Singing a Song in a Foreign Land – Music for String Quartet and Voice 7.30pm | Wednesday 24 April 2013 Britten Theatre With the support of the Culture Programme of the European Union Singing a Song in a Foreign Land – Music for String Quartet and Voice 7.30pm | Wednesday 24 April 2013 | Britten Theatre Sonnette der Elisabeth Barrett-Browning op 52, nos 1-3 Wellesz Anna Rajah soprano | Park Quartet 5 Songs for soprano and string quartet op 40 Weigl Céline Laly soprano | Gémeaux Quartett Poems to Martha op 66 Toch Luke Williams baritone | Matteo Quartet INTERVAL The Ellipse Tintner Anna Rajah soprano | Park Quartet Lettres de Westerbork Greif Céline Laly soprano | Yu Zhuang & Manuel Oswald violin The Leaden and the Golden Echo op 61 Wellesz Katie Coventry mezzo-soprano | Molly Cockburn violin | George Hunt cello Adrian Somogyi clarinet | Emas Au piano A co-production with Pro Quartet, Paris www.proquartet.fr A part of this programme was performed in a concert at the Goethe Institute Paris on 10 April, 2013. Singing a Song in a Foreign Land, curated by RCM professor Norbert Meyn, forms part of Project ESTHER in partnership with Jeunesse Musicale Schwerin, Exil Arte Vienna and Pro Quartet Paris. Supported by the Culture Programme of the European Union www.esther-europe.eu This concert presents compositions for voice and string quartet by four Viennese composers who were lucky enough to escape from the Nazi persecution of Jews and settle in exile in Britain, the USA and New Zealand. They had to come to terms with enormous upheavals, uncertainty and often the loss of family members and friends. While holding on to their musical values was important to many of them, their music also reflects their engagement with their new environments, often using English texts for the first time. Egon Wellesz (1885-1974) was born in Vienna in 1885 in a Christian family of Jewish descent. He was influenced by Bruckner and Mahler and emerged as a leading modern composer alongside Schönberg and Webern. His ballets and operas were performed in leading opera houses in Germany and Austria in the 1920s and 1930s, until his success came to an abrupt end when the Nazis came to power and labelled him as a degenerate artist. Wellesz also made a name for himself as a musicologist after deciphering the byzantine musical notation in 1916. He had lectured in England several times and received an honorary doctorate from Oxford University years before he emigrated to the UK in 1938. Wellesz wrote the Sonnette der Elisabeth Barrett-Browning (op 52) in 1934. With rising anti- semitism and nationalism around him, he turned to a translation by Rainer Maria Rilke of poetry by the Victorian English poet Elisabeth Barrett-Browning (1806-1861). These sonnets were written secretly for her future husband Robert Browning while the poet, strongly opposed to her father’s profiting from slave labour in Jamaica, was living in London under the tyrannical rule of her father who did not want her to marry. They were published after the lovers had eloped to Italy and married in 1846. Karl Weigl (1881-1949) studied with Alexander Zemlinski and worked for several years until 1906 as a coach at the Vienna Opera under Gustav Mahler. After the success of his first string quartets and other chamber music he won a contract with Universal Editions in 1910, the same year his first symphony was enthusiastically received. After the First World war he was appointed to a teaching position at the Neues Wiener Konservatorium but soon made composition his principle occupation, with many successful chamber works, symphonies and Lieder to his name, performed by the leading performers of his time including the conductor Wilhelm Furtwängler, amongst many others. His Fünf Lieder für Streichquartett und Sopran were written in 1934. For these he chose texts by Vally Weigl, Klaus Groth, Ina Seidl and Rudolf List (he could not know that the latter two would become favourite Nazi authors later on), and from the collection Des Knaben Wunderhorn. The famous soprano Elisabeth Schumann gave the first public performance of the Fünf Lieder in 1937, a year before Weigl emigrated to the USA in 1938. There, having lived a comfortable life before, he struggled to make a living and had to endure considerable hardship. He continued to compose but had to rely on teaching to make a living. Many of his works have been re-discovered and recorded in recent years. Ernst Toch (1887-1964), also born in Vienna, won major prizes and gained recognition as a composer before the First World War. He became a lecturer at the College of Music in Mannheim in 1913 and published his theoretical writings on the nature of melody in 1923. He co-founded the Gesellschaft für Neue Musik in 1925 and was an influential intellectual as well as a composer. He is well known for his compositions for spoken chorus including the “Geographical Fugue“, written in 1930. In 1933 left Germany for Paris and London, and eventually moved to New York and Hollywood in 1935. There he wrote film scores for Paramount (nominated for an Oscar three times) and taught at several universities including Harvard. He continued to write concert music and another seven symphonies until his death in 1964. Poems to Martha was composed in 1942, commissioned by the author of the poetry, Joseph Haft, to commemorate his wife Martha. Georg Tintner (1917-1999), born in Vienna, was a musical Wunderkind, composing already at nine for his fellow members of the Vienna Boys’ Choir. After studying with Josef Marx, Egon Wellesz, Robert Haas and Felix Weingartner, he became Assistant Conductor at the Vienna Volksoper at 19. But his promising career was destroyed by the Anschluss in 1938. He fled to New Zealand, where professional music was virtually non-existent, and then to Australia in 1954, where he struggled for many years to make a living. After brief forays in the 1960s to South Africa and Sadler’s Wells in England, he moved to Canada in 1987, but it was only in 1997, with the release of his Naxos recordings of Bruckner’s symphonies, that he achieved worldwide renown. Georg Tintner considered his Violin Sonata (1944–49) and The Ellipse (1954–59) his most important compositions. The Ellipse was a contemplation on his life thus far; a representation, as he said, not of events but “of feelings about events, and important events at that”. He wrote it by candlelight in his unheated, unserviced hut in Sydney, between gruelling opera tours in the Outback as pianist-conductor. But the loss of his culture, which he described as “a body blow”, combined with personal tragedies and an inability to find a pathway through the competing compositional styles of the mid-20th century, all contributed to his inability to write anything substantial thereafter; except for three madrigals and some trifles, he wrote nothing more in the last four decades of his life. It was a matter of enduring grief to him. (Tanya Tintner) Olivier Greif (1950-2000) was born in Paris. His father was a doctor who had studied piano in his native Poland before moving to France. There he became a member of the French resistance during the war and was captured and deported to Auschwitz where he spent a year but survived. From 1969 Greif studied composition with Luciano Berio at the Julliard School in New York and became a friend of Salvador Dali and Andy Warhol. He returned to Paris in 1971 and embarked on a successful career as a composer of music mostly for piano, voice and string quartet. Lettres de Westerbork, written in 1993, is based on the letters of Etty Hillesum, who worked in the Dutch transit camp of Westerbork before being taken to the Auschwitz concentration camp, where she was killed in 1943. The final piece in the programme is again by Egon Wellesz. After being uprooted emigrating to Britain, Wellesz found himself unable to compose for more than five years. One of the first pieces he wrote after regaining his creativity was The Leaden and the Golden Echo (1944). The poem by G M Hopkins (1844-1889) is one of the most celebrated and unusual English poems from the Victorian era and was also set, more recently, by Elizabeth Maconchy. It was conceived by the Jesuit priest Hopkins as part of a drama entitled St Winifred’s Well about the miraculous return to life of the beautiful Winifred after her decapitation by a rejected suitor. In the first part, the poem mourns the inevitable loss of beauty. In the second part, it suggests that there is a way to keep beauty by giving it back to god, its giver. “The thing we freely forfeit is kept with fonder care”. The piece was performed and recorded for the BBC by the English mezzo-soprano Janet Baker. After the war Wellesz taught a great number of British musicians and musicologists and went on to write nine symphonies and many other works until his death in 1974. RCM Director Professor Colin Lawson remembers him well from his own student days and recalls playing at his 85th birthday concert in 1970. Sonnette der Elisabeth Barrett-Browningop 52 (1934) Egon Wellesz (1885-1974) 1 Und es geschah mir einst 1 I thought once how Und es geschah mir einst I thought once how an Theokrit zu denken Theocritus had sung der von jenen süßen Jahren Of the sweet years, gesungen hat the dear and wished-for years, und wie sie gütig waren, Who each one in a gracious hand appears und gebend und geneigt bei jedem Schritt To bear a gift for mortals, old or young: Und wie ich saß, And, as I mused antikischem Gedicht nachsinnend it in his antique tongue, sah ich durch mein weinen leise I saw, in gradual vision through my tears, die süßen Jahre, The sweet, sad years, the melancholy years, wie sie sich im Kreise aufstellten Those of my own life, who by turns had flung Diese von Verzicht lichtlosen Jahre: Meine Jahre.