Lars Borges the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

by Trade WindsColourPrinters Ltd;advertising by Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Isata Kanneh-Mason Sheku Kanneh-Mason Brahms Debussy interval Poulenc Boccherini Milton CourtConcertHall 2 &4December2018 7.30pm, recital in Mason Sheku Kanneh- located around thefoyers. online, aswell as viafeedback forms orthepods 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 strictly prohibited. or usingrecording devices during aperformance is performance. Taking photographs, capturingimages Please turnoff watch alarms,phones etc duringthe Cabbell (tel 02036037930) 20minutes CelloSonata No 2inFmajor CelloSonata CelloSonata CelloSonata No 6inAmajor piano cello

2 Poulenc’s onlyCelloSonata was begunin the sheerdifficulty of his A majorSonata. virtuoso onthecello,asisevident from We beginwithBoccherini,himselfagreat and MeghanMarkleinMay thisyear. he played atthewedding of Prince Harry contract andmade many new friendswhen 19, healready hasanexclusive recording with theBBC Symphony Orchestra. Still only years later, performing attheBarbicanHall cellist Shekuwinningtheoverall prizetwo Isata reaching thepianofinal in2014 and the BBC Young Musiciancompetition,with initially caughtthepublic’simagination at outstandingly gifted musicalfamilies. Both Mason, membersof oneof theUK’smost of siblingsShekuandIsata Kanneh- which marks theMilton Courtdebut A warm welcome to thisevening’s concert, Welcome Huw Humphreys, Head of Music,Barbican concert. Ihopeyou enjoy it. It promises to beavery memorable and energetic FmajorSonata. the celloliterature: Brahms’s vibrant end withoneof themasterpieces in Sheku andIsata Kanneh-Mason though onlylived to complete two more. style, andheplannedafurtherfive sonatas, beginning, markingamore pared-back ill health.Yet hesaw thiswork asanew compounded by thecomposer’sgrave the FirstWorld War, whosehorrors were Debussy’s CelloSonata istheproduct of mix of theprofound andthe playful. war-torn France in1940 andit’satypical extremely virtuoso solo part against a relatively arelatively against part solo virtuoso extremely an set they way the even or difficulty sheer their works, early relatively were they that fact –the this behind reason the to as theories various are there publication; for intended not were hand, other the on cello, for sonatas His cellos. two and viola one violins, two created: have to appears he aline-up for quintets music, no including fewer than 93 published chamber to devoted it of –much him overlook to tended have we why reason another –perhaps prodigious was output Boccherini’s pirated editions. or authorised in music own his of dissemination the through Haydn) (like but virtuoso touring a as performances own by his Mozart) (unlike not therefore, name, his made later. He years two Infante Spanish the of household the 1768, becoming cellist and composer within in there moving initially Spain, in life his of much spent he Lucca, in born being Despite cello. the on prodigy achild as debut his made had junior 13 of age Boccherini by the and bass double and cello both played father his family: amusical into born was Boccherini the composer’s fault. comedy Ealing the in use by its famous made minuet acertain for save centuries, intervening the in that of sight lose to rather tended have we If Boccherini. musikalische Zeitung the journal the distinguished instrumental of composers his country’, opined distinguished most the of one ‘Truly Affettuoso 3 2 Allegro Adagio 1 Amajor, 6 in No G4 Sonata Cello Boccherini Luigi

The Ladykillers The in an obituary of Luigi Luigi of obituary an in Allgemeine Allgemeine , that is hardly hardly is , that (1743–1805) In the second part of the movement, which is a a is which movement, the of part second the In improvised. sound music the make to surely is aim the notated, precisely it’s Though player. string the from dexterity easy an requires that soliloquy,passionate full of ornamentation a of form the takes This limelight. the seize to line cello the allow to order in minimum abare to kept accompaniment the Adagio, operatic-like an with begins sonata The play. to them of two the for designed were sonatas these that likely than more seems it and Leopoldo frequentlyBoccherini performed with his father that coincidence no It’s bass. double or cello – instrument for a intended string originally was it fact in instrument, keyboard other or piano on performed usually it’s although egalitarian pursuit. for As that accompaniment, an being music chamber of fashion prevailing the against went which accompaniment, simple its challenges for the cellist. without not it’s again though sonata, the to off sign- gentle and intimate an offering a minuet, of style the in is Affettuoso, marked finale, The knows? who design, or accident to tune theme the in recalled is that figure strutting of a kind with figuration frenetic contrasts and writing high-lying in delights Boccherini movement, first the in As cellist. the from dexterity utmost the demanding again charm, full of playful and vivacious is follows that Allegro The effect. touching to minor, the into briefly dips it first, the on variant Blackadder

(publ 1771) 1771) (publ – whether by by –whether

3 Programme notes 4 scene, is in the sharp-drenched key of F key F of sharp-drenched the in is scene, the sets piano the which in Cavatine, The a final pizzicato. with down shut conclusion, fizzing abruptly an to brought is movement the and idea opening the to areturn get we section agentler After by more writing, pizzicato-infused. martial sensiblement plus calme piano introducing a languorous melody ( the with still, gentler turn things in, minutes of Acouple instant. an in mood the change can that harmonies, of shifts characteristic expressif and accented musicians: both from dexterity mental but manual only not demands cello’s and range, piano, the composer makes the of most the the on opening asparky After personality. like we off the From Joachim. Joseph violinist the and Brahms of think – just tradition illustrious an in following was he regard this in advice; valuable him gave who dedicatee, work’s the Fournier, Pierre cellist the consulted he sonata the writing While extraordinary. quite are instrument the treats he which with imagination the and effects of range sheer the fact in cello, the to ill-suited seem might playfulness barbed of brand particular his appearance first on Though nuanced. more is truth the composer, this with case the often so is as But, repertoire. instruments’ respective their in gems the among are oboe and clarinet flute, for produced he sonatas the that there’s and doubt no instruments, wind for writing prefer to claimed He Poulenc. of said be not could same the excelled, he which on instrument an for write to inclined naturally was Boccherini If –Largo subito –Presto librement très Largo, 4 Finale: et gai Très animé 3 Ballabile: Très calme 2 Cavatine: marcia Tempo di 1 Allegro: Sonata Cello Poulenc Francis the next. Also beguiling are Poulenc’s are beguiling Also next. the forte get Poulenc showing his Janus- his showing Poulenc get one moment, ), which is followed followed is which ),

(1940–8) (1940–8) piano

and and Très Très très très (1899–1963)

to a shimmeringly beautiful close. close. beautiful to a shimmeringly Cavatine the brings quietly, extremely playing calme excessivement sinuousmost glissandos. The final marking, the with line cello the colours Poulenc while now are chords piano’sthe introductory to return we When equals. between aconversation much very is this Throughout, effect. telling to registers contrasting with playing and cello) the in up taken then are which piano, the in semiquavers (flowing accompaniment the by diversifying variety fuels the whole movement, Poulenc adding it, that of variants and idea, this It’s themselves. thehalo-ing hymnic of quality the chords sound, of adrench create to liberally pedal sustaining the use to player keyboard the instructs Poulenc feel. modal aslightly it give sharp major, though Poulenc’s harmonies in a game of musical chase. This gives way to to way gives This chase. musical of agame in to say ‘only joking’, cello and piano engaging seems that aPresto with again, tack changes he Poulenc, typical then, And soundtrack. afilm of out come have could that cello the on tremolo high-lying amysterious with this contrasts He revered). Poulenc acomposer was (Stravinsky Concerto Violin his of movement each opens Stravinsky which with gesture the channelling be to almost seem that instruments both on chords strenuous with opens Finale The mistresses’. two his and man middle-aged ‘The movement, third farcical the 1940s, the in least him not occupied also of Poulenc’s ballet playfulness the channelling be to seems This dancing’). for ‘suitable as translates (which Ballabile the in away swept is solemnity All Les animaux modèles animaux Les

, with both instruments instruments both , with

tempo 1 1 tempo , which forte , the cello. The movement seems to play with with play to seems movement The cello. the on soliloquy by anoble answered are feel, archaic an music the giving fifths, open around The piano’s initial harmonies, which are based word’. the of sense good the in form, classical almost its and proportions its Ilike but excellence its judge to me for not ‘It’s 1915: 5August on Durand Jacques publisher and friend his to wrote he Indeed, uppermost. be would simplicity which in manifesto, music chamber new his launched he which with work the is speed, at written Sonata, Cello The inRameau particular. and François Couperin and Baroque, French the to homage pay to sonatas late these in aiming was Debussy as inappropriate, –not range Brandenburgian almost an had have they’d set, the completed he Had one. last the in orchesta chamber averitable and fifth the in piano and bassoon clarinet, trumpet, fourth, the in harpsichord and horn oboe, of aline-up indeed: tantalising are three remaining 1918. the for plans The in cancer from death premature his before sonatas six of set apurported of three only completed he fact In Debussy’s. did too so death, his before ayear from dating Sonata Clarinet and Sonata Oboe the with music, chamber with ended Poulenc’s as career Just 3 Final 2 Sérénade Prologue 1 Sonata Cello Debussy Claude idea Presto by the banished is This cello. the on arises melody aheartfelt which of out piano, the in chords rocking (to 3/4 hushed, with time), tempo and mood in switch there’sThen another seriousness. mock all again, march a strutting

(1915) (1915)

(1862–1918) mandolin which in contrast passages with a and guitar asupersized imitating turns by cello the finds ‘Sérénade’ unnerving The motion. in work the set that fifths open the on closing finally forwards, inevitably moving of a sense by underpinned but contrast, high in sometimes related, closely sometimes fragments, melodic of succession continual the from part in comes this suggest; would span compact its than epic more far feeling itself, time of notion the interval disquiet. of note ominous an sounding movement, the of start the from chords caustic the to areturn with closes piece the But idea. consoling more by the followed more, once Programme notes © Harriet Smith ©Harriet notes Programme 12 amere minutes. lasting a work with punch emotional enormous an such packs Debussy however, way the is sonata, this about extraordinary most What’s interruption. this of can’t dismiss wholeheartedly the lasting impact music opening the of areturn Even tracks. its in music the stops virtually that tempo’) a flexible morbidezza con rubato, Molto marked by apassage interrupted rudely is mood folk-song-like abittersweet Finale the In – so. intentionally discomfiting deeply is effect The point. this to up composed all those had Spanish-inspired pieces Debussy of but generally serenade the of just not parody dark some in if as phrases, bowed agitated 20minutes

(‘smoothly, with

5 Programme notes 6 one mighthave thought;butatseveral points – not anobvious opportunity for role-reversal, a thunderous initially takes thelead, withthepianosupplying beginning, asintheFirstSonata, thecello interest between thetwo soloparts.Atthe spirit isatwork whenitcomesto sharingthe Piano andVioloncello’,again ademocratic As before, Brahms calledthiswork ‘Sonata for movement of this sonata remains amystery. unseasonal display of youthful vigourinthefirst that inspired the53-year-old Brahms to suchan summer months.Butwhatitwas inparticular Trio, Op 101, alsoemerged duringthosefertile Violin Sonata, Op 100, andtheCminorPiano Hofstetten, nearLake Thun,in1886: theSecond productive summer holiday attheSwissresort of Second Sonata was written duringaremarkably & Härtel had turneditdown. Granted, the it –even Brahms’s thenpublishersBreitkopf hardly anyone elsehad shown interest inplaying taking uptheFirstCelloSonata atatimewhen Hausmann had doneBrahms ahugeserviceby cellist inJosephJoachim’s famous quartet. writing for aprofessional: Robert Hausmann, partly reflects thefact that thistimeBrahms was The high-soaringagility demandedhere atleast troppo’) highuponthecello’sbrightA string. (unusually for Brahms, norestraining ‘manon begins withajoyously exuberant Allegro vivace melancholic creative autumn.TheSecondSonata Brahms whiletheformer isaproduct of hisripely conclude thatthelatter isthework of theyoung beside thatof Sonata No 2,andyou mightwell Put theopeningof theFirstCelloSonata 4 Allegro molto passionato 3 Allegro affettuoso 2 Adagio vivace 1 Allegro Fmajor, 2 in 99 No Op Sonata Cello Johannes Brahms tremolando asaccompaniment singing as one in the wistful concluding bars. singing asoneinthewistfulconcludingbars. the movement, thetwo instrumentsonlyreally dialogue isdeveloped andenrichedthroughout supporting harmonies.Thissharplycontrasted but recreated intruepianisticterms withwarm piano picks outtheformer pizzicato figure, the roles swap deliciously:thecellohymns, the and personalthoughts.Yet after onlyfour bars wrapped upinitsown peculiarsoundworld bass, deepbelow, each instrumentapparently while thecellopicks outawalking pizzicato The pianosingsarisinghymn-like phrase about theopeningideaof theslow movement. There isasimilar‘Willthey? Won’t they?’ quality tremolos whilethepianodeclaimsorsings. in thismovement thecellotakes over the Programme note ©Stephen Johnson Sonata’s endingwould behard to imagine. less like thesonorous severity of theFirst an alternative bowed version). Anything for the timorous amateur Brahms doessuggest complete withso-called‘Scotch snaps’ (though an absurdly tiptoeing pizzicato for cello, the easygoing first themeistransformed into those whosay Brahms had nosenseof humour: coda of thismovement isthebestriposte to uncharacteristic markingAllegro molto. The himself to relax inthefinale –despite theagain of darkRomantic sentiment,Brahms allows stirring exception. Having thuspurged himself turbulent Allegro passionato thatfollows isa scherzos inhislarge-scale works, butthe Normally Brahms avoids energetic Beethovenian (1886) Lars Borges Certified Breakthrough Award. month becamethefirst recipient of theBRIT awards attheClassicBRITs, andthefollowing the MaleArtistof theYear andtheCritics’Choice the ClassicalChart.InJunethisyear hereceived Gražinyte-Tyla. Thealbumreached Number 1in of BirminghamSymphony Orchestra underMirga Shostakovich’s CelloConcerto No 1 withtheCity for DeccaClassics, In January, hereleased hisdebutrecording Academy of MusicinLondon. studies asasecond-year studentattheRoyal increasingly busy concert schedulewithhis and concerthallsworldwide, combiningan is already indemandfrom majororchestras 2016 BBC Young Musiciancompetition,and He cameto wideattention whenhewon the people. reaching aglobalaudienceof nearlytwo billion Duke andDuchessof Sussex atWindsorCastle, 2018 after performing atthewedding of the became ahouseholdnameworldwide inMay young stars ontheclassicalmusicscene, Sheku Kanneh-Mason, oneof thebrightest Sheku Kanneh-Mason About the performers Sheku Kanneh-Mason Inspiration cello , featuring , featuring In 2017 Shekureceived theSouthBankSkyArts Philharmonic. Young Artist-in-Residence attheRoyal Liverpool music educationinschools.Thisseasonheis and isastrong advocate of theimportance of believes thatmusicshouldbeaccessible to all Music Masters JuniorAmbassador, hefirmly returning there thisyear. Asthefirst London He made hisdebutattheBBC Proms in2017, USA. Festival, andundertakes amajortour of the Wigmore Hall,ZurichTonhalle andLucerne he returns next year), healsoappearsatthe current appearances attheBarbican(to which Place inOctober lastyear; aswell ashis In recital, hemade hisLondondebutatKings the JapanPhilharmonic. giving aconcertattheViennaMusikverein with Netherlands ChamberOrchestra, aswell as Philharmonique deRadio France andthe Seattle Symphony orchestras, theOrchestre debuts withtheAtlanta, Frankfurt Radio and which, thisseasonandbeyond, hemakes the UK’sleading orchestras, inaddition to He hasalready performed withmany of kindly onloanfrom aprivate collection. an Antonius andHieronymus Amaticello Music, studyingwithHannahRoberts. Heplays Scholarship studentattheRoyal Academy of Sheku Kanneh-Mason isafull-timeABRSM two years running. been invited to perform duringtheceremony of hissixsiblings,thefirst timeany artisthas Awards show attheRoyal AlbertHall,withfour he performed ‘Evening of Roses’ attheBAFTA Breakthrough Award andinFebruary thisyear, c 1610, 1610,

7 About the performers 8 Stuart McIntyre Isata Kanneh-Mason Bursary for themostpromising musician.She Musician in2014, winningtheWalter Todds She reached thepianofinal of BBC Young studied withHamishMilne. at theRoyal Academy of Music,where she John Scholarshipfor herundergraduate studies in 2013, andwas awarded theprestigious Elton She performed withElton JohninLosAngeles Gwendoline Reich MemorialScholarship. with Carole Presland, having beenawarded the at theRoyal Academy of Music,studyingpiano Isata Kanneh-Mason isapostgraduate student Isata Kanneh-Mason piano including aperformance atCarnegieHall. Festival inParis, andanextensive UStour, Amsterdam ConcertgebouwandSaint-Denis Musical, theZurichTonhalle, Wigmore Hall, the LucerneFestival, Montreux’s Septembre Highlights thisseasonincludeappearances at Canada. the Caribbean,Cayman Islandsand Lincoln festivals, aswell asintheNetherlands, South Carolina andattheHebdenBridge series, andattheColourof MusicFestival in Oregon, intheBarbican’s‘SoundUnbound’ performed inthePortland PianoSeriesin Nottingham’s Royal ConcertHall.Shehas Hall, St Martin-in-the-Fields,KingsPlace and ensembles attheWigmore Hall,Royal Festival solo recitals andperformances withchamber UK andabroad, withconcerto appearances, She hasperformed extensively around the Carpenter Recital Prize. year shewon theRoyal Academy’s Christian results attheRoyal Academy. Earlierthis Beddington Prize2016 for outstanding recital Piano Prizefour timesandtheMrsClaude has alsowon theRoyal Academy’s IrisDyer Sir Elton John. Mr andMrsJohnBryden,to Frank White andto grateful to theNottingham Soroptimist Trust, to times onBBC television andradio. Sheis Isata Kanneh-Mason hasperformed several