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Home , Cello concerto, Concerto grosso, Viola

Il Pomo d’Oro/ Edgar Moreau Saturday 1 June 2019 7.30pm, Milton Court Concert Hall

Handel grosso in F major, Op 6 No 2 Tartini Concerto in A major Durante Concerto No 2 for strings in G minor Platti in D major WD650 interval 20 minutes Hasse in G minor, Op 5 No 6 Corelli in B flat major, Op 6 No 11 Boccherini Cello Concerto in D major, G479

Il Pomo d’Oro Edgar Moreau cello

Part of Barbican Presents 2018–19

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London Corporation If anything limits your enjoyment please let us know is the founder and during your visit. Additional feedback can be given principal funder of the Barbican Centre online, as well as via feedback forms or the pods located around the foyers. 2 previously recorded someof thepieces purely instrumental repertoire, andhave But theplayers are equally athomein last night. Serse cemented by theirthrilling readings of Emelyanychev. Theirreputation was then inspirational young director Maxim its Barbicandebutin2015 ledby its made anindelibleimpression on This Italian period-instrumentensemble the Barbicanthisseason. last of IlPomo d’Oro’s four appearances at A warm welcome to tonight’s concert,the Welcome earlierthisseasonand Agrippina

Head of Huw Humphreys, I hopeyou enjoy it. It promises to beathrilling evening. Durante. underrated figures suchasPlattiand great the more obscure –from Handel’s refreshing mixof thewell-known and Tonight’s programme isnotable for its world. a considerable impression onthemusic in hismid-twenties hehasalready made cellist EdgarMoreau. Thoughhe’sstillonly that feature onthisevening’s menuwith Concerti grossi

, Op 6to works by

Cello Concerto in Dmajor, in WD650 Concerto Cello Platti Giovanni Benedetto –Presto 1 Affettuoso Gminor in strings 2 for No Concerto Durante Francesco 1 Allegro ConcertoCello in A major Tartini Giuseppe larghetto 1 Andante Fmajor, 2 6 No in grosso Op Concerto 1 Allegro 1 Allegro Dmajor, in G479 Concerto Cello Boccherini Luigi 5 Largo largo Andante 1 Preludio: major, 11 6 No Bflat Op in grosso Concerto Corelli Arcangelo 1 Allegro 6 Gminor, 5 No in Op Sinfonia Hasse Adolph Johann interval: 20 minutes 1 Allegro . 6Giga . . . . 2 Adagio 2Adagio sempre 2Andante 2Adagio 2Larghetto . .

3 Allegro 3 Allegro . 2 Allegro 2Allegro . 2 Largo affettuoso affettuoso 2Largo . 3 Allegro assai assai 3Allegro . 2 Allegro 2Allegro (1743–1805)

(1692–1770) . 3 Allegro (1653–1713) . 3 Largo 3Largo

(1685–1755)

. 3 Adagio 3Adagio (1699–1783)

(1685–1759)

. 4 Allegro, ma non troppo non ma 4Allegro, . 3 Allegro

(1692–1763

. 4 Andante largo 4Andante

)

3 Programme note 4 cello is coupled with a larger string ensemble. cello iscoupledwith alarger stringensemble. or expanded triosonata: atrioof two violinsand concerto grosso success withthetriosonata. Insomeways, the Before tackling theconcerto genre, Corelli found from which tonight’s programme isdrawn. wonderful corpusof 18th-century stringmusic, to state thatCorelli laid thefoundations for the kind existing.’ Itisnot muchof anexaggeration us forget thatthere isanother Musicof thesame sublime thatthey preclude allcriticism,andmake from alarge band,somajestic,solemnand ingeniously disposed;andtheeffect of thewhole, grateful; thepartsare soclearly, judiciously, and works. Theharmony issopure, sorich,and fashion withmore firmness thanany of hisother seem to have withstood all theattacks of timeand were heldthroughout the18th century:‘[they] captured theesteem inwhichCorelli’s .CharlesBurney, writingin1789, that we know today: two ,,celloand established thestandard stringensembleset-up was thesuccessof Corelli’s music,above all,that classics longafter musicalstylehad moved on.It instrumental works were admired andstudiedas fashionable genre), andthefirst composerwhose works (atatimewhenopera was themost fame exclusively asa composer of instrumental in musichistory books. Hewas thefirst to achieve commercial successearnedhimauniqueplace Corelli’s innovations andhisremarkable perceived by hiscontemporaries’. paradoxically …aresult of itsvery originalityas style, notes scholarMichael Talbot, ‘is tonight’s programme. Thefamiliarity of Corelli’s successors, many of whomare represented on embraced hispure musicalstyle,asdidhis . His contemporaries enthusiastically family of stringinstrumentsinmodernWestern and composerensured theprimacy of theviolin , whosegeniusasaperformer the programme isnot acellist,butviolinist: of the18th century. Yet thefather figure behind Tonight’s concertpresents virtuosocellorepertoire concerto Baroque virtuoso of rise the The to Boccherini From Corelli canberegarded asanamplified if hediscovered oneirregular bow.’ his concertos, hewould immediately stop theband constantly preceded every publicperformance of up, oralldown; sothatathisrehearsals, which their bows shouldallmove exactly together, all it asessentialto theensembleof aband,that string ensembleperformance: ‘[he]regarded unusually strict–andinfluential –approach to composer recorded Corelli’s an ensembleof 150 strings.Fellow violinistand the Britishambassador to Rome, Corelli amassed realised in1687, when,aslavish entertainment for more expansive potential. Thiswas spectacularly players onthesamelineof musicclearlyhad Yet thenovel possibilityof placing multiple three orfour players perpartare acceptable. written, oneinstrumentshouldplay; elsewhere, a preface to hisown concertos: where ‘solo’is named contemporary GiuseppeTorelli noted in flexible performance possibilities.Ashissimilarly natural andviolinistic to usisyet more evidence of upon scalefigures andtriads. That thissoundsso final two movements themelodic writing isbased principal melodicvoice of theorchestra. Inthe during the18th centurythefirst violinbecame the This isanother influential aspect of hisstyle: which theviolinstend to have equalprominence. thus departingfrom thetrio- model,in parts –both soloandripieno–into thespotlight, movements Corelli seemsto move thefirst virtuosity of thecellowriting.Infourth andfifth century. Thefollowing Allegro isnotable for the appealing today asitevidently didinthelate 17th recognisable stylesomehow soundsasfresh and beautiful harmonicsuspensions.Thisinstantly walking bass,thetwo violinpartsindulgein clearly recalls histriosonatas: over agentle of Corelli’s Op 6set–opensinamannerthat The attracted to the businessman, Corelli may alsohave been antiphonally andincombination.Ashrewd which choirsof varying sizesperformed both inspired by theItalian polychoral tradition, in Robert Philipsuggeststhatthisschemewas concerto grosso concerto grosso heard tonight –the11th because of its becauseof its

pedagogue. From 1727 onwards, studentsfrom all self-taught, hesaw fit to establish himselfasa his nameasaviolinist.Thoughalmost entirely Giuseppe Tartini, like Corelli, first established fluency withGermanicingenuity. combined, asifHandelisblending Italianate ideas are presented inalternation, then finally material, whichclearlyrecalls Corelli. These two fugue, before giving way to more relaxed contrapuntist. Thefinale beginsasanenergetic progresses, Handelalso reveals hisgeniusasa one of arather contemplative nature. Asthemusic certainly beginswithanaristocratic air, though Handel’s Op 6,whichopenstonight’s concert, imitated incourtsallover Europe. Thesecondof the Vingt-quatre violonsduRoi, andhad been the 17th centuryby Lully’sVersailles ensemble, regal French mannerhad beendeveloped in the French mannerwithItalianate fluency’. The movements ‘blendinextricably themajestyof of diverse styles.Anthony Hicks writes thatmany compositional voice, whichisauniquesynthesis imitative works butrather reveal Handel’sown predecessor. Yet theseare not inany way number asCorelli’s inhomage to hisgreat Handel gave his12 concertos thesameopus perspective. ’ –abizarre thoughtindeed,from today’s Italian concertos as‘trumpetsonatas withouta after all.Talbot goesasfar asto describeearly melodic writingsoundsnatural isnot soironic scale. Perhaps, then,thefact thattrumpet-style the upperregister, somethingcloseto themajor this meansthenotes of themajortriad, andin playing notes of theharmonicseries.Inpractice, only inthe19th centuryandwas restricted to day lacked thevalves thatbecamestandard trumpet writing.The‘natural’ trumpetof Corelli’s it seemsto have beenborrowed from Bolognese Somewhat surprisingly, asMichael Talbot notes, originally conceived for stringinstrumentsatall. It isironic, then,thatthismelodicstylewas not Corelli’s profound influence onlater composers. over Europe cameto studywithhim, anticipating dialogue permeates theentire piece.Theopening apparent intheconcerto heard tonight: asenseof that clearlyreflects itsinfluence. Thisisamply opera, heachieved a dramatic musicallanguage he didnot seekacareer inthelucrative world of primarily for hischurch music.Though,like Corelli, In hisday, Francesco Durante was known even thoseof muchlater figures suchasDvorˇ ák. concertos, mostobviously thoseby Haydn, but today, not to hearpre-echoes of later cello expressive isTartini’s writingthatitisdifficult, an intensely beautifulLarghetto. Soyearningly breaking. Thejovial outer movements frame instrument, thiswas nothing lessthanground- when thecellowas usedprimarilyasacontinuo capacity for lyricismandvirtuosity. Atatime this programme, showcasing theinstrument’s scene for thecellorepertoire heard throughout and others. HisCelloConcerto inAmajorsetsthe way for theClassicalconcertos of Haydn, Mozart as inthe instrument –rather thanagroup of instruments, forward-looking: inwritingconcertos for asingle and beyond. Tartini’s compositionalstylewas also the musicconservatoire culture of the19th century argumentative discourse. sections of theensembleengage inanalmost is confirmed inthefinal Allegro, inwhichall piquancy. Durante’s penchantfor chromaticism it includesmomentsof delightfulchromatic Largo isalso highlyreminiscent of Corelli, though fugal writingof Haydn andMozart.Theensuing and contrapuntal ingenuity, whichanticipates the The result isathrillingmixof dramatic expression which presents various themesincombination. ‘learned ’; thisisevident inthePresto, musician, Durante would have beenwell-versed in much more impassionedcharacter. Asachurch is taken upinthePresto, butimbuedwitha Corelli blush.Thematerial from theAffettuoso chromatic indulgencesthatwould have made But itisn’tlongbefore Durante allows himself language clearlybetraying theinfluence of Corelli. Affettuoso beginsinnocuouslyenough,themusical concerto grosso style–hepaved the

5 Programme note 6 successful composerof the third quarter of thecentury, hewas themost Hasse established hisreputation inItaly. During 18th century, Handelamongthem,JohannAdolf Like somany ambitiousGermanmusiciansof the hear musicby thisunjustlyneglected composer. this concertoffers anall-too-rare opportunity to both masterfully crafted andintensely expressive; a tautly energised conclusion.Inall,thismusicis dialogue continuesintheAllegro, whichprovides responding insympathy to thecello.Thissenseof ensemble seemsinaway to represent thelistener, of analmostoperatic kind.Theaccompanying drama, inwhichthelonecellotakes onarole Durante. Platticreates areal senseof musical expressive chromaticism, asintheconcerto by of Muzio Clementi. The second movement features – whilethegraceful gestures prefigure themusic School –thatis,thesymphonies of JohannStamitz prominent repeated notes recall theMannheim the nascentstyleknown to usas‘Classical’.The heard tonight. From theoutset,we are aware of of theseisobvious intheDmajorConcerto andcello.Hisaffinity withthelast polymath: heplayed theviolin,,, Benedetto Plattiwas somethingof amusical Even by 18th-century standards, Giovanni brink of Classicalstyle.TheSinfonia inGminor music of Tartini andPlatti,hisworks seemonthe and Germanlands.And,incommonwiththe opera seria inboth Italy Programme note ©Tom Wilkinson be assuccessfulasoloinstrumenttheviolin. as ifBoccheriniisdemonstrating thatthecellocan that isoften extremely highinthecello’srange – enjoyment of hisown virtuosicability, withwriting impression, though,isof thecomposer’ssheer expressive middlemovement. Theoverall Cello Concerto inDmajorpossessesapowerfully Like theconcertos of Tartini andPlatti,Boccherini’s Italian instrumental tradition established by Corelli. Boccherini represents alate flowering of the In thecontext of tonight’s programme, then, style duringtheera of VienneseClassicism. most important exponent of Italian instrumental Christian Speckto argue thatBoccheriniisthe of stringquintets. Thequalityof theseworks leads 100 stringquartets andaneven greater number extremely prolific inother areas too, writingalmost player) of virtuosiccellomusic,hewas infact he isknown today primarilyasacomposer(and in Western musichistory: LuigiBoccherini.Though we concludewithmusicfrom auniquecharacter Following Corelli’s the legacy of Corelli. prominence of triadic andscalicwriting,reflecting programme, though,whatisnotable isthe even earlyMozart.Inthecontext of tonight’s to mindthemusicof JohannChristianBach and has anintrinsicallydramatic nature andbrings Concerto grosso inBflat major, Journée inNantes, Gstaad’s Sommets Musicaux Edinburgh Evian andLucernefestivals, atLaFolle Montpellier, Colmar, Verbier, Annecy, Lugano, Easter Festival, Saint-Denis,Radio France Buniatishvili. Hehasperformed attheWarsaw Angelich, Jean-Frédéric Neuburger andKhatia Ébène , Renaud Capuçon,Nicholas worked withtheTalich, Pražák, Modiglianiand He isacommitted chambermusicianandhas others. and HongKong , among de laSuisseRomande, Franz LisztChamber Toulouse, PhilharmoniaOrchestra, Orchestre National deFrance, Orchestre duCapitole de Simón Bolívar, MariinskyOrchestra, Orchestre Philharmonic , Orquesta Sinfónica Malaysian, Moscow andSt Petersburg Orchestra, Polish Sinfonia Iuventus Orchestra, has appeared asasoloistwiththeMusicaViva with theTeatro Regio Orchestra inTurin. He He made hisorchestral debutattheage of 11 received many other awards. in Moscow, whenhewas just17. Hehassince 2011 International Tchaikovsky Competition Performance of thecommissionedwork atthe won SecondPrizeandthefor theBest Concert ArtistsInternational Auditions. Healso Prize andsixspecialprizesinthe2014 Young The French cellistEdgarMoreau won First Edgar Moreau About the performers Vienna Musikverein. Hehas also given recitals and theMozartfest inWürzburg, aswell asatthe Edgar Moreau cello

the Paris Conservatoire andhecurrently studies 2008 to 2013 hestudiedwithPhilippe Mullerat the celloatage of 4andthepianoat6.From He was bornin1994 inParis andbeganplaying Tokyo, Amsterdam andGeneva. Concert HallSeriesinSacile andperformed in and Ludwigshafen, appeared intheFazioli Philharmonie, Schubertiades inSchwarzenberg given chamber-music concertsattheCologne di Santa CeciliaunderJakubHru˚ ša.Hehas and Orchestra dell’Accademia Nazionale Angeles PhilharmonicunderGustavo Dudamel Franck, theMahlerChamberOrchestra andLos Philharmonique deRadio France underMikko France underNikolaj Szeps-Znaider, Orchestre Michel Tabachnik, Orchestre Nationalde Buniatishvili, BrusselsPhilharmonicunder Concerto withRenaud CapuçonandKhatia Orchestra inBeethoven’s Triple Orchestra underFrançois-Xavier Roth, Barcelona Orchestre deParis underLahav Shani,Gürzenich Recent highlightsincludeconcertswiththe and Ferrara. Auditorium duLouvre andinBrussels,Antwerp at theMariinskyTheatre, BerlinPhilharmonie, with hisregular pianist–Pierre-Yves Hodique– dated 1711. Edgar Moreau plays aDavid Tecchler cello, Merlin. Gulda withLesForces Majeures andRaphaël Kadouch andcelloconcertos by Offenbach and most recent discs are asonata recital withDavid d’Oro (whichwon anECHOKlassikaward). His century celloconcertos recorded withIlPomo . Hefollowed thiswith in 2014 andfeatured miniatures for celloand artist; hisfirst CDfor thelabel, Edgar Moreau isanexclusive Warner Classics Kremer, YuriBashmetandSirAndrásSchiff. Music ConnectstheWorld Project withGidon Academy andKronberg Academy’s Chamber many academies, includingthe Verbier Festival and David Geringasandhasparticipated in eminent cellistsasGaryHoffman, LynnHarrell He hastaken partinmasterclasses withsuch with Frans HelmersonattheKronberg Academy. Giovincello Play , was released –18th-

7 About the performers 8 Giulio D’Alessio Viola Heriberto Delgado Stefano Rossi Violin 2 Edson Scheid Zefira Valova Violin 1 Il Pomo d’Oro Il Edgar Moreau whichreceived anECHOKlassik harpsichord concertos, aswell asacellodiscwith instrumental albumsare Haydn’s violinand Aspromonte andEmöke Barath. Amongits and Joyce DiDonato andsopranos Francesca Xavier Sabata, mezzo-sopranos AnnHallenberg Orli´nski, Franco Fagioli, Max EmanuelCencicand recitals withthecountertenors JakubJózef and Vinci’s Handel’s Il Pomo d’Oro hasreleased several operas: ECHO KlassikAward anda Peace its 2016 recording withJoyce DiDonato, at festivals allover Europe. Ithastoured widely It isaregular guestinprestigious concerthallsand conductor. Since 2016 Maxim Emelyanychev hasbeenitschief Valova hasalsodirected itinvarious projects. Francesco Corti.Theorchestra’s leader Zefira Montanari, George Petrou, EnricoOnofri and Riccardo Minasi,Maxim Emelyanychev, Stefano The ensemblehasworked withconductors period-instrumentalists to befound worldwide. formations. Itsmusiciansare amongthefinest committed to instrumental performance invarious with aspecialfocus onopera, butequally Il Pomo d’Oro isanorchestra founded in2012 Il Pomo d’Oro , conducted by Emelyanychev, whichwon an Tamerlano Catone inUtica , Partenope Federica Bianchi Harpsichord Nicola Dalmaso Double Bass Cristina Vidoni Ludovico Minasi Cello . Ithasalsorecorded Gramophone and Ottone In War & Award. Award.

numerous specialeffects. , afireworks display of 73,000rockets and stage designs,ahorse-balletfeaturing 300 young history of thegenre, involving 24 different and mostspectacular opera productions inthestill was probably oneof thelargest, mostexpensive and Margarita Teresa of Spain, the wedding celebrations of Emperor Leopold I Cesti’s eponymous opera of 1666. Composedfor The nameof theensemblecomesfrom Antonio workshops andmusiclessons. encouraging creativity, aswell asgivingconcerts, identity by offering themmusicaleducationand combat refugee children’s lossof homeand Greece, ahumanitarian project whichaimsto In 2016 itbecameanambassador of ElSistema Barbara Strozzi’s 400thanniversary. and Orli´nski, ’s opera in thetitle-role, Francesca Aspromonte, a discof 17th-century opera prologues with are The mostrecent additions to itsdiscography Francesco Cortiassoloists. concertos of J SBach withShunske Sato and feature theviolinconcertos andharpsichord Award in2016. Furtherinstrumental recordings Handel Arias Voglio cantar Anima Sacra withFranco Fagioli, withEmöke Barath, to mark Serse with Jakub Józef withJakubJózef withFranco Fagioli Il Pomo d’Oro Prologue La Doriclea

,