Australian Chamber Orchestra: International Associate Ensemble at Milton Court 22–24 Oct 2018
Total Page：16
File Type：pdf, Size：1020Kb
Australian Chamber Orchestra: International Associate Ensemble at Milton Court 22–24 Oct 2018 Australian Chamber Orchestra Richard Tognetti director & violin Maria Boyadgis Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. The City of London If anything limits your enjoyment please let us know Corporation is the founder and during your visit. Additional feedback can be given principal funder of online, as well as via feedback forms or the pods the Barbican Centre located around the foyers. Australian Chamber Orchestra: International Associate Ensemble at Milton Court Mon 22 Oct Wed 24 Oct 7.30pm, Milton Court Concert Hall 7.30pm, Milton Court Concert Hall Mozart’s Last Three Symphonies Bach, Beethoven and Bartók Mozart Symphony No 39 in E flat major J S Bach, arr Richard Tognetti The Musical Mozart Symphony No 40 in G minor Offering – Ricercar a 6 interval 20 minutes C P E Bach Sinfonia in B minor Mozart Symphony No 41 in C major, ‘Jupiter’ Sufjan Stevens, arr Michael Atkinson Run Rabbit Australian Chamber Orchestra Run – Suite: Year of the Ox; Year of Our Lord; Year Richard Tognetti director & violin of the Boar Beethoven Scene and Aria, ‘Ah! perfido’ interval 20 minutes Tue 23 Oct Verdi La traviata – Prelude to Act 3 Verdi Otello – Ave Maria 8pm, Barbican Hall Bartók Divertimento Mountain Australian Chamber Orchestra Australian Chamber Orchestra Richard Tognetti director & violin Richard Tognetti artistic director & lead violin Nicole Car soprano Tamara-Anna Cislowska piano Musicians from Guildhall School Satu Vänskä violin & voice of Music & Drama Helena Rathbone violin Ike See violin Timo-Veikko Valve cello Nigel Jamieson staging director Damien Cooper lighting design Jennifer Peedom writer, director & producer Richard Tognetti musical director & composer Renan Ozturk principal cinematography Robert Macfarlane narration scriptwriter Willem Dafoe narrator Christian Gazal, Scott Gray ASE editors David White sound designer Robert Mackenzie sound mixer Jo-anne McGowan producer Joseph Nizeti music editor & music supervisor Paul Wiegard, David Gross, Stephen Boyle, Martyn Myer AO executive producers Post-concert conversation Barbican Hall, 15 minutes after performance Richard Tognetti, director of the Australian Chamber Orchestra, and Jennifer Peedom, director of Mountain, will participate in a post-concert conversation, hosted by Huw 2 Humphreys, Barbican Head of Music. Welcome Welcome Welcome to this residency featuring our The film Mountain, written and directed International Associate Ensemble at Milton by Jennifer Peedom, with cinematography Court, the Australian Chamber Orchestra, and by Renan Ozturk and music selected and its brilliantly innovative director Richard Tognetti. written by Richard himself, promises to be every bit as compelling as The Reef. We may begin in relatively traditional territory with Mozart’s last three symphonies but, For the final concert, the ACO and Richard are as anyone familiar with the work of this joined by the acclaimed Australian soprano ensemble will know, even the most familiar Nicole Car, who sings arias by Beethoven and music comes up new thanks to the sheer Verdi. The orchestra is also joined by musicians imagination and daring of these players. from the Guildhall School, in a follow-up to the highly successful side-by-side collaboration in The last time the ACO and Richard were in 2017. The concert ends with Bartók’s Divertimento, residence, in 2016–17, they presented The a work closely associated with the ACO, having Reef, a mesmerising audio-visual experience featured in its very first concert back in 1975. that combined imagery of north-western Australia with a soundtrack that drew on I hope you enjoy the residency. music of many styles and eras. This time, the subject is mountains: their danger, their Huw Humphreys beauty and their relationship with mankind. Head of Music Jonathan Vaughan, Vice-Principal of the Guildhall School, writes: It’s hard to imagine the sheer spine-tingling thrill the very highest level. It’s a project that combines for students of the Guildhall School working artistic ideals and the educational ambitions of side by side with the players of the Australian both institutions. Chamber Orchestra. To be warmly welcomed into the band and to sit within the pulsing heart of of an ensemble possessing such vibrant energy Violinist Juliette Roos, currently a Fellow at the and drive is nothing short of game changing for Guildhall School, participated in the ACO’s them. It’s a truly visceral experience – there’s a previous collaboration with the School during fresh passion and physicality to the ACO rarely their 2016–17 residency: encountered in the UK and for students to inhabit this very direct, heart-on-the-sleeve, sound world It was an absolute pleasure participating in the is a thrilling ride like no other. Leading it all is ACO/Guildhall side-by-side project in 2017. The the charismatic and inspiring figure of Richard atmosphere in this chamber orchestra is very Tognetti; at once warm and welcoming, he has a special; they maintain a relaxed atmosphere directness and passion to his music-making that while demanding the very best quality from leaves you with the uncanny sense that he has one another and it is a joy to be part of such stared into the soul of every composer he plays. If an inspiring collective of instrumentalists. Their you don’t believe me come and see for yourself! attention to detail set a great example to all of us students. The energy we all felt on stage was It’s a real joy for the Guildhall School to work electrifying, and something we all took away with alongside the Barbican and the ACO’s residency us. A thrilling experience! is a prime example of a partnership working at 3 Monday 22 October 7.30pm Milton Court Concert Hall Wolfgang Amadeus Mozart (1756–91) Symphony No 39 in E flat major, K543 1 Adagio – Allegro . 2 Andante con moto 3 Menuetto and Trio: Allegretto . 4 Finale: Allegro Symphony No 40 in G minor, K550 1 Molto allegro . 2 Andante 3 Menuetto and Trio: Allegretto . 4 Allegro assai Symphony No 41 in C major, K551, ‘Jupiter’ 1 Allegro vivace . 2 Andante cantabile 3 Menuetto and Trio: Allegretto . 4 Molto allegro Australian Chamber Orchestra Richard Tognetti director & violin Soon after his arrival in Vienna in 1781, Mozart out masterpiece after masterpiece, enjoying wrote to his father asking him to stop writing particular success in the fields of opera and unpleasant and unhelpful letters. Worse than the piano concerto. And then, for no apparent that, from Leopold’s perspective, he moved in reason, during the summer of 1788 he turned his with the Weber family whose various daughters attention back to the symphony, composing his offered him plenty of amorous interest and three greatest works in the form – now known as whose very presence in the younger Mozart’s life Nos 39, 40 and 41 – in the space of little more made Mozart senior apoplectic. When Mozart than six weeks. No-one knows for whom he wrote married Constanze Weber, Leopold’s reaction them or whether performances were planned, but was predictable – blind fury – and there was an perhaps it was simply one of those rare instances increasing estrangement between father and son when Mozart actually found the time to write what that would last until Leopold’s death in 1787. he himself wanted to write – rather than having to satisfy commissions. Not only was Constanze penniless and – in Leopold’s eyes – from a disreputable family, but Much has been written about the suffering as time was to prove, she was as hopeless at which Mozart supposedly endured while he was handling money as Mozart himself. But she and composing these great symphonies. While the Mozart loved each other and she certainly must stories of near-starvation and lack of appreciation have been an inspiration to him, because from the make for compelling reading, they are somewhat 4 time of their marriage onwards, Mozart turned exaggerated. The later Viennese years, from 1787 onwards, were in fact a period of artistic and in that Mozart’s beloved six-month-old daughter some ways personal triumph for him. The death Theresia died from intestinal cramps just three of his father in 1787 had, curiously, lifted a great days after the manuscript was signed off on 26 weight from his shoulders, his operatic success in June 1788. Prague had made him happier on a professional level than he had ever been before, he was So what does this first instalment in the near- contentedly married to a woman who returned his miraculous trilogy ‘mean’? For some, there is Mon 22 Oct love, and his appointment as a composer at the an association with Freemasonry, its strange Viennese imperial court involved little work for a 6/4 chords, horn echoes in the main theme, modest but reliable income. key signature of E flat major and rapid mood changes suggesting the kinds of secret Masonic Contrary to what he wrote to his friends, even codes more often linked with The Magic Flute.