Swan Lake Tchaikovsky Santtu-Matias Rouvali

Swan Lake Santtu-Matias Tchaikovsky Rouvali Piotr Il’yich ACT I ACT III A magnificent park before a palace. A Ball at the Castle. Tchaikovsky (1840–1893) 1 No. 2, Valse 7.29 8 No. 18, Scene: Allegro 1.42 No. 4, Pas de trois No. 19, Pas de six Swan Lake 2 I. Intrada 2.31 9 III. Moderato – IV. Allegro 2.15 3 II. Andante sostenuto 2.48 Excerpts (1875–77) 10 No. 19b, Pas de deux: 4 III. Allegro semplice 1.14 I. Introduction 4.17 5 No. 8, Dance of the goblets: 11 No. 21, Spanish Dance: Allegro Tempo di polacca 3.57 non troppo (Tempo di bolero) 2.47 6 No. 10, Scene: Moderato 2.57 12 No. 22, Neapolitan Dance: Allegro moderato – Andantino 2.24

ACT II ACT IV

A lakeside clearing in a forest by the By the Lake. Philharmonia Orchestra ruins of a chapel. 13 No. 29, Finale: Andante – allegro A moonlit night. agitato – Moderato e maestoso 7.12 Santtu-Matias Rouvali Conductor 7 No. 13, Dance of the cygnets: IV. Allegro moderato 1.29

www.signumrecords.com Total Timings 43.04

3 Liner Notes, Texts & Biographies

Swan Lake (excerpts) It is a sad irony that a composer The importance of the production in this sensitive to criticism, and highly self- regard cannot be underestimated; the Valse critical, should in a number of his famous riot at the première of Stravinsky’s Pas de trois works arouse the distaste of both his Rite of Spring was not solely a response Dance of the goblets contemporaries and his audiences, to the score. The first production ofSwan and yet go on to be hugely beloved Lake took place on 4 March 1877 at the Scene (moderato) posthumously. This is particularly Bolshoi Theatre in Moscow, and, although Dance of the cygnets poignant in the case of Tchaikovsky’s it ran for a number of performances – ballet, Swan Lake, the first version of and did not provoke any rioting – the Scene (allegro) which was not particularly successful, work’s reception was lukewarm. Much Pas de six but which was revised to great acclaim of the responsibility for this lies with the shortly after Tchaikovsky’s death. choreographer, Julius Reisinger, who, Pas de deux without precedent to help him along, Ballets are notoriously difficult to get was not sufficiently imaginative to Spanish Dance right: even if the music is sublime, produce more than a series of rather Neapolitan Dance so much is riding on the quality of wooden vignettes. Finale the choreography and the dancing. 4 5 However, the run was long enough to that the work was commissioned by stay in the memory of the formidable the theatrical establishment in Moscow. choreographer Marius Petipa, director The scenario, in which a swan queen of the Russian Imperial Ballet. In yields to the love of a prince, seems to collaboration with his assistant have been almost entirely Tchaikovsky’s choreographer Lev Ivanov and own, based on a tale he had made up Tchaikovsky’s brother, Modest, it was for the amusement of his nieces and decided that a fitting tribute to the nephews, and possibly influenced by composer, who had died so suddenly the popular novella, Undine. Although in November 1893, would be to stage there was some input from the librettists a revised version of Act II of Swan Vladimir Begichev and Vasily Geltser, Lake. This was performed on 1 March that the overall concept came from 1894 – and was a resounding success. Tchaikovsky himself demonstrates Spurred on by this unexpected triumph, an unprecedented level of creative the whole ballet was revised, to be control from the composer. In the years performed at the Mariinsky Theatre in following the work’s première, the score Credit Camilla Greenwell St Petersburg on 27 January 1895. It was was rather manhandled, an experience this version that cemented Swan Lake’s from which Tchaikovsky seems to have anything other than a runaway success. prevented the composition of Swan status as a staple of the ballet repertoire. learnt; with later ballet scores he would The composer remained self-critical, Lake, and Tchaikovsky’s own words work more closely with ballet-masters The origins of Tchaikovsky’s score are however, admitting: ‘I listened to the might equally well be applied to the and dramatists. more mysterious. There is no mention Delibes ballet Sylvia... what charm, ballet’s ravishing melodies and colourful of any author or literary inspiration in the Swan Lake’s lyrical lines are perfectly what elegance, what wealth of melody, orchestration: ‘…what charm, what printed libretto of 1877, and no record of constructed to suggest the fluidity rhythm, and harmony. I was ashamed, elegance, what wealth of melody, how exactly Tchaikovsky came to work of balletic movement – so much so for if I had known of this music then, rhythm, and harmony…’ with Reisberger, although we do know that even with limited choreography I would not have written Swan Lake.’ It is Programme note by Joanna Wyld it is hard to imagine the work being to be celebrated that no such obstacle 6 7 Philharmonia Orchestra

1st Violin 2nd Violin Carol Hultmark Alex Henery Bass Clarinet Trombone Founded in 1945, the Philharmonia is Zsolt-Tihamér Annabelle Meare Cheremie Simon Oliver Laurent Ben Slimane Byron Fulcher a world-class symphony orchestra Visontay Hamilton-Miller Fiona Cornall Owen Nicolaou Bassoon Philip White for the 21st century. Based in London Sarah Oates Emily Davis Ana Teresa de Nathan Knight Braga e Alves Robin O'Neill Bass Trombone at Southbank Centre’s Royal Festival Rebecca Chan Samantha Reagan Joseph Cowie Rebecca Carrington Shelly Organ James Buckle Hall, and with a thriving national Soong Choo Nuno Carapina Jakub Cywinski and international touring schedule, Adrián Varela Ellen Blythe Horn Tuba Paula Clifton-Everest Flute the Philharmonia creates thrilling Lulu Fuller Claire Newton Nigel Black Peter Smith Susan Hedger performances for a global audience. Toby Deller Thomas Hancox Kira Doherty Karin Tilch Jan Regulski Timpani Hannah Black James Pillai Santtu-Matias Rouvali is the Jeff Moore Sophie Cameron Cello Antoine Siguré Charlotte Reid Timothy Walden Piccolo Carsten Williams Orchestra’s sixth Principal Conductor, Gideon Robinson Percussion Grace Lee Richard Birchall Keith Bragg Matthew Horn following in the footsteps of Otto Emanuela Buta Emmanuel Curt Cindy Foster Eric Villeminey Jonathan Maloney Klemperer, Riccardo Muti, Giuseppe Roma Tic Oboe Paul Stoneman Minsi Yang Yaroslava Trofymchuk Daniel Curzon Sinopoli, Christoph von Dohnányi and Anna O'Brien Timothy Rundle Peter Fry Matthew Bain Anne Baker Esa-Pekka Salonen. Kirsty Mangan Jennifer Brittlebank Trumpet Kevin Hathway Gavin Davies Alexander Rolton Jason Evans Viola Cor Anglais Harp The Philharmonia is a registered charity Rachel Steadman Deirdre Cooper Arthur Escriva Yukiko Ogura Jill Crowther Heidi Krutzen that relies on funding from a wide range Jens Lynen Tessa Seymour Will Morley William Bender Clarinet Stephanie Beck of sources to deliver its programme and Nicholas Bootiman Bass Cornet is proud to be generously supported Carlos Ferreira Celeste Sylvain Séailles Tim Gibbs Jason Evans by Arts Council England. It performs Laurent Ben Slimane Alison Procter Linda Kidwell Gareth Sheppard Robert Farley 8 Jennifer McLaren 9 around 50 concerts a year at its The Philharmonia’s reputation in part Southbank Centre home. Under its derives from its extraordinary recording key conductors, the Philharmonia has legacy, which in the last 10 years has created a series of critically-acclaimed, been built on by its pioneering work visionary projects, distinctive for both with digital technology. VR experiences their artistic scope and supporting live featuring music by Sibelius, Mahler and digital content. and Beethoven, placing the viewer at the heart of the orchestra, have been The Philharmonia is orchestra-in- presented at Southbank Centre and residence at venues and festivals internationally. across England: Bedford Corn Exchange, De Montfort Hall in Leicester, The Philharmonia’s Principal The Marlowe in Canterbury, Anvil International Partner is Wuliangye. Arts in Basingstoke, the Three Choirs Festival in the West of England, and Garsington Opera. At the heart of the Orchestra’s residencies is an outreach and engagement programme that empowers people in every community to engage with, and participate in, orchestral music. Internationally, the Credit Camilla Greenwell Philharmonia is active across Europe, Asia and the USA. philharmonia.co.uk

10 11 Santtu-Matias Rouvali

In the 2019/20 season Santtu-Matias of Bryce Dessner’s Wires, and at the Rouvali continued as Chief Conductor Concertgebouw he conducted the world of Gothenburg Symphony and as premiere of Ariadne by Theo Verbey, Principal Conductor Designate of as well as Stravinsky’s Oedipus Rex. the Philharmonia Orchestra, where In Berlin he performed Ravel’s Piano he succeeds Esa-Pekka Salonen Concerto in G minor with Alice Sara Ott, as Principal Conductor in 2021/22. alongside Sibelius’s Symphony No. 1. Alongside these posts he retains He has built a loyal following his longstanding position as Chief internationally after successful tour Conductor with Tampere Philharmonic concerts last season with Gothenburg Orchestra, close to his home in Finland. Symphony in Vienna, where he returned His international profile continues to in December to conduct the Wiener flourish. He debuted the season with Symphoniker and Nicola Benedetti. the New York Philharmonic, Berlin In 2019/20 he returned to several Philharmonic and Royal Concertgebouw orchestras across Europe, including orchestras in wide-ranging repertoire. the Orchestre Philharmonique de He conducted the New York premiere Radio France and Deutsches Symphonie-Orchester Berlin. 12 Credit Camilla Greenwell 13 Rouvali’s Gothenburg season opened Adding another cornerstone to his Recorded in the Royal Festival Hall, Southbank with a programme featuring Leif tenure in Gothenburg, Rouvali is making Ove Andsnes, the orchestra’s Artist his mark on the orchestra’s impressive Centre, London on 3rd November 2019 in Residence for 2019/20. Following recording legacy. In January 2019 they last season’s successful tour of released a celebrated first disc of Producer and Editor Jennifer Howells Germany and Austria with Alice Sara an ambitious Sibelius cycle, pairing Ott and Martin Grubinger, Rouvali and Symphony No. 1 with the early tone Recording Engineers Mike Hatch, James Waterhouse, Gothenburg Symphony were back on poem En saga. The album won the Tom Mungall, Tom Lewington the road in February 2020 touring Japan. Gramophone Editor’s Choice award, Together with violinist Fumiaki Miura and the Choc de Classica, a prize from Cover Image © Camilla Greenwell pianist Mari Kodama, they performed the German Record Critics and the works by Shostakovich, Beethoven and prestigious French Diapason d’Or Sibelius across eight major cities from ‘Decouverte’. Fukuoka to Tokyo. He also toured with With Tampere Philharmonic Orchestra the Philharmonia to the Canary Islands and violinist Baiba Skride, Rouvali has in January 2020, performing in Gran recorded five concertos on the Orfeo Canaria and Tenerife as part of the Ⓟ 2020 The copyright in this sound recording is owned by the Philharmonia Orchestra. label: Nielsen, Sibelius, Bernstein, Canary Islands Festival. In London, © 2020 The copyright in this CD booklet, notes and design is owned by Signum Records. Korngold and Rozsa. Alongside a busy highlights of his season with the symphonic conducting career, as Chief Any unauthorised broadcasting, public performance, copying or re-recording of Signum Philharmonia include extracts from Conductor in Tampere he conducted Compact Discs constitutes an infringement of copyright and will render the infringer liable Tchaikovsky’s Swan Lake, Prokofiev’s to an action by law. Licences for public performances or broadcasting may be obtained Verdi’s opera La forza del destino, and Symphony No. 5 and Sibelius’s from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be the world premiere of Olli Kortekangas’s Symphony No. 5, alongside soloists reproduced, stored in a retrieval system, or transmitted in any form or by any means, Veljeni vartija (My Brother’s Keeper) electronic, mechanical, photocopying, recording or otherwise, without prior permission Nikolai Lugansky, Behzod Abduraimov with Tampere Opera in spring 2018. from Signum Records Ltd. and Nemanja Radulović. Signum Records, Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7LQ, UK. +44 (0) 20 8997 4000 E-mail: [email protected] 14 signumrecords.com

Key: CTP Template: CD_INL1 COLOURS No text area Compact Disc Back Inlay CYAN MAGENTA Customer YELLOW Bleed Catalogue No. BLACK Trim Job Title Fold SIGCD648 ACT I 1 No. 2, Valse 7.29 Piotr Il’yich 2–4 No. 4, Pas de trois: I. Intrada, II. Andante sostenuto, III. Allegro semplice 6.33 Tchaikovsky Tchaikovsky 5 No. 8, Dance of the goblets: Tempo di polacca 3.57 (1840–1893) 6 No. 10, Scene: Moderato 2.57

ACT II Swan Lake Swan Lake 7 No. 13, Dance of the cygnets: IV. Allegro moderato 1.29 Excerpts (1875–77)

Philharmonia / Rouvali ACT III 8 No. 18, Scene: Allegro 1.42 117.8 (Excerpts) 9–10 No. 19, Pas de six: III. Moderato, IV. Allegro 2.15 11 No. 19b, Pas de deux: I. Introduction 4.17 (Excerpts) 12 No. 21, Spanish Dance: Allegro non troppo (Tempo di bolero) 2.47

13 No. 22, Neapolitan Dance: Allegro moderato – Andantino 2.24 Philharmonia / Rouvali

Philharmonia ACT IV

Swan Lake Swan Lake Orchestra 14 No. 29, Finale: Andante – allegro agitato – Moderato e maestoso 7.12 Total Timings 43.04 Santtu-Matias Tchaikovsky Rouvali Signum Records Ltd, Suite 14, 21 Wadsworth Road, Conductor Perivale, Middlesex, UB6 7LQ, United Kingdom LC15723 www.signumrecords.com

6.5 138 6.5 PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES