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JULY 2017 Director’S Introduction

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APRIL–JULY 2017 Director’s Introduction ©Frances Marshall Photography Vienna occupied the heart of a vast empire during the years in which the works in Bernarda Fink and Ensemble Prisma Wien’s programme were conceived. The Habsburg Empire, for all its faults, provided ideal conditions for a remarkable flourishing of music and musicians. Prisma Wien, founded in 2006 as a flexible ensemble, makes its Wigmore Hall debut under the direction of violinist Thomas Fheodoroff. Their programme is cut from rich material, complete with Haydn’s dramatic scena Arianna a Naxos and Dvorˇák’s Biblical Songs. Wigmore Hall continues to play host to Schubert’s songs, presenting all 600-plus of the composer’s timeless contributions to the art form. Over sixty of the world’s finest interpreters have taken part in Schubert: The Complete Songs, a major landmark in the Hall’s history, which is set to conclude 31 January 2018, Schubert’s birthday. Leading composers and conductors are among those in the queue hoping to collaborate with Patricia Kopatchinskaja. The iconoclastic Moldovan-Austrian violinist’s artistry erupts from the uncompromising courage of her breath-taking interpretations. Her season as Wigmore Hall’s Artist in Residence concludes with two compelling concert programmes, both rich in repertoire range, and an enlightening pre-concert talk. Four composers central to Sir András Schiff’s artistic DNA provide the focus for the pianist’s unfolding Wigmore Hall concerts this season. His careful selection of works offers the chance to hear each piece from a fresh perspective, while his related masterclass series provides further insights into Schiff’s creative process. The exceptional encounter at Wigmore Hall between two stars of bel canto, Cecilia Bartoli and Philippe Jaroussky, is enhanced by their enduring friendship and strong musical bond. Following an acclaimed Benjamin Ealovega © Giulio Cesare in Salzburg and mutual guest appearances on several of sets the creative benchmark for a programme that includes one of their recording projects, they finally share a concert in company with Purcell’s earliest Odes for St Cecilia’s Day, complete with the haunting the virtuoso Ensemble Artaserse, founded by Jaroussky in 2003. countertenor aria, ‘Here the deities approve’, and the wonderful verse anthem ‘In thee, O Lord, do I put my trust’. The Sixteen also explores the Once self-described in three words as ‘mercurial, stoical and giggly’, intense chromatic harmonies of ‘Plung’d in the confines of despair’, an Tansy Davies’s music jolts and pulses, with a rhythmical, almost mechanical, inspired setting of a psalm paraphrase by the clergyman and religious edge. She draws on inspiration from architecture, often using the controversialist, John Patrick. orchestra to build her structures, and it is this way of thinking that creates new worlds, bridging contemporary idioms such as jazz and rock. Christoph Pohl began his singing career as a member of the Hanover Boys’ Choir. The German baritone has achieved international acclaim Violeta Urmana makes a highly anticipated return visit to us. The as a member of the Semperoper Dresden ensemble in roles as diverse phenomenal range and richness of the Lithuanian artist’s voice are as Mozart’s Count Almaviva, Rossini’s Figaro and Wagner’s Wolfram. ideally suited to the dramatic contrasts at work in her Schubert Following the success of his Royal Opera House debut in Georg Friedrich programme. She and regular duo partner Jan Philip Schulze open with Haas’s Morgen und Abend in 2015, Pohl marks his first appearance Schubert’s first complete vocal work and embrace everything from the at Wigmore Hall with a compelling programme of songs to poetry by romantic reflections of ‘Himmelsfunken’ to the operatic excesses of Goethe, Heine and Schiller. ‘Herrn Josef Spaun, Assessor in Linz’. Wigmore Lates make the ideal start to the weekend. This season’s run Five-star reviews and a clutch of international prizes, a GRAMMY and opens with virtuoso Baroque sonatas from Arcangelo, and includes a Gramophone Award among them, underline the towering achievement trumpet double bill from Alison Balsom and Guy Barker, mesmeric of the Takács Quartet’s recordings of Beethoven’s complete string original cabaret numbers from Miss Hope Springs, and a genre-crossing quartets. Wigmore Hall’s Associate Artists present their latest thoughts evening with classical mandolinist Avi Avital and jazz bassist and oud on these timeless artworks. player Omer Avital. Pavel Kolesnikov made his BBC Proms debut with a thrilling account of Bach’s Partitas, issued in separate editions between 1726 and 1730, Tchaikovsky’s monumental Second Piano Concerto, and soon earned formed the composer’s first major publication, offered to ‘music-lovers, further rave reviews for his second recording for Hyperion, an album to delight their spirits’. Angela Hewitt explores the diverse delights of of Chopin’s complete Mazurkas. The Russian pianist explores the three of Bach’s suites together with the Sonata BWV964, the composer’s fantasy worlds of CPE Bach and Schumann together with the song- virtuoso transcription for keyboard of his Sonata for solo violin in A minor. without-words that is Schubert’s A minor Sonata. Igor Levit concludes his intense season-long Beethoven Cycle with the Poetry of rich expressivity conditions each song in Christina Landshamer’s composer’s final piano sonatas. ‘Beethoven’s pianistic imagination is Wigmore Hall recital. The Munich-born soprano made her international stamped on every page of these three [works]’, observes the veteran breakthrough in 2009 in Haydn’s Il mondo della luna under Nikolaus American scholar Lewis Lockwood. Each sonata reveals fresh facets of Harnoncourt, and has secured an enviable reputation since as an artist invention, with jaw-dropping pianistic effects allied to formal structures equally at home in opera, oratorio and song. Her programme includes of extraordinary ingenuity. Schumann’s settings of poems from Goethe’s Wilhelm Meister and Victor Ullmann’s cycles of sonnets by Elizabeth Barrett Browning, Rilke and For over 20 years Wigmore Hall’s renowned Learning programme has Louise Labé, an extraordinary figure of the French Renaissance. been giving people of all ages, backgrounds and abilities opportunities to take part in creative music making, engaging a broad and diverse Stile Antico, among the world’s finest vocal ensembles, explores music audience through innovative creative projects, concerts, events and of mourning and commemoration from Austria and Germany in its latest online resources. All of this is celebrated in two gala concerts on 24 and Wigmore Hall concert. The journey begins with a late motet by the 25 July featuring Joshua Bell, Amihai Grosz, Rachel Roberts, Arisa Fujita, remarkably prolific, consistently inventive Lassus, who finished his Steven Isserlis and Dénes Várjon. illustrious career as Kapellmeister to the Duke of Bavaria. It continues with Schütz’s sublime Musicalische Exequien, written during the Thirty Please enjoy reading through the brochure yourself, and I hope to see Years War for the funeral of Prince Heinrich of Reuss, and finally arrives you at Wigmore Hall during our Summer Series. at Bach’s peerless funeral motet for the wife of Leipzig’s postmaster. Harry Christophers directs an ace ensemble of singers and instrumentalists in a concert of masterworks from Restoration London. Hear my prayer, O Lord, memorably described by one scholar as a ‘noble fragment’, SERIES ATA GLANCE APRIL – JULY 201 7 See pages 6–82for full details of these concerts and page 83 for booking information. Series and Events to look out for… Chamber Music Season Sun 16 Jul Quatuor Mosaïques Page 69 Sun 23 Jul Tai Murray/Elena Urioste 72 EXAUDI Page 7 Sun 2 Apr Nikolaj Znaider/Piotr Anderszewski Page 6 Jennifer Stumm/Laura van der Heijden Tom Poster Nikolaj Znaider & Piotr Anderszewski 6 Fri 7 Apr Jean-Guihen Queyras/Sokratis Sinopoulos 8 Bijan Chemirani/Keyvan Chemirani Mon 24 Jul Joshua Bell/Arisa Fujita/Amihai Grosz 73 Alexander Melnikov 8 Rachel Roberts/Steven Isserlis Thu 13 Apr Sergey Khachatryan/Lusine Khachatryan 15 Bernarda Fink & Ensemble Prisma Wien 9 Dénes Várjon Sat 15 Apr Steven Isserlis/Dénes Várjon 15 Tue 25 Jul Joshua Bell/Arisa Fujita/Amihai Grosz 73 Jean-Guihen Queyras, Chemirani Brothers & 8 Tue 18 Apr Basel Chamber Orchestra/Daniel Hope 16 Sokratis Sinopoulos Rachel Roberts/Steven Isserlis Wed 19 Apr Britten Sinfonia 17 Dénes Várjon Les Talens Lyriques & Christophe Rousset 11 Sat 22 Apr Soloists of the London Philharmonic 18 Schubert: 12–13, 28, 30, 32, 36, 49, 50, Orchestra London Pianoforte Series The Complete Songs 53, 62, 64, 65, 66, 70, 74, 75 Wed 26 Apr Patricia Kopatchinskaja/Sol Gabetta 21 Le Concert Spirituel 14 Sat 29 Apr Hagen Quartet 22 Wed 5 Apr Alexander Melnikov 8 Thomas Dunford 17 Sun 30 Apr Hagen Quartet 23 Wed 19 Apr Piers Lane 17 Patricia Kopatchinskaja: Artist in Residence 21, 29 Fri 5 May Chamber Music Society of Lincoln Center 24 Sun 23 Apr Andreas Haefliger 19 Milan Siljanov & Nino Chokhonelidze 22 Sun 7 May Patricia Kopatchinskaja 29 Tue 25 Apr Janina Fialkowska 20 Anthony Romaniuk Sir András Schiff: Bach, Schumann, Janácˇek and Bartók 25 Tue 2 May Sir András Schiff 25 Mon 8 May Sainsbury Royal Academy Soloists 29 Thu 4 May Francesco Piemontesi 24 Francesco Piemontesi Mozart Cycle 24 Clio Gould Fri 12 May Joanna MacGregor 30 Wigmore Lates 26–27, 40, 49, 53, 56, 68, 70 Thu 11 May Elias String Quartet/Benjamin Frith 30 Sat 20 May Llyˆr Williams 37 Karita Mattila
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  • Patricia Kopatchinskaja Violin

    Patricia Kopatchinskaja Violin

    Patricia Kopatchinskaja Violin “Kopatchinskaja was like a cat teasing a butterfly, always ready to pounce on a passing phrase, whether answering the first violins or duetting with a perky clarinet. It has become her calling card to make the familiar unfamiliar.” Rebecca Franks, The Times, May 2019 A combination of depth, brilliance and humour, Kopatchinskaja brings an inimitable sense of theatrics to her music. Whether performing a violin concerto by Tchaikovsky, Ligeti or Schoenberg or presenting an original staged project deconstructing Beethoven, Ustwolskaja or Cage, her distinctive approach always conveys the core of the work. Highlights of the 19/20 season included a tour of the US with cellist Jay Campbell featuring a premiere of a new duo by Márton Illés, and in spring 2020 Kopatchinskaja performed the world premiere of a new commission by Francisco Coll with Philharmonie Luxembourg and Gustavo Gimeno. Kopatchinskaja appears regularly with artists such as: Polina Leschenko with whom she toured recently to Japan and the U.S; and Reto Bieri, with whom she premiered a new trio programme at the Wigmore Hall (with Leschenko). Highlights of the 2020/21 season include residencies with Frankfurt Alter Oper, SWR Symphony Orchestra, Bamberg Symphony, and Elbphilharmonie Hamburg. She will also be one of three new Associate Artists at the Southbank Centre beginning in January 2021 and running until the end of the 21/22 season. Included in the 20/21 season with Bamberg is the world premiere of a new concerto commission by Luca Francesconi. Kopatchinskaja will continue to showcase the works of living composers such as Michael Hersch, György Kurtág and Márton Illés in her varied and innovative curated projects like Farewell Beethoven, with pianist Igor Levit and soprano Ah Young, which will feature in the Lucerne Festival in autumn 2020.