in arranged when, he resonances oriental roar, and the composer emphasised their chimes and whispers, where Spring of approach the suggest poems, the in rhyme and rhythm word, of by repetitions cued structures, repetitive and ostinatos Modal Ukraine. in estate family his on holidaying 1911, of summer after piece choral extraordinary his in and songs, of pair this –in kinds both set Stravinsky texts. visionary also and lyrics crystalline of capable a Symbolist Russia, pre-Revolutionary in poets admired most (1867–1942) Balmont Konstantin the of one was Claire Booth Dove 2 The Flower 1 The Two Balmont of Poems Stravinsky Igor minutes. four only after comes which end, the at again there is It tricks. musical of abox of opening the for preparing manner, jerky and astrange in itself is note the though, once, at Almost going. which from note very C –the middle Eabove the note, Birtwistlian avery from out starts and age) same the much at composed of instrumentation the repeats cheekily 2014,in Brennan Patrick 80th, Birtwistle’s for written piece birthday this In Roe Polly Brennan Patrick 9 page see texts For . Star-Faced , already under way. But these are delicate delicate are these way. But under , already soprano soprano . The songs date from the the from date songs . The Tragoedia Petrushka The Rite The (which Birtwistle Silbury Air Silbury Three Japanese Japanese Three , when he was was he , when The Rite of of Rite The was to be a a be to was gets gets after the original authors. The apartness of the the of apartness The authors. original the after songs the titled he and Brandt, by Alexander Russian into translated poetry Japanese classical of acollection in texts the found Stravinsky two. other the and trip, the before piano) and voice (for written song, first the between difference the for detectable more the is touch Moreover, that textures. contrapuntal and harmony the on and piano, and quartet string with pairs in and of ensemble an for scoring, the Schoenberg’s subject. poetic work’s by the and song, first the of lines modal and ostinatos by the we’ve heard, just poems Balmont the in as suggested, distantly being. into came work beautiful intensely small, relatively this as close thus were modernism musical of progenitors great two The performance of Schoenberg’s a attended he 8 December on where Berlin, ofSpring Rite of draft the completed he time this during for one, acrucial but life Stravinsky’s in period 1912 1913 October January and –ashort between written were songs three These Claire Booth 3 Tsaraiuki 2 Mazatsumi 1 Akahito Three Japanese Lyrics Stravinsky Igor Poems ( allies: these of by two settings scored similarly with aprogramme on was it , in 1914, 14 on January performed, first was work the when And respectively. Delage Maurice and Schmitt Florent Ravel, Maurice colleagues: French to songs the dedicated duly Stravinsky orientalism. exquisite of tradition French a within Russian, in are words its though cycle, the place that – features delicacy and brilliance concur with the music’s harmonic stasis, whiteness (flowers, snowflakes, ice floes, clouds) of throughout Images spring. of flowering and rush the before coming poem, winter a is this that in thematically, justified is song first Three Mallarmé Poems Mallarmé Three ). soprano soprano and went with the Ballets Russes to to Russes Ballets the with went and Pierrot ) and Delage ( Delage ) and leaves its touch on on touch its leaves Pierrot The Rite The Four Hindu Hindu Four may be be may The The .

5 Sat 16 Sep 6 landscape, his music creating its own landscape landscape own its creating music his landscape, the of part acompelling as hill the with rather is Birtwistle for parallel the experience, our of part be well may geometry and strangeness that add might one Although geometry.’ evident its of any with aparallel –nor location hill’s enigmatic the of reflection aromantic be to meant way any in the of music The amystery. remain still use and purpose, centuries of after speculation, Its acres. five than more covering and high feet mound artificial inbiggest Europe, being 125 the Wiltshire, in mound aprehistoric Hill, Silbury ‘ 15 over minutes. alittle of duration atotal for cycle, different altogether and shorter a further, through goes then it, and to back contracts point, this from expands music The slowly. pulsing harmonic adouble- Ewith middle-register a just is there start the At brass’s fanfaring. melodies, from solemn processionals to the slow-moving to reiterations rapid from range will that music in time out measures chiming, and ticking just of instead that, one –but clockwork acomplex of is effect the that so moves, diverse make and maze this in points diverse at go and come soloists and ensembles various The another. one of top on multiplied ratios by simple related all pulsation of rates different of array an labyrinth’, ‘pulse athree-dimensional places Birtwistle score the of head the At organic. being it stop not does mechanical is growth this That growth. steady of process a in participating all pairs, and soloists are as time, to time from forward drawn also are sound, than rather register on based groupings, However, other elsewhere. music their of much behind lies which and twice, back bring they which fanfare, cracked of akind with early quite instigate, challenge or celebrate. They break in to generally is role whose brass, the – especially such as used are formations homogeneous these Often blocks). temple and drums (harp, piano, doubling marimba instruments percussive and strings brass, woodwinds, mixed ensemble, with complete families of alarge at 1977 from arrive we work this With AirSilbury Sir Harrison Birtwistle Silbury Air Silbury ’, Birtwistle notes, ‘is named after after named ‘is notes, ’, Birtwistle Air is not not is ‘Intrada’, as Knussen calls it, the flute is is flute it, the calls ‘Intrada’, Knussen as opening this In relation. British its of that from different very song, its of account on literature Japanese in place a notable has which Cuckoo, Lesser the title, the in mentioned bird Japanese the of impression an giving begins, flute The flute. and soprano for double a of part be to is outing, first an for June in finished piece, 8-minute this because aJaponisme’, of afragment a‘fragment calls subtitle his what create to haiku of astring sets Knussen Oliver thread, Japanese the Taking up Marie-Christine Zupancic Claire Booth O Hototogisu! Knussen Oliver interval here. is it So colours. and distances volumes, of play the observe to only need we admire, we vista the for responsible intervention watercourses, weathering and human geology, of conditions the all know to need We not do results. its in only manifest is logic The modes of change’, become forms. repetition, of modes juxtaposition, of modes via logic ‘invented an through that, objects with filled background, and foreground of course, it comes back. comes it course, of then, But vain. in listens and calls soprano the songlets two last the in and gone, has bird The ensues. ‘Vigil’ Ashort motif. characteristic most own its to bird’s name the out calls the where asection through duetting, and dialogue is there awhile for and (‘Abird resounds’), call finished. But then the human being notices the has soprano the when again over takes flute the with, begin to and, short very are segments sung The life. to comes environment musical other awhole soprano, the to over hand to prepares sh Japanese the of harmonies unearthly the recalling last these harmonics, and string harp instruments), Japanese by accompanied (including percussion some 20minutes soprano soprano flute flute o - . As the flute flute the . As accompanied by a dozen or so players, making making players, so or by adozen accompanied –are basses two and –two singers Four end. the at returns the opening , and leaving when this march in on coming them hear can you square: village a in ashow on putting players touring of theatre, accord, too, with the image of workaday in were forces Small forces. small relatively requiring so and home, her at performed be could that apiece wanted who Polignac, patron PrincesseAmerican-French Edmond de 1915–16, great the from acommission to in written was It period. this to belongs Fox’) ceremonies. church and theatre village rhymes, folk of aRussia in concerned, was music his as far as lived, War, Stravinsky World First the during Switzerland in Residing Charles Gibbs Colin Campbell Christopher Bowen Tom Raskin RSVP Voices: Renard Stravinsky Igor 1 tenor 1 bass 2 bass 1 tenor 2 Renard (‘The (‘The Programme note ©Paul Griffiths note Programme dance. and sing Cock the and Goat the Cat, the strangled, been has Fox the when Finally, old. the of a recycling into music of bits new intercalate to opportunity the sources, folk from libretto own his made who Stravinsky, gives which length, greater at repeated is episode whole the Then action.) the outside narrators, into turn also can singers four all but basses, two by the Goat the and Cat the tenors, two by the enacted are Fox the and Cock (The Goat. the and Cat by the saved is and help for screeches He him. grabs duly Fox The perch. his from down coming into Fox by the tricked is Cock The fable. afarmyard is story The dancer. great the of sister Nijinska, Bronislava by choreography and Larionov Mikhail by costumes and sets 1922, in with company by Diaghilev’s theatre aParis in instead on put but salon princess’s the in played not was piece the event, the In music.) café Hungarian of aspeciality instrument, this with love in fallen briefly, and recently, had (Stravinsky hammers. with played strings tuned of box trapezoidal a , the of prominence the from tang aspecial gains that ensemble a colourful

7 Sat 16 Sep 8 Maurice Foxall Fireworks opener concert Knussen’s ebullient video. and CD on recorded been have and USA the and Europe both in extensively performed been have works these , Festival by Glyndebourne Pop! Are Things Wild – double-bill operatic an on Sendak Maurice with collaborated he 1980s, the In music. British contemporary of forefront the at Knussen’s position cemented 1975) and commission, Dances Ophelia works, including ensemble number of dazzling A classic. a20th-century as regarded widely now is Thomas, Tilson Michael to dedicated (1973–9), Symphony Third his while Orchestra), premiere with the London Symphony its conducting (later Symphony First his wrote he 15 just when was He Tanglewood. at Schuller Gunther and London in Lambert John with 1952, composition in Born studied he richness. and complexity concision, crystalline of work creating composers, influential and eminent most world’s the of one is Knussen Oliver Knussen Oliver curator the About (1984–5, rev. 1999). Originally produced produced (1984–5, rev. 1999). Originally (1988) quickly entered standard standard entered (1988) quickly (1979–83) and (a centennial Koussevitzky Coursing Higglety Pigglety Pigglety Higglety (1979), (1979), Flourish with with Flourish Where the the Where Contemporary Music at the Tanglewood Music Music Tanglewood the at Music Contemporary (1998–2002) and of Head the of (2009–14), Director Music Orchestra with the BBC Symphony Artist-in-Association been also has and 2009 in Award Conductor Society’s Philharmonic Royal the of recipient the was He Anderson. Julian and Henze by Carter, works important including premieres, numerous over presided has and prolifically recorded has He music. contemporary of range awide across advocacy unfailing his for renowned is today, he world the oneAs of in the foremost composer-conductors birthday. 60th his celebrate to organised events many of 2012 in –one Barbican the at festival Immersion Total Orchestra Symphony aBBC of subject flute and ensemble. Knussen’s music was the piano and (2010) piano, for include works Recent Christoph and Eschenbach Esa-Pekka Salonen. Dudamel, Gustavo Barenboim, Daniel including worldwide under conductors performances 100 nearly received Symphony, has Pittsburgh the and Zukerman Pinchas for 2002 in written latter, The violin. and horn for his did as repertoire, orchestral Award and the 2015 the Music. and Award for Queen’s Medal Musician Music, the ISMDistinguished Classical accolades include the Ivor Novello Award for Recent Music. of Academy Royal the at Music of Professor Bennett Rodney Richard inaugural the 1994. in aCBE 2014 In became appointed he was and Suffolk, Snape, in lives Knussen Oliver . with collaboration in Courses Performance and Composition Programme’s Contemporary 1992 established the Britten–Pears 1983 from 1998, to in and Festival Aldeburgh the of Director Artistic was He Group. Music withAssociation the Birmingham Contemporary Artist-in- currently is He (1986–93). Center O Hototogisu! Reflection Ophelia’s Dance Last (2017) soprano, for (2016) for violin and (2016) and violin for

Radostnoi vyesny. Oni khotyat byt’ pyervym byelym tsvyetom Zaprygali, igraya, vryechkye pyenniy strui: Iz treshchin lyedyanoi kory Vyesna prishla. Mazatsumi Nye razobrat’, gdye snyeg igdye tsvyety! No snyeg poshol. V sadu tyebye khotyela pokazat’. Ya byeliye tsvyety Akahito Three JapaneseLyrics Konstantin Balmont(1867–1942) Vorotis khot’ nachasok! Akh, tybyely golubok, Pozabyl tyaltsvyetok, Akh, tybyely golubok Nasladilsa, ulyetyel. On yevo zacharoval, On tsvyetochkom zavladyel Byely golub’vorkoval Na okontse zhtsvyetik al. Golub’ tyelom nyezhno byel Kto tam, shto tam podsmotryel? Golub’ ktyeryemu pripal. Golub’ Slyshish tonkii golosok? Vsyo zovyot tyebya druzhochek Nyezhno-sinyenkii glazok Nyezabudochka-tsvyetochek Govorit: Ty budto, moi! Na zarye szvyezdoi zvyezditsyei Nad vodoyu klyuchevoi, Nad voditsei, nad krinitsei, Nad vodiseuy rastyot. Dlya tyebya moidroog, druzhochek Ochen’ laskovo tsvetyot, Nyezabudochka-tsvyetochek Nyezabudochka-tsvyetochek Two Poems of Balmont fly back to your waiting love. oh my beautifulwhite dove, you forget my sillabove, Oh my beautifulwhite dove, but thenthedove flies away. white andred together love, red andwhite together lie, Red theflower, white thedove, the dove flying to therose? do you seethemnow, ohlook! and there ontheroof thedove, On thewindow silltherose 2 The Dove Listen to theflower’s voice! do you hearme,lovely flower? tender eyes sosweet andblue, The forget-me-not isblooming, fading seemsto say: ‘Willyou bemine?’ when thedawn breaks, night’slaststar down onyou to shine, Then atnightwhenstarlight looks opening theirtender blue. by abrook itspetals growing, all for you, my love, for you, The forget-me-not isblooming, 1 The Flower tidings bearthatspringiscoming. in thestream: how glad they pass, first flowers that play the white floes drift,foamy flakes thatsportand Through thosechinks of prisoningice The springhascome. I know not my flowers from flakes of snow. But falls thesnow, come andseewhere they grow inmy garden. I have flowers of white, Translation ©Estate of Robert Craft

9 Sat 16 Sep 10 O Hototogisu! Buson/Fujiwara Moon remains. But onlythemorning 7 Ilisten for thecallinvain Yosa noBuson(1716–84) Hototogisu’s cry. Listening for 6 Underthecity’semptysky Kaga noChiyo (1703–75) Again theday breaks. Again Hototogisu! 5 Hototogisu! Anon Within thebeakablood-red mouth. White breast striated; 4 Ablack-wing’d bird withspeckledtail, after Nishiyama So – Even thegodspay attention Through clearmountain airatdawn 3 Acallresounds Kobayashi Issa(1763–1828) Quivering. The mountain’s shadow 2 Autumn wind, Uejima Onitsura (1661–1738) Behind Fujisan. The cloudlesssky 1 Vast, animage setinrelief, O Hototogisu! Oliver Knussen Russian translation by A.Brandt Prishla zhelannaya vyesna. To vishnirastsvyeli: Povsyudu, slovno oblaka myezhdu kholmami. Shto eto byeloye vdali? Tsaraiuki - in (1605–82) Translations ©DeutscheGrammophon the cherries;thouartcome,beloved springtime! but acloudletinthemidstof hills:fullblown are Thou would’st say ’twas nought What shimmerssowhite far away? Richard Baker Richard Guildhall Musicians Arrest Cardiac Madness Farewell A WoolrichJohn Sarajevo Osvaldo Golijov Életút György Kurtág Vallis Clausa Castiglioni Niccolò of Celan settings Nine Sir Harrison Birtwistle Alps The Weir Judith of Orpheus Head The Maw Nicholas Ab! Hut (born 1932) Per Nørgård Rattle: is Adès This Monday 18 September

(1992)

(1988)

(1992)

(1992)

(1992) ,

arr Adès arr

(1993 conductor

(born 1954)(born

(1981, arr 1995) arr (1981,

)

(1935–2009) (born 1954)(born

(born 1926)(born (born 1960) (born

(1992)

(1989–96)

(1932–96)

(born 1934) (born

11 Mon 18 Sep 12 written in memory of Stephen Oliver.’ Stephen of memory in written 4of Scene 3 Act in achord from material melodic and harmonic Drawing close. asudden to work the brings voice for passage parlando disinterested almost an material, opening the to areturn Following myth). the of Maenads (the lines clarinet arabesque-like the predominantly around manner detached almost an in wanders line vocal the himself Orpheus ‘Like explains: note his as reasons, dramatic for partly bass). Nicholas chose Maw just the clarinets, double , (, strings three and clarinets two instruments: five of all or any with soprano for write to invited were Composers Woolrich. John and Wiegold by 1980s Mary late the in initiated collection the from –come Golijov the and Castiglioni the set, Birtwistle the of three Weir, –the follow that several and song This Andrew Farnden Ausiàs GarrigósMorant Mirjam Mesak Orpheus of Head The MawNicholas tones. different exploring register ahigh in both with ends other, the and after snapping instrument one estatico, the hocketing, piece begins with electric Allegro Marked Off!’. ‘Hats title appropriate the gave he which to and Numus, music, new for festival Copenhagen’s of anniversary tenth the 1988 in celebrate to composed Per Nørgård which clarinets for duet minute aone- explosive, least not and tiniest its with starts miniatures tight-packed of A programme Andrew Farnden Ausiàs GarrigósMorant Ab! Hut Per Nørgård 16 page see texts For Wozzeck voice clarinet 2 clarinet 2 , the composition was was composition , the clarinet 1 clarinet 1 clarinet 1 Matthew Jones Isha Crichlow Ausiàs GarrigósMorant Patricia Auchterlonie Word the 9 Give 8 Night 7 Tenebrae 6 Todtnauberg open Eye, 5 An Clock and Letter 4 With Psalm 3 Light and 2 White Suns 1 Thread Celan of settings Nine Sir Harrison Birtwistle same. the quite seem not do Alps the that, After Italy. of triad brilliant the then and octave the discovers she on, further looking until, music, this joins soprano The neat’. ‘Grazioso marking appropriate the under viola, and clarinet register, same the in instruments two for uprises, and fourths or fifths falling of music 1992, of is song this in Switzerland, imagined Dickinson’s Emily Weir’s for image Judith Matthew Jones Andrew Farnden Harriet Alps The WeirJudith Pulse Shadows Pulse as them with go to movements quartet string nine version, alternative an in –and, nine were by 1996, until, there continued he which after more and Wiegold John for Woolrich, Mary two write to on went he ensemble, stipulated the and poet the both in discover to more ever finding Then, Light’. and 1989 ‘White in with Birtwistle, for began, songs such Finding poems. these of first the in Celan mankind’,of writes side other the on sung be to songs still are ‘There Alexandre CruzDosSantos Tobias White cello clarinet 2 soprano . viola viola viola clarinet clarinet soprano clarinet 1 clarinet 1 wary course between the two. the between course wary a tread to how is music’s lessons her of least the not and dispassion, and tenderness both knows that one is sings soprano the which from world The whatever. or sonority, same the motif, same cadence, the same harmony, the same pulse, the same the note, same the to asong through returning agenda, own their have instruments the general in on, it pushing or it into nestling time, to time from voice the with connection strong a have certainly clarinets the Though plane. musical own its travelling distant, objectively and close intimately once at is accompaniment the how is voice the estranges also What brilliance. into occasionally burst to acondition in through, squeezing if as strained, alittle strange, little a is line the how from too, comes, Precariousness depart. to ready papers her gathering be to seem might singer the where end, the at echoed be will difference That English. spoken and German sung between switching here setting the retreat), awriting had Heidegger where Forest Black the in village the after (named ‘Todtnauberg’ in comes Adifference melody. by gliding assuaged is fragmentation the time, same the At utterance. fragmented necessarily his of and care poet’s the of veneration, even for, acknowledgment, in cared if as is syllable, each word, Each delivery. slow of matter simple by the partly signalled danger,of is face the in caution of asign precariousness, The discovers. music this lyricism precarious the presaging immediately thereby and registers, high and asoprano’s middle between poised awkwardly anote E, treble-staff on songs the of four for point entry his is too, him, to Familiar composer. this for territory –familiar riddling uncanny and observation natural of world English an towards alittle texts German the bring which phrases, and words Hamburger’s lines the in feels one English), in sung they’re being (today German original the in alternatively sung be may they that so made are settings the of Michael Hamburger’s translations. Although choice Birtwistle’s was songs the all to Important To celebrate the 85th birthday, in 1992, in of birthday, 85th the To celebrate Ben Smith Nathan Tinker Andrew Farnden Isha Crichlow Életút György Kurtág interval notes. separated long, in entirely almost though tempo, faster amuch at last the sets and distichs, four the separates Castiglioni Vaucluse.’ than my to studies conducive more or me to dearer ‘is begins poem world,’ the the all in place ‘No Vaucluse. in live to went he whom near be to Cavaillon, of Bishop Cabassoles, de Philippe protector and friend his to addressed one is poem Latin The economy. notable 1993, with of but contribution this in quintet full the used Castiglioni Birtwistle, Like Alexandre CruzDosSantos Tobias White Matthew Jones Andrew Farnden Isha Crichlow Mimi Doulton Vallis Clausa Niccolò Castiglioni tests you …’. you tests ‘Everything epigraph: as poems ‘Lebenslauf’ the of one from aline of part chooses he here settings; Hölderlin of acycle begin to was Kurtág year following The ‘Lebenslauf’. entitled Hölderlin by Friedrich poems of pair a to refers simultaneously and Course’ ‘Life means that atitle it giving alife, long so of 7-minute condensation this wrote Kurtág Veress, Hungary’s senior Hungarian composer Sándor 20minutes piano 2 cello clarinet 1 basset horn1 soprano piano 1 piano 1 viola clarinet 2 clarinet 2 basset horn2 double bass

13 Mon 18 Sep 14 and viol music, has its own resonance’. resonance’. own its has music, viol and consort for by John used title, the … but programme ‘no us, hidden assures composer the a and episodes slower piece of echo . Mercurial with and piano, Woolrich provided this 10-minute viola clarinet, of trio by aMozartian given be 1992, in to performance aDartington for Writing Dylan Perez Matthew Jones Ausiàs GarrigósMorant Farewell A John Woolrich title. his in named city the of siege the into months 1992, three July in it wrote Golijov alament. also somehow is that song asiren song, folk aSephardic of asetting is strings, and clarinet solo for accompaniment with This song Wiegold’s last from Mary Songbook, Alexandre CruzDosSantos Tobias White Matthew Jones Andrew Farnden Harriet Burns Sarajevo Osvaldo Golijov serenity’. sad with ‘… added Prospero writes: and Kurtág which above finale, slow the into continue and material, other with interspersed are Romanian folk of song. Memories the memory a of memory childhood of akind to time this way give to resume, imitation smudged and change the rules, but not for long before violence and enter horns Two canon. basset elastic in down, aquarter-tone tuned one , two begins piece the Appropriately, piano cello soprano viola viola clarinet clarinet dolcissimo clarinet clarinet double bass disperato coda, it has, , with , with Programme note ©Paul Griffiths note Programme version. original the for headlong goes hands, four piano and bass) and cello (viola, strings bass), and (regular 1995 in clarinets for number the arranging Adès, humour. black cheerful of song apop leave to that year, omits following the coming single, the but protagonist, the fells that arrest cardiac the of imagery includes track the released, 1981 Madness’s band album their for song this wrote (Smash) Smyth and Foreman Alexandre CruzDosSantos Tobias White Matthew Jones Dylan Perez Nathan Tinker Isha Crichlow Ausiàs GarrigósMorant Arrest Cardiac Adès Thomas arr Smash), Chas (aka Smyth Cathal and Foreman Christopher piano 2 cello piano 1 piano 1 viola clarinet clarinet double bass 7 . As thus thus . As About the curator the About millennially optimistic setting ofmillennially a setting optimistic South and by followed was This 1963. in divorce her after Argyll, of Duchess Margaret, of lifestyle disintegrating the of opera, first reachThis came wide stylistic together in Adès’s favourite composer, François . a to tribute in harpsichord, and horn oboe, a and Williams, Tennessee of setting ableak (1993–4), composed, among much else, also had he By then metres. complex and figuration cascading in articulated sonority, instrumental intricate his for flair glittering, Traced Overhead range. stylistic and technical his further extend to was rise meteoric this to Adès’s response conductor. international career as composer, pianist and atriple of start effective the and acclaim Sorrowing his including Room, Purcell the at recital 1993 In it. Adès’s Group Lane Park transcending tradition and spectacularly song-cycle to relating 1both Op. aremarkable piano, and composed his had he 1992. Two in earlier years graduating Cambridge, King’s at College, Music read then and (composition) Saxton Robert and (piano) Paul Berkowitz with &Drama Music of School Guildhall the at studied Adès Thomas Thomas Adès

America: A Prophecy America: Sonata da caccia da Sonata for prepared piano, brought instant instant brought piano, prepared for Powder Her Five Eliot Landscapes Eliot Five (1996) for piano reaffirmed (1996) reaffirmed piano for (1993) for Baroque (1993) Baroque for (1999), a far from (1999), from afar for orchestra (1997), orchestra for (1995), a portrait (1995), aportrait Life Story Story Life for voice voice for Still Still composer’s now mature operatic mastery, mastery, operatic mature now composer’s a was result The Opera. Danish Royal the and Opera Metropolitan the House, Opera Royal the Festival, Salzburg the by jointly commissioned –was composer) the with collaboration in (written Cairns’s libretto Tom setting and film, Buñuel’s Luis on – based Adès’s opera, third composer. Symphony Orchestra by conducted the BBC 2013 the the at with Proms, premiered was soloists, and mezzo-soprano with ). artist video and Rattle) PhilharmonicBerlin Orchestra under Sir them among followed, works concert-hall More world. the around houses opera in seen been since has it invention; fantasy, and spellbinding spectacle musical of interplay virtuoso its for acclaim huge with received was opera play, the ’s on based Oakes by Meredith libretto a Setting 2004. February in there premiered and House Opera Royal by the commissioned was project major next The Orchestra. YorkNew Philharmonic by the commissioned text, Mayan American Profile © Malcolm Hayes ©Malcolm Profile Gerstein. Kirill 2018–19the soloist with season, in Concerto Piano his of premiere the include will that project a wide-ranging Orchestra, Partner Symphony with the Boston Artistic as period athree-year began he year Last Cornwall. Cove, Prussia in Seminar Musicians International the at annually music chamber and piano coaches He 1999 2008. from to Festival Aldeburgh the of Director Artistic was Adès own, his besides music of disposal the at regularly gifts rare of conductor and A pianist year. this April in premiere House Opera Royal the and Festival, 2016 the in Salzburg performances premiere emotional charge. the Adès conducted world powerful its for remarkable ascore in roles, solo multiple of groupings intricate deploying Seven In The Exterminating Angel Exterminating The tour de force de tour (in collaboration with with collaboration (in The (premiered by the by the (premiered , for orchestra orchestra , for of the the of Simon Simon ,

15 Mon 18 Sep 16 (1830–86) intervene! Forever Alps, siren The The solemn Alps, between, aguard like While, side, other the stands Italy on. farther look we And curtains, their neglect Alps The afternoon, odd some Till, cool, so still, So Swiss,— are lives Our Alps The WeirJudith 1935) (born Kelly Robert sea. the in it throw them saw Orpheus And eternally.’ wet them keep now … old growing ever from us kept told lips these ‘All lies the they his kissed mouth and said head his up picked they when yet song’ and wife theory, and love wrong: was did he ‘Everything hissed and limbs scattered his on which the tossed Maenads pyre funeral his saw he lyre his up took Orpheus when hell of skies the saw he awell into looked Orpheus when Eurydices were leaves the all trees the beneath walked Orpheus When Orpheus of Head The MawNicholas what moves us, moves what White name. the and pain the brightness, the We bear together. us blow They beams. The one. lost you, towards Igrew naked which with You arm the and In wind-shadow, thousandfold, you. dunes, uncounted. Sickle Light and White 1995 Michael Hamburger, © © ‘’ from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by of mankind. side other the on sung be to songs still are there pitch: light’s to in tunes high thought – A tree wilderness. grey-black the above suns Thread Thread Suns Celan of settings Nine Sir Harrison Birtwistle To brows. of ashore there. them We with roll brows. The for mirroring’s sake. lent were we brows those near, come to brows It beckons cliffs. from beckons that drift The foam. to turned wave and light-froth with on: they build breaks, drift the where cliff the build They build. They us. like moon-near, distances, The drift. it let Light: and White what we exchange. without weight 1967 by Suhrkamp Verlag; English translation by Michael Hamburger 1988, © English translationFrankfurt; by Michael Hamburger, Verlag, © 1963Niemandsrose’, SFischer by ‘Die from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by the thorn. over, Oover sang we which word crimson the with red corolla our heaven-ravaged, stamen our with our soul-bright, pistil With no-one’s rose. –, the nothing the remain, flowering: shall are, were, we A nothing you. Towards flower. shall we sake your For no-one. name, your be Praised No-one. dust. our conjures no-one clay, and earth of out again us moulds No-one Psalm of Edition Universal (London) Ltd. Hamburger 1988, 1995. Reproduced by permission translation by Michael Hamburger, © English Frankfurt; © 1959 Verlag, SFischer by ‘’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text © 1989 by Edition Universal (London) Ltd eyes. our in unheard, and ice-bright millOcean turns, Sleep. asleep? you Are Michael Hamburger 1988, 1995 Michael Michael Hours, May-coloured, cool. Hours, May-coloured, Eye,An open Hamburger 1988, 1995 translation by Michael Hamburger, © English Frankfurt; © 1959 Verlag, SFischer by ‘Sprachgitter’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by Swimming light, come. leave. to ready bees, of thousand the bridal clock, the of cells honeycomb the time of Empty come? you will light, Swimming away. melted tips The through rings. strange, painful drawn Fingers, waxen too, now? come you will light, Swimming name. your that enciphers name, your that guessed unwritten the seal to Wax Clock and Letter With Hamburger 1988, 1995 translation by Michael Hamburger, © English Frankfurt; © 1959 Verlag, SFischer by ‘Sprachgitter’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by you. to home images the brings the sharper lens, movable, tear,The half, in. goes what count not does way, lash its the in stand not does lid the eyeball: the of depth Aching again. voice, No-one’s mouth. the in audible hot, named, be to more no The Michael Michael Michael Michael

17 Mon 18 Sep 18 1995 Michael Hamburger, © © ‘’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by much. dampness, moors, high the over walks trodden fascine the half- in, listens who man, the us, drives who he in passing, later, clear stuff, coarse single. orchid, and orchid unlevelled, sward, woodland heart, the in word coming man’s athinking of today, a hope, about book that in the line inscribed – mine? before register – whose name did the book the line hut, the in it, above die star-crowned the with well the from draft the eyebright, Arnica, Todtnauberg 1970 by Suhrkamp Verlag; English translation by Michael Hamburger 1988, © 1992 by Edition Universal (London) Ltd We near. are Pray, Lord. Lord. blood, the in was that image the and blood The Lord. We drunk, have Lord. empty, and open so are mouths our and eyes Our Lord. eyes, our into image your cast It It gleamed. Lord. shed, you what was it blood, was It Lord. there, went we To watered be crater. the to trough, the to down bend to there went there, went we Askew near. are we us, to pray Pray, Lord, body, Lord. your were us of each of body the though as clawing and clawed Lord, already, Handled hand. at and near We near, are Lord, Tenebrae of Edition Universal (London) Ltd Hamburger 1988, 1995. Reproduced by permission translation by Michael Hamburger, © English Frankfurt; © 1959 Verlag, SFischer by ‘Sprachgitter’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Michael Michael

of Edition Universal (London) Ltd Hamburger 1988, 1995. Reproduced by permission translation by Michael Hamburger, © English Frankfurt; © 1959 Verlag, SFischer by ‘Sprachgitter’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text © 1992 by Edition Universal (London) Ltd that made the other its target. astone dawn?): (before Audible mouths. two of red the like stars, rails, of network cosmic the in there, up Conceivable: eternity. of sign the –: retina the lignified Image-constant, time: wrong the at finite, eyes, of Exchange comfort. of hour’s message the as thin, note, ashard And scree. and Pebbles Night Michael Michael English translation by Michael Hamburger, © 1967 Verlag Suhrkamp by ‘Atemwende’, from Celan Paul by words Original 1995 Michael Hamburger, Ltd, Anvil Press Poetry London by Celan’ Paul translated of ‘Poems from derived Text Ltd Publishers Music &Hawkes © 1997 Boosey by blows light, blows tongue your at fanwise and palate your off from free works scab quiet The light. ‘pass’, ‘pass’, say,‘Pass’ you –by whom? through Iced answer. answer, answer, by roared through, through rushed you, beside tear the World-apple-sized comes. being A human (Siphets and probyls among them.) missing. is one not female, or Male come. All ‘Breath.’ ‘Tartars’ arrows.’ –these: passwords the give you nighted, –, quarters? by three –half? brain the to Cut Word the Give from the revised 1995 texts printed above. above. printed 1995 texts revised the from Hamburger translations. In a few places these differ Michael the of 1988 set versions composer The © Michael Hamburger 1988, 1995 ‘Art pap.’

19 Mon 18 Sep 20 Traditional dolor). de (Yo hundiré me leche de hace se mar la Si contigo. Para adormir ir nido Yo atu subiré me sola duermes que dicho han Me paloma ala gritan Le llama. marineros alos Que paloma una ventana la En ventana, una torre la En torre, una hay mar la En Sarajevo Osvaldo Golijov Petrarch (1304–74) Valle mori. duce, te cupio, Clausa et tempus ducere supremum Clausa Valle senex mee. fila candida vite et exegi annos dulciter meliores Clausa in Valle vir sinu. amena vallis aprico in fovit reversum iuvenemque fueram Clausa Valle puer meis. ora aptior studiis aut gratior orbe in nullus michi toto Clausa Valle locus Vallis Clausa Niccolò Castiglioni Translations © Susannah Howe grief). with overcome be (I’ll milk to turns sea the If you.’ with sleep I can that so nest your into up climb I’ll alone. sleep you tell ‘I’ve heard dove, the to back call sailors The sailors. passing to out calls who adove sits window the in there’s tower awindow, the in atower, stands there sea the In die. to Iwish by you,Vaucluse in guided and, Vaucluse in days my last spend to Iwant man old an As unfurled. my of life threads bright the where Vaucluse, in tranquillity in years my finest Ispent man agrown As breast. sunlit its on me warmed valley charming this man ayoung as my return on and Vaucluse, Ivisited aboy As Vaucluse. than my to studies conducive more or me to dearer is world the all in place No Vaucluse

Britten Sinfonia Britten Dumbarton Oaks Stravinsky Igor Sinfonietta Britten Benjamin Tempest’ ‘The from Studies Court Thomas Adès Spring A Cold Helen Grime Cantata Knussen Oliver Air Faded the Into Helen Grime Garland A Purcell & Matthews Colin George Benjamin Knussen Oliver Fantasia upon one note Purcell Henry Rattle: is Grime This Wednesday September 20 Nicholas Daniel Daniel Nicholas (1975) (1932)

• (2009) oboe (born 1981) (born

Jacqueline Shave

(1659–95) (born 1971) (born

(1995) (2007) (1937–8)

(born 1952), (born

(1882–1971)

(1913–76)

(born 1946)(born (born 1960)(born

(1680)

violin/director (2005)

21 Wed 20 Sep 22 spiralling sense of modulation created through through created modulation of sense spiralling its tritones, melodic haunting its view: of points numerous from extraordinary ‘is parts, four in piece, chosen his that notes Benjamin George arrangement. than transformation more is what in instrument to instrument from note unchanging the moves Knussen capabilities, regal than more have probably will who musicians four for Writing heard. just we piece the of Knussen’s version Oliver with begins group The celesta. or piano and cello viola, or violin clarinet, for them scoring predecessor, great by their fantasias arrange to Festival Aldeburgh by the invited were worthies British modern-day three death, his of tercentenary the on To Purcell honour 13 Fantasia 7 Fantasia Knussen Oliver arr note one upon note’: Fantasia one ‘... upon Garland A Purcell the same. eternally note one with ventures harmonic bold of acomposition creating in manifest certainly is contrariwise, composer, the of ingenuity the taxed; unduly being without music chamber in part take could II Charles that so throughout, C middle to keeps parts five the of one which in piece, this wrote Purcell legend, to According note one upon Fantasia Henry Purcell another 60. Not only, therefore, do we find 17th- find we do only, Not therefore, 60. another adds he which to 31 only bars, after stopping unfinished, is that parts, four in also a fantasia, of challenge extra the on takes Matthews Colin concludes the piece. section fast Asecond restored. is tempo slow the when celesta) no (almost by another followed texture, of achange brings passage by a joined sounds of (on harmonics string viola and cello) soft the support chimes delicate Its by afifth. transposition upward an necessitating instrument, keyboard his is celesta The ways. both largely, it, very has Benjamin conceivable. been have also would performance keyboard though viols, for fantasias the wrote …’ Purcell dissonances bitter and poignant its counterpoint, seamless George Benjamin Benjamin George , arr , sotto voce voce sotto

Colin Matthews Colin arr clarinet. The first quick quick first The clarinet. ,

Cantata Knussen Oliver others.’ the against set are viola) first and (two instruments upper three the where chorale aserene into and much use of throughout. pizzicato This leads semiquavers rapid with piece, the in movement fast only the is movement third The prominent. the accompanying instruments become more progresses, movement the As accompanying. instruments other the with the for duet extended an is movement second The material. other contributes more and jagged intricate the while melody asustained plays one which of trios, similar two into divided is sextet ‘the writes, she movement’, first the ‘In Sinfonia. Britten for 2007 in sextet string this wrote Grime Helen 4 Grave – 3 Agitato – 2 Lento moto I Con Air Faded the Into Helen Grime débordante marks Matthews climax apolymetrical through future, its into years 300 on bounds also music this instruments, between boundaries through breaking parts contrapuntal with re-energised, music century found its song, the singer is finally at peace. at finally is singer the song, its found Having episode. first the of destination the been had that note the Csharp, ahigh from out sets intense and inward, lullaby’, like a disembodied ‘Very marked song, This section. penultimate the in discovered eventually song, true the for search acontinuous been have to retrospect in seem might what in turnings or blocks – short very are episodes the of Some minutes. many as lasting 10 episodes, are linked There later. years two in home back it 1975 in Tanglewood at completed and piece the began He sings. oboe –an trio astring from accompaniments, atmospheres and prompts –to which in composition, instrumental this for term the appropriates aptly Knussen piece; avocal usage, in as etymology in is, A cantata Nicholas Daniel (‘with overflowing joy’). overflowing (‘with oboe avec une joie une joie avec

quasi-passacaglia with which the work ends. work the which with quasi-passacaglia the for material the provides decelerated, greatly and, portrait, Gonzalo’s amiable before again intervenes them, introduces fanfare Ashock lines. two between shadowplay King’s the adrooping sweet, and assertive alternately is music Ferdinand’s one. a sneaking in then dance, aslippery in first figured is Antonio cards. (court) of ahand on as stylised and crisp as designs into compressed are, they Here Gonzalo. counsellor old honest the and Naples, of King father, the latter’s the Ferdinand, prince young the Antonio, usurper the Prospero’s island: on arrive who figures leading the scans piece, chamber first his written had composer the which for grouping –the piano and cello violin, clarinet, for scored Tempest of treatment Adès’s of operatic performance first the after year the 2005, in Written King’s– 6The Grief Counsellor –5The Duke’s False Defeat – 4The King –3The Prince –2The Duke False 1 The Tempest’ ‘The from Studies Court Thomas Adès contrast.’ stark of impression an create to ensemble combined the with juxtaposed are duets and Solos group. whole the for outburst energetic an with opens movement third The lullaby. a of afeel it lending rhythm rocking repetitive a with nocturnal, more character its ensemble, by the accompanied horn solo for concerto amini is second The clarinets. two for duet exuberant an features and fast-moving is first The abreak. without almost played movements three into ‘falls notes, composer work’, the ‘The Festival. Aldeburgh 2009 the for Group Music Contemporary Birmingham by the commissioned This second piece Grime Helen was 3 Tumultuous 2 Calmo 1 Spring A Cold Helen Grime interval 20minutes , this continuous 8-minute movement is is movement 8-minute continuous , this Catch , in 1991. The piece 1991., in piece The The The up by the woodwinds. Soon the strings get their their get strings the Soon woodwinds. by the up built again nature, pastoral amore of material secondary and strings, low –over movement the through right continue will that growth by development of akind creating last, the to responding –each woodwinds by solo initiated subject first amarch-like with allegro, a sonata of character the of some has movement first The own. Britten’s be would that future the future, the from rather are contains it echoes the and sure, stands It epigone’s work. an sense no in is this But gestures. the of some in implicated be also may Schoenberg’s to attention thoughtful paying been had composer young the suggests quintet, string and quintet wind 10 of soloists, orchestra an for scoring Its knowhow. and brilliance of level asupreme at stands vacation, summer the of start the at weeks three in however, written published following his death. The and revived justly were which of several him, behind works of asheaf with composer, aseasoned already was he 18 time, the at Only 1. Op his as dignify to piece the was this decided have should RCM, the at year second his finished just having Britten, why understand well can One 3 Tarantella lento Andante 2 Variations, agitato ed presto 1 Poco Sinfonietta, Op Britten Benjamin before its final round. final its before ahalt to comes which Tarantella, concluding the of triplets spinning the start to itching is ends, movement this before that, cello the is It . and horn for and violins for duets including joins, with variations of asequence being point this at next the next, the to one from links motivic are there nevertheless, together; movements his piling in Schoenberg emulate not does Britten close. its toward powering in again more and so, less agitated, more becomes music the and violin, first the for asolo with limelight, the in turn 1 First Chamber Symphony Chamber First Sinfonietta , which ,

23 Wed 20 Sep 24 at Monthoux, close to Geneva, where his wife wife his where Geneva, to close Monthoux, at 1938 of summer the in composition the began He in Chicago.Concerto Brandenburg Third the conducting been recently had 1920s, and early the since energy rhythmic pulsing and objectivity design, contrapuntal of amodel as taking been had He himself. to agesture also was patron his to gesture The start. the at Brandenburg Third the of opening the to by alluding point the confirmed –and basses double and of each two and violas, and violins of each three horns, two bassoon, clarinet, –flute, 15 of players ensemble an for wrote duly Stravinsky Concertos; Brandenburg Bach’s to scale in similar apiece stipulated had Bliss Mrs the work’s nickname. Hence DC. Washington, of section Georgetown Oaks’ ‘Dumbarton Eflat, in Concerto Stravinsky Igor treasures: treasures: Pre-Columbian and Byzantine of amuseum into and her ambassador husband had made she house the at performance for Barnes) Mildred (née Bliss Woods Robert by Mrs 1939, in Europe commissioned leaving before finished Stravinsky piece last the was This moto 3 Con 2 Allegretto 1 Tempo giusto Dumbarton Oaks Dumbarton , in the prestigious prestigious the , in

Programme note ©Paul Griffiths note Programme fun. of a sense packing the music with Brandenburgishness and interplays of instrumental colour, altogether and games contrapuntal of full is movement way, the each Along finale. the in amarch and movement, middle the in tune of sort nonchalant askipping, 3 tag, Brandenburg the beginning: its of motif the to back and around from, away springing keeps movements three the of Each stability. of kind ironic an was offering was Stravinsky what whereas revolution, for nostalgic still after acentury of Aquarter face. the in aslap as Ansermet Ernest supporter old by Stravinsky’s taken was charmer diminutive this and hostile, or puzzled were Initial reactions from and critics fellow composers through. fallen had tour US another for plans his as there, not leading the orchestra. The composer himself was longstanding recital partner, Samuel Dushkin, Boulanger and conducting Stravinsky’s year, Nadia that with 8 May anniversary, wedding couple’s 30th the on home Bliss the at promised, as place, took performance first The 1938. March in late Paris in finished was it until season, but the composition proceeded fitfully, came the during ensuingInterruptions concert was undergoing treatment for tuberculosis. The Rite ofSpring Rite The , people were were , people Amy Barton About the curator the About is great. is this like out sold be to music newish or new of aconcert for and opportunity awonderful also it’s But well. as daunting it’s honour, though agreat it’s course Of attack! apanic have I’d or it about closely too think to not I’m trying concert? LSO Rattle’s first Simon launching fanfare your about feel you do How this’. doing be should girls that unusual quite actually ‘It’s said, No-one difficult. be would it that even or odd was it that me to occur didn’t It Beamish. Sally with lesson my first 12 Ihad about when –Iwas age a young quite at school at lessons composition offered be to lucky Iwas knew. Ireally all was –it teachers music were my grandparents age, young areally from music classical heard I life. my family of apart much so just was Music composer? aclassical become to choose 1990s inthe inEdinburgh aschoolkid does Why Sinfonia. Britten for aprogramme curating to LSO by the from aspirations early via being commissioned spoke to the composer about her experiences, Barbican The 21st the in century. music classical British in emerge to voices compositional striking most the of one is Grime Helen Helen Grime

Garland Air Faded my piece Iwrote when alot to listening actually Iwas who and close very Ifeel whom to he’s Purcell; Ilove Elgar. acomposer than back further it take to Idecided so music, British about be to it wanted much very Sinfonia Britten you? to important he Is ofPurcell. music by the anchored is Sinfonia you’ve Britten that for curated programme The connection. anice like feels on 10 LSO years the for piece another writing So year). following the Paris in conducted actually 2010 he about in (which Boulez Pierre for concert apresentation in again it played LSO wrote, Iever piece orchestral first the actually, But is. It your music? conducted has Rattle that time first the this Is come. to is that piece the of hints and undertones darker has also which but something that’s sparkling, that’s celebratory, of thinking Iwas well. as it in included are movements other the all of germs the concert, this of opening the being as well as So piece. longer the of part first the be to Yes going –it’s commission? LSO other your to any relationship have it Will meets-helen-grime/ http://blog.barbican.org.uk/2017/08/barbican- Iam. where of idea clear avery Ihave moment the at But be. to it Iwant where to get eventually it’ll hopefully and evolve, to it Iwant how and be to my music Iwant what about idea a clear quite had I’ve always on. moved –I’d it written I’d after years three was it my piece conducted he time by the Boulez, With voice. own my finding me about supportive so was she but now, ago time along me taught Beamish Sally voice? own ofyour emergence the hindered or helped they have far: so career inyour many influences been clearly have There George Benjamin. and Knussen Oliver Matthews, Colin much: very connection,personal and whose music I admire aclose Ihave whom with composers three Virga , which seemed a nice way of including including of way anice seemed , which . Then there was this piece piece this was there . Then in 2007, was for the LSO, and the 2007, in the LSO, and the for was A Purcell A Purcell Into the

25 Wed 20 Sep 26 Produced by the Barbican and the BBC Singers BBC the and by Barbican the Produced broadcast via the daysafter Radio30 3website. on Friday 29 September at7.30pm in Presented Handley by Martin and recorded by BBC Radio 3for broadcast Brabbins Martyn Nash Ensemble Singers BBC Moth Requiem The Sampler Pulse Sir Harrison Birtwistle Lamentations William Byrd Sir by for instruments Tropes arranged Plainsong with Dame Nostre de Messe Guillaume de Machaut Octandre VarèseEdgard Rattle: is Birtwistle This September 23 Saturday Harrison Birtwistle

(1923)

conductor (

(1981) (1981) c 1560s) 1560s) ( c 1540–1623) (1883–1965) (2012) (2012) Radio 3in Concert ( c 1385, arr 2017) 2017) arr 1385, (born 1934) (born ( c 1300–77) and available for

BBC Singers Benedictus 1 Kyrie Birtwistle arranged for instruments by Sir Harrison Tropes Plainsong with Dame Nostre de Messe Guillaume de Machaut more. once oboe by the change, tempo the at soon, followed bassoon, the are here soloists main the though finale, the begins bass double the discord searing afinal of Out note. one on insisting movement gesture,typical the piccolo opens the second Varèsianunmistakeably In another profile. an given idea elemental –an octave an down slipped note second the with scale sounding a four-note descending chromatic oboe, the is movement first the Instigating . instrumental of interplay an introduce asoloist having of that idea, asingle of development the in stages as regarded be could they Indeed, character. or speed in differentiated greatly not are these though movements, (short) into division the and relationships motivic and thematic of richness the percussion, of absence the is Unusual bass. double plus instruments brass and woodwind orchestral the of each one for is piece the eightfold, Similarly stamens. distinct eight with flowers to refers title whose Varèse’s 1920s, including the of works in partly lie ensemble modern the for sources The Peter Buckoke Fulcher Mark Ursula Leveaux Richard Hosford Melinda Maxwell Philippa Davies jubilatoire et –Animé 3 Grave nerveux 2 Très et vif lent 1 Assez Octandre Edgard Varèse 30 page see texts For Richard Hosford Melinda Maxwell Philippa Davies • 2 Gloria • 5 Agnus Dei 5 Agnus double bass flute/piccolo flute/piccolo bassoon clarinet clarinet horn • oboe oboe 3 Credo 3 Credo • 6 Ite missa est missa 6 Ite • 4 Sanctus & & 4Sanctus Octandre

, is ‘hocket’, whereby one part moves against the the against moves part one whereby ‘hocket’, is vitality rhythmic the to further adds occasionally What notes. long on rest, relative and activity between swings passage this of music the as flux in ‘e’.closing constantly is metre The word’s the extend to simply singers the require that bars 20 than more through exuberantly, absconds, it then –but together locked voices hear, we four from (Lord), –‘Kyrie’ word first the proclaims vigorously It text. the on ways two in acts music Machaut’s opening, its from Right Mass. the of section final the in play to parts of instruments the for arranged being interpolations those present, our into and known, have would Machaut that chant of interpolations with past, further the towards simultaneously ritual that ritual itself. a become has it aritual, of part longer No declaims. it belief of items the left Mass, Catholic the left France, medieval left location, that left long has music The by pagans. killed was bishop early an where place the spot, holiest building’s ancient the at Mary Virgin the of honour in Mass of celebrations for work this wrote he 60, around aged where, and acanonry, held he where Rheims, to retired eventually Machaut Richard Benjafield Peter Buckoke Byron Fulcher Mark David Richard Watkins Ursula Leveaux the four segments of the Kyrie, the Amen of the the of Amen the Kyrie, the of segments four the in Mass: the of much through parts lower two the in –features values note of asequence through revolving repeatedly of technique –the Isorhythm length. section and value note of levels, two on duration as measured arithmetic, to attention its turns music variations). From contemplation of God, the some (with once just recycles it subject rhythmic alonger has register lower this in part other the while times, nine presents it formula rhythmic a to plainsong the of notes the fixes line tenor The obvious. less far be may that correspondences longer-range also are There register. tenor’s own the in one and melody, plainsong original the follows tenor, the which above two parts: added three the around bounces rising) (or conversely one alonger to scalewise descending notes short two of amotif Elsewhere, by others. enunciated beats strong Octandre

This evening’s inflects performance by Birtwistle, who also gives them them gives also who by Birtwistle, trumpet trombone double bass bassoon horn

27 Sat 23 Sep 28 Richard Benjafield Melinda Maxwell Pulse Sampler Sir Harrison Birtwistle monument. awounded is have we What lost. altogether now sections other been have may there which besides standard), become has version Dunkley’s (Sally editor modern by the supplied be must and sections some from missing is part one because necessary, is Acaution name. letter Hebrew a of singing by the introduced each verses three the statement, closing and verses Biblical three statement, initial length: similar of sections five comprises us, to down come has it as work, The households sharing his Catholic faith. by privately use for music his intended he seem would it liturgy, Sarum English the than rather rite, of service Friday Good the from passages the chose Byrd However, since understood. be would it where Latin in music church of singing the Isanctioned Elizabeth but The English Reformation had been completed, mid-1560s. the in Jeremiah of Lamentations the from setting this made have to reckoned is Byrd BBC Singers Lamentations William Byrd interval lustre. by its and geometry its by background, gold by the as subject ostensible by the much so not held being were gaze our period, this from apainting if,as viewing in is It sound. pure into dissolve they that extended far so are words the sections, other all In textless. are that gestures preludial curious for also except for a few words demanding emphasis, and except possible, as fast as texts lengthy relatively these through get to rather seems impetus music’s the –though comprehensible and present are words the that so syllabically, part most the for set are Credo the and Gloria the Only abides. it by which adeclaration makes work the instants, first its after behind words leaving In est. missa Ite the to response gratias’ ‘Deo the and Dei, Agnus the Benedictus, and Sanctus the Credo, the of that and Gloria 20minutes oboe claves Tenebrae in the Roman Roman the in ‘Robin Blaser’, the composer has explained, explained, has composer Blaser’, the ‘Robin draws. music the which on poem by the determined also was instruments of choice the –though harps and voices of labyrinth the through thread ’s an offering last this flute, an and harps three with voices 12 for women’s alament is work resulting the creatures, those like dusky, and Delicate moths. with fascination ashared of by way them found he words, other later, seeking now years Three opera millennium his of librettist Blaser, the Robin in afriend lost Birtwistle 2009 In harps Lucy Wakeford,Helen Tunstall, Hugh Webb, Philippa Davies BBC Singers Requiem Moth The Sir Harrison Birtwistle another. one on reliant totally yet independent and different totally players, two of drama a create to and move, the on repeatedly is – that oboist by the up taken and player claves by the –given pulse of amusic establish to him allowed Sampler Pulse Hence simple percussion. with instrument melody a for music inviting thus lines, single and staves regular alternated page, the down that, book this 10-minute piece from a music manuscript for idea the got account, own by his Birtwistle, 1981 In atrigger. be can anything Almost Programme note © Paul Griffiths note Programme harps. percussive with solo flute alto by an introduced were) it as (trapped, segment central abrief just occupying poem the time, the of most hear we names these is it Indeed, lost’. are which things for metaphor of sort a as moths extinct of names the are ‘there again, composer the quote to poem, Blaser the Besides dance. and dirge between moves that music in bright, and sullen world, moths’ the is This definite. and mysterious once at something of sense the conveying also while entrapment, resonant of sound that produce harps Birtwistle’s vibrating.’ strings lower the setting was it out get to trying in and piano, the of strings the under trapped moth a large discovered they end the in it, until identify couldn’t They house. the in somewhere sound strange a was there said all they and friends, some with lived he when atime about poem amoth ‘wrote (women’s voices) , for oboe and claves. The set-up set-up The claves. and oboe , for alto flute Last The . Hanya Chlala/ArenaPAL theatre pieces – principally –principally pieces theatre music- and his in evident most is This National. the at experiences his on drawn have works subsequent his all nearly that say to true Aeschylus’ of production celebrated Hall’s Peter Sir on notably most Theatre, National the at Director Musical as worked he when atime also was 1986.in This Opera National English at premiere its received tragedy’ ‘lyrical mid-1980s was dominated by his monumental 1970s the to early the from period The music. British in voice exciting and aunique as himself established (1968–9) and Judy and developments. With key works such as these of heart the at was Birtwistle 1970s. 1960s early the and in Britain in thinking musical new of flowering unprecedented an to led avant-garde War World European Second Viennese colleagues and School the post- Second his and Schoenberg both of modernism musical the in interest shared Their Howarth. Ogdon and the trumpeter and conductor Elgar John pianist Goehr, the Alexander and Davies Maxwell Peter composers the talent: British young of group aremarkable of company the in Music of College Royal the at composition and clarinet of a student as spent were years formative Birtwistle’s Harrison Sir Birtwistle Harrison Sir curator the About (1983–4), (1983–4), (1966–7), (1966–7), The Triumph The ofTime The Mask ofOrpheus Mask The (1989–91), Verses for Ensembles Oresteia The Second Mrs Mrs Second The . It is probably probably is . It (1971–2) he he (1971–2) , which Punch Punch

part of Sir Simon Rattle’s opening concert as as concert Rattle’s opening Simon Sir of part as Concerto Violin his of performance week’s last and Porto in Música da Casa the at music his of concerts of series ayear-long , of performance staged asemi- included have year this Highlights (2015). and (2013–14); Aimard Pierre-Laurent for written (2012); , alto apiano Requiem work tonight’s Gabrieli); Giovanni of music antiphonal the on (based ensembles three include works recent Other Bird ofNight Shadow The melancholy, including of idea the explore that orchestra for works monumental of line along in continues Berlin, in Barenboim Daniel Game (1984), including works, orchestral and ensemble solo, major his of many of true also Corridor Passion Kong Profile © Jonathan Cross time. our of achievements artistic great the of one is 21st centuries early and 20th late the of music the to contribution rich His radical, challenging. single-minded, individual, years: those all over unchanged relatively remained has acomposer as identity his terrible from progress his that appear thus would It degrees. honorary of aclutch given (1995) been Prize has and Siemens the and (1987) Award Grawemeyer the received has He 1988. in 1986 knighted in was and Lettres des et Arts des l’Ordre dans Chevalier created was He him. on bestowed awards of astring of significant most the 2001, in just was this Honour of aCompanion made was Birtwistle When Orchestra. Music Director of the London Symphony ( The Silk House Sequences Sequences House Silk The 2004). (1993–4), (1993–4), (2002–3). Premiered earlier this year by by year this earlier Premiered (2002–3). to establishment figure is complete; yet yet complete; is figure establishment to Endless Parade Parade Endless (2003), (2003), (2009) and and (2009) for 12 female singers, three harps and and harps three singers, 12for female The The The Last Supper Last The The Cure Cure The (2001) and Dances Earth (1986–7) and (1986–7) and The Last Supper Last The In Broken Images Images Broken In Deep Time Deep (2005–7), (2005–7), (2014–15) is –but for for string quartet (1998–9), (1998–9), Secret Theatre Night’s Black Black Night’s

Responses enfant enfant (1985–6), (1985–6), Theseus The Moth Moth The (2016) The The

in in The Io Io The , for for ,

29 Sat 23 Sep 30 et conglorificatur: qui locutus per est prophetas. adoratur simul Filio et Patre cum qui procedit, Filioque Patre ex qui vivificantem: et Dominum Sanctum in Spiritum Et finis. erit non regni cuius iudicare vivos et mortuos: gloria, cum est venturus iterum Et Patris. dexteram ad sedet caelum: in ascendit Et scripturas. secundum die, tertia resurrexit Et est. sepultus et passus Pilato, Pontio sub et homo etiam est. Crucifixus factus pro nobis virgine, Maria ex Sancto Spiritu de salutem descendit de caelis, et incarnatus est nostram propter et homines, nos propter Qui sunt. facta omnia quem per genitum non factum, consubstantialem Patri, vero, Deo de verum Deum lumine, de lumen Deo, de Deum saecula, omnia ante natum Patre ex et unigenitum, Filium Dei in Christum, unumEt Iesum Dominum omnium,visibilium et invisibilium. terrae, et caeli factorem omnipotentem, Patrem Deum, unum in Credo Credo Amen. Patris. Dei gloria in Spiritu, Sancto Cum Tu solus Christe. altissimus, Iesu Quoniam tu solus Tu sanctus. solus Dominus. nobis. miserere Patris, dexteram ad sedes Qui nostram. deprecationem suscipe mundi, peccata tollis Qui nobis. miserere mundi, peccata tollis Qui Patris. Filius Dei, Agnus Deus, Domine Christe, Iesu unigenite, Fili Domine Pater omnipotens, Deus caelestis, rex Deus, Domine tuam. gloriam magnam propter tibi agimus Gratias Adoramus te. Glorificamus te. te. Benedicimus te. Laudamus voluntatis. bonae hominibus pax terra in et Deo excelsis in Gloria Gloria Kyrie eleison. Christe eleison. Kyrie eleison. Kyrie Tropes Plainsong with Dame Nostre de Messe Guillaume de Machaut, arr Birtwistle

And in one Lord Jesus Christ, Jesus Lord one in And invisible. and visible things all of and earth, and heaven of maker Almighty, Father the God, one in I believe Father. Amen. the God of glory the in Spirit, Holy the With Christ. Jesus high, most art only Thou Lord. the art only Thou holy. art only thou For us. on mercy have Father, the God of hand right the at sittest that Thou, prayer. our receive world, the of sins the You away takest us. on mercy have world, the of sins the You away takest Father. the of Son God, of Lamb God, O Lord Christ, Jesus Son, only-begotten the O Lord almighty, Father the God king, heavenly God, O Lord glory. great thy for thee to We thanks give thee. We glorify thee. We worship thee. We bless thee. We praise men. towards will good peace, earth on and high on God to be Glory mercy. have Lord, mercy. have Christ, mercy. have Lord, and glorified: who spoke by the prophets. worshipped is Son and Father the with who and Son, Father the from proceedeth who life: of giver and Lord Spirit, Holy the in And end. no have shall kingdom whose dead: the and quick the both judge to glory with again come shall he And Father. the of hand right the on sitteth and heaven: into ascended And scriptures. the to according again rose he day third the And buried. was and suffered he Pilate, Pontius under us for also crucified was And man. made was and Mary, virgin the of Spirit Holy by the incarnate was and heaven, from down came salvation, our for and men, us for Who made. were things all Father, by whom the with substance one of being made, not begotten God, very of God very light, of light God, of God worlds, all before Father his of born God, of son only-begotten the

Euclemensia Paranthrene tabaniformis Leucodonta bicoloria discipunctella Depressaria immorata Scopula Requiem Moth The Sir Harrison Birtwistle Lamentations 2:8–10 tuum. Deum Dominum ad convertere Jerusalem, Jerusalem, sua. capita cinere consperserunt Sion, filiae senes conticuerunt terra, in Sederunt Jod. gentibus. in eius principem et eius regem eius: vectes contrivit et perdidit, eius: portae terra in sunt Defixae Teth. aperditione. suam manum avertit non et suum, funiculum tetendit Dominus murum dissipare filiae Sion: Cogitavit Heth. De lamentatione Jeremiae prophetae. Lamentations William Byrd gracias. Deo est; Missa Ite est Missa Ite peccata mundi, dona nobis pacem. tollis qui Dei, Agnus nobis. miserere mundi, peccata tollis qui Dei, Agnus Dei Agnus Hosanna in excelsis. Domini. nomine in venit qui Benedictus Hosanna in excelsis. tua. gloria terra et caeli sunt Pleni Dominus Deus sabaoth. sanctus sanctus, Sanctus, Sanctus and Benedictus Amen. saeculi. venturi vitam et mortuorum, resurrectionem expecto Et baptisma in remissionem peccatorum. et apostolicam Confiteor ecclesiam. unum catholicam unam sanctam Et Isturgia limbaria Isturgia Her gates are sunk into the earth: he has he earth: the into sunk are gates Her Teth. destruction. from hand his turned not has and aline out stretched has he Zion: of daughter the of wall the destroy to thought has Lord The Heth. prophet. the Jeremiah of lamentations the From God. to be thanks ended; is Mass the Go, peace. us grant world, the of sins the away takest that God, of O Lamb us. on mercy have world, the of sins the away takest that God, of O Lamb highest. the in Hosanna Lord. the of name the in cometh who he is Blessed highest. the in Hosanna glory. thy of full are earth and Heaven hosts. of God Lord Holy, Holy, Holy Amen. come. to world the of life the and dead, the of resurrection the for Ilook And sins. of remission the for baptism one Iacknowledge church. apostolic and And in one, holy, catholic Borkhausenia minutella Borkhausenia polygrammata Costaconvexa coenosa Laelia Acronicta auricoma God. your Lord the to turn O Jerusalem, heads. their upon ashes thrown have they silent, remained have Zion of daughter the of elders the ground, the upon sat They Jod. Gentiles. the among are prince and king her bars: her broken and destroyed

31 Sat 23 Sep 32 Mike Kear Associate attheGuildhall School. He isProfessor of CompositionandResearch Wigmore Hallcommission for theAtos Trio. a site-specific pieceinBirmingham anda Society Award. Current commissionsinclude was shortlisted for aRoyal Philharmonic BCMG commission, and inLondonwithJohnWoolrich. Hissecond studied intheNetherlandswithLouis Andriessen Equally respected asacomposer, Richard Baker production of anew work by Guto Puw, with MusicTheatre Wales inahighlypraised conducting Bit20inNorway andanother debut Oliver Knussen.Herecently made his debut Sir JamesMacMillan, JonathanHarvey and portrait concertsof Stockhausen, George Crumb, Immersion days, for whichhehasconducted is aregular collaborator for theBBC’s Total 4:48 Psychosis Rogers’ and ElspethBrooke ( of new works by Francisco Coll( and ,includinginadouble-bill frequently attheRoyal Opera House,Aldeburgh Badische Staatstheater in2013. Heappears The Triumph of BeautyandDeceit Triumph of TimeandTruth Lighthouse production of ’s have includedEnglishTouring Opera’s 2012 leading composersof ourday. Engagements Richard Baker works regularly with the Richard Baker About the performers Richard Baker The Virtuesof Things andadouble-billof ’s willberevived inthespring.He conductor The Tyranny of Fun The Commission andGerald Barry’s ; PhilipVenables’s Café Kafka atKarlsruhe’s

) and Matt ) andMatt The The (2013), Y Twr. Y The The )

Benjamin Ealovega Deutsche Sinfonieorchester Berlinlastseason. Royal Concertgebouw, Tokyo Metropolitan and leading international , returning to the of theUK’stop orchestras, andregularly conducts popular figure attheBBC Proms andwithmany Lyon, Amsterdam, Frankfurt andAntwerp. Heisa Scala, theBayerische Staatsoper, andregularly in early days attheKirov andmore recently atLa music, hehashad abusy opera career sincehis National Opera. Aninspirational force inBritish Martyn Brabbins isMusicDirector of theEnglish BrabbinsMartyn at theRoyal Collegeof Music. a new positionasVisitingProfessor Last seasonMartynBrabbins took up International Festival of Music(2005–07). (2012–16), andArtisticDirector of theCheltenham Chief Conductor of theNagoya Philharmonic the Royal FlemishPhilharmonic (2009–15), (1994–2005), PrincipalGuestConductor of of theBBC Scottish Symphony Orchestra Harvey. Hewas Associate PrincipalConductor discs of operas by Korngold, Birtwistleand over 120 CDsto date, includingprize-winning premieres across theglobe.Hehasrecorded composers andhasconducted hundreds of world He isalsoknown for hisadvocacy of British Martyn Brabbins conductor

Mark Allan scale instrumental andvocal works, including for horn andfor violin,andmany smaller- Sendak, aswell asthree , concertos Pop! Where theWildThingsAre Among hisbest-known works are theoperas the Library of Congress inWashington DC. of Music,New EnglandConservatory, and ,theEastmanSchool he hasbeeninvited for residencies atthe Britten–Pears Schoolin1992. Inrecent years, Composition andPerformance coursesat the Together withColinMatthews hefounded the the Queen’sMedalfor Musicin2015. was appointed CBEin1994 andreceived the BBC Symphony Orchestra (2009–14). He (1998–2002) andArtist-in-Association with Music Director of theLondonSinfonietta of theHague (1993–97), Center (1986–93), PrincipalGuestConductor Contemporary MusicattheTanglewood Music the (1983–98), Head of in 2009,hehasserved asArtisticDirector of Royal PhilharmonicSocietyConductor Award including theNemmersPrizein2006and The recipient of many honoursandawards, Professor attheRoyal Academy of Music. Music Group andRichard Rodney Bennett Association withtheBirminghamContemporary now lives inSuffolk. Heispresently Artist-in- of theLondonSymphony Orchestra) and (where hisfather was principalDoubleBass in Glasgow in1952, grew upnearLondon in theworld today, Oliver Knussenwas born One of thepre-eminent composer-conductors Oliver Knussen Ophelia Dances Two Organa Oliver Knussen , written incollaboration withMaurice and , Coursing Requiem: Songs for Sue conductor and , Songs withoutVoices Higglety Pigglety

. , Ensemble andthenco-founding andleading herself to chambermusic,leading theSchubert Opera, butsoonmade thedecisionto dedicate Academy shebecameLeader of EnglishTouring Britten–Pears SchoolinSnape.Onleaving the love of chambermusicfrom hertimeatthe her particularperformance inspiration and at theRoyal Academy of Music,butdrew Jacqueline Shave received herformal training Jacqueline Shave DG, Decca,Virgin, NMCandOndine. has recorded some60CDsfor labelsincluding Royal Stockholm PhilharmonicOrchestra. He retrospective ComposerFestival given by the and in2016 hiswork was thesubjectof a Birmingham, LondonandTanglewood, special events inAldeburgh, Amsterdam, His 60thbirthday was celebrated with complete stringquartet cycle on John Parricelli (guitar). Shealsopresented a in collaboration withKuljit Bhamra (tabla) and Postcards from Home other musicalpathways, whichresulted in In 2011 she took ayear away to explore Britten OboeQuartet withNicholasDaniel. group inGlasgow, andsheistheviolinist inthe the Red Note Ensemble,acontemporary music 2005. In2013 sheadditionally became leader of She was appointed leader of Britten Sinfonia in Symphony andRoyal Philharmonic orchestras. Orchestra, Composers Ensemble,BBC Scottish Scottish ChamberOrchestra, EnglishChamber including theNashEnsemble,LondonSinfonietta, of theUK’sleading orchestras andensembles, She isindemandasaguestleader withmany she recorded andgave concertsworldwide. the BrindisiQuartet for 15 years, withwhich Jacqueline Shave violin/director , aworld music/jazzCD

33 About the performers 34 Sven Arnstein appearances includeRossi’s and and Knussen’s Fragments Haas’s productions, whichincludeGeorg Friedrich Jones to produce aseriesof criticallyacclaimed she hascollaborated withvideodirector Netia festivals and theProms. For more thanadecade Intercontemporain, theAldeburgh andHolland ChamberOrchestra andEnsemble City of BirminghamSymphony orchestras, resulted incloseassociationswiththeBBC and Her numerous concertappearances have Sir HarrisonBirtwistle’s premieres: Oliver Knussen’s Festival also saw herperformance of two world the performance of new works, theAldeburgh reputation incontemporary repertoire and for Poulenc’s season shereturned to theAldeburgh Festival to theoperatic stage andconcertplatform. Last for thevitality andmusicianshipthatshebrings to anextraordinary breadth of repertoire, and internationally renowned both for hercommitment British soprano Claire Booth hasbecome Claire Booth 1672. from dating violin Amati aNicola plays Shave Jacqueline Hestur, intheNorthAtlanticFaroe Islands. a free improvisation concertinacave on the Hebrideanislandof Harris,andgave Claire Booth Higglety, Pigglety, Pop! Atthis (both attheRoyal Opera House) andGyörgy Kurtág’s La voix humaine soprano Where theWildThingsAre Chorales from aToy Shop (Rhoda). Further (Rhoda).Further O Hototogisu! Oratorio perla . Withagrowing Kafka (Max) (Max) , and , and . across Scotland. the BBC Scottish Symphony Orchestra for atour Ensemble inPorto, aswell as Wigglesworth’s of Knussen’s Highlights of thisseasonincludeperformances and . Britten, Harvey, Knussen,Eccles,Jonathan Dove premiere. Othersrecordings includeworks by his diverse works by , including Christopher Glynn.Shehasalsorecorded folk songsby Percy withpianist Claire Booth’s mostrecent CDrelease features with theNashEnsembleatWigmore Hall. Symphony Orchestra andRavel chamberworks by Wigglesworth andKnussenwiththeBBC Settimana Santa Cracow andBayreuth. After graduating, she prizes atflute competitionsinCremona, Moulins, in ColognewithRobert Winn.Shewon numerous Born inGermany, shestudiedattheConservatory Walden. Birmingham and30 September inSaffron with Xavier deMaistre on28 September in will beinMozart’sConcerto for flute andharp with theorchestra: hernext soloperformance In addition, shefrequently appearsasasoloist of theCityof BirminghamSymphony Orchestra. Marie-Christine ZupancicisSectionLeader Flute Marie-Christine Zupancic Marie-Christine Zupancic Augenlieder Requiem: Songsfor Sue , of whichshegave theworld Augenlieder with ChristianCurnyn, works flute with the Remix withtheRemix Les illuminations and and with with Eric Richmond Nicholas Daniel went on to winfurthercompetitions inEurope. Young Musicianof theYear Competition and began when,attheage of 18, hewon the BBC Nicholas Daniel’slonganddistinguished career Nicholas Daniel her inBoston, MA. with aBrannen/Lafin headjoint, handmade for She plays a14k Brannen-Cooper rose goldflute Young Sinfonia. for theCBSOYouth Orchestra andthe Yorkshire all over theworld andleads sectionalrehearsals Birmingham Conservatoire, gives masterclasses Marie-Christine Zupancicalsoteaches atthe O Hototogisu! many pieces,mostrecently Oliver Knussen’s Contemporary MusicGroup shehaspremiered life. Astheprincipalflautist of theBirmingham New musicalsoplays animportant partinher Mahler Record Prize2015. Erwin Stein’s chambermusicversion won the live recording of Mahler’sFourth Symphony in ‘Spannungen’ Festival inHeimbach. Theresulting In 2014 shewas invited to play atLarsVogt’s guest inthechambermusicseriesCentre Stage. part of herlife. InBirminghamsheisaregular Chamber musichasalways beenanimportant of theUSA underthebaton of SirSimonRattle. Orchestra for two years. Highlights included a tour subsequently played withtheBerlinPhilharmonic won aplace attheKarajan Academy and atthisyear’s Aldeburgh Festival. oboe Kristiansand Chamberorchestras. Hehasalso Symphony Orchestra andtheLapland Scandinavia, having worked withtheJonkøping As aconductor, hehasstrong associationswith and many new pieces. Britten and Finzi’s ranging from ’s 20 years includingBBC broadcasts, withrepertoire conducted many projects withtheorchestra over artistic associate andfounder member. Hehas in 2004withBritten Sinfonia, of whichheisan He made hisconductingdebutattheBBC Proms . Osborne, JohnTavener, SirJamesMacMillan and Birtwistle, HenriDutilleux,TheaMusgrave, Nigel works by composersincludingSirHarrison of new repertoire for oboe,andhaspremiered important force inthecreation andperformance in Baroque and19th-century music,heisan Davies. Inaddition to hisextensive experience Robertson, SirMarkElderandPeter Maxwell Knussen, , Jir , SirRoger Norrington, Oliver leading orchestras andconductors, including been aconcerto soloistwithmany of theworld’s He hasbeenheard onevery continent,andhas recently awarded theQueen’sMedalfor Music. many different fields. Inrecognition of this,hewas important ambassador for musicandmusiciansin well asasuccessfulconductor, hehasbecomean As oneof theUK’smostdistinguished soloists,as andtheCarducci Quartet. year. Healso regularly works withthepianist was released onHarmoniaMundiearlierthis and theBritten OboeQuartet, whosedebutdisc founder memberof theHaffnerWindEnsemble An active chambermusician,NicholasDanielisa Musikhochschule, Trossingen. Germany, where isheProfessor of Oboeatthe International Festival, andteaches intheUKand He isArtisticDirector of theLeicester Festival inAustralia. and Britten’s conducted ’s Serenade Dies natalis Noye’s Fludde , works by MozartandHaydn Zaide with to the with IanBostridgeto the attheKuhmo Festival ˇ attheTownsville í Be ˇ Metamorphosen lohlávek, David

35 About the performers 36 hall hasearneditmany awards andaccolades. BCMG’s work both insideandoutsidethe concert Carter, whichwas released lastmonth. Charlotte Bray, andadiscof theworks of Elliott Association Oliver Knussen,JulianAndersonand devoted to BritishcomposersincludingitsArtist-in- of theAncientMariner releases includeHoward Skempton’s opera, Grammy-nominated recording of Gerald Barry’s Radio 3andhasrecorded extensively, includinga BCMG isregularly heard inconcert on BBC venues across France, Germany andAustria. included visitsto theUSA, Mexico, Indiaand and Aldeburgh Festival. International tours have Birmingham, Wigmore HallandattheBBC Proms at CBSOCentre, Symphony HallandTown Hall and through broadcasts. Itperforms regularly it hasreached over 10 millionpeopleinconcert Sir SimonRattle asFounding Patron. Sincethen, of BirminghamSymphony Orchestra in1987, with BCMG was founded by musiciansfrom theCity holds for thepostthisseason. with SoundandMusicsince2011. DonghoonShin scheme, made possiblethrough itspartnership through itsApprentice ComposerinResidence next generation of exceptional young composers worldwide repertoire. BCMG alsosupports the works have subsequentlyfound theirway into contributed more than£300,000.Many of these funding schemeto whichover 500donorshave innovative pioneeringSoundInvestment crowd- the works have beencommissionedthrough its and emerging international talent. Many of of musicfrom theworld’s finest composers The ensemblehascommissionedover 170 pieces music of today for theaudiencesof tomorrow. Over three decades, BCMG hasdeveloped the of theworld’s foremost new musicensembles. Birmingham Contemporary MusicGroup isone DirectorArtistic Oliver Knussen,JohnWoolrich Artists-in-Association Founding Patron Birmingham Contemporary MusicGroup The Importance of BeingEarnest Stephan Meier Sir SimonRattle , aseriesof recordings

The Rime The Rime . Recent . Recent BBC Proms each year andthevast majorityof its The group makes regular appearances atthe music by Elgar, Finzi,Franck andRavel. of St Giles’Cripplegate continuesthisseasonwith evening concertsintheatmosphericsurroundings Simon Callow. TheSingersatSixseriesof early- features Christmasreadings from by A concertinSt Luke’s, Chelsea,inDecember led by ChiefConductor Designate Sofi Jeannin. and Brindley Sherratt, andanall-Handelconcert Matthew Passion Milton CourtConcertHallincludesBach’s The BBC Singers’current seasonatLondon’s late Peter Maxwell Davies. including Poulenc, Britten, JudithBinghamandthe and conductors of the20thand21st centuries, with someof themostimportant composers music hasbrought aboutcreative relationships Tallis to Takemitsu. Itsexpertise incontemporary performing everything from Byrd to Birtwistle, British musicallife. Thechoir’svirtuosityseesit The BBC Singersholdauniquepositionin BBC Singers Portfolio Organisation. BCMG isanArtsCouncil EnglandNational BCMG nationwide recognition. composing andperforming, andhave earned programmes actively engage young peoplein Its long-established Learning andParticipation composers, singersandconductors of tomorrow. choral community, aswell aswiththeprofessional schoolchildren, youth choirsandtheamateur which includesfrequent collaborations with through anationwide outreach programme, to sharingitsenthusiasmandcreative expertise the UKandbeyond. Theensembleiscommitted regular appearances atmajorfestivals across Composer JudithWeir. TheBBC Singersalsomake including aconcertprogrammed by Associate Knightsbridge andother venues, thisseason alsogives free performances atSt Paul’s Based attheBBC’s MaidaVale Studios, the performances are broadcast onBBC Radio 3. withsoloistsNicholasMulroy St St 2018 theorchestra willperform for thesecond these collaborations willtour internationally. In Barsch. Following UKperformances, many of Emma-Ruth Richards, LeoChadburn andNik from composersincludingMark-Anthony Turnage, Nicolas HodgesandAilishTynan, withpremieres College Choir, Cambridge,ElizabethKulman, Thomas Adès, SirMarkElder, Jeremy Denk,King’s This seasonitcollaborates withartistsincluding for HarmoniaMundiandHyperion. Radio 3broadcast partnerandregularly records concert hallsandthelocalcommunity. ItisaBBC outstanding musicto both theworld’s finest programmes andadeep commitmentto bringing class performances, illuminatinganddistinctive the ethosof BenjaminBritten through world- Founded in1992, theorchestra isinspired by performances inBeijing andWuhan. three-concert residency inShanghai,aswell as made itsdebutinChinaMay lastyear witha South AmericaandEurope. Theorchestra profile includesregular touring to Northand BBC Proms. Theorchestra’s growing international UK festivals, includingtheAldeburgh Festival and Wigmore Hallandappearsregularly atmajor It alsoperforms achambermusicseriesat Resident Orchestra atSaffron Halllastautumn. Saffron Walden, where theorchestra became an Ensemble-in-Residence attheUniversity) and of EnglandinNorwich,Cambridge(where itis at theBarbican,hasresidencies across theeast Britten Sinfonia isanAssociate Ensemblehere resulting inperformances of insightandenergy. guest artistsfrom across themusicalspectrum, collaborate witharange of thefinest international conductor ordirector, instead choosingto breaks themouldby not having aprincipal versatility thatissecondto none.Britten Sinfonia connections across 400years of repertoire, anda programming whichmakes bold,intelligent musicianship, aninspired approach to concert The orchestra isacclaimed for itsvirtuoso celebrated andpioneeringensembles. Britten Sinfonia isoneof theworld’s most Britten Sinfonia 225 different composers. over 200had beenspeciallycommissionedfrom had premiered over 300new works, of whichwell composers: by theendof lastseasonthegroup the recognition andpromotion of contemporary the avant-garde, andisamajorcontributor to performances. Itpresents works from to its adventurous programming andvirtuoso at Wigmore Hallsince2010, isacclaimed for The NashEnsemble,Resident ChamberEnsemble Nash Ensemble Nicholas Daniel. of SirJamesMacMillan’s OboeConcerto with a and anECHO/KlassikAward, and,mostrecently, recordings have received a in 2009andtheEnsembleAward in2007. Its having previously won theChamberMusicAward Philharmonic SocietyMusicAward for Ensemble In 2013 Britten Sinfonia was awarded theRoyal receive aprofessional commission. offering unpublishedcomposersthechanceto annual compositioncompetition,OPUS2017, youth ensembleBritten Sinfonia Academy and both schoolsandthecommunity includingthe a widerange of creative learningprojects within Central to Britten Sinfonia’s artisticprogrammes is on asummertour of SouthAmerica. time atthePhilharmonieinParis, andwillembark from Stravinsky’s French periodwithworks by is ‘TheFrench Connection’,juxtaposing music The mainthemefor the2017/18 Wigmore Series chamber works by JulianAnderson. Dohnányi andthere are plansfor arecording of In JunetheNashrecorded works by Ernstvon a chambermusicCDof works by Max Bruch. Sir HarrisonBirtwistle’s releases includeaCDof Hollywood composers, gems andimportant contemporary works. Recent classical masterpieces, little-known neglected the samevaried andcolourfulcombinationof An impressive collectionof recordings illustrates BBC MusicMagazine Award for itsrecording The Moth Requiem Gramophone Award Award and and

37 About the performers 38 60 countriesaround theworld. ItisalsotheUK’s over 900studentsinhighereducation,from nearly World University Rankings 2016). Theschoolhas 10 institutionsfor performing artsintheworld (QS University Guide,andselected asoneof thetop specialist institutionintheUKby the performing arts.Ithastwicebeenrated top offering inspiringprofessional training inthe leading conservatoires anddrama schools, The GuildhallSchoolisoneof theworld’s Guildhall School of Music&Drama awards inthechambermusiccategory. Award andtwo Royal PhilharmonicSociety accolades, includingtheEdinburgh Festival Critics’ The NashEnsemblehaswon numerous Weir withtheBBC Singers. BBC Proms, performing anew work by Judith for BBC Radio 3andrecently appeared atthe Switzerland. Theensemblebroadcasts regularly 1944; andconcertsinItaly, Turkey, Germany and Terezin concentration campbetween 1941 and Czech composerswhowere incarcerated inthe in aneducationproject featuring themusicof at theGreat Lakes Festival, USA; involvement Recent highlightshave includedaresidency Maxwell Davies. recent works by SirHarrisonBirtwistleandPeter Alexander GoehrandJohnCasken, aswell as on 20thSeptember included world premieres by of Britishcontemporary musicatWigmore Hall Milhaud. TheNash’sannualselectionof thebest Saint-Saëns, Fauré, , Ravel, Poulenc and Guardian

Head of ChamberMusicattheGuildhallSchool, ‘This isRattle: Adès’ are violistMatthew Jones, Joining theGuildhallNew MusicEnsemblefor professor JulianAnderson. the chambermusicof composerandGuildhall highlights includealunchtimeconcertexploring Milton CourtConcertHall.Future performance by PhilipGlassandEdgard Varèse inthe series, mostrecently givingconcertsof music contributes to theBBC SO’sTotal Immersion and guestcomposers.Theensembleregularly curated by Guildhallcompositionprofessors music by livingcomposersinregular concerts The GuildhallNew MusicEnsembleperforms Guildhall New MusicEnsemble links withtheprofession before they graduate. Ancient Music,ensuringthatstudentsbenefit from Orchestra, Royal Opera HouseandAcademy of London Symphony Orchestra, BBC Symphony organisations includingtheBarbicanCentre, The Schoolworks inpartnershipwith . Tasmin Little,MarkSimpson, SirBrynTerfel and Alison Balsom,BenGernon,MicaLevi, Paul Lewis, teaching staff. AlumniincludeThomasAdès, dedicated teaching withrenowned international Studying musicatGuildhallinvolves intensive, Guildhall andtheCentre for Young Musicians. under-18 level withnearly2,500studentsinJunior leading provider of specialistmusictraining atthe Garrigós Morant. and clarinettistGuildhallalumnusAusiàs John Tattersdill Double Bass Elaine Ackers Ulrich Heinen Cello Reiad Chibah Chris Yates Viola Colette Overdijk Gabriel Dyker Charlotte Skinner Alex Wood Violin Helen Tunstall Harp Tim Williams Cimbalom John Reid Piano/Celesta Elsa Bradley Adrian Spillett Julian Warburton Percussion Tony Howe Trombone Richard Blake Trumpet Michael Kidd Mark Phillips Horn Margaret Cookhorn Bassoon/ Mark O’Brien Clarinet/Bass Clarinet Oliver Janes Clarinet Melinda Maxwell Oboe/ Tony Robb Piccolo Flute/Alto Flute/ Zupancic Marie-Christine Solo Flute BCMG

Tim Anderson Alex Wide Horn Sarah Burnett Bassoon Oliver Pashley Joy Farrall Clarinet Emma Feilding Oboe/Cor anglais Harry Winstanley Flute Ben Russell Stephen Williams Double Bass Ben Chappell Caroline Dearnley Cello Bridget Carey Simone van derGiessen Clare Finnimore Viola Miranda Dale Violin 2 Stevens Marcus Barcham Jacqueline Shave Violin 1 Sinfonia Britten Isha Crichlow Horn Clarinet/Basset DosSantos Alexandre Cruz Double Bass Tobias White Cello Matthew Jones Viola Musicians Guildhall Piano/Celesta Lucy Wakeford Harp

Richard Hosford Clarinet Melinda Maxwell Oboe Philippa Davies Piccolo Flute/Alto Flute/ Amelia Freedman CBE Artistic Director Ensemble Nash & Sons,London supplied by Steinway for thisperformance is the GuildhallSchool chosen andhired by The additional piano Nathan Tinker Ben Smith Dylan Perez Piano Mirjam Mesak Mimi Doulton Harriet Burns Patricia Auchterlonie Singer Morant Ausiàs Garrigós Andrew Farnden Hugh Webb Helen Tunstall Lucy Wakeford Harp Richard Benjafield Claves/Vibraphone Peter Buckoke Double Bass Byron Fulcher Trombone Mark David Trumpet Richard Watkins Horn Ursula Leveaux Bassoon

Colin Campbell Bass 1 Christopher Bowen Tenor 2 Tom Raskin Tenor 1 Rob Johnston Director RSVP Voices of goingto press. correct atthetime and singerswere The listsof players Ben McKee Andrew Rupp Edward Price Jamie WHall Charles Gibbs Stephen Charlesworth Bass Daniel Bartlette Alastair Putt Tom Kelly Andrew Murgatroyd Stephen Jeffes Christopher Bowen Tenor Ciara Hendrick Jessica Gillingwater Eleanor Minney Katie Schofield Nancy Cole Margaret Cameron Alto Rebecca Lea Emma Tring Olivia Robinson Elizabeth Poole Helen Neeves Micaela Haslam Soprano BBC Singers Xenia deBerner Language coach Ben Frost Rehearsal pianist Charles Gibbs Bass 2

39 About the performers World-class music training

· Top rated conservatoire in University Guide 2017 league table for Music

· State-of-the-art facilities in the heart of the City of London

‘What a dream of a hall!’ Joyce DiDonato on Milton Court Concert Hall

· Sir Simon Rattle joins as Artist-in-Association

· Ground-breaking collaborative programmes with the Barbican, London Symphony Orchestra and

Watch our films, book on to an open day and apply online at gsmd.ac.uk

Find out more about our public events at gsmd.ac.uk/events

0300219_this_is_rattle_2017_06_FINAL.indd 1 24/08/2017 14:41