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by Trade WindsColourPrinters Ltd;advertising by Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Sir AntonioPappano di Santa Cecilia–Roma Orchestra dell’Accademia Nazionale There willbenointerval Mahler Saturday 25May 2018 7.30pm, Hall – RomaCecilia Santa di Nazionale dell’Accademia Orchestra located around thefoyers. online, aswell as viafeedback forms orthepods 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) Symphony No 6inAminor conductor

2 movements andisoneof thecomposer’s Mahler’s mightySixthSymphony. Itisinfour Tonight they present asinglework – at homeinItaly andinternationally. a widerange of repertoire, touring both years andhascemented itsreputation in orchestra’s MusicDirector for thepast14 Sir Antonio Pappano hasbeenthe since itsdebutperformance in1908. of musicdirectors andguestconductors and ithasboasted animpressive roster specifically to perform symphonic repertoire was thefirst orchestra to befounded inItaly Nazionale diSanta Cecilia.Remarkably, it orchestras, theOrchestra dell’Accademia given by oneof theworld’s leading A warm welcome to thisevening’s concert Welcome Huw Humphreys, Head of Music,Barbican I hopeyou enjoy tonight’s performance. is onlyoneSixth,despite the“Pastoral”’. Berg commented aboutthework that‘there Writing to Anton Webern in1908, Alban that theserepresented ‘three blows of fate’. work itself,thanks to Alma’sexplanation symphony becamealmost asfamous asthe disclosed’. Thehammerblows that endthe this musicandthesinister premonitions it were both intears ….sodeeplydidwe feel his works thiswas themostpersonal…We at thepiano;shewas later to write: ‘Ofall in 1904, Mahlerplayed itto hiswife Alma compositions. Oncompletionof the score is alsooneof hismostintensely intimate most traditionally Classicalstructures, but have had good reason for wanting to steer steer to wanting for reason good had have may Alma Actually Symphony? Sixth his in out it spell and soul, prophetic his in deep fate, own his sense Mahler Did heart. the of lesion fatal apotentially of diagnosis the and fever; scarlet from Maria daughter his of death the Opera; Vienna the of conductor as resignation forced his himself: Mahler on fell fate’ of blows ‘three premiere, symphony’s the after year the 1907, in that related She this. of out legend chilling atree’.like wove aseductively Alma him fells which of last the fate, of blows three fall whom on hero, ‘the depicts movement this that saying as him reported Alma widow Mahler’s Finale. to cataclysmic the especially symphony, the to clings superstition of aura An conception and execution’. in classical plane, ahigh on tragedy is it but ‘a work, as tragic Symphony Sixth the regarded Kennedy Michael biographer Mahler’s hope: of devoid it found has everyone not soul’. But the of night dark the and hopelessness in ends work …the pessimistic ‘bleakly was Sixth the Walter, Bruno conductor the disciples, greatest Mahler’s of one For interpretation. the of shading the about more be to tends is there as disagreement Such drama. tragic a powerful, clearly is Sixth Mahler’s explanation. any needs hardly music the case, any in programmes; literary and titles in faith lose to begun already Tragic’. ‘The had it he But calling considered 1903, in it he on work began Mahler When darkest. the as areputation has Sixth the symphonies, completed nine Mahler’s all Of 4 3 2 1 rev (1903–4, Aminor Symphony 6 in No Mahler Gustav interpretations this way: the real ‘blow of of ‘blow real the way: this interpretations Allegro energico, ma non troppo. Heftig, aber markig markig aber Heftig, troppo. non ma energico, Allegro Andante moderato Andante Scherzo: Wuchtig Finale: Sostenuto – Allegro energico –Allegro Sostenuto Finale: 1906)

[Forceful]

– Altväterisch (1860–1911) found in Mahler’s admiration for the German German the for admiration Mahler’s in found be might clue Apossible dismissed. easily Symphony as ‘classical in conception’ isn’t Sixth the of description Kennedy’s Michael But heading. was century 20th the where about intuition of kind some have didn’t Mahler believe to difficult –it’s innocence crushed and those of depictions vivid vanquished hopes the symphony: those violent march rhythms, something uncomfortably prophetic about be to seem does there too, level, another On many. for fascination grim its retains account Alma’s Still, Gropius. Walter architect the with affair her of discovery his certainly almost was 50 of age the at Mahler struck that fate’ be seen as an attempt to do just that in music. in that just do to attempt an as seen be perhaps can Symphony ‘Tragic’ his case, which In three. all of sense make to constantly strove who and life, of cruelty arbitrary apparently the and suffering death, with obsessed was life his throughout Mahler, like who a man to appealed have would tragic the of idea Nietzsche’s Yes how life’. see to to easy It’s it, ‘say put Nietzsche as thus, and existence of horror the face to courage the acquire could spectator the tragedy, of medium the through suffering and violence nature’. By experiencing of cruelty the into as well as history world so-called of turmoil destructive dreadful the into eyes bold ‘with look to able been had Greeks the art, tragic In mankind. of – achievements –or, it, ‘healthiest’ put he as sanest the of some were works sublime but dark these that felt He Nietzsche. fascinated Greeks Ancient the of The tragedies philosopher Nietzsche. Friedrich

[ In an old-fashioned style] style] anIn old-fashioned

[Fierce, pithy] but

3 Programme note 4 follow the first movement, although he later later he although movement, first the follow to Scherzo the intended Mahler Originally peaks’. mountain of solitude remote the into penetrating sounds terrestrial last ‘the were these Mahler for cowbells; and celesta shimmering strings with the distant chimes of all stillness, magical of apassage comes movement the of heart the at paradox: loves a‑ triumphant major to forwards pressing before form original their like something in back brought then length, at developed opposed, are Mahler) Alma with impassioned major-key melody (identified an and tune march driven –abiting, themes Classical sonata form. Two strongly contrasted of outlines the follows movement first the speaking, Broadly Finale. huge the until least –at clarity formal aremarkable has Symphony Sixth the conception, of vastness its all For the motor-horn!’ Iforgot ‘My God, exclaiming, and forehead his clutching instruments exotic of full a warehouse in Mahler depicted cartoonist A contemporary repertory. standard the in sections brass and woodwind largest the of one as well as fate’), of ‘blows the represent to hammer alarge and whip cowbells, (celesta, asymphony in used before never instruments includes Sixth the of score the incomparable: is forces huge the of handling His here. awe-inspiring most its at is wizardry orchestral terrible’. Mahler’s the of conquest artistic called ‘the Nietzsche what express to ability his mastery, his in exulting be to seems Mahler when times are there be, to pain and pathos its believe may we real However depressing. than rather exhilarating ultimately is Symphony Sixth the listeners, why, many for explain help also might This key conclusion. But Mahler key Mahler But conclusion.

left to the end. After a grim threnody for bass bass for threnody agrim After end. the to left is stroke killer real the case, any In deduce. to hard is reasons practical more or superstitious for –whether tonight) it hear we how is (which blow hammer third the removed Mahler hammer but, the after symphony’s publication, by the underlined are fate’ of blows ‘three Mahler’s of two first The catastrophe. spiralling to amoment in turns ecstasy wild extremes: between constantly swings mood The striving. heroically and desolate fearful, by turns is progress Its narrative. musical compelling single a into fused now before, heard been has that all of summing-up avast like is Finale the this, After foreboding. and bitterness of undercurrent an with –but movement first solitude glimpsed momentarily during the Alpine the of exploration –alonger peace of haven afragile offers moderato Andante The negated. truly and well been has triumph premature movement’s first the timpani; and contrabassoon basses, double on motifs of fragments with bleak, is ending the time This rhythm. plus-three four- limping astrange, has oboe) the on (introduced Trio theme childlike the Even edge. agrotesque has violence the now but movement first the of rhythms march pounding the to returns then, Scherzo, The movements. the of ordering original Mahler’s to reverts Pappano Antonio Sir performance, tonight’s However, for third. Scherzo the and second changed his mind, placing the slow movement Programme note © Stephen Johnson ©Stephen note Programme into nothingness. dwindling rhythms march the leaving aguillotine, of blade the like falls A minor of chord orchestral afull brass, Musacchio & Ianniello About the performers Staatskapelle Dresden. In 2005, he was named named was he 2005, In Dresden. Staatskapelle the and Orchestra Symphony Radio Bavarian the Orchestra, Concertgebouw Royal the Orchestra, Cleveland the Orchestra, Philadelphia the Chicago and London Symphony orchestras, and Vienna Philharmonic orchestras, the York New Berlin, the including orchestras, major world’s the of many conducted has He 1999. in Festival Bayreuth 1997 the at and York, in New Opera, 1993, Metropolitan in the Staatsoper Vienna the at debuts his are career his in events notable most the Among USA. the in and piano, studied composition and conducting 1959 in parents London in Italian to born was He . in Monnaie la de Royal Théâtre the at role same the out carried he 2002 1991 From to debut. international his made he where theatre the Opera, Oslo’sof Norwegian Director Music named 1990, in being including, positions, prestigious other held has He 2002. September since Garden, Covent Opera, Royal the of Director Music been also has He 2005. 1 October since Cecilia Santa di Nazionale dell’Accademia Rome’s of Orchestra Director Music the been has Pappano Antonio Sir Pappano Antonio Sir Sir Antonio Pappano conductor

2019 ICMA Symphonic Music Award. Award. Music 2019 Symphonic ICMA and Bernstein’s as well Animals ofthe Carnival 3 and No Symphony Saint-Saëns’s (DG), Netrebko’s Anna Classics), (ICA 2&4 Nos Kaufmann (Sony),Jonas Schumann’s Symphonies Album Puccini The Dorma: Nessun &Tony.Joyce album their for DiDonato Joyce mezzo-soprano with together Vocal Recording Solo Classical Best 2016 for Award aGrammy won he February In piano. the at Rana Beatrice 2 with No Concerto Piano No Concerto Verdi’s are recordings latest his Among Chorus. and Orchestra Cecilia Santa the with recordings several made has and Classics Warner for extensively records He Awards. Opera named of Conductor the Year at the International 2013 In was he Cecilia. Santa di Nazionale Accademia the of Orchestra and Chorus the with Verdi and together Britten Brahms, of Requiems the of conducting his for Prize Abbiati the received also he year same that Society; Year Philharmonic Royal the of by the Conductor Stravinsky and Britten. and Stravinsky Elgar, Strauss, Brahms, includes that musicians of group 1870. ararefied in joins He founded was award the since Medallist Gold RPS 100th the –becoming honour highest society’s – the Medal Gold Society’s Philharmonic Royal the 2015 In received he Italiana. Repubblica della Merito al dell’Ordine Croce Gran di Cavaliere appointed was year same the and music to services his for II Elizabeth by Queen knighted 2012 In was he Cecilia. Santa of Member Life a named was 2007,In Pappano Antonio Sir Italia Opera series acclaimed awidely 2010In presented he Kaddish for BBC television. BBC for Other recent highlights include include highlights recent Other symphonies (Warner), which won a Jeremiah 1 and Prokofiev’s Piano with , as as Argerich, Martha with , Tchaikovsky’s , The Age ofAnxiety Age The with tenor The The Verismo

5 About the performers 6 Music Director since 2005, during which which during 2005, since Director Music orchestra’s the been has Pappano Antonio Sir 1983 from 1990. to President Honorary its was Bernstein Leonard while Chung, Whun Myung- and Gatti, Daniele Sinopoli, Giuseppe Schippers, Thomas Markevitch, Igor Previtali, Fernando Ferrara, Franco Molinari, Bernardino list: form a august music similarly directors Yuri and Temirkanov. Its Dudamel Gustavo Muti, Gergiev, Valery Thielemann, Christian Riccardo today, of including musicians leading as well as Abbado, and Karajan Sabata, de Toscanini, Hindemith, Sibelius, Furtwängler, Stravinsky, Strauss, Saint-Saëns, Debussy, Mahler, notably century, 20th the of figures musical major the of by some conducted been has 1908 in and founded was orchestra The Rilke secondo romain romana vergine Rome Respighi’s as of major such masterpieces, contemporary premieres giving repertoire, symphonic the to exclusively itself devote to Italy in orchestra first the was Rome, in based Cecilia, Santa The Orchestra dell’Accademia Nazionale di –Roma Cecilia Santa di Orchestra dell’Accademia Nazionale , Henze’s and Salvatore Sciarrino’s Sciarrino’s Salvatore and Fountains ofRome Fountains . Opfergang , Richard Dubugnon’s , Richard

, Arvo Pärt’s Pärt’s , Arvo and and Euridice Euridice Pines of of Pines Caprice

Cecilia, Cecilia, Kaddish Bernstein’s Animals the 3 and No Saëns’s Symphony 2015), of Saint- Recordings Music Classical of one named was Album Kaufmann),Jonas Verdi’s 6, No Tell Butterfly Puccini’s include releases its Pappano Under Classics. Warner with contract exclusive an has now it recordings; classic many creating labels, record renowned most the of some with collaborations long-term enjoyed has dell’Accademia Nazionale di Santa Cecilia During its history, the Orchestra Semperoper. Dresden York the and New in Hall Carnegie Hall, Tokyo’s Suntory Milan, Scala, La Paris, in Philharmonie and Pleyel Salle Hall, Albert Royal Concertgebouw, and Konzerthaus in Vienna, Amsterdam Musikverein Philharmonie, Berlin the as such at leading venuesperformed worldwide, also have they Petersburg; St in Nights White and Proms BBC the Salzburg, and Lucerne of those including festivals, major at appeared home and internationally. Together they have at both further, grown has reputation its time , Britten’s , Britten’s with tenor (which , Verdi’s , Rossini’s Rossini’s , Verdi’s Requiem, symphonies. Jeremiah with Martha Argerich, as well as as well as Argerich, Martha with Aida (with and and Harteros Anja (with Nessun Dorma: The Puccini Puccini The Dorma: Nessun The ,

The Age ofAnxiety Age The

New YorkNew Times , Mahler’s Symphony The Carnival of of Carnival The William William Madama Madama and and ’ Best ’ Best Annamaria Salvatori Svetlana Norkina Brunella Zanti Manuela Costi Galvani Giovanni Bruno Cristina Puca Papais Maria Tomasella Andrea Vicari Daniele Ciccolini Riccardo Piccirilli Pierluigi Capicchioni Lavinia Morelli Leonardo Micucci RosarioGenovese Ingrid Belli Romano * David Violin 2 Cristiano Giuseppetti Margherita Busetto Antonella D’Andrea Marco Norzi Simona Cappabianca Ylenia Montaruli Soyeon Kim Chiquito Henao William Esteban Daria Leuzinger Jalle Feest Silvana Dolce Barbara Castelli Paolo Piomboni Roberto Granci Fiorenza Ginanneschi Roberto Saluzzi Margherita Ceccarelli Elena LaMontagna Marlene Prodigo Ruggiero Sfregola Parazzoli Carlo Maria Violin 1 –Roma Cecilia Santa di Nazionale Orchestra dell’Accademia Federica Fersini Clarice Curradi leader

Giuseppe Scaglione Roberto Mansueto Giacomo Menna Sara Gentile Bettinelli Matteo Michele Francesco DiDonna Bernardino Penazzi FrancescoStorino Diego Romano Carlo Onori Piovano * Luigi Cello Federico Marchetti Luca Manfredi David Bursack Lorenzo Falconi Andrea Alpestre Ilona Balint Fabio Catania Carla Santini Sara Simoncini Stefano Trevisan Mallozzi * Raffaele Viola Elena Sedini Elena Sedini Elisa Boschi Nicola Protani Ferreira * Adriana Flute Cecilia Perfetti Marko Lenza Simona Iemmolo Nicola Cascelli Paolo Cocchi Enrico Rosini Andrea Pighi Paolo Marzo Anita Mazzantini Lanzilotta * Libero Double Bass

nra Zucco * Andrea Bassoon Dario Goracci Bass Clarinet Michele Naglieri E flatClarinet Pierluigi Capezzuto Lorenzo Russo Simone Sirugo Novelli * Stefano Clarinet Luigi Sala Maria Irsara Cor anglais Gabriele Cutrona Annarita Argentieri Francesco DiRosa Oboe Davide Ferrario Piccolo Giuseppe Accardi Finlay Bain Fiore Damiano Fabio Frapparelli Luca Agus Alessio Bernardi Mirko Landoni Quaintrell-Evans Jonathan Allegrini * Alessio Horn Alessandro Ghibaudo Contrabassoon Mario Mattia Perticaro Luca Franceschelli Fabio Angeletti

* nra Lucchi * Andrea Trumpet Management Ltd Intermusica Artists’ Tour managed by * principal Arosio * Roberto Celesta FloraUboldi Maurizio * Cinzia Harp Chris Terian MirkoPedrotti Salvatore Alibrando Francesco Fiorante Davide Tonetti Andrea Santarsiere Giachino Edoardo Albino Percussion Davide Tonetti Catone * Antonio Timpani Gianluca Grosso Tuba Cosimo Iacoviello Maurizio Persia Esteban Méndez Conti * Andrea Trombone Giovanni Nicosia Antonio Ruggeri Ermanno Ottaviani Barquín Alfonso González * *

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