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London's Symphony Orchestra London Symphony Orchestra Living Music Wednesday 13 January 2016 7.30pm Barbican Hall SIR SIMON RATTLE Ravel Le tombeau de Couperin Dutilleux L’arbre des songes INTERVAL Delage Four Hindu Poems Dutilleux Métaboles Ravel Daphnis and Chloe – Suite No 2 Sir Simon Rattle conductor Leonidas Kavakos violin London’s Symphony Orchestra Julia Bullock soprano Concert finishes approx 9.55pm Broadcast live on BBC Radio 3 Filmed and broadcast live by Mezzo 2 Welcome 13 January 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s concert, in which the LSO LIVE WINS GRAMOFON AWARD LSO’s Music Director Designate Sir Simon Rattle complements last weekend’s performances of LSO Live, the Orchestra’s record label, is delighted to Debussy’s Pelléas et Mélisande with the works announce that its release of Mendelssohn’s Symphony of fellow French composers of the 20th century: No 3 with Sir John Eliot Gardiner and Schumann’s Ravel, Dutilleux and Delage. Piano Concerto with Maria João Pires was named Foreign Classical Compact Disc of the Year by the The year 2016 marks 100 years since the birth of renowned Hungarian quarterly Gramofon. Order Henri Dutilleux, and we mark this anniversary with your copy through the LSO Live website. performances of two of his works: the orchestral Métaboles and the violin concerto L’arbre des lsolive.lso.co.uk songes. For the latter we are delighted to be joined by violinist Leonidas Kavakos, a long-standing friend of both the LSO and Sir Simon. THE LSO JANUARY SALE It is also a great pleasure to welcome soprano Nothing beats the January blues like a good concert! Julia Bullock, in her London concert debut, to The LSO January Sale is now on, giving you the perform Delage’s Four Hindu Poems at the centre chance to save 20% on selected LSO concerts in of this evening’s programme. the new year. For full details of the events included in the sale, visit the LSO website. Thank you to our media partners BBC Radio 3 and Mezzo, who record and film tonight’s concert for lso.co.uk/january-sale broadcast across Europe. We hope you can join us again on 17 January, when A WARM WELCOME TO TONIGHT’S GROUPS conductor Pablo Heras-Casado returns to conduct Tchaikovsky and Dvorˇák, and cellist Alisa Weilerstein The LSO offers great benefits for groups of 10+, performs Elgar’s Cello Concerto. including a 20% discount on standard tickets. At tonight’s concert we are delighted to welcome: Adi Tours The University of Wisconsin Nicole Hu and Friends Kathryn McDowell CBE DL Luther College Managing Director Ruth Fairbanks and Friends Huw Jones and Friends lso.co.uk/groups lso.co.uk Programme Notes 3 Maurice Ravel (1875–1937) Le tombeau de Couperin (1917, arr 1919) 1 PRÉLUDE In 1919 Ravel decided to orchestrate four of the 2 FORLANE movements (omitting the fugue and toccata) 3 MENUET for a mostly Classical orchestra (though with a 4 RIGAUDON not-so-Classical harp). After a graciously sparkling Prélude – whose intricate pianistic textures were PROGRAMME NOTES WRITER For Ravel, as for many of his compatriots, the First perhaps the biggest challenge when it came to JEREMY THURLOW is a composer; World War was about the defence of his national making the orchestration, and require miracles from his music ranges from string quartets culture against the threat of barbaric invasion and the oboes and other woodwinds – there follows a to video-opera and won the George destruction. Although he was keen to join up and lilting Forlane, a charming Menuet and a lively and Butterworth Award 2007. Author of fight alongside his brother, he was too small and exuberant Rigaudon. a book on Dutilleux, he broadcasts delicate to pass the medical exam. However, he on BBC Radio 3 and is a Fellow of managed to get a job as a nurse’s assistant, and Crushingly painful though his war experiences Robinson College, Cambridge. later as a truck driver. must have been, Ravel kept unswervingly to his original intention: his art should aspire to rise above bitterness and despair, celebrating those COMPOSER PROFILE ‘The homage is directed less in fact qualities of elegance, beauty, clarity and proportion Page 6 to Couperin himself than to French which he so admired and loved in the music of the French Baroque. music of the 18th century.’ Ravel, referring to the style and inspiration of his Le tombeau de Couperin FRANÇOIS COUPERIN (1668–1733) In Ravel’s very first month of war work he wrote was born into a prominent musical to his friend Roland-Manuel of a new idea to family in France, but his own success write a French Suite – ‘No, not what you think: no led to his designation as ‘Couperin Marseillaise, but it will have a forlane and a gigue; the Great’. He was a composer, an no tango, however.’ But his work was exhausting organist and a harpsichordist, and and dangerous and left him little time or energy to it was for the harpsichord that he compose. It was only when he was discharged from wrote a treatise on playing style the army in 1917, weak and depressed following that would become one of the main the death of his mother, that he began his suite for resources in the early music revival solo piano, now titled Le tombeau de Couperin. His of modern times. He also wrote four tribute to a golden age of French culture – the age volumes of harpsichord music – over of composer and harpsichordist François Couperin – 230 pieces – that would become now also served as a Tombeau or memorial for important influences on composers six friends recently killed at the front, to whom he as diverse as J S Bach, Richard dedicated its six movements in the forms of an Strauss and Ravel. 18th-century suite. 4 Programme Notes 13 January 2016 Henri Dutilleux (1916–2013) L’arbre des songes (1979–85) 1 LIBREMENT (FREELY) – INTERLUDE before releasing it, but on this occasion finding a way 2 VIF (SHARP) – INTERLUDE through the dense forest he had begun to conjure 3 LENT (SLOWLY) – INTERLUDE up proved particularly difficult, and he told how on 4 LARGE ET ANIMÉ (BROAD AND ANIMATED) reaching the end of the rapturous third movement in 1983 he ‘hit a brick wall’. LEONIDAS KAVAKOS VIOLIN When eventually a way forward was found it was not in the forest but outside the frame, in the rich ‘All in all, the piece grows somewhat like a tree, for the hubbub of an orchestra tuning up, a sound which constant multiplication and renewal of its branches is Dutilleux deftly recreates, draws into the soundworld of the concerto and then tightens into a catapult the lyrical essence of the tree. This symbolic image, as to launch the final movement. The work was finally well as the notion of a seasonal cycle, inspired my choice premiered in November 1985 and was an immediate success: three decades later it is one of very few of L’arbre des songes as the title of the piece.’ modern concertos to have been taken up by soloists Henri Dutilleux around the world and to have held a buoyant place in the repertoire. COMPOSER PROFILE The working title for this work was ‘Brocéliande’ – Page 6 the magical Breton forest and setting of many an The four movements of the concerto hint at two Arthurian legend. Dutilleux only decided on L’arbre basic tempos and moods: dreamy reminiscence in des songes (The Tree of Dreams) after the piece the first and third, giving way to a more energetic DUTILLEUX’S PERFECTIONISM was finished, perhaps to discourage attempts to tie impulse in the second and fourth. While traces of Dutilleux was a renowned the music down to a specific narrative, something this basic scheme remain audible, it is obscured perfectionist who spent many years he was always keen to avoid. But the importance in various ways. Firstly, Dutilleux joined the four on each piece, meticulously revising of trees is clear in both titles – both as a model of movements together into a continuous flow, writing and reworking until it met his almost powerful and luxuriant organic growth, and as a in the score of his wish to do away with the gaps impossibly high standards. In an source of poetry, legend, and as a kingdom of the between movements ‘so as to sustain the power interview with The Guardian he said, imagination. In contrast to the rather everyday ‘rêves’, of enchantment’. Connecting the movements are ‘I always doubt my work. I wrote ‘songes’ is a more poetic and evocative word for three interludes, which mingle echoes of what has of The Shadows of Time that it was ‘dreams’. (These connotations unfortunately went been heard and intimations of what is yet to be ‘stained with pessimism’, and that for nothing when a British newspaper carelessly heard in an improvisatory manner, confusing the is how I feel. I always have regrets. announced the premiere of L’arbre des singes – sense of chronology and blurring the boundaries That’s why I revise my work so much ‘the tree of monkeys’…) of the movements themselves. (The ‘tuning up’ and, at the same time, I regret not episode is the third of these interludes.) And even being more prolific. But the reason Commissioned for virtuoso violinist Isaac Stern, this within the four movements themselves there is a I am not more prolific is because I violin concerto in all but name was begun in 1979, persistent tendency for the musical narrative to slip doubt my work and spend a lot of though the original plan of a premiere celebrating into a delicious daydreaming, so that the initially time changing it.
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