DOCSLIB.ORG

Sunday 26 November 2017 7–9.15Pm Barbican Hall LSO

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sunday 26 November 2017 7–9.15Pm Barbican Hall LSO Sunday 26 November 2017 7–9.15pm Barbican Hall LSO SEASON CONCERT LISZT Liszt orch Sciarrino Sposalizio Liszt Totentanz TOTAL LISZT Interval Liszt A Faust Symphony Sir Antonio Pappano conductor Alice Sara Ott piano Brenden Gunnell tenor Gentlemen of the London Symphony Chorus Simon Halsey chorus director Supported by LSO Patrons Welcome LSO News On Our Blog we are pleased to welcome her back to the STEP INSIDE THE ORCHESTRA BEHIND THE SCENES LSO. It also a pleasure to be joined by tenor WITH LSO PLAY WITH ALICE SARA OTT soloist Brenden Gunnell and the Gentlemen of the London Symphony Chorus, led by our Our digital platform LSO Play has been On our YouTube channel, Alice Sara Ott plays Choral Director Simon Halsey, for the final re-designed by original developers Sennep a dazzling, explosive excerpt from Liszt’s movement of the Faust Symphony. and can now be viewed on smartphones and Totentanz, and shows us her talent for tablets. Watch the Orchestra’s performances solving a Rubik’s Cube in less than a minute – Tonight we recognise the vital contribution in exquisite detail, choose between multiple part of her warm-up routine before a concert. made by our Patrons, many of whom join us in camera angles, and learn more about the the audience. Patrons share each new step Orchestra and the music at play.lso.co.uk. THE LSO & ELGAR’S CELLO CONCERTO in our work and become close members of Welcome to this evening’s LSO concert. our family of supporters. As the LSO begins DESIGN TEAM FOR CENTRE FOR MUSIC 98 years ago, in October 1919, the Orchestra We are delighted to welcome conductor an exciting new era under Sir Simon Rattle, performed the world premiere of one of the Sir Antonio Pappano to realise a programme the generosity and passion of our Patrons The Barbican, LSO and Guildhall School, most popular works in the repertoire: Elgar’s devoted to the dramatic music of Liszt – an help us to go even further in our ambitions backed by the City of London Corporation, Cello Concerto. It may be popular now, but idea he has been developing for some time. for world-class music-making. I thank each have announced that design studio Diller that wasn’t always the case … Read the full of our Patrons for their important support. Scofidio + Renfro, in collaboration with story and view photos and programmes from The concert explores the different architecture firm Sheppard Robson, have been the LSO Archive on our blog. dimensions of Liszt’s musical imagination: I hope you enjoy the concert and will join us appointed to develop a concept design for a artistic inspirations in a recent orchestration again soon. On 3 December, the first Sunday new Centre for Music in the City of London. Read our blog, watch videos and more of his work for piano Sposalizio, his musical of Advent, our combined Choirs and Brass • youtube.com/lso re-telling of Goethe’s powerful drama Faust, Ensemble, led by Simon Halsey, will give our 2018 PANUFNIK COMPOSERS SCHEME • lso.co.uk/blog and Totentanz, a characteristically virtuosic annual Choral Christmas concert, featuring work for his own instrument, the piano. festive music and traditional carols. Applications for the 2018 Panufnik Composers Scheme are open until For Totenanz we are joined by soloist 13 December, offering six composers Alice Sara Ott, who played Liszt in her first the chance to work with the Orchestra appearance with the LSO in 2010, when and composition director Colin Matthews. she stepped in at short notice to deliver a highly acclaimed performance. Since then Kathryn McDowell CBE DL Read our news online she has also given a number of BBC Radio 3 Managing Director • lso.co.uk/news Lunchtime Concerts at LSO St Luke’s, and 2 Welcome 26 November 2017 Tonight’s Concert / introduction by Malcolm Hayes Coming Up he greatest composer-pianist PROGRAMME NOTE WRITER Thursday 7 December 2017 7.30pm Thursday 11 January 2018 7.30pm who ever lived? Franz Liszt was Barbican Hall Barbican Hall certainly one of them. In his Malcolm Hayes is a composer, writer teenage years he was already famous across and music journalist, whose books Mozart Violin Concerto No 2 Schubert Symphony No 8, ‘Unfinished’ Europe as a pianist of mesmerising artistry include a biography of Liszt (Naxos) and Mozart Violin Concerto No 3 Mahler Rückert-Lieder and virtuosity. It took longer for Liszt’s The Selected Letters of William Walton Tchaikovsky Symphony No 6, ‘Pathétique’ Handel Three Arias reputation as a composer to match this – (Faber). His BBC-commissioned Violin Rameau Les Boréades – Suite not least because his years of touring as a Concerto was premiered at the Proms in 2016. Nikolaj Znaider violin/conductor concert pianist (from Ireland to Istanbul, Sir Simon Rattle conductor literally), along with passionate romantic Recommended by Classic FM Magdalena Kožená mezzo-soprano interludes (one serious, others less so), left him short of time to get the music in 6pm Barbican Hall his head written down. This was especially LSO Platforms: Guildhall Artists true of his major orchestral works, including Free pre-concert recital the two we hear this evening. Liszt had been thinking about Totentanz Wednesday 13 December 2017 7.30pm (Dance of Death) and the Faust Symphony Sunday 17 December 2017 7pm while still in his 20s. It was only when he Barbican Hall stopped touring and settled in Weimar, with an orchestra conveniently to hand, Strauss Metamorphosen that each work reached its final shape. Mahler Das Lied von der Erde Tonight’s programme opens with Sposalizio, one of Liszt’s loveliest piano pieces, here Sir Simon Rattle conductor played in an orchestral arrangement by Simon O’Neill tenor Italian composer Salvatore Sciarrino. Christian Gerhaher baritone Totentanz, with Alice Sara Ott taking on its barnstorming solo piano part, presents the 13 Dec 6pm Barbican Hall Liszt phenomenon at its wildest. And the LSO Platforms: Guildhall Artists lso.co.uk/whatson four-movement Faust Symphony is today Free pre-concert recital 020 7638 8891 regarded as one of the supreme orchestral achievements of the 19th century. Tonight’s Concert 3 Franz Liszt Sposalizio S161 No 1 1838–39 rev 1849, orch Salvatore Sciarrino 2015 / note by Malcolm Hayes n 1835 Liszt had eloped from Paris until a decade later that Sposalizio appeared instantly capturing the mood of innocence • LO SPOSALIZIO DELLA VERGINE to Switzerland with Countess in print, as the opening item in a second, and loveliness that Liszt picked up on in Marie d’Agoult, who was seven Italian volume of Années de pèlerinage. Raphael’s painting. After an early climax years older than him, and married with a Liszt would often revise his earlier music comes a second, quietly radiant theme (solo young daughter. Marie was already pregnant extensively for publication, depending on clarinet, accompanied by strings, low flutes with her and Liszt’s first child and the what its new context in a collection required. and harp), combining with the music of the unconventional couple needed to be out of But the final version ofSposalizio remains opening to build towards an outpouring of reach, in legal terms, of her first husband. close to the original: Liszt must have sensed ecstatic adoration. Eventually this calms, The move opened up artistic possibilities also. that the freshness of his response to with descending woodwind arabesques With the Romantic age well under way, Raphael’s painting held up beautifully, leading to a serene conclusion. • the Swiss pastoral scene and mountain and needed only minor reworking. landscapes were ‘good copy’ for writers and artists, and supplied Liszt with the material The process of arranging this music for for what later became the first volume of his orchestra – as Italian composer Salvatore piano cycle Années de pèlerinage (Years of Sciarrino • has, in the version we hear Pilgrimage), subtitled ‘Suisse’ (Switzerland). this evening – raises intriguing issues. Should the arrangement process use Two years later Liszt and Marie moved to Italy, only the style, and the likely choice of staying on the shores of Lake Como. Milan instruments, of that period? Sciarrino has was only 35 miles away; and during one of taken a different approach, equally valid their visits there, they saw the painting Lo from a present-day perspective. We hear sposalizio della Vergine • (The Marriage of the the original piano work through a lens of Virgin Mary) by Raphael of Urbino (1483–1520), sophisticated, modernist orchestration, with • SALVATORE SCIARRINO which hangs in the city’s Brera Gallery. percussion instruments (including bells and glockenspiel) deployed more extensively Salvatore Sciarrino (b 1947) is an Italian Liszt was a supreme improviser, able to sit than would have happened in Liszt’s time. composer. He has composed in almost every down at the piano and create a more or less musical genre, writing works for a number fully-fledged work on the spot, which would The music grows from the two ideas of leading orchestras, opera houses and then be written down with the same kind of heard at the very beginning – a five-note, festivals, including Teatro alla Scala, Teatro instant fluency. His musical response to the descending fragment of melody (here played La Fenice di Venezia, La Monnaie, Frankfurt stylised grace of Raphael’s painting almost by piccolo and bass clarinet), answered by Opera and Suntory Hall, Tokyo, and his certainly began life like that; but it was not an upwards-curling figure (on muted horns), discography encompasses over 100 recordings. 4 Programme Notes 26 November 2017 Franz Liszt Totentanz S126 1839–59 rev 1864 / note by Malcolm Hayes Alice Sara Ott piano In 1839 Liszt drafted some early ideas for the Totentanz begins with sounds so startling • THE DANCE OF DEATH work for piano and orchestra that eventually that they could almost have been written 1 Variation I: Allegro moderato became Totentanz.
Load more

Recommended publications
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Download Booklet
    557921bk USA 14/3/07 10:08 am Page 5 Ashley Wass The young British pianist Ashley Wass is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the Rising Stars series at BRIDGE the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. In 2002 he was made an Associate of the Royal Academy. He has spent three summers as a participant at the Marlboro Music Festival, Piano Music playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and members of the Guarneri Quartet and Beaux Arts Trio. He has given recitals at most of the major British concert halls, including the Wigmore Hall, Queen Elizabeth Hall, Symphony Hall, Purcell Room, Bridgewater Hall and St David’s Hall, with Piano Sonata appearances at the City of London Festival, Bath Festival, Brighton Festival, Cheltenham Festival, Belfast Waterfront Hall, Symphony Hall in Birmingham, the Wallace Collection, LSO St Luke’s, St George’s in Bristol, Three Sketches • Pensées fugitives Chicago’s Cultural Centre and Sheffield ‘Music in the Round’. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz.
    [Show full text]
  • Download Booklet
    THE TWENTY-FIFTH HOUR COMPOSER’S NOTE the same musical stuff, as if each were a THE CHAMBER MUSIC OF THOMAS ADÈS (b. 1971) different view through a kaleidoscope. ‘Six of Nearly twenty years separate the two string the seven titles’, he has noted, ‘evoke quartets on this record, and all I have been able various vanished or vanishing “idylls”. The Piano Quintet (2001) * to discover over this time is that music only gets odd-numbered are all aquatic, and would splice 1 I [11.43] more and more mysterious. I am very grateful if played consecutively.’ 2 II [4.35] for this enjoyable collaboration to Signum, Tim 3 III [3.00] Oldham, Steve Long at Floating Earth, and my In the first movement the viola is a gondolier friends the Calder Quartet. poling through the other instruments’ moonlit The Four Quarters (2011) World Premiere Recording 4 I. Nightfalls [7.06] water, with shreds of shadowy waltz drifting 5 II. Serenade: Morning Dew [3.12] Thomas Adès, 2015 in now and then. Next, under a quotation 6 III. Days [3.50] from The Magic Flute (‘That sounds so 7 IV. The Twenty-Fifth Hour [3.51] The Chamber Music delightful, that sounds so divine’ sing of Thomas Adès Monostatos and the slaves when Papageno Arcadiana (1993) plays his bells), comes a song for the cello 8 I. Venezia notturno [2.39] These three works are not only in classic under glistening harmonics. The music is 9 II. Das klinget so herrlich, das klinget so schon [1.22] genres but themselves becoming classics, with stopped twice in its tracks by major chords, 0 III.
    [Show full text]
  • Download Booklet
    557592 bk Bax UK/US 8/03/2005 02:22pm Page 5 Ashley Wass Also available: The young British pianist, Ashley Wass, is recognised as one of the rising stars of his generation. Only the second British pianist in twenty years to reach the finals of the Leeds Piano Competition (in 2000), he was the first British BAX pianist ever to win the top prize at the World Piano Competition in 1997. He appeared in the ‘Rising Stars’ series at the 2001 Ravinia Festival and his promise has been further acknowledged by the BBC, who selected him to be a New Generations Artist over two seasons. Ashley Wass studied at Chethams Music School and won a scholarship to the Royal Academy of Music to study with Christopher Elton and Hamish Milne. He was made an Associate of the Piano Sonatas Nos. 3 and 4 Royal Academy in 2002. In 2000/1 he was a participant at the Marlboro Music Festival, playing chamber music with musicians such as Mitsuko Uchida, Richard Goode and David Soyer. He has given recitals at most of the major British concert halls including the Wigmore Hall, Queen Elizabeth Hall, Purcell Room, Bridgewater Hall and St Water Music • Winter Waters David’s Hall. His concerto performances have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the Vienna Konzerthaus and the Brucknerhaus in Linz. He has also worked with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, the London Mozart Players, the BBC Scottish Symphony Orchestra and the BBC Ashley Wass Philharmonic.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • Images Et Citations Littéraires Dans La Musique À Programme De Liszt : Pour Un « Renouvellement De La Musique Par Son Alliance Plus Intime Avec La Poésie »
    Les colloques de l’Opéra Comique La modernité française au temps de Berlioz. Février 2010 sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Images et citations littéraires dans la musique à programme de Liszt : pour un « renouvellement de la Musique par son alliance plus intime avec la Poésie » Nicolas DUFETEL Weimar, 1860. Après avoir animé pendant seize ans la vie musicale de cette ville provinciale à l’histoire culturelle extraordinaire, capitale d’un petit grand-duché que son prince, Carl Alexander, ambitionnait de transformer en Florence de l’Allemagne1, Franz Liszt porte un regard rétrospectif sur sa carrière de maître de chapelle « en service extraordinaire » – car c’est bien le titre qu’il a toujours conservé, même après que son prédécesseur, Hippolyte Chélard, n’eut été forcé à prendre sa retraite en 1851. Liszt ne fut donc jamais le « maître de chapelle » tout court de Weimar. Ce détail, loin d’être insignifiant, éclaire de façon importante le statut institutionnel et la liberté de celui qu’on présente habituellement comme le maître de chapelle en titre de Carl Alexander2. En 1 Voir le compte rendu de la conversation entre Carl Alexander et Liszt du 11 février 1861 (D- WRI Grossherzogliches Hausarchiv AXXVI/560a, 156). Cet article est fondé sur des recherches menées à l’Institut für Musikwissenschaft Weimar-Jena dans le cadre d’un programme postdoctoral de la Fondation Alexander von Humbolt (2010-2012). 2 Voir Staats-Handbuch für das Großherzogthum Sachsen-Weimar-Eisenach 1855, Weimar, Druck des Landes-Industrie-Comptoirs, 1855, p. 47. Sur ce sujet, voir Nicolas DUFETEL « “Comment continuer et compléter l’œuvre de Charles Auguste et de Goethe, afin d’assurer à Weimar en Allemagne la place qu’occupe Florence en Italie ?” : La politique culturelle de Liszt et Carl Alexander à Weimar (1848-1861) », Les grands centres musicaux dans l’espace germanophone (XVII-XIXe siècle), sous la direction de Jean-François CANDONI et Laure GAUTHIER, Paris : Presses Universitaires de Paris Sorbonne, p.
    [Show full text]
  • Morning Heroes Blissmorning Heroes
    SUPER AUDIO CD MORNING HEROES BLISS Hymn to Apollo (original version) Samuel West orator BBC Symphony Chorus BBC Symphony Orchestra SIR ANDREW DaVIS Arthur Bliss,1923 Arthur Photograph by Herbert Lambert (1881 – 1936) / Mary Evans Picture Library Sir Arthur Bliss (1891 – 1975) Morning Heroes, F 32 (1930)* 55:33 A Symphony for Orator, Chorus, and Orchestra To the memory of my brother FRANCIS KENNARD BLISS and all other comrades killed in battle 1 I Hector’s Farewell to Andromache. Maestoso – L’istesso tempo – L’istesso tempo – 13:00 2 II The City Arming. Allegro alla marcia (with great spirit and elation) – Poco meno – Più mosso – Meno mosso (Moderato) – Alla marcia – Più mosso – Pochissimo meno – Andante moderato 11:14 3 III Vigil. Andante sostenuto – L’istesso tempo (Tranquillo) – Agitato – Tempo I – 7:53 4 The Bivouac’s Flame. Adagio maestoso – Più mosso – A tempo maestoso – Tempo I – Largamente 4:26 5 IV Achilles Goes Forth to Battle. Allegro con fuoco – Tranquillo – 6:45 6 The Heroes. Allegro con fuoco – Molto animato 1:38 V Now, Trumpeter, for thy Close 7 Spring Offensive. Andante maestoso – Più animato – Andante molto tranquillo – 5:32 8 Dawn on the Somme. Grave (quasi chorale) – Andante tranquillo – Pochissimo più mosso – Più mosso – Maestoso – Molto tranquillo 5:02 3 premiere recording 9 Hymn to Apollo, F 116 (1926) 9:26 for Orchestra Original version Moderato maestoso – Più mosso (assai allegro) – A tempo I (moderato) – Più mosso – Tranquillo, ma non meno mosso – A tempo I meno mosso TT 65:12 Samuel West orator* BBC Symphony Chorus* Stephen Jackson chorus master BBC Symphony Orchestra Laura Samuel leader Sir Andrew Davis 4 Sir Andrew Davis Andrew Sir © Dario Acosta Photography Bliss: Morning Heroes / Hymn to Apollo Morning Heroes by machine gun fire near barrier..
    [Show full text]
  • FRIDAY SERIES 4 Thomas Adès, Conductor Christianne Stotijn
    26.10. FRIDAY SERIES 4 Helsinki Music Centre at 19:00 Thomas Adès, conductor Christianne Stotijn, mezzo-soprano Mark Stone, baritone György Kurtág: Ligatura – Message-Hommage 3 min à Frances-Marie Uitti (The Answered Unanswered Question), Op. 31b Jean Sibelius: The Swan of Tuonela, Op. 22/3 8 min Sanna Niemikunnas, cor anglais Jean Sibelius: Tapiola, Op. 112 18 min INTERVAL 20 min Thomas Adès: Totentanz 35 min 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Kyeong Ham, oboe József Hárs, French horn Jouko Laivuori, harpsichord Thomas Adès: Sonata da caccia Op. 11 14 min 1. Gravement 2. Gayëment 3. Naïvement 4. Galament Interval at about 19.40. The concert will end at about 20.45, the late-night chamber music at about 21:15. Broadcast live on Yle Radio 1 and Yle Areena. A recording of the concert will be shown in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 11.11. and 18.11. with a repeat on Yle TV 1 on 17.11. and 24.11. 2 GYÖRGY KURTÁG Kurtág. In the latter, the violins and cel- los play at the same time, but so that (b. 1926): LIGATURA – their bar lines do not coincide. In the fi- MESSAGE-HOMMAGE nal bars, a celesta joins in, rounding off À FRANCES-MARIE this enigmatic, introverted and at times UITTI (THE ANSWERED almost stagnant miniature lasting only a few minutes.
    [Show full text]
  • Classical Music
    2020– 21 2020– 2020–21 Music Classical Classical Music 1 2019– 20 2019– Classical Music 21 2020– 2020–21 Welcome to our 2020–21 Contents Classical Music season. Artists in the spotlight 3 We are committed to presenting a season unexpected sounds in unexpected places across Six incredible artists you’ll want to know better that connects audiences with the greatest the Culture Mile. We will also continue to take Deep dives 9 international artists and ensembles, as part steps to address the boundaries of historic Go beneath the surface of the music in these themed of a programme that crosses genres and imbalances in music, such as shining a spotlight days and festivals boundaries to break new ground. on 400 years of female composition in The Ghosts, gold-diggers, sorcerers and lovers 19 This year we will celebrate Thomas Adès’s Future is Female. Travel to mystical worlds and new frontiers in music’s 50th birthday with orchestras including the Together with our resident and associate ultimate dramatic form: opera London Symphony Orchestra, Britten Sinfonia, orchestras and ensembles – the London Los Angeles Philharmonic, The Cleveland Symphony Orchestra, BBC Symphony Awesome orchestras 27 Orchestra and Australian Chamber Orchestra Orchestra, Britten Sinfonia, Academy of Ancient Agile chamber ensembles and powerful symphonic juggernauts and conductors including Sir Simon Rattle, Music, Los Angeles Philharmonic and Australian Choral highlights 35 Gustavo Dudamel, Franz Welser-Möst and the Chamber Orchestra – we are looking forward Epic anthems and moving songs to stir the soul birthday boy himself. Joyce DiDonato will to another year of great music, great artists and return to the Barbican in the company of the great experiences.
    [Show full text]
  • Download Program Notes
    Rhapsody on a Theme of Paganini, Op. 43 Sergei Rachmaninoff ergei Rachmaninoff was clearly a bundle soloist and orchestra and, what’s more, is Sof talent, but the early years of his career structured in a way that evokes the three- proceeded rather by fits and starts. He was movement form of most Romantic concertos. not at first a standout at the Moscow Conser - The “theme of Paganini” on which Rach - vatory, but by the time he graduated, in 1892, maninoff based this work was Paganini’s he was deemed worthy of the Great Gold Caprice No. 24, which that master of the vio - Medal, an honor that had previously been be - lin had composed in the early 19th century stowed on only two students. Then, in 1897, and which composers of ensuing generations he was dealt a major setback with the public found unusually intriguing. Schumann, failure of his First Symphony, which a partic - Liszt, and Brahms all wrote compositions ularly prominent review (by fellow composer that tackled the possibilities inherent in this César Cui) likened to “a program symphony melody and, in the years since Rachmani - on the ‘Seven Plagues of Egypt’” that “would noff, such composers as Witold Lutosławski, bring delight to the inhabitants of Hell.” Boris Blacher, and George Rochberg have The failure of that First Symphony threat - kept the tune in play. It’s a striking and mem - ened to undo Rachmaninoff, and for the next orable theme, and listeners will have only oc - three years he didn’t write a note. His talent casional trouble spotting it as Rachmaninoff was such that, in the psychological aftermath pokes and massages it through the 24 varia - of his public failure, he simply turned to a tions that make up this piece (not counting a different musical pursuit and focused on short introduction and, at the other end, a conducting.
    [Show full text]
  • JOHN IRELAND 70Th Birthday Concert
    JOHN IRELAND 70th Birthday ConCert Sir ADRIAN BOULT conductor EILEEN JOYCE piano LONDON PHILHARMONIC ORCHESTRA JOHN IRELAND 70th Birthday ConCert The Henry Wood Promenade Concerts were BBC Symphony Orchestra’s Chief Conductor, inaugurated in 1895 in London’s principal the move from one rostrum to another was concert venue, Queen’s Hall. Following the effected with great smoothness: “I was only hall’s destruction during World War II, the out of work for two or three days,” he liked to BBC Promenade concerts have continued say. For Ireland’s birthday concert he was the ever since at the Royal Albert Hall. The annual ideal choice. Boult’s wide embrace of English summer season is in effect a huge music music had long included Ireland’s music: he festival, drawing the greatest artists and had premièred These things shall be in his BBC orchestras from all over the world. In the days, and in 1936 encouraged the composer to years after the 1939–45 war it became quite turn his Comedy Overture, originally composed usual to celebrate composers’ anniversaries, for brass band, into A London Overture, so sometimes devoting a concert entirely to giving it a wider and more popular following. their music. The concert recorded on this CD, Ireland had a great love of London, revealed in given on 10 September 1949 to mark John such cameos as his picturesque London Pieces Ireland’s 70th birthday, was conducted by Sir for piano with their nostalgic titles ‘Chelsea Adrian Boult (1889–1983). Boult described Reach’ and ‘Soho Forenoons’. A London Overture the composer
    [Show full text]