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Also available… RACHMANINOV SYMPHONY NO.2 LIVE IN CONCERT VLADIMIR ASHKENAZY 7 4 7 8 4 4 D D C C G G I I S S

Nielsen: Flute & Clarinet , Aladdin Suite Rachmaninov: Symphony No.1 Vladimir Ashkenazy conductor Samuel Coles flute SIGCD484 Mark van de Wiel clarinet Paavo Järvi “Ashkenazy knows how to shape detail and soar in the big SIGCD477 melodic moments. The Philharmonia sound is muscular and alert, from the opening woodwind solos to the mighty, “Mark van de Wiel plays this demanding work with flair, stirring symphonic tutti of the finale.” poise and insight; and, like Coles, receives an esteemed The Observer collaboration from the Philharmonia Orchestra and Järvi … the sound is vivid and complements first-class music and music-making.” Classical Source

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SERGEI RACHMANINOV 1873-1943 he resigned from the staff of the Bolshoi and RACHMANINOV Symphony No. 2 in E minor, Op. 27 went off to Italy with his family, intending to SYMPHONY NO.2 escape the political unrest in Russia. But work LIVE IN CONCERT Largo – Allegro moderato proved difficult: Rachmaninov had hoped to Allegro molto begin another opera, based on Flaubert’s novel Symphony No. 2 in E minor , Op. 27 Adagio Salammbô , but wranglings over the libretto Allegro vivace forced him to abandon the idea. His young 1 I. Largo – Allegro moderato 18.37 daughter, Irina, was unwell and in the autumn 2 II. Allegro molto 10.16 It was not until the second half of the last century the family returned to Russia – but not for long. 3 III. Adagio 15.05 that Rachmaninov began to be taken seriously as They set off almost immediately for Dresden, 4 IV. Allegro vivace 14.41 a composer. Previously, all that was well known where they spent a few months of each of his work were his concertos (the Second subsequent year living in relative peace and Total timings: 58.42 and Third in particular) and a handful of piano seclusion. Rachmaninov was able to concentrate pieces – the best-known being the celebrated C once again on composition. He began work on yet PHILHARMONIA ORCHESTRA sharp minor Prelude, which he wrote when he was another opera, this time based on a play by VLADIMIR ASHKENAZY CONDUCTOR still in his teens and went on to despise in later Maeterlinck, Monna Vanna ; and – in secret – on life. Nowadays his piano music is no longer another symphony. Perhaps he kept the symphony regarded as fodder for virtuosos with strong under wraps because he was still sensitive about fingers and weak intellects, and his symphonic the dismal reception of his First Symphony. music is treated with due respect. Whatever the reasons, not even his friends knew about it until they read about it in a newspaper. But one area of his output is still little-known: his operas. Rachmaninov worked for several years as One such friend, Mikhail Slonov, wrote asking an opera conductor and gave the first about the report and Rachmaninov replied: ‘I performances of two of his own operas at the have composed a symphony. It’s true! It’s only Bolshoi Theatre in the spring of 1906. ready in rough. I finished it a month ago and Immediately after these performances, however, immediately put it aside. It was a severe worry to

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me and I am not going to think about it any more. awarded Rachmaninov the 100-rouble first prize Rachmaninov’s trademarks, a dactylic rhythm which are such a distinctive feature of the theme, But I am mystified how the papers got hold of it!’ for the symphony that same year; Scriabin came driving the music forwards. There is a drive the music forward in a headlong gallop. A And he expanded further in another letter: second with Le poème de l’extase . contrasting lyrical second theme, a brief respite cymbal crash and a brass fanfare introduce the ‘Recently heard from Slonov that he read in some from the galloping opening subject, and then a effulgent second subject, which ends with a paper that I had finished a symphony. As you may The symphony opens with a long, brooding slow central section, which – like the motto theme peaceful reminiscence of the ‘Adagio’. After a have heard something about this too, I want to introduction. It is in an arch shape, rising from that opens the symphony – sounds like a less serene but still good-humoured say a few words on the subject. A month ago, or the darkness of a motto theme in the cellos and Russian Orthodox procession. development, the recapitulation is introduced by more, I really did finish a symphony, but to this basses, reminiscent of Russian Orthodox chant, a huge crescendo , beginning with a downward must be added the phrase “in draft”. I have not to a passionate climax and then subsiding again The ‘Adagio’ is the lyrical heart of the symphony. scale on the bassoon. The whole orchestra announced it to the world because I want to into the gloom. A recitative for the cor anglais Here Rachmaninov is at his romantic greatest, eventually joins in – even the glockenspiel – complete it properly first. While I was planning to ushers in the ‘Allegro’, a large-scale sonata writing passionate and intense music, at once before the march theme makes its triumphant clean it up, it became terribly boring and movement built principally upon the violins’ first yearning and nostalgic. The clarinet melody – one return. The recapitulation of the second subject repulsive to me. So I put it aside and went on with subject, which manages to soar and drive of the greatest tunes of the 20th century – is is topped off by a final return of the motto-theme, other things. So the world wouldn’t know anything forward simultaneously. A solo clarinet accompanied by a remarkable texture, created by and a whirlwind coda brings the symphony to a about it yet, if it weren’t for Ziloti, who came here introduces a new tune, taken up by the strings, dividing the strings into no less than 16 joyous conclusion. and dragged out of me everything I’ve done and consisting of falling sequences – one of independent parts. The movement is in sonata everything I’m going to do. I told him I’m going Rachmaninov’s melodic trademarks. There is one form, with a second subject group made up of a © Wendy Thompson to do a symphony. So that’s how I already have an more theme in the exposition, a radiant, lyrical series of questions and answers for the invitation to conduct it next season!’ tune for the cellos. The tempestuous woodwinds and a brief development section. But development section rises to first one climax and this wonderful music defies analysis, in that its In fact, all this was true. Rachmaninov began then another, even louder and more dissonant. beauty lies in the seemingly endless melody that work on the orchestration of the Second The recapitulation dwells more on the gentler Rachmaninov spins. Symphony in the summer of 1907, immediately material, music that seems the more passive after the birth of his second daughter, and after the storms of the development. The ‘Adagio’ ends in a mood of quiet resignation, finished it shortly before the first performance, at once positive and melancholy. After that, the which he conducted himself in St Petersburg The scherzo opens with a swaggering theme for finale bursts in with an opening march-like early in 1908. The Glinka Prize committee horns, with the violins articulating another of theme, bristling with bravura energy. The triplets,

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the UK as it does in , especially at its More recently the Philharmonia and Salonen residencies: in Bedford, Leicester, Canterbury, have forged a new path with Virtual Reality. Basingstoke, at the Three Choirs Festival and 360 Experience , produced with 3D audio and Garsington Opera. At the heart of the UK video, has been presented at Southbank Centre residencies is a programme delivered by the and at the Ravinia (Chicago) and Cheltenham Philharmonia Education team that empowers Festivals, and is sold through the people in every community to engage and PlayStationVR store. participate in orchestral music. The Philharmonia was founded in 1945 by EMI Internationally, the Philharmonia is active producer . It has been self- across Europe, Asia and the USA. With Esa- governing since 1964 and is owned by its 80

e Pekka Salonen, the Orchestra has recently members. During its first seven decades, the d e o r B

x undertaken major tours to Taiwan and Japan Orchestra collaborated with most of the great i l e F

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o (spring 2017), West-Coast USA (autumn 2016) classical artists of the 20th century, such as t o h P and a residency at Festival d’Aix-en-Provence in Strauss and Karajan. PHILHARMONIA ORCHESTRA summer 2016. Finnish conductor and composer Esa-Pekka The Philharmonia Orchestra is a world-class The Orchestra’s home is Southbank Centre’s As one of the world’s most recorded orchestras, Salonen has been Principal Conductor & Artistic symphony orchestra for the 21 st century. Led by Royal Festival Hall in the heart of London, where the Philharmonia’s international recognition and Advisor since 2008. Jakub Hr u˚ša and Santtu- its Principal Conductor & Artistic Advisor Esa- it presents a Season of over 50 performances reputation in part derives from its extraordinary Matias Rouvali are Principal Guest Conductors Pekka Salonen, the Philharmonia has a each year. Orchestral programming is recording legacy, which in the last ten years has and honorary conductor positions are held by pioneering approach to the role of the modern- complemented by series including Philharmonia been burnished by digital and technological Christoph von Dohnányi and Vladimir Ashkenazy. day symphony orchestra, reaching new at the Movies , Music of Today and the innovation. The Orchestra now records and Composer Unsuk Chin is Artistic Director of the audiences and participants through audience Philharmonia Chamber Players. releases music across multiple channels and Orchestra’s new-music series, Music of Today . development, digital technology and learning media, from an iPad app to releases on partner and participation programmes. The Orchestra is committed to presenting the label Signum Records. The Philharmonia’s Principal International same quality of live music in venues throughout Partner is Wuliangye .

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1ST VIOLIN VIOLA Jan Zahourek Geremia Iezzi VLADIMIR ASHKENAZY Zsolt-Tihamér Visontay Yukiko Ogura Salima Barday Gowani Jonathan Maloney Victoria Sayles Gwendolyn Fisher James Handy One of the few artists to combine a successful Nathaniel Anderson-Frank Shiry Rashkovsky FLUTE Imogen East Michael Turner Samuel Coles TRUMPET career as a pianist and conductor, Russian-born Eleanor Wilkinson Gijs Kramers June Scott Jason Evans Vladimir Ashkenazy inherited his musical gift from Adrián Varela Cheremie Hamilton-Miller Keith Bragg Alistair Mackie both sides of his family; his father David Ashkenazy Karin Tilch Amanda Verner Mark Calder was a professional light music pianist and his Soong Choo Linda Kidwell PICCOLO Robert Farley Eugene Lee Lucia Ortiz Sauco Keith Bragg mother Evstolia (née Plotnova) was daughter of a Cindy Foster Graeme McKean CORNET chorus master in the . Eunsley Park Pamela Ferriman OBOE Jason Evans Ashkenazy first came to prominence on the world Charlotte Reid Stephanie Edmundson Gordon Hunt Mark Calder stage in the 1955 Chopin Competition in Warsaw Paula Muldoon Eugene Feild and as first prize-winner of the Queen Elisabeth Erzsebet Racz CELLO TROMBONE Cassandra Hamilton Timothy Walden COR ANGLAIS Byron Fulcher Competition in Brussels in 1956. Since then he has

Karen Stephenson Jill Crowther Philip White built an extraordinary career, not only as one of the s r e d

2ND VIOLIN Eric Villeminey n most outstanding pianists of the 20th century, but u a S

Annabelle Meare Deirdre Cooper CLARINET BASS TROMBONE h t as an artist whose creative life encompasses a vast i e Emily Davis Anne Baker Mark van de Wiel Daniel West K ©

range of activities and continues to offer inspiration : o

Fiona Cornall Bianca Riesner Laurent Ben Slimane t o h Samantha Reagan Lauren Steel Jennifer McLaren TUBA to music-lovers across the world. P Gillian Costello Judith Fleet Peter Smith Gideon Robinson Julie-Anne Manning BASS CLARINET has formed the larger part of Ashkenazy’s activities for the past 30 years. He continues his Julian Milone Rosalie Curlett Laurent Ben Slimane TIMPANI longstanding relationship with the Philharmonia Orchestra, who appointed him Conductor Laureate in Susan Hedger Marney O'Sullivan Jan Regulski BASS BASSOON 2000. In addition to his performances with the orchestra in London and around the UK each season, Teresa Pople Christian Geldsetzer Ursula Leveaux PERCUSSION and on countless tours with them worldwide, he has also developed landmark projects such as Prokofiev Helen Cochrane Adam Wynter Todd Gibson-Cornish Oliver Patrick and Shostakovich Under Stalin (a project which he also took to Cologne, New York, Vienna and Moscow) Joanne Chen Michael Fuller Peter Fry and Rachmaninoff Revisited (which was also presented in Paris). Together, Ashkenazy and the Anna Brigham Gareth Sheppard HORN David Corkhill Calina de la Mare Andrew Vickers Nigel Black Christopher Terian Philharmonia have undertaken a major tour of China, a European tour with soloists and Samuel Rice Kira Doherty Vadim Repin and a ground-breaking tour of Latin America with soloists Nelson Freire and Esther Yoo.

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Ashkenazy is also Conductor Laureate of both the Transcriptions and Beethoven’s , and NHK Symphony orchestras and ‘Ashkenazy: 50 Years on Decca’ – a 50-CD box-set Principal Guest Conductor of the Orchestra della celebrating his long-standing relationship with the Svizzera Italiana. He has recently stepped down label , a milestone collection of Ashkenazy’s vast from the Music Directorship of the EUYO, a post catalogue of Rachmaninov’s piano music, which held with great satisfaction for 15 years. also includes all of his recordings as a conductor of Previously he has held posts as Principal the composer’s orchestral music. June 2016 saw the Conductor and Artistic Advisor to the Sydney release of Shostakovich’s Piano Trios Nos.1 and 2 Symphony Orchestra (2009-13), and Chief and Viola Sonata on Decca. Conductor of the Orchestra and Music Director of NHK Symphony Orchestra. Beyond his performing schedule, Vladimir He maintains strong links with other major Ashkenazy has also been involved in many orchestras including The television projects, inspired by his passionate drive (where he was formerly Principal Guest to ensure that serious music retains a platform in Conductor) and Deutsches Symphonie-Orchester the mainstream media and is available to as broad Berlin (Chief Conductor and Music Director 1988- an audience as possible. He has collaborated 96). He regularly makes guest appearances with extensively with legendary documentary-maker many other major orchestras around the world. , and has been involved in programmes such as Music After Mao (filmed in Recorded live at Southbank Centre’s Royal Festival Hall, on 5th November 2015 Producer – Andrew Cornall Ashkenazy maintains his devotion to the piano, Shanghai in 1979), and Ashkenazy in Moscow, Recording Engineer – Jonathan Stokes these days mostly in the recording studio where he which followed his first return to Russia since Editor, Mixing & Mastering – Jonathan Stokes continues to build his extraordinarily comprehensive leaving the USSR in the 1960s. More recently he Cover Image – Shutterstock recording catalogue. This includes the Grammy has developed educational programmes with NHK Design – Darren Rumney award-winning album of Shostakovich’s Preludes TV including the 1999 Superteachers , working with P2018 Philharmonia Orchestra and Fugues , Rautavaara’s Piano No.3 inner-city London school children, and in 2003-4 a C2018 Signum Records (a work which he commissioned), Bach’s documentary based around his Prokofiev and Wohltemperierte Klavier, Rachmaninov’s Shostakovich Under Stalin project. www.signumrecords.com

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