Felix Broede/Sony Classical Part of Igor Levit Featured Artist Part of Levit Igor Featured Artist Hall Concert Court Milton Thu 13 Feb 7.30pm Shostakovich and Messiaen Levit plays Igor Part of Barbican Presents 2019–20

1 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 2 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court Important information allowed in the hall. the in allowed are not Drinks queues. the to beat drinks interval Levels Pre-order 1and 2. on are located Bars refreshment? for Looking 20-minute interval. 20-minute 9.30pm, about a with 7.30pm at and finishes at begins concert The and finish? start concert the does When for the curtain call. curtain the for –save it performance the recordings during Take or photos Please don’t…

performance. break insuitable the a there if is admitted be will Latecomers I’m late! running on entering the hall. the entering on aid to Tsetting hearing your switch –just loop our use induction Please Use a hearing aid? toilets on every level. every on toilets There are2. accessible and Level Ground Floor the on aretoilets, located accessible including toilets, nearest The the toilets? for Looking

alarms and mobile andalarms mobile Switch any watch Please… during the interval. the during or performance, in the break asuitable there is if readmitted and be time You any at can leave abreak? Need performance. the to during silent phones cloakroom on Level on -1.cloakroom our free at off Drop them coats? and bags Carrying

Advertising by Cabbell (tel 020 3603 7930) 3603 (tel 020 by Cabbell Advertising All information at time correct of printing Smith by Harriet produced Programme musicianship of Igor Levit. Levit. Igor of pianist musicianship the extraordinary series celebrating in Artist our Featured the second A warm to welcome tonight’s concert, tonight’s performance to Welcome champion of lesser-known pieces too. pieces of lesser-known champion and afirm rangeby of repertoire, awide of sonatas), the he’s but cycle fascinated acomplete (and autumn released pianist last aBeethoven as his name made first He importantly, alive it his for audiences. bring and, most of repertoire demanding most the allows him that to the tackle at an ease with intellect afearsome combines He acclaimed. hugely already is Levit Igor thirties, in his early only still Though

become his second wife. This is followed by followed is This by wife. his second become Yvonneof teenage the would Loriod, who encountered playing the had l’Amen ambitious extraordinarily provoking, Messiaen’s with beginning thought- Tonight’s typically is programme Head of Music Head HumphreysHuw you enjoy Ihope it. occasion. wonderful Tonight’s a to promises be concert Bartók. and Brahms music by Beethoven, of chamber concert a for returns Wednesday Levit On Igor piano, for made , and percussion. cello we’ll version which chamber in the hear Shostakovich’s , final enigmatic for two , written after the the after pianos, written two for

Visions de Visions de

3 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 4 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court Part of Barbican Presents 2019–20 Presents Barbican of Part Part of IgorLevit Featured Artist Jeremy Cornes Hagen Julia Feng Ning Hinterhäuser Markus Igor Levit Pekarsky) &Mark Derevianko Shostakovich interval Messiaen Hall Concert Court Milton Thu 13 Feb 7.30pm Shostakovich Messiaen and Levit plays Igor Moritz Wappler Boettger Andreas Reda Klaus 20minutes violin

Visions de Visions l’Amen piano percussion cello Victor 15 No Symphony (arr Victor

percussion

percussion

percussion

piano

Visions de l’Amen de Visions (1908–92) Messiaen Olivier 1942, title: no had work the yet as though to Tual 26 on December aletter in commission ofthe details the confirmed Messiaen afterwards: shortly Messiaen met She organ. the from coming music by the overwhelmed was and evening, one church Tual, Denise Trinité the into went concerts, these of1942, autumn the During of organiser the l’Amen de Visions 10 1943: on Messiaen’s May Pléiade la de Concerts the at was Occupation German in Parisperformances during the first ofOne the significant most 7 Amen de la consommation 6 Amen du jugement anges, saints, des des Amen 5 du chant oiseaux des 4 Amen du désir 3 Amen de l’agonie de Jésus 2 Amen des étoiles, de la planète àl’anneau 1 Amen de la création Dubois, an extraordinary man with a passion for for apassion with man extraordinary an Dubois, on work ofhis much and inadequate), was home (the ancient piano to agood on of1943 months two working spent were first The think them. about the contrary, Iam taking my sketches a have to take On to will not me. forget our with work I account Paris eight for …Iam leaving days. on francs your cheque 4,000 for received –and it already for Ihave francs 10,000 paid Iwill be your on it at will third put concert. pianos; you two for you awork for I will write Acommission?visit. beamed. He of my him Itold lit upface when the purpose His frightened. visibly and he seemed tones in was hushed conversation Our bench. organ himchurch on the asked beside sit …He me to man of the in offound front an myself ageless of aVarèse. I or the eccentricity Désormière of musicians,generation of the elegance a (‘zazou’).type imagining still Iwas the prewar young trendy avery meet to expecting I was Visions l’Amen de Visions was done in the apartment of André ofAndré apartment the in done was . Messiaen needed access access needed . Messiaen .

pédalier

he had at at had he

(1943) in 1940, before being relieved of his duties by by 1940,in duties ofhis relieved being before ofpolice adirector became Dubois music. new préfet de police de préfet 1954 In government. Vichy appointed was the he des saints, du chant des oiseaux’) is a rare arare is oiseaux’) des chant du saints, des 5 (‘Amen ofNo anges, des section middle The music. ofthe pacing the controls which – –Messiaen’s II ofPiano part depths the from ‘creation’ rising recurring theme by the life given Iare ofPiano chords création’, high-register the in way different aquite in clear is relationship pupil 1941, June in Conservatoire, teacher- the and the at class Messiaen’s in was first Loriod chords. of cascades and canons rhythmic complex passagework, sparkling playing: by her dazzled to be Messiaen caused first what us shows part Her 19-year-old Yvonne the for Loriod. written of I part Piano The to Tual: work ofthe completion 17 the 1943 March announced Messiaen on Progress Genêt. Jean inmate) prison (and sometime playwright the with terms friendly on was and Occupation, the during to Picasso visitor aregular was he embracing: of and of administrator general became général and to complete it. and complete it. to this huge project, undertake to the opportunity 45! …Thank almost me giving youminutes, for atotal of 40 lasts it proportions: considerable of is work …The possible as soon as together rehearsing we that can start so Loriod Mlle fair copy which Iwill give to done afirst 15 finished …In is My work Iwill have days Visions de l’Amen de Visions Le Figaro Le Marie-Claire , then ambassador, to Morocco. He later later He ambassador, to Morocco. , then . Dubois’s interest in the arts was all- all- was arts . Dubois’s the in interest

Visions de l’Amen de Visions

and was subsequently subsequently was and and, in 1971, and, in vice-president Visions de l’Amen l’Amen de Visions : in the opening ‘Amen opening la the de : in was swift. On On swift. was

Paris-Match was was résident résident

5 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 6 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court ‘Messiaen’s early sacred with those later paintings paintings later those with Alex Ross Ross Alex further stage in Messiaen’s in stage further calls “ever calls Paul Griffiths Christ floats above the musically embarrassing”.’musically cheapened harmony … a of Salvador Dalí in which pieces …are like Christian response to what is splashier paroxysms of of paroxysms splashier superhero …The something common in surrealism. They have earth likeearth an astronaut or de l’Amen de abjuring of a sophisticated abjuring of sophisticated a The Rest is Noise Noise is Rest The indulges in what what in indulges

Visions Visions lived in a handsome apartment, with abalcony, with apartment, ahandsome in lived couple the and company water Parisian the for engineer an Sivade’s as worked Mme husband others. and Jolivet by Messiaen, works played 18, was she she and when play her to hear came Poulenc and Honegger guests: for play Yvonne young the would where salon her in recitals on putting god-daughter, brilliant her to encourage much did Eminger-Sivade, Nelly at her godmother’s house. Loriod’s godmother, take ‘Amen’ would he that noted Loriod to Mlle 14 on Messiaen’s and April diary mid-April, of copying The ofbells. peals joyous towards paradise and glory, decorated by ‘creation’ aprocession into monumental theme the The music transforms virtuosity. dazzling force de ‘Amen a is final The consommation’ la de I. Piano on interjections brilliant with repeated, is this II); (Piano himself Messiaen for solo afast is there opening, slow a ‘Amen 4), the after In (No désir’ du planets. oforbiting depiction extraordinary an in tandem in working pianos the àl’anneau’), with planète la 2(the de ‘Amen ofNo centre the étoiles, des occupies kind ofadifferent Adance II. Piano on rhythms by dancing accompanied birdsong, line: thematic main the Ihaving ofPiano instance he wrote to Tual Fuligny: wrote he at aunt’s house his from 18 1943 on Aube: the in April break ashort for Paris left then dinner. 16on Messiaen after April, for rehearsal Trinité. the first from The metres hundred a few street, ofthe side west the on Blanche, 53rue at the previous concerts as the layout is different. different. is the layout as concerts the previous audience going holdis alarger to than for Perhaps the hall several it times. me about to spoken already have and who performance, want the first to come who and to friends among the numerous pupils necessary strictly 10 May. only Ihave included are that those laPléiade de on invite theyou Concert to to Iwould like the people are These addresses. You and names of 50 will find alist enclosed with Piano I storming the heavens with with heavens the Istorming Piano with Visions de l’Amen de Visions Visions de l’Amen de Visions took place there was done by by done was tour tour took the guests down the rue Blanche to attend to attend Blanche rue the down guests the took Messiaen rehearsal, this after that recalled Yvonne Loriod Messiaen.’ Honegger, Mme Tual, Samazeuilh, Jolivet, Poulenc, Gallimard, Mme were present Those Sivade. Mme at ‘14h. diary: his in rehearsal noted Messiaen 9May, Sivade’s as Sunday on before, day the Mme at place took run-through A private later, aweek own 10 5pm. on its on at work May the to announced perform the decision ‘Loriot’), as Loriod ‘Messian’ and as Messiaen both to misspell managed (which invitation printed 1943, 3May on asmall but Charpentier Galerie the at Pléiade, la de Concert third ofthe part to form scheduled originally was performance first The admitted. were collaborators known nor presumably, Germans undesirable neither that to ensure, necessary were which controls the Tual with to Messiaen’sin correspondence reference only the is letter this in arrangements front-of-house of‘draconian’ mention The Christian DiorChristian and Francis Poulenc among the de Polignac, photographs show Marie-Blanche in cultural life: French figures distinguished by some attended was premiere The Trinité. the at Vespers already plays magnificently! plays already she rehearsal: andfinished) we had have afirst (my ago days five Loriod own copyMlle just is mymundane Igave manuscript to questions! troubling these me for you with Forgive you on that!congratulate draconian are –and I arrangements house Ithoughtget in. your front-of- of this because to passes turners) require will page also two have we must (because turners page the two and and Loriod myself) (Mlle the two that remembered be to need them! will It also –above forget all on thedon’t list appear I should mention and my that also son wife all mywith heart. on the list,those and Ithank doing you for that invite you able will to all Ihope be of us, of of both friends Since are many people of these sombre time, as can be seen from Marcelle Marcelle from seen be can as time, sombre otherwise an enlivening occasions social as but events, musical as only not about written were they that concerts these at audiences ofthe lustre 1944). in the was Messiaen Such encountered first Tual –he as Boulez (not claimed Pierre Hanicot René and Nigg Serge were turners page The Cocteau. Jean and Mauriac François Paul Valéry, included present others audience; Messiaen’s not only the premieres Occupation, included during given Pléiade la 11 de the In Concerts Auclair’s in column interval Simeone by Nigel note Programme piece’. serious and long a to write opportunity ‘the for also but concert, the arranging for Tual, only not her thanking to Denise wrote Messiaen concert, the Following Rameau’s (notably music French early and ofStravinsky performances Jolivet’s and and to us. to allRoyal it’s on the flat, because she confided the Palais from and aboater. cycled has She sandals wearing outfit, in bicycle, her sports her on arrives Colette invited!not Madame be to affront invitation and, apersonal it’s of course, by them to go to only possible gallery. is It art take place in an fashionable concerts these and repairer, the shoe sugar from hairdresser the butcher, from the from butter meat Charpentier. we During get this time when la Pléiade which take the place Galerie at de thrilling is It comment to on the Concerts 20minutes Visions de l’Amen de Visions Poèmes intimes Poèmes Chansons villageoises Chansons Marie Claire Marie Platée ; there were also also were ; there but also Poulenc’s ). ). : ,

7 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 8 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court musical time). in oftimelessness image (another sequences irregular, rhythmic unfolding objectively joy, or ofdespair and dances bounding ofeternity), (as image an sequences chord refracted richly in meditation slow style: mature ofMessiaen’s features trademark the show orchestral ofpiano aset organ, ones). minor and major Western traditional the from differently transposition’ (exotic constructed scales ‘modes and oflimited cycles, rhythmic Indian technique: composing ofhis keythe elements Paul Dukas (composition). There he discovered and improvisation) (organ and Dupré Marcel included teachers his where Conservatoire, 1919In Paris the entered Messiaen him. left never which and early found he which faith, Catholic adeep was life his in constant other The to compose. order would return throughout constantly his life in Messiaen to which – alandscape Alps French the in World to Grenoble moved War family the First the During apoet. was mother his English, taught father Avignon; his in born was Messiaen (1908–92) Les offrandes oubliées offrandes Les Le banquet céleste Préludes (1928–9) the and (1930) already (1928) for

Chronochromie (notably music organ and piano more engendered garde avant- European the with contact Stimulating martenot. ondes and piano orchestra, large the cycle l’Amen them – among followed that of works cascade the toinspire helped pianism dazzling Her wife. second future his Yvonne Loriod, included pupils his where Paris Conservatoire, the at taught to , Messiaen Repatriated Stalag in prisoners offellow audience an piano, before upright adecrepit playing composer the with and conditions freezing in place, took premiere the wrote he whom for musicians three the with up border. met he There Polish–German the near camp to aprison sent orderly, and captured, amedical as up called was out, Messiaen ciel Mi pour Poèmes glorieux were period this from statements Major death. his until held Trinité he ofLa church Paris, in apost the at organist 1931In appointed was Messiaen fresco, fresco, opera-as- immense an orchestra; chamber and (1971–4) glockenspiel xylorimba, piano, horn, for Jésus-Christ orchestral and choral the style: ofhis aspect every together drew that faith ofhis proclamations multifaceted huge, included These works. Messiaen’s later towards pointed that element apocalyptic amonumental, introduced percussion and wind mortuorum resurrectionem exspecto Et cycle piano the in – flowered flight in soul resurrected ofthe him, asymbol – for of birdsong Profile by Malcolm Hayes byProfile Malcolm cycle orchestral Turangalîla Symphony Turangalîla (1938). When the Second World War (1938). broke Second the When Quartet for the End of for Time Quartet La nativité du Seigneur La nativité Catalogue d’oiseaux Catalogue l’enfant-Jésus sur regards Vingt VIIIA. (1943) for two pianos, the solo piano (1943) piano solo the pianos, two for Saint of Francis Assisi (1939) for organ, and the song-cycles (1939) song-cycles the and organ, for Livre d’orgue Livre La transfiguration de notre Seigneur Seigneur notre de transfiguration La (1965–9); (1965–9); (1959–60). Messiaen’s And love (1936) and Éclairs sur l’auÉclairs , 1951) orchestral the and Des canyons … aux étoiles Des (1946–8, rev. 1990) for (1956–8). (1956–8). Chants de terre et de et de terre de Chants (1975–83); and the (1975–83); the and (1935) and ‑ … delà (1940–41). The (1944) and and (1944) (1988–92). (1964) for for (1964) Visions de de Visions Les corps corps Les

Symphony 15 No ShostakovichDmitry (1906–75) the Soviet era it was thought politic to locate to locate politic thought was it era Soviet the During movements. four classic are the There death. with to terms coming araw only find others where aspects playful its to recognise us for keen is composer,the Pauline Fairclough of biography English-language recent most the music’s to the In character. responses disparate wildly to discover surprise it’sno history reception contested bitterly Shostakovich’s Given them.’not include quotations are there, I but could not, could not, the why know quite myself don’t ‘I Glikman, Isaak told he Symphony. As Fourth suppressed long- the least not works, own ofhis a host Wagner, from and explanation Glinka Rossini, and elusive. The composer quotes without accessible once at is music the form, whatever In woodwind. and brass the for in standing pianist the cello, and to violin mainly allocated lines string music’s the with skeleton, sonic preserve parts 1972. percussion The 23September on Institute ofMoscow’s hall Gnessin concert the in premiered was forces smaller for arrangement Derevianko’s Pekarsky, Viktor Mark percussionist ofexpert assistance the and approval full 1972. composer’s the with Prepared January transcription) unveiling public to its prior in (in atwo-piano ofComposers Union of the to representatives it toplay invited pianists the of by one spearheaded transformation to the itself lends scoring chamber-like its texture, in translucent surprisingly Often works. orchestral imagined precisely most his among ranks yet 1971, in speed man ill ofagravely work the is Shostakovich’s 15th Symphony, composed at 3 Allegretto •4Adagio –Allegretto –Adagio –Allegretto 1 Allegretto •2Adagio –Largo –Adagio –Largo arr Viktor Derevianko &Mark Pekarsky Sanderling heard is ‘soullessness composed into into composed ‘soullessness is heard Sanderling Kurt conductor the What achuckle. raise not from quotations Ranger’ ‘Lone impudent The tainted. is innocence ofchildlike sense the performance, half-decent but, any in toy shop ametaphorical in first the William TellWilliam may or may may or may (1971), (1971), was 20 per cent faster overall, favoured manic manic overall, favoured faster cent per 20 was symphony ofthe reading whose Kondrashin, time’. ofthe dictatorship Kirill the under lived people inmusic, which the emptiness emotional The finale opens with Wagner: with opens finale The follows. that scherzo sardonic the in caught easily are less notation) musical German in (DSCH toAllusions Shostakovich’s musical signature forces. reduced tothe well adapt lines solo ‘interiorised’ extended The violent. most to the withdrawn most the from archetypes of funereal aprocession offers movement slow elegiac The way? the in getting reality to find only exuberance ofyouthful awork write to intended have Shostakovich Might intensity. Programme note © David Gutman Gutman ©David note Programme shaken.’ like it, are very and something too, or this feel over. it’sall and listeners The convulsion a vast comes Then expiring. gradually are activity brain and heartbeat that indicate various contraptions and the dials and screens to attached is person the ward ahospital: in intensive-care of the think Ialways chirping, and twittering starts percussion the when ‘At again: end the Sanderling to come. still is invention mesmerising most Symphony. the And ‘Leningrad’ his from ‘war’ the from theme derive not may or may ofprotest passacaglias great ofShostakovich’s last the core movement’s the At Baratynsky: by Yevgeny to words song version’ ofaGlinka ‘a as garbled identified has McBurney Gerald of gesture from March’ Funeral of‘Siegfried’s timpani menacing by interrupted the suspensions death-haunted All the old seductions are alien. are the oldAll seductions To adisillusioned man By tenderness. returning your to former not tempt me needlessly Do Götterdämmerung

Tristan und Isolde und Tristan

. Next the opening opening the . Next

morphs into what what into morphs

Die Walküre Die

’s ’s

9 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 10 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court Soviet dictator Stalin saw saw Stalin dictator Soviet Two life. later, years however,artistic the ofSoviet forefront the at him putting success, 1934, in stunning another premiered was District of the Mtsensk Macbeth Lady The opera part-tragic part-satirical, his But others. experimental, delighting some but enraging grew wildly style Shostakovich’s republic Communist ofthe years heady early the In international success. 19. at piece graduation an was it ayear Within a as Symphony First his wrote He Conservatory. city’s to the 13 just at admitted was and he recognised, soon was talent developing rapidly of the Revolution the Victims for March composition, first his in it marked he of1917 Revolution October the broke out, and 11 was He uprising. when popular a massed of repression brutal the 1906, after year the in Petersburg St in born was He Shostakovich. ofDmitry that than tellingly more times its of imprint the bears music ’ Few (1906–75) ShostakovichDmitry possibly his life, in peril. In response he wrote wrote he response In peril. in life, his possibly career, his found and suddenly Shostakovich newspaper state the in followed and almost immediately a vicious attack his Fifth Symphonyhis Fifth (1937), more superficially Lady Macbeth Lady Pravda Funeral Funeral . His . His . , , said that the composer described his patently patently his described composer the that said according to some he considered suicide. It is far, too and acapitulation was this felt he seems it but debated, still is ofcoercion result the was this To Party. extent what Communist 1960,in ofmany, the surprise joined he tothe Shostakovich found himself rehabilitated. Then 1950s, later ofthe ‘thaw’ political the During Symphony hidden. closely 10th the and Violin First the as such dangerousserious, potentially compositions writing propaganda pieces, while keeping more by 1953, in survived ofStalin death Shostakovich the after until years, few next Zhdanov. the For Andrey secretary Committee Central Soviet the 1948 in denunciation by official his in culminated that aprocess attack, under himself found again war Shostakovich the after But itself. Petersburg) (St Leningrad remarkably, besieged in including, world, over the all performed was It city. native ofhis siege devastating the during written partly 7), (No Symphony ‘Leningrad’ his with status hero achieved again World War, Second the During Shostakovich music. the in dissent impassioned of anote detected also time the at some approvalconclusion. Official followed, yet optimistic outwardly an with furnished and than previous works, major conservative Profile by Stephen Johnson secure. now is composers important most 20th-century’s ofthe one as status His same. the felt have world the across numbers increasing 1975 in death his since and it in encouragement and comfort found Russians fellow many ofhis music, finest ofhis ofmuch character dark the Yet despite mortality. on to brood tendency there’s works later his a in drastically, and seemed unassailable, but his health failed life cultural Soviet in position Shostakovich’s years ofmyself’. later In memory ‘in composed autobiographical Eighth (1960) Quartet as

Felix Broede/Sony Classical About the performers Symphony Hall. Washington DCandSanFrancisco’s Davies Princeton University, theKennedy Center in at, amongothers, New York’s CarnegieHall, all-Beethoven sonata programme –appearing season willseehimontour intheUSA withan ’s Konserthuset. Theendof the Festival, ElbphilharmonieHamburg and three Beethoven sonata-cycles attheLucerne season alsomarks thestart of aseriesof of thecomplete Beethoven sonatas. This Igor Levit’s highlyanticipated first recording In September 2019 Sony Classicalreleased Hanover. the University of Music,Drama andMediain was appointed professor athisalmamater, the Heidelberg SpringFestival andlastyear Academy andtheStandpunkte Festival at the ArtisticDirector of theChamberMusic Society’s Instrumentalist of theYear. Heis that sameyear won theRoyal Philharmonic Levit was namedthe2018 Gilmore Artistand the essentialartistsof hisgeneration’, Igor Hailed by the Levit Igor Messiaen. with repertoire ranging from Beethoven to a solorecital plustwo chamber concerts, at theBarbican.Theresidency comprises This seasonheisalsotheFeatured Artisthere piano New York Times as ‘oneof with theBerlinPhilharmonicOrchestra, Highlights of pastseasonsincludehisdebuts PhilharmonicOrchestra. Orchestra, LeipzigGewandhausorchester and and returns amongothers to theCleveland Orchestra, conducted by Manfred Honeck, tour inEurope withthePittsburgh Symphony Orchestral engagements willseehimon at Sadler’s Wells. to himby theTrustees of IndependentOpera plays aSteinway DGrand Piano,kindlygiven In ,where hemakes hishome,IgorLevit Award andRecord of theYear in2016. Rzewski, won featuring works by Bach, Beethoven and the complete Bach (both 2014). Hissecond recording featured Philharmonic Society’sYoung ArtistAward Newcomer of theYear Award andtheRoyal last five sonatas won the Classical andhisdebutdiscof Beethoven’s He hasanexclusive contract withSony the institute. and performance scores inthehistory of Media in2009withthehighestacademic Hanover University of Music,Drama and of 8.Hecompleted hispianostudiesatthe moved to Germany withhisfamily attheage Born inNizhny Novgorod in1987, IgorLevit Orchestra. Orchestra andtheViennaPhilharmonic international tours withtheZurichTonhalle Concertgebouw Orchestra, aswell as Chicago Symphony Orchestra andRoyal

Gramophone Partitas BBC MusicMagazine , whilehisthird, ’s Instrumental

11 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 12 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court

Lydia Gorges Marthaler, Johan Simons and Klaus Michael Michael Klaus and Simons Johan Marthaler, by Christoph staged productions drama music in participated has Hinterhäuser Markus Cage. and Ustvolskaya Scelsi, Nono, by Feldman, compositions as well as Webern, and Berg ofSchoenberg, works piano complete the recorded also has he television, Alongside numerous recordings for radio and Stockhausen, Feldman, Ligeti and Ustvolskaya. by Nono, works particular in music, contemporary on focused has he years recent In USA. the and Asia Europe, in it performing Kentridge, William artist African South the with in conceived cooperation production Winterreise toured recently he Fassbaender; Brigitte with collaboration lieder, alongsanding enjoyed he of field the In others. among festivals, Berlin and Holland Modern, Wien , , the and Milan, Scala, La and Konzerthaus and Hall, Musikverein the Carnegie including halls, concert world’s leading the at musician chamber and asoloist as performed has He others. among Maisenberg, Oleg Leonskaja and Elisabeth with masterclasses attended and University Salzburg’s Mozarteum at and Arts Performing the and of Music University Vienna the at piano studied Italy. He in Spezia La in born was Hinterhäuser Markus Hinterhäuser Markus with Matthias Goerne in a a in Goerne Matthias with piano

Felix Broede contract was recently extended to 2026. to 2026. extended recently was contract his and Festival Salzburg ofthe Director Artistic 2014from to2016. 2016 October In became he Festival Vienna ofthe Director Artistic was He Festival. programmer the at Salzburg concert to 2011, 2007 From to 2004. 2002 from was he Festival Vienna ofthe part formed which series, Zeit-Zone the co-directed and co-founded also ofthem two The Festival. Salzburg the at 1993 from to 2001 presented series Zeitfluss ofthe Tomas with Zierhofer-Kin) (together director and artistic as the co-founder acclaim HinterhäuserMarkus has won international Disappeared of Who One Diary ek’s Janácˇ and elsewhere and Festival Vienna Grüber, including a tour to China with the Konzerthausorchester Konzerthausorchester the with to China a tour Australia; and van Zweden Asia to Europe, Jaap the Hong Kong Philharmonic Orchestra under with to China; tours tour on and Budapest in Budapest Festival Orchestra under Iván Fischer to the areturn included have highlights Recent concerts. chamber and recitals giving as well as conductors, and orchestras internationally with major He performs virtuosity. stunning and musicality innate lyricism, great of artist an as internationally recognised is Feng Ning violinist Chinese Berlin-based The FengNing violin Schutz vor der Zukunft Zukunft vor der Schutz .

at the the at Premiere Performances of Hong Kong. ofHong Performances Premiere of 1721, by arranged kindly loan, private on Stradivari ‘MacMillan’ the plays Feng Ning competitions, ofinternational anumber to win on going Kun, Hu with ofMusic Royal the Academy and Weithaas Antje with Berlin in ofMusic School Eisler Hanns the ofMusic, Conservatory Sichuan the at studied and Chengdu, in born was He disc latest his Classics; Channel for records Feng Ning the Hong Kong Festival and elsewhere. at Bach solo performing be also will He Centre. Barbican the at here and Cologne in concerts and Levit Igor with Festival Schubertiade the highlights include his return to orchestras and Shanghai Symphony Orchestra. with the ChinaConcerto and Royal Philharmonic Goldmark the perform also will He Sinfonietta. ofWales the and Orchestra Philharmonic Orchestra, BBC National Helsinki the with debuts makes He Orchestra. orchestras and the Hong Kong Philharmonic Symphony Jersey New and of Birmingham the Budapest Festival Orchestra, the City to returns include season ofthis Highlights Levit. Igor with regularly Philharmonic under Simone Young. He performs under GianandreaDC, and Noseda BBC National Symphony Orchestra, Washington Zhang, Xian under Philharmonic Angeles Los the with debuts and Foster; Lawrence under Berlin Virtuosismo was released autumn. last

Neda Navaee most recently, Kronberg. She was oneof six home cityandlater inVienna,Berlinand, She was borninSalzburg andstudiedinher Berlin, Lörrach andVienna,among others. Classic. Thetwo of themgave concertsin with thepianistAnnika Treutler, onHänssler In Januarylastyear shereleased herfirst CD, with theYomiuri NipponSymphony Orchestra. Konzerthausorchester Berlinandcollaborated Salzburg Mozarteum Orchestra andthe Last seasonshemade debutswiththe Levit. Buniatishvili, Yevgeny Chepovetsky andIgor also gives chamberconcertswithKhatia European UnionYouth Orchestra; she orchestras, ZurichTonhalle Orchestra and include theKurpfalz andViennaChamber Festival; orchestras withwhich sheperforms Barbican Centre, aswell asattheSalzburg in theSchlossMannheimandhere atthe Tonhalle, the Rudolf-Oetker-Halle Bielefeld, four concerts.Shealsoperforms attheZurich Konzerthaus’s ‘Great Talent’ series,giving This seasonsheparticipates intheVienna attracting international attention. debuts intheworld’s leading venues, the pasttwo years shehasmade acclaimed the mostsought-after young cellists.Over Aged just24,JuliaHagen isalready oneof Hagen Julia cello

13 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 14 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court Wien. Ensemble Merlin the and ofEurope Orchestra Kammerphilharmonie Bremen, the Chamber Ensemble, Ensemble Modern, Deutsche Arte Quartet, Nomos the Silver-Garburg, piano duos Paratore, Reine Elisabeth and the others, among with, worked has He chamber musician. Hanover, in akeen also is he Radiophilharmonie NDR ofthe Timpanist Principal being as well As ofMusic. University Freiburg the at Boettger Andreas with later and Hague The in Royal the Conservatory at studied Reda Klaus Reda Klaus private loan. cello made in1684 by Francesco Ruggieri,on of international competitionsandplays a Orchestra. Shehaswon prizesatanumber of 14 asasoloistwiththeViennaYouth Julia Hagen made herdebutattheage Academy. in theOzawa Academy andVerbier Festival Claudio Bohórquez,aswell astaking part Imai, Torleif Thedéen,Laurence Lesserand Pamela Frank, Lawrence Power, Nobuko in masterclasses withGáborTakács-Nagy, 2014 and2016. Shehas also participated ‘Classe d’Excellence deVioloncelle’between young cellistschosenfor GautierCapuçon’s percussion percussion from from ‘Montag’ ‘Dienstag’ as and such productions opera and premieres many world including internationally with theperforming composer, Ensemble, Stockhausen Karlheinz the joined Zappa’s 1992 Frank and tour a1982 American including South ofprojects, arange in part took he time, this During Modern. ofEnsemble amember became he which after ofMusic, University Freiburg the at Wulff Bernhard with studied subsequently 1968 in He West Africa. lesson Guinea, in percussion first his received Boettger Andreas Boettger Andreas since 1994. Media and Drama ofMusic, University Hanover the at Timpani and of Percussion Professor been has He festivals. international Takemitsu and Nono at Lachenmann, Helmut Henze, Cage, by Boulez, works performed has he percussionist, aconcert As Licht . Yellow Shark percussion percussion . In 1983 In album. he

SimonaBednarek Radio Big Band in 2017. in Band Big Radio German North the with aCD recorded and PODIUM with asoloist as regularly plays He Brussels. BOZAR and Festival Music Chamber Pyhäjärven Festival, Oranjewoud Festival, Grafenegg , Beethovenfest Festival, Festival, the Mecklenburg-Western-Pomerania Spring Heidelberg the at performed has He Orchestra. Stairwell the with aregular is and Orchestra Chamber Lausanne the and Strings Festival Lucerne operas, State Hanover and Orchestra, Symphony Symphony Orchestra, Hanover, Düsseldorf Radio German North the with worked has He ofArts. University Bern the at Percussion in Masters his completed year last and Media and Drama ofMusic, University Hanover the at studied Wappler Moritz Percussionist Moritz Wappler percussion percussion Co-ordinator attheLondonCollege of Music. Jeremy Cornes isDrum/Percussion Hobbit three a widerange of soundtracks, includingall orchestral andoperatic music,aswell ason He hasfeatured onmany recordings of City of LondonSinfonia. recently appointed PrincipalTimpanistof the with Sinfonia Viva sinceitsinceptionandwas six years. HehasbeenPrincipalPercussion of theJohnWilsonOrchestra for thepast of Europe since1983 andPrincipalTimpanist Principal Percussion of theChamber Orchestra orchestras andBritten Sinfonia. Hehasbeen Philharmonic andLondonSymphony and performing regularly withtheLondon the majorsymphony orchestras intheUK freelance musician,working withmostof He hassincebeenmuchindemandasa London PhilharmonicOrchestra. Chamber Orchestra of Europe andthe appeared with theBournemouthSinfonietta, and Kevin Hathway. Whilestillatcollegehe Music withAlanCumberland,Michael Skinner Jeremy CornesstudiedattheRoyal Collegeof Jeremy Cornes Lord of theRings trilogy. percussion films andthefirst inthe

15 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court 16 Igor Levit plays Messiaen and Shostakovich Thu 13 Feb, Milton Court

Robbie Lawrence anarchic pianos Sonata for and two percussion. Haydn Fuge Grosse Beethoven’s iconic perform friends and Levit Igor Wed 19 Feb 7.30pm, Hall Bartók and Brahms Levit plays Beethoven,Igor we can recommend the following concerts: following the recommend we can youIf enjoyed today’s performances, soon yousee again to We hope whatever time you choose to visit. to visit. you choose time whatever free, always and open always It’s events. and commissions youwhere can installations, see G, space Level avibrant visit also You can architecture. Brutalist iconic ofour history to the introduction are agreat tours towers, Barbican ofthe heights soaring to the theatre ofthe depths sunken the From Barbican the Discover Variations gleefully and Bartók’s in a two-piano version, Brahms’s version, atwo-piano in

Mark Allen and Chief its Sakari Conductor Oramo. SO BBC the with form full its in it want to miss you won’t state, chamber revelatory its in Shostakovich’s profound final symphony of performance tonight’s you enjoyed If Fri 7.30pm, 3Apr Hall Oramo Symphony Orchestra/ BBC