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Home , CSO Resound, Giuseppe Sinopoli, Lorin Maazel, Mahler Chamber Orchestra, Manfred Honeck, Michelle DeYoung

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Recorded at Southbank Centre’s Royal Festival Hall, London, 17 April 2011 Producer – Misha Donat Engineer – Jonathan Stokes, Classic Sound Ltd Design – With Relish (for the ) and Darren Rumney Cover image CLebrecht Music & Arts P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO. 2, RESURRECTION

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“On Mahler” Mahler’s earlier symphonies frequently draw on the world of his Wunderhorn songs – A century after his death, Mahler’s music settings of simple folk poems about birds and SYMPHONY NO. 2, RESURRECTION resonates more powerfully than ever. Its animals, saints and sinners, soldiers and their unique mix of passionate intensity and lovers. But this apparently naive, even childlike CD1 terrifying self-doubt seems to speak directly to tone is found alongside vast musical our age. One moment visionary, the next 1 I. Allegro maestoso 25.13 canvasses that depict the end of the world. In despairing, this is music that sweeps us up in quieter, more intimate movements, Mahler CD2 its powerful current and draws us along in its seems to speak intimately and directly to the 1 II. Andante moderato. Sehr gemächlich 11.25 drama. We feel its moments of ecstatic rapture listener, but the big outer movements are 2 III. Scherzo. In ruhig fliessender Bewegung 12.14 and catastrophic loss as if they were our own. addressed to the entire world. At its most This is not music for detached contemplation: sentimental, Mahler’s music echoes the fairy- 3 IV. ‘Urlicht’. Sehr feierlich, aber schlicht 5.23 it matters to us, urgently and directly. Its tales of children’s picture books, yet in the 4 V. Finale 38.32 musical language may be romantic, but what next moment it marches with gritted teeth and Total timings: 92.41 makes Mahler’s music so distinctively modern unleashes terrifying violence. is its unflinching honesty – its embrace of the contradictions of life and of art. Few All this makes for great symphonic dramas, wrote music of such searing lyrical often lasting more than an hour, which imply a PHILHARMONIA ORCHESTRA intensity, nor music that is often ironic to the vivid sense of storytelling without ever being point of parody. But it took a long time for this BBC SYMPHONY CHORUS confined to a specific programme (as a young unique tone to be understood; in his own man, Mahler adopted the idea of programmes SALLY MATTHEWS SOPRANO time, critics heard Mahler’s ability to see the from the tone poems of , but MICHELLE DEYOUNG MEZZO-SOPRANO world from several perspectives as a sign of soon abandoned them). This is a LORIN MAAZEL CONDUCTOR insincerity. Today, we tend to read it as quite who insisted that the symphony should www.signumrecords.com the opposite. ‘include the whole world’ – hence its

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bewildering mix of different characters, and and annotations on his scores, he encouraged Symphony No. 2, Resurrection movement of the Second Symphony, Mahler the sense that, for him, it worked rather like listening to his music as a kind of (1894) specifically underlined the overlap between the the great novels of the 19th century, such as autobiography, as Berlioz had before him. two works, insisting that in this movement ‘it is those by Dostoyevsky or Balzac. Mahler’s Second Symphony was already begun the hero of my D major symphony [the First] But like all great art, Mahler’s music far before his First had received its première. whom I bear to the grave’. We should remember that Mahler was a man exceeds the life that made it, just as it far Indeed, the composition in 1888 of a of the theatre who, for the 30 years of his exceeds his own age. His symphonies look movement in C minor, later to become the first So why, if the huge first movement was already professional life, spent most of his time and back to those of Beethoven and Schubert, but movement of the Second Symphony, seems to in place by the summer of 1888, did it take energy in the house. He at the same time forwards to the music of have overlapped with the completion of the Mahler seven years to bring his Second knew how to create an effect, to stage a scene Shostakovich and Britten. In his later works he First. It shares with the Finale of the First the Symphony to completion? The disappointing and to pace a drama. But, like anyone who has was increasingly drawn to the music of Bach, same tone of high drama and desperate heroic reception of his First, in 1889, may well have worked in the theatre, he had an acute sense at the same time that his own music was struggle, but now played out on a grander, been a factor, and he was certainly that all art is ultimately artifice and make- revered by the young Schoenberg and his more objective scale. Moreover, there is good preoccupied with forging his career as a believe. His favourite writers were those whose pupils. This is music that crosses historical evidence to suggest that it had its origins in the conductor (he became Director of the Royal works underline their own fictionality which is boundaries – as contemporary and vital now same upheavals of Mahler’s life – not least, the Hungarian Opera in Budapest, 1889, and why, after the dust of the drama has settled, as it was a hundred years ago. ending of his affair with Marion von Weber. By Principal Conductor at Hamburg Stadttheater there is a quality of Mahler’s music that recalls the autumn of 1888, Mahler had decided that in 1891). But with the revision of his First the enchanted forest of Shakespeare’s A this movement was a single-movement Symphony in 1893, and the promise of a Midsummer Night’s Dream. symphonic poem, which he called Todtenfeier second performance, he seems to have (Funeral Rites). The scholar Stephen Hefling returned to the idea of a second symphony. In Perhaps it is this many-sided character to the has shown that the title and the mood are the intervening years Mahler was certainly not music that feeds our fascination with Mahler probably derived from the long dramatic poem, inactive as a composer. This is the period in himself. Of course, this was fuelled by the Dziady, by the Polish poet, Adam Mickiewicz, which he wrote the majority of his Wunderhorn composer. Mahler subscribed fully to the translated by Mahler’s close friend, Siegfried songs, a first group for voice and piano, and a Romantic idea that art is made from the life of Lipiner, early in 1887. And, much later, after second group conceived as orchestral songs. the artist and, in comments to friends, letters, Maestro Lorin Maazel the symphonic poem had become the first And it was through the Wunderhorn settings

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that Mahler seems to have found his way back Mahler’s increasing frustration at being unable emerge from out of the distance as far as the this wistful dance movement is certainly a to symphonic composition. to ‘discover’ the elusive conclusion to his eye can see; the writer Rudolf Stephan world away from the stark opening movement. symphony was famously broken during a referred to the Second Symphony as ‘music Its echo of Schubert underlines the sense that He spent the summer of 1893 in the small memorial service held for the great Wagnerian drama without scenery’ and it is certainly hard Mahler’s music here is an act of nostalgia, a village of Steinbach on the Attersee (one of the conductor, Hans von Bülow, in March 1894. not to think of movements like this one in such recollected moment of earlier happiness from beautiful lakes of ’s Salzkammergut The sound of a boys choir, placed high up in visual or even filmic terms. The ferocious the life of his symphonic hero, as Mahler was region). As he turned 33 years old that July, the cathedral, singing a setting of Klopstock’s opening of the work (more a sudden violent to characterise it later. If Schubert is evoked by Mahler had written two ‘symphonic poems’ and Resurrection Chorale, mingled with the funeral gesture than a musical motif) and the ensuing the opening dance, the contrasting section some songs, but nothing currently designated bells, seems to have crystallised Mahler’s march figure give way to one of Mahler’s most that follows is closer to the fairy music of as a symphony. The day after his birthday, he thinking. After conducting a performance of pleading second themes, but its vision of quiet Mendelssohn’s A Midsummer Night’s Dream completed the Wunderhorn song Des Antonius Siegfried’s Funeral Music from Wagner’s deliverance is, at this stage, still impossibly or some of Weber’s evocations of the von Padua Fischpredigt and, within eight days, Götterdämmerung on the steps of the distant. The movement as a whole seems supernatural. The movement is not without its had turned it into the symphonic Scherzo that cathedral, he reportedly hurried home to defined instead by the snarling returns of the passing clouds, and distant rumbling on the would become the third movement of the sketch the ideas for his own Finale. opening and the implacable force of the horizon, but the successive returns of the Second Symphony. A few days later he heavily orchestrated march. leisurely Ländler seem progressively removed completed his setting of ‘Urlicht’, which would Whatever its personal origins, the first from reality and the enduring sense of the become the fourth movement, and by the end movement of the Second Symphony conveys Mahler was so concerned about the difference music is that of an ethereal memory. of July he had completed the genial Ländler an overwhelming sense of collective in character between the first movement and movement that would become the second catastrophe. It shares its C minor tonality and the gentle Andante that follows, he noted in The Scherzo third movement is an orchestral (based on two themes sketched back in the dark tone with Siegfried’s Funeral Music and the score that the conductor should take a expansion of Mahler’s setting of the summer of 1888). takes from that orchestral interlude something pause of several minutes between the two Wunderhorn song Des Antonius von Padua of its slow processional character. It has a (most take considerably less). It seems an Fischpredigt, which tells of St Anthony’s The following year Mahler revised his Wagnerian scale about it too, not just because odd anxiety for a composer whose sermon to the fishes. The satirical thrust of the symphonic poem Todtenfeier as the first of its large orchestral forces but because of symphonies generally proceed by extreme poem derives from the fact that, although the movement of his symphony, which was now the extended timescale with which Mahler oppositions between one movement and the fish listen patiently to the sermon and find it essentially complete except for its Finale. works. Great lines of marching figures seem to next. Marked Sehr gemächlich (Very leisurely), excellent, they afterwards all revert to their

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usual bad ways. The orchestration makes this female soloist accompanied by the brass, The vision of that Finale is hardly an orthodox But that is a long way off. The Finale opens ironic intent clear enough – the running solemnly intoning a chorale. The humour, ironic Christian one. The symphony acquired the title with a kind of musical chaos, a ‘cry of disgust’ semiquaver figure sometimes spirals out of play and loquacious repetition of the previous Resurrection because of its use of Klopstock’s that parallels the ‘fanfare of horror’ at the start key, moments highlighted by the E flat clarinet, movement give way, in a single moment, to the Resurrection Ode but Mahler was rarely of the Finale to Beethoven’s Ninth Symphony which Mahler often uses to comic or grotesque simplicity and sincerity of this new presence. In content to leave texts unchanged and, in this (the larger parallel of a choral finale naturally effect. This figure, running like a thread fact, the religious tone is only the first of three case, to the two verses taken from Klopstock caused Mahler some anxiety). It subsides to a throughout the movement, is generally heard distinct ‘voices’ Mahler deploys in this short he added a further six of his own. The tone of startling emptiness in which the sound of as expressive of what Mahler referred to as movement. The sacred opening yields to a folk these is quite different. After the solidity of distant horn calls mingles with disembodied ‘this ever-moving, never-resting, never- tone for the start of the second verse faith of the opening chorale, Mahler’s own text orchestral sounds. A slow marching chorale comprehensible bustle of existence’. There are describing a meeting with an angel (Mahler’s introduces a far more modern anxiety: ‘O begins, interspersed with the anxious motif moments of impatience with this futile circling angelic topic is clearly signalled by the bright glaube, mein Herz’ (‘O believe, my heart’) that Mahler later uses for the line ‘O glaube’ as the music is interrupted by unprepared sounds of glockenspiel, harp and solo violin). sounds more like a desperate urging to (‘O believe’). ‘The earth quakes, the graves moments of breakthrough, fleeting anticipations oneself to believe, rather than any calm burst open, the dead arise and stream out in of the great apocalypse of the Finale. For a But the tone changes once again: the statement of faith. And the resurrection of the endless procession’ – Mahler’s programme moment, suspended on a higher plateau, with protagonist of the song will not be turned back dead, in Mahler’s eschatology, suggests he note hardly sums up the vast march that the distant rumblings of earthly music from the path, even by an angel: the words ‘I was influenced by contemporary ideas on follows. But all of this is preparation for what sounding far below, the Scherzo guesses at a am from God, and will return to God’ are set to religion, like those of his friend Siegfried will become the threshold upon which the different perspective, before the incessant a harmonic sequence that draws on an Lipiner or the psychologist Gustav Fechner, whole symphony is transformed and this, wheels start turning again. impassioned, operatic mode. And with that, whose ideas were to help shape the typically of Mahler, comes out of a deep the timeless perspectives of religious and folk philosophical programme of the Third silence and a sense of vast spaciousness. If the Scherzo is a picture of an inauthentic music succumb to an urgent sense of the Symphony. ‘And behold,’ Mahler wrote about chattering world, with no time for the divine, the present moment. It is the turning point of the the ending of his symphony, ‘there is no In Mahler’s words: ‘The last trumpet is heard – fourth movement shatters it with quiet, focused work. This one line might serve as the motto judgement; there are no sinners, no just. None the trumpets of the Apocalypse ring out: in the intensity. Following directly on from the end of for the entire symphony, and Mahler will return is great, none small. There is no punishment eerie silence that follows, we can just catch the previous movement, ‘Urlicht’ begins with to it, sung by both soloists, as preparation for and no reward. An overwhelming love the distant, barely audible sound of a the exposed sound of the human voice, the the climax of the Finale. illuminates our being. We know and are.’ nightingale, a last tremulous echo of earthly

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291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. life.’ For this, Mahler produces a bold One should not be fooled by the force of the TEXTS soundscape that still sounds utterly closing bars, generated by Mahler’s relatively contemporary. Distant horns are answered by conventional treatment of the brass and Urlicht auf Des Knaben Wunderhorn Primal Light from Des Knaben Wunderhorn four trumpets placed at different offstage organ. The end of this symphony is neither locations, on the right and the left, variously comfortable nor bombastic. It is not just that O Röschen roth! O little red rose! closer and further away. These echoing brass the music has been preparing, for over an Der Mensch liegt in größter Noth! Man lies in the greatest need! sounds, apparently coming from a great hour, the arrival at the climactic ‘Sterben werd’ Der Mensch liegt in größter Pein! Man lies in the greatest suffering! distance, mingle with the sound of a bird given ich, um zu leben’ (‘Die I shall, so as to live’), Je lieber möcht’ ich in Himmel sein! How much rather would I be in Heaven! by a flute and piccolo from within the nor that Mahler has held back the vast power Da kam ich auf einen breiten Weg; I came upon a broad road; orchestra. There are few passages in of his combined choral and orchestral forces Da kam ein Engelein und wollt’ mich abweisen. There came an angel and wanted to block my way. symphonic music that come close to the way for this moment. It is that, when it arrives, it is Ach nein! Ich ließ mich nicht abweisen: Ah no! I did not let myself be turned away: in which Mahler stops time here. Any sense of not experienced so much as a point of Ich bin von Gott und will wieder zu Gott! I am of God, and to God I shall return! metre is suspended, and with it any sense of resolution that will subside, but rather as an Der liebe Gott wird mir ein Lichtchen geben, Dear God will grant me a small light, measuring time or forward motion. In a large unending torrent of incandescent intensity. Wird leuchten mir bis in das ewig selig Leben! Will light my way to eternal, blissful life! hall it makes for an astonishing scene. The Across a vast span of time and in five very orchestra sits in silence listening to calls from different movements, Mahler’s music has outside the space of the music, and we, the explored the human experience of time – of audience, watch and wait for something to loss, anticipation, memory, cyclical repetition arrive, as if from elsewhere. What does arrive is and, above all, of waiting, straining for the the ‘Resurrection’ chorale, sung by the chorus dawn. The ending seems to draw up all of this, in such hushed tones one hardly hears it and with it the whole of historical and begin. The threshold has been crossed, and eschatological time and to focus it, urgently the mingling of voices and orchestra expands and intensely, in this very moment, here and steadily, wave upon wave, towards the now. It’s all you can do to stand your ground as shattering climax of the symphony. this wind of fire streams out at you. © Julian Johnson

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Aufersteh’n Resurrection Was entstanden ist, das muß vergehen! What was created must perish! Was vergangen, auferstehen! What has perished must rise again! Aufersteh’n, ja aufersteh’n wirst du, Arise, yes, you will arise from the dead, Hör’ auf zu beben! Tremble no more! Mein Staub, nach kurzer Ruh! My dust, after a short rest! Bereite dich zu leben! Prepare yourself to live! Unsterblich Leben Eternal life O Schmerz! Du Alldurchdringer! O Sorrow, all-penetrating! Wird der dich rief dir geben. Will be given you by Him who called you. Dir bin ich entrungen! I have been wrested away from you! O Tod! Du Allbezwinger! O Death, all-conquering! Wieder aufzublüh’n wirst du gesät! To bloom again are you sown! Nun bist du bezwungen! Now you are conquered! Der Herr der Ernte geht The lord of the harvest goes Mit Flügeln, die ich mir errungen With wings that I won Und sammelt Garben And gathers the sheaves, In heißem Liebesstreben In the passionate strivings of love Uns ein, die starben. Us who have died. Werd’ ich entschweben I shall mount Zum Licht, zu dem kein Aug’ gedrungen! To the light to which no sight has penetrated! by Friedrich Klopstock by Friedrich Klopstock Sterben werd’ ich, um zu leben! Die I shall, so as to live! O glaube, mein Herz, o glaube: O believe, my heart, oh believe: Aufersteh’n, ja aufersteh’n wirst du, Arise, yes, you will arise from the dead, Es geht dir nichts verloren! Nothing will be lost to you! Mein Herz, in einem Nu! My heart, in an instant! Was du geschlagen, What you have overcome, Dein ist, was du gesehnt! Everything is yours that you have desired! Zu Gott wird es dich tragen! Will carry you to God! Dein, was du geliebt, Yours, what you have loved, was du gestritten! what you have struggled for! by Gustav Mahler by Gustav Mahler

O glaube: O believe: Du wardst nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, gelitten! Have not lived in vain, suffered in vain!

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PHILHARMONIA ORCHESTRA visionary projects – City of Dreams: Vienna 1900 -1935 (2009), Bill Viola’s Tristan und The Philharmonia Orchestra is one of the Isolde (2010), Infernal Dance: Inside the world’s great orchestras. Acknowledged as the World of Béla Bartók (2011) and Woven UK’s foremost musical pioneer, with an Words, a celebration of Witold Lutosławski’s

© Benjamin Ealovega extraordinary recording legacy, the Philharmonia centenary year – have been critically acclaimed. leads the field for its quality of playing, and for its innovative approach to audience For 17 years now the Orchestra’s work has been development, residencies, music education underpinned by its much admired UK and and the use of new technologies in reaching a International Residency Programme, which global audience. Together with its relationships began in 1995 with the launch of its residencies with the world’s most sought-after artists, most at the Bedford Corn Exchange and London’s importantly its Principal Conductor and Artistic Southbank Centre. During 2013/14 the Advisor Esa-Pekka Salonen, the Philharmonia Orchestra not only performs more than 35 Orchestra is at the heart of British musical life. concerts at Southbank Centre’s Royal Festival Hall, but also celebrates its 17th year as Today, the Philharmonia has the greatest claim Resident Orchestra of De Montfort Hall in of any orchestra to be the UK’s National Leicester and its 13th year as Orchestra in orchestra. It is committed to presenting the Partnership at The Anvil in Basingstoke; and same quality, live music making in venues enters the third year of its residencies at the new throughout the country as it brings to London Marlowe Theatre in Canterbury and the Three and the great concert halls of the world. In Choirs Festival. The Orchestra’s extensive touring 2013/14 the Orchestra is performing more schedule this season also includes concerts in than 160 concerts, as well as recording scores Russia, Austria, Switzerland, Italy, , for films, CDs and computer games. Under France and Spain with Esa-Pekka Salonen, a Esa-Pekka Salonen a series of flagship, two week residency at the Théâtre des Champs-

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Elysées in Paris performing Poulenc’s Les well as established artists. This policy extends ways to bring its top quality live performance to more than 67,000 visitors. It won the 2012 Dialogues des Carmelites under Jérémie Rhorer, into the Orchestra itself, where many of the audiences worldwide, and to using new RPS Award for Audiences and Engagement. and tour of China in June with Salonen. players have solo or chamber music careers technologies to achieve this. Many millions of Following touring appearances in Birmingham alongside their work with the Orchestra. The people since 1945 have enjoyed their first and Canterbury in 2013 Universe of Sound will During its first six decades, the Philharmonia Philharmonia’s Martin Musical Scholarship experience of classical music through a form part of a major new audience development Orchestra has collaborated with most of the Fund has for many years supported talented Philharmonia recording, and in 2013/14 and education initiative on the South West great classical artists of the 20th century. musicians at the start of their careers, audiences can engage with the Orchestra Peninsula in 2014 and 2015, alongside RE- Conductors associated with the Orchestra including an Orchestral Award, which allows through computer games, film scores and RITE and a new mobile “pop-up” installation. include Furtwängler, Richard Strauss, two young players every year to gain through its YouTube and Vimeo channels Toscanini, Cantelli, Karajan and Giulini. Otto performing experience within the Orchestra. featuring the Orchestra’s award-winning Recording and broadcasting both continue to Klemperer was the first of many outstanding documentary films, which have been watched play a significant part in the Orchestra’s Principal Conductors, and other great names The Orchestra is also recognised for its by more than a million people worldwide. In activities, notably through its partnership with have included Lorin Maazel (Associate innovative programming policy, at the heart of May 2010 the Orchestra’s digital ‘virtual Signum Records, releasing new live recordings Principal Conductor), Sir Charles Mackerras which is a commitment to performing and Philharmonia Orchestra’ project, RE-RITE, won of Philharmonia performances with its key (Principal Guest Conductor), commissioning new works by leading both the RPS Audience Development and conductors. Since 2003 the Philharmonia has (Principal Conductor and Music Director), Kurt composers, among them the Artistic Director Creative Communication Awards, and after enjoyed a major partnership with Classic FM, Sanderling (Conductor Emeritus) and of its Music of Today series, . appearances in London, Leicester and Lisbon, as The Classic FM Orchestra on Tour, as well as Giuseppe Sinopoli (Music Director). As well as toured to Dortmund in November 2011, Tianjin continuing to broadcast on BBC Radio 3. Esa-Pekka Salonen, current titled conductors Since 1945 the Philharmonia Orchestra has in China in April/May 2012, Izmir (Turkey) in are Christoph von Dohnányi (Honorary commissioned more than 100 new works from June 2012, and in 2013 to Hamburg and the www.philharmonia.co.uk Conductor for Life) and composers including Sir Harrison Birtwistle, Sir . RE-RITE, devised with Esa- (Conductor Laureate). Peter Maxwell Davies, Mark-Anthony Turnage Pekka Salonen, secured the Philharmonia’s and James MacMillan. position as a digital innovator and its follow-up The Philharmonia Orchestra continues to pride audio-visual installation to RE-RITE, Universe of itself on its long-term collaborations with the Throughout its history, the Philharmonia Sound: The Planets, premièred at the Science finest musicians of our day, supporting new as Orchestra has been committed to finding new Museum from May to August 2012, receiving

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BBC SYMPHONY CHORUS Prokofiev and Vaughan Williams at the SALLY MATTHEWS Mahler Chamber Orchestra and the Bayerische Barbican, plus Elgar’s The Music Makers at Rundfunk Orchester, working with conductors One of the UK’s finest and most distinctive Fairfield Halls. Sally Matthews was the winner of the 1999 including Sir , Sir Mark Elder, amateur choirs, the BBC Symphony Chorus Kathleen Ferrier Award. She studied with , Robin Ticciati, Lorin Maazel, was founded in 1928. Its early appearances As resident chorus for the BBC Proms, the BBC Cynthia Jolly and Johanna Peters and completed , , Seiji Osawa, included premieres of Bartók’s Cantata Symphony Chorus takes part in a number of the Opera Course at the Guildhall School of , Michael Tilson Thomas and Profana, Stravinsky’s Perséphone and concerts each season, usually including the Music and Drama in 2000. She was a member Sir . Mahler’s Eighth Symphony and this First and Last Nights. Appearances in the 2012 of , Covent Garden Young Artist commitment to new music is undiminished Proms included performances of Schoenberg’s Programme from 2001 to 2003 and was part As a recitalist, Sally has appeared with pianist today with premieres and commissions in Gurrelieder with the BBC SO under Jukka- of the BBC New Generation Artists. She Simon Lepper at the Concertgebouw Hall, recent years of works by Sir Peter Maxwell Pekka Saraste (Prom 41) and Walton’s currently studies with Paul Farringdon. Amsterdam, La Monnaie, Brussels and regular Davies, Judith Weir, Stephen Montague, Peter Belshazzar’s Feast with the BBC National appearances at Wigmore Hall, London have Eötvös and Sir John Tavener. Orchestra and Chorus of Wales (Prom 23). In 2001 she made her Royal Opera debut as included performances with the Nash Nannetta in with Bernard Haitink. Ensemble, as well as solo recitals. In its performances with the BBC Symphony As well as dedicated studio recordings for Since then, roles at Covent Garden have Orchestra, the Chorus performs a wide range Radio 3, the most recent of which was a included Pamina in Die Zauberflöte; Fiordiligi of challenging repertoire, most of which is programme of contemporary repertoire for in Così fan tutte; Sifare in Mitridate and Anne broadcast on BBC Radio 3. The 2011-12 choir, soprano, tenor and conducted by Truelove in The Rake’s Progress. Barbican season’s concerts included Chorus Director Stephen Jackson, the Chorus performances of Tippett’s A Child of Our Time has also made recordings for commercial Sally also sings regularly at Glyndebourne with Sir Andrew Davis and Stravinsky’s record labels, including a selection of choral Festival Opera, Netherlands Opera, and Symphony of Psalms with David Robertson as works by Joseph Marx, and Delius’s The Song Bayerische Staatsoper, as well as, in well as appearances at two of the season’s of the High Hills and Appalachia with the BBC concert, with all the leading UK orchestras, ‘Total Immersion’ events dedicated to SO and Sir Andrew Davis. and abroad with orchestras including the Jonathan Harvey and Arvo Pärt. In its 2012-13 Philharmonic, the San Francisco season performances include music by Verdi, Symphony, Le Cercle de l’Harmonie, the

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MICHELLE DEYOUNG Cycle; Kundry in , Venus in Tannhäuser, LORIN MAAZEL Concertgebouw Orchestra and the Boston Brangäne in , Eboli in Don Symphony Orchestra. He completed a Mahler Michelle DeYoung has already established Carlos, Amneris in , Marguerite in Le For over five decades, Lorin Maazel has been cycle in London with the Philharmonia (for the herself as one of the most exciting artists of her Damnation de Faust, Judith in Bluebeard’s one of the world’s most esteemed and sought- Mahler centennial year of 2011) in addition to generation. She continues to be in demand Castle, Dido in , the title role in after conductors. In spring 2011, he completed touring extensively with the Orchestra in Europe. throughout the world, appearing regularly with Samson et Dalilah, Gertrude in Hamlet, his fifth and final season as the inaugural In September 2010, he marked the 100th the , Boston Symphony Jocaste in Oedipus Rex, and the title role in Music Director of the Palau de les Arts Reina anniversary of the première of Mahler’s Eighth Orchestra, Chicago Symphony Orchestra, The Rape of Lucretia. She also created the Sofia in Valencia, Spain. Music Director of the Symphony at the Ruhr Festival conducting the , , role of the Shaman in ’s The First New York Philharmonic from 2002 to 2009, he work with forces numbering in excess of 1,000 Symphony Orchestra, The Met Emperor at the . assumed the same post with the Munich performers. In March 2011, he took two Orchestra, Philharmonia Orchestra, London Philharmonic at the start of the 2012/13 Castleton Festival Opera productions to Symphony Orchestra, BBC Symphony Orchestra, A multi-Grammy award winning recording season. He is also the founder, Executive and Berkeley, California (Cal Performances) for the Orchestre de Paris, , Berliner artist, Ms DeYoung’s impressive discography Artistic Director of a new festival based on his West Coast debut of the company, with Britten’s Staatskapelle, and the Concertgebouworkest. includes , Mahler’s Symphony farm property in Virginia, the Castleton Festival, Rape of Lucretia and Albert Herring. In August She has also performed at the prestigious No. 3, and with Michael launched to exceptional acclaim in 2009 and 2011 he conducted an all-Beethoven Festival festivals of Ravinia, Tanglewood, Saito Kinen, Tilson Thomas and the San Francisco expanding its activities nationally and in Rio de Janeiro, Brazil. On 31 December 2011 Edinburgh, and Lucerne. Symphony (SFS Media), Les Troyens with Sir internationally in 2012/13 and beyond. he conducted the first New Year’s Concert – Colin Davis and the London Symphony televised live for a world-wide audience – in Equally at home on the opera stage, Ms. Orchestra (LSO Live), Mahler Symphony No. 3 Maestro Maazel’s 2010/11 season was Beijing, China. In February 2012 Mr Maazel DeYoung has appeared with the Metropolitan with the Chicago Symphony Orchestra and highlighted by productions of Aïda and his own embarked on a Scandinavian-American Tour Opera, , Los Angeles Bernard Haitink (CSO Resound) and with the opera 1984 at the Palau de les Arts; two with the Vienna Philharmonic celebrating their Opera, Houston Grand Opera, Teatra alla Pittsburgh Symphony and concerts with the newly formed resident 50-year long collaboration. Scala, , Berliner Staatsoper, (Challenge Records International); and Das orchestra of China’s National Center for the Paris Opera, Theater Basel, Opera de Nice and Lied von der Erde with the Minnesota Performing Arts in Beijing; a marathon concert Maestro Maazel is also a highly regarded the Tokyo Opera. Her many roles include Orchestra (Reference Recordings). Her first of all nine Beethoven symphonies in Tokyo; and composer, with a wide-ranging catalogue of Fricka, Sieglinde and Waltraute in The Ring solo disc was released on the EMI label. return appearances with the Royal works written primarily over the last dozen or

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so years. His first opera, 1984, based on appearing at Bayreuth in 1960 (the first position; Music Director of The Cleveland ’s literary masterpiece, received American to do so), with the Boston Orchestra (1972– 82); and Artistic Director its world première at the Royal , Symphony in 1961, and at the Salzburg and Chief Conductor of the Deutsche Oper Covent Garden, in May 2005. A revival of 1984 Festival in 1963. Berlin (1965–71). His close association with took place at , Milan in May 2008 the Vienna Philharmonic includes 11 and in Valencia, Spain in February & March In 72 years on the podium, Maestro Maazel internationally televised New Year’s Concerts 2011. A Decca DVD of the original London has conducted nearly 200 orchestras in no from Vienna. production was released in May 2008. fewer than 7,000 opera and concert performances. He has made over 300 Alongside his prodigious performing activity, A second-generation American born in Paris, recordings, including symphonic cycles/ Maestro Maazel has found time to work with Lorin Maazel began violin lessons at the age of complete orchestral works of Beethoven, and nurture young artists, based on his strong five, and conducting lessons at seven. He Brahms, Debussy, Mahler, Schubert, belief in the value of sharing his experience studied with Vladimir Bakaleinikoff and Tchaikovsky, Rachmaninov and Richard with the next generation(s) of musicians. He appeared publicly for the first time aged eight. Strauss, winning ten Grands Prix du Disques. founded a major competition for young Between the ages of nine and 15, he conductors in 2000, culminating in a final conducted most of the major American During his music directorship of the New York round at two years later, and has orchestras, including the NBC Symphony at Philharmonic Maestro Maazel conducted the since been an active mentor to many of the the invitation of Toscanini. At 17, he entered orchestra on their landmark visit to finalists. In 2012 he was President of the the to study Pyongyang, on 26 February Malko Conductor’s Competition Jury in languages, mathematics and philosophy. In 2008. Maestro Maazel has been Music Copenhagen. Through his Cháteauville 1951 he went to Italy on a Fulbright Director of the Symphony Orchestra of the Foundation, in Castleton, Virginia, he has Fellowship to further his studies, and two years Bavarian Radio (1993–2002), Music Director created a new Festival and training program for later made his European conducting debut, of the Pittsburgh Symphony (1988–96); young artists, bringing together aspiring stepping in for an ailing conductor at the General Manager, Artistic Director and singers, instrumentalists and conductors to www.maestromaazel.com Massimo Bellini Theatre in Catania, Italy. He Principal Conductor of the work in an intensive, collaborative environment, www.chateauville.org quickly established himself as a major artist, (1982–84) – the first American to hold that with guidance from senior artists and mentors. www.castletonfestival.org

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291.0mm x 169.5mm !"#$"%&'()*%+$!,-./01 !:0:;<= !2&')3*$,453$6)37$.8()9 !34- 5467-14 !"#$%&'( 37889: !)$)*%+"',-%. ;84!< /%0,12$*', SIGNUM CLASSICS SIGCD352 GUSTAV MAHLER

SYMPHONY NO. 2, RESURRECTION MAHLER: CD1

1 I. Allegro maestoso 25.13 NO.SYMPHONY 2, RESURRECTION CD2

PHILHARMONIA/MAAZEL 1 II. Andante moderato. Sehr gemächlich 11.25 2 III. Scherzo. In ruhig fliessender Bewegung 12.14 3 IV. ‘Urlicht’. Sehr feierlich, aber schlicht 5.23 4 V. Finale 38.32 Total timings: 92.41

PHILHARMONIA ORCHESTRA PHILHARMONIA/MAAZEL BBC SYMPHONY CHORUS SALLY MATTHEWS SOPRANO SYMPHONY NO. 2, RESURRECTION 2, SYMPHONY NO. MICHELLE DEYOUNG MEZZO-SOPRANO LORIN MAAZEL CONDUCTOR

MAHLER: www.signumrecords.com

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD352

CLASSICS Perivale, Middx UB6 7JD, United Kingdom LC15723 P DDD www.signumrecords.com SIGCD352 2013 Philharmonia Orchestra C 2013 Signum Records 24 bit digital recording SIGNUM www.philharmonia.co.uk

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