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Home , Charles Dutoit, Daniele Gatti, Felix Otto Dessoff, William Foster Apthorp

CAL PERFORMANCES PRESENTS PROGRAM NOTES

Saturday, January 28, 2012, 8pm Zoltán Kodály (1882–1967) leading a dozen of his hussars through the mas- Zellerbach Hall Dances of Galánta culine motions of the dance to the accompani- ment of a Gypsy band was apparently irresistible Composed in 1933. Premiered on October 10, 1933, to any red-blooded Hungarian.) While no mod- in Budapest, conducted by Ernst von Dohnányi. ern young man would consider enlisting just Royal Philharmonic Orchestra because he saw a nice dance, it must be remem- , Artistic Director & Principal Conductor In 1905, when Kodály was working toward his bered that the soldiers of that era were equally with doctoral degree at Budapest University, he found proficient at wine, wenches and waltzing as at it necessary to leave town to do some research war, and a spirited verbunkos was more a promise Jean-Yves Thibaudet, piano for his thesis—he needed information on the of pleasures to come than a mere temporary di- stanzaic structure of Hungarian folksong—and version. The verbunkos withered away after con- he returned to his childhood home to collect scription was begun in 1849, but its progeny still PROGRAM it. Between 1885 and 1892 (ages three to ten), resound in concert halls throughout the world. Kodály lived in Galánta, a small market town The Dances of Galánta follow the structure near the Austrian border, where his father was of the alternating slow and fast sections of their Zoltán Kodály (1882–1967) Dances of Galánta (1933) the local stationmaster for the national railway verbunkos model. The work’s slow introduction and where he had first heard the folksongs and consists of a series of instrumental solos (played Gypsy bands which were among his most last- in turn by cello, horn, oboe and clarinet) sepa- (1811–1886) Piano Concerto No. 2 in A major, Op. 23 ing and influential musical impressions. When rated by rushing string figures. The first dance, (1839, 1849) he returned there in 1905 on what proved to be a slow one begun by the solo clarinet, displays a the first of many folk music hunts throughout restrained Gypsy pathos in its snapping rhyth- Adagio sostenuto assai Eastern , he went to old friends, servants mic figures. The quicker second dance, initiated Allegro agitato assai and neighbors and asked them to sing again by the solo flute, is based on a melody circling Allegro moderato the songs he had so loved as a boy. He accu- around a single pitch in halting rhythms. The Allegro deciso mulated over 150 examples, more than enough first dance returns in the full orchestra as a Marziale un poco meno Allegro material to complete his thesis, and he returned bridge to the next number in the series, a spir- Allegro animato to Budapest. ited tune with engaging syncopations heard first Played without pause. During the next 30 years, Kodály not only in the oboe. Another brief recall of the opening continued to collect indigenous music, but he dance leads to the finale, a brilliant whirlwind also devised a system of music education based of music that is twice broken off in its headlong INTERMISSION on Hungarian folk song and consistently utilized rush. The first interruption is for a cheeky little its stylistic components in his compositions. tune insouciantly paraded by the clarinet and When the Budapest Philharmonic Orchestra the other woodwinds. The second interruption (1833–1897) Symphony No. 1 in C minor, Op. 68 commissioned him to write a work for its 80th is for a final reminiscence of the opening dance, (1855–1876) anniversary, Kodály dipped once again into his which dissolves into a short clarinet cadenza. Un poco sostenuto — Allegro inexhaustible folk treasury for melodic material, The closing section of the Dances of Galánta, Andante sostenuto turning to some books of Hungarian dances electric in its rhythmic intensity and gleaming Un poco allegretto e grazioso published in Vienna around 1800 which con- orchestration, is music of stomping feet, whirl- Adagio — Allegro non troppo, ma con brio tained music “after several Gypsies of Galánta.” ing bodies and abundant, youthful enthusiasm. These dances were in the verbunkos or Gypsy style that had been assimilated into the concert works of, among many others, Liszt, Bartók and Enesco. Theverbunkos , a Hungarian dance This performance is made possible, in part, by Patron Sponsors Gail and Daniel Rubinfeld. of alternating fast and slow sections, became something of a national institution when it was Cal Performances’ 2011–2012 season is sponsored by Wells Fargo. used by local military recruiters during the 18th- century imperial wars as a tactic to entice young men into joining the armed forces. (A sergeant

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Franz Liszt (1811–1886) Germany, he chose to settle in the small but Liszt sketched his two piano concertos in Johannes Brahms (1833–1897) Piano Concerto No. 2 in A major, Op. 23 sophisticated city of Weimar, where Sebastian 1839, but they lay unfinished until he went to Symphony No. 1 in C minor, Op. 68 Bach held a job early in his career. Once in- Weimar. He completed the Second Concerto, Composed in 1839 and 1849. Premiered on stalled at Weimar, Liszt took over the musical in A major, in the summer of 1849, but he did Composed in 1855–1876. Premiered on January 7, 1857, in Weimar, conducted by the com- establishment there and elevated it into one of not get around to having it performed for more November 4, 1876, in , conducted by poser with Hans von Bronsart as soloist. the most important centers of European artistic than seven years. Liszt required of a concerto . culture. He stirred up interest in such neglected that it be “clear in sense, brilliant in expression, “Franz Liszt was one of the most brilliant and composers as Schubert, and encouraged such and grand in style.” In other words, it had to Brahms, while not as breathtakingly precocious provocative figures in music history. As a pia- younger ones as Saint-Saëns, Wagner and Grieg be a knockout. While it was inevitable that this as Mozart, Mendelssohn or Schubert, got a rea- nist, conductor, composer, teacher, writer and by performing their works. He also gave much Concerto would have a high percentage of fin- sonably early start on his musical career: he had personality—for with Liszt, being a colorful of his energy to his own original compositions, ger-churning display, it was not automatic that it produced several piano works (including two personality was itself a profession—his immedi- and created many of the pieces for which he is should also be of high musical quality—but it is. large sonatas) and a goodly number of songs by ate influence upon European music can hardly known today—the symphonies, piano concer- The procedure on which Liszt built this the age of 19. In 1853, when Brahms was only be exaggerated. His life was a veritable pagan tos, symphonic poems and choral works. Liszt Concerto and other of his orchestral works is 20, Robert Schumann wrote an article for the wilderness wherein flourished luxuriant legends had composed before he moved to Weimar, called “thematic transformation,” or, to use widely distributed Neue Zeitschrift für Musik, of love affairs, illegitimate children, encounters of course—his total output numbers between the rather more jolly phrase of the American his first contribution to that journal in a decade, with great figures of the period, and hairbreadth 1,400 and 1,500 separate works—but the early critic William Foster Apthorp, “The Life and hailing Brahms as the savior of German music, escapes from a variety of romantic murders. pieces were mainly piano solos for use at his own Adventures of a Melody.” Never bothered that the rightful heir to the mantle of Beethoven. Unlike Wagner and Berlioz, Liszt never wrote recitals. His later works are not only indispens- he was ignoring the Classical models of form, Brahms was extremely proud of Schumann’s ad- the story of his life, for, as he casually remarked, able components of the Romantic musical era Liszt concocted his own new structures around vocacy and he displayed the journal with great he was too busy living it.” If it were not for the in their own right, but also were an important this transformation technique. (“Music is never joy to his friends and family when he returned to fact that Liszt’s life had been so thoroughly doc- influence on other composers in their form, har- stationary,” he pronounced. “Successive forms his humble Hamburg neighborhood after visit- umented by his contemporaries, we might think mony and poetic content. and styles can only be like so many resting plac- ing Schumann in Düsseldorf, but there was the that the preceding description by Abraham As if composing, and performing es—like tents pitched and taken down again on other side of Schumann’s assessment as well, that Veinus was based on some profligate fictional were insufficient, Liszt was also one of the most the road to the Ideal.”) Basically, the “thematic which placed an immense burden on Brahms’s character out of E.T.A. Hoffmann. Not so. By sought-after piano teachers of the 19th century. transformation” process consisted of inventing a shoulders. all accounts, Liszt led the most sensational life He was popular with students not just because theme that could be used to create a wide variety Brahms was acutely aware of the deeply ever granted to a musician. In his youth and he possessed an awesome technique that was of moods, tempos, orchestrations and rhythms rooted traditions of German music extending early manhood, he received the sort of wild and (and remains) the model of every serious pianist. to suggest whatever emotional states were re- back not just to Beethoven, but even beyond unbuttoned adulation that today is seen only at Liszt was also a direct link to that nearly deified quired by the different sections of the piece. It is him to Bach, Schütz and Lassus. His knowledge the appearances of a select handful of rock stars. figure, the glorious Beethoven, who had, so the not unlike a single actor changing costumes to of Bach was so thorough, for example, that he He was the first musical artist in history with story went, actually kissed the young prodigy play Puck, Bottom the Weaver and Oberon all was asked to join the editorial board of the first enough nerve to keep an entire program to him- on the forehead with his own lips. Furthermore, in the same production (now that’s an actor)— complete edition of the works of that baroque self rather than providing the grab-bag of or- Liszt was a pupil of Carl Czerny, the most emi- recognizably the same at the core, but dressed up master. He knew that, having been heralded by chestral, vocal and instrumental pieces scattered nent student of Beethoven. To make this already differently for each scene. Schumann, his compositions, especially a sym- across an evening’s entertainment that was the unassailable combination of technique and tra- There are at least six such scenes in Liszt’s phony, would have to measure up to the stan- typical early–19th-century concert. He dubbed dition absolutely irresistible, Liszt brought to it Second Piano Concerto. The composer provided dards set by his forebears. At first he doubted those solo concerts “musical soliloquies” at first, an all-encompassing view of man and his world no specific plot for any of these, but wrote music that he was even able to write a symphony, feel- and later called them by the now-familiar term, that enabled the mere tones of the piano to sur- of such extroverted emotionalism that it is not ing that Beethoven had nearly expended all the “recitals.” (“How can one recite at the piano? pass themselves and open unspeakable realms of difficult for imaginative listeners to provide their potential of that form, leaving nothing for fu- Preposterous!” fumed one British writer.) transcendent delight. One friend once remarked own: languor, storm, love, strife, resolve and ture generations. “You have no idea,” Brahms By 1848 Liszt had made his fortune, secured about the composer’s wide variety of interests, battle is only one possible sequence. It is a di- lamented, “how it feels to hear behind you the his fame and decided that he had been touring “One could never know in which mental stall verting game to play, and Liszt has invited all to tramp of a giant like Beethoven.” long enough, so he gave up performing, appear- Liszt would find his next hobby horse.” He was take part. The melody on which this Concerto is Encouraged by Schumann to undertake a ing in public during the last four decades of his a truly remarkable man, one of the most impor- based is presented immediately at the beginning symphony (“If one only makes the beginning, life only for an occasional benefit concert. Amid tant figures in terms of his cumulative influence by the clarinet. It courses through each section, then the end comes of itself,” he cajoled), Brahms the variegated patchwork of duchies, kingdoms on the in all of 19th-century music. and can most easily be identified by the little made some attempts in 1854, but was unsatisfied and city-states that constituted pre-Bismarck half-step sigh at the end of the first phrase. with the symphonic potential of the sketches,

16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES ABOUT THE ARTISTS and diverted them into the First Piano Concerto middle section, the bittersweet melody returns cknowledged as one of the United touring program, with established residencies and the German Requiem. He began again a year in a splendid scoring for oboe, horn and solo AKingdom’s most prestigious orchestras, the in Croydon, Northampton, Lowestoft, Reading later, perhaps influenced by a performance of violin. The brief third movement, with its pre- Royal Philharmonic Orchestra (RPO) enjoys an and Crawley. The Orchestra also gives regular Schumann’s Manfred, and set down a first move- vailing woodwind colors, is reminiscent of the international reputation for bringing audiences performances at other venues throughout the ment, but this music he kept to himself, and pastoral serenity of Brahms’s earlier Serenades. worldwide first-class performances and the high- UK, including forthcoming engagements in even his closest friends knew of no more than The finale begins with an extended slow in- est possible standards of music-making across a Ipswich, High Wycombe and Dartford. As an the existence of the manuscript. Seven years troduction based on several pregnant thematic diverse range of musical repertoire. This was the international orchestra, the RPO has toured passed before he sent this movement to Clara, ideas. The first, high in the violins, is a minor- vision of the Orchestra’s flamboyant founder, Sir more than thirty countries in the last five years. Schumann’s widow, to seek her opinion. With mode transformation of what will become the , whose legacy is maintained Recent tours have included performances in only a few reservations, she was pleased with main theme of the finale, but here broken off by today as the Orchestra thrives under the ex- Japan, Egypt, Russia, Spain, , Germany, this C minor sketch, and encouraged Brahms an agitated pizzicato passage. A tense section of ceptional direction of its Artistic Director and Azerbaijan and China. The 2011–2012 season to hurry on and finish the rest so that it could rushing scales is halted by a timpani roll lead- Principal Conductor, Maestro Charles Dutoit. began with the second year of the Orchestra’s be performed. Brahms, however, was not to ing to the call of the solo horn, a melody origi- This season celebrating its 65th year, the annual residency in Montreux, , be rushed. Eager inquiries from conductors in nally for Alphorn that Brahms collected while Orchestra has had the privilege of forging musi- under Charles Dutoit, with guest artists in- 1863, 1864 and 1866 went unanswered. It was on vacation in Switzerland. The introduction cal collaborations with such esteemed conduc- cluding Yefim Bronfman and Lisa Batiashvili. not until 1870 that he hinted about any progress concludes with a noble chorale intoned by trom- tors as , Antal Doráti, André Autumn 2011 saw a tour to Spain with Pinchas at all beyond the first movement. bones and bassoons, the former having been Previn, and . Zukerman and concerts in Germany, Austria, The success of the superb Haydn Variations held in reserve throughout the entire Symphony Other high-ranking conductors who regularly Lichtenstein and Italy with Charles Dutoit and for orchestra of 1873 seemed to convince just for this moment. The finale proper begins take the podium include Pinchas Zukerman as . In January 2012, the Orchestra em- Brahms that he could complete his initial sym- with a new tempo and one of the most famous Principal Guest Conductor, Grzegorz Nowak as barks on a month-long tour of the major cities of phony, and in the summer of 1874 he began themes in the repertory, a stirring hymnlike Principal Associate Conductor and Dirk Joeres the United States with Charles Dutoit, Pinchas two years of labor—revising, correcting, per- melody that resembles the finale of Beethoven’s as Permanent Guest Conductor. Daniele Gatti Zukerman and Jean-Yves Thibaudet, and 2012 fecting—before he signed and dated the score “Choral” Symphony. (When a friend pointed continues his association with the Orchestra as will also see concerts in Spain, Eastern Europe of the First Symphony in September 1876. It is out this affinity to Brahms he shot back, “Any Conductor Laureate. and Dublin, with artists including Charles a serious and important essay (“Composing a fool can see that!”) The movement progresses The Royal Philharmonic Orchestra is Dutoit, Pinchas Zukerman and Julia Fischer. symphony is no laughing matter,” according to in sonata form, but without a development sec- London-based and performs a prestigious se- The Orchestra is also recognized for its Brahms), one which revitalized the symphonic tion. The work closes with a majestic coda in the ries of concerts each year at Southbank Centre’s artistic work through a vibrant and innova- sonata form of Beethoven and combined it with brilliant key of C major featuring the trombone Royal Festival Hall. The Orchestra’s 2011– tive community and education program, titled the full contrapuntal resources of Bach, a wor- chorale of the introduction in its full splendor. 2012 series features Charles Dutoit, Pinchas RPO resound. Specially trained members of the thy successor to the traditions Brahms revered. Of Brahms’s symphonies, and this one in Zukerman, Daniele Gatti, Nigel Kennedy, Orchestra, alongside accomplished project lead- In the century since its premiere, it has become particular, Lawrence Gilman wrote, “The es- Andrew Litton, Julia Fischer and Kirill Karabits. ers, provide comprehensive workshops where the most performed of Brahms’s symphonies sential fact to remember and to celebrate about The RPO’s London home is at Cadogan Hall, in music is used as a powerful and inspirational and one of the most cherished pieces in the or- Brahms is that he possessed not only the mecha- the heart of the capital, just off Sloane Square. force. RPO resound prides itself on working in a chestral literature. nisms of the grand style, but that he was able This idyllic location offers an intimate atmos- wide variety of settings, including projects con- The success and popularity of the First to exert it as a vehicle for ideas of authentic phere for concert-goers, with the current series nected with homeless people, youth clubs, the Symphony are richly deserved. It is a work of su- greatness, and he achieved this miracle with a of concerts featuring Grzegorz Nowak, Freddy probation service and terminally ill children. preme technical accomplishment and profound continence, a sense of balance and proportion, Kempf and Guy Johnston. Complementing the Frequently found in the recording studio, emotion, of elaborate counterpoint and beauti- an instinct for the larger contours as well as the concert series at Cadogan Hall, the Orchestra the Orchestra records extensively for film and ful melody. Even to those who know its prog- finer adjustments of musical design, that were regularly performs in the Royal Albert Hall, television as well as for all the major commercial ress intimately, it reveals new marvels upon each almost unerring.” presenting works of great magnitude in a var- record companies. The Orchestra also owns its hearing. The first movement begins with a slow ied series of concerts ranging from large-scale own record label and is proud to be the first UK introduction in 6/8 meter energized by the heart- © 2012 Dr. Richard E. Rodda choral and orchestral works to themed evenings orchestra to stream its entire series of concerts beats of the timpani supporting the full orches- of contemporary popular repertoire, all de- live from Cadogan Hall. tra. The violins announce the upward-bounding signed to suit the immensity of this historic and To learn more about the Orchestra, please main theme in the faster tempo that launches a grand venue. visit www.rpo.co.uk. magnificent, seamless sonata form. The second Within the United Kingdom, the RPO movement starts with a placid, melancholy song is committed to offering an extensive regional led by the violins. After a mildly syncopated

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As Artistic Director and as well as the Canton International Summer 2011–2012 schedule with a European tour with Jean-Yves Thibaudet Plays the Music of Duke Principal Conductor of Music Academy, in Guangzhou, China, Charles Dutoit and the Orchestra. Ellington and Conversations with Bill Evans, his the Royal Philharmonic which he founded in 2005. In summer 2009 Mr. Thibaudet builds seasons around com- tribute to two of jazz history’s greats. Orchestra since 2009, he became the Music Director of the Verbier posers, delving into their repertoire with un- Known for his style and elegance on and off Charles Dutoit has en- Festival Orchestra. matched passion and depth. Much of the 2011– the traditional concert stage, Mr. Thibaudet has joyed a tenure with the When still in his early twenties, Charles 2012 season is centered on Liszt, Ravel and had an impact on the world of fashion, film and orchestra has included a Dutoit was invited by to Saint-Saëns, and he performed the concertos of philanthrophy. His concert wardrobe is by cele- residency at the Montreux conduct the . He has since Ravel and Liszt with the brated London designer Vivienne Westwood. In Septembre Musical, criti- conducted at Covent Garden, the Metropolitan and with the San Diego Symphony at its sea- November 2004, Mr. Thibaudet served as presi-

cally acclaimed perfor- Taylor Robert Opera in New York, Deutsche Oper and son-opening gala in October. During October dent of the prestigious Hospices de Beaune, an mances at Southbank Teatro Colón in Buenos Aires. and November, Mr. Thibaudet performed a annual charity auction in Burgundy, . He Centre’s Royal Festival Hall and, further afield, In 1991 Maestro Dutoit was made Honorary program of Liszt and Brahms lieder with mez- had an onscreen cameo in the Bruce Beresford tours to Europe and the United States and a resi- Citizen of the City of Philadelphia, in 1995 zo-soprano Angelika Kirchschlager, including feature film on Alma Mahler entitled Bride of the dency in China at the MISA Festival in Grand Officier de l’Ordre National du Québec a stop at New York’s Carnegie Hall. He also Wind, and his playing is showcased throughout Shanghai, alongside successful recordings. and in 1996 Commandeur de l’Ordre des toured Europe with the Royal Concertgebouw the movie soundtrack. Thibaudet was the soloist During the 2010–2011 season the et des Lettres by the government of France. In Orchestra, and the United States with the Royal on the Oscar and Golden Globe Award-winning Philadelphia Orchestra celebrated its 30-year 1998, he was invested as Honorary Officer of the Philharmonic Orchestra playing Saint-Saëns. soundtrack to Universal Pictures’ Atonement and artistic collaboration with Maestro Dutoit. Order of Canada, the country’s highest award After New York performances with the New the Oscar-nominated Pride and Prejudice. He Between 1990 and 2010, he was Artistic Director of merit whose other honorary recipients include York Philharmonic for its PBS-televised New was also featured in the 2000 PBS/Smithsonian and Principal Conductor of the Orchestra’s John Kenneth Galbraith, James Hillier, Nelson Year’s Eve Gala and with the Orpheus Chamber special Piano Grand!, a piano performance pro- summer festival at the Saratoga Performing Arts Mandela, the Queen Mother, Václav Havel and Orchestra, Mr. Thibaudet concludes his season gram hosted by Billy Joel to pay tribute to the Center in upstate New York. The Orchestra Boutros Boutros-Ghali. with Debussy recitals in Germany and France. 300th anniversary of the piano. will honor Maestro Dutoit in the 2012–2013 Charles Dutoit was born in Lausanne, These Debussy evenings celebrate the 150th an- Mr. Thibaudet was born in Lyon, France, season by bestowing upon him the title of Switzerland, and his extensive musical training niversary of the composer’s birth. where he began his piano studies at age five and Conductor Laureate. included violin, viola, piano, percussion, history Jean-Yves Thibaudet has released more than made his first public appearance at age seven. Maestro Dutoit regularly collaborates with of music and composition at the conservatories 40 albums with Decca, which have earned the At twelve, he entered the Paris Conservatory to the world’s leading orchestras, including the and music academies of Geneva, Siena, Venice Deutscher Schallplattenpreis, the Diapason d’Or, study with and Lucette Descaves, Chicago Symphony, Symphony, Berlin and Boston. A globetrotter motivated by his Choc du Monde de la Musique, a Gramophone a friend and collaborator of Ravel. At age 15, Philharmonic, Royal Concertgebouw Orchestra passion for history and archaeology, political sci- Award, two Echo awards and the Edison Prize. he won the Premier Prix du Conservatoire of Amsterdam and the Israel Philharmonic. His ence, art and architecture, Maestro Dutoit has In spring 2010, Mr. Thibaudet released his lat- and, three years later, won the Young Concert more than 170 recordings for Decca, Deutsche traveled in all 196 nations of the world. est CD, Gershwin, featuring jazz big band or- Artists Auditions in . In 2001, Grammophon, EMI, Philips and Erato have chestrations of Rhapsody in Blue, variations on “I the Republic of France awarded Mr. Thibaudet garnered more than 40 awards and distinctions. One of today’s most Got Rhythm,” and Concerto in F live with the the prestigious Chevalier dans l’Ordre des Arts For 25 years (1977 to 2002), Maestro Dutoit sought-after soloists, Symphony and music director Marin et des Lettres, and in 2002, he was awarded the was Artistic Director of the Montreal Symphony pianist Jean-Yves Alsop. On his Grammy-nominated recording Premio Pegasus from the Spoleto Festival in Orchestra, a dynamic musical partnership rec- Thibaudet has the of Saint-Saëns’s Piano Concertos Nos. 2 and 5, Italy for his artistic achievements and his long- ognised the world over. From 1991 to 2001, rare ability to com- released in fall 2007, Mr. Thibaudet is joined standing involvement with the festival. In 2007, Maestro Dutoit was Music Director of the bine poetic musical by longstanding collaborator Charles Dutoit he was awarded the Victoire d’Honneur, a life- Orchestre National de France, with whom he sensibilities with and the Orchestre de la Suisse Romande. Also time career achievement award and the highest has toured extensively on the five continents. dazzling technical released in 2007, Mr. Thibaudet’s Aria: Opera honor given by France’s Victoires de la Musique. In 1996, he was appointed Music Director of prowess. His musi- Without Words features transcriptions of opera On June 18, 2010, the Hollywood Bowl honored Decca & Kasskara the NHK Symphony Orchestra (Tokyo), with cal depth and natu- arias by Saint-Saëns, Richard Strauss, Gluck, Mr. Thibaudet for his musical achievements by whom he toured in Europe, the United States, ral charisma have underlined a career with glob- Korngold, Bellini, Johann Strauss II, Grainger inducting him into its Hall of Fame. China and Southeast Asia. He is today Music al impact, including 30 years of performing and Puccini; some of the transcriptions are by Director Emeritus of this Orchestra. around the world and over 40 recorded albums. Mikhashoff, Sgambati and Brassin, and oth- Maestro Dutoit has been Artistic Director of After three striking summer appearances at ers are Mr. Thibaudet’s own. Among his other both the Sapporo Pacific Music Festival and the Tanglewood, in which he played the complete recordings are Satie: The Complete Solo Piano Miyazaki International Music Festival in Japan piano works of Ravel, Mr. Thibaudet began his Music and the jazz albums Reflections on Duke:

20 CAL PERFORMANCES CAL PERFORMANCES 21 ORCHESTRA ROSTER ORCHESTRA ROSTER

ROYAL PHILHARMONIC ORCHESTRA

HRH The Duke of York, Patron Charles Dutoit, Artistic Director & Principal Conductor

65th Anniversary Season (1946–2011)

first violin cello horn Duncan Riddell Louisa Tuck Laurence Davies Tamás András Chantal Webster Jonathan Bareham Iggy Jang Roberto Sorrentino Phil Woods Judith Templeman Niamh Molloy Andrew Fletcher Shana Douglas William Heggart Samuel Jacobs Kaoru Yamada Shinko Hanaoka Naoko Keatley Daniel Hammersley trumpet Andrew Klee Rachel van der Tang Brian Thomson Kay Chappell Anna Mowat Adam Wright Anthony Protheroe Jonathan Few Mike Allen Erik Chapman Russell Gilbert double bass trombone Jonathan Lee Christian Geldsetzer Matthew Gee Gerald Gregory Roy Benson Philip Dewhurst Cindy Foster David Broughton Simon Baggs David Gordon bass trombone Benjamin Cunningham Roger Argente second violin John Holt Andrew Storey Kylie Davies tuba Michael Dolan Rebecca Welsh Kevin Morgan Elen Hâf Richards Charlotte Ansbergs flute timpani Jennifer Christie Ken Smith Matt Perry Siân McInally Julian Coward Stephen Payne Helen Keen percussion Charles Nolan Stephen Quigley Peter Dale piccolo Gerald Kirby Stephen Kear Helen Keen Colin Callow Jennifer Dear oboe Managing Director Ian Maclay Alex Afia John Anderson Finance Director Michelle Johnson Helen Boardman Tim Watts Concerts Director Elizabeth Forbes viola clarinet Tours Manager Graham Midgley Fiona Winning Michael Whight Head of Press & Helen Kamminga Tom Watmough Marketing Chris Evans Liz Varlow Education Manager Ruth Currie Abigail Fenna bassoon Andrew Sippings Paul Boyes Orchestra Managers Jane Aebi, Debbra Walters Esther Harling Susana Dias Librarian Patrick Williams Kathy Balmain Stage Manager Chris Ouzman Jonathan Hallett contrabassoon Clive Howard Simon Davies Raymond Lester Dan Cornford Nadine Jurdzinki

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