LCO Live

Soloist Director Melvyn Tan

Conductor Christopher Warren-Green Chamber Chamber London Beethoven Mendelssohn LCO Live (1770-1827) But really the differences are much Egmont Overture Op.84 more striking than the similarities. Where Beethoven Mendelssohn Cherubini is all bustle, a domestic scale Ludwig van Beethoven Beethoven was asked in 1809 for music for a domestic tragedy, the huge, slashing to accompany a Viennese production of chords of Beethoven’s opening, the painful 1. Egmont Overture Op.84 [8.08] Goethe’s eponymous play. He complied, fired chromaticism of its introduction, groping Christopher Warren-Green conductor with enthusiasm for its themes of national for resolution, and the sledgehammer liberation and personal heroism, though chords that punctuate its harried Allegro Ludwig van Beethoven not so much so that he could meet the theme: these are universal in ambition. The Piano No.2 in B flat major Op.19 [28.33] deadline: the overture was only ready for the sledgehammers don’t even let up from the 2. Allegro con brio [14.06] play’s fourth night in June 1810. The story second theme in the woodwinds, shapely is set in 16th-century Flanders. Egmont, a but never without the sense of fate pressing 3. Adagio [8.14] Flemish nobleman, is in love with Clärchen. close on its heels. It is those chords that 4. Rondo: Molto allegro [6.13] His attempts to moderate tyrannical rule of finally overwhelm all lyrical impulse: the Melvyn Tan soloist/director the Duke of Alba meet only with arrest and execution is graphically achieved. And at excution; grief-stricken, Clärchen poisons the moment of lowest despair is the highest Mendelssohn herself. Egmont’s death becomes both suspense, where a new tonic is found, C Symphony No.4 in A major Op.90 ‘Italian’ [30.06] tragedy and triumph because his spirit lives after the F minor darkness, and the ‘Victory on to inspire the successful uprising of his Symphony’ rings out with unstoppable 5. Allegro vivace [11.0 3 ] people against their oppressors. ebullience. This is music of the barricades. 6. Andante con moto [6.20] Beethoven’s response is inspired both 7. Con moto moderato [6.29] by his love for Goethe and his enthusiasm 8. Saltarello: Presto [6.16] for the post-Revolutionary wave of French , which lent to his works Christopher Warren-Green conductor around this time (notably the ‘Emperor’ Piano Concerto and Fifth Symphony) Total time [67.01] their temperament and sometimes even their ideas. Beethoven owned a copy of Cherubini’s opera Medée, for example, and his overture owes more than its key to the Frenchman’s. www.signumrecords.com www.lco.co.uk 3 Ludwig van Beethoven (1770-1827) recitative for the piano at the end of the pause for breath present itself, but a theme of more importantly with Beethoven’s Seventh. Piano Concerto No.2 in B flat major Op.19 slow movement. This has proceeded in a definite military character enters, at first almost Beethoven’s work seems to have provided gently contained, almost Mozartian fashion unnoticed on the violins, but it soon gains Mendelssohn a structural template for the I Allegro con brio from its hymn-like opening (though without vigour and strength, and it competes with the ‘Italian’ Symphony, and the furious, dance- II Adagio the older ’s concentration on main melody until the end of the movement. inspired finale is only the most obvious III Rondo: Molto allegro the wind instruments: here, everyone is Mendelssohn’s thorough-going but correspondence. Saltarello does not imply

subordinate to the composer/keyboard), liberal education is everywhere evident in a specific dance metre in its own right – it Mozart was still alive when, in 1787, elaborating and decorating, and moving into this symphony. Just as the first movement comes from the Latin saltare, meaning Beethoven started work on a piano concerto some unexpected keys, the last of which translates his painter’s eye into musical light simply to dance - but Mendelssohn seems to in B flat: only 13 years later would it finally brings the orchestra to a head. In response, and shade, his literary accomplishments have associated it with the wild and whirling be played in the form we hear it today. the explores a return to the theme, lend the second its gravitas. His letters and tarantella of Naples. Taken at a true presto, During that time Beethoven’s life and work third by third, helped by the orchestra. drawings while on tour attest to his awe at the music seems to hang on for dear life – or had undergone a sea-change: a concerto When fully appreciated by both performers finally laying eyes upon the ruins of Rome’s for grim death. There is no resolution here, in C major had been written and published and audience, it is a moment of true, imperial glory, after his years as an avid for the movement stays in the minor key (which is why the B flat is known as No.2) Beethovenian communion. classical scholar. His account of the Holy until its final brusque send-off. As so often, and he had travelled miles, physically and Week processions through Rome also fits Mendelssohn’s reputation for geniality is belied emotionally, from an eager-to-please lad in the steady, sombre tread of the theme in the by a tension that here brilliantly reflects the Bonn to a young turk in Vienna. It would take (1809-1847) bass. Two flutes wind their way around each intensity of Mediterranean life. a novelist to trace this journey through the Symphony No.4 in A major Op.90 ‘Italian’ other at one point like trails of incense, before concerto, but we can hear clearly enough © Peter Quantrill dissonant clarinets add a sharper tang to the sophistication of the finale’s repartee in I Allegro vivace the harmony. There may also be a personal comparison with the more abrupt turns of II Andante con moto inspiration in the form of a memorial to his event of the first movement. Off the piano III Con moto moderato childhood composition teacher Carl Friedrich runs and the orchestra chase after, before IV Saltarello. Presto Zelter, who died in 1832, before Mendelssohn apparently offering more weighty second revised the symphony for publication. thoughts. Nothing loth, the piano proposes The climate of Mendelssohn’s home town of If anything it is the third movement which an even more skittish idea – and later twirls Leipzig was hardly different to our own, and performs more of the traditional functions the orchestra round its finger still further with when he toured Italy in 1831 he seems to have of a slow movement, though the minuet loopy jumps and stamping accents on the been struck by the same burst of light that flows easily enough. The brightness of its wrong beat of the bar. We’re even left to think meets modern-day travellers as they step off soundworld is partly due to the (relatively rare that the concerto will sign off with a shrug the plane. The symphony’s opening bars and for the time) ‘high’ key of A major, which the before good order is finally restored. fanfare-like melody radiate with solar energy. symphony shares with Mozart’s 29th – and But more quietly original still is the tiny Only at the start of the development does a

4 5 Christopher Warren-Green Christopher Warren-Green is also Music Melvyn Tan Melvyn has given complete cycles of the Music Director & Principal Conductor Director of the , Piano Beethoven and Sonatas, Mozart © © Thomas Balsamo and makes regular guest appearances with Rock Sheila Sonatas, Debussy Préludes and Chopin the Royal Philharmonic, Philharmonia and Préludes in New York, Tokyo and London. BBC Concert . He has worked with He has performed at many leading concert the London Philharmonic and Royal Liverpool halls around the world, including London’s Philharmonic orchestras, and has conducted Wigmore Hall and Royal Festival Hall, New the Royal Scottish National Orchestra to high York’s Lincoln Centre, Théâtre du Châtelet critical acclaim. He also makes frequent visits and Cité de la Musique in Paris, Vienna’s to orchestras within Europe and the Far East, Musikverein and Konzerthaus; Salzburg’s including the Singapore Symphony Orchestra, Mozarteum, Amsterdam’s Concertgebouw and has made several tours of Japan with the and Cologne’s Philharmonie. His festival NHK Symphony. appearances include Salzburg, Edinburgh, In 1980, by personal invitation of HRH La Roque d’Anthéron, City of London, The Prince of Wales, Mr Warren-Green was Spitalfields, and Bath’s Mozartfest. He has honoured to conduct the first concert to be worked with orchestras such as the London given in modern times, in the Throne Room Philharmonic and Netherlands Symphony of ; since then, he has orchestras, the Royal Liverpool Philharmonic, conducted numerous concerts at Buckingham Academy of St Martin’s in the Fields, Stuttgart A highly experienced musician, Christopher Palace, as well as Highgrove House and St Melvyn Tan has been has lived in London Radio, Salzburg’s Camerata and Mozarteum Warren-Green’s wide knowledge of the James’s Palace. To mark the occasion of HM since leaving his native Singapore at an early orchestras, New World and Melbourne repertoire and poised command of an The Queen’s 80th birthday at , age to study at the symphonies and has toured Australia regularly orchestra has earned him great respect he conducted a private concert for the entire and the Royal College of Music. His teachers with the Australian Chamber Orchestra. throughout the music-making world. Royal family; he also directed the Philharmonia have included Nadia Boulanger, Marcel Ciampi In 2007 he began his association with the From September 2010, Mr Warren- Orchestra for the Service of Dedication and and Vlado Perlemuter. London Chamber Orchestra and Christopher Green takes up the post of Music Director Prayer, celebrating the marriage of TRHs The He built a formidable international Warren-Green, performing concerti by of the Charlotte Symphony Orchestra, an Prince of Wales and The Duchess of Cornwall, reputation during a long exploration of Beethoven, Mozart and Hummel in London appointment which further strengthens the and again in the 60th birthday celebration the precursors of the modern piano. This and Italy. connections he has established in the USA concert for HRH The Prince of Wales. culminated in a series of groundbreaking Chamber music and Lieder hold an through his engagements with the Philadelphia Christopher Warren-Green has recorded performances and recordings on the fortepiano important place in Melvyn’s repertoire. and Minnesota Orchestras, the St Louis and extensively for BMG, Philips, Virgin, Chandos including the complete Beethoven Concertos Partners include cellist Steven Isserlis, Seattle Symphony Orchestras and National and most recently for Deutsche Grammophon and Sonatas and Schubert Impromptus. with whom he has recorded the complete Symphony Washington DC. and EMI. 6 7 Mendelssohn works for cello, cellist Patrick Music Director Christopher Warren-Green has Teatro Real, Madrid, and on critically acclaimed LCO continues to develop its pioneering Demenga, clarinettist Dimitri Ashkenazy, tenor brought together the inspirational musicians tours of the USA, Far East and Europe. initiatives: LCO Kids reaches out to the Keith Lewis, the Skampa String Quartet and and repertoire for which LCO is renowned. As well as producing some of the finest young in partnership with Barnardo’s; LCO the Dutch pianist Ronald Brautigam. He is The remarkable acoustic and intimate performances of well-loved works, LCO holds New approaches contemporary music from the founder of the New Mozart Ensemble, a ambience of St. John’s, Smith Square, its innovation close to its heart and has given a fresh perspective and LCO Live captures flexible chamber ensemble / orchestra which London home, enable LCO – the only chamber more than 100 UK premières of works by the ambience, interaction and exhilaration of he has directed in many major festivals and orchestra resident in London – to give vibrant composers ranging from Mozart to Graham LCO performances through recordings of live music centres worldwide. performances and establish a close rapport Fitkin. In 2006 LCO premièred Sir Peter concerts at St. John’s, Smith Square. In addition to the Beethoven Sonatas, with its audiences. The recordings on the Maxwell Davies’s , written to The Golden Rule ‘Utterly ravishing...gloriously Concertos and Schubert Impromptus, Melvyn LCO Live label, in partnership with Signum mark The Queen’s 80th birthday, and in 2008 unforgettable...This is my recording Tan’s recordings for EMI Classics include discs Classics, are the result of this happy marriage gave the London première of Hess’s Concerto of the year, some of the greatest of of Mozart concertos and Weber’s Konzertstück of orchestra and venue. for Piano and Orchestra commissioned by all British music given performances with the and Sir The Prince of Wales. LCO’s 09/10 season ‘…everyone on stage seems to be that are unforgettably inspirational.’ . Further recordings of will include its commission and world première having a whale of a time and this feeds Gramophone Mozart concertos are on Harmonia Mundi performance of a Piano Concerto by Graham into a performance in which the music (with Philharmonia Baroque and Nicholas Fitkin. LCO continues to enjoy significant support sounds new-minted’ The Guardian McGegan) and Virgin Classics, this time with from private donors, enthusiastic audiences ‘It is an exciting experience hearing Tan’s own group, the New Mozart Ensemble. By restricting the number of its UK and corporate sponsors. Priding itself on musicians of this calibre playing as if performances, LCO retains a sense of independence from public subsidy, LCO relies their lives depended on it.’ Hi-Fi News London Chamber Orchestra enthusiasm and energy as it communicates on impeccable performance credentials to its passion for superlative music-making It is LCO’s philosophy, as an elite ensemble attract its advocates. Christopher Warren- ‘The concerts of Warren-Green and to the audience. It continues to perform with an enviable reputation, to share its Green, LCO’s musicians and management aim the London Chamber Orchestra at internationally, building relationships worldwide excellence in a socially aware environment to uphold LCO’s world class stature and its St. John’s, Smith Square aren’t often in prestigious venues such as La Scala, Milan, – this it achieves through its education work mission to educate, enlighten and entertain. noticed in the press, but their large Vienna’s Musikverein, Hong Kong City Hall, and many important charitable associations. regular audience knows that they are some of the most exciting in London.’ The Sunday Times The London Chamber Orchestra, the UK’s oldest chamber orchestra, has nurtured the new and paid homage to the traditional since 1921. Since 1988 Principal Conductor and

8 9 LCO LIVE CD 2 Players

Violin Viola Flute Horn Recorded at St. John’s, Smith Square, London on 23rd May 2007 (Beethoven Egmont Overture), Rosemary Furniss Joel Hunter Jonathan Snowden 28th February 2007 (Beethoven Piano Concerto No.2), Sophie Barber Kate Musker Monica McCarron Tim Thorpe 19th September 2007 (Mendelssohn). Mark Butler Emilie Hornlund Christine Hankin Michaela Betts Producer & Editor - Raphaël Mouterde Jamie Campbell Julia Knight Clare Lintott Recording Engineers: Beethoven Egmont & Piano Concerto No.2 - Mike Hatch, Manon Derome Rebecca Low Oboe Beth Randell Mendelssohn - Mike Cox Matthew Elston David Theodore Cello Philip Harmer Trumpet Design & Artwork - Studio Dempsey/London Ellie Fagg Programme notes - Peter Quantrill Jo Godden Robert Max Alison Alty * Joely Koos Ross Brown 2010 LCO The copyright in this recording is owned by Signum Records Ltd. Magnus Johnston Clarinet Ciaran McCabe Pierre Doumenge Adam Wright © 2010 The copyright in this CD booklet, notes and design is owned by Mark van de Wiel Signum Records Ltd. Gina McCormack John Heley Louisa Tuck Laurent Ben Slimane Timpani P 2010 London Chamber Society Ltd John Mills Douglas Mitchell © Signum Records Ltd Richard Milone Double Bass Any unauthorised broadcasting, public performance, copying or re- Jonathan Morton Mary Scully Bassoon Peter Nall Meyrick Alexander recording of Signum Compact Discs constitutes an infringement of Stacey Watton copyright and will render the infringer liable to an action by law. Miranda Playfair Tim Amherst Richard Skinner Licences for public performances or broadcasting may be obtained Vicky Sayles Roger Linley Graham Hobbs from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted Charles Sewart *Appears courtesy Kathy Shave of EMI Classics in any form or by any means, electronic, mechanical, photocopying, Catherine van de Geest www.emiclassics.co.uk recording or otherwise, without prior permission from Signum Records Ltd. Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] ©

Christine Donnier-Valentin www.signumrecords.com

10 2010 Releases from LCO Live on SignumCLASSICS

LCO LCO Live London Chamber Orchestra Haydn Mozart Beethoven London Chamber Orchestra Christopher Warren-Green conductor Live Rosemary Furniss director Melvyn Tan soloist/director Haydn Symphony No.85 in B flat ‘La Reine de France’ Mozart Piano Concerto No.12 in A K.414 Beethoven Conductor Director Soloist Christopher Warren-Green Rosemary Furniss Melvyn Tan Symphony No.8 in F Op.93

LCO LCO LCO Live London Chamber Orchestra Rossini Mozart Beethoven London Chamber Orchestra Conductor·Christopher Warren-Green Soprano·Susan Gritton

Live Christopher Warren-Green conductor Susan Gritton soprano Rossini La scala di seta: Overture Mozart Symphony No. 1 in E flat K.16 Le nozze di Figaro K.492 Porgi amor, Dove sono Adagio and Fugue in C minor K.546 Beethoven ’Ah Perfido!’ Op.65

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