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Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Arnau Tomàs Jonathan Brown Vera Mehner Martínez Abel Tomàs Casals StringQuartet Fiona Shaw There willbenointerval grateful thanks to ColmTóibín The Testament of Mary interspersed withreadings from ColmTóibín’s Haydn Milton CourtConcertHall Friday 1February 2019 7.30pm, Fiona Shaw & Quartet Casals online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by TheSeven LastWords of Christ violin narrator cello viola (leader)

violin (publishedby Penguin);

2 brought vividlyto life inahighlyacclaimed is awork thatFionaShaw haspreviously Colm Tóibín’s interspersing themwithreadings from Last Words of Christ Together they present Haydn’s actors of hergeneration –FionaShaw. they have joinedwithoneof thegreatest a more contemporary setting.Today new, placing great works of thepastin provoking juxtapositions of oldand The quartet delightsincreating thought- the Barcelona-based CasalsQuartet. exciting stringquartets around today: concert given by oneof themost A warm welcome to thisevening’s Welcome The Testament of Mary. inanew context by Seven Seven This This Head of Music,Barbican Huw Humphreys bit asextraordinary astonight’s concert. here atMilton Courtandwillsurely beevery Gerard McBurney. Theday beginsat11am Amelia Kosminsky andcreative director Kurtág incollaboration withvideodesigner exploration of themusicof Bartók,Ligetiand for The CasalsQuartet willreturn thisSunday be anintense andmoving experience. Haydn’s the seven slow movements thatmake up the Virgin Mary, andmatches inintensity Passion through theeyes of hismother, Barbican Theatre. Ittells thestory of Christ’s stage version whichhasbeenseenatthe Hungariana Seven LastWords. –acelebration and

Itpromises to heretical …T heretical piet aSpanish as ‘as tragic book the called memorably White Edmund a state of The post-traumatic author shock. in place take to seem almost death, and life andmemories the truths actual of her son’s own her together pieces she as monologue, Mary’s characterise that tenderness and of detachment. The rage, scepticism ofMary Testament The T Colm that immediately I felt grieving. mortal mere beyond be somehow yet grief, express to seem can music Bach’s that way the in –rather reflection provides an emotional space for our personal and back steps it by understatement: effect tension).sublimated His music achieves its ‘Earthquake’ (a welcome explosion of of the crucifixion, other than in the concluding circumstances harrowing the of representation explicit eschews He detached. relatively seem may texts gospel the to Haydn’s response emotionalism of music late-Romantic – hyper- by the –saturated ears To modern whether Christian, agnostic or atheist. reflection, of modes of avariety accompany can that space acontemplative creates music the conceived; was it which for context religious the in than hall concert the in performed frequently more is work the Nowadays, Friday. Good for liturgy penitential the from were which texts, original the replace to prose and poetry of avariety using performed been Haydn’s Tóibín’sColm pietà heretical TestamentThe of Mary: Seven Last Words of Christ Words ofChrist Last Seven ó ib í n maintains the dignity of Mary of Mary n maintains the dignity has a similar quality has a similar quality à , but completely ó ib í n’s novel has been a magical web of affinities between author, between affinities of web a magical withconnection Barcelona, there seems to be Colm’s given deep And Fiona’s performance. and Colm’s both in text suffering of interiority the to attuned spiritually Haydn’s feels music by created space a lifetime’. contemplative The of performance ’the and brilliant’ ’shatteringly as by critics –described unforgettable was Mary of character the with identification intense Shaw’s Fiona book. his from created Colm play stage the of Warner’s production Deborah presented 2014In Barbican the mother. Christ’s Mary, onto focus the by shifting story, the of heart the at tragedy human profoundly strengthening, rather than undermining, the 1966?!) in while so Yet does it abolished been not latter the had Books, Prohibited of Index Papal the on be would it (Surely tradition. Christian the of narrative central the explodes radically but quietly book short this which in manner the about understatement an of around her.’accumulated That’s something have that myths the to subscribing without Classical Music Programmer, Music Classical Barbican Paul Keene premise. central its of sense some get can book the with unfamiliar are who those that so narrative main the of elements conveying still while crucifixion, the around events the on focus to tried have we music, Haydn’s accompany to novel the from extracts selecting In Haydn’s to work. perspective new acompletely give will version this that I hope music. and narrator, text quartet,

3 Introduction 4 in Vienna, on Good Friday 1787. Friday Good on Vienna, in To ensure Schlosskirche the and Cádiz in Cueva Santa la de Oratorio the at both performance, for finished Haydn a discourse on it. delivered and ‘Word’ each intoned had bishop the after Friday Good on celebration Passion annual the at performed be to Christ, Words of Last Seven The on reflections orchestral of aseries for Cádiz in apriest from request the prompted have may Spain in popularity his was countries, works, successful most in especially Catholic Haydn’s Among Naples. and Madrid as afield far as from also but England) to ‘transplanted’ and court Esterházy the at ‘servitude’ his from proposed that the composer should be rescued from Paris and London (one newspaper even only not in poured invitations and commissions prestigious while quartets, and symphonies latest his acquire to other each over fell previous composer. European publishers any than lifetime his in fame more found had and age, the of composer celebrated most the mid-1780s was By the Haydn forza la tutta econ Presto Terremoto Earthquake’): (‘The Il my spirit) Icommend thy (Father, hands into 7 Largo finished) is (It 6 Lento ‘Alas, out: Ithirst’) cries (Jesus 5 Adagio me?) forsaken thou why hast my (My God, God, 4 Largo thy son) behold 3 Grave(Woman, in Paradise) me with be shalt thou today thee, (Verily unto Isay 2 Graveecantabile they do) they know for what not (Father, them, forgive 1 Largo Adagio ed Maestoso Introduzione: of 51 Christ’, Op Seven ‘The Words Quartets, Last String Haydn Joseph The Seven Last Words Last Seven The Stabat mater of 1767. of Its (1787) in time in time (1732–1809)

Seven Last Words Last Seven commissioned who priest the that story the salt of pinches several with take though, We can, hand. by another arrangement akeyboard authorised also He original. orchestral the than popular more far become has which quartet string for arrangement an the music’s wider circulation, he quickly made version, published by Breitkopf & Härtel in in &Härtel by Breitkopf published version, ‘Haydn’s as Britain in known became that orchestra and visit, Haydn made an arrangement for chorus In 1796, his after second triumphant London composed’. been ever has that meaning its out point to words without composition sublime Charles Burney deemed it ‘perhaps the most Haydn’s where friend England, in popular versions quartet and orchestral its person’. both In naïve most the even of soul the on impression deepest the ‘of arouse to was akind music the that writing to his English publisher William Forster pronouncing it one of his and successful most work, the of proud especially was Haydn coins. gold with filled acake of form The Seven Last Words Last Seven The Passion ’. In the preface to the choral choral the to ’. preface the In paid the composer in the

quickly became The The

‘Papa’ Haydn the amiable funster. funster. amiable the ‘Papa’ Haydn of image patronising the from further be could fundamentally optimistic faith. No work of his yet reverent his of expression a magnificent and wrote, ever Haydn music Catholic fervently Words Last Seven The Words. Sixth and Fifth Third, First, the saturate or resignation, supplication that symbolising thirds, falling the obviously most figures: melodic and rhythmic by recurrent together Words individual the binding while texture, and metre pulse, throughout), keys minor and major (alternating tonality of contrasts planned carefully through challenge the to rose he and penitential awe at Christ’s Yet sacrifice. contemplation foster to designed movements monotony in a sequence of sonata-form slow of danger the of aware too only was Haydn origin: work’s the of 1801, account afamous gave he prescribed duration. prescribed the to keep to impossible quite it I found the other, without tiring the listeners; indeed, after one each, 10 minutes lasting adagios seven compose to task easy no was it and composition was to subject these conditions, My discourse. each of conclusion the on following orchestra the on, so and third, the then word, second the pronounced manner similar in then bishop The by music. filled was interval altar. The the before himself finished the he pulpit left and prostrated had this When it. on adiscourse delivered and Words (or sentences) Seven the of ascended the pulpit, pronounced the first the bishop service a After short began. ceremony the and closed were doors the midday At darkness. solemn the broke roof the of centre the from hanging lamp large one only and cloth, black with hung were church the of pillars and windows walls, The enhanced by the following circumstances. greatly being performance the of effect the Lent, during year every oratorio an produce Cueva] to Santa la de [ie, Oratorio the C at customary was It Cross. the on Saviour our Words of Last Seven The C of by acanon asked Iwas 15 ago years About á diz to compose instrumental music on are the loftiest, most most loftiest, the are á diz Cathedral Cathedral diz There is another inspired thematic thematic inspired another is There Word. each of sections final the in restate, merely than rather intensify, and reinterpret to desire his of typical sequences: rising passionately of aclimax into exposition the of end the at passage chromatic darkly the expands Haydn recapitulation the In precarious. always are calm lyrical of moments urgently imploring and soothing, though its major, by turns is Bflat in Sonata, First the of pianissimo bleak the After John. and Luke Matthew, of gospels the from variously drawn text, the of rhythm and sound by the determined a theme with Words opens the of each explicit, makes part violin first the under text Latin the As sequence of harmonies. shifting arestless through figure four-note forlorn a working major, before key Dflat of dusky the to Fmajor from mysteriously dips Haydn development the of start the At pathos. and of contrasts abrupt their with bars, opening the from grows movement whole the Haydn, for Characteristically scene. the of cruelty and pity the evokes graphically features), unifying work’s the of (another rhythms dotted pervasive its with speaking intimacy. The D minor ‘Introduzione’, in power, gains it physical sheer Earthquake, final the in and, majesty details), woodwind loses in colour (including many felicitous What the arrangement string quartet inevitably the ear expects. The majestic progression progression majestic The expects. ear the resolving cadences longer postponed than and an harmonic underlying tension, with by syncopations undermined faintly is serenity (Woman, behold thy son). Yet the music’s tuus’ filius ‘Mulier, ecce text by the shaped is thirds, falling on Emajor, in based Sonata Third the of theme ‘feminine’ tenderly The paradise. of vision radiant more astill for Cmajor into immediately of the development, the recapitulation settles the hesitations and anxious tonal wanderings After second. the in semiquavers murmuring cantabile abroad paradise: of aglimpse for major Eflat to warms march funeral Cminor the Word, where Second the in transformation for first violin underpinned by by underpinned violin first for close of the ‘Introduzione’, the music fortissimo harshness harshness

5 Programme notes 6 ‘Consummatum est’, in G minor. Haydn makes makes Gminor. est’, in Haydn ‘Consummatum Sonata, Sixth the with comes catharsis The and cello. viola for motif contorted apainfully and violins two the for quavers lashing counterpoints aviolent in erupts then music The Christ’s depicting thirst. desiccated pizzicato desolate, against Sonata), Third the of opening the at motif ‘Mulier’ the recalling (and ‘Sitio’ word the to corresponding phrases, two-note violin’s first the Amajor, in sets Fifth, The key. minor the in disconsolately Word end to only the is This violin. first for figures abandonment in the mournful unaccompanied and loneliness of sense avivid evokes also Haydn disturbance. chromatic extreme of music is this text, the of despair the Reflecting Third. the of close E major compassionate the after shocking more the all sounds Sonata Fourth the of opening Fminor The effect. dramatic maximum for tonalities of sequence his calculates Throughout Words. Fifth and Fourth the in modulations distant breathtaking by the paralleled is a crescendo from with recapitulation, the key in aremote to The Seven Last Words Last Seven The pianissimo to to fortissimo Haydn Haydn tutti that that , quake; the rocks were rent; the graves opened’. graves the rent; were rocks the quake; did earth ‘the how of description Matthew’s St shocks convulsive of aseries in depicting and played be to marked ‘Terremoto’, Cminor by the shattered then is mood The pedal. cello arepeated over life in aculminating of evocation haunting ebbing fragmentary, more and barer grow textures the Towards end the death. nears he as seems to symbolise Christ’s weakened voice that colour of contrast abeautiful muted: now are violins two The work. the in music acceptance with the serenely most diatonic won newly this –consolidates strings key for –amellow major Word, Eflat in final The hope and reconciliation. of aspirit to yielded has G major. Anguish to Gminor from once at almost slips which development elides with the recapitulation, the intensity, excruciating of aclimax After Symphony). ‘Eroica’ the in March Funeral the of here (a foretaste development contrapuntal proto-Beethovenian searing, the of mainspring a as and melody, major-key consolatory the to underlay an as thirds: descending on based motto, opening the of use inspired Wigmore ©Richard note Programme Presto e con tutta la forza la tutta econ Presto , Igor Cat Amsterdam Concertgebouw, amongmany others. Paris, Schubertiade inSchwarzenberg andthe the ColognePhilharmonie,Cité delaMusiquein prestigious concert halls,includingCarnegieHall, has beenaregular guestattheworld’s most Brahms–Hamburg competitions,thequartet Since winningfirst prizesattheLondonand quartet willperform here onSunday. the musicof Bartók,LigetiandKurtág, whichthe as thecurrent ‘Hungariana’project focusing on include cycles of thelate Mozartquartets, aswell Latin America.Highlightsof comingseasons performed incitiesthroughout Europe, Asiaand accompanied by sixnewly commissionedworks, concert seriesof thecomplete Beethoven quartets, especially ambitiousmulti-year project: asix- 20th-anniversary seasonwiththelaunchof an Escuela Reina Sofía inMadrid. Itcelebrated its The CasalsQuartet was founded in1997 atthe Arnau Tomàs Jonathan Brown Vera Mehner Martínez Abel Tomàs Casals Quartet About the performers discography, including12 discsfor Harmonia The quartet hascompiledasubstantial violin (leader) cello viola violin of athree-volume recording of theBeethoven for NeuRecords. Lastyear itreleased thefirst recording of thecomplete Schubertquartets the ensemblehasalsoreleased alive Blue-Ray Brahms, through to Debussy, Ravel andZemlinsky; repertoire suchasMozart,Haydn, Schubertand Arriaga andToldrà viacornerstones of the Mundi whichrange from Spanishcomposers life withinCatalonia andthroughout Spain, In recognition of itsuniquecontributionsto cultural Nacional deEspaña. Francisco Coll,premiered withtheOrquesta concerto for stringquartet andorchestra by leading Spanishcomposers,includinganew given the world premiere of quartets written by composers, especiallyGyörgy Kurtág, andhas profoundly influenced by itswork withliving musical styles.Inaddition, thequartet hasbeen refining itsability to distinguishbetween diverse uses for works from Purcell through to Schubert, Baroque andClassicalperiodbows whichit the quartet to beginacollectionof matching An award from theBorletti–Buitoni Trust enabled composer’s birth. 2020, to coincidewiththe250thanniversary of the be released in2019 andthefinal instalment in quartets to great critical acclaim; thesecondwill

7 About the performers 8 Dublin andontour internationally; Abbey Theatre andintheUSA; Paris; the narrator in Court Theatre; and BAM; Gabriel Borkman Person of Sichuan World The Primeof MissJeanBrodie and HerChildren Execution at Brooklyn Academy of Music; Walter Kerr Theatre; Testament of Mary Fiona Shaw’s theatre credits include Fiona Shaw live. Catalunya inBarcelona, where allfour members residence attheEscolaSuperiordeMúsica masterclasses, theensembleisquartet-in- In addition to givingmuchsought-after residence in2020. Palace inMadrid, where itwillbequartet-in- of decorated Stradivarius instrumentsintheRoyal performs yearly ontheextraordinary collection and thePremi Ciutat Barcelona. Thequartet the Premi Nacional deCultura deCatalunya awards includethePremio Nacional deMúsica, Llull, aswell asSpain’sMinisterio deCultura. Past Generalitat of Catalonia andtheInstitutRamon acknowledged ascultural ambassadors by the the membersof the CasalsQuartet have been Fiona Shaw Julius Caesar , Machinal , London Assurance Woman andScarecrow narrator Dido andAeneas Footfalls , , attheAbbey Theatre, Dublin, attheNationalTheatre; The Rivals Happy Days here at the Barbican and at the here attheBarbicanand attheBarbican; Rime of theAncientMariner at the Garrick Theatre; attheGarrickTheatre; and , , Mother Courage , The Way of the Scenes from an Scenes from an The Powerbook The Waste Land in Vienna and inViennaand The Good The Good attheRoyal Hedda Gabler Medea The The John John at the atthe , in in

to theSea including She isalsoactive asatheatre andopera director, Adrian NobleandPeter Wood. Macdonald, Stephen Daldry, Howard Davies, Lloyd, NicholasHytner, Tom Cairns,James directors, includingDeborah Warner, Phyllida She hasworked withmany leading stage Philistines Nothing Shrew Shakespeare Company Like It in DublinandatthePlayhouse Theatre; Most recently shehasbeenseenontelevision Shot Christmas My Left Foot Men andaLittleLady Mario Bros Eyre Avengers The Triumph of Love Black Dahlia Tree of Life five of the credits include She hasappeared extensively infilm, where her Theatre) and Lovers (Metropolitan Opera, New York), of Lucretia nomination for aTony award. London Evening Standard London CriticsCircle Theatre Awards, andtwo a CBEin2001, two Laurence OlivierAwards, two Fiona Shaw hasreceived many awards, including Holmes: TheCrooked Man at Aulis Maria’s Child Shakespeare: TheAnimated Tales –Twelfth Night Miss Marple:Greenshaw’s Folly Channel Zero including ITV, NBC, HBO, BBC andothers in that shehasappeared onavariety of channels in theBBC’s Richard II Stream Trial andRetribution XIV , The Waste Land , (Young Vic); at theOldVicTheatre; and,withtheRoyal , Hyde Park , Mind Games , Love Song , , The Merchant of Venice and The Marriage of Figaro (EnglishNationalOpera); The Butcher Boy Harry Potter (Glyndebourne), Persuasion , , Fracture The BigFish Mrs Wilson , , , F Hamlet Sacred Hearts , Midsummer Dream Les LiaisonsDangereuses. . Inside No9 Colette or theGreater Good , , The New Inn Widowers’ Houses The Adventures of Sherlock , , (Abbey Theatre, Dublin). The LastSeptember Catch andRelease , , , , , Seascape films, Undercover Blues Gormenghast Mountains of theMoon Lizzie , , and Electra Empire London KillsMe Awards, aswell asa , , and Anna Karenina Emerald City and Eugene Onegin Killing Eve Dorian Gray , The Hippopotamus , , , , , My Life inBooks The Taming of the Much Ado About Much Ado About True Blood The Man who The Manwho and , The Seventh Hedda Gabler , Elegy for Young Mephisto Close your Eyes , , The Rape Iphigenia Iphigenia (National (National RKO 281 Riders Riders . Prior to . Priorto , , , As You , Super Super The The , , Maigret The The The The Three Three , , , Jane Jane

, , , . , , , ,