Bayerisches Staatsorchester Friday 1 June 2018 7.30pm, Hall Mahler Symphony No 7

Bayerisches Staatsorchester Kirill Petrenko conductor

Pre-concert talk 6.30pm, Hall W Hösl Guido Gärtner in conversation with Huw Humphreys

Part of Barbican Presents 2017–18

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. 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. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. 2 instruments it demanded – including instruments itdemanded–including Was thisdueto thegreat range of Symphony remained largely unplayed. began to berecognised, theSeventh but even after hisworks’ trueworth for several decades after hisdeath, Mahler’s musicfell outof fashion programme: Mahler’sSeventh Symphony. We have asinglemightywork onthe their long-overdue UKdebuttogether. orchestra andMaestro Petrenko for We are delighted to welcome the under itsMusicDirector KirillPetrenko. given by theBayerisches Staatsorchester A warm welcome to thisevening’s concert, Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican I hopeyou enjoy theconcert. promises to beavery specialevening. of allRomantic symphonies andthis rightly regarded asoneof thefinest Whatever thechallenges,itisnow gives itanunorthodox layout. inclusion of two ‘Nachtmusik’ movements readily than,say, theSixth.Structurally, the Seventh Symphony gives upitssecrets less perhaps it’smore aboutthefact thatthe are exactly uniqueto thissymphony, so sheer length?Neitherof theseaspects unwieldy array of percussion? Was it a guitar, mandolin, hornandan

describing thework’s difficult birth: a letter Mahlerwrote to hiswife, Alma,in1910, dividedness of theSeventh Symphony, pointto Some writers, lookingto explain theapparent appear radically divergent. outer movements, impressive asthey are, sometimes sinister –aworld from which the to aworld of theirown –nocturnal,fantastic, middle three movements canseemto belong such phrases to describethissymphony. The perfect harmony’. Butfew others have used enthusiastically of its‘perfect repose basedon year after thefirst performance), hewrote Schoenberg heard theSeventh in1909 (the clearly proportioned Sixth.Granted, when hearing thantheinstantly compellingand newcomer –far lesseasy to grasp onone However, itremains achallengefor the over of theninecomplete symphonies. the most enthusiastically discussed and argued- and amongMahlerdevotees itisnow oneof recordings have grown impressively innumber, of hissymphonic output.Performances and Mahler’s Seventh isnolongertheCinderella 5 Rondo–Finale: Allegro ordinario amoroso Andante 2: 4 Nachtmusik 3 Scherzo: Schattenhaft [Shadowy] moderato Allegro 1: 2 Nachtmusik fuoco con (Adagio) –Allegro 1 Langsam Symphony 7 No Mahler Gustav that thesummer had beenwasted. At finally Igave upandwent homeconvinced Dolomites! There thesamestruggle,until well remember –untilIran away to the tortured myself to distraction, asyou’ll already completed. Two weeks longI Andante [Nachtmusik] movements were to finish theSeventh, of whichthetwo In thesummerbefore [1905], Ihad planned (1904–5) (1904–5) (1860–1911) wasn’t conceived inasingleflash of inspiration. organic initsgrowth thatit’shard to believe it familiar form; andyet themusicfeels so took nearlyseven years to arrive atitsfinal births. Sibelius’smagnificent FifthSymphony the symphonic repertoire have had difficult came into being.Many of thefinest works in often very different from thestory of how it But thestory apieceof musictells initselfis trills andarabesques nearthestart of thefirst the densepolyphonicchorusof woodwind back and hitthefingerboard) intheScherzo; (the stringsplucked sohard thatthey spring shrieks andcellobass‘snap’pizzicatos surprising new coloursandeffects: theclarinet the familiar instrumentsare made to produce guitar, cowbells anddeep-pitched bells;even horn (arelative of theeuphonium),mandolin, rarely seeninthe symphony orchestra –tenor It isn’tsimplythatthescore includesinstruments orchestral imagination ismore highlycharged. And there isnowork of Mahler’sinwhichthe a more conventionally ‘perfect’ symphony. sometimes, butfar more compellingthanmany be uniquelyfascinating –uncomfortable but, performed withconviction, itcanalso Mahler’s Seventh Symphony may beenigmatic absolutely complete! time thefirst, third andfifth movements were to thefirst movement …andinfour weeks’ rhythm andthecharacter) of theintroduction of theoarsIfound thetheme(orrather the be rowed across thelake. Atthefirst stroke Krumpendorf …Iclimbedinto theboatto

3 Programme note 4 tempo emerges, haunted by distant fanfares fanfares by distant haunted emerges, tempo march aslow eventually but stillness, nocturnal rapt in begins movement Nachtmusik first The in flowering raucous triumph. ultimately energy, driving fierce, of one is impression ultimate the ‘Alpine interludes’. But vivid most Mahler’s of –one movement the of heart the at section still magical the is contrasted Yet strikingly more hesitantly. and briefly, more Symphony, but Sixth ‘Alma’ the in the theme echoes by violins led theme second song-like Acontrasting theme. first striding energetically its with fuoco, con Allegro the into accelerating eventually intensity, in build-up There’s asteady it. described Mahler how was roars!’ – ‘Nature horn tenor the of shout the then drum, and wind strings, low for above) quoted letter the in oars’ the ‘stroke of (the rhythm slow, dragging Mahler’s unforgettable most a sound-pictures: of one with begins Symphony Seventh The Seventh. the Orchestra’, is it for a‘Concerto as described be to deserves symphonies Mahler’s of any If spotlight. the in moment its given orchestra the of section every play, to with challenging extremely also is It fanfare thatsetstheFinaleinmotion. like harptones inthesecond;headlong Nachtmusik (NightMusic);thedeepbell- Programme note © Stephen Johnson Johnson ©Stephen note Programme close. its in than inscrutable more never is Symphony Seventh Mahler’s chord. final emphatic the before just hush sudden the in least not aftertaste, ambiguous acuriously with left are we yet And Symphony. Fifth the of ending jubilant the echo pages final the and bells, of aclangour through splendour, major-key brassy in returns theme Allegro movement’s first the end the At quality. mocking possibly alurid, on take to seem tunes dance todetermined rejoice energetically, the the next the whole symphony. One moment it seems in movement divided most the perhaps is this But night. of dreams disquieting the after day of glare –the shadows these all banish to strives then Finale The mask. smiling the behind lurking malice of hints are there but serenade; Mediterranean moonlit awarmly suggesting guitar and mandolin of sound the charm, easy radiates It thinking. mortality-fixated this from removed utterly seems Nachtmusik or horrificallyAt the first distorted. second bizarrely waltz-figures Viennese schmaltzy with death, of adance unmistakably is This territory. disturbing more still through passes then Scherzo central compact The again. back ghostly processional to cosy, folksy songs and from swings music The birdcalls. weird and (2003); andOperFrankfurt (2005). InLyon he Staatsoper andNew York’s Metropolitan Opera House,Covent Garden, the Bayerische Barcelona, Opéra NationaldeParis, Royal (2001); Gran Teatre delLiceuin Florence (2000); ViennaStaatsoper andDresden Significant debutsincludetheMaggio Musicalein productions. 2007, heconducted aseriesof highlyacclaimed Director of the Komische OperBerlinwhere, until following year hebecameGeneral Music in a2001 production by ChristineMielitz.The recognition, conductingWagner’s was here thathefirst cameto international Music Director attheMeiningenTheatre. It Kapellmeister. From 1999 to 2002hewas General Vienna Volksoper, where hewas hired as His first jobafter graduation took himto the Performing Arts. attheAcademy of Musicand in Feldkirch before moving to Viennato study teacher. KirillPetrenko continuedhisstudies his father worked asanorchestral violinist and 1990 hisfamily relocated to Vorarlberg where a pianistwiththeOmskSymphony Orchestra. In age of 11 hegave hisfirst publicperformance as studied pianoatthecity’smusiccollege.At Kirill Petrenko was borninOmsk in1972 and Kirill Petrenko About the performers Kirill Petrenko conductor Ring

cycle Schatten While there, hehasconducted position hewillholduntilthe2019–20 season. Music Director attheBayerische Staatsoper, a In September 2013 hebecameGeneral conducted and Salzburg festivals. From 2013 to 2015 he Cecilia. Hehasalsoappeared attheBregenz Orchestra dell’Accademia NazionalediSanta Staatsorchester, theCleveland Orchestra andthe Cologne Symphony orchestras, Bayerisches National, Vienna,ViennaRadio andWDR Staatskapelle, theBR,Chicago, Hamburg, RAI and OsloPhilharmonicorchestras, theDresden including theBerlin,Hamburg, Israel, London He hasworked withmany leading orchestras, Ruhrtriennale. at theOpéra NationaldeLyon andatthe Palestrina Bayerische Staatsoper; on projects ek’s suchasJanácˇ Kirill Petrenko worked asafreelance conductor After moving onfrom theKomische OperBerlin, Onegin has conducted Tchaikovsky’s the Bayerisches Staatsorchester. cycles, aswell asthree Academy Concertswith of Parsifal Lucia diLammermoor Il trittico Staatsoper includeanew production of Puccini’s Recent andcurrent highlightsattheBayerische he takes upintheautumnof 2019. designate of theBerlinPhilharmonic,aposition In June2015, hewas namedChiefConductor works. a revival of Wagner’s premiere of ’s District von Nürnberg Der Rosenkavalier . KirillPetrenko alsoconductsrevivals and and and,openingtheMunichOpera Festival, , inFrankfurt; and La clemenzadiTito The Ring Tannhäuser The Queenof Spades , The Lady Macbeth of theMtsenk attheBayreuth Festival. andthree complete , Ring Tosca , aswell astheworld cycle, amongother , Tristan andIsolde Die Meistersinger andPfitzner’s , Mazeppa South Pole Jenu˚ fa Die Soldaten Die Frau ohne . at the atthe , and and Eugene Eugene Ring ,

5 About the performers 6 Munich’s first concert series – at which composers Munich’s first concertseries –atwhichcomposers The Academy initiated theAcademy Concerts– on theinstructionsof KingMaximilian JosephI. founded theMusicalAcademy of Munich, In 1811, themusiciansof theCourtOrchestra of Mozart’s work today. Earlyhighlightsincludethepremieres the opera house, andthisisstillamajorpartof its century, theorchestra beganplaying regularly for during the17th century. Inthemiddleof the18th performances becameincreasingly frequent church music,butsecularconcertsandopera it from 1563. Initially, theensemblefocused on the composerOrlandodiLassowhodirected 1523. Thefirst famous leader of theensemblewas back almosthalfamillennium,datingback to Munich CourtOrchestra. Itoriginscanbetraced world’s oldestorchestras andgrew outof the The Bayerisches Staatsorchester isoneof the repertoire. symphonic musicaswell asitshugeoperatic Staatsorchester couldmaster challenging – admired theeasewithwhichBayerisches and 1997 andacloseassociate of theorchestra frequent guestontherostrum between 1968 house andtheconcerthall.CarlosKleiber–a The orchestra isequallyathomeintheopera Deutschlandfunk Kultur. Orchestra of theYear by thenationalradio station last year theorchestra was given theaccolade years sincethe2013–14 season.Inaddition, critics inthejournal named Orchestra of theYear by 50international orchestra attheBayerische Staatsoper, has been The Bayerisches Staatsorchester, resident Bayerisches Staatsorchester Bayerisches Staatsorchester La finta gardiniera Opernwelt infour consecutive and Idomeneo . of of Hans von Bülow conducted thefirst performance relationship withthemusicof Wagner. In1865, The orchestra enjoys aparticularlyclose the delightof audiencesandcriticsalike. Hamburg, Taipei, Seoul,Tokyo andNew York –to venues suchasLucerne,Paris, Berlin,Vienna, Kirill Petrenko, atleading international concert internationally, mostrecently, underthebaton of through guestperformances inGermany and reputation asoneof world’s leading orchestras current namesince1918. Itregularly confirms its The Bayerisches Staatsorchester hasborneits music concertsanditseducationalactivities. life of Munich,through symphonic andchamber- Academy hasplayed avital partinthemusical conducted theirown works. Sincethattime,the such asBrahms, GriegandRichard Strauss Das Rheingold Wagner’s your impressions at#BSOtournee! Or share your concertexperiences withusand post news, exclusive stories andsnapshots of thetrip. At www.bsotournee.de you’ll find tripreports, allthe performance ontheInternet: Follow theBayerische Staatorchestra’s Londonguest #BSOontour Music Director inthe2013/14 season. Kirill Petrenko was appointed Bavarian General Nagano. , ZubinMehta andKent Knappertsbusch, ,JosephKeilberth, including , BrunoWalter, Hans worked withtheBayerisches Staatsorchester, Many leading conductors through theages have performed inMunich. Tristan undIsolde and Die Meistersinger von Nürnberg in the National Theatre. intheNationalTheatre. Die Walküre were alsofirst , Taissa Lysy-Refardt Cornelius Mayer Alice Weber Christine Leipold David Ott Monika Hettinger Johannes Zahlten Tilo Widenmeyer Christiane Arnold Andreas Grote Florian Ruf Mustea * Adrian Viola Anna Wiedemann Katharina Scheld Verena Kurz Verena Knappe Hanna Asieieva Julia Pfister José Montón Heichele-Paatz Anna Maria Isolde Lehrmann Traudi Pauer-Frey Sylvie Bachhuber Martin Klepper Daniela Huber Bogataj * Matjaz Violin 2 Julia Ungureanu Ursula Fingerle-Pfeffer Felix Key Weber Michele Torresetti Ginshi Saito Verena-Maria Fitz Rita Rozsa Corinna Desch Susanne Gargerle Felix Gargerle Dorothea Ebert Cäcilie Spross Meghan Nenniger So-Young Kim Barbara Burgdorf David Schultheiss Violin 1 Staatsorchester Bayerisches concertmaster first concertmaster

Andrea Ikker Christoph Bachhuber Tardy * Olivier Ertug Torun Alexander Önce Andreas Riepl Thomas Herbst Thorsten Lawrenz Reinhard Schmid Hengstebeck Alexandra Gmelin * Florian Min SukCho Clemens Müllner Anja Fabricius Dietrich von Kaltenborn Roswitha Timm Oliver Göske Christoph Hellmann Strohmeier Benedikt Don Allan Bergius Graf * Emanuel Cello Oliver Klenk Oliver Klenk Julia Puls Beck-Stegemann Martina Jürgen Key Schablas * Andreas Heike Steinbrecher Simeon Overbeck Heike Steinbrecher Gottfried Sirotek Gvantseladze * Giorgi Stephanie Pagitsch Luc Mangholz

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Maxime Pidoux Carlos Vera Larrucea Claudio Estay Thomas März Pieter Roijen Percussion Hilgers * Ernst-Wilhelm Timpani Steffen Schmid Hans-Ulrich Pförtsch Tenor Horn Hans-Ulrich Pförtsch Jonas Burow Thomas Klotz Strunkeit * Sven Frank Bloedhorn Friedemann Schuck Öttl * Andreas Stefan Böhning Wolfram Sirotek Rainer Schmitz Dengler * Johannes Horn Gernot Friedrich Katrin Kittlaus Martynas Sedbaras Schinköthe * Holger Beck-Stegemann Martina advertising by Cabbell(tel 02036037930)

printed by Trade Winds ColourPrinters Ltd; † Programme produced by HarrietSmith; † * principal Thomas Würfflein Percussion Gregor Raquet Conductor Offstage Musicians Strömsdörfer Antje Wolff- Gaël Gandino Birgit Hellmann Harp Mandolin Gregor Holzapfel Guitar assistant principal

7 About the performers International Orchestras A5 monoad.indd 1 8 with with Jansons Orchestra/Mariss Symphony Radio Bavarian 26 2019Sat Jan Court Milton at International Associate Tognetti Orchestra/Richard Australian Chamber 22–24 2018 Oct season 2018–19 of our heart the at Orchestras International Diana Damrau Mahler Symphony 6 Mahler No Pappano Antonio Cecilia/ of Santa Orchestra 2019 25 May Sat Symphony 9 Mahler No Fischer Orchestra/Ádám Wed 2019 20Feb 16/05/2018 12:02