LCO Live

Susan Gritton Susan Soprano

Director Furniss Rosemary

Conductor Christopher Warren-Green London Chamber Orchestra Chamber London Mozart Beethoven Rossini LCO Live Gioacchino Antonio Rossini (1792-1868) (1756-1791) Rossini Mozart Beethoven di seta: Overture Symphony No.1 in E flat major K.16 Gioacchino Rossini I Molto allegro This dazzling curtain-raiser to an otherwise II Andante 1. La scala di seta: Overture [6.07] unremarkable one-act-opera is the first of III Presto Rossini’s well-known contributions to the Wolfgang Amadeus Mozart genre which he would refine and raise to On the evening of 13 September 1764, Symphony No.1 in E flat major K.16 [13.52] a peak of dramatic sophistication in the Leopold Mozart was sniffling in a large house 2. Molto allegro [6.26] overture to William Tell, which is practically not two miles away from St. John’s, Smith a tone-poem prefiguring Liszt and Wagner. 3. Andante [5.45] Square, where this recording was made: ‘I He largely did away with the old idea of a 4. Presto [1.41] must tell you,’ he writes home to a Salzburg pocket-book of the opera’s best tunes; friend, ‘that in England there is a kind of native hardly any of what is played here recurs in Wolfgang Amadeus Mozart complaint, which is called a ‘cold’’. The family itself. The overture stands Le nozze di Figaro K.492 [11.05] The Silken Ladder had moved out to what was then the leafy on its own two feet, with an introduction, suburb of Chelsea so that Leopold could rest 5. Aria: Porgi amor [3.50] the presentation of two themes and their and recover: the two children were forbidden 6. Recitative: E Susanna non vien! [1.47] recapitulation like a condensed form of a to disturb him with noise, musical or otherwise. classical symphony movement. Listen beyond 7. Aria: Dove sono [5.28] So, Mozart’s sister Nannerl related later, the whirl of vitality and there are quirks Susan Gritton soprano ‘Mozart composed his first symphony with aplenty, not least in the oboe melody which all the instruments of the orchestra … I had starts, loses its way and then retraces its Wolfgang Amadeus Mozart to transcribe it as I sat by his side. While he steps, a joke that is well worth hearing more 8. Adagio and Fugue K.546* [7.01] composed and I copied he said to me, “Remind than once. me to give the horns something worthwhile to do!”’ 9. Ah! perfido Op.65 [13.30] If this is the symphony (only circumstantial Susan Gritton soprano evidence and our own yearning for a good story will tell us so), Nannerl was a dutiful Christopher Warren-Green conductor sister, for the slow movement is distinguished Rosemary Furniss director* by the first appearance in the horns of what would become Mozart’s motto theme, Total time [51.58] C-D-F-E. During the following 24 years it www.signumrecords.com www.lco.co.uk 3 turns up in all sorts of odd corners before world whose dignity and self-possession hang Now, since she had heard me frequently Ludwig van Beethoven crowning the ‘Jupiter’ Symphony as the main by a slender thread. They are ambivalently improvise fugues, she asked me whether I (1770-1827) subject of the finale’s great fugue. Even reaffirmed by the opera’s climax, when the had ever written any down, and when I said Ah! perfido Op.65 Mozart wasn’t up to that level of extended Count is forced to kneel and seek forgiveness “no”, she gave me a proper scolding for not counterpoint at the age of eight, and having from his wife in front of his household, in a recording some of my compositions in this looks backwards in text and discovered the idea, he is content to reiterate scene of profound, socially charged pathos. most artistic and beautiful of all musical forms, Ah! perfido models and forwards in what Beethoven does it, to poignant effect, in one key after another In the meanwhile, the supplicatory note of and she did not give up begging me until I with them. The text is partially by Pietro di over a gentle cushion of strings. the Countess’s pleas for the restoration of wrote her a fugue.’ Metastasio (1698-1782), doyen of librettists Mozart had just discovered the music of domestic harmony is intensified by Mozart’s Mozart originally wrote the fugue as a for the formal kind of opera seria which the ‘London’ Bach, Johann Christian, noted recycling, for Dove sono, of the Agnus Dei piece for two pianos in 1782 (K.426). When was already falling out of fashion when the for his development of the infant symphonic from his ‘Coronation’ Mass, written in 1779, cash was tight in 1788, Mozart had the idea of 21-year-old Mozart wrote , his frst form from its origin in exuberant operatic five years before . reworking the fugue and adding a prelude. It Figaro operatic masterpiece. In 1796 Beethoven was overtures. That his was a quick study is plain was published in the autumn by Hoffmeister. wrestling with operatic ideas that would only from the outer movements, which are all hustle This period was one of the most fnd fruit in a decade later, but he also and bustle, going nowhere very fast but having extraordinarily creative in any composer’s life. evidently learnt from Mozart’s concert arias fun en route by deriving grand gestures and He entered his last three symphonies in his Wolfgang Amadeus Mozart how to shape a formal lament without the sudden contrasts from their little arpeggio- catalogue between the end of June and the Adagio and Fugue in C minor K.546 encouraging sniff of greasepaint. Indeed, once ideas. beginning of August. In addition there were past the formal exclamations of the recitative, piano trios, piano sonatas and this Adagio and Mozart enclosed a prelude and three part the aria alternates compassion and fury with Fugue. fugue in a letter to his sister, Nannerl, dated an ambition that looks beyond the innovations The result is a disturbing, dark, angular 20th April 1782. He explained that he of Gluck towards an embrace of feminine Wolfgang Amadeus Mozart piece. Girdlestone describes the adagio as composed the fugue first and wrote it down sympathy that would, half a century later, Le nozze di Figaro K.492 ‘harrowing’ and the four part fugue as ‘of great whilst thinking out the prelude! become synonymous with Verdi in characters beauty but almost as enigmatic as Beethoven’s Porgi amor He explained that his new wife, Constanze, such as Violetta. Grosse Fugue’. It gives an insight into Mozart’s Dove sono was the cause of this fugue’s coming into the mind at a very difficult time of his life. world. ‘The Baron von Swieten, to whom I go © The Rev. John Wates Another woman spurned: the wife of the every Sunday, has let me take all the works priapic Count who is attempting to exercise of Handel and Sebastian Bach home, after I his ‘droit de seigneur’ over Figaro’s fiancée, played them through for him. When Constanze Susanna. There is no rage in the Countess’s heard the fugues she fell quite in love with bewilderment but rather the resignation, them. Now she will hear nothing but fugues, mingled with desperation, of a woman of the especially … nothing but Handel and Bach. All notes © Peter Quantrill except where indicated

4 5 Aria: Porgi Amor Ah! se almen la mia costanza, Ah! if only my faithfulness, Porgi, amor, qualche ristoro, O Love, give me some comfort Nel languire amando ognor, Which still loves amidst its suffering, Al mio duolo, a’miei sospir! For my sorrow and my sighs! Mi portasse una speranza Could bring me the hope O mi rendi il mio tesoro, Either return to me my darling Di cangiar l’ingrato cor! Of changing that ungrateful heart O mi lascia almen morir. Or at least let me die. Ah! perfido Recitative: E Susanna non vien! Ah! perfido, spergiuro, Ah, faithless liar, E Susanna non vien! And Susanna hasn’t come! Barbaro traditor, tu parti? vile deceiver, thou leavest me? Sono ansiosa di saper I’m anxious to discover E son questi gl’ultimi tuoi congedi? And are these thy last words of parting? come il conte accolse la proposta. How the Count took the proposition. Ove s’intese tirannia più crudel? Can any cruelty be harsher than thine? Alquanto ardito il progetto mi par, The plan seems to me a little rash, Va, scellerato! va, pur fuggi da me, Go hence, villain, flee from me! Ad uno sposo si vivace e geloso! And against such a quick and jealous husband! L’ira de’ numi non fuggirai! The wrath of the gods thou wilt not escape! Ma che mal c’è? But where’s the harm? Se v’è giustizia in ciel, se v’è pietà, If there is justice in heaven, if there is mercy, Cangiando i miei vestiti con quelli di Susanna, That I should change my clothes Congiureranno a gara tutti a punirti! everything will conspire to punish thee! Ei suoi co’miei al favor della notte. And wear instead Susanna’s Ombra seguace!, presente, ovunque vai, As a fleeing shadow pursuing thy path Oh, cielo! a qual’ umil stato fatale While she wears mine, under cover of night. Vedrò le mie vendette, will I see vengeance wrought; io son ridotta da un consorte crudel! Oh, Heaven! What a fatal comedown Io già le godo immaginando. I savour it already in my thoughts, Che dopo avermi con un misto inaudito I’m reduced to by a cruel husband! I fulmini ti veggo già balenar d’intorno. Seeing vengeful lightning flash around thee. d’infedeltà, di gelosia, di sdegno! Who gave me an unpredictable mixture Ah no! Fermate, vindici Dei! But no, stay your wrath, ye gods! Prima amata, indi offesa, e alfin tradita, Of infidelity, jealousy and rage! Risparmiate quel cor, ferite il mio! Spare his heart and strike mine! Fammi or cercar da una mia serva aita! First loved, then insulted, and at last betrayed, S’ei non è più qual era, son io qual fui; Though he no longer is what he was, I am unchanged; Forcing me to seek help from one of my servants! Per lui vivea, voglio morir per lui! I have lived for him - let me die for him! Per pietà, non dirmi addio! For pity’s sake, do not leave me; Aria - Dove sono Di te priva che farò? Parted from thee, how shall I live? Tu lo sai, bell’idol mio! Thou knowest it, my beloved, Dove sono i bei momenti, Where are those lovely moments, Io d’affanno morirò. That I shall die of grief. Di dolcezza e di piacer? Of sweetness and pleasure? Dove andaro i giuramenti Where have the promises gone Ah crudel! Tu vuoi ch’io mora! Ah, cruel one! Thou wantest me to die! Di quel labbro menzogner? That came from those lying lips? Tu non hai pietà di me? Hast thou no pity for me? Perchè mai, se in pianti e in pene Why, if all is changed to sorrows Perchè rendi a chi t’adora Why dost thou reward so cruelly Per me tutto si cangiò, And to tears, for my poor heart Così barbara mercè? my adoring love? La memoria di quel bene The remembrance of my happiness Dite voi, se in tanto affanno In this affliction, Dal miosen non trapassò? Is not departed with them? Non son degna di pietà? am I not worthy of compassion 6 7 © Thomas Balsamo Christopher Warren-Green honoured to conduct the first concert to be Music Director & Principal Conductor given, in modern times, in the Throne Room of Buckingham Palace; since then, he has A highly experienced musician, Christopher conducted numerous concerts at Buckingham Warren-Green’s wide knowledge of the Palace, as well as Highgrove House and St repertoire and poised command of an James’s Palace. To mark the occasion of HM orchestra has earned him great respect The Queen’s 80th birthday at Kew Palace, throughout the music-making world. he conducted a private concert for the entire From September 2010, Mr Warren- Royal family; he also directed the Philharmonia Green takes up the post of Music Director Orchestra for the Service of Dedication and of the Charlotte Symphony Orchestra, an Prayer, celebrating the marriage of TRHs The appointment which further strengthens the Prince of Wales and The Duchess of Cornwall, connections he has established in the USA and again in the 60th birthday celebration through his engagements with the Philadelphia concert for HRH The Prince of Wales. and Minnesota Orchestras, the St Louis and Christopher Warren-Green has recorded Seattle Symphony Orchestras and National extensively for BMG, Philips, Virgin, Chandos Symphony Washington DC. and most recently for Deutsche Grammophon Christopher Warren-Green is also Music and EMI. Director of the London Chamber Orchestra, and makes regular guest appearances with the Royal Philharmonic, Philharmonia and BBC Concert orchestras. He has worked with the London Philharmonic and Royal Liverpool Philharmonic orchestras, and has conducted the Royal Scottish National Orchestra to high critical acclaim. He also makes frequent visits to orchestras within Europe and the Far East, including the Singapore Symphony Orchestra, and has made several tours of Japan with the NHK Symphony. In 1980, by personal invitation of HRH The Prince of Wales, Mr Warren-Green was

8 9 Rosemary Furniss Susan Gritton LCO Artistic Director Concertmaster Soprano © © TimCantrell Paul Mitchell

‘Her technique is formidable and is Susan Gritton studied botany at Oxford for and her many roles directed by remarkable musicianship and London Universities and won the 1994 at the have included and style’ The Daily Telegraph Kathleen Ferrier Memorial Prize. Countess Almaviva (Le nozze di Figaro), Recognised as one of the finest and most Pamina (Die Zauberflöte), Fiordiligi and the As one of the most respected violinists of her taken her all over the world and she has versatile singers of her generation, her operatic title role in ‘’. She generation, Rosemary Furniss combines a been consistently acclaimed for her solo engagements have included Liù (), has also sung in innovative staged career as soloist with that of Concertmaster, performances. These include collaborations Micäela () and Marenka (The Bartered performances of Sibelius’ ‘Luonnotar’ in chamber musician and teacher. with such renowned conductors as Simon Bride) for the , Covent London; Honegger’s ‘Jeanne d’Arc au bûcher’ A founder pupil of the Yehudi Menuhin Rattle, Yuri Simonov, David Atherton and Garden; Blanche (Dialogues des Carmélites), in Rome and Handel’s ‘’ in Vienna. School, Rosemary was a protégée of the Richard Hickox, and orchestras including the Konstanze (Die Entführung aus dem Serail), She is a regular guest with many of late Lord Menuhin, with whom she had the Philharmonia, Hallé, Singapore Symphony, Vitellia (), Fiordiligi (Così the world’s great orchestras, working with privilege of performing as soloist. She went on Scottish Chamber and Royal Philharmonic. fan tutte), Romilda (Xerxes), Cleopatra (Giulio conductors such as Sir Charles Mackerras, to study with other eminent teachers including Rosemary is a Professor at the Royal Cesare) and the title role of ‘’ at the Sir Simon Rattle, Sir Colin Davis, Antonio Fredrick Grinke in London and Ivan Galamian College of Music and assisted Lord Menuhin Bayerische Staatsoper, Munich; Ellen Orford Pappano, Richard Hickox, Sir Bernard Haitink, at The Curtis Institute in Philadelphia and in the acclaimed documentary ‘Menuhin’s () for Opera Australia and La Sir John Eliot Gardiner, Paul McCreesh, participated in masterclasses with Sándor Children’. She was awarded a RAM fellowship Scala, Milan and Donna Anna () Daniel Harding and Sir Roger Norrington. Végh and Pinchas Zuckerman. and is also a Churchill Fellow. for the Opéra de Montréal. She has sung the A Grammy nominated artist, she has Since then Rosemary’s career has title role in ‘’ at the Glyndebourne recorded prolifically. 10 Festival; Countess Madeleine () 11 London Chamber Orchestra enthusiasm and energy as it communicates performance of a Piano Concerto by Graham ‘Utterly ravishing...gloriously its passion for superlative music-making Fitkin. unforgettable...This is my recording ‘The concerts of Warren-Green and to the audience. It continues to perform of the year, some of the greatest of the London Chamber Orchestra at ‘It is an exciting experience hearing internationally, building relationships worldwide all British music given performances St. John’s, Smith Square aren’t often musicians of this calibre playing as if in prestigious venues such as La Scala, Milan, that are unforgettably inspirational.’ noticed in the press, but their large their lives depended on it.’ Hi-Fi News Vienna’s Musikverein, Hong Kong City Hall, Gramophone regular audience knows that they Teatro Real, Madrid, and on critically acclaimed It is LCO’s philosophy, as an elite ensemble are some of the most exciting in LCO continues to enjoy signifcant support tours of the USA, Far East and Europe. with an enviable reputation, to share its London.’ The Sunday Times from private donors, enthusiastic audiences As well as producing some of the fnest excellence in a socially aware environment and corporate sponsors. Priding itself on The London Chamber Orchestra, the UK’s performances of well-loved works, LCO holds – this it achieves through its education work independence from public subsidy, LCO relies oldest chamber orchestra, has nurtured the innovation close to its heart and has given and many important charitable associations. on impeccable performance credentials to new and paid homage to the traditional since more than 100 UK premières of works by LCO continues to develop its pioneering attract its advocates. Christopher Warren- 1921. Since 1988 Principal Conductor and composers ranging from Mozart to Graham initiatives: LCO and Barnardo’s ‘Music Green, LCO’s musicians and management Music Director Christopher Warren-Green has Fitkin. In 2006 LCO premièred Sir Peter Junction’ reaches out to the young; LCO aim to uphold LCO’s world class stature and its brought together the inspirational musicians Maxwell Davies’s , written to New approaches contemporary music from The Golden Rule mission to educate, enlighten and entertain. and repertoire for which LCO is renowned. mark The Queen’s 80th birthday, and in 2008 a fresh perspective and LCO Live captures The remarkable acoustic and intimate gave the London première of Hess’s Concerto the ambience, interaction and exhilaration of ambience of St. John’s, Smith Square, its for Piano and Orchestra commissioned by LCO performances through recordings of live London home, enable LCO – the only chamber The Prince of Wales. LCO’s 09/10 season concerts at St. John’s, Smith Square. orchestra resident in London – to give vibrant includes its commission and world première performances and establish a close rapport with its audiences. The recordings on the LCO Live label, in partnership with Signum Classics, are the result of this happy marriage of orchestra and venue. ‘…everyone on stage seems to be having a whale of a time and this feeds into a performance in which the music sounds new-minted’ The Guardian By restricting the number of its UK performances, LCO retains a sense of

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Violin Cello Flute Recorded at St. John’s, Smith Square, London on 28th February 2007 (Mozart Adagio & Fugue) Rosemary Furniss Debbie Preece Robert Max Jonathan Snowden 21st March 2007 (Rossini La scala di seta, Mozart Le nozze di Figaro, Beethoven Ah! perfdo) David Angel Ruth Rogers Joely Koos 18th April 2007 (Mozart Symphony No.1) Sophie Barber Charles Sewart Pierre Doumenge Oboe Mark Butler Kathy Shave Julia Graham Jenny Galloway Producer & Editor - Raphaël Mouterde Hannah Dawson Rebecca Turner Louisa Tuck David Theodore Recording Engineers: Mozart Adagio & Fugue - Mike Hatch; Rossini La scala di seta, Mozart Le nozze di Figaro, Beethoven Ah! perfdo & Mozart Symphony No.1 - Mike Cox Manon Derome Catherine van de Alison Alty Matthew Elston Geest Double Bass Clarinet Design & Artwork - Studio Dempsey/London Ellie Fagg Helena Wood Stacey Watton Barnaby Robson Programme notes - Peter Quantrill & The Rev. John Wates FRSA HonFRAM Jo Godden Chris West James Meldrum Thomas Gould Viola Tim Gibbs 2010 LCO The copyright in this recording is owned by Signum Records Ltd. © 2010 The copyright in this CD booklet, notes and design is owned by Ben Hancox Joel Hunter Roger Linley Bassoon Kate Musker Signum Records Ltd. Ciaran McCabe Meyrick Alexander P 2010 London Chamber Society Ltd Gina McCormack Julia Knight Richard Skinner © Signum Records Ltd John Mills Becky Low Jonathan Morton French Horn Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will Peter Nall Pip Eastop render the infringer liable to an action by law. Miranda Playfair Tim Jones Licences for public performances or broadcasting may be obtained from Michaela Betts Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

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