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Home , Carlo Maria Giulini, Emmanuel Pahud, Evgeny Kissin, Gustavo Dudamel, Herbert Blomstedt, Joyce DiDonato

Bavarian Radio Symphony Friday 24 November 2017 7.30pm, Hall Beethoven No 4 interval 20 minutes Prokofiev Symphony No 5

Bavarian Radio Symphony Orchestra Mariss Jansons conductor piano Peter Meisel Peter

Part of Barbican Presents 2017–18

Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers.

Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited.

If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the 2 to welcome Yefim Bronfman. To perform ittonight we’re delighted rules of conventional concerto-writing. breaks allthestructural anddramatic Piano Concerto –which,from theoutset, entire repertoire –Beethoven’s Fourth the mostremarkable concertos inthe The programme beginswithoneof Gold Medal–immediately after theconcert. receives oneof music’stop awards –theRPS Tonight we honourMarissJansonsashe Conductor MarissJansons. Symphony Orchestra underitsChief concert, given by theBavarian Radio A warm welcome to thisevening’s Welcome prestigious honoursin theworld of music. relationship between theSocietyandcomposer. Ithasbecomeoneof themost It was initiated in1870, thecentenary of Beethoven’s birth,to celebrate theclose awarded for themostoutstanding musicianshipto musiciansof any nationality. The Royal PhilharmonicSocietyGoldMedalistheSociety’shighest honourandis Gilhooly OBE. of theRPSGoldMedalto MarissJansonsby DameMitsuko Uchida andJohn Please remain inyour seatsattheendof for theperformance thepresentation Huw Humphreys, Head of Music,Barbican I hopeyou enjoy theconcert. and even angerinitsslow movement. reaching aheightened senseof grief apparent goodhumour, ontheother, suffused withmemorable melodiesand Fifth isfullof enigmas,ontheone hand the symphonies of Shostakovich, Prokofiev’s completion of hisFourth Symphony. Like after anextended break, 15 years after the represents areturn to thesymphonic form after returning to Soviet ;italso and was thefirst symphony hewrote different proposition. Itdates from 1944 Prokofiev’s FifthSymphony isan entirely in thebrightkey of Bmajor –asthoughthe dolce announced thetheme,aloneand the quietopening,where thesoloist,having Nothing inBeethoven ismore startling than movement together. repeated quavers thatbindstheconcerto’s first which itshares therhythmic figure of three near-contemporary FifthSymphony, with the musicisasabundantinenergy asthe entirely inunison.For all itsairof relaxation, movement accompanied only by strings,almost then mainlyinarhythmic role, andaslow and drumsappearingonlyinthefinale and part, themodestorchestral forces –trumpets the profusion of delicate ornamentinthesolo the leisurely tempo of theopeningmovement, gestures, orby themeditative beginningand lack of rhetoric andobvious large-scale We shouldnot bemisled by thecomparative with thecomposerassoloist,inMarch 1807. Olympian concerto, whichwas first performed, and ‘Ghost’PianoTrios, and thisunruffled, (No 6), theViolinConcerto, the‘Archduke’ own –works suchasthe‘Pastoral’ Symphony harmonies of creation, theAlmighty’sandhis and Beethoven celebrates thebeautiesand the mastery isserene, lyricismpredominates, another kind,nolesscharacteristic, inwhich popular image of thecomposer. Butthere is challenge theuniverse, thathave shapedthe works, thosethat‘seizefate by thethroat’ and prolific middleperioditisthegreat conflict Among themasterpieces of Beethoven’s Yefim Bronfman 3 Rondo: Vivace moto con 2 Andante moderato 1 Allegro (1804–6) Gmajor, 4 in 58 No Op Concerto Piano , inGmajor, is answered by the strings

piano piano e remote. Thecomposer’sbrilliant celebratory key itself,whenitisfinally reached, sound minor keys have contrived to make thehome development’s modulationsthrough distant key justwhenwe were leastexpecting it–the theme isproclaimed, dramatic suddennessatthereprise, where the The momentof fullrealisation arrives with formidable latent strength andsonorousness. piano’s tender, unassertive first barscontain a the drama. Gradually itbecomesclearthatthe decorate andenhance–are vital elementsin follows –richinmelodieswhichthepianowill during thelongorchestral ritornello that absence andawaited return of thesoloist of thenote Binthepiano’sfirst chord. The orchestra isresponding to theprominence the sametime. triumphal dance,motionless andtumultuousat by its gentle magic, thepianoperforms arapt, it. Having reduced theorchestra to submission taming theFuries–onceyou have beentold of of interms of Liszt’sdescription –Orpheus a movement whichitisimpossiblenot to think Drama inspires thetense, enigmaticAndante, the bass. out andthemajorthird, B,again prominent in cadenza, withtherhythmic motto hammered of thesoft re-entry of theorchestra after the the grand dramatic conclusion thatgrows out cornucopian movement. Thesamegoesfor of everything thathashappenedinthis but thelogicalcontinuationandculmination cadenza isnomere conventional gesture (1770–1827) fortissimo , inthehome

3 Programme notes 4 interval Cairns ©David note Programme But theendof thework istriumphant. is oneof themostbeautifulinallBeethoven. dream-like secondsubject,over atonic pedal, and amoodof entranced contentment. The and playful highspirits,deeppoolsof lyricism helter-skelter speed,fullof dramatic strokes controlled caprice,of contrasting stillnessand and enchantingfinales –isa movement –oneof Beethoven’s mostinventive one final Even then,the full orchestra insists, teasingly, on finally restore itto Gwithatranquil variant. until thecoda,where clarinetsandbassoons (making thehomekey seemlike adominant) reappearances of themainthemeare inC the subdominant,C.Allsubsequent erupts, but Into thestillnessof itsfinal barstheRondo 20minutes fortissimo pianissimo statement inC.Thewhole andnot in G butin tour deforce of of the ‘grandeur of thehumanspirit’. indeed supportProkofiev’s declaration about listeners atthatpremiere, theoccasion did crossing of theVistula.Andso,to many place, saluting theRed Army’s victorious Conservatory where theconcertwas taking resounded outsidetheGreat Hallof the thefollowing January, acannonade ready to conductitsfirst performance in war withGermany; ashestood on thepodium the Fifththatsummer, hiscountrywas stillat 1944. AsProkofiev worked atwhite heaton There were certainly bigevents to reflect in had relocated hisfamily from France in1936. be composedintheSoviet Union,where he for adecade andahalf,thefirst, too, to the Fifth.Hisown was to behisfirst symphony symphony of suffering andambivalent victory, with atraditionally modelledbutstillindividual answered accusations of flagrant modernism Shostakovich –hisjuniorby 15 years –had might expect. Healsoknew how, in1937, what kindof asymphony hisSoviet masters By the1940s, Prokofiev certainly knew nobody takes hiswords atface value. mostly tragic EighthSymphony of 1943, and much thesamepublicsentimentsabouthis Sovietspeak. After all,Shostakovich penned is nothing more thantheflat jargon of radio broadcast of 1945, butitsterminology was first voiced by thecomposerhimself,ina in somuchwritingaboutProkofiev? Thecliché human spirit’,aphrase stillblandlyrepeated Is thisreally a‘symphony of thegrandeur of the giocoso 4 Allegro Adagio 3 marcato 2 Allegro Andante 1 100 Op major, Bflat Symphony 5 in No Sergey Prokofiev (1944) (1944)

gives thelieto easy heroics. of theRussianpeople.Yet theFifthconstantly the SecondWorld War andthedetermination Prokofiev’s intense concernfor theprogress of the Sixth–anditwould bewrong to deny Symphony –thatremains theterritory of despair rarely predominates intheFifth Prokofiev too? Itistruethatanote of bleak of terror, why shouldthesamenot applyto foreign enemy justifyingamusicalexpression late 1930s more explicitly, withthethreat of a his feelings abouttheStalinist purges of the contentious issue–theoptionof expressing permitted Shostakovich –andthisremains a by thenbowed, ifnot yet broken. Ifthewar The grandeur of hisown spirit,however, was to reassure beyond any doubtthatalliswell. discords before ablindingmajor-key resolution official optimism–ahandfulof grinding Prokofiev’s favourite devices for circumventing but isabruptlysquashedflat withoneof harks back nostalgically to where we started A chamber-musical divisionamongthecellos war-machine rather thanavaliant free spirit. melody strutsvaingloriously, aproduct of the the development leads to acodainwhichthe engagement indistorting thethemethroughout brass andpercussion withbrute force. Their Shostakovich, Prokofiev invariably equates bass, undergoes aradical transformation. Like and bassoons,soonjoinedby abucolicdrone the seeminglyblitheopeningthemefor Even inthebroad, epic-stylefirst movement, (1891–1953)

5 Programme notes 6 from athemethatProkofiev had invented to much ahallmarkof thecomposer–adapted and bassclarinettwo octaves apart–very richly humanmelodyfirst heard onclarinet The Adagio offers time to grieve inagenerous, tune hurtlesto adissonantend. way for awhirlwindterror inwhichthescherzo trio section,three snappingtrumpetspave the than justagrimjoke. After thesuave central Juliet material leftover from hisballet subject matter, shrillEflat clarinetandall,in tone by pointingto theoriginsof theinitial Prokofiev couldalways shrugoff thesarcastic padded unisons. scherzo to caricature thefirst movement’s well- comes earlyon,leaving thefield openfor the placed attheendof hisown Fifth.Prokofiev’s ambivalent apotheosis thatShostakovich had This, then,istheechoof thegrand but

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Nico Muhly. ,, and Andrew Norman,IestynDavies, Joyce DiDonato, Sir ,SirJamesMacMillan, George Benjamin, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts . Itsdeployment, however, becomesmore Romeo and Programme note ©David Nice far from heroic conclusion. major chord provides onefinal enigmainthis trumpets before yet another ‘optimistic’ Bflat than solostrings,harp,pianoandsnidelow scaling-down of theorchestration to littlemore the finale’s hummabletunesto shreds. The madcap coda,rippingeven thenoblestof under inthepercussion-laden welter of the good humourof ajollySoviet galopgoes to propose aradiant future butthedeceptive The concludingAllegro giocososeemsatfirst symphony. of sadness –theterritory of Prokofiev’s next bars touch even more introspective depths dreamscape. Themagically scored closing before violencegives way to thereturning makes amore publicstatement of mourning years earlier. Anaustere funeral march then film of Pushkin’s represent thewan heroine inanuncompleted The Queenof Spades eight works regularly withtheBerlinandVienna Orchestra. Amongother healso Chief Conductor of theRoyal Concertgebouw and Chorus.From 2004to 2015 hewas also of theBavarian Radio Symphony Orchestra Since 2003,hehasbeentheChiefConductor (1997–2004). Director of the Pittsburgh Symphony Orchestra Philharmonic Orchestra (1992–7) andMusic was PrincipalGuestConductor of theLondon a leading international orchestra. Inaddition, he the OsloPhilharmonic,whichhedeveloped into From 1979 to 2000he was ChiefConductor of conductor until1999. connected withthisorchestra asaregular St Petersburg Philharmonic).Heremained closely assistant withtheLeningrad Philharmonic(today’s Karajan. In1971 Evgeny Mravinsky made himhis Swarowsky andinSalzburg underHerbertvon Conservatoire andlater inViennaunderHans Arv in 1943 inRigaandisthesonof theconductor outstanding conductors of ourtime.Hewas born Mariss Jansonsisconsidered oneof themost Mariss Jansons About the performers Mariss Jansons - I ds Jansons;hestudiedattheLeningrad conductor

for itsrecording of Bruckner’sSeventh Symphony. Orchestra of theYear by ECHOKlassikin2010 (2011). Underhisbaton, theBRSOwas named Klassik (2007)andby been namedConductor of theYear by ECHO Shostakovich’s complete symphonies. Hehasalso international prizes,amongthemaGrammy for Concertgebouw. Thesereleases have won many repertoire withboth theBRSOandRoyal Mariss Jansonshasrecorded awiderange of BRSO inMunich. youth orchestras andwiththeAcademy of the has given regular concertswithvarious Bavarian Mahler Youth Orchestra onaEuropean tour and Jansons’s heart.Hehasconducted theGustav Working withyoung musiciansiscloseto Mariss at theEaster Festival inLucerne. regular appearances asOrchestra-in-Residence was hugelyacclaimed; together they alsomake 2005 histour to JapanandChinawiththeBRSO musical capital andfestival cityintheworld. In Royal ConcertgebouwOrchestra to virtuallyevery Mariss Jansonshastoured withtheBRSOand Year’s ConcertinViennafor thethird time. Philharmonics. In2016 heconducted theNew commitment to music. commitment to music. artistic accolade, inrecognition of his lifetime Great MusicAward, thecountry’shighest Lettres. In2015 hewas honoured withtheLatvian and appointed CommandeurdesArtset made aKnightof theLionof theNetherlands German Federal Cross of Merit,1stClass,was awarded the Ernst von SiemensMusicPrize,the of Maximilian. In2013 Mariss Jansonswas the Republic of LatviaandtheBavarian Order Scholarship andArt,theThree Stars Medal of Order of Merit,theAustrian Cross of Honourfor Other awards include theNorwegian Royal Opernwelt magazine

7 About the performers 8 Dario Acosta conductors, includingDanielBarenboim, Herbert He regularly works withtheworld’s leading close inJune. Gianandrea Nosedabringstheseasonto a with theLondonSymphony Orchestra under conducted by AndrisNelsons.Atour inAsia on tour withtheLeipzigGewandhausorchester France, Belgium,Germany andtheUK Estrada. InEurope hecanalsobeheard inItaly, PhilharmonicunderAndrés Orozco- celebrate his60thbirthday withatour withthe Symphony orchestras. Inthespringhewill Pittsburgh, Toronto andWashington DC andtheIndianapolis, Philharmonic orchestras, , appearances with the Los Angeles and New York the current European tour withtheBRSO;and with theIsrael PhilharmonicunderZubinMehta; Highlights thisseasonincludeatour of theUS orchestras, conductors andrecital series. , regularly soughtafter by festivals, as oneof today’s mostacclaimed andadmired Yefim Bronfman isinternationally recognised Yefim Bronfman Yefim Bronfman piano and theBRSO;arecital disc, Tchaikovsky’s PianoConcerto No 1withJansons the New York PhilharmonicunderGilbert; commissioned for himandperformed by of Magnus Lindberg’s PianoConcerto No 2, include hisGrammy-nominated recording Fantasia 2000 Chamber Players andthesoundtrack to Disney’s disc of SchubertandMozartwiththeZukerman a cycle of Prokofiev concertos withMehta, a Rachmaninov andBrahms (withEmanuelAx), discography includesworks for two pianosby with Salonen.Hislarge andwide-ranging his recording of theBartókpianoconcertos six Grammy awards, winningin1997 with Yefim Bronfman hasbeennominated for University. in pianoperformance from Northwestern 1991 and,in2010, theJeanGimbelLaneprize His awards includetheAvery FisherPrizein , amongmany others. Magdalena Kožená, Anne-SophieMutter and included PinchasZukerman, MarthaArgerich, the USandhischamber-music partnershave appeared atthemajorfestivals of Europe and Franz Welser-Möst andDavid Zinman.Hehas Rattle, Esa-Pekka Salonen,Jaap Van Sweden, ,Yannick Nézet-Séguin,SirSimon , ZubinMehta, , ,MarissJansons,Vladimir Jurowski, , DanieleGatti, , Christoph von Dohnányi, , Blomstedt, Semyon Bychkov, , complementing his designation as a Carnegie complementing hisdesignationasaCarnegie Orchestra under Zinman. Shaham andTruls MørkwiththeZurichTonhalle concertos andthe‘Triple’ Concerto withGil and recordings of theBeethoven piano Hall ‘Perspectives’ artistfor the2007–8season; . Hismostrecent CDreleases Perspectives , Astrid Ackermann andthroughout Germany, theorchestra As well asgivingregular performances in Andris Nelsons. Yannick Nézet-Séguin,SirSimonRattle and Salonen, HerbertBlomstedt, DanielHarding, – ,Riccardo Muti,Esa-Pekka Kurt Sanderlingand–inmore recent times Bernstein, ,CarloMariaGiulini, and CarlosKleiber, , Leonard renowned guestconductors, includingErich The orchestra hasalsoworked withmany own music. Eötvös, withmany of themconductingtheir recently, Stockhausen, Kagel, BerioandPeter such asStravinsky andMilhaud,aswell as,more an important role, withworks by composers earliest days, contemporary musichasplayed Amadeus Hartmann.Rightfrom theorchestra’s the musicaviva seriesfounded in1945 by Karl on contemporary works, inconjunctionwith and ,there isastrong focus As well astheorchestra’s repertoire of Classical continued to setnew standards. role hasfallen to MarissJansons,whohas andLorinMaazel. Since2003that orchestra underchiefconductors Rafael Kubelík, developed into aninternationally renowned founded in1949 by EugenJochum;itrapidly The Bavarian Radio Symphony Orchestra was Bavarian Radio Symphony Orchestra Bavarian Radio Symphony Orchestra

addition to this,theBRSOundertakes outreach between educationandprofessional activity. In for theircareers andthusbuildingasolidbridge educational work by preparing young musicians the Academy of theBRSOhasbeendoingvital rounds andtheprizewinners’ concert.Since2001 accompanies young musiciansinboth thefinal the ARDInternational MusicCompetition,it up-and-coming musicians.Inconjunctionwith The BRSOhasaparticularfocus onnurturing the Easter Festival inLucerne. also been,since2004,Orchestra-in-Residence at concert hallsinJapan’smusicalcentres. Ithas New York’s CarnegieHallandattherenowned America. Itmakes regular appearances at also tours to Europe, AsiaandNorthSouth Twitter: @BRSO facebook.com/BRSO br-so.de Mostly Classic by the top ten orchestras intheworld insurveys Harding. Ithasalsobeennumbered among Mahler’s SixthSymphony conducted by Daniel recently aDiapasond’OrinNovember 2016 for many nationalandinternational awards, most Broadcasting’s own labelBR-Klassik. Ithaswon wide range of labels,includingBavarian The BRSOhasalarge discography ona younger generation of musiclovers. programmes to bringclassicalmusicto a Gramophone

. andtheJapanesemagazine

9 About the performers 10 Christiane Hörr Klaus-Peter Werani Inka Ameln Mathias Schessl Anja Kreynacke Andreas Marschik Benedict Hames Wen Xiao Zheng Menninghaus Hermann Celina Bäumer Susanna Pietsch David van Dijk Stephan Hoever Valérie Gillard Bettina Bernklau Key-Thomas Märkl Leopold Lercher deVroe Nicolaus Richter Angela Koeppen Andreas Wohlmacher Yi Li Cottrell * Heather Lee * Jehye Altenberger * Korbinian 2 Johanna Pichlmair Andrea Kim Daniela Jung Anne Schoenholtz Karin Löffler Nicola Birkhan Marije Grevink Daniel Nodel Andrea Karpinski Michael Friedrich Franz Scheuerer Corinna Clauser-Falk Peter Riehm Michael Christians Julita Smolen Steymans * Tobias Sonnleitner * Florian Barakhovsky * Anton Szulc * Radoslaw Violin 1 Symphony Orchestra Bavarian Radio

* *

Heinrich Treydte Bettina Faiss Werner Mittelbach Corbett * Christopher Schilling * Stefan Clarinet Tobias Vogelmann Emma Schied Ramón Ortega Quero Schilli * Stefan Oboe Ivanna Ternay Natalie Schwaabe Petra Schiessel Wiese * Henrik Boucly * Philippe Teja Andresen Piotr Stefaniak Frank Reinecke Alexandra Scott Wies deBoevé Stubenrauch * Philipp Braun * Heinrich Double Bass Katharina Jäckle Samuel Lutzker Frederike Jehkul-Sadler Jaka Stadler Uta Zenke Jan Mischlich-Andresen Lassmann Eva-Christiane Stefan Trauer Hanno Simons Cottet * Lionel Cello Alice MarieWeber Giovanni Menna Veronique Bastian

* Joseph Bastian Lukas Gassner Uwe Schrodi Horch * Thomas Profanter * Hansjörg Trombone Herbert Zimmermann Thomas Kiechle Wolfgang Läubin Angerer * Martin Läubin * Hannes Trumpet Francois Bastian Norbert Dausacker Ralf Springmann Thomas Ruh Ursula Kepser Carsten Carey Duffin Terwilliger * Eric Horn Susanne Sonntag Rainer Seidel Postinghel * Marco Marschall * Eberhard Bassoon Lukas MariaKuen Piano – Harp Christian Pilz Guido Marggrander Markus Steckeler Percussion Raymond Curfs Stefan Reuter Timpani Tischler * Stefan Tuba

* This listrepresents the * principal the 2017–18 season orchestra roster for Filarmonica della ScalaA5 programme monoad.indd 1 Book nowBook atbarbican.org.uk/classical Grosvenor Piano with Benjamin Concerto Symphony Grieg’s alongside Fourth show-stopping Tchaikovsky’s conducts Chailly Riccardo volcanic Filarmonica Wed 24 Jan Chailly Riccardo Scala della

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Image: Riccardo Chailly © Silvia Lelli Filarmonica della ScalaA5 programme monoad.indd 1 Book nowBook atbarbican.org.uk/classical Grosvenor Piano with Benjamin Concerto Symphony Grieg’s alongside Fourth show-stopping Tchaikovsky’s conducts Chailly Riccardo volcanic Chailly Riccardo Scala della Filarmonica Wed 24 Jan

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11 Image: Riccardo Chailly © Silvia Lelli Insula Orchestra ad Bravaian programme a5.indd 1

Book now atbarbican.org.uk/classical 12 Natalie Clein , andAlexandra Conunova. for Beethoven’s Triple Concerto: AliceSara Ott , Farrenc andisjoinedby atrioof brilliantsoloists Laurence Equilbey conductsthemusicof Louise & LouiseFarrenc Beethoven Insula Orchestra Thu 8Mar

17/11/2017 10:48