sign in sign up
<<
Home , Antonio Pappano, Capriccio (opera), Diana Damrau, Four Last Songs, Jonas Kaufmann, Kirsten Flagstad

Jiyang Chen the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Part of DianaDamrau singsStrauss Bavarian Radio Symphony interval Richard Strauss Saturday 26January2019 7.30pm, Hall Orchestra Symphony Radio Bavarian Diana Damrau & online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by 20minutes conductor EinHeldenleben Four LastSongs

2 alike. them irresistible to singers andaudiences poignancy andbeautythathaslongmade of hislife andwhichare suffusedwitha Last Songs We beginwithStrauss’s autumnal orchestral colouranddrama. that showcase hisextraordinary earfor on analtogether biggerscale,inpieces Wolf andLiszt.Now we hearhimworking the Liedercomposer, inthecompany of Diana’s residency we encountered Strauss Mariss Jansons.Inthefirst concertof Orchestra underitsChiefConductor joined by theBavarian Radio Symphony Damrau singsStrauss. Thisevening sheis Diana Damrau’s Barbicanresidency, Diana A warm welcome to thesecondconcertin Welcome , pieceswritten rightattheend Four Four Huw Humphreys, Head of Music,Barbican Strauss’s Place world premiere of IainBell’s residency when,on31 March, shegives the Do joinusfor Diana’slastconcertinher It promises to beawonderful evening. brilliantly Strauss depictsthatinmusic. his enemies’.Andhow vigorously and that itportrays ahero incombatwith programme: ‘Allyou needto know is when asked aboutthework’s specific tone-poems. AsStrauss onceprotested series of youthful yet hugelyimpressive Heldenleben the concertwithyoung Strauss. Mariss JansonsandtheBRSOconclude andperforms theclosingscenefrom (‘AHero’s Life’) isoneof a . The Hidden The Hidden Ein Ein and trulyentertained andedified, theothers use everything alistener coulddesire to berefreshed wrote to afriend,‘Mozart,withfew means,says and, perhapsapassionto write . Helater life-long love for theearliercomposer’s music of Mozart’s the opera. Hissecondvisitwas to aproduction music lessons,theyounger Strauss was taken to musical talents; and,aswell asreceiving regular the start herecognised andnurtured hisson’s horn player for more thanfour decades. From Orchestra in 1847 andwould betheirleading Strauss seniorhad joinedtheMunich Court he plays thehornonecan’treally mindhim.’ an unbearable fellow’, hedeclared, ‘butwhen admiring hisskillasamusician:‘OldStrauss is music, thoughWagner bore himno grudge, horn player whodetested Richard theFirst’s the Second!Hisfather Franz was anoted of timeStrauss would benicknamedRichard an important connection;indeedinthefullness Tristan undIsolde performance of ’s musicdrama in 1864 almostexactly ayear before thefirst Richard Georg Strauss was borninMunich For texts, seepage8 World and Fulfilment the from Hero’s Hero’s –The Works –The retirement of Peace Battlefield Hero’s –The Hero’s –The Companion Hero’s –The Adversaries Hero The Heldenleben Ein Abendrot 4 Im 3 Schlafengehen Beim 2 September 1 Frühling Songs Last Four Strauss Richard The Magic intheBavarian capital. Thisis , which kindled a , whichkindleda (1948) (1948) (1898) (1898) (1864–1949) Bayreuth. Attheage of 9hehad seenhisfirst despite hisfather’s contempt for thewizard of By thenStrauss had fallen underWagner’s spell C minor Concerto, K491, withhisown cadenzas. on 20October 1885, heplayed theMozart word, whenStrauss made hisdebutatthepiano … Iwillplay aMozartconcerto.’ And,trueto his appear atanimportant concertfor thefirst time To blazeswithit!ButI’ve made avow, whenI nothing, orhardly anything. Theworld iscrazy! all themeansattheirdisposalto say absolutely in May 1894, was not asuccess.Itwas judged opera, Wagner butnot simplycopy him.Strauss’s first by acreative conundrum:how to learnfrom Germany andAustria, Strauss was confronted late 19th-century composers,andnot justin But how to find hisown voice? Like somany what hewanted mostwas to write for thestage. dramas thatconvinced Richard Strauss that write itseemslikely thatitwas Wagner’s music but ontheevidence of theworks thathewould of not untilhewas 16 thatRichard acquired ascore presumably behindhisfather’s back asitwas performances of Tristan undIsolde , given itspremiere inWeimar ). Onecanonlyspeculate,

and Tannhäuser (and (and

3 Programme note 4 last of theseorchestral compositions, Heldenleben that Strauss himselfisnot just thesubjectof a monstrous exercise innarcissistic egoism, It issometimessuggested thatthesepiecesare who intends to composefor thestage. – essentialqualitiesto bemastered by anyone ability to reveal thepsychology of theindividual explore thedescriptive power of musicandits the composerhimself.Theseare works that domestica at themomentof hisdeath,andinthe Till Eulenspiegel,Zarathustra, DonJuan,aman to hearthemascharacter studies–, Another way of listening to thetone-poems is teaching himselfhow not to beaWagnerian. Richard Strauss composedover 60songs:hewas night of hissecondopera Between thepremiere of ‘Cäcilie’, ‘HeimlicheAuffordung’ and‘Morgen’. as awedding present –‘Ruhe,meineSeele!’, that hegave to hiswife-to-be Pauline von Ahna in are precisely theskillsthatStrauss ispolishing and theartof settingwords to music.Andthese ability to usetheorchestra to furtherthedrama for thepost-Wagnerian opera composerare the perhaps becomesevident. Thetwo essentialskills success of both of thesegenres somethingelse frequently. Butwhenyou step back from the that heloved bestandfor whichhewrote most though itmustbesaidwas thesoprano voice expressive possibilitiesof thehumanvoice – composer, whileinthesongsheexplores the in thetone-poems are hisskillsasanorchestral poems andLieder. Whathegildsandburnishes to composehisgreat sequenceof symphonic on itssuccessorStrauss, always prolific, began to betoo closeto Wagner. Before starting work andtonight’s work and , andsongssuchasthefour Sinfonia domestica Guntram , Ein Heldenleben andthefirst in1901, or the orthe An Alpine An Alpine Sinfonia and and Ein Ein , was doneby 1 Decemberthesameyear. with amajorrevision to theendof thework, short score on30July1898 andthefullscore, Sinfonie as 1897. Thesecondwork, known variously music, completingthework justafter Christmas the ‘knightwithwoeful countenance’ to played inthesameprogramme. Firstheset clear thatheconceived thetwo works to be he added, ‘ und Welt begun writinganew , in 1897. On16 Aprilhenoted thathehad Strauss beganto thinkaboutthework early would bebetter translated as‘AHeroic Life’. and theartist.Perhaps thetitleof thework the heroic life we hearisthatof thecomposer who isthehero of admired. Soit’snot somuchRichard Strauss debate inradical ways andwhomStrauss much Friedrich Nietzsche,whocontributed to that that allof themare tingedby thewritingsof constitutes theheroic inmodernlife; secondly, quintessentially 19th-century debate aboutwhat things: firstly, thattheseworks engage witha from Symphony which are, after all,stamped for heroism).’ in E flat majorand withvery many horns, be sure, withoutafuneral march, butstill tone poemwiththetitle is clearlyanurgent need,composingabig nowadays, Iamnow, inorder to meetwhat with conductors andthusrarely performed ‘Since Beethoven’s “Eroica” is sounpopular July 1898 hewrote inironic vein to afriend, of Beethoven andthe‘Eroica’ Symphony. In shadow loomedover hisnew piece–that Strauss was alltoo aware thatahuge Heldenleben Macbeth , andeven (‘Hero andWorld’). ‘Andwithit’, , butthehero of every singlework Don Quixote onwards. Butthatisto misstwo , Held undWelt Ein Heldenleben Eroica Heldenleben assatyr-play.’ Itis , was completed in , Heroische , rather, (to (to Held Held course, whoare spiky, nit-pickingandmired Hero’s Adversaries’. Theseare critics,of face theworld –we meethisenemies,‘The silence –thehero gatheringhisthoughtsto Next, after adeeplyeffective momentof of Strauss’s lushestwriting for theorchestra. braggadocio. Hisquixotic moodsprompt some tender, passionate andwithmore thanahintof In theopeningsectionwe meetthehero, attention, content taking precedence over form. hear thework. It’sthenarrative thatholdsour three partsandacoda.Butthat’snot how you a development sectionwhichisdividedinto with anumberof additional episodes.There’s it’s constructed inanextended sonata form orchestra of virtuososto doitjustice.Formally, remarked thatthisisawork thatneedsan demands onalltheplayers. Someoneonce and two harps,anditmakes considerable , two ,quadruple woodwind orchestra thatincludeseighthorns,five Ein Heldenleben portrays ahero incombatwithhisenemies.’ programme. Allyou needto know isthatit Romain Rolland: ‘You don’thave to read my Heldenleben coaxed into revealing aprogramme for man isvisibleinthework?’ Andwhenhewas them –asotherwise onlyinBeethoven –the the new elementinmy compositions,how in late entryinhisnotebook, ‘doesno-onesee writing anote of music.‘Why,’ heasked ina down verbal sketches for thework before case of content was not artof any value and, inthe came to believe thatanartwithouthuman could say. Atthesametimeheincreasingly they shouldsay thosethingswhichonlymusic an extra-musical programme, arguing that Strauss was always reluctant to give hisworks Ein Heldenleben heexplained to theFrench writer iswritten for avery large , hebeganto jot Ein Ein Hero’s Battlefield’. Ofcourseheisvictorious and hero rouses himself. Trumpets summonhimto ‘The cackling away inthedepthsof theorchestra. The love music.Buttheenemiesare atthegate, join it,Strauss writes someof hismostsumptuous As thesoloviolincoaxes theentire orchestra to But thenshegoesafter him.’ and hewithdraws into histhoughts,own key. Finally hesays, “All right,go.I’mstaying here,” sung, butsheescapesfurtherandaway. follows herlead, pickingupthepitch shehasjust a minute earlier. Atthebeginning,hero twice, different each minute from whatshewas perverse, abitof acoquette, never thesame Strauss told Romain Rolland, ‘ of Pauline deAhna.‘Sheisvery complicated,’ movement inthepiece.Thisisclearlyaportrait Companion’ isthelongestandmostelaborate exquisite portrait of thehero’s wife: ‘TheHero’s But thenasoloviolinbreaks rank andpaintsan theme takes onadarker huewhenitreturns. In theface of suchanonslaughtthehero’s was amusicalsolecism:‘parallel fifths’. tubas pontificate aboutwhatpuristsmaintained hiss andfrom theback of theorchestra the clear directions –theoboesnarls,cymbals in dissonance.Thescore gives theplayers very as hebendstheorchestra to hiscreative will. opalescence to thetonal colouringinthissection Strauss’s back catalogue. There isasheen,an This ismuchmore thana and thesong‘Traum durch dieDämmerung’. and Transfiguration from of Peace’, withsubtlyinterwoven quotations Peace returns andwe hear‘TheHero’s Works formal asthemostardent classicistcouldwish.’ that, asonecriticnotes, is‘asclearandas in musicalterms rewarded witharecapitulation , Also sprach Zarathustra , Don Quixote tour d’horizon très femme , Macbeth of of , , a little , alittle Death Death

5 Programme note 6 After theceasefire thatendedtheSecond World had summonedinto beingfor 60years. the seasonsandmusicalworld thathe natural world around himmarked outby world thatStrauss had lived in–both the are anachingly beautifulfarewell to the Lieder that hehad given hishero. His to embrace thefirst peaceful resignation Heldenleben Virtually halfacenturyafter writing a heroic end. It’sstillsweet soundingbutnow there’s and New Year 1898–9 Strauss didrewrite the exaggeration but inthedays between Christmas know how to end ending! People won’t believe thatyou even the composer:‘Richard, another friend Röschissupposedto have chided violins, timpaniandasinglehorn,Strauss’s However, onhearingthe serenity. Oritdidintheoriginalversion. tenderness before themusicslipsinto ablissful dealings withtheenemy andhisdomestic Fulfilment’, hereminds usof hispugnacious In ‘TheHero’s Retirement from theWorld and man was concerned,renounces thestruggle. uncharacteristic gesture asfar asStrauss the and die.TheHero rages andthen,inatotally But theadversaries stillrefuse to liedown was underashadow for having apparently home inSwitzerland.Thecomposerhimself War inEurope heandhiswife had made their (‘Four LastSongs’),datingfrom 1948, fortissimo Richard Strauss was ready forte to complete thishistory. !!’ Thestory may bean pianissimo Vier letzte pianissimo close with closewith Ein Ein

the orchestra reminds usthatStrauss’s wife song. Thesoprano soloistarching above with husbandandwife both present ineach discreet quotations from hisown music,but a manandascomposer–not justwith of everything thatStrauss had achieved as And asthey unfold, they becomeadistillation for fullorchestra andhisbeloved soprano voice. von Eichendorffandthree by HermannHesse Strauss had chosento setonepoemby Joseph are thesongsyour husbandordered.’ Songs Franz andleftthemanuscriptof the exasperation. Somemonthslater Strauss visited he issupposedto have saidto hisfather in keep quiet.‘Why not write somesongs?’, despite hissonFranz advising hisfather to artistic life. Heconstantly lobbiedofficials blueprint of hisown for reviving Germany’s particularly theAmericans,andwitha cultural life undertheAlliedOccupation, concerned aboutwhatwas happeningto The composerwas restless inSwitzerland, a desire to protect his Jewish daughter-in-law. an error of judgementmay have grown from seems thatwhathefreely acknowledged was to power intheearly1930s, thoughitnow collaborated withtheNaziswhenthey came the comingwinter istransformed into thepromise In ‘Frühling’by HermannHessethedarkworld of the vocal lineisclearlyStrauss himself. soloist andthehornthatsooften accompanies Pauline deAhnawas adistinguishedconcert withhisdaughter-in-law, saying ‘Here Four Last Four Last Programme note ©Christopher Cook of hergeneration, andaBritishorchestra. one of themostadmired Wagnerian singers conductor, aNorwegian soprano whohad been Strauss would have relished: agreat German Orchestra. Here perhapsisareconciliation that Furtwängler conducted thePhilharmonia as Strauss had always wanted andWilhelm in May 1950. Thesoloistwas performance inLondonattheRoyal AlbertHall these four lastsongs.They were given theirfirst Strauss himselfdiedbefore he couldhear of ourjourneying –isthisperhapsdeath?’ Death andTransfiguration of thetransfiguration themefrom histone-poem trilling . Andthenthere’s thatsoft murmur the two larks represented by apairof soaring, last love letter to Pauline. SheandStrauss are all hisskillonasettingthatisinmany ways a Eichendorff. In‘ImAbendrot’ Strauss lavishes The final songsetsapoemby Josephvon the soloist.Sleepanddeathare two mysteries. day ends,somustlife. Butwhatisbeyond?, asks music beginswithaheavy, exhausted yawn: as the Schlafengehen’, thethird of theHessepoems.The Sleep anddeathwalk handin‘Beim as rest from whichwe awake andasdeath. hymn thatplays withthedoublemeaningof sleep, ‘September’, another settingof Hesse,isasolemn through asequenceof delicate chromatic shifts. of spring.Strauss effortlessly moves theseason . ‘How weary we are

7 Programme notes 8 Müdgewordnen Augen zu. Langsam tut er die Ruh. nach sich sehnt stehn, er Bleibt Rosen den bei noch Lange Gartentraum. sterbenden den In Sommer lächelt erstaunt und matt Nieder vom hohen Akazienbaum. Golden tropft um Blatt Blatt Still seinem Ende entgegen. Der Sommer schauert Regen. der Blumen die in sinkt Kühl trauert, Garten Der 2 September Gegenwart. selige Deine Glieder meine all durch zittert Es zart; mich lockst Du wieder, mich kennst Du mir. vor Wunder ein Wie Von Licht übergossen, In und Gleiss Zier, Nun du liegst erschlossen Vogelsang. und Duft Von deinem Lüften, blauen and Bäumen Von deinen lang Träumte ich In dämmrigen Grüften 1 Frühling Songs Last Four wearied eyes. wearied her closes she Slowly she lingers, yearning for peace. roses by the Long garden’s dream. dying the in Wondering, faintly, smiles summer tree. acacia tall the from golden drops leaf upon Leaf end. her meets silently and The summer shudders flowers. the into sinks rain cool the grieves, garden The September presence. blessed your with my limbs tremble gently; beckon you me, You recognise me. before amiracle like light in bathed glistening, adorned, revealed, lie you Now birds. of song the and fragrance, your of skies, blue your trees, your of long I dreamt shadows sombre In Spring Joseph (1788–1857) von Eichendorff Tod? der etwa dies Ist – wandermüde wir sind Wie Abendrot! im tief So Friede! O weiter, stiller In dieser Einsamkeit! verirren nicht uns wir Dass Schlafenszeit; es ist Bald schwirren; sie lass und her Tritt Duft. den in Nachträumend steigen noch nur Zwei Lerchen Luft; die schon dunkelt Es neigen, Täler die sich Rings Land. stillen überm Nun wir Vom ruhen Wandern Hand; in Hand Gegangen Freude und Not durch sind Wir Abendrot 4 Im Main am Frankfurt © 1952 Verlag, Suhrkamp (1877–1962) Tief und tausendfach zu leben. Nacht der Zauberkreis im Um schweben, Flügen freien in Will unbewacht, Seele, die Und Wollen senken. in sich Schlummer Sinne nun meine Alle Denken; alles du vergiss Stirn, Tun, allem von lasst Hände, Wie ein müdes Kind empfangen. Nacht gestirnte die Freundlich Soll mein sehnliches Verlangen gemacht, Tag müd’ der mich Nun 3 Beim Schlafengehen

in this solitude! way our lose not us let sleep; to time be will it soon fly; to them leave Come, haze. the in wistfully soar yet larks two only dark; grows sky the us, about all descend valleys The land. silent the above journey our from rest at are we now hand; in hand walked have we joy and sorrow Through At Sunset athousand-fold. deep life live night of sphere magic the in and flight, in free soar would unguarded, my soul, And would sink into slumber. now my senses all thought; all brow, forget doing, your cease Hands, child. atired like night starry the greet warmly shall desire my ardent so day, by the tired made Now Sleep to Going Translations © Pracˇ Mari kauskas is this perhaps death? – journeying our of are we weary How sunset! the in deep So peace! silent O boundless,

9 Texts Roderick Williams in recital in Williams Roderick Tue 26 Feb Songbook An Italian Tue 19 Feb 10 collaborator. and dramatic composer singer, a as musicians of our engaging most We celebrate one Artist-in-Residence Court Milton Williams Roderick Roderick Williams in recital in Williams Roderick Tue 26 Feb Songbook An Italian Tue 19 Feb collaborator. and dramatic composer singer, a as musicians of our engaging most We celebrate one Artist-in-Residence Court Milton Williams Roderick

Jiyang Chen About the performers been broadcast inHDto cinemasglobally the soprano hasperformed hersignature roles, The isahouseinwhich Entführung ausdemSerail have included (Gilda). Otherhigh-profile appearances Flute four heroines), di Lammermoor has beenseeninnew productions of inMunich,where she Diana Damrau hasforged closelinks withthe Maximilian Order for ScienceandArt(2010), State Opera (2007)andholderof theBavarian Invested as Kammersängerin of theBavarian , ). Flute as well asQueenof theNightin Opéra deParis andBavarian State Opera), Scala, Metropolitan Opera, Royal Opera House, Opera, Metropolitan Opera) and Royal Opera House), Bavarian State Opera, Metropolitan Opera, title-roles in lyric soprano andcoloratura roles including the for two decades. Hervast repertoire spansboth on theworld’s leading opera andconcertstages Soprano DianaDamrau hasbeenperforming Diana Damrau debut there asZerbinetta in2005.Highlights and made seven role debutssinceherown Diana Damrau (Metropolitan Opera, , (Queen of theNight)and Lucia diLammermoor Ariadne aufNaxos , soprano Les contes d’Hoffmann (Aminta), (Violetta) and (Constanze). (Constanze). (ViennaState The Magic The Magic The Magic The Magic (Zerbinetta), (Zerbinetta), (, (LaScala, La traviata

Lucia Lucia Die Die

(the (the (La (La performance attheFestspielhaus Baden-Baden. release The latter collaboration canbeheard intheCD performs inrecital withharpistXavier deMaistre. with pianistHelmutDeutschandfrequently worldwide. Sheenjoys acloseartisticpartnership song, regularly performing atleading venues of today’s mostsought-after interpreters of Diana Damrau hasestablished herselfasone Maazel’s Drunken Woman/Gym Instructress inLorin Progress operatic adaptation of Hogarth’s for her, mostnotably inthetitle-role of IainBell’s for theopera stage inroles written especially She hasalsoperformed contemporary works to commemorate Verdi’s 200thanniversary. as Violetta inanew production of riconosciuta Milan: in2004thetitle-role of Salieri’s annual inaugural performance atLaScala, Diana Damrau hastwiceparticipated inthe (Adèle) and The Barberof Seville have includednew productions of venues, includinghere atthe Barbican. and HelmutDeutsch atmajorEuropean Liederbuch Paris. Shealsoperformed Wolf’s Her mostrecent disc, arias andsongsby LisztandRichard Strauss. discography includes MozartandSalieri with Warner/Erato andheraward-winning She hasanexclusive recording contract Meyerbeer’s made herrole debutasMarguérite ( at theDeutscheOperBerlin,where shealso the ZurichOpera House,whichshereprised role debut inthetitle-role of Lucia diLammermoor the Bavarian State Opera for thetitle-role in Highlights lastseasonincludedareturn to dedicated to themusicof Meyerbeer. Nuit d’étoiles (Theater anderWien,2013) andas 1984 on tour withJonasKaufmann atthehouse’sreopening andin2013 Les pêcheursdesperles Les Huguenots (Royal Opera House,2005). (Rosina), andaDVD capturingtheir Grand Opera and as Violetta; her and asVioletta; her at the Opéra de attheOpéra de Italienisches A Harlot’s A Harlot’s La traviata Rigoletto , is , is (Leïla). (Leïla).

Europa Europa ); and ); and at at ,

11 About the performers 12 Peter Meisel Mariss Jansons for Erato/Warner Classics Diana Damrau records exclusively www.ccm-international.de CCM ClassicConcertsManagement Concerts, Tours &MediaDianaDamrau: twitter.com/@DianaDamrau facebook.com/DianaDamrau instagram.com/diana.damrau www.diana-damrau.com Barbican Centre. House inAprilandaresidency here atthe December 2018, Marguérite attheRoyal Opera role of Violetta attheMetropolitan Opera in Recent andforthcoming highlightsincludethe Ninth Symphony under DanielBarenboim. shesanginBeethoven’s Amsterdam. Atthereopening galaof the season of theRoyal ConcertgebouwOrchestra, In September 2017 sheopenedtheconcert Swarowsky andinSalzburg underHerbertvon Conservatoire andlater inViennaunderHans Arv in 1943 inRigaandisthesonof theconductor outstanding conductors of ourtime.Hewas born Mariss Jansonsisconsidered oneof themost Mariss Jansons - I ds Jansons;hestudiedattheLeningrad conductor

concerts withvarious Bavarian youth Orchestra on aEuropean tour andhasgiven heart. Hehasconducted theGustav MahlerYouth Working withyoung musiciansiscloseto his 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 works regularly withtheBerlinandVienna Orchestra. Amongother orchestras he also Chief Conductor of theRoyal Concertgebouw and Chorus.From 2004to 2015 hewas also of theBavarian Radio Symphony Orchestra Since 2003,hehasbeentheChiefConductor (1997–2004). Director of thePittsburgh Symphony Orchestra Philharmonic Orchestra (1992–7) andMusic was PrincipalGuestConductor of theLondon a leading international orchestra. Inaddition, he the OsloPhilharmonic,whichhedeveloped into From 1979 to 2000hewas ChiefConductor of conductor until1999. closely connected withthis orchestra asaregular (today’s St Petersburg Philharmonic).Heremained his assistant withtheLeningrad Philharmonic Karajan. In1971 Evgeny Mravinsky made him recording of Bruckner’sSeventh Symphony. of theYear by ECHOKlassikin2010 for its Under hisbaton, theBRSOwas namedOrchestra 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 and withtheAcademy of theBRSOinMunich. Opernwelt magazine (2011). 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 Romantic music,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 ‘Festival Brooch withrubies’. Festival awarded himitshighesthonour, the the LéonieSonningMusicPrizeandSalzburg year Denmarkbestowed uponMarissJansons gratitude for theirlongassociationThesame orchestras gave himHonorary Membershipin 2018 both theBerlinandViennaPhilharmonic Society’s prestigious GoldMedal,whilein accolade. In2017 hewon theRoyal Philharmonic Great MusicAward, thecountry’shighestartistic Lettres. In2015 hewas honoured withtheLatvian and was appointed CommandeurdesArtset was made aKnightof theLionof theNetherlands the GermanFederal Cross of Merit,1stClass, awarded theErnstvon SiemensMusicPrizeand of Maximilian. In2013 MarissJansonswas the Republic of LatviaandtheBavarian Order Scholarship andArt,theThree Stars Medalof Order of Merit,theAustrian Cross of Honourfor Other awards includetheNorwegian Royal

including aGrammy in2006;mostrecently it won many nationalandinternational awards, Broadcasting’s own labelBR-Klassik. Ithas wide range of labels,includingBavarian The BRSOhasalarge discography ona younger generation of musiclovers. programmes to bringclassicalmusicto a 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 Easter Festival inLucerne. been, since2004,Orchestra-in-Residence atthe halls inmusicalcentres worldwide. Ithasalso York’s CarnegieHallandatrenowned concert America. Itmakes regular appearances atNew also tours to Europe, AsiaandNorthSouth andthroughout Germany, theorchestra As well asgivingregular performances in . Yannick Nézet-Séguin,SirSimonRattle and Salonen, HerbertBlomstedt, DanielHarding, – ,,Esa-Pekka Kurt Sanderlingand–inmore recent times Bernstein, ,CarloMariaGiulini, and CarlosKleiber, , Leonard instagram.com/BRSOrchestra Twitter: @BRSO facebook.com/BRSO br-so.com by MarissJansons. Prize for Bruckner’sEighthSymphony conducted Bernard HaitinkandtheGermanRecord Critics’ Year for Mahler’sThird Symphony conducted by received

BBC MusicMagazine

’s Recording of the

13 About the performers 14 Leopold Lercher deVroe Nicolaus Richter Angela Koeppen Andreas Wohlmacher Yi Li Cottrell * Heather Lee * Jehye Altenberger * Korbinian Violin 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 Reif * Thomas Steymans * Tobias Barachovsky * Anton Szulc * Radoslaw Violin 1 Amelie Böckheler Celina Bäumer Susanna Pietsch David van Dijk Stephan Hoever Valérie Gillard Bettina Bernklau Key-Thomas Märkl Symphony Orchestra Bavarian Radio

Lukas Richter Teja Andresen Piotr Stefaniak Frank Reinecke Alexandra Scott Wies deBoevé Stubenrauch * Philipp Braun * Heinrich Double 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 Christiane Hörr Klaus-Peter Werani Inka Ameln Mathias Schessl Anja Kreynacke Andreas Marschik Benedict Hames Wen Xiao Zheng Menninghaus Hermann Viola

* *

Horn Susanne Sonntag Rainer Seidel Postinghel * Marco Marschall * Eberhard Heinrich Treydte Bettina Faiss Werner Mittelbach Corbett * Christopher Schilling * Stefan Tobias Vogelmann Emma Schied Ramón Ortega Quero Schilli * Stefan Ivanna Ternay Natalie Schwaabe Petra Schiessel Wiese * Henrik Boucly * Philippe Flute François Bastian François Bastian Norbert Dausacker Ralf Springmann Thomas Ruh Ursula Kepser Carsten Carey Duffin Terwilliger * Eric * * ans Läubin * Hannes the 2018–19 season orchestra roster for This listrepresents the * principal Lukas MariaKuen Piano Magdalena Hoffmann Harp Christian Pilz Guido Marggrander Markus Steckeler Percussion Raymond Curfs Stefan Reuter Stefan Tischler Lukas Gassner Uwe Schrodi Horch * Thomas Profanter * Hansjörg Herbert Zimmermann Thomas Kiechle Wolfgang Läubin Angerer * Martin NEW FROM DIANA DAMRAU

DIANA DAMRAU and , reigning stars of opera, are also consummate interpreters of song. In early 2018, with master pianist , they performed ’s multi-faceted Italienisches Liederbuch in 12 cities around Europe. “One couldn’t ask for more,” wrote the Telegraph after their London Barbican concert, which took place two days before this live recording was made in the German city of Essen. ★★★★ ★★★★ ★★★★ ★★★★ london eveninG sTandard RECORDING OF THE WEEK PresTo classical Sat 25 May 2019 Orchestra of Santa Cecilia/ Mahler Symphony No 6