Bournemouth Symphony Orchestra concert season 2017 / 18 Lighthouse, Poole’s Centre for the Arts We launch the season, which leads us to our debuts from a range of guest artists including 125th Anniversary in good heart with a Company conductors Richard Farnes, Matthew Halls, Mikhail whose artistic strength continues to grow under the Tatarnikov and Robert Trevino. We are especially outstanding leadership of Chief Conductor Kirill delighted to welcome Andreas Ottensamer, Principal Karabits. Kirill’s musical journey is sure to be a Clarinet of the Orchestra as thrilling one once again, not least at the opening of our Artist-in-Residence for the season. the season with Messiaen’s epic Turangalîla Symphony. As ever our range of programmes are designed to This is a once in a generation opportunity to inspire our loyal regular supporters whilst finding experience this truly extraordinary masterpiece, many ways to welcome new audiences of all ages and here on the South Coast. tastes. Throughout the season we will encourage you A highlight of every week is without doubt the to find out more through our range of online resources palpable sense of audience excitement, that sense of on the BSO website and social media channels. the shared musical experience generating emotions As one of the UK’s leading arts charities, the BSO and long-lasting memories that is hard to equal. It is has a unique remit to bring great music and cultural the amazing rapport between stage and audience that engagement to the range of communities across the inspires our outstanding musicians, conductors and South and South West, whether that be in a concert guest artists each concert, making the season so special. hall, a school, a hospital or a community setting. Kirill continues his exploration of the great In turbulent times, the BSO is leading the charge to symphonies of Bruckner, Mahler and Schumann demonstrate the positive role cultural engagement has and returns to the music of Elgar and Walton, the in the development of our children, in the cohesion core German repertoire of Brahms and Beethoven of our communities and in building a better society. and this season we place the music of Tchaikovsky in We could not do it without your support and I would the context of some of his contemporaries including like to thank everyone who supports this remarkable Glinka and Kalinnikov. Rachmaninov’s dramatic organisation and in helping us build a strong future. I choral symphony The Bells with the Bournemouth look forward to welcoming you to another season of Symphony Chorus is also sure to be something special. great music making. Our philosophy of nurturing enduring relationships, whilst fostering new talent continues and we welcome Dougie Scarfe, Chief Executive wednesday Rhythm of Life 4 october 7.30pm

“the cultural Named from two Sanskrit words, turanga and bizet heartbeat lîla, meaning roughly ‘time’ and ‘love’, Turangalîla Symphony in C features ‘non-retrogradable’ rhythmic patterns messiaen of the – those that are the same played forwards as Turangalîla Symphony south west” backwards – and four distinct musical themes, described by Messiaen as the ‘statue theme’, named Darren Henley Kirill Karabits for the threatening images on ancient Mexican conductor CEO Arts Council England monuments, the slow, quiet ‘flower theme’, the January 2017 Steven Osborne central and most significant ‘love theme’ and a piano final theme of opposing chords that produces crossing counterpoints in the orchestra. Messiaen Cynthia Millar wanted to create a “love song and hymn of joy, ondes martenot time, movement, rhythm, life, and death” and this inventive piece is like no other – a work of huge structural scope that strives to convey, from most tender to most wild, its basic theme: love. Written in a single month, Bizet’s polished gem of a symphony is remarkable not so much for its originality, but for its skilful reworking of others’ designs. It is a brilliant work that shows a grasp of unity and overall design that was remarkable for a seventeen-year old composer. Supported by Stephen Elder & Vanessa Claydon Kirill Karabits wednesday Clarinet Magic 11 october 7.30pm

It was the jazz clarinettist Benny Goodman who its deft interplay between soloist and orchestra. brahms asked Hindemith to write a concerto for him, having Equally inventive and a landmark in the history Variations on a already commissioned works from a number of of the symphony, Schumann’s Fourth Symphony Theme by Haydn composers, including Bartók and Copland. It is is a sinuous and structurally taught work. Its four hindemith a work of particular serenity and melody, marked thematically connected movements are played Clarinet Concerto by a distinctive, translucent polyphonic language without pause, enhancing the poetic flow of the weber encompassing the entire chromatic scale. The four solemn grandeur of the music before reaching its movements reflect four moods – hedonism, volatile and explosive ending – and its threat of Concertino optimism, lyricism and gaiety. Weber’s works for insurrection, violence, terror and madness. Also schumann the clarinet broke fresh ground, allowing the recently known as the St Anthony Variations, the Haydn Symphony No.4 developed instrument a new measure of prominence Variations marked the turning point of Brahms’ and demonstrate its wide-ranging capabilities for both career as an orchestral composer. With its range and Kirill Karabits expressivity and virtuosic display. It is a tribute to inventiveness, the work is more than a mere set of conductor his ability that the dramatic and energetic Concertino variations however – rather a work of ever-evolving Andreas Ottensamer remains a favourite in the standard repertory with harmonic and rhythmic enhancements. clarinet

Supported by Richard Bagley wednesday 18 Salzburg Connections october 7.30pm

l mozart In 1779, Mozart found himself back in his native “an artistic triumph... Sinfonia in G Major Salzburg after a disheartening journey through ‘Neue Lambacher’ Germany and France seeking new employment the martinu symphony m haydn opportunities. A period of great creativity, it heralded was a sensation, and drew Cello Concerto the emergence of his mature genius. The Posthorn from the bso a world-class is one of his largest serenades in duration, scope, w a mozart performance, lovingly and scoring, calling for as large an ensemble as his Serenade No.9 ‘Posthorn’ symphonies, and spanning a full emotional range. prepared and bursting It takes its nickname from the inclusion of the post Reinhard Goebel with energy” horn – traditionally used to announce the arrival conductor David Truslove, Bachtrack and departure of coaches, specifically those carrying October 2016 Bruno Delepelaire the mail. After years of debate and misattribution, cello the New Lambach symphony is now recognised as coming from the pen of Leopold Mozart rather than Wolfgang. It represents Leopold at his most mature; a serious, progressive symphony and no mere novelty of which he is often accused of writing. Origins of a newly discovered concerto for cello have also been questioned. Which Haydn wrote it – Josef or younger brother Michael? Whatever the case, it has a Mozartian combination of instrumental idiom and subtle large-scale structure. wednesday Colour and Light 25 october 7.30pm

The father of musical Impressionism, Debussy’s debussy music displays a palette of bold colours and delicate Printemps interplay of light as any painting by Monet or Renoir. chopin Meandering harmonies weave from one bar to the Piano Concerto No.1 next in an organic flow, nowhere more so than in d indy his symphonic masterpiece La Mer. It is a gorgeously ’ sensual evocation of the sea in all its variety, from La Forêt enchantée the sparkling glint of the water to the brooding debussy immensity of its power. Printemps foreshadows La Mer Debussy’s later works with his use of gentle pentatonic melodies and oriental exoticism. Written to show Fabien Gabel off his extraordinary talent, Chopin’s E minor conductor Concerto opens with a grand orchestral sweep Louis Schwizgebel before the piano enters with a dazzling display of piano technical virtuosity, culminating in a race to the end with a series of blazing scales and arpeggios both enthralling and exhausting. D’Indy’s delightfully descriptive piece tells the story of a knight and his fellow warriors encountering a troupe of elves as they ride through the forest, the mood changing from the darkly forbidding opening through the light and Supported by airy elf theme to the quiet stillness of the ending. BSO Endowment Trust in memory of Louis Schwizgebel Canon & Mrs Ivor Jeffrey-Machin wednesday 1 Russian Masters november 7.30pm

glinka The extraordinary musical demands of Rachmaninov’s All-round captivating and instantly charming, his Ruslan & Ludmilla Overture Third Concerto make it one of the most challenging First Symphony abounds with memorable melodies, glinka works in the piano concerto repertoire. The soloist developed with great skill and embellished through Valse from A Life for the Tsar plays almost constantly throughout and must his fluent and colourful orchestration. In particular, combine ear-popping virtuosity with a chamber the andante is a most gentle and luminous idyll set kalinnikov musician’s ability to listen and blend into the orchestra. within a work of elegant yet simple grandeur and Symphony No.1 Undoubtedly a tour de force, the great technical well worth a listen. Glinka, proverbially the father rachmaninov demands are more a means than an end, as the work of Russian opera, also tapped into the Russian Piano Concerto No.3 seems much more focused on conveying Romantic psyche with his two operas A Life for the Tsar and musical ideas than being a simple display piece – its Ruslan and Ludmilla, both of which incorporated Kees Bakels mood and character sitting squarely in 19th century Russian as well as other folk elements. The music conductor Romanticism. A contemporary of Tchaikovsky and is dramatic, epic and stirring, evoking the expanse Lukáš Vondrácˇek championed by Rachmaninov, Vasily Kalinnikov was of the Russian Steppe. The sparkling overture of piano an immensely popular composer during his lifetime. the latter was written in just twenty-four hours! Carol Paige and Jesper Svedberg “this reading of rachmaninov’s fourth piano concerto, for me, stood well against the best performances i have heard... a truly memorable concert with the bso on top form” Ian Lace, Seen and Heard International, March 2017

Andy Cresci wednesday In Memoriam 8 november 7.30pm

Elgar described his Second Symphony as “the ravel passionate pilgrimage of a soul” suggesting the music’s Le tombeau de Couperin predominantly restless and tragic character. It reflects vaughan williams the tension of the time in which it was written – a The Lark Ascending study of conflict and paradox; exuberance followed by elgar depression, gregariousness followed by withdrawal, optimism giving way to resigned fatalism and a deep Symphony No.2 nostalgia for vanished times. Although Le tombeau Richard Farnes is Ravel’s personal memorial to friends lost in the conductor Great War, with each movement dedicated to a fallen comrade, it doesn’t talk directly about the war Jack Liebeck at all; rather about eternal values: beauty, elegance, violin the things that we want to preserve... in other words, the opposite of war. Vaughan Williams’ best loved and most enduring Romance opens almost imperceptibly, out of which the ‘lark’ takes wing, rising, undulating, falling. The music avoids any tonal centre, written without bars allowing the soloist an almost improvisatory freedom to describe the ethereal minstrel. It is a picture of a perfect world; an intensely beautiful and idyllic tableau of English life that may have been lost forever. Supported by Terence & Annette O’Rourke wednesday 15 The Bells november 7.30pm

brahms Rachmaninov’s choral symphony The Bells is Tragic Overture intensely dramatic, operating on several levels. The beethoven imitation of the sound of bells, in turn joyful and Piano Concerto No.3 sad, becomes a backdrop for the expression of a wide range of emotions. In addition to the sound of rachmaninov the bells, another aural element plays an important The Bells role in the music. The intoxicating rhythm of the poetry, so irresistible in Edgar Allen Poe’s original, Kirill Karabits was matched in the Russian translation by Konstantin conductor Balmont and the music does full justice to their David Fray verbal fireworks. Brahms’ overture opens with two piano emphatic chords. Unison strings, with timpani The Bells cast vibrating ominously, then intone the austere main to be announced theme – a simple march. A magnificent energy has Bournemouth a defiant strength whose force is heightened by the Symphony Chorus return of the poignant little march idea, defining the ‘Tragic’ of the overture even more potently. Beethoven’s Third Piano Concerto came straight from the heart of its creator and was a showcase for his own amazing pianistic talents. Revolutionary in its scale, drama and intensity, it is a masterful Supported by partnership between soloist and orchestra. Chris & Clem Martin David Fray saturday Smooth Classics 25 november 7.30pm

Four sublime adagios from grieg Peer Gynt – Morning Victor Aviat concertos by Albinoni, Mozart beethoven Symphony No.6 – Shepherd’s Song conductor and Rodrigo crown a concert mascagni Intermezzo from Cavalleria Rusticana Anna Pyne featuring some of the most mendelssohn Nocturne from A Midsummer Night’s Dream flute beautiful and relaxing classical rodrigo Concierto de Aranjuez – adagio Eluned Pierce music ever written. mozart Flute and Harp Concerto – andantino harp vaughan williams Fantasia on Greensleeves mozart Clarinet Concerto – adagio Edward Kay gluck Dance of the Blessed Spirits oboe albinoni Oboe Concerto No.2 – adagio Kevin Banks dvok Symphony No.9 – largo clarinet debussy Clair de Lune faur Pavane Janice Thorgilson, Jacoba Gale and Magda Gruca-Broadbent wednesday Bruckner Transcended 29 november 7.30pm

Bruckner’s last completed symphony contains music feel, when you get there, that the whole experience mozart of sheer, breath-taking magnificence. It is a non-stop of the piece is contained and transfigured in this Piano Concerto No.23 instrumental song imbued with mystical passions crowning coming-together of symphonic space bruckner and aesthetic glories. It rises from a doom-laden and time. In just four years Mozart wrote sixteen Symphony No.8 opening to a third movement containing some of glorious piano concertos. No.23 (K488) was an the noblest, most ecstatic music Bruckner ever created immediate success, remaining popular probably as Kirill Karabits and represents the summit of his achievements. much for its wistfulness as for melodies verging on conductor Each movement is designed on a massive scale, the sublime. It does not open with a fanfare or any Robert Levin patiently building exuberant climaxes marked by kind of powerful curtain-raising motif, as many piano joyful brass trumpeting. Working from a few seminal other concertos do – rather it begins with a gentle motifs, Bruckner breathes life into mighty themes, melody, played on the piano, setting the stage for a nourishing them with extreme contrapuntal skill. unique blend of moods from quiet serenity to flashes These all come together in the gargantuan finale – of aural radiance and moments of exquisite pathos. a moment of ‘blazing calm’ and one of the most The spirited finale perhaps reminds us that this was existentially thrilling experiences a symphony has the product of one of the most exhilarating periods ever created. Bruckner’s achievement is to make you in Mozart’s tragically brief life. wednesday 6 An Artist’s Reply december 7.30pm

prokofiev In 1937, at the height of Stalin’s purges, the Rachmaninov’s Rhapsody, a brilliant showpiece for Romeo and Juliet Suite Communist Party strongly denounced Shostakovich’s virtuoso pianist, is a set of 24 variations. It opens rachmaninov most recent works. Fearing for his life, he wrote a with an introduction, based on the principal Rhapsody on a symphony ending with a rousing march. But to many, motif from the Paganini theme which itself is Theme of Paganini the triumph rang hollow. Even today, people wonder not introduced fully until after the first variation. just what he was trying to say. Was the symphony What follows is an exercise of both compositional shostakovich meant to celebrate Stalin’s regime? Or did it contain and pianistic prowess. After moments of Romantic Symphony No.5 hidden messages protesting the very system it seemed outpourings the music hurtles towards a typical to support? Years later Shostakovich commented grandiose conclusion, but at the last moment it Vassily Sinaisky “I think it is clear to everyone what happens in the wittily becomes a whisper and ends impishly conductor Fifth. The rejoicing is forced, created under threat. with an echo of the introduction. Equally as Kirill Gerstein It’s as if someone were beating you with a stick and passionate and abounding with yearning melodies piano saying, ‘Your business is rejoicing, your business is and unbridled drama, Prokofiev’s ballet music for rejoicing ...’” Rostropovich reportedly believed that Shakespeare’s star-crossed lovers shows his mastery the piece would have gotten Shostakovich killed of orchestral colour at its most brilliant. It too was if not for the thunderous response of the listeners. a response to state criticism of his music. Anna Pyne, Kevin Smith and Vicky Berry Christmas & New Year with the BSO

wednesday 13 december saturday 16 december tuesday 19 december 7.30pm 7.30pm 3pm & 7pm Handel’s Last Night of The Messiah the Christmas Snowman Proms Laurence Cummings Pete Harrison blake conductor conductor The Snowman Mhairi Lawson Annie Skates soprano singer Hugh Brunt conductor James Hall James Spilling counter-tenor singer Pui Fan Lee narrator Nicholas Scott tenor Edward Grint bass Bournemouth Symphony Chorus Supported by In partnership with Investec Wealth & Investment Lighthouse Magda Gruca-Broadbent saturday 23 december monday 1 january 7.30pm 3pm Celebration New Year’s Day of Christmas Johann Strauss Carols Gala Victor Aviat Victor Aviat conductor conductor Bournemouth Symphony guest soprano Chorus and Youth Chorus Tim Fisher and Kevin Banks wednesday New Eras 17 january 7.30pm

The Clarinet Concerto of Czech composer and while the strings play the principal theme; this mozart father of the Mannheim School, Johann Stamitz, process is repeated and then the clarinet gently Symphony No.35 ‘Haffner’ stylistically speaking, sits between the late baroque unfolds and develops the material over a beautifully j stamitz and classical periods and is renowned for being transparent accompaniment. Launched by a stirring Clarinet Concerto in B flat one of the first proper concertos written for the call to attention Mozart’s brilliant Haffner, with its c stamitz instrument. It is an important milestone in the sweeping first movement containing just one real development of the genre with its use of sonata theme and use of clarinets for added textural timbre, Clarinet Concerto in E flat and rondo form. The Mannheim School was a marked a big departure for the period. The finale, ‘Darmstädter’ melting pot of revolutionary experimentation with which Mozart requested be played “as fast as possible” dvok musicians from all over Europe coming together bubbles over with comic-opera vivaciousness. It was Symphony No.5 to develop a new explosive and colourful sound – with his Fifth Symphony that Dvorˇák left his the beginnings of the orchestra as we know it today. symphonic apprenticeship definitively behind Matthew Halls The Mannheim Orchestra was also the first to him and attained not only mastery but also that conductor adopt the recently developed clarinet, and here individual, loveable style that makes him so popular. Andreas Ottensamer Mozart heard the instrument for the first time. Its distinctive quality of the simultaneously airy and clarinet/director Continuing where his father left off, Carl Stamitz dramatic owes much Schubert, to whom he turned further developed classical structure in his concerto, for inspiration after abandoning the Wagnerian style with its broad symphonic writing and thematic he had previously adopted. But Dvorˇák’s Bohemian progression. A lovely touch, opening the adagio, roots are also apparent. sees the clarinet holding a long, sustained note wednesday 24 Triumph and Passion january 7.30pm

khachaturian Shostakovich’s Second Piano Concerto stands miles Adagio of Spartacus apart from many of his other works in its sense of and Phrygia freedom and abandon. It is a gloriously free, wistful shostakovich creation – an unrestrained delight from start to finish, Piano Concerto No.2 particularly in the famous, soulful and heart-rending adagio, which guarantees the whole work’s enduring tchaikovsky popularity – either side of which are two vivacious Symphony No.5 movements, both full of style and an overwhelming sense of fun. After a shaky start, the Fifth Symphony Mikhail Tatarnikov soon became recognised for the masterpiece it conductor undoubtedly is. Tchaikovsky wrote that its subject Boris Giltburg was ‘Providence’. More specifically it is a journey piano from darkness and despair into light and triumph, accomplished partly by the musical character of the individual movements, and partly through a recurring “motto” theme, which appears in a different guise throughout. Khachaturian’s sensual Adagio marks the point in the ballet when Spartacus can enjoy a moment of peace and celebration from persecution by the Romans. More beautiful melodies make this perennial favourite one of the best loved themes Supported by ever written. Terence & Annette O’Rourke Boris Giltburg wednesday Monumental Brahms 31 january 7.30pm

“karabits An extraordinary melding of musical heritage and brahms is presiding progressive outlook made Brahms an overwhelming Piano Concerto No.1 presence in the latter half of the 19th century, but the lyatoshinsky over a golden age musical genesis did not come easily. The monumental Symphony No.3 of this outstanding First Piano Concerto occupied Brahms for over five orchestra... this is years. After beginning a two-piano sonata in 1854, Kirill Karabits he soon realised that the musical material required conductor music-making at orchestral treatment and recast it as the first movement. Sunwook Kim Adding the jaunty finale in late 1856, followed by its finest” piano the radiant adagio, he continued to make adjustments Paul Jordan up to and beyond the first performance in 1859. Fine Times Recorder January 2017 Lyatoshinsky is relatively unknown in the West, a pity since his Third Symphony represents the greatest example of Ukrainian symphonic music and for many, including Kirill, remains one of the great symphonies of the 20th century. Full of colours, playing between the strings and the brass, with fabulous melodies and an infectious enthusiasm, you are left with a sense of awe. The first performance in Kiev caused a sensation, but the Soviet censors still forced the composer to rewrite it, changing the original concept and removing the epigraph “Peace will defeat war.” wednesday 7 Perfect Fourths february 7.30pm

schubert Mahler’s Fourth Symphony has been described as “it’s a sign of the trust Symphony No.4 ‘Tragic’ “an adventure of enchanted melodies and sounds, karabits now inspires in mahler a progress from a pastoral landscape, where the Symphony No.4 grass still bore prints Haydn and Schubert had the bso’s audience left, through scenes of shadow and sadness, dispelled that he can achieve a Kirill Karabits by large shouts of joy, to a vision of untroubled full house for a quite conductor happiness.” That vision of happiness comes most fully in a song The Heavenly Life, which forms the daring programme... Catherine Foster astonishingly original finale and like the symphony soprano a performance of shrewd overall, leads us to think of contrasts of Heaven and timing and massive Earthly Life, serenity and agitation, simplicity and complexity. Schubert himself gave his Fourth rhetorical force” Symphony the name Tragic. Possibly he did this Ivan Hewett, The Telegraph in an unsuccessful attempt to attract the attention February 2017 of publishers or impresarios. The work is not overtly tragic in nature. Both the outer movements start in the minor and are tempestuous and dramatic in character, but each ends triumphantly in the major key. Overall the form and scale of the symphony follow the models of Mozart and Haydn, but there is considerable innovation and originality Supported by in the harmonic ideas and tonality of the work. Roger Higgins saturday Heroes and Monsters 17 february more music from the movies 7.30pm

Pete Harrison conductor

Once again the full power of a symphony orchestra is unleashed in a concert packed full of stirring and epic soundtracks of the silver screen – this time featuring music from films with monsters galore, whether they be dinosaurs, giant beasts from the jungle or the deep, supernatural creatures of the night or psychopathic killers. Titles include The Mummy, Dracula, Psycho, Silence of the Lambs, King Kong, Super 8, The Abyss, Pan’s Labyrinth, Jurassic Park, Lord of the Rings, Jaws and Gremlins composed by Hollywood greats from Bernard Hermann to Michael Giacchino, Jerry Goldsmith to Howard Shore and, not forgetting, John Williams. Peter Turnbull, Andy Cresci and Kevin Morgan wednesday 21 Andreas Ottensamer february 7.30pm bso artist-in-residence recital

debussy Andreas Ottensamer comes from an Austro-Hungarian “ottensamer Première rhapsodie family of musicians and was drawn to music early. is simply a superb templeton He gained his first orchestral experience as a deputy player, little Pocket Size Sonata No.2 in the orchestra of the and the and is now the principal individual details widor of his phrasing Introduction et Rondo clarinettist of the Berlin Philharmonic. His artistic partnerships as chamber musician include work with made possible by kova´cs Murray Perahia, and Yo-Yo Ma, quite remarkable Easy Moments and together with pianist José Gallardo he is artistic breath control” gershwin (arr. koncz) director of the Bürgenstock Festival in Switzerland. Prelude No.1 In 2005 he founded the clarinet trio The Clarinotts Keith Bruce The Herald Scotland poulenc with his father Ernst and brother Daniel. August 2016 Sonata for Clarinet and Piano debussy La Fille aux cheveux de lin horovitz Sonatina

Andreas Ottensamer clarinet José Gallardo piano wednesday The Creation 28 february 7.30pm

For Haydn The Creation was a summation of his haydn religious convictions as well as his life’s work as a Die Schöpfung composer. Every one of his scores ended with the inscription “Laus Deo” (God be Praised) or “Soli Deo David Hill Gloria” (For the Glory of God alone), and never was conductor it more fitting than at the end of this illuminating Lucy Crowe oratorio. It still speaks eloquently to believer and soprano non-believer alike with its lively arias and rousing Benjamin Hulett choruses, and this, in the end, was what Haydn tenor hoped his music would do. The opening is one of Haydn’s most gripping strokes of genius, a depiction Christopher Purves of the chaos that reigned before the birth of the bass world. Fragmented themes, shocking dissonances Bournemouth and unexpected instrumental flourishes conjure a Symphony Chorus vision of a tumultuous universe. After a brief recitative setting the scene for the first day, Haydn calls on the chorus for a stunning dramatic stroke: at the moment of the creation of light, the orchestra and chorus unleash their full power with a radiant C major chord – a touch that underlines the cosmic power of the moment.

Lucy Crowe “vigour and momentum informed the eventful finale with a hard-driven fugato given out by superbly disciplined strings, and the end was wonderfully rousing... bournemouth symphony orchestra is at the top of its game.” David Truslove, Classical Source January 2017

Philippa Stevens and Nicole Boyesen wednesday Picture Perfect 7 march 7.30pm

Rapsodie espagnole, Ravel’s first published orchestral spontaneity, but it is far from casual in its sourcing ravel work, is Spanish to the core, subtly and brilliantly and craftsmanship, drawing upon Basque and Rapsodie espagnole evoking the sights, sounds and physical sensations Spanish melodies, jazz riffs, the influences of Mozart debussy (orch. ravel) of this “perfumed land that the sun caresses.” This is and Saint-Saëns, and even his childhood fascination Danse - Tarantelle styrienne music at once coolly intellectual and passionately with mechanical toys. Thirty years after Debussy ravel sensuous, which justifies its composer’s reputation as wrote his Tarantelle styrienne for piano, Ravel a musical Impressionist. The tension built up through created an orchestral version of the sprightly work, Piano Concerto in G the restraint of the first three movements is released publishing it under the title Danse. Working like an mussorgsky (orch. ravel) with fervent abandon in the finale – Ravel’s pulsating orchestral painter he brings additional intensity and Pictures at an Exhibition rhythms combining with full-bodied instrumentation exuberance to the original harmonies and textures conjures up the brilliance, commotion and joyous of light and shade. Pictures at an Exhibition is, in Carlos Miguel Prieto confusion of a Spanish festival, offering the composer part, Mussorgsky’s musical homage to a talented conductor splendid opportunities for dazzling orchestral effects friend, inspired by a visit to a posthumous exhibition. Gabriela Montero and colours. Ravel’s admirers had long been waiting One of Mussorgsky’s great gifts was the ability to piano for him to compose a piano concerto. When he capture the essence of a character, mood, or scene finally took up the form, in his mid-fifties, he in brief, striking musical imagery. His imagination worked on two at once. They were among the last goes far beyond the immediate visual stimulus of compositions he ever completed. The G Major the paintings, which are brought into even more Concerto sparkles with energy and a sense of vivid detail through Ravel’s orchestral magic.

Supported by Arts University Bournemouth wednesday 14 Finding Answers march 7.30pm

beethoven Ives referred to The Unanswered Question as a “cosmic But Brahms was not just trying to recapture Piano Concerto No.5 ‘Emperor’ landscape” in which the strings portray “the silences Beethoven. He incorporated ideas and innovations ives of the Druids.” Over that quiet background the that changed the traditional aesthetics of the The Unanswered Question solo trumpet phrase asks “the perennial question Classical/Romantic symphony. The dramatic of existence.” In response a quartet of winds Ives intensity of the first movement gives way to the brahms called the “fighting answers”, seeks a reply, becoming peace and serenity of the second, and the finale has Symphony No.1 more agitated and frustrated, until the trumpet been described as “one of the sublimest utterances states the question one final time, only to be human ears have heard” – its hymn-like theme Thierry Fischer answered by silence. It was one of the first modern commuted into a glorious and magnificent conductor works in which the performers’ parts are arranged conclusion. Beethoven wrote his final Piano Concerto Stephen Hough independently of the other parts in both key and at the height of his compositional powers, but at piano tempo with intriguingly juxtaposed musical a time of personal and political turmoil. It opens textures that move at different rates. Writing a with such power and majesty as to remind you symphony for Brahms was not something he took forcibly of the Eroica Symphony. A sort of spacious for granted. It took him more than twenty years simplicity characterises the first movement, whilst to approach the challenge and several more years to the adagio offers a dramatic change of mood by complete. It was no “laughing matter” to write a way of its exquisite mystical serenity, only to be symphony after Beethoven. The symphony he finally superseded by the most exuberant bravura rondo did produce was described by Hans von Bülow as finale. However it might have acquired its name, “Beethoven’s Tenth” while other critics pronounced it it really is the ‘Emperor’ of piano concertos! “the greatest first symphony in the history of music.” Supported by Ian Wilson wednesday Hollywood Concerto 21 march 7.30pm

In his Violin Concerto, Korngold reworked themes copland from several of his film scores. Lush and romantic, An Outdoor Overture the music certainly brings to mind the swashbuckling korngold films of the period. Its combination of full-throated Violin Concerto lyricism and unbridled virtuosity made it a favourite tchaikovsky with Jascha Heifetz and later violinists. Korngold develops the main theme in freely rhapsodic fashion, Symphony No.6 ‘Pathétique’ embellishing it with pyrotechnic passagework that Andrew Litton ascends into the stratosphere. The finale melds a conductor lively hoedown with a sweeping melody of decidedly cinematic character. Tchaikovsky’s final symphony Stefan Jackiw explores the metaphysics of death – the fact that we violin are made of flesh and blood, and that we will all die. The composer hinted to his friends and admirers that the work might contain secret messages, but he never told them what they were. “Let them guess” he said. Copland’s overture opens in a blaze. This fanfare, and subsequent extended trumpet solo, is contrasted with a march-like theme and a lyrical melody for strings, all of which are cleverly woven into the final, joyous conclusion.

Andrew Litton wednesday 11 Images and Dreams april 7.30pm

debussy The Symphonie fantastique is a work like no other. Rondes de printemps Its sound palette is unprecedented. Its forms are mendelssohn fresh. Its programme is grotesque. And the result is Violin Concerto in E minor a composition that creates its own world in sound. The influence of Goethe, Beethoven and Shakespeare, berlioz plus the irrational love for Harriet Smithson, all Symphonie fantastique worked on the mind of the twenty seven-year old Berlioz and what resulted was an amazingly fresh Robert Trevino and wholly personal journey through sumptuous conductor reveries and drug-induced dreams that lead ultimately Simone Lamsma to a death by beheading. Mendelssohn’s Violin violin Concerto makes a trip from darkness to light. It begins restless and questing, sometimes mysterious and sometimes nostalgic but ends with a blaze of colour, and a mood of joy and exhilaration, sustained by witty virtuosic melodies and lively interplay between soloist and orchestra. The last part of his triptych Images, Debussy wanted to convey the joyousness of the countryside awakening to spring and decking itself in leaves and garlands. It is headed with the quotation “Long live May, welcome May, with its woodland banner!” Simone Lamsma wednesday Bohemian Fire 18 april 7.30pm

After a promising beginning as a talented It is marked by many of the same driving, massive rachmaninov composer and performer, with the premiere of his instrumental effects that would later cause the Symphony No.1 First Symphony, Rachmaninov’s confidence and critics to pan the symphony as bombastic and tchaikovsky momentum – if not his entire career – suddenly coarse. However, this Capriccio is a fine work. Violin Concerto seemed to fizzle. The performance must have been If much of the music is fiery and driving, there rachmaninov appalling, not helped by the fact that Glazunov, not are also moments of melancholy and beauty. A love the best of conductors to begin with, appeared to be song slowly transforms into a dance celebrating the Caprice bohémien drunk! Rachmaninov called it “the most agonising Gypsy character of the joy of living. You can easily Kirill Karabits hour of my life” and the effect on him was devastating. visualise a campfire, with whirling skirts, stamping conductor For the next three years he wrote nothing and the feet and pure gusto. The dance irresistibly grows symphony itself was never performed again in his more and more frenzied, until the work ends with Nemanja Radulovi´c lifetime. The entire score is strong, highly individual an explosive presto for full orchestra. Tchaikovsky’s violin and self-assured – the work of a young talent Violin Concerto also received initial hostility. It was overflowing with ideas. Its four movements are unified shelved for a few years but after some revision and by a single idea that echoes the shape of the Dies irae, the championing of the work by violinist Adolf which recurs in several of his most important later Brodsky it soon established itself as a concert works. The Caprice bohémien was Rachmaninov’s favourite with its appealing melodies and dazzling second serious instrumental work after graduation, showmanship. immediately preceding the First Symphony. wednesday 25 Notes of Nostalgia april 7.30pm

britten When a young Richard Strauss attended a Four Sea Interludes performance of Wagner’s Tristan and Isolde, he was dvok totally captivated and a year later composed Death Cello Concerto and Transfiguration, a tone poem that pays homage to the opera. It describes the last hours of an artist r strauss who has aimed to achieve the highest ideals. Opening Tod und Verklärung with a throbbing ostinato suggesting the rhythm of the dying man’s heartbeat, two important themes James Feddeck reappear throughout in different guises, representing conductor different stages of his life’s journey. Written at the Daniel Müller-Schott end of Dvoˇrák’s three-year contract in New York, cello the Cello Concerto reflects some of his American experiences but is at the same time filled with the spirit of his beloved Bohemia where he longed to return. Containing some of his most memorable melodies and one of the loveliest of horn solos, by placing the solo cello into a variety of constantly changing instrumental combinations the result is most delicate and translucent. Britten’s Sea Interludes are not only brilliantly realised tone portraits of the sea and its many faces, but a subtle psychological primer on the deep questions posed in the opera itself. Daniel Müller-Schott wednesday Into the Light 2 may 7.30pm

It is in the Fifth Symphony that you truly encounter haydn the genius of Beethoven through the musical Symphony No.100 ‘Military’ manifestations of his intimate thoughts, his secret beethoven sorrows and his intensely concentrated rage. A sense Piano Concerto No.2 of a power struggle between tonic minor and major beethoven is played out across the entire symphony in a kind of musical competition between the forces of darkness Symphony No.5 and the avenging nature of light but in the end Kirill Karabits goodness triumphs over even the darkest fate in conductor Beethoven’s world. One of his earliest compositions for orchestra, the Second Piano Concerto reflects Sunwook Kim Beethoven’s mastery of Classical form and style. piano It is a youthful work, yet shows glimpses of the mature Beethoven, especially in his use of unexpected harmonies. Haydn produced six symphonies for his second visit to England but it was the Military which caught the public’s imagination. Aside from its attractive themes and Haydn’s captivating treatment of them, the other major reason for its popularity was the appearance of percussion instruments, adding not just exotic colour but also a touch of menace. Sunwook Kim Tammy Thorn and Nicolas Fleury wednesday Trpcˇeski plays 9 may Tchaikovsky 7.30pm

“karabits’s sense of Walton’s First Symphony was a landmark of elgar the first movement’s English composition and represents the peak of his In the South epic architecture proved symphonic thinking. Its turbulent emotions and tchaikovsky high-voltage energy were the fruit of tempestuous Piano Concerto No.1 faultless, and the grinding events surrounding Walton at the time. After an walton eloquent, dramatic first movement, a stinging, central climax, as well as Symphony No.1 the bereft cor anglais malicious Scherzo and a truly melancholic slow movement, the finale is totally different in outlook Kirill Karabits solo that follows it, were – an almost Elgarian ceremonial jubilation, as if a conductor beautifully engineered” cloud has lifted. Tchaikovsky’s First Piano Concerto is an exuberant and passionate work filled with Simon Trpcˇeski Andrew Clements, The Guardian uninhibited virtuosity. The dramatic and lengthy piano January 2017 first movement is based on the menacing-sounding Ukrainian folk tune titled Song of the Blind and is filled with extensive technical passages made up of lush chord sequences and scales. The finale is also based on a folk tune – a combination of hymn-like solemnity and more technical wizardry. Elgar’s ebullient overture has everything that is most admired about his music – wonderful melody, nobility of expression and moving passion. Bournemouth Symphony Orchestra would like to thank the following supporters principal funders principal partner principal patrons David & Jill Peters Terence & Annette O'Rourke Mike & Jane Stacey In memory of Mike Lumb

trusts & foundations With special thanks to Paul Hamlyn Foundation for its support of BSO Participate

Bristol Music Trust, Esmée Fairbairn principal media broadcast principal academic conservatoire media partner partner partner academic partner partner Foundation, The Leverhulme Trust, partner The Valentine Charitable Trust, The Michael & Isle Katz Foundation, Flaghead Charitable Trust, The Sherling Charitable Trust, The Coral Samuel Charitable Trust, Cressy Foundation, The Pitt-Rivers Charitable Trust, public funders The D’Oyly Carte Charitable Trust, Idelwild Trust, The Leche Trust, The Michael Tippett Musical Foundation, Hinrichsen Foundation, Gess Charitable Trust, Miss Jeanne Bisgood’s Charitable Trust, The VEC Acorn Trust, Bedhampton Charitable Trust, The Norman Family partners Charitable Trust, The Finzi Trust, The Bliss Trust, Anthony du Boulay Charitable Trust

thank you We would like to thank our Patrons in-kind partners and Performance Champions, those who have chosen to remember the BSO in their Will, and everyone who supports us through donations, membership or by volunteering their time tickets series concerts additional concerts Tickets on general sale from Why not book a package of Tickets on sale now 01202 280000 concerts and save money? Wednesday 6 September. Smooth Classics (25 Nov) Generous discounts are avail- Messiah (13 Dec) bsolive.com able if you buy 5 concerts or £43 £35 £32 Christmas Proms (16 Dec) more. Book for all 22 concerts £28 £25 £15.50 The Snowman (19 Dec) and you will pay less than if Johann Strauss Gala (1 Jan) you book 15 – so you get 7 free! A £1.75 booking fee per ticket is payable Heroes & Monsters (17 Feb) for telephone and online bookings. Series Discounts £36 £30 £26 22 concerts 40% £23 £18 £11 16 –21 concerts 20% Christmas Carols (23 Dec) 10–15 concerts 10% £28 £23 £19 5–9 concerts 5% £16 £13 £10 Celebrity Recital (21 Feb) £19 FREE ‘Meet the Music’ concessions pre-concert talks take place The BSO offers the following concessions 50% discount for Group booking discounts to most concerts. Please note that only Full-time students 10 or more tickets 10% before every Wednesday one concession applies per ticket and Patrons on Jobseeker’s Allowance, 20 or more tickets 20% Series Concert at 6.30pm that concessions are not available Income Support or Employment 30 or more tickets 30% in the Concert Hall. retrospectively. Proof of status is required and Support Allowance Group discounts are applicable for at the time of collection. All concessions An essential companion tickets purchased for the same concert. and discounts are subject to availability. Tickets must be paid in full one month Special prices apply for wheelchair in advance of the concert date, otherwise BSO Kids for a Quid users and up to one companion. they will be released for resale. Under 18s: £1 per ticket Please contact the ticket office for details. (some exclusions apply) BSO Vibes £5 per ticket (for 18–25s signed up to the scheme)