Catherine Pluchart Sammy Hart/DG Andrew Eccles the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Part of Barbican Presents 2018–19 Jean-Yves Thibaudet Gautier Capuçon Lisa Batiashvili Mendelssohn interval Ravel Shostakovich Monday 12 November 2018 7.30pm, Hall TrioCapuçon Batiashvili/ Thibaudet/ located around thefoyers. online, aswell as viafeedback forms orthepods during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc PianoTrio inAminor 20minutes PianoTrio No1inCminor, Op8 Piano Trio No 2 in C minor, Op 66 cello

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2 advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; Programme produced by HarrietSmith; final work. Mendelssohn’sSecondPiano We return to thekey of Cminor for the striking for itsmercurial shiftsof mood. by anearlylove andit’sawork thatis he was stillinhisteens. It was inspired movement CminorTrio, written while We start withShostakovich, andhissingle- three strikinglydifferent pianotrios. leg of theirEuropean tour, they present collaborators andonthis,theLondon are longtimefriendsandmusical and pianistJean-Yves Thibaudet Batiashvili, cellistGautierCapuçon musicians around today. ViolinistLisa given by three of themostin-demand A warm welcome to thisevening’s concert Welcome

Huw Humphreys, Head of Music,Barbican concert. Ihopeyou enjoy it. It promises to beavery memorable work thataboundsinimaginative textures. instruments, to make itselfheard, witha cello, sonicallytheweakest of thethree addresses thechallengeof allowing the with musicalcontent. Inparticular, Ravel reveals afascination withform asmuch ever withthiscomposer, it’sapiecethat Trio astheFirst World War broke out.As Ravel was working onhisonlyPiano melodic writing,agenerosity of tone too. a quicksilver reactivity but,initsluscious and itdemandsfrom theplayers not just Trio isalmost symphonic initsambition he had tried his hand at sonata form, and he he and form, sonata at hand his tried had he languishing lyricism. This was also the time first its of terms in Symphony, especially First his to way the on development Shostakovich’s in stage avital represents movement single this ‘Poem’, renamed point her. to one At dedicated he Trio, Piano which First his compose to began and professor, philology aMoscow of daughter Glivenko, Tatyana with love in fell he There Gaspra. of resort Crimean the in recuperation his continue to able was 1923 Shostakovich July in and rations, special procured Glazunov, Alexander Conservatoire, Petrograd the of director the from authorities cultural the to behalf his on Appeals glands. lymph and bronchial the himself was diagnosed with tuberculosis of he year following 1922, the in and February in died father His fraught. less scarcely was the New Economic Policy. His life personal with recovery partial and collapse economic 1917, of Revolutions War, by Civil followed with incident. His the underwent country crowded were years adolescent Shostakovich’s Allegro moderato – Allegro – –Allegro –Andante fantastico –Prestissimo –Allegro Moderato – –Andante –Adagio –Allegro –Andante mosso più –Molto Andante Trio Cminor,Piano 8 1 in Op No ShostakovichDmitry first subject saved up for the passionate coda. coda. passionate the for up saved subject first the with recapitulation, abbreviated an heralds introduction the to over,worked areturn and development all section these themes are Ravel’s of world the from straight come to seems which subject, ushers in passage bridge a mellifluous second Ashort proper. Allegro the of subject first the forms last long at which cello, the on idea to metamorphose into a determined, chromatic only happened, has nothing though as resumes music languishing the and trail, afalse be to out turns too This scherzo. aProkofievian into over flips mood the and doubles tempo the than strings the from line thematic main the over taken piano the has sooner no but outset, the at struck immediately tone the is Languor too. ends expressive own his to it bend to but rules its master to just not determined was Programme note © David Fanning ©David note Programme Tishchenko.Boris bycompletion Shostakovich’s favourite pupil the using performed always almost now is movement the and survived, not has pages of couple last the of manuscript original The (1906–75) Mother Goose Mother (1923) . In a strenuous astrenuous . In

3 Programme notes 4 music is never so mysterious as when it seems to to seems it when as mysterious so never is music Ravel’s that remarked pertinently been has It fruition. to came never that orchestra and piano for rhapsody Basque a projected from lifted being that, beyond goes it basque’, fact in but couleur ‘de as theme childhood. He himself the opening described his from deriving roots ethnic has movement first the of material initial the but movements, central two the in notably mind, his in much very indeed were problems Formal influence. extra-musical of kind any or exoticism of expense the at texture and form with concern a indicate to seem ‘Trio’ might designation plain the war. surface, of the On outbreak the after shortly August, that it completed 1914 March in it and writing to down settled finally he years, some for mind in a work such had had he Trio. Although Piano this in than heard better nowhere is artist Dionysian subjective, the Ravel and craftsman Apollonian objective, the Ravel between tension The (Assez vif) 2 Pantoum resolution to all the earlier turbulence. earlier the all to resolution asatisfying as comes coda C major gentle the and doesn’t, it Ravel, being Ravel course, Of control. of out run possibly might material musical the that suggesting even Ravel, for high unusually changes tempo of by aquantity aided power, astonishing assumes quickly movement sonata-form the here From sown. being are dissension of seeds 3+2+3. Already as strings 3+3+2, as the quavers eight the groups piano the differently: phrased are tune the of versions two the that is reveals scrutiny careful only What medium. trio piano the dog to held traditionally composer’s solution to the problem of balance, the applaud we them, between chords in filling hand right piano the with apart octaves two it, playing echo instruments string the phrase, piano opening the after When, sailing. plain be 4 Final (Animé) (Très large) 3 Passecaille Modéré 1 TrioPiano Aminor in RavelMaurice

(1875–1937) (1914) his poem poem his in by Baudelaire notably most copied name, this of form verse Malayan the on closely that the composer had his based structure showed 1975 in Newbould But Brian exoticism. vague of apiece as dismissed ‘Pantoum’ was title Ravel’s years For Saint-Saëns. was cello) the obscuring not with do to (mainly problems medium’s the textural solve to completely ever composer only the that comment Ravel’s out –bearing sparkle and colour speed, about all is movement second the hearing, first At theme on the piano which then combines with with combines then which piano the on theme the central he section introduces a chorale-like in enough, wasn’t this if As legato. and staccato as characterised be roughly can ideas two the case, Ravel’s In next. the of lines third and first the becoming verse four-line one of lines fourth alternation with other, each the second and continuous in ideas distinct two pursues poet other his due. the give each Dionysus and Apollo phrases. 11 of framework eight-bar arigid within held is movement whole the time, same the At shape. original its to returning before point, mid- the after just climax imposing an reach to appearances strict three after expanding theme passacaglia the with arch, an of that is ‘Passecaille’ this of shape The notes. of minimum a with amaximum say to acomposer enabled it administered, rightly that, was counterpoint of essence the Ravel, for and Gedalge, For teaching. ‘Pantoum’, inspired his to atribute is the than more even ‘Passecaille’, perhaps the and counterpoint, of mysteries the in him instructed had who Gedalge, André professor Trio Conservatoire the his to dedicated Ravel more. once field the over take they before ideas, two these of each

Harmonie du soir Harmonie

. In a ‘pantoum’ the a‘pantoum’. In the 4 Allegro appassionato 4 Allegro presto quasi allegro 3 Molto espressivo 2 Andante fuoco econ energico 1 Allegro Trio Cminor,Piano 66 2 in Op No Mendelssohn Felix constructed of motifs that can later be developed developed be later can that motifs of constructed audibly is theme Cminor severe rather the that in symphonic, plainly are intentions Mendelssohn’s here cello, for tune alegato with Trio begun had First his Whereas starts. 5.30am involving training, childhood hard of result the be to this know we though even counterpoint, lyrical of command effortless apparently an display Both works. two the between connections two or one are E minor, there and in Concerto Violin the after year 1845,in the Trio Cminor in Piano Second his wrote He life. his throughout him with stayed capacities these and Beethoven from differently do could he things the of aware was he on, early Very to. want he did nor, extent, some to escape didn’t Mendelssohn anxiety’. ‘influence of amount any for a cover –was that’ –‘any see can Ninth Beethoven’s fool in theme Joy’ to ‘Ode the and Symphony First his of movement last the in tune C major the between similarity the noticing those to response Brahms’s enough? deep going enough, hard trying Were they beyond. often and century, ofcomposers ‘serious’ music throughout the 19th German all over lay Beethoven of shadow The as which, and months, for brewing been had that conflict the prefiguring calls, trumpet topical they are Or triads? opening work’s the to areference as these intend Ravel Did chords. piano massive of aseries theme, second the for major, Dmajor) sharp (F keys unorthodox some with form, sonata in is too it And first. the of instability metrical 7/5 the and recalls metres, 5/4 between alternating movement, last The is reminiscent of the composer’s composer’s the of reminiscent is major, Eflat in theme, second The separately. Songs without without Songs The coda is Beethovenian in length and and length in Beethovenian is coda The movement. first Concerto’s Violin the of example the following pattern, continuing already an under returns theme main The composed). was Trio this year the in incidentally, (born, Fauré of music chamber the in moments similar to forward of ‘dream’ in passage the development, looking Words interval maître’. ‘petit the Apollonian, cold the academic, the Ravel of here sign much Not curtailed. prematurely been had movement first the of heroics the that premise the on proceed to seems which finale the of purposes extrovert the serve they events all At by Christmas? over be knew, would everyone lyrical (minor) tunes float above a sea of rushing rushing of asea above float tunes (minor) lyrical where fairyland unBeethovenian, and favourite, Mendelssohn’s into us takes movement third The ephemeral! and weak Concerto Violin the found also critic same the then leftovers’. But of made adish like ‘stale, as Trio whole the condemn to critic contemporary one prompted that tone, overall the of familiarity the and discretion, this was it Maybe display. troubling truly any from back reins Mendelssohn but even, Brahmsian things unspoken, matters deeper of hints are There models. Classical and Baroque following bass, and treble of motion opposing the is typical also ideas; new for pads launch as used are keys minor key movements, major- Mendelssohn’s with frequently As E flat. the of world the to 6/8 in return we Andante the With unpredictability. (1809–47) , but altogether new (and magical) is a kind akind is magical) (and new altogether , but Songs without Words 20minutes

, and to the key of key of the to , and (1845)

5 Programme notes 6 the 6/8 metre from the Andante and through through and Andante the from 6/8 metre the through both predecessors its with coherence seeks jig’. it that, Baroque Beyond a‘sturdy as finale the described nicely has Philip Robert keyboard. the at skills prodigious own composer’s the to testimony ataxing and done, than said –easier speed sheer than rather articulation rhythmic precise, through but ‘presto’, playing of impression an give should performers the that suggest to seem would ‘quasi presto’ too: presto’,quasi interesting is Mendelssohn’s tempo indication, ‘Molto allegro you’re when looking. anip not you give to likely quite but good-hearted, entirely not surely are fairies These proceedings. the to danger even menace, of atouch add regions bass the into forays piano’s the occasional while together, everything bind to help notes Repeated one. folksy a(major) with contrasted semiquavers, Nichols ©Roger notes Programme conclusions. exciting and satisfying themes provides one of Mendelssohn’s most three movement’s the of combination final the Certainly go. to nowhere have scherzos, in speed and movements first in with dealt already problem’, that last movements, with seriousness Mendelssohn’s solution ‘finale to the age-old – weight rhythmic anew it gives but tune, E flat lyrical the of pattern upward the shares only not it that be may answer The consolidation? for need the is ask, may we what, But role. accompanying an to reduced 6/8 figures the with consolidation, thoughtful of akind as first appears it Here entrance. agrand makes chorale the There Fugue. and Prelude Eminor the of Fugue the 1827, as back far as same the in done had He initially played theme, achorale-like offer: to idea more one has Mendelssohn But work. the off round to enough been have conceivably might references major. These Eflat in tune lyrical athird yet pianissimo , ultimately fortissimo . Sammy Hart/DG Opus Klassik and herlatest album, She hasanexclusive recording contract withDG of AndersHillborg’s No 2. Divan Orchestra. Shealsogave theUKpremiere Staatskapelle Dresden andtheWest–Eastern Jugendorchester, ChamberOrchestra of Europe, and toured Europe withtheGustav Mahler the Accademia NazionalediSanta Cecilia Last seasonshewas Artist-in-Residence with and Jean-Yves Thibaudet. part of aEuropean tour withGautier Capuçon Konzertdirektion Hörtnagel. Tonight’s concertis and isArtist-in-Residence withtheMünchner the Accademia NazionalediSanta Cecilia, around Europe withCamerata Salzburg and in theUSwithPhiladelphia Orchestra and Boston, Chicago andtheBBC. Shealsotours orchestras, andthesymphony orchestras of the BerlinandRoyal Stockholm Philharmonic This season’shighlightsincludesconcertos with Sommerkonzerte, Ingolstadt. to 2021, shewillbeArtisticDirector of Audi orchestras, conductors andsoloists.From 2019 relationships withsomeof theworld’s leading of herplaying. Shehas developed long-standing violinist, isadmired for thevirtuosityandsensitivity Lisa Batiashvili, theGeorgian-born German Lisa Batiashvili About the performers . Double Concerto. Tchaikovsky and,with GautierCapuçon,Brahms’s by Bartók,Brahms, Shostakovich, Sibelius and Lisa Batiashvili Award. Shehasrecorded concertos violin Visions of Prokofiev , won an , won an

Gregory Batardon Gautier Capuçon Gautier Capuçon private collector. Gesù’ violinfrom 1739, generously loanedby a Lisa Batiashvili plays aGiuseppeGuarneri‘del Sibelius Academy (University of Arts,Helsinki). this year received anhonorary doctorate from the America Sibelius Competition.Shewas named the age of 16 astheyoungest-ever winnerof the Lubotsky, gaininginternational recognition at She studiedwithAnaChumachenco andMark current tour withThibaudet andLisaBatiashvili, Europe andOrchestre deParis Inaddition to the Symphony orchestras, ChamberOrchestra of orchestras, theChicago, NHKandSydney Angeles, MunichandNew York Philharmonic concerto appearances withtheCzech, Los Concerto for celloandpiano, with Jean-Yves Thibaudetof Richard Dubugnon’s Other highlightsthisseasoninclude thepremiere de Valencia. season heisArtist-in-Residence withtheOrquesta sonority of his1701 Matteo Goffriller cello;this musicianship, exuberant virtuosityandthedeep is acclaimed for hiscombinationof expressive new Auditorium designedby Frank Gehry. He Fondation LouisVuitton inParis –basedinthe of the‘Classed’Excellence deVioloncelle’atthe instrumentalists andisalsofounder andleader many of theworld’s foremost conductors and Gautier Capuçonperforms each seasonwith ’s Instrumentalist of theYear in2015 and cello Eros Athanatos Musical Musical ;

7 About the performers 8 Andrew Eccles Thibaudet hasperformed worldwide, recording For more thanthree decades, Jean-Yves Jean-Yves Thibaudet Jean-Yves Thibaudet Heinrich SchiffinVienna. Muller andAnnieCochet-Zakine,later with studied attheParis Conservatoire withPhilippe began playing thecelloatage of 5.He Gautier Capuçonwas borninChambéryand in January. this year, andhewillrelease aCDof Schumann His latest album– discography includesmany award-winning discs. He records exclusively for Erato andhis Thibaudet andtheArtemis andÉbènequartets. Marielle Labèque,MenahemPressler, Jean-Yves Renaud Capuçon,JérômeDucros, Katia and , LisaBatiashvili, Frank Braley, such asNicholasAngelich,MarthaArgerich, As achambermusicianheperforms withpartners Penderecki, Wolfgang RihmandJörg Widmann. Philippe Manoury, BrunoMantovani, Krzysztof Qigang Chen,JérômeDucros, ThierryEscaich, Beffa, Esteban Benzecry, NicolaCampogrande, he hascollaborated includeLera Auerbach, Karol and Yannick Nézet-Séguin.Composerswithwhom Orozco-Estrada, , AndrisNelsons Charles Dutoit, Christoph Eschenbach, Andrés Bringuier, Semyon Bychkov, Gustavo Dudamel, he regularly works withconductors suchasLionel London andSanFrancisco Symphony orchestras; Vienna Philharmonicorchestras andtheChicago, including theBerlin,LosAngeles,New York and relationships withtheworld’s leading orchestras, He hasdeveloped anumberof long-standing Gabriela Montero andYujaWang. he alsogives chamberconcertswithFrank Braley, Intuition piano –was released earlier recently extended for anadditional three years; School inLosAngeles,aresidency thatwas first-ever Artist-in-Residence attheColburn Education isaparticularinterest andheisthe centenary celebrations thisyear. Edinburgh Festival, inthecomposer’s widely, includingattheBBC Proms and The Age of Anxiety also performs thesolopartinBernstein’s Concerto No 3,awork hepremiered. He Orchestra for SirJamesMacMillan’s Piano Cleveland Orchestra andIcelandSymphony Philharmonique deRadio France. Hejoinsthe Klavier-Festival RuhrandwiththeOrchestre Symphony Orchestra across Belgium,atthe subsequent performances withtheAntwerp West Australian Symphony Orchestra, with Richard Dubugnon’s Capuçon. Withthelatter healsopremiered chamber concertswithRenaud andGautier Lisa Batiashvili andGautierCapuçon with Midori,thecurrent European tour with of Schumann,Fauré, Debussy andEnescu Orchestra. Otherhighlightsincludeatour Piano Concerto withtheSeattleSymphony He launchedtheseasonwithKhachaturian’s collaborations infilm, fashion andvisualart. criss-cross theglobeandhave ledto fruitful opera. Hisprofound professional friendships beyond thestandard repertoire, from jazzto of hiscareer, hehasenjoyed exploring music as oneof today’s finest .From thestart more than50albums,andbuildingareputation Officier by theFrench Ministry of Culture in2012. des ArtsetLettres, hewas awarded thetitle Hall of Fame. Previously aChevalier of theOrdre In 2010 theHollywood Bowl inducted himinto its Dame VivienneWestwood. Wakefield Prejudice film soloist onthesoundtrack of the Oscar-winning Prize, and a ChocduMondedelaMusique,anEdison Deutschen Schallplattenkritik, aDiapasond’Or, two Grammy nominations,thePreis der Jean-Yves Thibaudet’srecordings have received regardless of instrument. provide aidfor musicacademy students, Thibaudet Scholarshipsscheme,whichwill the schoolhasalsoannouncedJean-Yves Atonement , . Hisconcertwardrobe isdesigned by Extremely Loud&Incredibly Close Gramophone , aswell asonthoseof , apiecehehasperformed Eros Athanatos awards. Hewas the with the with the

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