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2017/18 SEASON londonsinfonietta.org.uk #UnfinishedBusiness

HANS WERNER HENZE: Concert Programme WELCOME

Welcome to tonight’s concert, and to the early part Welcome to St John’s Smith Square. Please do of our 50th Anniversary season. not hesitate to approach our Duty Manager and ushers with any questions you may have. The As a chamber , the Sinfonietta’s Footstool Restaurant in the Crypt serves interval worldwide reputation is remarkable. It developed and post-concert refreshments. Please note that its fame as a direct result of the extraordinary refreshments are not allowed in the concert hall. performances given by the players and the advocacy of the great post-war – We hope you enjoy the concert this evening. If who were hungry to write for and work with the you wish to get in touch with us following your ensemble. Not least, however, the group thrived visit please contact the Visitor Experience Team because of the huge effort, musical integrity and at Southbank Centre, Belvedere Road, London management skill of the group’s co-founders – SE1 8XX, by phoning 020 3879 9555 or email David Atherton and Nicholas Snowman. David’s [email protected]. We look commitment to new music was evident not only in forward to seeing you again soon. programming but in the commissions offered to the great musical voices of the time. A new repertoire Queen Elizabeth Hall, Purcell Room and Hayward has been created over the years and ‘a piece for Gallery are closed for essential refurbishment until Sinfonietta’ has become short hand for a one-to-a- 2018. During this period, our resident part, virtuosic and often striking composition. are performing in venues including St John’s Smith Square. One such work is ’s Voices – important not least because of the impact it has Find out more at southbankcentre.co.uk/sjss had since it’s compositon. Still performed often as a great showpiece for players, it also captures the spirit of the 1960s, when some composers were so politically engaged that it spilt out into their work. It’s an honour, therefore, to welcome back David Atherton to conduct this work which he was responsible for commissioning, and we also welcome Victoria Simmonds and Daniel Norman to perform it.

We are hugely grateful to Arts Council England and other important trusts, individuals and companies Keep in touch who support our work. Without them sharing in londonsinfonietta.org.uk the founding and long-standing vision for this organisation, we would not be here. Please do @Ldn_Sinfonietta think of joining them in supporting our work – from becoming a Pioneer, to supporting a new @londonsinfonietta commission, or ‘adopting’ one of our 50 years through the Sinfonietta Circle. @londonsinfonietta

Andrew Burke Chief Executive HANS WERNER HENZE: VOICES Wednesday 11 October 2017 7.30pm, St John’s Smith Square

Hans Werner Henze Voices (1973 commission)

1. Los poetas cubanos ya no sueñan 2. Prison Song (The Leg-Irons) 3. Keiner oder alle 4. The Electric Cop 5. The Distant Drum 6. 42 Schulkinder 7. Caino 8. Il Pasi 9. Heimkehr 10. Grecia 1970 11. Legende von der Entstehung des Buches Taoteking auf dem Weg des Lasote in die Emigration 12. Gedanken eines Revuemädchens während des Entkleidungsatkes 13. Das wirkliche Messer 14. Recht und billig 15. Patria 16. Screams (Interlude) 17. The Worker 18. Para aconsejar a una dama 19. Roses and Revolutions 20. Vermutung über Hessen 21. Schluß 22. Carnival of Flowers

David Atherton conductor Victoria Simmonds mezzo- Daniel Norman Sound Intermedia London Sinfonietta

The London Sinfonietta is grateful to Arts Council England for their generous support of the ensemble, as well as the many other individuals, trusts and businesses who enable us to realise our ambitions. HANS WERNER HENZE (1926-2012) Henze memorably described himself as ‘a north German contrapuntal temperament projected into the south’; and the modernist, Schoenbergian and Stravinskyan influences of his earlier work now submitted to the tender sway of a sensuous lyricism clearly evident in the , the Fünf neapolitanische Lieder for and chamber , the Nachtstücke und Arien for soprano and large orchestra. To this rich synthesis was added a more austere classical strain in works such as della fiaba estrema for soprano, chamber chorus and instruments, or Ariosi for soprano, and orchestra; while a constructivistic approach was brought to bear on such pieces as Antifone for strings, wind and percussion, the cantata Hans Werner Henze was born in Gütersloh, Novae de infinito laudes, and the Kleist-based Westphalia, in 1926 and began composing at Der Prinz von Homburg. the age of twelve. He studied at the Brunswick State Music School and, after military service, Henze’s operatic career reached a pitch of at the Institute for Church Music in boldness and acclaim with , a two- with . He attended the early hour single act conceived as a four-movement International Summer Schools for , premiered in in 1966; while New Music, where he met René Leibowitz, his 45-minute second of 1967 studying serial technique with him both there was a peak of his more abstract writing. But with and in . Of Henze’s huge catalogue of works, the Das Floss der Medusa, and more the earliest acknowledged date from 1946: the conspicuously the Versuch über Schweine for Kammerkonzert for piano, and strings, and baritone-Sprechgesang and orchestra, both of the the for violin and piano. The following year following year, and the exuberant, aleatory sixth brought the first , and symphony of 1969, a complete change came over symphony. In 1948 he produced his first opera, Henze’s work. the one-act Das Wundertheater, premiered in Heidelberg, and in 1949 his first acknowledged Political protest, deep-dyed into the very fabric ballet, Ballett-Variationen. of the music - and indicated by his periods of residence in - marks his output of the His first full-scale opera, , 1970s, as attested by the revolutionary ‘recital an updating of the Lescaut story, was for four musicians’ of El Cimarrón, followed by a successfully launched in Hanover in 1952, but concerto for and small orchestra, entitled a year later Henze abandoned postwar German Compases, the quasi-theatrical second violin society to settle in , where he lived until his concerto, and the ‘actions for music’ We come passing. His next opera, König Hirsch, and a whole to the River, a stage work to a by Edward series of pieces reflect the warming influence on Bond. him of the Italian environment. Voices Since the appearance of this work, first performed The choice of the in Voices (1973) and at Covent Garden in 1976, the political ferment of the order in which they are arranged reflect my Henze’s creativity has tended to subside. own personal political perspective and emotional Revolutionary ideals invariably lead to disillusion; involvement, and it is this perspective and these but he does count the foundation that same year feelings which give the collection its cohesion, of the Cantiere Internazionale d’Arte - a people’s rather than any narrative or musical structure. arts festival - in the Tuscan town of Montepulciano In some cases, I wanted to use highly developed as ‘one of my few political successes’. post-serial structures and invest them with meaning; that is to say, to use abstract elements Subsequent stage works include two other Bond and force them to be vehicles for concrete collaborations, however: the comic parable of expression. More direct formal materials include and the ballet ; and if , aleatoric writing and elements of music- in the most recent two, and theatre. , both to a libretto by Hans- Ulrich Treichel, attention is focused on personal In other cases I tried to extend the Weill-Eisler- and psychological experience - as it also is in the Dessau tradition in my own style. The listener seventh symphony or the instrumental (wordless) will also, I hope, detect echoes and influences of - the cantata- like Symphony No 9, various folk styles, as well as the tradition of the ‘dedicated to the heroes and martyrs of German classical Lied. antifascism’, is there to remind us that vehement political protest still looms large in Henze’s The work was originally scored for fifteen players. imagination. The number may be augmented, however, according to possibilities and necessities of the After the completion of his tenth symphony he available forces. The players, who at various times started working on his opera L’Upupa und der have to hum, talk and sing, form an a capella Triumph der Sohnesliebe which was premiered chorus in No. 17. at the in summer 2003 to great © Hans Werner Henze international acclaim. It resulted in many future productions, such as at Teatro Real Madrid, Opera de Lyon, Hamburgische Staatsoper and . In December 2005 the Royal Concertgebouw Orchestra Amsterdam premiered the orchestral work which was followed by the opera at Staatsoper Berlin in September 2007 with subsequent performances in Brussels, Frankfurt, Vienna and . A dramatic poem by Franz Werfel inspired Opfergang - Immolatione which was premiered in Rome in January 2010 by , Sir , and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Later that year a new opera, Gisela!, was premiered as part of a major feature within ruhr 2010 and the opera was also produced at Semperoper Dresden a few months later. © Paul Driver LIBRETTO 1. Los poetas cubanos ya no sueñan 1.Cuban Poets do not sleep anymore Los poetas cubanos ya no sueñan Cuban poets do not sleep anymore (ni siquiera en la noche). (at least not at night). Van a cerrar la puerta para escribir a solas They go and shut the door to write alone cuando cruje, de pronto, la madera; when, suddenly, the wood creaks. el viento los empuja al garete; The wind sends them to perdition. unas manos los cogen por los hombros, Hands catch them in the dark los voltean, turn them round, los ponen frente a frente a otras caras put them face to face with other faces (hundidas en pantanos ardiendo en el napalm) (drowned in swamps, burning in napalm) y el mundo encima de sus bocas fluye and the world flows over their mouths y está obligado el ojo a ver, a ver, a ver. and the eye must look and look and look.

Heberto Padilla From ‘Out of the Game’, the Union of Cuban Writers and Artists, Cuba, Habana (1968), Translation by Stuart Hood

2. Prison Song (The Leg-Irons) With hungry mouth open like a wicked monster, Each night the irons devour the legs of people: The jaws grip the right leg of every prisoner: Only the left is free to bend and stretch. Yet there is one thing stranger in this world: People rush in to place their legs in irons. Once they are shackled, they can sleep in peace. Otherwise they would have no place to lay their head

From ‘Prison Diary’, , Foreign Languages Publishing House Hanoi, 1967

3. Keiner oder alle 3. All or none Sklave, wer wird dich befreien? Slave, who will free you? Die in tiefster Tiefe stehen Comrade, those in the nether depths Werden, Kamerad dich sehen Will see you Und sie werden hör’n dein Schreien: And hear you cry. Sklaven werden dich befreien. Slaves will set you free Keiner oder alle. Alle’s oder nichts. None or all. All or none. Einer kann sich da nicht retten. No one man can save himself. Gewehre oder Ketten. Guns or chains Keiner oder alle. Alle oder nichts. None or all. All or none.

Hungernder wer wird dich speisen? Starving man, who will feed you? Willst du dir ein Brot abschneiden If you want bread Komm zu uns, die Hunger leiden Come to us who suffer hunger. Laß uns dir die Wege weisen: Let us shoe the way. Hungernde werden dich speisen. The hungry will feed you. Keiner oder alle. Alle’s oder nichts. None or all. All or none. Einer kann sich da nicht retten. No one man can save himself. Gewehre oder Ketten. Guns or chains Keiner oder alle. Alles oder nichts. None or all. All or none.

Wer, Geschlagener, wird dich rächen? You have been beaten. Who will avenge you? Du, dem sie den Schlag versetzten You to whom they have dealt the blows Reih dich ein bei den Verletzten Take your place with the injured. Wir in allen unsern Schwächen With all our weakness, comrade, Werden, Kamerad, dich rächen. We will avenge you. Keiner oder alle. Alle’s oder nichts. None or all. All or none. Einer kann sich da nicht retten. No one man can save himself. Gewehre oder Ketten. Guns or chains Keiner oder alle. Alles oder nichts. None or all. All or none.

Ver, Verlorener, wird es wagen? You are lost – who has the courage? Wer sein Elend nicht mehr tragen The man who cannot endure his misery Kann, muß sich zu jenen schlagen Must join up with those others Die aus Not schon dafür sorgen Who out of despair are seeing to it Daß es heut heibt und nicht morgen. That today is the day and not tomorrow. Keiner oder alle. Alle’s oder nichts. None or all. All or none. Einer kann sich da nicht retten. No one man can save himself. Gewehre oder Ketten. Guns or chains Keiner oder alle. Alles oder nichts. None or all. All or none.

Bertolt Brecht From the Collected Works, Suhrkamp Press, Frankfurt am Main Translation by Stuart Hood 4. The Electric Cop 5. The Distant Drum this guy on t.v. I am not a metaphor or symbol. who rob everything he got This you can hear is not the wind in the trees, who rob a thief Nor a cat being maimed in the street. who rob who kill It is I being maimed in the street. a killer who kills It is I who weep, laugh, feel pain or joy. this guy on t.v. I speak this because I exist. This is my voice. what they say and do/captain america tears his These words are my words, my mouth panties as he swings for freedom Speaks them, my hand writes – I am a poet, & ch. 4 where they did It is my fist you hear beating the rub Against your ear. the two old men Calvin C. Hernton what they say From ‘Dices or Black Bones’: Black Voices of the Seventies this man who likes pig a low on your ass edited by Adam David Miller your eyes dropping blood Houghton Mifflin Company, Boston will sell you some cigars of death for you for you the other ch. say you have bad breath yellow teeth something about some paste & the guy zombie looking & this other guy

O he could kick ass look at him pull out his 32/bang bang bodies crash to the ground planes fly/fire coming out of them people scream democrats stomp on heads on their way to meetings cowboys kill Indians in their soft nights & blond angels smile gleem bright teeth. put there by plaster of paris young white boys run the shit out of their femaleness/pushing tootie roll thru the air their freckles tell us stories the parade of colors on t.v. from ch. to ch. round & round the whole dial from vomiting shit/to more b.s./an open window of lies true stories of the empire/the end for instance

Victor Hernandez Cruz From ‘Dices or Black Bones’: Black Voices of the Seventies edited by Adam David Miller Houghton Mifflin Company, Boston 6. 42 Schulkinder 6. 42 School children Wie weit ist es How far is it von Guernica nach Man Quang from Guernica to Man Quang von Washington nach Berchtesgaden from Washington to Berchtesgaden von München nach Prag from to Prague von Berlin und Moskau from Berlin to Moscow nach Warschau? to Warsaw?

Wie weit war es How far was it von Gernica nach München? from Guernica to Munich? ein Jahr und fünf Monate one year and five months Das ist nicht sehr weit That is not very far Wie weit war es How far was it von Guernica nach Warschau from Guernica to Warsaw von Hitler bis zu wem from Hitler to whom und zu welchem Land? and to what country?

Von Saigon nach Hanoi so weit wie von From Saigon to Hanoi as far as from Berlin nach Kiew Berlin to Kiev oder von Münster hinunter nach Guernica or from down to Guernica Ich habe Guernica gesucht auf der Karte I looked for Guernica on the map of weil ich mir Man Quang because I had no other way anders nicht vorstellen kann of seeing Man Quang

Was haben die Schulkinder What have the schoolchildren of Man Quang von Man Quang gelernt von den Bomben? learned from the bombs? Was haben wir gelernt What have we learned von den Schulkindern von Man Quang? from the schoolchildren of Man Quang? Was haben wir gelernt What have we learned Von Guernica und von Polen from Guernica and from Poland von Coventry Stalingrad Dresden from Coventry Stalingrad Dresden Nagasaki Suez und Sakiet? Nagasaki Suez Sakiet?

Daß es gar nicht so weit ist That it isn’t all that far oder daß es noch nicht so weit ist or that it hasn’t got that far yet oder daß es gar nicht so weit or that things can never kommen kann? get that far? Die Eltern nahmen die Kinder The parents picked up the children in ihren Särgen in their coffins um sie hinzutragen and carried them zu den Soldaten to the foreign soldiers

Sie wurden von den Soldaten zurückgeschlagen They were beaten back by the soldiers und trugen die Särge wider and they carried the coffins nach Man Quang back to Man Quang

Eric Fried From ‘und Vietnam und’ Klaus Wagenhach Edition, Berlin Translation by Georg Rapp

7. Caino 7. Cain a un giovane soldato tedesco morto to a young German soldier sulla sponda di un torrente dead by the side of a stream

I tuoi capelli, Your hair alga molle alga is weed soft weed molle alga sull’ acqua soft weed on the water paglia sull’ acqua straw on the water.

Perchè, soldato tedesco? Why, German soldier?

E gli occhi tuoi, And your eyes nidi d’immagini nests of images tondi cristalli aquamarine your eyes acqua marina i tuoi acchi pieces of glass ora vetri nella putredine. now in the carrion

Perchè, soldato tedesco? Why, German soldier?

E nella gola tua aggrumata And in your blood-choked throat le canzoni di guerra the soldiers’ songs e lil marlen and Lili Marlene canzoni e sangue e lil marlen songs and blood and Lili Marlene grumo nero nella tua gola. black blood clotted in your throat

Perchè, soldato tedesco? Why, German soldier?

Corre l’acqua corre la nuvola Running water running cloud bandiere spiegate flags unfolding flottanti andiere flags floating le nuvole corrono the clouds running si gonfia l’onda delle foreste the wave swelling in the forest e tu immoto tu ravvolto dal fiato di morte and you wrapped in the wind of death. Perchè, soldato tedesco? Why, German soldier?

Mamma non vedi le bave Your mother does not see the clots le bave rossastre del sangue the red clotted blood come seppi sull’ acqua corrono, like snakes running on the water. mamma è il tuo sangue It is your blood, mother, mamma guarda tuo figlio assassino Your son is dead, è morto tuo figlio assassino. the murderer.

Perchè, soldato tedesco? Why, German soldier? Abele ha ucciso Caino, Abel has killed Cain non sai che la spada don’t you know the sword wounds ferisce come l’elsa? as the hilt wounds? tristi esequie sull’ orlo del fosso sad rites on the banks of the stream. qualcuno gli ruberà gli stivali Someone will take his boots ma chi spegnerà quei vetri but who will put out the light fermi a specchio del cielo? of the crystals that mirror the sky non tu che sogni lontana not far off and dreaming la dolce acquamarina of gentle aquamarine.

Perchè, fratello tedesco? Why, German brother? Perchè, tedesco Caino? Why, German Cain?

Gino de Sanctis From ‘Anthology of the Italian Resistance’ Luciano Landi Editore,

8. Il Pasi 8. Pasi Il Pasi era un giovanotto Pasi was a lad veniva dalla Romagna, that came from Romagna insieme eravamo giovani and we were lads together si camminava muovendo le spalle, and walked with a swagger of our shoulders le donne avean per noi debolezza. and the women were sweet on us. Lui lo impiccarono i tedeschi The Germans hanged him dopo sevizie che non ho piacere si sappiano, after tortures I’d rather not talk about. io ho un cappotto di anni, I wear a cload of years ma, o Pasi, sei stato but, oh Pasi, you were il più ’italiano di mezzo secolo. the finest Italian these fifty years.

Mario Tobino From ‘Anthology of the Italian Resistance’ Luciano Landi Editore, Florence

9. Heimkehr 9. Home Coming Am alten grauen Turme Upon the old grey tower Ein Schilderhäuschen steht; A lad’s on sentry go Ein rotgeröckter Bursche Clad in a red jacket Dort auf und nieder geht. He marches to and fro.

Er spielt mit seiner Flinte, He plays with his rifle. Die funkelt in Sonnenrot, It glints – the sun is red. Er Präsentiert und schultert – He orders it and shoulders it, Ich wollt, er schösse mich tot. I wish he’d shoot me dead.

Heinrich Heine

Translation by Stuart Hood

Eric Fried Aus ‘und Vietnam und’ Verlag Klaus Wagenbach, Berlin

7. Caino

a un giovane soldato tedesco morto sulla sponda di un torrente

I tuoi capelli, alga molle alga molle alga sull’ acqua paglia sull’ acqua

Perchè, soldato tedesco?

E gli occhi tuoi, nidi d’immagini tondi cristalli acqua marina i tuoi acchi ora vetri nella putredine.

Perchè, soldato tedesco?

E nella gola tua aggrumata le canzoni di guerra e lil marlen canzoni e sangue e lil marlen grumo nero nella tua gola.

Perchè, soldato tedesco?

Corre l’acqua corre la nuvola bandiere spiegate flottanti andiere le nuvole corrono si gonfia l’onda delle foreste e tu immoto tu ravvolto dal fiato di morte

Perchè, soldato tedesco?

Mamma non vedi le bave le bave rossastre del sangue come seppi sull’ acqua corrono, mamma è il tuo sangue mamma guarda tuo figlio assassino è morto tuo figlio assassino.

Perchè, soldato tedesco?

10. Grecia 1970 10. Greece 1970 Atene, Grecia, segreto, vertice Athens, Greece, secret peak di favola incastonata dentro il of fable framed in the topazio che l’inanella. topaz that rings it.

Sul proprio azzurro insorta Towering against its own azure in minimi within narrow limiti, per essere misura, libertà limits to be a measure, freedom della misura, libertà di legge che of measure, freedom of law a sé liberi legge. which frees law to itself.

Sino al mare, From the sea del cielo al mare, from the sky to the sea liberi l’umano vertice, free the human peak, la legge di libertà, dal mare al cielo. the law of liberty, from the sea to the sky.

Non saresti più, Atene, Grecia, Are you nothing more, Athens, Greece, che tana di dissennati? than a lair for madmen? Che terra della dismisura, Atene, Land that lacks measure, Athens, mia, Atene occhi aperti, open-eyed Athens, che a chi aspirava all’umana who opened our eyes to human dignity. dignità, apriva gli occhi. Now are you growing monstrously blind? Ora, mostruosa accecheresti? Who reduced you to this, Chi ti ha ridotta a tale, quali mostri? What monsters?

Guiseppe Ungaretti From ‘Storio Uno’ by Paolo d’Orazio – Roma (a collection of prints)

11. Legende von der Entstehung des 11. Legend of the origin of the Buches Taoteking auf dem Weg des book Tao Te Chin on Lao Tzu’s Lasote in die Emigration way into exile

Als er Siebzig war und war gebrechlich When he was seventy and growing frail Drängte es den Lebrer doch nach Ruh The teacher after all felt the need for peace Denn die Güte war im Lande wieder einmal For once again in the country kindness did not schwächlich prevail Und die Boshelt nahm an Kräften And malice once again was wieder einmal zu. on the increase Und er Gürtete den Schuh. So he tied his shoe-lace. Und er packte ein, was er so brauchte: And he packed every necessary thing. Wenig. Doch es wirde dies und das. Not much. But this and that into his bundle sped. So die Pfeife, die er immer abends rauchte So the pipe that he smoked every evening, Und da Büchlein, das er immer las. And the slender book that he always read. Weißbrot nach dem Augenmaß. Also a ration of white bread. Freute sich des Tals noch einmal Was glad once more of the valley, und vergaß es and put it out of mind Als er ins Gebirg den Weg einschlug. When towards the mountains he began to track. Und sein Ochse freute sich des frischen Grases And his ox was glad of all the new grass it could find, Kauend, während er den Alten trug. Chewing, as it carried the old man on its back. Denn dem ging es schnell genug. For he was not the hurrying kind.

Doch am vierten Tag im Felsgesteine But before the fourth day’s rocky travelling was done, Hat ein Zöllner ihm den Weg verwehrt: A customs man interposed his authority “Kostbarkeiten zu verzollen?” – “Keine”. “Please declare your valuables” – “None”. Und der Knabe, der den Ochsen Führte, sprach: And the boy who led the ox said: “Er hat gelehrt”. “A teacher you see”. Und so war auch das erklärt. This met the contingency Doch der Mann in einer heitren Regung But the man, cheerful, and struck by a sudden notion, Fragte noch: Went on to ask: “Hat er was rausgekreigt?” “Who discovered something, you’d say?” Sprach der Knabe: The boy replied: “Daß das weiche Wasser in Bewegung “That yielding water in motion Mit der Zeit den mächtigen Stein besiegt Gets the better in the end of granite and porphyry. Du verstehst, das Harte unterliegt.” You get me: the hard thing gives way.” Daß er nicht das letzte Tageslicht verlöre To lose no more time in the failing light Trieb der Knabe nun den Ochsen an, Und die drei The boy drove on the ox, and the three had passed verschwanden schon um eine schwarze Föhre Behind a black Scotch fir, and were out of sight Da kam plötzlich Fahrt in unsem Mann When our man, jerked into action at last, Und er Schrie: “He, du! Halt an! Yelled out: ”Hey there, ! Not so fast! Was ist das mit diesem Wasser, Alter?” What’s this about water, old man, that’s so special?” Hielt der Alte: “Intressiert es dich?” The old man stopped: “Does it interest you?” Sprach der Mann: “Ich bin nur Zollverwalter Said the other: “I’m only a customs official, Doch wer wen besiegt, But who gets the better of whom, das intressiert auch mich that interests me too, Wenn du’s weißt, dann sprich! If you know and can tell me, do! Schreib mir’s auf! Diktier es diesem Kinde! Write it down for me. Dictate it to this boy. So was nimmt man doch nicht mit sich fort. You don’t take things like that with you. Have a care. Da gict’s doch Papier bei uns und Tinte Of paper and ink we’ve a copious supply. Und ein Nachtmahl gibt es auch: ich wonne dort. And there’s a bite for you too: I live in there. Nun, ist das ein Wort?” Well, do you call that fair?” Über seine Schulter sah der Alte Over his shoulder the old sage now Auf den Mann: Flickjoppe. Glanced at the man. Patched coat. Keine Schuh. Never owned a shoe. Und die Stirne eine einzige Falte. One deep wrinkle in his brow. Ach, kein Sieger trat da auf ihn zu. Oh, this was not a victor. So much he knew. Und er murmelte: “Auch du?” And he murmured: “You too?” Eine höfliche Bitte abzuschlagen To reject a courteous suggestion War der Alte wie es schien, zu alt. The old man, it seemed, was too old. Denn er sagte laut: “Die etwas fragen For he said aloud, “Those who ask a question Die verdienen Antwort. “Sprach der Knabe: Deserve an answer”. Said the boy: “Es wird auch schon kalt.” “And it’s turning cold”. “Gut, ein kleiner Aufenthalt”. “We’ll stay then. Hold!” Und von seinem Ochsen stieg der Weise And the sage dismounted, having made his choice. Sieben Tage Schrieben sie zu zweit. For seven days the two of them wrote on. Und der Zöllner brachte Essen The customs man brought them food (und er fluchte nur noch leise (and all that time lowered his voice Mit den Schmugglern When he swore at the smugglers in der ganzen Zeit). and those on the run). Und dann war’s soweit. Then the work was done.

Und dem Zöllner händigte der Knabe And one morning the boy could present to Eines Morgens einundachtzig Sprüche ein. The customs man eighty-one maxims completed, Und mit Dank für eine kleine Reisegabe And, thanking him for his gift of a small memento, Bogen sie um jene Föhre ins Gestein To the rocky track, round that fir, they retreated. Sagt Jetzt: kann man höflicher sein? Rare politeness, you’ll grant. Can you beat it?

Aber rühmen wir nicht pur den Weisen But not to that wise man alone our praise is due Dessen Name auf dem Buche prangt! Whose name adorns the book Tao Te Chin. Denn man muß dem Weisen For the wise man’s wisdom must be seine Weisheit erst entreißen. dragged out of him too Darum sei der Zöllner auch bedankt: So the customs man also deserves our thanks for the Er hat sie ihm abveriant. thing: He did the eliciting.

Bertolt Brecht From The Collected Works, Volume 9. Suhrkamp Edition, Frankfurt am Main Translation by Michael Hamburger

12. Gedanken eines Revuemädchens 12. Thoughts of a showgirl as she strips während des Entkleidungsatkes This is my lot in this rum world Mein Los ist es, auf dieser queren Erde To be a lowly handmaid of the arts Der Kunst zu dienen als die letzte Magd So that the gentlemen Auf daß den Hern ein Glück bescheret werde can get a thrill Doch wenn ihr fragt But if you ask

Was ich wohl fühle, wenn ich mich entblöße What I feel when I am stripping off In schönen schlauen Griffen und des Lichts Undoing things nice and slow and show Der goldenen Lampen teilhaft, als Stripptöse my body in the golden spotlight, then as a stripper Antwort ich: nichts. my answer’s: Nothing.

Es geht auf zwölf. Ich komm zu spät zum Bus. It’s nearly twelve. I’m going to miss my bus. Der käse ist im andern Laden besser. The cheese is better in that other shop. Die dicke sagt: sie geht jetzt in den Fluß The fat bitch says: “She’ll end up in the river. Er hat ein Messer. He’s got a knife”.

Halbvoll. Am Samstag! Heut wird’s wieder zwölfe. Half full. On Saturday! It’ll be midnight soon. Mehr lächeln. Diese Luft ist ein Skandal. Smile more. The air in here’s a scandal. Halt’s Maul da vorn, ich zeig sie dir schon. Wölfe! Shut up in front there. Wolves. I’ll let you see it soon. Wie ich die Miete zahl...? How do I pay the rent?

Milchabbestellen hab ich auch vergessen. I forgot to cancel the milk too. Den Hintern aber zeig ich heute nicht. But you won’t see my bottom tonight. Ein bißchen schwenken muß ich ihn. Das Essen I must waggle it a bit though. The food Im Gelben Hund ist so, daß man’s erbricht. In that old pub – it makes you sick.

Bertolt Brecht From The Collected Works, Volume 9. Suhrkamp Edition, Frankfurt am Main Translation by Stuart Hood 13. Das wirkliche Messer 13. The real knife Es waren aber Abertausend in einem Zimmer There were masses of them in a room oder einer allein mit sich oder zwei or one man by himself or maybe two und sie kämpften gegen sich miteinander and they fought among themselves Der eine war der der Der Mehrwet sagte One of them was the one who sais Surplus Value und dachte an sich nicht und wollte von uns and didn’t think of himself and couldn’t be bothered nichts wissen Die Lehre sagte er her with us The Doctrine he said Das Proletariat und Die Revolution The Proletariat and The Revolution Fremdwörter waren in seinem Mund wie Steine Foreign words fell from his mouth like stones Und auch die Steine hob er auf and he took up these same stones und warf sie Und er hatte recht and threw them. And he was right

Das ist nicht wahr Und es warder andere That is not true it was the other one der dies sagte Ich liebe nur dich who said this I love only you und nicht alle Wie kalt meine Hand ist and not all the rest How cold my hand is und der fressende Schmerz in deiner Leber and that gnawing pain in your liver kommt nicht vor in den Losungen Wir there’s nothing about it in the cards We sterben nicht gleichzeitig Wer erst won’t die together If we enjoy ourselves hat wenn wir uns freuen recht? Und er hatte recht who is really right? And he was right.

Aber Und so fuhr der andere for Fortan But So the other went on From now on kann ich deinen Fuß nicht zurück There’s no going back Anyone who knows as setzen Wer soviel wie wir weiß much as we do hilft sich so leicht nicht und Ich Can’t get off so lightly and I no longer count komme nicht mehr in Betracht Also komm So come into the part. in die Partei und so fort Auch wenn At once. Even if we are not right. wir nicht recht haben Und er hatte recht And he was right.

Das wußte ich immer schon daß du das I always knew that anything you was du selber nichl glaubst didn’t believe in Das sagte der andere Vor uns hin So said the other one you paraded it in front of us Wie ein Messer schleppst Doch hier like a knife. But here the knife is stecht es schon bis zum Heft sticking in your flesh in deinem Fleisch Das Messer up to the hilt. Das wirkliche Messer Und er hatte recht The real knife. And he was right.

Und dann starb der eine und der andere The he died and so did the other auch Aber nicht gleichzeitig But not together Und sie starben alle Und dann And the all died And then schrieen sie und kämpften gegeneinander they screamed and fought each other mit sich und liebten und freuten and loved each other and enjoyed themselves und unterdrückten sich and oppressed each other. Abertausend in einem Zimmer Hundreds and thousands in one room. Oder einer mit sich allein oder zwei Or one person all alone or a couple Und sie halfen sich Und sie hatten rechl and the helped each other And they were right Und sie konnten einander nicht helfen And they could not help each other.

Hans Magnus Enzensberger From ‘Poems 1955-1970’ Suhrkamp Edition, Frankfurt am Main Translation by Stuart Hood 14. Recht und billig 14. A fair deal Für jeden von ihnen getöteten Zivilisten For every civilian they kill der nicht gegen sie gekämpft hat provided he did not fight them zahlen die Amerikaner the Americans pay 120 Mark Entschädigung und für jedes £14 compensation and for every getötete Kind zahlen sie 60 Mark child they have killed they pay £7 außerdem fur jedes zerstörte Haus furthermore for every house destroyed 90 Mark bar £10 in cash und zehn Sack Zement ten bags of cement and ten sheets und zehn Streifen Wellblech of corrugated iron

Deshalb sollten wir That’s why we should schon heute zu sammeln beginnen start raising a fund today für den Fall in case some day in Washington daß einmal in Washington ein Präsident a President erschossen wird is shot oder gehängt or hanged damit man dann siner Familie so that one can 120 Mark für ihn gibt give his family £14 for him und die Sache so aus der Welt schafft and thus dispose of the matter

Und falls dabei Mitglieder seiner Familie And in case any members of his family ums Leben kommen also lose their lives wäre es praktisch it would be as well auch dafür Kleingeld bereitzuhalten to have some petter cash handy for this too Und falls das Weiße Haus and in case the White House dabei in die Luft fliegt blows up in the process 90 Mark extra an extra £10 und zehn Sack Zement ten bags of cement and ten sheets und zehn Streifen Wellblech of corrugated iron

Erich Fried From ‘Unter Nebenfeinden’ Fifty Poems Klaus Wagenbach Edition, Berlin 1970 Translation by Georg Rapp and Erich Fried 15. Patria 15. Patria No puedo esperar más I can hope no more digo y vuelvo a repetir ahora I say and go on repeating now que cada día que pasa that each day that passes quiero más este viento debajo de las hojas. I love this wind among the leaves more and more

Esta casa que mis ojos han visto diariamente This house that my eyes have seen daily que yo sabré cuidar and that I could care for y la sombra del jagüey and the shade of the tropical tree y la tierra. and the soil

Pero no basta. But it is not enough. Ahora van a oírme una voz templada en el fuego Now they will hear from me a voice porque han preguntado por mí. tempered in the fire Y me parece que se trata because the have© asked for me de un amigo cercano And it seems to me I’m talking about y mi corazón me entiende a close friend y yo sé que a mi lado, en los pueblos, lejos, And my heart understands me en el campo And I know that at my side, in the villages, hay una fuerza como el viento far away, in the fields que está dispuesta a defender la vida. there is a power like the wind which means to try to defend life. Miguel Barnet From ‘La Piedrafina y el Pavoreal’ Published by the Union of Cuban Writers and Artists, Havana, 1963 Translation by Stuart Hood

16. Screams (Interlude) 17. The Worker screams screams malcolm My father lies black and hushed does not hear my screams Beneath white hospital sheets screams betty He collapsed at work does not hear my screams His iron left him screams scraping my eyes Slow and quiet he sank screams from the guns Meeting the wet concrete floor on his way screams screams the witches ecstasy The wheels were still turning – they couldn’t stop screams screams ochs sulzberger oppenheimer Red and yellow lights flashing ecstasy luce ecstasy johnson Gloved hands twisting knobs – they couldn’t stop galbraith kennedy ecstasy And as the carried him out franco ecstasy bunche The whirling and buzzing and humming machines ecstasy king ecstasy salazar rowan ecstasy Applauded him screams screams in my nights in st. louis Lapping up his dripping iron screams in my nights They couldn’t stop screams screams in the laughter of children screams in the black faces Richard W Thomas schlesinger lodge ecstasy conant ecstasy From ‘Black Fire’, an Anthology of Afro-American Writing. stengel nimitz ecstasy screams Edited by Le Roi Jones and Larry Neal, New York screams in my head screams screams six feet deep

Walton Smith From ‘Black Fire’, an Anthology of Afro-American Writing Edited by Le Roi Jones and Larry Neal, New York 18. Para aconsejar a una dama 18. Advice to a Lady Y si empezara por aceptar algunos hechos Suppose you learned to accept some facts como ha aceptado — es un ejemplo — as you have accepted – to give an example – a ese negro becado this poor black student que mea desafiante en su jardín? who pisses defiantly in your garden?

Ah, mi señora: por más que baje las cortinas; My dear lady, even if you lower the curtains, even por más que oculte la cara solterona; por más que llene If you hide your spinster’s face, even if you fill de perras y de gatas esa recalcitrante soledad; this recalcitrant solitude with cats and bitches, por más que corte los hilos del teléfono even if you cut the wire of the telephone que resuena espantoso en la casa vacía; that rings terrifyingly in the empty house, por más que sueñe y rabie even if you dream and rage no podrá usted borrar la realidad. you will not be able to blot out reality.

Atrévase. Break loose. Abra las ventanas de par en par. Quítese el maquillaje Open the windows wide. Get rid of your make-up y la bata de dormir y quédese en cueros and your nightdress and be naked como vino usted al mundo. as you came into the world. Echese ahí, gata de la penumbra, recelosa, a esperar. Lie in wait, cat of twilight, suspicious cat.

Aúlle con todos los pulmones. Howl at the top of your lungs La cerca es corta; es fácil de saltar, The fence is low – it’s easy to jump y en los albergues duermen los estudiantes. and in the hostels the students are sleeping Despiértelos. Wake them up. Quémese en el proceso, gata o alción; Burn up in the process, cat or great seabird; no importa. what does it matter?

Meta a un becado en la cama. Bring a poor student into your bedroom. Que sus muslos ilustren May your muscles show you la lucha de contrarios. the clash of contraries. Que su lengua sea más hábil May your tongue be more cunning que oda la dialéctica. that all the dialectic. Salga usted vencedora de esta lucha de clases. May you rise up victor from this class warfare.

Heberto Padilla From ‘Out of the Game’, Union of Cuban Writers and Artists, Havana, Cuba Translation by Stuart Hood 19. Roses and Revolutions Musing on roses and revolutions, I saw the night close down on the earth like a great dark wing, and the lighted cities were like tapers in the night, and I heard the lamentations of a million hearts regretting life and crying for the grave, and I saw the Negro lying in the swamp with his face blown off, and in northern cities with his manhood maligned and felt the writhing of his viscera like that of the hare hunted down or the bear at bay, and I saw men working and taking no joy in their work and embracing the hard-eyed whore with joyless excitement and lying with wives and virgins in impotence.

And as I groped in darkness and felt the pain of millions, gradually, like day driving night across the continent, I saw dawn upon them like the sun a vision of a time when all men walk proudly through the earth and the bombs and missiles lie at the bottom of the ocean like the bones of dinosaurs buried under the shale of eras, and men strive with each other not for power or the accumulation of paper but in joy create for others the house, the poem, the game of athletic beauty.

Then washed in the brightness of this vision, I saw how in its radiance would grow and be nourished and suddenly burst into terrible and splendid bloom the blood-red flower of revolution.

Dudley Randall From ‘Contemporary American Poetry’, edited by Donald Hull. Penguin Books Limited, England

20. Vermutung über Hessen 20. Conjecture about Hesse Wenn dein starker Arm es will: When your strong arm fells like it – Zieht sich zuruck aus dem Betrieb, pulls out of the factory Vom Band: schlägt an die Stirn. Away from the assembly line – strikes your forehead. Da und aus Zeitungen raus Then and there and from the newspapers Springen Schlagwörter, treiben spring slogans, put Beamte in Schweiß. Officials into a sweat. Gutgläubige falten die Finger innig Solid citizens fold their fingers fervently Um Knüppel jetzt, sehn nach dem Recht. Round batons now, look to the right. Schüler pauken auf das Pult. Scholars drum on the desk. Auf offenem Markt die noch offenen Kämpfe, In the open market the conflicts are still open, Maurer un Händler auf LKWs Masons and dealers in lorries Streun Proklamationen. Und solch ein Lärm! Scatter proclamations. And such a noise!

Kanzler auf dunkle Pisten Fliehn. Ministers flee along dark runways. Aus Hallen schlägt die dicke Luft From halls there pours bad air Und kalter Zorn. and cold anger. Die Computer halten an. The computers come to a stop. Die Brücken sind besetzt von Lust, The bridges are taken over by joy, Lieder reißen Plätze auf, Songs pull up the squares. Steine springen in die Hand, Stones spring into one’s hand, Dampf fährt aus den Hähnen schrill, Steam comes shrilly out of the valves, Alle Räder stehen still. All wheels stand still. F C Delius From ‘Wenn wir, bei Rot’ 38 Poems Klaus Wagenbach Edition, Berlin. Translation by Stuart Hood

21. Schluß 21. An End Schluß mit der Tagesschau An end to the newsreels Schluß mit der Eigentumswohnung An end to private housing Schluß mit dem Gottseidank An end to the Te Deums nach der eschöpften Revolte after the spent revolts Schluß mit dem Stehaufmann An end to the puppet hinter dem Schreibstisch behind the desk mit der Import-Export GmbH to the import-export firms mit der staatlichen Bildungsförderung to state education mit der Stabilitätsabgabe to value-added tax und Schluß mit mir and an end to me der euch dies alles erzählt who is telling you all this. Schluß mit dem Kammerensemble An end to string quartets Schluß mit dem Kammergerichtspräsidenten An end to Lord Chief Justice Schluß mit dem Tag der Offenen Tür An end to Open Days bei der Reformkommission at the reform commission Schluß mit der Impotenz An end to the impotence auf dem Protestfestival at the festivals of protest Schluß mit der Weltsicherheit An end to world security und mit allen weitblichenden Führern and all far-sighted leaders Schluß mit dem Ausländeramt An end to the Foreign Office und selbstverständlich mit mir and naturally to me der euch dies alles erzählt who is telling you all this. Schluß mit allen An end to all those die wegweisende Worte finden für unsere Zeit who define new directions Schluß mit den echten Begegnungen An end to genuine meetings auf Botschafterebene at ambassadorial level Schluß mit allen die vorgeben An end to all those who pretend unsere Freunde zu sein to be our friends Schluß mit den Interpreter An end to interpreters Schluß mit dem Publikum An end to the public und vor allem mit mir and above all to me der euch dies alles erzählt who is telling you all this. Wenn wir mit alledern Schluß gemacht haben When we have put an end to all that können wir anfangen we can begin mit der Befreiung the Liberation.

Michalis Katsaros Translated into German from the Modern by Hans Magnus Enzensberger. Translation by Stuart Hood 22. Das Blumenfest 22. Carnival of Flowers Ich schenke Blumen. I give away flowers. Ich streue Blumensamen aus. I sow flower seeds. Ich pflanze Blumen. I plant flowers. Ich sammle Blumen. I collect flowers. Ich pflücke Blumen. I pluck flowers. Ich pflücke verschiedene Blumen. I pluck different flowers. Ich raufe sie aus. I pull them up. Ich zerreiße Blumen. I tear flowers to pieces. Ich zerstöre sie. I destroy them. Ich knüpfe Blumen. I twine flowers. Ich binde Blumen. I tie up flowers. Ich mache Blumen. I make flowers Ich erfinde Blumen. I invent flowers. Ich hole sie aus der Luft. I conjure them out of thin air. Ich mache es so, daß aus den Blumen I do it in such a way that out of the flowers Sträuße werden, ungleiche, runde grow bouquets, different, round bouquets, Sträuße, immer größer un größer. each bigger than the other. Ich mache eine Girlande aus Blumen, ein I make a garland of flowers, a puddle, a bouquet, Laken, einen Strauß, ein Bett aus Blumen, a bed of flowers, eine Hand a hand.

Ich knüpfe sie. I twine it. Ich binde sie. I tie it up. Ich versehe sie mit Gras. I get grass for it. Ich versehe sie mit Blättern. I get leaves for it. Ich mache eine Schlange aus Blumen. I make a snake of flowers. Ich rieche etwas. I smell something. Ich rieche sie. I smell it. Ich sorga da für, daß einer Blumen riecht. I make sure someone smells flowers. Ich schenke einem Blumen. I give someone flowers. Ich schenke ihm Blumen. I give him flowers. Ich versehe einen mit Blumen. I provide someone with flowers. Ich versehe ihn mit einer Schlange, mit einer I provide him with a snake, a chain Kette aus Blumen. of flowers.

Ich versehe ihn mit einer Blumenkette. I provide him with a flower-chain. Ich lege ihn eine Girlande um. I put a garland round his neck. Ich versehe ihn mit einer Girlande aus Blumen. I provide him with a garland of flowers. Ich bekleide einen mit Blumen. I deck someone out with flowers. Ich kleide ihn in Blumen ein I dress him in flowers. Ich bedecke ihn ganz mit Blumen. I cover him all over with flowers. Ich zerstöre einen mit Blumen. I destroy someone with flowers. Ich zerstöre ihn mit Blumen. I destroy him with flowers. Ich verwunde einen, verwunde ihn mit Blumen. I wound someone, wound him with flowers. Ich zerstöre einen mit Blumen. I destroy someone with flowers. Ich zerstöre ihn. I destroy him. Ich verwunde ihn mit Blumen. I wound him with flowers. Mit Trinken, mit Edden, mit Blumen, mit With drink, with food, with flowers, with Tabak, mit kleidern, mit Gold. tobacco, with clothes, with gold. Ich bezaubere ihn, ich errege ihn mit Blumen, I bewitch him, I excite him with flowers, mit Wörtern. with words. Ich bezaubere ihn. I bewitch him. Ich sage: I say: “Mit Blumen liebkose ich ihn. “I caress him with flowers. Ich verführe einen. I seduce someone. Ich richte eine lange Rede an ihn. I make a long speech at him. Ich bewege ihn mit Wörtern. I move him with words. Mit Blumen”. With flowers”. Ich versehe einen mit Blumen, oder ich I provide someone with flowers, or I tear up zerreiße Blumen, oder ich mache Blumen, flowers, or I make flower, oder ich hole Blumen aus der Luft und or I conjure flowers out of thin air and gebe sie ihm, so, daß es ein Fest gibt. give them to him, so, that there is a carnival. Ich höre nicht auf, I never stop, einem Blumen in die Hand zu geben handing someone flowers.

Oder ich versehe ihn mit einer Kette, einer Schlange. Or I provide him with a chain, a snake. Oder ich versehe ihn mit einer Girlande aus Blumen, Or I provide him with a garland of flowers, aus Wörtern. of words. Oder ich bezaubere ihn. Or I enchant him. Oder ich gebe ihm etwas. Or I give him something. Oder ich gebe ihm weiter nichts als immer mehr Or I simply keep on hiving him Blumen und Blumen. more and more flowers.

Hans Magnus Enzensberger Hans Magnus Enzensburger Aus ‘Gedichte 1955-1970’ From ‘Poems 1955-1970’. Suhrkamp Verlag, Frankfurt am Main Suhrkamp Edition, Frankfurt am Main. Translation by Stuart Hood. LONDON SINFONIETTA Helen Keen flute/piccolo/alto The London Sinfonietta is one of the world’s Melinda Maxwell / leading contemporary music ensembles. Formed Mark van de Wiel //basset * in 1968, the group’s commitment to making new John Orford /* music has seen it commission over 350 works and Michael Thompson horn* premiere many hundreds more. Our ethos today is to constantly experiment with the art form, working Alistair Mackie * with the best composers, conductors and players Michael Buchanan whilst collaborating with musicians from alternative Jonathan Morton violin* genres and artists from different disciplines. We are viola/viola d’amore committed to challenging perceptions, provoking Sally Pendlebury new possibilities and stretching our audiences’ Enno Senft * imaginations, often working closely with them as David Hockings percussion* creators, performers and curators of the events we John Constable piano/celeste/synth^ stage. Huw Davies guitar/ Resident at Southbank Centre and Artistic Ian Watson Associate at Kings Place, with a busy touring Phil Hopkins harmonica schedule across the UK and abroad, London Sinfonietta’s core is 18 Principal Players, *London Sinfonietta Principal Player representing some of the best musicians in the ^Emeritus Principal Piano world.

Please note, musicians will at times appear on Holding a leading position in education work, the instruments not listed in the programme. The London Sinfonietta believes that arts participation requires each musician to double is transformational to individuals and communities, on percussive instruments including balloons, and new music is relevant to people’s lives. This glasses and boxing gloves. belief is enacted through primary and secondary school concerts across the UK and interactive family events, as well as the annual London Sinfonietta Academy, an unparalleled opportunity for young performers and conductors to train with our Principal Players.

The London Sinfonietta has also broken new ground by creating ’s Clapping Music app for iPhone, iPad and iPod Touch, a participatory rhythm game that has been downloaded over 190,000 times worldwide. The ensemble’s latest recordings include George Benjamin’s opera Into the Little Hill (Nimbus; 2017), a collaboration with Norwegian saxophonist Marius Neset on Snowmelt (ACT; 2016), a limited edition run of LPs with the artist Christian Marclay as part of his White Cube exhibition in 2015, and a disc of Sir ’s music which topped the chart in 2015. londonsinfonietta.org.uk TONIGHT’s performers

© Hong Kong Philharmonic © Mat Smith David Atherton VICTORIA SIMMONDS Conductor mezzo soprano Atherton studied music at Cambridge University and Victoria Simmonds studied at the Guildhall School of in 1967 was invited by Sir Georg Solti to join the Royal Music and Drama with David Pollard. Her career began as Opera House, where he became the youngest conductor a Young Artist and then Company Principal at ENO, singing ever to appear there, aged 24. He returns frequently roles such as Cherubino (Figaro), Rosina (The Barber of as guest conductor with most recent engagements Seville) and Zerlina (Don Giovanni). including productions of Ravel and Stravinsky. She was ENO company principal from 2000 to 2005, David Atherton has also appeared with Canadian Opera, making her debut with them as Nancy T’ang in John Glyndebourne Festival Opera, and in several productions Adams’ Nixon in China, conducted by Paul Daniel and with ENO such as , a work he has championed directed by Peter Sellars. Her time at ENO also included at the San Francisco and Metropolitan . He has the roles Mercedes (), Zaida (The Turk in Italy), travelled throughout the United States, across Europe, Pitti-Sing (The Mikado), Ascanius (The Trojans), Dorabella (including a performance with the Berlin Philharmonic), (Così fan tutte), Hermia (A Midsummer Night’s Dream). to Australia, New Zealand and Japan. Festival engagements have included the title role of As co-founder of the London Sinfonietta in 1968 he gave Carmen at the Royal Albert Hall, Olga (Eugene Onegin) the first performance of many contemporary classical and Angelina (La Cenerentola) for Opera Holland Park, Fox works. He was also responsible for festivals featuring (Cunning Little Vixen), Zalda (Il turco in Italia) and Isolier complete works of Ravel, Stravinsky, Webern and Varèse (Le Comte d’Ory) for Garsington Opera. In the 2006 Aix with the London Sinfonietta, LSO, BBC SO and the ROH. Festival she sang Wellgunde (Das Rheingold) conducted His achievements in the recording studio have gained by Sir , in addition to a concert performance many accolades including the , many with the Berlin Philharmonic. More recent engagements Grammy Award nominations and the Grand Prix du have included performances with the Philharmonia, Hallé Disque. Of his recording of Tippett’s King Priam, for Orchestra, London Symphony Orchestra and Sir Colin which he received the coveted International Record Davis, the BBC Proms, Royal Scottish National Orchestra Critics’ Award, Tippett wrote “Atherton is a conductor of and a recording of Rossini’s Ermioni for Opera Rara. genius.” Recent and future operatic commitments include a new He has held titled positions with the San Diego SO, commission by Luke Bedford for , Mad BBC Symphony, Royal Liverpool Philharmonic, and Hatter and Alice’s Mother (Alice in Wonderland), Minsk BBC National Orchestra of Wales and the Hong Kong Woman in Jonathan Dove’s Flight and Donna Elvira for Philharmonic Orchestra. On retirement from this position Opera Holland Park. She has sung the roles of Angel 2 and in 2000, he was awarded the OBE and made the Marie in Written on Skin by George Benjamin at Opéra orchestra’s Conductor Laureate. Comique in Paris, House Covent Garden, La Scala Milan, Lincoln Centre New York. TONIGHT’s performers

© Mat Smith © Fran Monks © London Sinfonietta Daniel norman sound intermedia tenor Daniel Norman was a scholar at New College Launched in 1996 by Ian Dearden and David Sheppard, Oxford and went on to study in the US and Canada, and Sound Intermedia revels in the challenge of bringing at the . new work to its audience. Renowned for sophisticated Concert performances have included Evangelist St sound designs for live events, they have worked in John Passion at Royal Festival Hall, Tippett’s A Child concert halls and opera houses around the world, of Our Time with the CBSO, Britten’s Les Illuminations collaborating with many of the preeminent creators and ’s Requiem with Noseda and the BBC and performers of new music of the last 70 years. Philharmonic, ’s Nocturne and St Their experience is sought when exceptional events go Nicolas, Stravinsky’s Les Noces with Martha Argerich, beyond established paradigms. They have devised and Bach’s St Matthew Passion at the Concertgebouw and curated installations and performances in museums, for the Sønderjyllands Symfonieorkester, Beethoven’s art galleries and a myriad of unusual spaces around Symphony No.9 for Minnesota Orchestra and with Het the world - from Venice Beach California to Gelders Orkest. beach in ; from the tunnels of the London Underground to helicopters over Paris. He performed Holst’s Savitri with the London Sinfonietta, Looking forward, they plan a visionary live project to Sam Kaplan in Street Scene at the BBC Proms, revisit outstanding works of from the at the Royal Festival Hall, Delius’s Mass of Life with the past and perform them with technology specially built BBC Philharmonic, Haydn’s Stabat Mater with Europa to sound and feel like the original. Galante (Fabio Biondi), Stravinsky’s In Memoriam Dylan Thomas with the CBSO, Renard (Helsinki, Paris Their aim is to motivate and influence musicians, & Southbank), Britten’s War Requiem for Southbank technicians and composers through authoritative , with Britten Sinfonia, Dream performance and to pass on their ingenuity to the next of Gerontius at Ely Cathedral, as well as recitals at generation, better to serve the music of the future. Wigmore Hall, Kings Place and for Oxford Lieder.

Recent and future engagements include Gerald Barry’s Alice’s Adventures Under Ground in Dublin, Billy Budd at the and Glagolitic Mass at the Three Festival, Worcester, Elijah at the Barbican and Mahler Symphony No.8 at Ely Cathedral. London Sinfonietta would like to 1997 Rosie Oliver & Cathy Haynes Alistair Mackie trumpet thank the following organisations 1999 Penny Jonas Jonathan Morton violin 1 (supported and individuals for their support: 2001 Ruth Rattenbury by Paul & Sybella Zisman) 2004 Professor Sir Barry Ife CBE Joan Atherton violin 2 (supported by TRUSTS AND FOUNDATIONS Art Mentor Foundation Lucerne, 2009 Susan Grollet in memory of Robert Clark & Susan Costello) Arts Council England, The Barbara Mark Grollet Paul Silverthorne viola (supported by Whatmore Charitable Trust, The Boltini 2010 Lucy de Castro & Nick Morgan Nick & Claire Prettejohn) Trust, British Council, Britten-Pears 2012 Trevor Cook Tim Gill cello (supported by Sir Foundation, The John S Cohen 2013 Antonia Till Stephen Oliver QC) Foundation, Cockayne – Grants for 2017 Paul & Sybella Zisman Enno Senft double bass (supported by Anthony Mackintosh) the Arts, The D’Oyly Carte Charitable LEAD PIONEERS Trust, Ernest Cook Trust, Ernst von Helen Tunstall harp John Bird David Hockings percussion Siemens Music Foundation,The Robert Clark & Susan Costello Fenton Arts Trust, Help Musicians UK, John Constable Emeritus Principal Régis Cochefert piano (supported by John Bird) Hinrichsen Foundation, Idlewild Trust, Anthony Mackintosh John Ellerman Foundation, Jerwood David Sheppard Sound Intermedia Belinda Matthews (supported by Penny Jonas) Charitable Foundation, Stephen Morris The London Community Foundation, Ian Dearden Sound Intermedia Sir Stephen Oliver QC (supported by Penny Jonas) The Mercers’ Company, Norwegian Antonia Till Composers Fund, The Nugee LONDON SINFONIETTA COUNCIL Foundation, PRS for Music ARTISTIC PIONEERS Paul Zisman chairman Foundation, The RVW Trust, The Swiss Anton Cox Andrew Burke Arts Council Pro , Swiss John Hodgson Régis Cochefert Cultural Fund UK Nicholas Hodgson Ian Dearden Walter A. Marlowe Annabel Graham Paul CORPORATE PARTNERS Julie Nicholls Lark (Group) Limited Alistair Mackie Simon Osborne Belinda Matthews Ruth Rattenbury HONORARY PATRONS Jonathan Morton John Bird David & Jenni Wake-Walker Matthew Pike Sir Harrison Birtwistle Margarita Wood Sally Taylor KBE CREATIVE PIONEERS Ian Baker LONDON SINFONIETTA STAFF ENTREPRENEURS Andrew Burke Chief Executive Sir Vernon Ellis Ariane Bankes Craig West General Manager Annabel Graham Paul Andrew Burke Elizabeth Davies Head of Finance Penny Jonas Jeremy & Yvonne Clarke Natalie Marchant Concerts & Anthony Mackintosh Rachel Coldicutt Projects Manager Robert McFarland Dennis Davis Lindsay Wilson Projects Manager Michael & Patricia McLaren-Turner Richard & Carol Fries Sean Watson Participation & Sir Stephen Oliver QC Patrick Hall Learning Officer Matthew Pike Chris Heathcote Joanne McIntosh Head of Nick & Claire Prettejohn Andrew Hunt Development Strategy (maternity Paul & Sybella Zisman Frank & Linda Jeffs cover) The London Sinfonietta Council Philip Meaden Sam Delaney Individual Giving Andrew Nash Assistant Sinfonietta Circle Frances Spalding Vicky Trigle Trusts, Foundations & 1970 Frank and Linda Jeffs Iain Stewart Corporate Partnerships Assistant 1972 Robert McFarland Mark Thomas Rosanna Haas Marketing Manager 1973 Dennis Davis Fenella Warden Niamh Collins Marketing Assistant 1974 Camilla & Anthony Whitworth- Jane Williams Adam Flynn Administration & Jones Plus those generous Lead, Artistic Recordings Officer 1976 Patricia McLaren-Turner and Creative Pioneers who prefer to 1977 Janis Susskind OBE remain anonymous, as well as our LONDON SINFONIETTA 1978 Walter A. Marlowe loyal group of Pioneers. AMBASSADORS 1979 Tony Bolton Anthony Mackintosh 1980 Mark Thomas PRINCIPAL PLAYERS Robert McFarland 1981 Michael McLaren-Turner Michael Cox flute (supported by Sir Stephen Oliver QC 1982 Rosemary Gent Michael & Patricia McLaren-Turner) Penny Jonas 1984 Robert Clark & Susan Costello Gareth Hulse oboe 1986 Stephen Williamson Mark van de Wiel clarinet (supported FREELANCE & CONSULTANT STAFF 1988 P.E Duly by Régis Cochefert) Hal Hutchison Concert Manager 1991 Régis Cochefert & Thomas John Orford bassoon Lesley Wynne Orchestra Personnel Ponsonby Simon Haram Manager 1990 Stephen & Dawn Oliver Michael Thompson horn (supported Tony Simpson Lighting Designer 1992 Stephen Morris by Belinda Matthews) Maija Handover sounduk Byron Fulcher trombone

cue the new: how to listen to the 21st Century 2016/17 SEASON

COMING UP

TUrnING POINTS: BERIO Theatre of the world Saturday 4 November, Kings Place

Get to know ; one of the towering musical personalities of the post-war avantgarde, who constantly reinvented musical sound and form. His music drew inspiration from and reworked the vernacular of folk, pop and other classical music and indeed his own compositions. The London Sinfonietta collaborated a great deal with Berio during the 1970s and 1980s, helping both ensemble and composer to establish an international reputation.

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