Insula orchestra Laurence Equilbey Thursday 8 March 2018 7.30pm, Hall

Beethoven Concerto in C major for violin, and piano (Triple Concerto) interval 20 minutes Louise Farrenc Symphony No 3 in G minor

Insula Orchestra Laurence Equilbey conductor Alexandra Conunova violin Natalie Clein cello Julien Benhamou Elisabeth Brauss piano

6pm: Pre-concert platform To mark International Women’s Day, soloists from Insula orchestra introduce and perform chamber music by Louise Farrenc. Louise Farrenc Piano Trio in E flat major, Op 44 Louise Farrenc Sextet in C minor, Op 40

Anna Besson flute Jean-Marc Philippe oboe Alvaro Iborra clarinet François Charruyer bassoon Jeroen Billiet horn Emmanuel Jacques cello Nathanael Gouin piano

Part of Barbican Presents 2017–18

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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. 2 work inthesecondhalf:LouiseFarrenc’s But for many, themainevent willbethe Sara Ott. stepped inatshortnotice to replace Alice and pianistElisabethBrauss, whohas Alexandra Conunova, cellistNatalie Clein showcases three majortalents: violinist and today’s all-female line-upof soloists Concerto isthemostegalitarian of pieces was absolutely paramount. HisTriple a figure to whom equalitybetween all It’s fitting thatthey beginwithBeethoven, ensemble shefounded sixyears ago. Laurence Equilbey andInsulaorchestra, the it, we’re delighted to welcome back very specialprogramme. To conduct International Women’s Day, features a Tonight’s concert, whichcelebrates Welcome

Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican composer. of thelegacy of thisextraordinarily gifted has surely comefor amajorre-evaluation clamouring for was operas. Butthetime symphonies whenwhattheFrench were world butalsoto beawoman composing to beawoman composing inaman’s Farrenc’s misfortune was not merely at 6pm. performed by players from Insulaorchestra Piano Trio andCminorSextet, whichwillbe Happily, we’ll beableto sampleherEflat cluster of chamberandinstrumental works. completed three symphonies, aswell asa completing his‘Eroica’ Symphony, and in Paris in1804, theyear Beethoven was Symphony No 3inGminor. Shewas born

in Beethoven’s day it was far more common to to common more far was it day Beethoven’s in but Concertos), Brandenburg Bach’s example, (for period Baroque the during common been had soloist one than more for Concertos the choice of instruments. common with the abandoned one, from apart in material no has 56, Op Triple Concerto, the became which work, new D. This in one embryonic the to return than C major, rather in one new entirely an compose to decided he 1804, early in aconcerto of idea the to returned why, he when reason the be may This period. first his of style the to back turning no be then could there that work groundbreaking a such was It period. middle his of start the marking as regarded often is that one and symphony, previous any than complex more and ‘Eroica’,Symphony, grander the far awork Third his composed he year following The 30. Op Sonatas, Violin the as such compositions other to attention his however, turned he and abandoned, quickly opening orchestral The passage. work was the for survive still which of pages several score, afull began even and instruments, these for D major in awork for sketches several made he time that At Symphony. Second his finishing was he time the 1802, around early in orchestra and piano cello, violin, for concerto a composing considered first Beethoven Elisabeth Brauss Brauss Elisabeth Natalie Clein Conunova Alexandra polacca alla 3 Rondo – 2 Largo 1 Allegro 56 (Triple Op Concerto), piano and cello for violin, Cmajor in Concerto Ludwig van Beethoven cello piano violin at the palace of Prince Franz von Lobkowitz (to (to Lobkowitz von Franz Prince of palace the at runs trial first its given was Triple Concerto The new’. something ‘surely was arrangement an such that aletter in remarked himself he however, indeed and period, Beethoven’s from combination of piano, violin and cello is known the for concerto other No survives). fragment a only (of which bassoon and flute piano, for aconcerto written apparently had himself Beethoven youth early his in and used, were combinations various involved, was one than more Where instrument. solo asingle for write to be heard, and the idea is even foreshadowed foreshadowed even is idea the and heard, be to instrument solo first the is cello the movements three all in attention: particular given was it that ensure to trouble took Beethoven To this, by them. counter overshadowed be will cello the that a risk is there and prominent, be to bound are violin and piano the instruments, three these for aconcerto In performances. early in part piano the took himself Beethoven that probable seems it and stated, sometimes is as Rudolph, Archduke friend Beethoven’s for written was part piano the that evidence no is There 1808. May until performance public first its receive not did and 1807 publication for until wait to had it but 1980s, the in discovered documents from evident is as 1804, May of end the around dedicated) was work the whom (1770–1827) (1804–7)

3 Programme note 4 is then extended into a 20-bar theme. There There theme. a20-bar into extended then is this and first, the of opening the to related motif a with begins A flat, in movement, second The here. cadenza no is there chaotic, rather be could soloists three for improvisation an since but, movement first the of end the towards include an improvised cadenza for the soloist usually concertos Beethoven’s chord. F major unexpected and dramatic ahighly with begins it G major, though expected the than rather A minor –in unusually –again is orchestra centralexposition. The for customary section solo but passage short before the main solo a after theme asixth adds then orchestra the orchestra before the enter. soloists Unusually, by the paraded –are five case this –in themes Classical-period concerto, in which a series of a of form usual the in is movement first The bars. six fully for own their on basses double and by orchestral begun is which passage, orchestral opening the in had also occasionally used a used occasionally also had former teacher Neefe, Christian Gottlob who his from idea this derived probably Beethoven a of use its for notable is Rondo concluding The a concerto. in way this in movements two linked had he time first –the abreak without finale the to links then Gmajor. of This achord towards modulating short, movement the cuts Beethoven variations, further of instead but, piano; the from figuration elaborate by extraordinarily decorated theme, whole the of avariation follows interval Cooper ©Barry note Programme 1800s. early the from works his of many so of character heroic the with sharply contrasts and surprises, and originality of full is it works, celebrated most Beethoven’s of one not is this Although end. the to continues and resumes unexpectedly the but rhythm duple quick a to changes metre the coda final the In finale. polacca 20minutes – a Polish-style dance in triple time. time. triple in dance –aPolish-style polacca polacca rhythm then then rhythm for a a for

French audiences were generally far less name, and,partlyasaconsquence of that, the kindof exposure necessaryto make her weren’t theresources inplace for herto gain suspicion for many. Asaresult there simply a Germanform, andthuswas anobjectof symphony was widely regarded inFrance as chamber musicandthree symphonies. The dominated by instrumental forms: pianomusic, Farrenc never wrote anopera. Heroutputis afterwards –was opera. For whatever reasons, in Farrenc’s lifetime –andfor sometime deserved. Thesupreme musicalform inParis compositions never achieved thesuccessthey But there isanother reason why Farrenc’s her pay equalto thatof hermalecolleagues. authorities took theradical step of awarding premiere of herdelightfulNonet(1849) thatthe at theConservatoire, itwas onlyafter the became amuch-admired Professor of Piano eminence asavirtuosopianist,andeventually Although shewent onto achieve considerable excluded from official compositionclasses. had to beprivate lessons,aswomen were the Paris Conservatoire, butthesewould have with Anton Reicha, compositionteacher at At 15, shewas sentby herparents to study aspiring women composershad to endure. came upagainst thekindof obstacles all and JohannNepomukHummel,shesoon from herpianoteachers IgnazMoscheles Hector Berlioz–anddespite encouragement parents –unlike, say, hercontemporary Despite beingluckyenoughto have supportive known? Oneobvious answer ishergender. Why isn’tLouiseFarrenc’s namefar better Allegro 4 Finale: Vivace 3 Scherzo: 2 Adagio cantabile –Allegro 1 Adagio Gminor,Symphony 36 3 in Op No Farrenc Louise (1804–75) It seems,however, thatthemusicalworld crucial occasionearswere largely closed. this medium.Itwould appearthaton despite herobvious giftfor thinkingin afterwards shewrote nomore symphonies, in 1849, two years after itwas written, yet Third Symphony attheParis Conservatoire did manage to secure aperformance of her That lastremark isparticularlytelling. Farrenc the way andwhichcausedherto despair.’ obstacles thatMadame Farrenc metalong a halfway decentwork ...Suchwere the ears anyway whensomeoneoffers them publishers, especiallyinFrance, closetheir audience remains unreceptive, andthe the criticFrançois-Joseph Fétisin1878, ‘the works. ‘Ifthecomposerisunknown’, wrote receptive to large-scale abstract orchestral balances warm lyricismwithtroubling hints The eloquentslow movement thatfollows faster codaattheendof themovement. not leastintheway theoboeleads into the fleeting butvery memorable openingvision, movement there are subtlereminders of that emerges deftlyfrom this,yet throughout the oboe, answered by strings.Anagitated Allegro with abriefbuttouching preface onsolo slow introductions; Farrenc, by contrast, begins symphonies of thetimeopenwith portentous reveals how fresh herthinkingis.Many symphonic form. Rightatthestart Farrenc work by acomposerwithstrong feeling for conceived, highlyimaginative andoriginal Third Symphony for whatitis:abeautifully is atlastbeginningto recognise Farrenc’s

(1847) (1847)

5 Programme note 6 Programme note ©Stephen Johnson – andallthemore effective for that. ending isconcise,andfirmly intheminor a triumphantmajor-key peroration, butthe might feel thatshehasearnedtherightto – memorably tuneful.After this,thelistener cogent, intensely dramatic, and–typically Finale isthecrown of herThird Symphony: adequate final movements, butFarrenc’s in the19th centuryhad trouble providing about it.Many composers of symphonies movement, butthere’s nothing imitative mode; there’s aBeethovenian swing to this driving Scherzoreturns usto thedarkminor of martialmusicon timpani.Thenabrilliant, Jean-Baptiste Millot the programme for its1,150-seater Auditorium. close to Paris, andisincharge of selectingpartof artistic venue, LaSeineMusicale,onÎleSeguin, Theorchestra isin residence inanew repertoire. devoted to theClassicalandearlyRomantic instrument Insulaorchestra, anensemble period- des Hauts-de-Seine,shefounded the In 2012, withsupportfrom theDépartement Salzburg, amongothers. Salzburg, andtheMozarteumorchester alte MusikBerlin,Concerto Köln,Camerata National Orchestra of Wales, Akademie für Philharmonic, Café Zimmermann,BBC Bucharest, LiègeandLeipzig,theBrussels She hasconducted theorchestras of Lyon, open-minded approach to herart. choir, andisrecognised for herrigorous, yet director of theInsulaorchestra andaccentus Laurence Equilbey isconductor andmusical Laurence Equilbey About the performers Laurence Equilbey conductor

accentus and soloists Nicholas Angelich, accentus andsoloistsNicholasAngelich, they record two discsof Beethoven featuring orchestrations of SchubertLieder. Thisseason ed Euridice recorded Mozart’sRequiem, Gluck’s accentus. WithInsulaorchestra shehas She hasanextensive discography with Young SingersattheParis Conservatory. Director of EducationattheDepartmentfor present day. SheisalsoArtisticDirector and productions andfrom theBaroque to the ranging from accentus interprets great vocal repertoire, Under Laurence Equilbey’s artisticdirection, a closerelationship withtheParis Philharmonie. Théâtre deProvence inAix-en-Provence andhas Comique. Sheisanassociate artistof theGrand Gounod’s (Opéra Comique).Thisyear sheconducts Sous apparence Normandie andOpéra Comique),theballet der Wien), Elbphilharmonie), der Wien,Ludwigsburger Schlossfestspiele, de Provence, LaSeineMusicale,Theater an staged by LaFura delsBaus(Grand Théâtre Recent highlightsincludeHaydn’s Denise Ham,ColinMetters andJormaPanula. and London,conductingwithEricEricson, Laurence Equilbey studied musicinParis, Orchestra, isscheduledfor later thisyear. Choir andtheDanishNationalSymphony in Copenhagen withtheDanishNational Kadouch. Therelease of Alexandra Conunova, Natalie CleinandDavid La nonnesanglante Albert Herring , Mozart’s ‘Coronation’ Mass and , Mozart’s‘Coronation’ Massand a cappella (Opéra deParis) and Lucio Silla works to fullystaged Comala (Opéra deRouen (Theater an (Theater an at the Opéra attheOpéra , recorded Die Schöpfung Orfeo Orfeo Ciboulette

7 About the performers 8 Finghin Collins,Blythe Teh Engstroem, Katia Brovtsyn, Gérard Caussé,Renaud Capuçon, regularly collaborates withartistssuchasBoris She isalsoadevoted chambermusicianand Andrew ManzeandGáborTakács-Nagy. Yuri Bashmet,Teodor Currentzis, HannuLintu, with conductors includingChristianBadea, Philharmonic Orchestra. Shehascollaborated orchestras, Moscow SoloistsandNDRRadio Mahler, Verbier Festival andViennaChamber State Opera Orchestra, Hermitage Orchestra, and Wuhan Symphony orchestras, Hungarian including theBucharest, Nuremberg, Saarbrücken level andhasperformed withleading orchestras, She hasestablished herselfasasoloistonhigh programme of the2015 Verbier Festival. prize alsoincludedasolorecital inthemain artist of the2013 Verbier Festival Academy; this Julius BärPrizefor themostaccomplished Henri Marteau (2008).Shewas awarded the at TiborVarga (2010), IonVoicu (2009)and International ViolinCompetition,aswell as Violin Competitionand2011 George Enescu including the2015 Singapore International She haswon majorprizesatcompetitions Radio PhilharmonicandtheMoscow Soloists. Bern, theErfurtPhilharmonicOrchestra, NDR tour of Japanandperformances withCamerata Schloss Elmau,Verbier Festival andothers, a the Radio France Festival, Festival dePâques, Recent highlightshave includedconcertsat her vividtone andhervirtuosoartistry. in Hanover. Shewas praised by thejuryfor the 2012 JosephJoachim ViolinCompetition critical acclaim whenshewon FirstPrizeat Alexandra Conunova attracted publicand Alexandra Conunova Alexandra Conunova violin

Neda Navaee Natalie Clein the DeutscheStiftung Musikleben. made inVenice in1735, kindlyloanedby She currently plays aSanto Seraphin violin Oistrakh andIgorOzim,amongothers. taken additional classeswithIvryGitlis,Igor École deMusiqueLausanne.Shehas Hanover andRenaud CapuçonattheHaute Krzysztof Wegrzyn attheUniversity of Musicin Munteanu attheUniversity of MusicinRostock, violin attheage of 6.ShestudiedwithPetru the Republic of Moldova andtook upthe Alexandra Conunova was bornin1988 in Stadler, KirillTroussov, Istvan Vardai andothers. Andreas Ottensamer, JulienQuentin,Alexei Alexander Melnikov, Paul Meyer, EdgarMoreau, and MarielleLabèque,Yura Lee,Michail Lifits, cello concertos, aswell asBloch’s Records and hasrecorded Saint-Saëns’stwo She isanexclusive recording artistfor Hyperion and widevariety of expressive styles. been praised for itsrange of colours orchestras worldwide. Herplaying has at majorvenues andwithleading distinguished career, regularly performing British cellistNatalie Cleinhasbuilta Zealand Symphony orchestras, BBC National City of Birmingham, Montreal andNew the Philharmonia,Hallé,Bournemouth, Orchestras withwhichshehasappeared include has previously released three discsonEMI. Dallapiccola was released inJanuary2017. She A solodiscof works by Bloch,Ligetiand Symphony Orchestra to great criticalacclaim. and Bruch’s Natalie Clein Kol Nidrei cello with theBBC Scottish Schelomo

Monika Lawrenz in Hanover intheclassof BerndGoetzke. Hochschule fürMusik,Theater undMedien Raekallio. Since2010 shehasattended the she alsobeganstudyingintheclass of Matti the pianoclassof ElenaLevit and in2008 at theage of 4.Two years later sheentered parents andreceived herfirst pianolessons Elisabeth Brauss was bornin1995 to musical Elisabeth Brauss series. Her dutiesthere includecurating aconcert of MusicalPerformance atOxford University. year positionof Artist-in-Residence andDirector In 2015 Natalie Cleinwas appointed to thefour- director Deborah Warner, amongothers. Acosta, writer and disciplinary projects withthedancerCarlos also curated andbeeninvolved incross- Elias andDobrinka Tabakova andhas composers suchasThomasLarcher, Brian She regularly works withcontemporary chamber musicfestival inPurbeck,. St Luke’s. Sheisartisticdirector of herown of four concertsfor BBC Radio 3atLSO and Oxford; aswell ascurating aseries Cello Suites Nos 1–6inLondon,Southampton musician andrecently performed Bach’s She isalsoakeen recitalist andchamber Stéphane Denève andHeinrichSchiff. Gennady Rozhdestvensky, Leonard Slatkin, including SirMarkElder, SirRoger Norrington, Aires. Shehasperformed withconductors Lyon andOrquesta FilarmónicadeBuenos Orchestra of Wales, Orchestre Nationalde Elisabeth Brauss piano

received anumberof prestigious scholarships. the KissingerPianoOlympics.Shehasalso ‘Ton undErklärung’inFrankfurt andin2016 Bremen intheLaeiszhalle. In2015 shewon the with theDeutscheKammerphilharmonie Prize. Part of herprizewas aperformance won theTONALi Grand PrixandtheAudience the State of Lower Saxony in2012. In2013 she the 2010 Schleswig-Holstein Festival andby she was awarded Emerging ArtistsPrizesat Grotrian Steinweg Competition inBrunswick, Competition inHamburg andtheInternational In addition to first prizesattheSteinway Piano Norway, Russia,Ukraine andTaiwan. tours have taken herto China,theUSA, Vorpommern Festival. International concert Holstein Festival andtheMecklenburg- Bonn, Heidelberg SpringFestival, Schleswig- Theatre, St Petersburg andattheBeethovenfest Konzerthaus, Hamburg Laeiszhalle, Mariinsky Elisabeth Brauss hasappeared attheBerlin and theDeutscheKammerphilarmonie Bremen. Symphony Orchestra, theNDRRadiophilarmonie Dortmund Symphony orchestras, Macao Youth include thehr-Sinfonieorchester, theBochumand soloist. Orchestras withwhichshehasappeared a recitalist, chambermusicianandconcerto She hasalready given numerous concertsas

9 About the performers 10 Julien Benhamou in new audiencesand creating anongoing of classicalmusicwiththeaimsof drawing Seine department.Italsoreconsiders theformats initiatives across itshomebaseintheHauts-de- innovative programme of cultural and educational The orchestra hasdeveloped awide-ranging and tailoring itssoundto large auditoriums. orchestra performs onperiod instruments, and others featuring chorusandsoloists.The performs both purely symphonic programmes Schubert andWeber forming acore. It Classical andRomantic eras, withMozart, Insula orchestra’s repertoire focuses onthe at thePalacio deFestivales deCantabria. Elbphilharmonie, EssenPhilharmonieand Schlossfestspiele, Basle’sStadtcasino, Hamburg Paris, Salzburg Mozartwoche, Ludwigsburger been invited to play atthePhilharmoniede festivals. Since itsfoundation, theorchestra has French andinternational venues andleading Insula orchestra alsoperforms atother major of theprogramme for its1,150-seat Auditorium. Paris. Theorchestra isincharge of selectingpart the River Seinejustafew milesdownstream from and JeandeGastinesonIleSeguin,anislandin Musicale, designedby architects ShigeruBan in residence inanew artisticvenue, LaSeine the Département desHauts-de-Seineandis Equilbey withlocalgovernment supportfrom Insula orchestra was founded in2012 by Laurence Insula orchestra Katowice andhere attheBarbicanCentre. Philharmonie, NOSPRConcertHallin Comique, Theater anderWien,Warsaw at theGrand Théâtre deProvence, Opéra Highlights thisseasonincludeguestappearances to expand theartisticimpact of any given project. communication, usingvideosandonlinecontent It alsoembraces new technology asameansof the potential of leading international musicvenues. concert versions andfullystaged opera, exploiting performance format midway between traditional dimensions of thevenue andthestage. Itpitches its dialogue between symphonic music,thespatial orchestra ispartof theFEVISandSPPF. involvement of individualsandcompanies.Insula and Insulaorchestra circle of friendsdevelops the activities of Insula orchestra. accio, the accentus W. Materne supportsthecultural andeducational d’Entreprise Michelin,Grant Thornton, Meludiaand Partners joinedtheadventure: Carrefour, Fondation residence atLaSeineMusicale.Five Funding Département desHauts-de-Seineandisin Insula orchestra receives supportfrom the Natalie CleinandDavid Kadouch. Nicholas Angelich,Alexandra Conunova, albums of Beethoven withaccentus andsoloists and Wiebke Lehmkuhlandrecords two of Schubert’sLiederwithStanislas deBarbeyrac released analbumof orchestral arrangements highly criticallyacclaimed. Thisseasonithas and Mozart’s‘Coronation’ Masshave been Mozart’s Requiem, Gluck’s Insula orchestra’s first three recordings – Orfeo ed Euridice Orfeo edEuridice Byron Wallis Costa François Garcia Cécile Kubik Cécile Carré Adrien Caravassilis Maximilienne PernetBénédicte Deuter Daniel Violin 2 Enrico Tedde Ryu Anna Michal Piotrowski PerreauLouis-Jean Víctor MartínezSoto CarlottaConrado Chivers David Carrión Roldán Bernabé Ambach Catherine Stéphanie Paulet Violin 1 orchestra Insula

leader Morgane Eouzan Morgane Eouzan Besson Anna Flute Lino Maldonado Guyon Clothilde Chanu Michael Roberto DeLarrinoa Double Bass Robert Smith Hainsworth Julien GrattonClaire Pablo Garrido Jacques Emmanuel Cello Chloé Parisot Julien LoPinto Lescoat Benjamin Laloum Lika Gaspar Laurent Clément Brigitte Viola Koen Plaetinck Percussion Jean-Baptiste Lapierre Tizac Serge Trumpet Gilbert CamiFarras Billiet Jeroen Horn Emmanuel Vigneron Charruyer François Bassoon Ana Melo Alvaro Iborra Clarinet Anne Chamussy Philippe Jean-Marc Oboe going to press correct atthetimeof The listof players was

11 About the performers Driving progress is more than just words. It’s our purpose, our belief, and our promise that at Reed Smith, everything we do is to apply our global experience in law to drive progress for our clients, for ourselves, and for our communities.

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