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Home , American Journey, Claude Debussy, Donald Runnicles, Hodie, Karen Cargill, La mer (Debussy)

London Living Music

Sunday 1 March 2015 7.30pm Barbican Hall

DURUFLÉ

Debussy La damoiselle élue INTERVAL Duruflé Requiem

London’s Symphony Orchestra Donald Runnicles conductor Nicole Cabell soprano Kelley O’Connor mezzo-soprano Duncan Rock London Symphony Chorus chorus director

Concert finishes approx 9.40pm

2 Welcome 1 March 2015

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert at the 2015/16 SEASON NOW ON SALE Barbican, for which we are joined by conductor Donald Runnicles for a programme of French The LSO 2015/16 season is now available to book. classics, from Debussy’s La mer to Duruflé’s Season themes include Creative Geniuses, a series meditative and moving Requiem. Donald Runnicles of concerts curated by Sir , The Power was last with the Orchestra in 2006, conducting of the Voice, a celebration of great vocal works, a concert at the Barbican and leading a tour to Shakespeare 400, exploring the iconic playwright’s Germany; we are delighted to see him return tonight. influence on music, and : Man of the Theatre. Full details and listings can be found I would also like to extend a warm welcome to our on the LSO website. soloists – returning soloists Kelley O’Connor and Duncan Rock, and Nicole Cabell, who makes her lso.co.uk/201516season LSO debut tonight – and to the London Symphony Chorus with our Choral Director Simon Halsey. This performance forms part of LSO Sing, an LSO SINGING DAYS initiative that aims to involve Londoners in choral singing, and follows a Singing Day that took place If tonight’s concert has inspired you to get singing, at LSO St Luke’s on 7 February, which focused on why not join us for a Singing Day at LSO St Luke’s? Duruflé’s Requiem. I am particularly pleased that Led by the LSO’s experienced choral team, these many of the participants who attended this day workshops give you the chance to join a scratch join us in the audience this evening. for a day, meet other like-minded people and explore great choral works, including some of Thank you to our media partners Classic FM for their the music that influenced Brahms’ Requiem (9 May) continuing commitment to the LSO. and traditional music (20 June).

Enjoy the concert and please join us again as our lso.co.uk/singingdays season continues. On 12 and 15 March, the LSO presents two concerts celebrating the 70th birthday of Principal Guest Conductor , THE LATEST RELEASE ON LSO LIVE followed by a tour of the West Coast of America. For the latest release on LSO Live, violist Antoine Tamestit and mezzo-soprano Karen Cargill join forces with the LSO for the next instalment of Valery Gergiev’s revelatory Berlioz series, featuring Harold in Italy and the experimental Kathryn McDowell CBE DL The Death of Cleopatra. Managing Director lso.co.uk/lsolive lso.co.uk LSO Sing 3

LSO Sing Highlights in 2015

SINGING DAYS AT LSO ST LUKE’S CHORAL CONCERTS AT THE BARBICAN

BRAHMS CONNECTIONS AFRICAN/AMERICAN JOURNEY BRAHMS GERMAN REQUIEM BEETHOVEN SYMPHONY NO 9 Sat 9 May 2015 11am–4.30pm Sat 20 Jun 2015 10.30am–4.30pm Sun 24 May 7.30pm Sun 21 Jun 7.30pm

Ahead of the LSO and LSC’s Come and explore how early traditional conductor conductor performance of Brahms’ German gospel music evolved from African Dorothea Röschmann soprano Erin Wall soprano Requiem, Simon Halsey leads a spirituals and European hymnody. Matthias Goerne baritone Karen Cargill mezzo-soprano workshop on the music that inspired it, Led by David Lawrence, we’ll sing London Symphony Chorus Steve Davislim tenor including works by Schütz, Handel and our way through American soul and Simon Halsey chorus director Hanno Müller-Brachmann Bach, and an early Brahms motet. end up with the contemporary gospel bass-baritone Some sight-singing ability is required. sounds of today. London Symphony Chorus Simon Halsey chorus director

LSO Sing is generously supported by the John S Cohen Foundation, the J Paul Getty Jnr 020 7638 8891 Charitable Trust and Sir Siegmund Warburg’s Voluntary Settlement lso.co.uk 4 Programme Notes 1 March 2015

Claude Debussy (1862–1918) La damoiselle élue (1887–8)

NICOLE CABELL SOPRANO The scene is set by a gently luminous orchestral KELLEY O’CONNOR MEZZO-SOPRANO prelude which unfolds three main leitmotifs – LADIES OF THE LONDON SYMPHONY CHORUS a soft celestial ‘circle’ of rising and falling string SIMON HALSEY CHORUS DIRECTOR chords heard at the very beginning; a flowing theme also in the strings, associated with the Damozel’s PROGRAMME NOTE WRITER Debussy came across ’s hope to be soon reunited with her beloved; and JEREMY THURLOW is a composer; poem The Blessed Damozel in a book of modern a supple flute melody evoking the figure of the his music ranges from chamber and English poetry translated into French by Gabriel Damozel herself. orchestral music to video-. He won Sarrazin. The depiction of a Christian afterlife filled the Award 2007. with sensual longing was striking, as was the The chorus enters, taking turns with the soloist Author of a book on Dutilleux, he damozel herself, chaste but passionate, with long to act as narrator and describe the scene. The broadcasts on BBC Radio 3, and is a and resplendent hair, a precursor of the future words are sung in a plain, syllabic style somewhere Fellow of Robinson College, Cambridge. Mélisande of Maeterlinck’s play and Debussy’s between speech and plainchant, later to become a opera, Pelléas et Mélisande. hallmark of Pelléas et Mélisande. It is not until almost halfway through the work that the soloist takes up DANTE GABRIEL ROSSETTI Attracted by the poem’s symbolist and Wagnerian the voice of the Damozel herself, singing in a long (1828–82) was an English poet and resonances, Debussy set La damoiselle élue to rhapsodic soliloquy of how she can find no joy in painter, one of the three founders music in 1887–8, not long after cutting short his paradise while her lover remains apart from her on of the Pre-Raphaelite Brotherhood. prestigious (but, to him, tedious) four-year stay in earth below. The sentiment of luxurious melancholy Along with his poem The Blessed Rome and returning to . It was first performed captured Debussy’s imagination perfectly: seamless Damozel, first published in 1850, at the Société Nationale in 1893, raising a few and unhurried melodies rise from delicacy to passion he also gave the title to a painting, eyebrows, and not only at the Conservatoire over subtly floating harmonies and sensuous, one of his most famous, which whose top prize had earned him his trip to Rome. shimmering . The young composer had depicts the Damozel in paradise, The fact that Debussy described himself at this found his voice. with her lover below on earth. time as ‘madly Wagnerian’ (he made his first visit to Bayreuth in 1888) certainly leaves its mark on PELLÉAS ET MÉLISANDE the piece. But Debussy was quick to turn Wagner’s Sat 9 & Sun 10 Jan 2016, Barbican influence to his own ends, and already his own distinctive sound-world is beginning to emerge. Next season, the LSO performs a semi-staged version of Debussy’s opera Pelléas et Mélisande, directed by Peter Sellars and conducted by Sir Simon Rattle.

For more information, visit lso.co.uk/201516season lso.co.uk Text 5

Claude Debussy La damoiselle élue: Text

LA DAMOISELLE ÉLUE THE BLESSED DAMOZEL

Chorus La damoiselle élue s’appuyait The blessed damozel leaned out Sur la barrière du Ciel, From the gold bar of Heaven; Ses yeux étaient plus profonds que l’abîme Her eyes were deeper than the depth Des eaux calmes au soir. Of waters still at even; Elle avait trois lys à la main She had three lilies in her hand, Et sept étoiles dans les cheveux. And the stars in her hair were seven.

Narrator Sa robe flottante Her robe, ungirt from clasp to hem, N’était point ornée de fleurs brodées, No wrought flowers did adorn, Mais d’une rose blanche, présent de Marie, But a white rose of Mary’s gift, Pour le divin service justement portée; For service meetly worn; Ses cheveux qui tombaient le long de ses épaules, Her hair that lay along her back Étaient jaunes comme le blé mûr. Was yellow like ripe corn.

Chorus Autour d’elle des amants Around her, lovers, newly met Nouvellement réunis, ‘Mid deathless love’s acclaims, Répétaient pour toujours, entre eux, Spoke evermore among themselves Leurs nouveaux noms d’extase; Their rapturous new names; Et les âmes, qui montaient à Dieu, And the souls mounting up to God Passaient près d’elle comme de fines flammes. Went by her like thin flames.

Narrator Alors, elle s’inclina de nouveau et se pencha And still she bowed herself and stooped En dehors du charme encerclant, Out of the circling charm; Jusqu’à ce que son sein eut échauffé Until her bosom must have made La barrière sur laquelle elle s’appuyait, The bar she leaned on warm, Et que les lys gisent comme endormis And the lilies lay as if asleep Le long de son bras étendu. Along her bended arm.

Chorus Le soleil avait disparu, la lune annelée The sun was gone now; the curled moon Était comme une petite plume Was like a little feather Flottant au loin dans l’espace; et voilà Fluttering far down the gulf; and now 6 Text 1 March 2015

Claude Debussy La damoiselle élue: Text continued

Qu’elle parla à travers l’air calme, She spoke through the still weather. Sa voix était pareille à celle des étoiles Her voice was like the voice the stars Lorsqu’elles chantent en choeur. Had when they sang together.

The Blessed Damozel ‘Je voudrais qu’il fût déjà près de moi, ‘I wish that he would come to me, Car il viendra. For he will come,’ she said. N’ai-je pas prié dans le ciel? Sur terre, ‘Have I not prayed in Heaven? – on earth, Seigneur, Seigneur, n’a-t-il pas prié, Lord, Lord, has he not pray’d? Deux prières ne sont-elles pas une force parfaite? Are not two prayers a perfect strength? Et pourquoi m’effraierais-je? And shall I feel afraid?

‘Lorsqu’autour de sa tête s’attache l’auréole, ‘When round his head the aureole clings, Et qu’il aura revêtu sa robe blanche, And he is clothed in white, Je le prendrai par la main et j’irai avec lui I’ll take his hand and go with him Aux sources de lumière, To the deep wells of light; Nous y entrerons comme dans un courant, We will step down as to a stream Et nous y baignerons à la face de Dieu. And bathe there in God’s sight.

‘Nous nous reposerons tous deux à l’ombre ‘We two will lie i’the shadow of De ce vivant et mystique arbre, That living mystic tree Dans le feuillage secret duquel on sent parfois Within whose secret growth the dove La présence de la colombe, Is sometimes felt to be, Pendant que chaque feuille, touchée par ses plumes, While every leaf that His plumes touch Dit son nom distinctement. Saith His Name audibly.

‘Tous deux nous chercherons les bosquets ‘We two,’ she said, ‘will seek the groves Où trône Dame Marie Where the lady Mary is, Avec ses cinq servantes, dont les noms With her five handmaidens, whose names Sont cinq douces : Are five sweet symphonies, Cécile, Blanchelys, Madeleine, Cecily, Gertrude, Magdalen, Marguerite et Roselys. Margaret and Rosalys.

‘Il craindra peut-être, et restera muet, ‘He shall fear, haply, and be dumb: Alors, je poserai ma joue Then will I lay my cheek Contre la sienne; et lui parlerai de notre amour, To his, and tell about our love, Sans confusion ni faiblesse, Not once abashed or weak: Et la chère Mère approuvera And the dear Mother will approve Mon orgueil, et me laissera parler. My pride, and let me speak. lso.co.uk Text 7

‘Elle-même nous amènera la main dans la main ‘Herself shall bring us, hand in hand, A celui autour duquel toutes les âmes To him round whom all souls S’agenouillent, les innombrables têtes clair rangées Kneel, the clear-ranged unnumbered heads Inclinées, avec leurs auréoles. Bowed with their aureoles: Et les anges venus à notre rencontre chanteront, And angels meeting us shall sing S’accompagnant de leurs guitares et de leurs citoles. To their citherns and citoles.

‘Alors, je demanderai au Christ Notre Seigneur, ‘There will I ask of Christ the Lord Cette grande faveur, pour lui et moi, Thus much for him and me: – Seulement de vivre comme autrefois sur terre: Only to live as once on earth Dans l’amour; et d’être pour toujours, With Love, – only to be, Comme alors pour un temps, As then awhile, for ever now Ensemble, moi et lui.’ Together, I and he.’

Chorus Elle regarda, prêta l’oreille et dit, She gazed and listened and then said, D’une voix moins triste que douce: Less sad of speech than mild, –

The Blessed Damozel ‘Tout ceci sera quand il viendra.’ ‘All this is when he comes.’

Chorus Elle se tut: She ceased. La lumière tressaillit de son côté, remplie The light thrilled towards her, fill’d D’un fort vol d’anges horizontal. With angels in strong level flight. Ses yeux prièrent, elle sourit; Her eyes prayed, and she smiled. Mais bientôt leur sentier I saw her smile. But soon their path Devint vague dans les sphères distantes. Was vague in distant spheres:

Narrator Alors, elle jeta ses bras le long And then she cast her arms along Des barrières d’or. The golden barriers, Et posant son visage entre ses mains, And laid her face between her hands, Pleura. And wept. (I heard her tears.)

Gabriel Sarrazin (1853–1935) Excerpts from the complete poem The Blessed Damozel by Dante Gabriel Rossetti (1828–82) 8 Programme Notes 1 March 2015

Claude Debussy La mer: Three Symphonic Sketches (1903–05)

1 DE L’AUBE À MIDI SUR LA MER sake, a loving attention to ever-changing qualities (FROM DAWN UNTIL NOON ON THE SEA) of texture, atmosphere and mood, and an ability 2 DE VAGUES (THE PLAY OF THE WAVES) through suggestive, unconventional touches to 3 DIALOGUE DU VENT ET DE LA MER bring the scene alive. (DIALOGUE OF THE WIND AND THE SEA) The evocative power of La mer is uncanny: no other Though we should not take very seriously his tongue- piece of music has so vividly recreated the sea in in-cheek remark that if he had not been a composer he its infinite variety of moods and textures. The titles of the three movements suggest a progression would have liked to be a sailor, there is no doubt that which has been concisely summed up as ‘the sea Debussy felt a lifelong fascination for the sea. awakening; the sea at play; the wild sea’, and within these simple outlines the music suggests a thousand details, utterly compelling and ‘exact’ even when it PROGRAMME NOTE WRITER The sea seems to have moved into the centre of can be hard to put into words the sensation that has JEREMY THURLOW Debussy’s compositional thoughts in his previous been so exactly recreated. But this paradox – music orchestral work, the , a set of three that is so strongly suggestive, and yet so evasive evocative ‘sound-pictures’ of which the third with regard to what is suggested – is at the heart of and longest is a seascape, Sirènes. But here and Debussy’s achievement. When composing, he wrote, in other pieces such as L’isle joyeuse and La his ‘innumerable memories [were] worth more than cathédrale engloutie, the sea remains a backdrop for a reality which tends to weigh too heavily on the mythological scenes; in La mer it comes into its own imagination’. So we should not be surprised to learn as the central and only character of the drama. that much of the work was written far from the sea.

As Simon Tresize has observed, orchestral excerpts In fact, Debussy was buffeted by storms of a from Wagner were much more commonly performed different kind, for the years 1903–5 in which he in at that time than the themselves, wrote La mer also saw the attempted suicide of his and may have inspired the highly original form of wife Lily, his elopement with singer , Debussy’s three ‘symphonic sketches’ – particularly later to become his second wife, and the ensuing the first which unfolds as a succession of different scandal (which included the rapid appearance evocative ‘scenes’. Wagner’s evocations of sea- of a highly successful play, closely and obviously storms and primeval rivers, forests and flames modelled on the affair). While we should avoid present gradually evolving textures of subtly layered imputing any direct correspondence, the tumult of orchestral sound. In his operas these serve as the third movement might be felt to bear a trace of backdrops, though sometimes very important ones; Debussy’s own personal melodrama. But perhaps Debussy made them the central focus of his work. the most important stimulus here came from the For once the term ‘’, rarely very visionary sea paintings of J M W Turner, described helpful when applied to music, makes some sense: by Debussy as ‘the finest creator of mystery in as with Monet and his colleagues there is a desire the whole of art!’. In its originality of expression to experience and capture a scene just for its own and range of feeling, however, Debussy’s musical lso.co.uk Programme Notes 9

Claude Debussy Composer Profile

seascape stands alone, encompassing the majesty Debussy was born in Saint-Germain-en-Laye in and delicacy, fury and stillness, effervescence and 1862. Despite an insecure family background (his power of the sea in one of the great masterpieces father was imprisoned as a revolutionary in 1871), of 20th-century music. he took lessons and was accepted as a pupil of the Paris Conservatoire in 1872, but failed to make INTERVAL – 20 minutes the grade as a concert . The gifted musician There are bars on all levels of the Concert Hall; ice cream directed his talents towards composition, eventually can be bought at the stands on Stalls and Circle level. winning the in 1884 and spending two The Barbican shop will also be open. years in Italy. During the he lived in poverty with his mistress Gabrielle Dupont, eventually Why not tweet us your thoughts on the first half of the marrying the dressmaker Rosalie (Lily) Texier in 1899. performance @londonsymphony, or come and talk to LSO staff at the Information Desk on the Circle level? Debussy infused his work with musical influences from around the world. His Prélude à l’après-midi d’un faune, although regarded as a revolutionary J M W TURNER (1775–1851) work at the time of its premiere in 1894, soon found and the SEA PAINTINGS COMPOSER PROFILE WRITER favour with concertgoers and the French press. Late ANDREW STEWART in the summer of the previous year he had begun work on the only opera he completed, Pelléas et Mélisande, inspired by Maeterlinck’s play. It was an DEBUSSY on LSO LIVE immediate success after its first production in 1902.

La mer; Jeux; In 1904 he met Emma Bardac and moved into an Prélude à apartment with her; his wife, Lily Texier, attempted l’après-midi suicide following their separation. The composer’s d’un faune troubled domestic life did not affect the quality of £7.99 his work, with such magnificent scores as La mer for James Mallord William Turner was an English Romantic large orchestra and the first set of for piano landscape and watercolour painter. He became known Editor’s choice written during this period. Debussy’s ballet Jeux was as the ‘painter of light’ because of his increasing Gramophone magazine first performed by Diaghilev’s in May interest in using brilliant colours for his land and 1913, a fortnight before the premiere of Stravinsky’s seascapes. Marine art accounts for over two thirds Editor’s choice . Although suffering from cancer, he of Turner’s works – he was so obsessed with the Classic FM magazine managed to complete the first three of a projected ever-changing and dramatic nature of the sea that set of six instrumental . He died at his Paris he is said to have lashed himself to a mast, so that Available to buy online at home in 1918 and was buried at . he could record the effects of a gale that blew up lso.co.uk/lsolive or as a digital His daughter, affectionately known as ‘Chouchou’, the North Sea as he left Harwich Docks. download on iTunes lived but one year after him, succumbing to the diphtheria epidemic that swept Paris in 1919. 10 Programme Notes 1 March 2015

Maurice Duruflé (1902–86) Requiem Op 9 (1941–47)

1 INTROIT at Sunday Mass; the book of Gregorian chant was 2 KYRIE always on the music rack open at the liturgical office 3 DOMINE JESU CHRISTE of the day. [Upon these themes] he improvised 4 SANCTUS the entire Low Mass. It was not a concert, but a 5 PIE JESU genuine musical commentary on the liturgy.’ 6 AGNUS DEI For Duruflé this was to prove a powerful model. 7 LUX AETERNA As a composer he concentrated on instrumental 8 LIBERA ME music, organ music above all. It is worth remembering 9 IN PARADISUM that the magnificent flourishing of church organ was not accompanied by any KELLEY O’CONNOR MEZZO-SOPRANO comparable tradition of choral singing; this makes it DUNCAN ROCK BARITONE less surprising to learn that the Requiem, written in LONDON SYMPHONY CHORUS his 40s, was in fact Duruflé’s first piece for choir. SIMON HALSEY CHORUS DIRECTOR Following the German invasion of France in 1940, PROGRAMME NOTE WRITER Maurice Duruflé makes for an interesting comparison Duruflé was one of about a dozen French composers JEREMY THURLOW with his near-contemporary . Both (most of them pro-Church and anti-modernist in were unquestioning believers, served throughout their stance) to receive large-scale commissions their lives as church organists, and wrote their music from the collaborationist Vichy government in May as an almost compulsive expression of their faith. 1941. The work was expected to take between six THE REQUIEM MASS In Messiaen’s case this led him to open his ears and twelve months; true to form, however, Duruflé The Requiem is a Mass celebrated in and his imagination to an ever-wider and more took six years to write his Requiem, and the war the Catholic Church on behalf of the speculative exploration of sounds and combinations. was long over when he completed it in September dead, taking its name from the introit For Duruflé it meant keeping close to a few dearly 1947. The new post-war Arts Ministry did not merely (the opening text) which begins held exemplars, none of them particularly new – pay him the fee originally agreed but tripled it in ‘Requiem aeternal’ (Eternal rest). above all, Gregorian chant and the harmonies recognition of the much greater time and trouble The Requiem has been set to music of Ravel and Debussy. His was a cautious path; the work had taken; he was clearly reckoned to have by composers for centuries, from he never denied his strongly conservative streak, had no significant involvement in the tainted Vichy the plainsong chants of the Middle nor the crushingly self-critical tendency which led regime. The first performance, in the Ages and the Renaissance polyphony him to produce only 14 published works over a on All Soul’s Day, November 1947, was broadcast on of composers like Palestrina, to lifetime of composing. All this makes a most unlikely national radio as part of a programme of new works Mozart’s famous example and later foundation for an outstanding work of art; and yet commemorating the lives lost in the war. versions by Verdi, Berlioz, Fauré and Duruflé’s Requiem is widely felt to be just that. Brahms, who assembled his own text Duruflé always denied that his Requiem was from ’s German . After studying with legendary French organists influenced by Fauré’s. In fact, certain basic Louis Vierne and Charles Tournemire and at the similarities are undeniable: notably the distinctive Conservatoire, Duruflé became assistant organist choice of texts – particularly the omission of the to Tournemire in 1927. As Duruflé later recalled: main part of the apocalyptic ‘Dies Irae’ sequence and ‘Tournemire never played from a prepared score the inclusion of the ‘Pie Jesu’ and final ‘In Paradisum’ lso.co.uk Programme Notes 11

Maurice Duruflé Composer Profile

– and the predominant tone of tenderness and Maurice Duruflé was born in Louviers, France on consolation. And yet, within this underlying 11 January 1902. He received early musical training framework the music does have more in common at the Rouen Cathedral School where he was also with Ravel and Debussy, as Duruflé insisted. Certainly a chorister. At the age of 17 he relocated to Paris, the lavish, sensitive and highly atmospheric use of a where he became musical assistant to the renowned large orchestra points more towards them, as does organist and composer Charles Tournemire. In 1920 the dreamy, impressionistic approach to harmony, he entered the , graduating modal in a very different way from Fauré’s. in 1928.

But the influence of Gregorian chant is even more In 1927 he was invited to assist Louis Vierne at the pervasive. First, in the gentle, undulating contours of Notre-Dame Cathedral, before being appointed the melodic lines, which feel as though they might organist at St-Étienne-du-Mont in 1929. He assisted have been sung for a thousand years. And second, Poulenc with the organ writing of his for in Duruflé’s skilful and unusual recreation of the Organ, Strings and and gave the premiere fluidity of plainchant’s rhythms, a flow unimpeded by of the work in 1939. In 1953 he married Marie- accents or by the regularities of traditional musical Madeleine Chevalier, who had been his musical metre. All this is drawn into a perfect synthesis, COMPOSER PROFILE WRITER assistant at St-Étienne-du-Mont since 1947. They so that it can be forgotten; a palpable sense of BENJAMIN PICARD went on to become a successful organ duo. radiance pervades the work, from its moments of quiet contemplation through its outbursts of awe Duruflé’s compositional output is relatively slight, and splendour, to the final movement, which Duruflé with his ten works for solo organ among the described as ‘the flight of the soul to Paradise’. most enduring. They are, as one would imagine, idiomatically composed for the instrument, and display a great sensitivity towards its technical capabilities. His Requiem is widely considered to be his greatest work and exists in separate versions for organ, orchestra and chamber orchestra. During his lifetime he published very few of his own works and continually revised and edited his music in his quest for perfection. As a composer, Duruflé is credited with bringing together the disparate sound-worlds of church plainsong and the secular harmonies of the impressionist composers.

In 1975 Duruflé suffered severe injuries in a car crash; as a result he had to retire as an organist, handing over his duties to his wife. He was essentially confined to his apartment for much of the rest of his life, and died on 16 June 1986. 12 Texts 1 March 2015

Maurice Duruflé Requiem: Texts

INTROIT

Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus, Deus, in Sion, A hymn, O God, becometh Thee in Sion; et tibi reddetur votum in Jerusalem. and a vow shall be paid to Thee in Jerusalem. Exaudi orationem meam, Hear my prayer; ad te omnis caro veniet. all flesh shall come to Thee. Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

KYRIE

Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy.

DOMINE JESU CHRISTE

Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium deliver the souls of the faithful departed defunctorum de poenis inferni, et de profundo lacu: from the pains of hell and from the deep pit: libera eas de ore leonis, deliver them from the mouth of the lion, ne absorbeat eas tartarus, that hell may not swallow them up, ne cadant in obscurum. that they may not fall into darkness.

Sed signifer sanctus Michael repraesentet eas And let the holy standard-bearer Michael in lucem sanctam: bring them into the holy light: Quam olim Abrahae promisisti, et semini ejus. which Thou didst promise of old to Abraham and his seed.

Hostias et preces tibi, Domine, laudis offerimus: We offer unto Thee, O Lord, sacrifices and prayers of praise: tu suscipe pro animabus illis, do Thou receive them on behalf quarum hodie memoriam facimus; of those souls whom we commemorate this day. fac eas, Domine, de morte transire ad vitam. Grant them, O Lord, to pass from death to life, Quam olim Abrahae promisisti et semini ejus. which Thou didst promise of old to Abraham and his seed. lso.co.uk Texts 13

SANCTUS

Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts.

Pleni sunt caeli et terra gloria tua: Heaven and earth are full of Thy glory: Hosanna in excelsis. Hosanna in the highest.

Benedictus qui venit in nomine Domini: Blessed is he that comes in the name of the Lord: Hosanna in excelsis. Hosanna in the highest.

PIE JESU

Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem. grant them rest.

Pie Jesu Domine, Merciful Lord Jesus, dona eis requiem sempiternam. grant them eternal rest.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takest away the sins of the world, dona eis requiem. grant them rest.

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takest away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.

LUX AETERNA

Lux aeterna luceat eis, Domine, Let everlasting light shine upon them, O Lord, cum sanctis tuis in aeternum, with Thy saints for ever, quia pius es. for Thou art merciful.

Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them. 14 Texts 1 March 2015

Maurice Duruflé Requiem: Texts continued

LIBERA ME

Libera me, Domine, Deliver me, O Lord, de morte aeterna, from eternal death, in die illa tremenda, on that day of dread, quando coeli movendi sunt et terra, when the heavens and the earth shall be moved, dum veneris judicare when Thou shalt come to judge saeculum per ignem. the world with fire.

Tremens factus sum ego, et timeo, I am in fear and trembling dum discussio venerit, whilst the trial and the wrath atque ventura ira. to come are near, Quando coeli movendi sunt et terra. when the heavens and the earth shall be moved.

Dies illa, dies irae, That day, the day of wrath, calamitatis et miseriae, of calamity, of woe, dies magna et amara valde. a great and bitter day.

Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Libera me, Domine, Deliver me, O Lord, de morte aeterna, from eternal death, in die illa tremenda, on that day of dread: quando coeli movendi sunt et terra, when the heavens and the earth shall be moved, dum veneris judicare when Thou shalt come to judge saeculum per ignem. the world with fire.

IN PARADISUM

In paradisum deducant Angeli, May the angels lead you into paradise, in tuo adventu suscipiant te martyres, at your coming may the martyrs receive thee, et perducant te in civitatem sanctam Jerusalem. and bring thee into the holy city, Jerusalem.

Chorus Angelorum te suscipiat May the choir of angels receive thee, et cum Lazaro quondam paupere and with Lazarus, who once was poor, aeternam habeas requiem. may thou have eternal rest. Something for every mood with the London Symphony Orchestra To roll our online dice, visit: lso.co.uk/findmeaconcert

London Symphony Orchestra London’s Music

lso.co.uk/findmeaconcert 16 Artist Biographies 1 March 2015

Donald Runnicles Conductor

Donald Runnicles was born in , and Runnicles returned home to Edinburgh to become was educated there and at Cambridge University. Chief Conductor of the BBC Scottish Symphony Following a season with the London Opera Centre, Orchestra in September 2009. He conducts five of he began his career in Mannheim, Germany as the BBC SSO’s main series concerts in Glasgow, a répétiteur, and spent summers assisting in leads concerts throughout Scotland and northern Bayreuth. In 1988, he made his North American England, and conducts at the BBC Proms and debut conducting Berg’s Lulu at the Metropolitan Edinburgh International Festival. Opera, stepping in for an indisposed James Levine, and in 1989 he became General Music Director in Donald Runnicles’ association with the Atlanta Freiburg, Germany. In 1990, after two Ring cycles at Symphony Orchestra began with a 1999 guest , he was asked to be its Music engagement and quickly matured into an abiding Director, and began the appointment two years later. musical relationship of ever-increasing depth. Since then, he has conducted at leading international After over a dozen years of making music together, opera houses, , and summer festivals. they have explored all corners of symphonic and He has cultivated close, enduring and extensive choral repertoire. relationships with several of the most significant General Music Director opera companies and orchestras, and is especially Since 2005 Runnicles has been Music Director of Deutsche Oper Berlin celebrated for his interpretations of Romantic and the Grand Teton Music Festival in Jackson Hole, post-Romantic symphonic and operatic repertoire. Wyoming, where he leads four of the Festival’s Chief Conductor His latest commercial recording of Wagner arias seven orchestra weeks, and directs and participates BBC Scottish Symphony Orchestra with and the Deutsche Oper as a pianist in the many chamber concerts, recitals Berlin orchestra for Decca Classics won the 2013 and other activities. Music Director Gramophone prize for best vocal recording. Grand Teton Music Festival, For 17 seasons Runnicles was Music Director of Jackson, Wyoming Donald Runnicles was appointed General Music the San Francisco Opera, leading more than 60 Director of the Deutsche Oper Berlin in 2009, and productions, including the world premieres of Principal Guest Conductor in the 2014/15 season leads new productions ’ Doctor Atomic and Conrad Susa’s Atlanta Symphony Orchestra of Shostakovich’s Lady Macbeth of the Mtsensk The Dangerous Liaisons. At the close of his tenure, District and Berlioz’s Romeo and Juliet, along with he was awarded the San Francisco Opera Medal, eight revival titles and symphonic concerts. In the company’s highest honour. 2014, the DOB made its debut at the BBC Proms under Runnicles’ direction with a concert version of Runnicles is a recipient of the Order of the British Strauss’ Salome. This season he also returns to the Empire (OBE) and holds honorary degrees from San Francisco Opera to lead a new production of Edinburgh University, the Royal Scottish Academy Berlioz’s The Trojans, and guest conducts the Berlin of Music and Drama, and San Francisco Philharmonic, Tonhalle-Orchestre Zürich and Sydney Conservatory of Music. Symphony Orchestra. lso.co.uk Artist Biographies 17

Nicole Cabell Kelley O’Connor Soprano Mezzo-soprano

Winner of the BBC Cardiff Singer Grammy Award-winning mezzo- of the World Competition in 2005, soprano Kelley O’Connor’s Nicole Cabell is now one of the performances this season include most sought-after lyric sopranos concerts with the Philadelphia in the world. This season she Orchestra, Colorado Symphony, makes her LSO debut, and in San Antonio Symphony and Atlanta December made her debut with Symphony, and a return to the Opéra National de Paris as Mimi operatic stage for a new production (Puccini’s La bohème) under of Donizetti’s Anna Bolena at the Sir Mark Elder. At home in the Lyric Opera of Chicago. US she returns to to sing the role of Juliet John Adams wrote the title role (Gounod’s Romeo and Juliet). of The Gospel According to the Other Mary for Kelley O’Connor, Highlights of last season included and she has performed the work Beethoven’s Symphony No 9 internationally. Other operatic under Charles Dutoit at the Tanglewood Festival, and Elgar’s The highlights have included performances of Suzuki in Puccini’s Madam Apostles with the BBC Symphony Orchestra under Sir Andrew Davis. Butterfly at the Boston Lyric Opera and Cincinnati Opera; Ursule in She also recently toured with the Royal Philharmonic Orchestra under Berlioz’s Béatrice et Bénédict at Opera Boston; and Meg Page in Verdi’s Dutoit in Poulenc’s Gloria and performed his with the with the Santa Fe Opera. She has received critical acclaim Orchestre National de France under Jean-Claude Casadesus. Especially for her many performances as Federico García Lorca in Osvaldo adept in French repertoire, Nicole has sung Leïla (Bizet’s The Pearl Golijov’s Ainadamar, a role she created for the world premiere at the Fishers) for Santa Fe Opera and Juliet for Palm Beach Opera. Tanglewood Festival.

The major lyric soprano roles are central to Nicole’s repertoire. She Concert performances have included concerts with Gustavo Dudamel, recently made an acclaimed company debut as Giulietta (Bellini’s including Bernstein’s ‘Jeremiah’ Symphony with the Los Angeles The Capulets and the Montagues) with San Francisco Opera, and Philharmonic and Mahler’s ‘Resurrection’ Symphony with the Simón returned there as Violetta (Verdi’s La traviata). Demonstrating her Bolívar Orchestra; the world premiere of a vocal work written for her affinity with the music of Mozart, Nicole Cabell has sung Contessa by the legendary Indian musician Zakir Hussain; Beethoven’s Ninth Almaviva (The Marriage of Figaro) in Montreal, Pamina (The Magic Flute) Symphony with Bernard Haitink and the Chicago Symphony Orchestra; at the Lyric Opera of Chicago and Donna Elvira (Don Giovanni) in Tokyo. and Stravinsky’s Les Noces with Esa-Pekka Salonen and the Los Angeles Philharmonic. She also enjoys a rich musical collaboration with An award-winning recording artist, Nicole’s debut album for Decca, Franz Welser-Möst and the . Soprano, was named Editor’s Choice by Gramophone Magazine and won an Echo Klassik Award and the Orphée d’Or from the Kelley O’Connor’s discography includes Lieberson’s Neruda Songs Académie du Disque Lyrique. She also features in the title role in with Robert Spano and the Atlanta Symphony, John Adams’ Opera Rara’s recording of Donizetti’s Imelda de’ Lambertazzi. The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, and Beethoven’s Ninth Symphony with Franz Welser-Möst and the Cleveland Orchestra. 18 Artist Biographies 1 March 2015

Duncan Rock Simon Halsey Baritone Choral Director

Duncan Rock studied at the Simon Halsey is a sought-after Guildhall School of Music and conductor of choral repertoire Drama and subsequently at the at the very highest level and an National Opera Studio. He is ambassador for choral singing the winner of the 2012 Chilcott across the world. Since 2001 he Award, the inaugural award from has been Principal Conductor the Susan Chilcott Scholarship of the Rundfunkchor Berlin, the to support a ‘major young artist permanent partner of the Berliner with the potential to make an Philharmoniker. In the UK, he international impact’. A Jerwood has been Chorus Director of the Young Artist at the Glyndebourne City of Birmingham Symphony Festival, he was the recipient of Choruses for over 30 years and, the 2010 John Christie Award, in 2012, was appointed Choral given by the Worshipful Company Director of the LSO and London of Musicians. He has also been Symphony Chorus. In this position, a Samling Scholar, a Royal Halsey leads choral activities Philharmonic Society Young Artist, and won the Overseas Award from across the LSO’s performance and education programmes. He is the Royal Overseas League Singing Competition, as well as Australia’s also Artistic Director of the Berliner Philharmoniker’s Youth Choral most prestigious young singers’ award, the Marianne Mathy Award. Programme and Director of the BBC Proms Youth Choir.

He is fast establishing himself as an outstanding young singer and This season, Halsey and the Berliner Philharmoniker’s Youth Choral performer, with engagements this season including Tarquinius in Programme, Vocal Heroes, perform the world premiere of Jonathan Fiona Shaw’s production of Britten’s The Rape of Lucretia at the Dove’s The Monster in the Maze, conducted by Sir Simon Rattle. Glyndebourne Festival, and at the Deutsche Oper Berlin; the title role This is followed by the UK premiere of the work at the Barbican by in a new production of Mozart’s Don Giovanni in his debut for the the LSO Discovery and Community Choir as part of LSO Sing Boston Lyric Opera; and Marullo in Verdi’s in his debut for on 5 July 2015. , Covent Garden. He has also sung the title role in Don Giovanni for the ; Papageno in Mozart’s Simon Halsey is Professor and Director of Choral Activities at the The Magic Flute for English National Opera; and Billy Bigelow in University of Birmingham, where he directs a postgraduate course in Carousel for the Théâtre du Châtelet in Paris. Choral Conducting, in association with the CBSO. In 2011 Schott Music published his book and DVD on choral conducting. Appearances on the concert platform have included performances with the LSO and Valery Gergiev, Bournemouth Symphony Orchestra Born in London, Simon Halsey sang in the choirs of New College, with David Hill, and the BBC Symphony Orchestra at the BBC Proms Oxford, and of King’s College, Cambridge. He studied conducting at with both Sir Andrew Davis and Sakari Oramo. the Royal College of Music in London. Halsey was awarded the Officer’s Cross of the Order of Merit of the Federal Republic of Germany A keen recitalist, his appearances have included the North Norfolk in 2011, in recognition of his outstanding contribution to choral music Music Festival with Tim Horner, the Oxford Lieder Festival with Sholto in Germany, and holds three honorary doctorates from universities in Kynoch and St John’s, Smith Square with Joseph Middleton. the United Kingdom. lso.co.uk London Symphony Chorus 19

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS TENORS BASSES the work of the London Symphony Orchestra. The partnership between Kerry Baker Elizabeth Boyden Paul Allatt* Peter Avis Faith Baxter Gina Broderick Robin Anderson Andy Chan the LSC and LSO was developed and strengthened in 2012 with the Carol Capper* Jo Buchan* Steven Berryman Steve Chevis joint appointment of Simon Halsey as Chorus Director of the LSC and Laura Catala-Ubassy Jenni Butler Michael Delany James Chute Choral Director for the LSO. Jessica Collins Rosie Chute Daniel Ehrlich Ed Curry Emma Craven Jan Daines John Farrington Damian Day Harriet Crawford Zoe Davis Matt Fernando Thomas Fea The LSC also partners other major orchestras and has worked Rebecca Dent Maggie Donnelly Andrew Fuller Robert French Lucy Farrington Diane Dwyer Warwick Hood Robert Garbolinski* internationally with the Berlin and Vienna Philharmonics, Naomi Fletcher Lydia Frankenburg* John Marks Richard Gilfillan Boston Symphony and the European Union Youth Orchestra. Joanna Gueritz Amanda Freshwater Alastair Mathews Gerald Goh The LSC tours extensively throughout Europe and has visited Maureen Hall Tina Gibbs Daniel Owers Bryan Hammersley Isobel Hammond Rachel Green Stuart Packford Owen Hanmer* North America, Israel, Australia and South East Asia. Emily Hoffnung* Yoko Harada Peter Sedgwick Anthony Howick Josafin Holmberg Jo Houston Richard Street Thomas Kohut The Chorus has recorded extensively; recent releases include Kuan Hon Lis Iles Owen Toller Alan Rochford Claire Hussey Christine Jasper Gregory Treloar Zach Smith Britten’s with Gianandrea Noseda, Haydn’s The Seasons, Debbie Jones Jill Jones Brad Warburton Rod Stevens Walton’s Belshazzar’s Feast, Verdi’s Otello, and the world premiere of Julia Josephs Vanessa Knapp Robert Ward* Robin Thurston Jessica Kirby Gilly Lawson Paul Williams-Burton Jez Wareing James MacMillan’s St John Passion all under the late Sir ; Iwona Koprowski Belinda Liao* and with Valery Gergiev, Mahler’s Symphonies Nos 2, 3 and 8. Mimi Kroll Anne Loveluck* * denotes council Marylyn Lewin Aoife McInerney* member Meg Makower Jane Muir Last season the Chorus undertook critically acclaimed performances Jane Morley Dorothy Nesbit of, among other works, Verdi’s Rigoletto, Sir Peter Maxwell Davies’ Jennifer Norman Helen Palmer Tenth Symphony, Berlioz’s The Damnation of Faust and Romeo and Emily Norton Susannah Priede Maggie Owen Fran Ringer Juliet, and Haydn’s . This season has included the world Isabel Paintin Sarah Scott premiere of Sally Beamish’s Equal Voices and Schumann’s Das Paradies Andra Patterson Lis Smith Tamsin Raitt Jane Steele und die Peri with the LSO, the Chorus’ own concert at the Barbican, Liz Reeve Claire Trocme which included Rachmaninov’s Vespers, and Mahler’s Symphony No 2 Mikiko Ridd Curzon Tussaud* with the , Sir Simon Rattle and the CBSO Chorus. Ploen Sopitpongstorn Becky Wheaton

If you would like to arrange an audition, contact Aoife McInerney on [email protected] for further details.

President Emeritus KBE Vice President Michael Tilson Thomas Patron Chorus Director Simon Halsey Deputy Chorus Director & Accompanist Roger Sayer Assistant Directors Neil Ferris and Matthew Hamilton Chairman Lydia Frankenburg lsc.org.uk 20 The Orchestra 1 March 2015

London Symphony Orchestra Your views On stage Inbox

FIRST FLUTES J Daniel Herron Tremendous show tonight Carmine Lauri Leader Edward Vanderspar Gareth Davies Philip Cobb @londonsymphony @NosedaG of Mahler’s 6th! Tomo Keller Gillianne Haddow Alex Jakeman Gerald Ruddock Lennox Mackenzie Malcolm Johnston Daniel Newell @AliceSaraOtt triumphed performing Liszt’s 2nd Clare Duckworth Regina Beukes PICCOLO Christopher Deacon piano concerto. Bravo! Sharon Williams Ginette Decuyper German Clavijo Simon Cox on the LSO with Gianandrea Noseda & (15 Feb) Gerald Gregory Anna Green Jörg Hammann Julia O’Riordan Timothy Rundle Maxine Kwok-Adams Robert Turner Dudley Bright Katie Bennington Richard Coleman @NosedaG @AliceSaraOtt Elizabeth Pigram Jonathan Welch James Maynard Claire Parfitt Fiona Dalgliesh @londonsymphony thank you all for stunning concert. BASS Laurent Quenelle Richard Holttum Maxwell Spiers Paul Milner Fireworks of Liszt followed by monumental drama of Colin Renwick Cian O’Duill Mahler. Epic! Ian Rhodes Sylvain Vasseur Chris Richards Patrick Harrild on the LSO with Gianandrea Noseda & Alice Sara Ott (15 Feb) David Worswick Tim Hugh Chi-Yu Mo Erzsebet Racz Minat Lyons TIMPANI Alastair Blayden BASS Nigel Thomas David Smurthwaite Thank you for a marvellous evening SECOND VIOLINS Jennifer Brown Duncan Gould of Berlioz and Tchaikovsky. The Pathétique was one of the David Alberman Noel Bradshaw PERCUSSION very finest performances I have heard in over 60 years of Thomas Norris Daniel Gardner Neil Percy Daniel Jemison Sarah Quinn Hilary Jones David Jackson concert going. Joost Bosdijk Richard Blayden Morwenna Del Mar Sam Walton Dominic Tyler on the LSO with Sir Mark Elder & (5 Feb) Matthew Gardner Judith Herbert Antoine Bedewi Julian Gil Rodriguez Orlando Jopling CONTRA HARPS Naoko Keatley Dominic Morgan Bryn Lewis Belinda McFarlane DOUBLE BASSES Helen Sharp William Melvin Colin Paris HORNS Patrick Laurence Andrew Pollock Timothy Jones CELESTE Thomas Goodman Paul Robson Angela Barnes John Alley Ingrid Button Joe Melvin Jonathan Barrett Hazel Mulligan Jani Pensola Jonathan Lipton ORGAN Robert Yeomans Benjamin Griffiths Tim Ball Catherine Edwards Roger McCann Paul Sherman

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Garrick Charitable Trust Silk Street [email protected] work experience by playing in rehearsals The Lefever Award London and concerts with the LSO. The scheme The Polonsky Foundation EC2Y 8DS Photography auditions students from the London music Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.