Concert Season Autumn 2020 Lighthouse, Poole Welcome to the Autumn 2020 We have worked tirelessly to ensure the safe return Bournemouth Symphony Orchestra Season of our musicians, guest artists and head office team from Lighthouse, Poole and to ensure we comply with government guidance on social distancing for orchestras. All our concerts We are proud to present a programme of 12 concerts this autumn will be available to watch from home this autumn marking the return to live performance via digital livestream and, as soon as we can, we by the BSO following the national lockdown also look forward to welcoming audiences back necessitated by the Coronavirus pandemic. into the hall. It will be a truly special moment when Kirill comes on Whilst our concerts will be slightly shorter than usual stage to conduct his BSO after the longest period of and presented without an interval, in planning our silence in our 127-year history and we hope that you programmes our priority is to maintain the integrity will all want to join us as we once again bring the live of a full BSO season, bringing you great music, musical experience to our audiences. great artists and of course, your great Orchestra. bsolive.com “Bournemouth Symphony Orchestra, with Kirill Karabits, Wednesday Wednesday Wednesday Wednesday uncorked the fizzing energy of No.1 and the contrasting 30 September 7 October 14 October 21 October sobriety and wit, turbulence and anarchy of No.3 ‘Eroica’” 7.30pm 7.30pm 7.30pm 7.30pm Barbican Beethoven Weekend; The Observer, February 2020 BSO is Back Voices from Eight plus Eight Viennese the East Masters JS Bach (arr. Karabits) Akimenko Schubert Haydn Ein feste Burg ist unser Gott Angel; Poem Nocturne Symphony No.8 Symphony No.95 Ives Arutiunian ‘Unfinished’ Brahms The Unanswered Question Trumpet Concerto Dvořák Piano Concerto No.2 Mahler (arr. Britten) Tchaikovsky Symphony No.8 What the Wild Flowers tell me Symphony No.2 Kees Bakels James Feddeck Conductor Beethoven ‘Little Russian’ Symphony No.7 Conductor Stephen Hough Kirill Karabits Piano Kirill Karabits Conductor Conductor Chris Avison Trumpet The BSO returns to concert-giving Join Kirill on a tour of Armenia and A concert of beguilingly Haydn’s Symphony No.95 is with a personal selection by Ukraine starting with little-known atmospheric works kicks off with the only one of the twelve Kirill, including Bach’s uplifting Theodore Akimenko’s luscious one of the most recognisable London symphonies in a chorale, Ives’ “cosmic landscape” tone poem. From its beginning symphonic openings ever minor key, opening in dramatic which poses the perennial Arutiunian’s Trumpet Concerto composed. Equal parts drama fashion with five hammer blows. question of existence, and has an unmistakable oriental and serenity, Schubert’s Eighth On the completion of his mature Britten’s arrangement of the flavour. Rooted in Armenian folk Symphony is his best-known, Second Piano Concerto, Brahms delicate second movement music, themes are reminiscent but also his most mysterious. announced his “ever so tiny piano from Mahler’s Third Symphony, of both Khachaturian and Dvořák’s Eighth Symphony is concerto with an ever so tiny continuing Kirill’s ongoing Shostakovich. Tchaikovsky was unashamedly buoyant and and dainty scherzo.” The music exploration of Mahler’s music. visiting his sister in Ukraine uplifting, yet sweetly reflective, told another story however – The appeal of Beethoven’s (known as Little Russia during and filled with the most Brahms had created arguably Seventh Symphony is not hard the Tsarist period) when he delightful musical wanderings. the most monumental piano to understand – boisterous, began work on his Second concerto of the 19th century. intense, energetic and tuneful – Symphony, influenced by Glinka’s it remains one of the most use of folksongs which he powerful of all symphonic considered to be fundamental creations. to Russian symphonic music. Supported by Supported by Richard Lewis Mike & Pam Jeffries Wednesday Wednesday Wednesday Wednesday 28 October 4 November 11 November 18 November 7.30pm 7.30pm 7.30pm 7.30pm French Past Reflections Beethoven Souvenirs Delicacies 250 of Florence Fauré Ravel Lindberg Mozart Masques et Bergamasques Le tombeau de Couperin Absence (UK Premiere) String Quintet in C K515 Ravel Couperin Beethoven Tchaikovsky Mother Goose Suite Suite from L’Apothéose de Lully The Creatures of Souvenir de Florence Saint-Saëns R Strauss Prometheus (complete) Symphony No.2 Le Bourgeois Gentilhomme Suite Mark Derudder, Carol Paige Kirill Karabits Violins Thierry Fischer Kirill Karabits Conductor Tom Beer, Miguel Rodriguez Conductor Conductor Violas Jesper Svedberg, Tom Isaac Cellos Fauré’s effervescent suite An evening of homage to Finnish composer Magnus Mozart wrote his Quintet in C although written at the end of a composing predecessors. Lindberg’s working life has at the height of his compositional long career retains a lightness Perhaps one of Ravel’s most been touched by the work of maturity. With the same breadth and freshness that makes his personal creations Le Tombeau Beethoven in the past and here and scope as that of the ‘Jupiter’ music stand out. Ravel’s equally de Couperin is a memorial to once again, using inspiration Symphony, it is regarded as one of exquisite orchestral version of the fallen in the First World War. from Beethoven’s private his chamber music masterpieces. Mother Goose utters a distinct Bursting with colour and Conversation Books, he peers Tchaikovsky adored Florence, melodic language among his inventiveness, he reimagines the into the mind of a genius. returning there throughout his works – fastidiously attuned clarity and rhythmic liveliness of The only ballet Beethoven lifetime. No doubt, his “souvenirs” to the subtlest delicacies. its Baroque forebears. Couperin composed, The Creatures of from that beautiful city were not Saint-Saëns’ Symphony No.2 in turn depicts the elder Prometheus can be seen as a necessarily all musical – this work is, by any standards, an outright composer’s elevation to Mount manifestation of the lineage is far from being just a medley winner and deserves to be much Parnassus whilst the elegant, that took Haydn’s knack for of Italian melodies; some dark better known. Elegantly crafted, witty and tender music of Lully narrative, Mozart’s technical passions lurk behind the it defies convention not least by himself, enlivened by Strauss’ wizardry and fireworks, and ingratiating tunefulness of basing the first movement on colourful orchestration and Beethoven’s own sense of the the music. a fugue. counter-melodies, is central to darkly dramatic. his bold adaptation of Molière’s famous comedy. In memory of our friend Supported by Supported by Ian Wilson Heidi Bone & Jake Robbins Stephen Elder & Vanessa Claydon Wednesday Wednesday Wednesday Wednesday “The BSO were ardent collaborators in a 25 November 2 December 9 December 16 December performance of striking certainty, served by 7.30pm 7.30pm 7.30pm 7.30pm a dedicated chorus gripped with conviction” Elgar’s Enigma Musical Gifts Grosvenor A Baroque Bachtrack, December 2019 plays Chopin Christmas Britten Wagner F Mendelssohn Corelli Four Sea Interludes Siegfried Idyll Overture in C Christmas Concerto Fauré Schumann Chopin Handel Elégie Symphony No.2 Piano Concerto No.1 Arias from Messiah Elgar Haydn Vivaldi Enigma Variations Case Scaglione Symphony No.88 Autumn and Winter from Conductor The Four Seasons David Hill Marta Gardolińska Conductor Conductor Robert Howarth Jesper Svedberg Benjamin Grosvenor Conductor Cello Piano Anna Devin Soprano Britten’s Interludes from Composed as a “symphonic Fanny Mendelssohn was as An evening of seasonal music – Peter Grimes are not only a birthday gift” to his wife much a prodigy as her brother the perfect introduction set of brilliantly realised tone Cosima and newborn son, the as shown in the wit and sparkle to Christmas. portraits of the sea, but a Siegfried Idyll shows a rarely of her overture, brimming with subtle psychological primer seen, intimate side of Wagner – originality. New BSO Artist-in- on the deep questions posed in a gentle song of contentment Residence, Benjamin Grosvenor, the opera itself. The Elégie is a and gratitude. Schumann wrote performs Chopin’s E minor prime example of Fauré’s ability the Second Symphony whilst Concerto abounding in melodies to distil anguish into a short, but bouncing between bouts of of indescribably expressive touchingly effective musical exuberance and exhaustion. It is sweetness. One of the most statement. The Variations on a highly integrated work, inspired characteristic and popular of an Original Theme resulted from by the striking opening motto Haydn’s symphonies, No.88 Elgar’s habit of unwinding after which pervades throughout. shines out with originality, a day’s work by improvising at musical sleight-of-hand and the piano. They contain some of morphing themes, ingenious the most charming and deeply even for history’s most felt music Elgar ever penned. illustrious musical trickster. Supported by In thanks to those who have Supported by Supported by Annette D’Abreo & Edwin Bessant remembered the BSO in their Will Terence & Annette O'Rourke Sue Thomas BSO Autumn Season 2020 Live from Lighthouse, Poole All concerts will be livestreamed Pre-concert talks: Tickets: direct from our home-base at In each of this series of digital Concert livestream digital ticket Lighthouse, Poole via the BSO introductory talks, lasting £6 per concert website at 7.30pm. between 30 to 40 minutes, and illustrated with music extract Season digital subscription As a digital ticket holder you examples, former BSO Head £100 will have automatic access to of Projects, Andrew Burn, will the premium page where you discuss all the works being (A digital subscription gives access to all 12 concerts will find the embedded video performed in the BSO’s autumn PLUS free access to all pre-concert talks and also a link for the concert when you series of concerts.