Tuesday 31 May 2016 6.30 pm

Chamber Music Season/ Song Recital Series London Pianoforte Series/ Introducing James Baillieu In the presence of HRH The Duke of Kent, KG Royal Patron In honour of the Friends of

Elisabeth Leonskaja piano Cuarteto Casals Vera Martínez-Mehner violin • Abel Tomás violin Jonathan Brown viola • Arnau Tomàs cello Sophie Bevan soprano Alice Coote mezzo-soprano Allan Clayton tenor Henk Neven baritone James Baillieu piano RAM Singers Hiroshi Amako tenor • William Blake tenor James Geidt bass • Michael Mofidian bass WIGMORE HALL 115TH ANNIVERSARY CELEBRATORY CONCERT

There is a complimentary drink for every member of the audience at the intervals of tonight’s concert Please go to the following designated areas: Bechstein Room: Front Stalls Rows AA–K (Please use the doors on either side of the stage) Restaurant: Rear Stalls Rows L–X; Balcony Rows A–D

We are grateful to The Monument Trust for essential additional support for our expanded vocal series.

COUGHING CAN BE VERY DISTURBING FOR BOTH THE ARTISTS AND OTHER MEMBERS OF THE AUDIENCE. PLEASE SUPPRESS ANY COUGHING AS MUCH AS POSSIBLE. COUGH LOZENGES ARE ON SALE IN THE FOYER OR MAY BE OBTAINED FROM THE USHERS. Would patrons please ensure that mobile phones are switched off Please also ensure that watch alarms and other electronic devices which can become audible are switched off. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use this facility by switching their hearing aids over to ‘T’.

Lithograph of by Josef Teltscher PROGRAMME: £5.00

1 Franz Schubert (1797–1828) Like the exposition, the development unfolds with infinite spaciousness. After building to a fortissimo climax – a hint, ELISABETH LEONSKAJA perhaps, of human anguish in this quietest and most inward of sonata movements – the music hovers hauntingly around 960 (1828) Piano Sonata in B b D D minor, with the opening bars of the main theme, in hushed Molto moderato preparation for the recapitulation. In this context the theme’s Andante sostenuto momentary appearance, ppp, in a chromatically shadowed Scherzo. Allegro vivace e con delicatezza B flat has an effect of luminous strangeness, as if the home Allegro, ma non troppo – Presto key is distantly glimpsed through a gauze.

By the summer of 1828 Schubert’s precarious health had The mood of ethereal tranquillity deepens in the Andante deteriorated to the point where he was frequently plagued sostenuto, a nocturnal barcarolle in C sharp minor. As so by headaches, giddiness and attacks of nausea. Yet he not often in Schubert’s piano music, the texture of the opening only kept up a more-or-less active social life but continued theme suggests string chamber music, above all the famous to work at a feverish rate, almost as if he sensed that time Adagio of the String Quintet: it is not hard to imagine second was running out. In September – a mensis mirabilis if ever violin and viola intoning the floating, almost becalmed there was one – he completed four visionary masterpieces melody against delicate pizzicatos from the other strings. that crowned his work as a composer of instrumental music: In the hymnic central episode, set in the warmly contrasting the C major String Quintet, and three piano sonatas (D958, key of A major, the rich textures seem to evoke a trio or D959 and D960) which he intended to publish as a set with quartet of cellos. When the main theme returns it acquires a a dedication to the famous composer-virtuoso Johann new murmuring accompanying figure deep in the bass. Nepomuk Hummel. When Diabelli finally published the Before the coda finally resolves into C sharp major, Schubert sonatas in 1839 Hummel was dead. Instead Diabelli conjures another of his unearthly visions with a deflection to dedicated them to a new champion of Schubert’s music, the fathomlessly remote key of C major. Robert Schumann. With its nonchalant shifts of register and delicious harmonic The first two of the sonata trilogy, in C minor and A major, sideslips, the Scherzo forms a mercurial interlude between are overtly indebted to Beethoven’s example. In the final the timeless contemplation of the Andante and the more sonata, in B flat, D960, the Beethovenian influence is at corporeal world of the finale. The minor-keyed trio, with best oblique: a distant recollection of the ‘Archduke’ Trio, its lumpen offbeat bass, sounds like a skewed, cussed perhaps, in the serene opening theme; and, in the way the Ländler. Launched by a held octave G, the rondo finale finale approaches B flat via C minor, an echo of Beethoven’s begins with a Hungarian-tinged dance tune which feints at last work, the rondo he wrote to replace the Grosse Fuge in C minor before resolving into the ‘proper’ key of B flat. In his B flat Quartet, Op. 130. But in spirit the sonata is utterly another of Schubert’s gloriously leisurely structures there un-Beethovenian. The profound contemplative ecstasy of are several other memorable themes, including a gliding the first two movements is, with the G major Sonata, D894, cantabile over a rippling accompaniment, and a mock-heroic and parts of the String Quintet, the consummation of a F minor outburst that dissolves into a skittish dance. Only at quintessential Schubertian experience first glimpsed in his 1815 setting of Goethe’s ‘Wandrers Nachtlied’. the very end is the main theme’s ambiguity resolved, with the octave G slipping to G flat and then to F, the dominant of The soft, deep trill, on a dissonant G flat, that intrudes on B flat, before the brilliant, quasi-orchestral send-off. the sublime calm of the opening immediately illustrates a Although he could hardly have known that this would be his crucial difference between Beethoven’s and Schubert’s last instrumental work (with only the String Quintet as a methods. Where Beethoven would have integrated the trill possible rival), Schubert, like Beethoven in the Op. 130 into the music’s argument, for Schubert it remains finale, bowed out with mingled robustness, lyrical something ‘other’: remote, mysterious, an extreme contrast tenderness, and wry, quizzical grace. in sonority and register with everything that surrounds it. Only once, in the transition from exposition to development (heard only if the exposition is repeated), does the trill erupt Interval in fortissimo violence. But while the trill’s function remains There is a complimentary drink for every member of the audience at the intervals essentially colouristic, like a distant timpani roll, the note of tonight’s concert

G flat does prefigure an important tonal area in the Please go to the following designated areas: movement: in the leisurely expansion of the main theme that Bechstein Room: Front Stalls Rows AA–K follows the opening statement, and in the F sharp minor (Please use the doors on either side of the stage) theme (F sharp being the enharmonic equivalent of G flat) in Restaurant: Rear Stalls Rows L–X; Balcony Rows A–D the piano’s tenor register that opens the second group. Please check that your phone is turned off, especially if you used it during the interval.

2 CUARTETO CASALS darting B minor Scherzo, with its thistledown imitative textures, is a more edgy relative of Mendelssohn’s ‘fairy’ 887 (1826) in G D movements. In extreme contrast, the easy-paced trio is an Allegro molto moderato etherealised Ländler, beginning pianissimo as a cello solo, Andante un poco mosso then flowering into a cello-violin duet. Scherzo. Allegro vivace – Trio. Allegretto Allegro assai As in the ‘Death and the Maiden’ Quartet, the finale is an obsessive tarantella. Yet with its weird, lightning shifts Schubert’s growing reputation in and around in the between major and minor – like a demonic parody of those in mid-1820s was based above all on his songs, part-songs the first movement – it is somehow even more disturbing. In it and piano miniatures – works easily saleable in the Schubert uses the rhythms and patterns of Italian comic flourishing domestic market. Yet, with a creative self- opera (shades at one point of the ‘Largo al factotum’ from confidence that belied his outwardly unassuming Rossini’s The Barber of Seville) to strange, almost nightmarish demeanour, he was determined to establish himself as a ends. The G major Quartet as a whole is the composer’s most composer of large-scale instrumental works in the consistently violent and tonally unstable large-scale work: a Viennese line of Haydn, Mozart and Beethoven. In 1824 world away from the more familiar, gemütlich, lyrical Schubert composed two magnificent string quartets, in Schubert, but a searing expression of an equally crucial A minor (‘Rosamunde’) and D minor (‘Death and the aspect of his musical persona and, dare one say, of the Maiden’) in preparation, he told a friend, for a ‘grand protest and despair within the man himself. symphony’. The symphony in question, the ‘Great’ C major, was extensively sketched during a summer holiday in the Austrian Alps in 1825 and finished in essentials the Interval following year. In 1826, too, he composed another large- There is a complimentary drink for every member of the audience at the intervals scale string quartet, destined to be his last, written within of tonight’s concert eleven days in June. While less well known than the Please go to the following designated areas: A minor and D minor quartets, this G major work is his Bechstein Room: Front Stalls Rows AA–K (Please use the doors on either side of the stage) most ambitious and revolutionary work in the genre. It was Restaurant: Rear Stalls Rows L–X; Balcony Rows A–D never performed in Schubert’s lifetime and only published Please check that your phone is turned off, especially if you used it during the interval. in 1851, twenty-three years after his death.

Although Schubert may have heard public performances of two of Beethoven’s quartets, in E flat Op. 127 and B flat Lieder Op. 130, shortly before he wrote his G major Quartet, there Ständchen • Gretchen am Spinnrade is no question of overt influence. The music never sounds Nähe des Geliebten • An den Mond anything other than utterly Schubertian. Yet, as Charles Licht und Liebe • Abschied • Der Schiffer Rosen pointed out in The Classical Style, there is something Ganymed • Die Forelle • Nachtstück Beethovenian in the way Schubert generates so much of the An die Leier • Nachtviolen • Du bist die Ruh vast opening movement from the energy of its initial motifs: Das Wandern • Auflösung • Die junge Nonne a blunt opposition of G major and G minor (with none of the An Silvia • Die Taubenpost • Des Tages Weihe pathos usually associated with Schubert’s alternation of major and minor), and a laconic, four-note dotted motif. Schubert had every reason to be looking forward In the recapitulation the major-minor juxtaposition is optimistically in the early months of 1828. While he doubtless reversed, and the former flaring energy yields to an eerie suffered from the headaches and fits of nausea that had tranquillity. In the meantime the development has climaxed afflicted him intermittently since 1823, until the summer in a passage of rhythmic counterpoint as ferocious as neither he nor any of his friends mentioned ill health; and anything in Beethoven’s Grosse Fuge. although he was never noted for his reliability or punctuality, he seems to have led an active social life, dominated by The Andante’s haunting main theme in the cello’s tenor musical parties and regular Saturday evening readings at the register (a characteristic sonority of this quartet) has the home of his friend Franz von Schober. Meanwhile he had melancholy trudge of many songs in Winterreise. Schubert begun to plan for a benefit concert in the hall of the sets this melody against frenzied, quasi-orchestral Philharmonic Society entirely devoted to his own music, episodes that strain the quartet medium with their exactly as Beethoven had done on several occasions: further seething scales, tremolos and steepling dynamic testimony to the young composer’s confidence that he was contrasts. There is even a suggestion of bitonality here ready to assume Beethoven’s mantle. Held on 26 March, the when a jerky two-note figure is stubbornly repeated by first anniversary of Beethoven’s death, the concert was the violin and viola against alien, contradictory harmonies. The greatest public and financial success of Schubert’s whole

3 career. ‘I shall never forget how glorious it was’, wrote one of and transience prompted a song of hypnotic beauty, framed Schubert’s friends in his diary. ‘Enormous applause. Good by a sequence of ethereal piano chords, and punctuated by receipts.’ The concert’s centrepiece was the E flat Piano Trio evocations of the alpenhorn echoing around the mountains. D929, surrounded by vocal works including a delightfully In Der Schiffer the physically frail Mayrhofer is indulging in jaunty setting of Grillparzer’s Ständchen. This nocturnal a spot of devil-may-care wish fulfilment; and Schubert serenade had been written the previous summer as a responds with one of his most bracing water pieces whose surprise birthday present for Louise Gosmar, a piano pupil of unremitting dactylic rhythms are a perfect musical emblem Schubert’s friend Anna Fröhlich. Apparently forgetting that it for the oarsman’s powerful strokes. was to be sung by Fröhlich’s female students at the birthday party, he originally set it for four male voices and mezzo- With its characteristic theme of the beauty and all- soprano (the version heard tonight), before hastily embracing goodness of nature and the divine, Ganymed was rearranging it for women’s voices. Anna Fröhlich herself one of the most exalted Goethe poems set by Schubert. His conducted the performance at Schubert’s benefit concert, song of 1817 vividly illuminates each phase of the poet’s with her sister Josefine taking the solo part. pantheistic vision, from the radiant serenity of the spring morning, through the youth’s awakening ardour and We move back to Schubert’s teens for the three Goethe anticipation, to his final heavenly transfiguration, in a key settings that open this chronologically arranged sequence of remote from the earthly longing of the opening. A popular solo songs. First comes his miraculous initial encounter with hit in the composer’s lifetime and ever since, Die Forelle is a Goethe’s poetry, Gretchen am Spinnrade, composed when parable of innocence betrayed. Here Schubert varies the he was just seventeen. In the opening part of the epic drama simple strophic plan by setting the little drama of the third Faust, Gretchen, wooed but not yet seduced by Faust, sings verse to new, more agitated music (with a vivid flash of softly to herself as she spins. In Schubert’s hands her song anger at the fisherman’s treachery), before the playful, becomes an impassioned scena, rising from numb pathos gliding figuration returns to round off the song. to almost hysterical erotic longing. The whirling, unifying accompaniment evokes the rotation of the spinning wheel In Nachtstück Schubert responds to Mayrhofer’s benign while mirroring every shade of Gretchen’s ecstatic agitation. view of death-as-release with music at once grandly valedictory and profoundly consolatory. The mysterious From Schubert’s astonshingly prolific Liederjahr of 1815 sequence of modulations at the close (E flat major – D flat come the ever-popular Nähe des Geliebten and An den major and minor – C major in the original version for high Mond. The former is one of numerous Goethe poems voice) is a perfect musical emblem of the gradual ebbing inspired by pre-existing music, in this case a setting by his and dissolution of life. musical guru Carl Friedrich Zelter of a very similar poem (‘Ich denke dein’) by Friederike Brun. From Goethe’s melodious The poem An die Leier, by Schubert’s wealthy friend Franz verses Schubert creates a rapturous, bel canto love song, von Bruchmann, adapts playfully ironic verses by the ushered in by a harmonically ambivalent piano introduction ancient Greek poet Anacreon. Schubert’s song vividly that gradually opens towards the home key, like an juxtaposes two sections of mock-heroic recitative – the unfolding flower. Schubert made two settings of the poem second even sterner and more warlike than the first – with ‘An den Mond’, with its favourite Goethean image of the the most melting bel canto lyricism, its gentle longing moon as a source of peace and healing. The later song poignantly intensified in the piano postlude. realises more fully the poem’s mingled sorrow, resignation and serenity. But the simple earlier setting, one of five When he composed Nachtviolen in April 1822, Schubert’s Goethe songs composed in a single day, 19 August, has a friendship with Johann Baptist Mayrhofer had cooled. Some touching innocence and charm, with something of the have speculated that the song is a nostalgic memento of eighteenth-century Romanze in its gracefully flowing melody. that friendship rather than a mere floral ode. Whatever, ‘Nachtviolen’ has the innocence and assuaging tenderness One of Schubert’s rare duets, the beguiling nocturne Licht of a lullaby. The loveliest moment of all comes in the final und Liebe sets lines from the drama Der Tod Friedrichs des verse, which begins like the first before the voice exquisitely Streitbaren (‘The Death of Friedrich the Valiant’) by Matthäus varies its melody in counterpoint with the piano at ‘Und nun von Collin. In the play the two voices, one a fisherman, the blüht in stummen Nächten’. other Duke Friedrich’s lost love, sing separately, offstage. Schubert follows this scenario, bringing together baritone With its sublimely simple melody and the revelation of its and soprano – musically entwined, yet paradoxically locked final strophe, which moves majestically to a remote key, in their own thoughts – only in the final verse. Abschied is Schubert’s setting of Rückert’s Du bist die Ruh is his supposedly based on an old pilgrims’ chant, though this has supreme expression of an ideal, transcendent love. It is also never been identified. No matter: Schubert’s saturnine friend arguably more truly religious in feeling than any music that Johann Baptist Mayrhofer’s characteristic vision of parting Schubert, the unconvinced Catholic, composed for the

4 church. Known to all German and Austrian schoolchildren, ALICE COOTE • CHORUS Das Wandern, the opening song of Die schöne Müllerin, is Ständchen D920 (1827) Serenade one of those Schubertian quasi-folk melodies that seems to (Franz Grillparzer) have existed for all time. Its vision of bounding innocence stands at the opposite pole from Mayrhofer’s Auflösung. Zögernd leise Softly, hesitantly, Here the death-haunted (and ultimately suicidal) poet In des Dunkels nächt’ger Hülle cloaked in night’s darkness, conjures an apocalyptic, self-deluding vision in which the Sind wir hier; we have come here; Und den Finger sanft gekrümmt, and with fingers gently curled, old world dissolves, leaving only the harmony of ‘sweet Leise, leise, softly, softly ethereal choirs’: cue for a mighty torrent of a song whose Pochen wir we knock flaring, soaring vocal line and quasi-orchestral piano part An des Liebchens Kammerthür. on the beloved’s bedroom door. look far ahead to Wagner. Another symphonically conceived song, Die junge Nonne transforms a clichéd poem by the Doch nun steigend, But now, our emotion rising, Italian-born merchant-cum-litterateur Jakob Nikolaus Schwellend, schwellend, hebend, swelling, Craigher de Jachelutta into a scena of darkly Romantic Mit vereinter Stimme, Laut surging, with united voice grandeur. The keyboard part grows entirely from the terse, Rufen aus wir we call out loud, in warm ominous opening motif depicting the howling storm and (as hochvertraut: friendship: the left hand crosses the right) the tolling Angelus. Although Schlaf du nicht, Do not sleep the raging elements continue after the music brightens from Wenn der Neigung Stimme when the voice of affection spricht! speaks. minor to major, the nun’s inner turbulence gives way to a new-found confidence in God’s love, culminating in the Sucht’ ein Weiser nah und Once a wise man with his transfigured ecstasy of the final Allelujas. ferne lantern Menschen einst mit der Laterne; sought people near and far; That perennial Schubert favourite An Silvia sets the famous Wieviel seltner dann als Gold how much rarer, then, than gold lyric from Act IV of The Two Gentlemen of Verona, where it is Menschen, und geneigt und are people who are fondly sung to Lady Silvia, daughter of the Duke of Milan, by a group hold? disposed to us? of hired musicians. Schubert’s song has an irresistible verve Drum, wenn Freundschaft, Liebe And so, when friendship and and grace, with the piano’s right hand imitating a mandolin spricht, love speak, and the singer’s shapely legato line counterpointed with Freundin, Liebchen, schlaf du do not sleep, friend, cheeky staccato figures in the keyboard bass. The nicht! beloved! rediscovery of Schubert’s autograph manuscript in Hungary in 1969 revealed that the piano’s echoing phrases, which add Aber was in allen Reichen But what in all the world’s realms Wär’ dem Schlummer zu can be compared to so much to the song’s charm, were an inspired afterthought. vergleichen? sleep? Drum statt Worten und statt And so, instead of words and This sequence of solo songs ends with what was probably Gaben gifts, Schubert’s last song, Die Taubenpost (the only other Sollst du nun auch Ruhe haben. you shall now have rest. candidate is ‘Der Hirt auf dem Felsen’), which the publisher Noch ein Grüßchen, noch ein Just one more greeting, one Haslinger appended to the Schwanengesang collection to Wort, more word, avoid the unlucky thirteen. Seidl’s verses propose an Es verstummt dir frohe Weise, and our happy song ceases; optimistic outcome. The elegiac undertow of Schubert’s Leise, leise, softly, softly music suggests otherwise. In this enchanting song the Schleichen wir, ja, schleichen we steal away quintessential singer of Romantic Sehnsucht bows out with wir uns wieder fort! again. grace, whimsy and gentle humour.

SOPHIE BEVAN As an envoi, the four singers combine in the part-song ‘Schicksalslenker, blicke nieder’ (posthumously published, Gretchen am Spinnrade Gretchen at the with a new text, as Des Tages Weihe). Like ‘Ständchen’, D118 (1814) spinning-wheel this evening hymn – with Schubert in his most mellifluous (Johann Wolfgang von Goethe) Biedermeier vein – was a product of the composer’s Meine Ruh ist hin, My peace is gone, friendship with Anna Fröhlich. One of her piano pupils was Mein Herz ist schwer; my heart is heavy; Baroness Barbara Geymüller, who asked Fröhlich to ask Ich finde sie nimmer I shall never Schubert if he would set an (anoymous) poem to music to Und nimmermehr. ever find peace again. celebrate the recovery from serious illness of a certain Herr Wo ich ihn nicht hab’ When he’s not with me, Ritter. With a handsome fee in the offing Schubert accepted Ist mir das Grab, life’s like the grave; with alacrity, tossing off this beguiling occasional piece in a Die ganze Welt the whole world single day, 22 November 1822. Ist mir vergällt. is turned to gall.

Richard Wigmore © 2016 Song continues overleaf. Please turn the page as quietly as possible

5 Mein armer Kopf My poor head Die Sonne sinkt, bald leuchten The sun sets, soon the stars Ist mir verrückt, is crazed, mir die Sterne. will shine on me. Mein armer Sinn my poor mind O wärst du da! O that you were here! Ist mir zerstückt. shattered.

Meine Ruh ist hin, My peace is gone, HENK NEVEN Mein Herz ist schwer; my heart is heavy; An den Mond D193 (1815) To the moon Ich finde sie nimmer I shall never (Ludwig Christoph Heinrich Hölty) Und nimmermehr. ever find peace again. Geuß, lieber Mond, geuß deine Shed your silver light, dear Nach ihm nur schau ich It’s only for him Silberflimmer moon, Zum Fenster hinaus, I gaze from the window, Durch dieses Buchengrün, through these green beeches, Nach ihm nur geh’ ich it’s only for him Wo Phantasien und where fancies and dream-like Aus dem Haus. I leave the house. Traumgestalten immer visions Vor mir vorüber fliehn! forever flit by me! Sein hoher Gang, His proud bearing, Sein’ edle Gestalt, his noble form, Enthülle dich, daß ich die Unveil yourself, that I might Seines Mundes Lächeln, the smile on his lips, Stätte finde, find the place Seiner Augen Gewalt, the power of his eyes, Wo oft mein Mädchen saß, where my sweetheart often sat, Und seiner Rede And the magic flow Und oft, im Wehn des and where, to the rustle of Zauberfluß, of his words, Buchbaums und der Linde, beech and lime, Sein Händedruck, the touch of his hand, Der goldnen Stadt vergaß! I often forgot the gilded town! Und ach, sein Kuß! and ah, his kiss! Enthülle dich, daß ich des Unveil yourself, that I might Meine Ruh ist hin, My peace is gone, Strauchs mich freue, enjoy the murmuring bushes Mein Herz ist schwer; my heart is heavy; Der Kühlung ihr gerauscht, that cooled her, Ich finde sie nimmer I shall never Und einen Kranz auf jeden and lay a wreath on every Und nimmermehr. ever find peace again. Anger streue, meadow, Wo sie den Bach where she once listened to Mein Busen drängt My bosom belauscht! the brook! Sich nach ihm hin. yearns for him. Ach dürft’ ich fassen Ah! if I could clasp Dann, lieber Mond, dann nimm Then, dear moon, veil yourself Und halten ihn, and hold him, den Schleier wieder, once more Und traur’ um deinen Freund, and mourn your friend, Und küssen ihn and kiss him Und weine durch den Wolkenflor and weep through hazy So wie ich wollt’, to my heart’s content, hernieder, clouds, An seinen Küssen and in his kisses Wie dein Verlaßner weint. just like I, forsaken, weep. Vergehen sollt’! perish!

SOPHIE BEVAN • ALLAN CLAYTON SOPHIE BEVAN Licht und Liebe D352 (?1816) Light and love Nähe des Geliebten Nearness of the beloved (Matthäus von Collin) D162 (1815) (Johann Wolfgang von Goethe) Liebe ist ein süßes Licht. Love is a sweet light. Wie die Erde strebt zur Just as the earth aches for the Ich denke dein, wenn mir der I think of you, when the Sonne, sun Sonne Schimmer shimmering sun Und zu jenen hellen Sternen and those bright stars Vom Meere strahlt; streams from the sea; In den weiten blauen Fernen, in the distant blue expanses, Ich denke dein, wenn sich des I think of you, when the Strebt das Herz nach so the heart aches for love’s Mondes Flimmer glittering moon Liebeswonne: bliss, In Quellen malt. is mirrored in springs. Denn sie ist ein süßes Licht. for love is a sweet light.

Ich sehe dich, wenn auf dem I see you, when on distant Sieh! wie hoch in stiller Feier See, high in the silent solemnity, fernen Wege paths Droben helle Sterne funkeln: bright stars glitter up above: Der Staub sich hebt; the dust rises; Von der Erde fliehn die dunkeln from the earth flee the dark In tiefer Nacht, wenn auf dem in deep night, when on the Schwermutsvollen trüben heavy baleful schmalen Stege narrow bridge, Schleier. mists. Der Wandrer bebt. the traveller trembles. Wehe mir, wie so trübe Alas! Yet how sad I feel Ich bin bei dir, du seist auch I am with you, however far Fühl ich tief mich im Gemüte, deep in my soul; noch so ferne, you be, Das in Freuden sonst erblühte, once I brimmed with joy; Du bist mir nah! you are by my side! Nun vereinsamt, ohne Liebe. now I am abandoned, unloved.

6 Liebe ist ein süßes Licht. Love is a sweet light. Und schlängen die Wellen den and were waves to engulf the Wie die Erde strebt zur Just as the earth aches for the ächzenden Kahn, creaking boat, Sonne, sun Ich priese doch immer die I should still extol my chosen Und zu jenen hellen Sternen and those bright stars eigene Bahn. course. In den weiten blauen Fernen, in the distant blue expanses, Strebt das Herz nach so the heart aches for Drum tose des Wassers So – let waters roar in impotent Liebeswonne: love’s bliss, ohnmächtiger Zorn, rage, Liebe ist ein süßes Licht. for love is a sweet light. Dem Herzen entquillet ein a fountain of bliss spurts from seliger Born, my breast, Die Nerven erfrischend – renewing my courage, ALICE COOTE o himmlische Lust! O heavenly joy! Abschied D475 (1816) Farewell Dem Sturme zu trotzen mit To brave the storm with a (Johann Baptist Mayrhofer) männlicher Brust. manly heart.

Über die Berge zieht ihr fort, You go over the mountains

Kommt an manchen grünen and come upon many a green HENK NEVEN Ort; spot; Muß zurücke ganz allein, I must return all alone, Ganymed D544 (1817) Ganymede Lebet wohl! Es muß so sein. farewell, it must be so. (Johann Wolfgang von Goethe)

Wie im Morgenglanze How in the morning radiance Scheiden, meiden, was man Parting, leaving that which we Du rings mich anglühst, you glow at me from all sides, liebt, love, Frühling, Geliebter! spring, beloved! Ach wie wird das Herz betrübt! ah, how it grieves the heart. Mit tausendfacher With thousandfold delights of O Seenspiegel, Wald und Hügel Glassy lakes, woods and hills schwinden all’; all vanish; Liebeswonne love, Hör’ verschwimmen eurer I hear the echo of your voices Sich an mein Herze drängt the sacred feeling Stimmen Widerhall. fade away. Deiner ewigen Wärme of your eternal warmth Heilig Gefühl, presses against my heart, Lebt wohl! klingt klagevoll, The lament sounds: ‘Farewell!’ Unendliche Schöne! beauty without end! Ach wie wird das Herz betrübt. Ah, how it grieves the heart. Scheiden, meiden was man Parting, leaving that which we Daß ich dich fassen möcht’ To clasp you liebt; love; In diesen Arm! in these arms! Lebt wohl! klingt klagevoll. the lament sounds: ‘Farewell!’ Ach an deinem Busen Ah, on your breast Lieg’ ich und schmachte, I lie and languish, HENK NEVEN Und deine Blumen, dein and your flowers, your Gras grass Der Schiffer D536 (?1817) The boatman Drängen sich an mein Herz. press against my heart. (Johann Baptist Mayrhofer) Du kühlst den brennenden You cool the burning Im Winde, im Sturme befahr’ I ply the river in wind and Durst meines Busens, thirst of my breast, ich den Fluß, storm, Lieblicher Morgenwind! sweet morning breeze! Die Kleider durchweichet der my garments soaked by Ruft drein die Nachtigall The nightingale calls out to me Regen im Guß; teeming rain; Liebend nach mir aus dem longingly from the misty Ich peitsche die Wellen mit I lash the waves with powerful Nebeltal. valley. mächtigem Schlag, strokes, Erhoffend, erhoffend mir filled with hopes for a bright Ich komm’, ich komme! I come, I come! heiteren Tag. day. Ach wohin, wohin? Where? Ah, where?

Die Wellen, sie jagen das The waves drive on the creaking Hinauf strebt’s, hinauf! Upwards! Upwards I’m driven! ächzende Schiff, boat, Es schweben die Wolken The clouds float Es drohet der Strudel, es drohet whirlpool and reef loom Abwärts, die Wolken down, the clouds das Riff, threateningly, Neigen sich der sehnenden bow to yearning Gesteine entkollern den felsigen rocks roll down the towering Liebe. love. Höh’n, cliffs, Mir! Mir! To me! To me! Und Tannen erseufzen wie and fir-trees sigh like groaning In euerm Schoße Enveloped by you Geistergestöh’n. ghosts. Aufwärts! upwards! Umfangend umfangen! Embraced and embracing! So mußte es kommen – ich hab It had to come – I willed it Aufwärts an deinen Busen, Upwards to your bosom, es gewollt, so, Alliebender Vater! all-loving Father! Ich hasse ein Leben behaglich I hate a snugly unfolding entrollt; life; Please do not turn the page until the song and its accompaniment have ended

7 ALLAN CLAYTON ALLAN CLAYTON

Die Forelle D550 (1817) The trout An die Leier D737 (?1822–3) To the lyre (Christian Schubart) (Franz von Bruchmann, after Anacreon) In einem Bächlein helle, In a clear stream, Da schoß in froher Eil’ in lively haste, Ich will von Atreus’ Söhnen, I would sing of Atreus’s sons, Die launische Forelle the capricious trout Von Kadmus will ich singen! and of Cadmus too! Vorüber wie ein Pfeil. darted by like an arrow. Doch meine Saiten tönen But my strings sound Ich stand an dem Gestade, I stood on the bank, Nur Liebe im Erklingen. forth nothing but love. Und sah in süßer Ruh’ contentedly watching Des muntern Fischleins Bade the frisky fish Ich tauschte um die Saiten, I have changed the strings, Im klaren Bächlein zu. in the clear stream. Die Leier möcht’ ich I would gladly change the tauschen, lyre, Ein Fischer mit der Rute An angler with his rod Alcidens Siegesschreiten let Alcides’s victory march Wohl an dem Ufer stand, stood on the bank, Sollt’ ihrer Macht entrauschen! thunder from its mighty heart! Und sah’s mit kaltem Blute, and cold-bloodedly watched Wie sich das Fischlein wand. the fish twist and turn. Doch auch die Saiten tönen But these strings too sound So lang dem Wasser Helle, As long as the water, Nur Liebe im Erklingen. forth nothing but love. So dacht’ ich, nicht gebricht, I thought, stays clear, So lebt denn wohl, Heroen, Farewell, then, heroes, So fängt er die Forelle he’ll never catch Denn meine Saiten tönen, for my strings, Mit seiner Angel nicht. the trout with his hook. Statt Heldensang zu instead of threatening with drohen, heroic song, Doch endlich ward dem Diebe But finally the thief Nur Liebe im Erklingen. sound forth nothing but love. Die Zeit zu lang. Er macht lost patience. Cunningly Das Bächlein tückisch trübe, he muddied the stream, Und eh’ ich es gedacht, and before I realised, SOPHIE BEVAN So zuckte seine Rute, there was a flick of his rod, Nachtviolen D752 (1822) Dame’s violets Das Fischlein zappelt dran, where the little fish writhed, (Johann Baptist Mayrhofer) Und ich mit regem Blute and I, my blood boiling, Sah die Betrogne an. looked at the cheated creature. Nachtviolen, Nachtviolen! Dame’s violets, dame’s violets, Dunkle Augen, Seelenvolle, – dark, soulful eyes – Selig ist es, sich how blissful to immerse HENK NEVEN versenken myself Nachtstück D672 (1819) Nocturne In dem sammtnen Blau. in your velvet blue. (Johann Baptist Mayrhofer) Grüne Blätter streben freudig Green leaves strive cheerfully Wenn über Berge sich der When mist spreads over the Euch zu hellen, euch zu to brighten and adorn Nebel breitet, mountains, schmücken; you; Und Luna mit Gewölken kämpft, and Luna battles with the clouds, Doch ihr blicket ernst und but you gaze out stern and So nimmt der Alte seine Harfe, the old man takes up his harp, schweigend silent und schreitet, and steps In die laue Frühlingsluft. into the mild spring air. Und singt waldeinwärts und into the forest, singing gedämpft: softly: Mit erhabnen Wehmutsstrahlen With sublime shafts Trafet ihr mein treues of melancholy you have pierced „Du heil’ge Nacht! ‘O holy night! Herz. my faithful heart, Bald ist’s vollbracht. Soon it shall be done. Und nun blüht in stummen and now in silent Bald schlaf’ ich ihn Soon I shall sleep Nächten nights Den langen Schlummer, the long sleep, Fort die heilige Verbindung. our sacred union blossoms. Der mich erlöst that shall free me Von allem Kummer. from all affliction. ALICE COOTE Die grünen Bäume rauschen Then the green trees will Du bist die Ruh D776 (1823) You are repose dann, rustle: (Friedrich Rückert) Schlaf süß, du guter alter Mann; sleep well, good old man; Die Gräser lispeln wankend fort, the swaying grass will whisper: Du bist die Ruh, You are repose Wir decken seinen Ruheort; we will cover his resting-place; Der Friede mild, and gentle peace, Und mancher liebe Vogel ruft, and many a sweet bird will call: Die Sehnsucht du, you are longing O laß ihn ruh’n in O let him rest in his grassy Und was sie stillt. and what stills it. Rasengruft!“ – grave!’ – Ich weihe dir I pledge to you Der Alte horcht, der Alte The old man listens, the old Voll Lust und Schmerz full of joy and pain schweigt – man is silent – Zur Wohnung hier as a dwelling here Der Tod hat sich zu ihm geneigt. death has inclined towards him. Mein Aug’ und Herz. my eyes and heart.

8 Kehr ein bei mir, Come in to me, SOPHIE BEVAN Und schließe du and softly close D807 (1824) Still hinter dir the gate Auflösung Dissolution Die Pforten zu. behind you. (Johann Baptist Mayrhofer) Verbirg dich, Sonne, Conceal yourself, sun, Treib andern Schmerz Drive other pain Denn die Gluten der Wonne for the fires of rapture Aus dieser Brust. from this breast! Versengen mein Gebein; scorch my whole being; Voll sei dies Herz Let my heart be filled Verstummet Töne, fall silent, sounds, Von deiner Lust. with your joy. Frühlings Schöne spring beauty, Dies Augenzelt This temple of my eyes Flüchte dich, und laß mich allein! flee, and leave me to myself! Von deinem Glanz is lit Allein erhellt, by your radiance alone, Quillen doch aus allen Falten For sweet powers well up O füll es ganz. O fill it utterly. Meiner Seele liebliche Gewalten; from every recess of my soul, Die mich umschlingen, and envelop me Himmlisch singen – with celestial song – ALLAN CLAYTON Geh’ unter Welt, und störe dissolve, world, and never more Nimmer die süßen ätherischen disturb the sweet ethereal Das Wandern (1823) Journeying Chöre! choirs! From Die schöne Müllerin D795 (Wilhelm Müller) ALICE COOTE Das Wandern ist des Müllers To journey is the miller’s Lust, joy, Die junge Nonne The young nun Das Wandern! to journey! D828 (1825) (Jakob Nikolaus Das muß ein schlechter Müller A wretched miller he must Craigher de Jachelutta) sein, be Dem niemals fiel das Wandern who never thought of Wie braust durch die Wipfel How the raging storm howls der heulende Sturm! through the treetops! ein, journeying, Es klirren die Balken – es zittert The rafters groan – the house Das Wandern. of journeying. das Haus! shudders! Vom Wasser haben wir’s We’ve learnt this from the Es rollet der Donner – es The thunder rolls – the lightning gelernt, water, leuchtet der Blitz! – flashes! – Vom Wasser! the water! Und finster die Nacht, wie das And the night is dark as the Grab! – tomb! – Das hat nicht Rast bei Tag und It never rests by day or Immerhin, immerhin! So be it, so be it! Nacht, night, Ist stets auf Wanderschaft but always thinks of So tobt’ es auch jüngst noch in Not long ago a storm still raged bedacht, journeying, mir! in me! Das Wasser. the water. Es brauste das Leben, wie jetzo My life raged like the storm der Sturm! now! Das sehn wir auch den We’ve learnt it from the Es bebten die Glieder, wie jetzo My limbs quaked like the Rädern ab, mill-wheels too, das Haus! house now! Den Rädern! the mill-wheels! Es flammte die Liebe, wie jetzo Love flashed like the lightning Die gar nicht gerne stille They don’t like standing still at der Blitz! – now! – stehn, all, Und finster die Brust, wie das And my heart was as dark as Die sich mein Tag nicht müde and will never, ever Grab! – the tomb! – drehn, tire, Die Räder. the mill-wheels. Nun tobe du wilder, gewaltiger Rage on, you wild and mighty Sturm! storm! Die Steine selbst, so schwer sie Even the mill-stones, heavy as Im Herzen ist Friede, im Herzen In my heart is peace, in my sind, they are, ist Ruh! – heart is calm! – Die Steine! the mill-stones! Des Bräutigams harret die The loving bride awaits the Sie tanzen mit den muntern They join in the merry liebende Braut, bridegroom, Reihn dance Gereinigt in prüfender Glut – purified by testing fire – Und wollen gar noch schneller and long to move even Der ewigen Liebe getraut. – wedded to eternal love. – sein, faster, Die Steine. the mill-stones. Ich harre, mein Heiland, mit I wait, my Saviour, with longing sehnendem Blick; gaze; O Wandern, Wandern, meine O journeying, journeying, my Komm, himmlischer Bräutigam! come, heavenly bridegroom! Lust, joy, hole die Braut! claim your bride! O Wandern! O journeying! Erlöse die Seele von irdischer Deliver her soul from earthly Herr Meister und Frau Meisterin, Master and mistress, Haft! – bonds! – Laßt mich in Frieden weiter ziehn let me go my way in peace, Und wandern. and journey. Song continues overleaf. Please turn the page as quietly as possible

9 Horch! friedlich ertönet das Hark! the bell tolls peacefully Kein Briefchen brauch’ ich zu I no longer need to write a Glöcklein vom Turm; from the tower; schreiben mehr, letter, Es lockt mich das süße Getön the sweet sound lures me Die Träne selbst geb’ ich I can entrust to her my very Allmächtig zu ewigen all-powerfully to eternal ihr; tears; Höhn – heights – O, sie verträgt sie sicher she’ll certainly not mistake the ,,Alleluja!’’ ‘Halleluja!’ nicht, address, Gar eifrig dient sie mir. for she serves me so fervently.

SOPHIE BEVAN • ALLAN CLAYTON Bei Tag, bei Nacht, im Wachen, Day or night, awake or An Silvia D891 (1826) To Sylvia im Traum, dreaming, (William Shakespeare Ihr gilt das alles gleich: it’s all the same to her: trans. Edward von Bauernfeld) Wenn sie nur wandern, as long as she can range and wandern kann, roam, Was ist Silvia, saget an, What is Sylvia, tell me, Dann ist sie überreich! she’s richly satisfied! Daß sie die weite Flur preist? that the wide fields praise her? Schön und zart seh’ ich sie I see her draw near, delicate Sie wird nicht müd’, sie wird She does not tire, she does not nah’n, and fair, nicht matt, flag, Auf Himmels Gunst und Spur it is a mark of heaven’s Der Weg ist stets ihr to her the route seems always weist, favour neu; new; Daß ihr Alles untertan. that all are subject to her. Sie braucht nicht Lockung, she needs no enticement, no braucht nicht Lohn, reward, Ist sie schön und gut dazu? Is she fair and kind as well? Die Taub’ ist so mir treu! that pigeon is so loyal! Reiz labt wie milde Her gentle child-like charm Kindheit; refreshes; Drum heg’ ich sie auch so treu That’s why I cherish her in my Ihrem Aug’ eilt Amor zu, Cupid hastens to her eyes, an der Brust, heart, Dort heilt er seine Blindheit, is cured of blindness there, Versichert des schönsten certain of the fairest Und verweilt in süßer Ruh. and lingers in sweet peace. Gewinns; prize; Sie heißt – die Sehnsucht! her name is – Longing! Do you Darum Silvia, tön’, To Sylvia, then, let our song Kennt ihr sie? – know her? o Sang, resound, Die Botin treuen Sinns. The messenger of faithfulness. Der holden Silvia Ehren; in sweetest Sylvia’s honour; Jeden Reiz besiegt sie lang, she’s long excelled every grace

Den Erde kann gewähren: that this earth can bestow: SOPHIE BEVAN • ALICE COOTE • ALLAN CLAYTON • HENK NEVEN Kränze ihr und bring her garlands and the Saitenklang! sound of strings! Des Tages Weihe The day’s consecration D763 (1822) (Anonymous)

ALLAN CLAYTON Shicksalslenker, blicke nieder, Guider of fate, look down Auf ein dankerfülltes Herz, on this grateful heart. (1828) Die Taubenpost Pigeon post Uns belebt die Freude wieder, We are stirred anew by joy; 957 From Schwanengesang D Fern entfloh’n ist jeder all suffering has fled far (Johann Gabriel Seidl) Schmerz; away, Ich hab’ eine Brieftaub in I’ve a carrier-pigeon in my Und das Leid, es ist vergessen. and sorrow is forgotten. meinem Sold, pay, Durch die Nebel strahlt der Through the mists shines the Die ist gar ergeben und treu, she’s so devoted and true, Glanz immeasurable radiance Sie nimmt mir nie das Ziel zu she never stops short of her Deiner Grösse unermessen, of your greatness, kurz, goal, Wie aus hellem as if from a brilliant wreath Und fliegt auch nie vorbei. and never flies too far. Sternenkranz. of stars. Liebevoll nahmst du der Leiden Lovingly you took the bitter cup Ich sende sie I send her many thousands Herben Kelch von Vaters of sorrows from your Father’s vieltausendmal of times Mund, lips, Auf Kundschaft täglich hinaus, each day to spy out the land, Darum ward in Fern und and your supreme merciful Vorbei an manchem lieben Ort, past many a beloved spot, Weiten kindness Bis zu der Liebsten till she reaches my sweet- Deine höchste Milde kund. was made known far and wide. Haus. heart’s house.

Dort schaut sie zum Fenster There she peeps in at the Translations of Ständchen, Licht und Liebe and Des Tages Weihe by Richard heimlich hinein, window, Wigmore. Gretchen am Spinnrade, Nähe des Geliebten, An den Mond, Der Schiffer, Belauscht ihren Blick und observing every look and Ganymed, Die Forelle, Nachtstück, An die Leier, Nachtviolen, Du bist die Ruh, Das Schritt, step, Wandern, Auflösung, Die junge Nonne, An Silvia and Die Taubenpost by Richard Stokes from The Book of Lieder published by Faber & Faber, with thanks to George Gibt meine Grüße scherzend ab delivers my greeting cheerfully Bird, co-author of The Fischer-Dieskau Book of Lieder. Abschied by Richard Wigmore Und nimmt die ihren mit. and brings hers back to me. from Schubert – The Complete Song Texts published by Victor Gollancz Ltd.

10 Elisabeth Leonskaja Alice Coote

For decades now, Elisabeth Renowned on the great recital, Leonskaja has been among the concert and opera stages of the most celebrated pianists of our world, Alice Coote is regarded as Marco Borggreve Marco

time. Her almost legendary Benjamin Ealovega one of the leading artists of today. modesty still makes her some- The recital platform is central to what media-shy, yet as soon as her musical life, and she performs she walks out on the stage throughout the UK, Europe and audiences can sense the force the USA including at Carnegie behind the fact that music is and Hall New York, Konzerthaus always has been her life’s work. Born in , Georgia, to Vienna and Het Amsterdam. She has been a a Russian family, she gave her first concerts as early as the resident artist at both the BBC Proms and Wigmore Hall age of eleven. Her musical development was influenced where she has recorded two live recital discs for the to a decisive degree by her friendship and musical Wigmore Hall Live label. collaborations with . Acclaimed internationally in concert, she has performed Elisabeth Leonskaja has appeared as a soloist with virtually with the Boston Symphony, New York Philharmonic, Chicago all the leading orchestras in the world. Her recording, Symphony, London Symphony and Royal Concertgebouw (Ravel, Debussy and Enescu), released by the Berlin-based orchestras among many others. On the operatic stage, label eaSonus, received Solo Recording of the Year 2014 Alice Coote has performed at opera houses including from the International Classical Music Awards. Her latest Glyndebourne, Royal Opera House, Opéra nationale de project, Schubert Late Piano Sonatas, recently released for Paris, Salzburg Festival, Vienna Staatsoper, Bayerische her seventieth birthday, contains four discs with eight Staatsoper, Canadian Opera Company, Lyric Opera of sonatas, a live DVD together with Sviatoslav Richter and Chicago, LA Opera and the Metropolitan Opera in New York. a biographical book. She has made many recordings on CD and DVD.

Elisabeth Leonskaja appears by arrangement with EAS Musik Management Alice Coote appears by arrangement with IMG Artists

Sophie Bevan Allan Clayton

Sophie Bevan graduated from the Allan Clayton is established as Benjamin Britten International one of the most exciting and Laura Harling Laura

Sussie Ahlburg Opera School where she was sought-after singers of his awarded the Queen Mother Rose generation. A consummate actor Bowl Award. She has worked with and deeply sensitive musician, conductors such as Pappano, he has made a huge impact on Harding, Nelsons, Gardner, Elder, the international operatic and Marriner and Mackerras. Her concert scene. The opening of operatic roles include Polissena this season saw his debut at the in Radamisto, Ilia in Idomeneo, the title role in The Cunning Teatro Real Madrid in Handel’s Alcina. He will make return Little Vixen, Sophie in Der Rosenkavalier, Susanna in Le appearances at English National Opera throughout 2016, nozze di Figaro, Waldvogel in Siegfried and Pamina. She and takes the lead role in Brett Dean’s Hamlet, which will made her debut at Glyndebourne as Michal in Saul. have its world première at Glyndebourne Festival in 2017 as part of the nationwide celebrations of the 400th anniversary Engagements this season and beyond include Susanna and of Shakespeare’s death. Antigone in Oedipe at the Royal Opera House, concerts with the São Paulo Symphony and City of Birmingham Symphony He has given Lieder recitals at the Cheltenham, Perth and orchestras and the Handel+Haydn Society, and her debut at Aldeburgh festivals. Fortunate to work with many the Salzburg Festival and Metropolitan Opera, New York. outstanding pianists, he has performed with Paul Lewis, She was the recipient of the 2010 Critics’ Circle Award for Graham Johnson, Malcolm Martineau, Roger Vignoles, Julius Exceptional Young Talent, The Times Breakthrough Award at Drake, James Baillieu, Simon Lepper and Joseph Middleton. the 2012 South Bank Sky Arts Awards, and the Young Singer He studied at St John’s College, Cambridge and at the Royal Award at the 2013 inaugural International Opera Awards. Academy of Music, where he is an Associate.

Sophie Bevan appears by arrangement with Askonas Holt Ltd Allan Clayton appears by arrangement with Ingpen & Williams Ltd

11 Henk Neven Cuarteto Casals

Celebrated on both the recital and opera platform, Henk Neven is a

recipient of the Dutch Music Molina Visuals Marco Borggreve Marco Prize, the highest honour that the Netherlands Ministry of Culture awards to a classical musician. An outstanding recitalist, he is a regular guest at Wigmore Hall, Het Concertgebouw Amsterdam and at the NTR ZaterdagMatinee series. He has performed at the Festival Oude Muziek in Utrecht, Operadagen Rotterdam and the Gergiev Festival. Since winning First Prize at both the London and Brahms He started recording for Onyx Records in 2011, when his Hamburg String Quartet competitions, the Cuarteto Casals Gramophone-nominated debut album Auf einer Burg was has been a regular guest at the world’s leading venues. It has received with high critical acclaim. In 2012 Onyx Records compiled a substantial discography for Harmonia Mundi, released his second album, The Sea. In the 2015/16 season including eleven discs to date, ranging from the lesser- Henk Neven performed as Count Almaviva in Le nozze di known Spanish composers, Arriaga and Toldrá, to Viennese Figaro with the Orchestra of the Eighteenth Century as well classics of Mozart, Haydn and Brahms, through to twentieth- as a number of concerts with the Rotterdam Philharmonic century repertoire by Bartók, György Kurtág and Ligeti. Orchestra, Orchestre Philharmonique de Radio France, Orchestre National de Lyon and Noord Nederlands Orkest. An award from the Borletti–Buitoni Trust has enabled the Future engagements include performances at the Orlando Quartet to purchase a matching set of Classical period bows Festival and Koeien with Opera Misha. which it uses for works from Purcell through to Schubert,

Henk Neven appears by arrangement with Intermusica deepening its ability to distinguish between diverse musical styles. In addition, the Cuarteto Casals has been profoundly influenced by its work with living composers, especially James Baillieu György Kurtág, and has given the world première of quartets written by leading Spanish composers. The Cuarteto Casals has been honoured with the Premio Nacional de Música as An accomplished soloist, chamber well as the Premi Ciutat Barcelona. musician and accompanist, James

Kaupo Kikkas Kaupo Baillieu collaborates with singers Cuarteto Casals appears by arrangement with Impresariat Simmenauer and instrumentalists including Lawrence Power, Mark Padmore, Sir Thomas Allen, Dame Kiri Te The Wigmore Hall Trust HRH The Duke of Kent, KG Royal Patron Kanawa, Allan Clayton, the Heath Registered Charity No. 1024838 • www.wigmore-hall.org.uk • John Gilhooly Director Quartet, Jacques Imbrailo, Ailish Aubrey Adams Chairman; Tony Allen; Lady Julia Boyd; Mark Hawtin; Sir Ralph Kohn FRS; Dame ; Julia MacRae; Dr Christoph Vogtherr Tynan and John Mark Ainsley. At Wigmore Hall our core value is that all staff and visitors must be treated with courtesy and He has appeared at Wigmore Hall, Konzerthaus Berlin, respect. We ask that you treat everybody with respect too. We adopt a zero tolerance approach to anyone who interacts with our staff or with fellow audience members in an intimidating, Musikverein Vienna, National Concert Hall Dublin and the aggressive or threatening manner. We are committed to accessibility and we ask that you Bergen, Spitalfields, Aldeburgh, Cheltenham, Bath, City of demonstrate understanding and compassion towards those around you. If you notice anyone who needs assistance, or if you require assistance yourself, an usher will be happy to help you. London, St Magnus, Verbier and Aix-en-Provence festivals. Facilities for Disabled People As a soloist he has performed with the Ulster Orchestra, For details contact House Management English Chamber Orchestra and Wiener Kammersymphonie.

Born in South Africa, James Baillieu studied at the University Wigmore Hall is a no smoking venue. No recording or photographic equipment may be taken into the auditorium nor used in any other part of the Hall without the prior written permission of of Cape Town and the Royal Academy of Music with Michael the management. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use this facility by switching hearing aids to ‘T’. Dussek, Malcolm Martineau and Kathryn Stott. He was a In accordance with the requirements of City of Westminster persons shall not be permitted to Borletti–Buitoni Trust and Young Concert Artist Trust artist. stand or sit in any of the gangways intersecting the seating, or to sit in any other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited At the Royal Academy of Music he was appointed a Hodgson to the number indicated in the notices exhibited in those positions. Junior Fellow in 2007, a professor of piano accompaniment in 2011, and awarded an ARAM in 2012.

James Baillieu appears by arrangement with Askonas Holt Ltd

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