Nielsen Flute Concerto Clarinet Concerto Aladdin Suite

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Also available… NIELSEN FLUTE CONCERTO CLARINET CONCERTO ALADDIN SUITE

S I G C D 4 3 1 S I G C D 4 6 1 SAMUEL COLES FLUTE Bruckner: Symphony No.9 Schubert: Symphony No.9 Philharmonia Orchestra Philharmonia Orchestra MARK VAN DE WIEL CLARINET Christoph von Dohnányi Christoph von Dohnányi SIGCD431 SIGCD461 PAAVO JÄRVI “Beautifully prepared account ... Dohnányi’s new recording "This performance ... goes for broke and succeeds, to the is distinguished by the clarity with which it presents evident rapture of the audience. The Philharmonia is up to Bruckner’s score as well as the excellence of its sound.” all Dohnanyi's and Schubert's steep demands, and I was left Gramophone with a feeling of exhausted exhilaration." BBC Music Magazine

Flute Concerto Producer – Andrew Cornall recorded live at Royal Festival Hall, 19 November 2015 Engineer – Jonathan Stokes Editor, Mixing & Mastering – Jonathan Stokes Clarinet Concerto Cover Image – Shutterstock recorded live at Royal Festival Hall, 19 May 2016 Design – Darren Rumney Aladdin Suite P2017 Philharmonia Orchestra recorded at Henry Wood Hall, 20 May 2016 C2017 Signum Records

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PAAVO JÄRVI CARL NIELSEN 1865-1931 reflection and prettiness. 15 years had passed NIELSEN Flute Concerto since the first performance of Nielsen’s Violin PaavFo LJäUrvTi iEs cCurrOenNtlyC CEhiRefT COonductor of the NHK Symphony Orchestra, Artistic Director of the Concerto when the Flute Concerto was DeutCschLeA KRamImNeErpThi lChaOrmNonCie EanRdT thOe founder of the Estonian Festival Orchestra, which brings Allegro moderato introduced in Paris in 1927. But the contrast together leading Estonian musicians with soloists from Europe’s top-ranking orchestras to perform Allegretto – Adagio ma non troppo with its predecessor was keenly felt. Not only at thAe aLnAnuDalD PIärNnu SMUusIicT FEestival. He is also Conductor Laureate of the Frankfurt Radio Symphony was the sound of the new concerto entirely OrchFeslutrtae Caonndc Merutsoi,c FDSi r1e1c9tor Laureate of the Cincinnati Symphony Orchestra. In addition to his After completing a quintet for wind instruments different – more focused, brittle and chamber- p1ermIa. nenAtl lepgosroit imonosd, eJräarvtoi is in much demand as a guest conductor, appearing regular1ly1 .1w1ith the in 1922 that would become one of his most like – it also bucked convention in shunning B2 erliInI .PhAillhleagrmreotntoic –, BAedraligni oS tmaa tnsokanp terlolep,p oMünchner Philharmoniker, the Philharmonia 7O.r2c3hestra celebrated works, Carl Nielsen hit upon the idea virtuosic cadenzas, proving reluctant to let both and StAaMaUtsEkLa CpeOlLleE SDrFeLsUdTeEn amongst other world-class orchestras. of writing a full orchestral concerto for each of soloist and orchestra present a good deal of the the instruments included in that quintet. Nielsen themes and even allowing other instruments to Clarinet Concerto, FS 129 Since the start of his career, Paavo Järvi has prioritised his support of Estonian composers including had certainly unlocked something in those five indulge in controlling solos. That, and the piece 3 I. Allegretto un poco 8.21 Arvo Pärt, Erkki-Sven Tüür, Lepo Sumera and Eduard Tubin. He is Artistic Adviser to the Estonian individual instruments that few composers had appeared to pick up the flippant and reactive 4 II. Poco adagio 5.05 before him or indeed would after. ‘Now I think on mantle of Nielsen’s Sixth Symphony completed N5 atioInIIa.l ASlylemgprhoo noy nO trrcohpepsotr a–, Awdaasg inoamed Estonian Public Broadcasting’s 2012 Musici6a.n52 of the Y6ear IaVn.d Aalwleagrrdoe dv itvhaec Oerder of the White Star by the President of Estonia in 2013 for his ou3ts.5t2anding the basis of instruments themselves…in a way the previous year. contrMibAuRtKio nV AtNo EDsEt oWnIiaEnL CLuAltRuIrNeE. T I creep into them’ he wrote around the time of the quintet; ‘it can surely be said that At the time of composition, from August to the As a AGlaradmdimn yS auwitea,r dF-Sw 8in9ning artist, Paavo Järvi is one of the most prolific recording conductors of instruments have a soul’. The two concertos of early autumn of 1926, Nielsen had experienced 7 I. Oriental Festive March 2.46 today with a discography of widely ranging repertoire. His close affinity to the music of Carl Nielsen the planned five that did materialise – for flute some illness but his private life was proving 8 II. Aladdin’s Dream and Dance of the Morning Mist 2.54 has marked him out as one of the leading exponents of the Danish composer’s music and his and clarinet – certainly echo those sentiments. considerably more stable than at the start of the 9 III. Hindu Dance 3.08 recording of the complete Nielsen symphony cycle with the Frankfurt Radio Symphony Orchestra has decade. The composer had travelled to Germany 10 IV. Chinese Dance 3.14 received international acclaim. Together with the Philharmonia Orchestra Järvi has performed not Nielsen, in fact, had particular ideas about the to help the Danish Broadcasting Corporation 11 V. The Marketplace in Ispahan 4.52 o12nly VthI.e eDnatnircee c oycf leth oef Psryimsopnheornsies in London but also the Clarinet and Flute concertos, w5.0h9ich are soul of the former instrument. ‘The flute cannot choose a new radio transmitter, and from there f1e3atuVrIeId. None gtrhois D naenwc erecording. 4.32 deny its own nature, its home is in Arcadia and had continued south to Rome for an extended Total timings: 69.22 it prefers pastoral moods’ he wrote to a friend, stay with his daughter and son-in-law. But Born in Tallinn, Estonia, Paavo Järvi studied Percussion and conducting at the Tallinn School of ‘hence the composer has to obey its gentle despite the amenable circumstances, the MusiPc.H IInL 1H9A8R0M hOe NmIoAv eOdR tCo HthEeS UTSRAA where he continued his studies in the 80s at the Curtis Institute nature, unless he wants to be branded a concerto didn’t flow entirely easily from Nielsen’s of MuPsAicA VaOnd J ÄaRt tVhIe Los Angeles Philharmonic Institute with Leonard Bernstein. barbarian’. But the concerto that was brewing pen. The first movement was pretty problem-free. www.signumrecords.com inside Nielsen certainly wasn’t all pastoral But it was long. Nielsen believed it ‘could stand 218 139

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MalAonReK bVyA iNts DelEf ’ WanIEdL thus seemed a little confused and brass (on an E flat) and upper strings and initiates the movement’s Adagio and is taken up Clarinet Concerto as to how to follow it (he seldom planned his woodwinds (in D minor) that launches it. by the double basses while the soloist comments Mwoarrkks ,v awnh idche hWeilepl si se xepslatainb ltishheeird f raese oanttei tuofd eB rtiotain’s leading and most versatile clarinettists. As lightly on it from above. Allegretto un poco pforrinmc iapnadl tchlaeririn cehta oraf cttheeri sPthici lshpaormntoannieai tyO)r.chestra aNniedl stehne pLloanyds ofnu rSthinefro nwieitthta p, oalnadri tiae sw einll -pkintotiwnng Poco adagio – soloist, he performs at major venues throughout thet hweo rslodl.o H filguhteli gahgtasi nasst aa sboalosiss t rhoamvbeo innec lwuhdiecdh t, hteo Thereafter the flute seems resolutely more prone Allegro non troppo – Adagio – Allegro vivace FNiinnzei Cdaonysc earfttoe rw citohm tphlee tPinhgil hthaarmt foinrsiat manodv eJmohenn tW, ilsboonr rionw L oRndoboner ta nSdi monp stounr’s, Bsoumlezm’sa Dryo, m‘asipnresadast to wading into the musical argument, tNhie l2se0n1 5c Ponrocmlusd,e tdh et hwaotr ldth pe repmieiceer e woof utlhde hvavne derh iAmas cellaf rainlle to vceorn tcheert os cHoyres tweriethsi sa, gcroomtemsqisuseio anned occasionally getting its fingers burned. Among the five wind players who premiered Nielsen’s foonrl yh iomne b my otrhee. NLont dloong S ainftfeorn tiehtatta,, haen adt ttehme pMteodzarta Cimonlecsesr tob lwetihthe rt’.h eT hLeo nfdiorsnt Cthimame btehre Otrrcohmebsotrnae. Originally, Nielsen’s quick-fix ending had Wind Quintet in 1922 was a clarinetist named Aage Mtoa erkx phlaaisn tghiev ecno nsteevnetr aolf tLhoen dsoenco npdre moievreems einnt thme aPkhesil ha rmnuoinsian’sc eM uofs icit soefl f To–d ajyusst eraifetse,r atnhde reintroduced the first movement’s initial theme Oxenvad. Simpson described Oxenvad as a person ‘of einls eaw lheettrer tthoe hSisp afnriiesnhd pRreumdoielpreh oSfi mthoen sCena rtbeurt Coonrccehretos,t rtah er eUpKri sperse mtiheer e foirfs tt hem oCvaermteer nCt’lsa rriniceht and pursued it to a close in D major. But as somewhat choleric temperament, irascible but warm Qcouminptelat,i naendd t hoaft Shier hJoahdn a lTraevaednye ‘rh’sa dC taon stuensdM tyhseticuinsit(iaatl them Per o–m ist )a, papneda rtsh eto L pountd othne pfrluemtei einreto oaf Simpson observes, that theme is itself related to at heart, full of personal, subjective problems.’ Those fGariar hcaomp yF iatknidn ’st rAagnnsocsritpict.i oRne coofr dthineg s oinloc lpuadret Bteon Ffolsuktetettr’isn gH oarrniest,o cPrhaitlipc Cpanshici.a nB’ust B tlhuee iCnisrtcruusmaenndt the first movement’s floating E major idea – characteristics are hard to miss in the changeable, CFloinpte nJuhvaegnetnin of oBre pGpielb’se Drti-sJteasnpteWrsoernd stwo ithst tuhdey ’P.hilshoaornm ocnoima paonsde sV laitdsiemlfi rf oArs hak egnoarzgye.ous, floating pretty convenient as E is the natural key with confrontational and fiendishly difficult concerto Nielsen knew the concerto’s dedicatee and melody in E major that’s taken up by the rest of which to bring the concerto to a close. In his re- Nielsen would deliver for Oxenvad. sMoalorkis th awso ublede nne ethde t icmlaer itnoe pttriasctt iwceit hth Een fdeaymrsioomn esincthe ei tso rfcohremsatrtaio. nT hine r1e9 8a0re. Oththreer cphaasmsabgere sm tuhsaict write of January 1927, Nielsen cheekily has the fcloultlea bpoarratt boresf ohrae vteh ein 2c1lu Odcetdo bPears cparel mRoiegrée,, Gbeuot fhfreey Pcaoruslodn slo, oEsleizlya bbeet hd Leesocnrisbkeadj aa, sK actaed Renoyzals ,a nbdu tt hine trombone alight upon that melody, following the Nielsen started work on the concerto while on a Bunroddosukbyt eQdulya rftienti,s wheitdh twhheo mpi ehce gina vae trhues hL oannddon peraecmh ièthree offlu Steir hPaeste cr oMmapxawneyl:l fDirasvti etsh’es tHimympnantio, orchestra in converting it into a little march in skiing trip with his sculptress wife Anne Marie in aAprtpeamreisntLlyo cinh ethiae. kOnothwelre dhgieg hthliagth htse ’dh aeven tinucallulydedt htehne aM colazarirnt etQ, ufintaeltly itnh eB wrahzoille, oarncdh etshtrea .Berio 6/8 time, much to the consternation of the flute. Norway. The composer had been ordered to rest rSeewqruiteen zitas aatb trhuep tS yednndeiny gO.pera House. When the flute eventually has the forthright last by doctors following ongoing heart problems, but The second movement is characterised by even word – seizing the moral high ground – the still managed to break two ribs on the slopes. Born in Northampton and educated at Merton College, Oxford, and the Royal College of Music, Mark Holger Gilbert-Jespersen was a man of humour more volatility and sudden shifts – one moment trombone almost literally deflates. Eventually Anne Marie continued on to Carrara in was appointed principal clarinettist with Welsh National Opera and subsequently with Glyndebourne and taste – particularly for all things French, the flute’s material can feel purely melodic; the Italy to resume work on her latest project while Tmousriincg i nOcpleurdae.d H. eB juotin heed twhaes P ahlislhoa, ramcocnoirad iansg ptroincinpeaxlt cilta crianne tb iena 2r 0u0n0m, iasntadk tahbel yL ohnudmona nS iqnufoanliiteiettsa. Nielsen travelled to the summerhouse in oinn e2 00w2h. oH ek inse awl soh ipmri,n c‘ifpualll woitfh tshhea dLonwd ona nCdhamSoboenr Oerncohuegsht ran ( weiltfhin wlihttolme mhe lohdays (aepnpdeinagre odn a as Humlebæk, about 40km north of Copenhagen, saomlobiisgtu aity L’.a E Svcearyl ao,n Me iolaf nth),o sFeo rd seesvcerripatl iyoenasr cso hueld wast ytphiec aclllayr Ninietls aendit eb afaslsleint gh omrnin soor ltohisirtd i)n e Mmoezragrets’s, which belonged to his friend and former pupil Ceqleumalelny zaapdpilyT ittoo tahte t hcoen Bcaeryteor iNsciehles eSnt afatsshoipoenre. dMarak hthaesm bee en‘o fa wcahridldeids ha ni nHnooncoernacrye ’A sinso cNiaietlessehni’ps Carl Johan Michaelsen. From there, Nielsen wrote biny tthhee R oflyaaul tAiscta’sd eimmya ogfe M. uTshiec , wfihrsetr e mheo viesm ae Pnrtofeswsoorrd, sa;n dli satne nH oonuotr afroyr D oitc toarcactoem bpya Nnoiertdh abmy ptohne to another former pupil Nancy Dalberg (who had Useneivmesrs tioty .b Me acrokn sist atnhtel yc lianr isneeatr pchro ofef sas okre fyo, rr itghhet I, Courlcthueres tOrarc’sh geslotwrai,n agn wdo foodrw thined Bs.r iStiosohn I salfetse rM tuhsaitc, previously help him on the score for Aladdin): ‘I Ffreosmti vtahl.e Hdei sis oan acnomt mclaitstehd btetawceheenr, alonwd shtarsin gisvent hmea sftleurtcel apssreesse wntosr lda-nw idexep. ressive theme that actually have no idea how it will sound’ the 416 175

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1 – Performer on Flute Concerto Susan Hedger 1 2 3 DOUBLE BASS CONTRABASSOON 2composer said of the new concerto; ‘Maybe it recognised as the most important clarinet SaApMpeUaErLs CtOoL EpSrovoke the orchestra into the the trolling snare drum – until the clarinet – Performer on Clarinet Concerto Gillian Costello 1 Tim Gibbs 2 3 Luke Whitehead 2 3w–o Pner’fto rmseor uonn Adla ddgino Soudite, but I will not compose music concerto of the 20th century. Where previous hurtling passages that precede the Poco adagio hesitantly circles around an F and eventually Sarah Thornett 1 Christian Geldsetzer 1 2 3 HORN if I always have to composMeic ihna etlh Feo yslea1me manner.’ Msichoarels F ubllye rth1 2e 3 composer had been invested with a sSeacmtiuoenl. CTohliess owpaesn se dwuictaht ead yaeta trhnein Gg uhilodrhna lsl oSlochooclomes to rest on it, surrounded by a halo of 1ST VIOLIN Nigel Black 1 2 3 2 Teresa Pople 1 2 3 Adam Wynter 1 2 3 Zsolt-Tihamér Visontay sure sense of continuity,K itrhai sD oohenrety a1 2p 3peared both wofh oMsues sictr aanngde Dgaraitm sate, masn dfr owma st hael sfaoc ta thpautp itl iosf Ssirtrings playing on shimmering harmonics. It’s 1 Jan Regulski 2 3 Simon Oliver 1 GSruegreor y eAhnsosugh, the Clarinet Concerto ruffled elusive and episodic – intJeonattihoanna Mllay losnoe.y It3s hints at written in two keys: the horn in C major and the unlike Nielsen to end on the same key (and, 3 Helena Buckie 2 3 Jeremy Watt 1 2 3 James Galway. He then studied at the Paris Simon Blendis Carsten Williams 3 feathers. On1 14 SeptembeHre l1en9 2Co8c,h Oraxneen2v 3ad and a Seabtaosntiaalnit Pye n(tnhaer 1jettisoning of traditional harmonic two accompanying bassoons in E major. The indeed, note) that he began on; could the Victoria Sayles Geremia Iezzi 3 Conservatoire winning the Premier Prix in 1987. Ngartohuapni elo Afn d2er2s onm-Furasnikci1ansM agrainvae G ilala mp2rivate run- Gparreothc eSshsep) pawrdo2u 3ld have sounded with a sharp horn soon makes way for the soloist, who composer, ever more aware of his heart condition 3 Itmhorgoeung Eha sotf1 2t h3 e piece in thJoea ndnrea Cwhienng room of the modernist edge in 1928;T tRhUeM PcEoTncerto as a whole Hcoisn tminauneys ointh tehre a swaamrdes v eininc laundde afitrtsetm ppritzse t ion e bxeortth thaend speaking of ‘changing attitudes’ since his 1 FLUTE 3 Eleanor Wilkinson VIOLA 2 3 Jason Evans summerh1 2o 3use. Nielsen’s son-in-law Emil Sacmanue sl tCiolle sound raw, harsh and inten3 se today. Sthceh evseanmineg ecna lmInitnegrn aintifolnuaeln cFel utoen Cthome peentittiiroen isnkiing trip to Norway (complete with accident), Karin Tilch Yukiko Ogura 1 2 3 2 3 Mark Calder 1 2 3 June Scott 3 VTiecltmoriáa nIryisih conducted, deSsccortitb Diinckgi nstohne1 piece as Catherine Knight Hmoolvlaenmde natn, dd etshpei teN yaetliponinagl sFtlruinteg sA asnsodc tihaeti oenv eYr-ounhgave caught a glimpse of his own mortality? 3 1 2 3 2 3 PICCOLO L‘muluu Fsuilcle r from another Lopuilsae nWeiltli.a’ msCritics in But for all that, the coTnRcOeMrBtoO NwE as built along Adretsistatsb iCliosminpge tistnioanr ein dSraunm D. ieWgoh eann dt hsec oennde rPgryize in 1 1 2 3 June Scott 3 ECuogpeneen Lheaegen were cool Swamhueenl Butrhseti n piece was Classical structural prinPhciilpipl eWsh iteev3en though its ltehvee Jlse ahna vPeie brreee nR asmufpfiacli eCnotmlyp reatiisteiodn, t1h9e8 7cl.arinet 1 2 3 1 Keith Bragg 3 Aladdin Suite Soong Choo Gwendolyn Fisher Carol Jarvis 3 presented 1there on 11 October. Some days lat1e 3r, ‘movements’ lead into one another with no has no choice but to enter the fray. Eunsley Park Cheremie Hamilton-Miller OBOE 1 1 1 2 3 BASS TROMBONE Between 1989 and 2010 he was principal flute with Mafictheare l iTtrsa inSowr edish premiMèirceh aienl TuSrntoerckholm, the Cbhriestaokp.h erT Choew iew1ork begins when the orchestra I Oriental Festive March Paula Muldoon 1 3 1 2 3 David Stewart 1 the Orchestre National Bordeaux Aquitaine, founded critic Olag Petersen- BergReicrh adred sWcartiebrsed the piece Gsortdaotne Hsu ant s2i 3mple theme as a sort of fugal nursery A short cadenza then leads to the Allegro finale, II Aladdin’s Dream and Dance 1 1 Samuel Freeman 3 Erzsebet Racz Amanda Verner Timothy Rundle 1 2 the Baroque Ensemble of Bordeaux, and was made as ‘absolutel2y 3 the worst thing tha1t this slightly rhyme into which the soloist duly enters before in which the horn again introduces the of the Morning Mist Zara Benyounes Stan Popov Sue Bohling 3 TUBA 2 3 1 professor of the Bordeaux Conservatoire de Musique. Ftoabor izoiob Fvailoauscsaly experimenSttaepl haannied E dpmruonvdosocnatively taking on some of thPet erw Simldith 3and troll-like movement’s initial theme over lolling strings. The III Hindu Dance Asdidriáens tVeapreplain2g 3 Dane has yeGtij sp Kurta mtoegrse2t h3 er.’ CcOhR aArNaGcLtAeISristics Nielsen claimed he saw in it. clarinet arrives on a version of that horn theme, IV Chinese Dance Tair Khisambeev 2 3 Sara Roberts 2 3 Sue Bohling 3 TIMPANI He has played guest principal with the London Symphony Orchestra, the London Philharmonic 2 2 After teasing and irritaAtnintogin et hSieg uorérc1 hestra, the and continues in songful vein until the orchestra V The Marketplace in Ispahan Laura Dixon Rebecca Carrington CLARINET Orchestra, the Academy of St Martin-in-the-Fields, the BBC Symphony Orchestra, the Opéra de Paris 2 3 2 3 Michael Oberaigner 2 3 CNaierollsineen F rewnkoeulld have beeLnou isdee Hliagwhkteerd. He later Mcalrak rvianne dt e Weniecl o1unters a wily snare drum (the (encouraged by the snare drum) gets hooked on VI Dance of the Prisoners 2 3 2 3 et de Lyon, the Orchestre de Radio France, the Bavarian Radio Symphony Orchestra and the Chicago Ccalaroilmine dS htahrpe poor reviews Rparqouveel dLo p‘tehz aBto liovnaer is not Jocnoamthpano sPeark isnp1ecified it shPoEuRCldU SbSeIO Na small, bright a flowing idea, high strings suddenly sounding a VII Negro Dance Amelia Conway-Jones 2 3 Symphony Orchestra. He also is a regular guest with the English Chamber Orchestra. quite sacrosanct yet, that ConELeL Ois still alive and has Ladurruemnt )B. enT hSliism aines 2trument,M artat tPhrenrd etrrgoalsl-tl2i k3 e itself, manic alarm. That leads into the soloist’s third 1 2 3 2 3 3 2hNoDp eV IOaLnINd possibilities foTrim dotehvy eWloapldmenent.’ In his Npicrhoovlaosk Reosd waelnl d eggs-on Pewtehr eFrnyever it can. Its Hcaed heansz ap earnfodr tmhedn athse a A sdoalgoios ts wecitthio tnh ien Pwhhilihcha,r masoniaT,h teh ee nOsrecmhebslter eo df ef iBvoer dmeuasuixc,i Oanrcsh ethsatrte sdpea Pwanreisd, Tamás Sándor 1 Karen Stephenson 1 2 3 Jennifer McLaren 2 3 Kevin Hathway 3 Adnentaebremllein Maetaioren2 3to reveal everything 1about both principal target is theC hsroisltooipshte r –Te riasnpe3 cifically, Malownateys ,C athrleo cslyamrinpehto nisy , sthhaek eCno nfcroemrtg ietbso puewn sCivheambNeier lsOernch’se stwtroa , wthined Rceosnidcenrttoias l wOarcsh mesatrdae oufp t hoef Eric Villeminey BASSOON Emily Davis 1 2 3 1 2 3 Cameron Sinclair 3 Oxenvad and the clarineVti ct–or iaa Sni mionnssternument he Rwobhine nO’eNveeillr 1 the clarinet appears to drift into Hreapgousee abny dt hteh es nEanrgel idsrhu mCh. amber Orchestra, with wphloamye hrse rferocmor dethde a lslo t-hcea lMleodz aRrto yCaoln cCehrtaopse lu, ntdheer Fiona Cornall 1 2 3 1 2 3 described as ‘at onceD ewirdarer mCo opheer arted, and Srheelfllye Ocrtgiavne 1o 2r 3 melancholy CmELoEoSdTE. orchestra that played in the pit at Copenhagen’s Samantha Reagan 1 2 3 Richard Birchall 1 2 3 the direction of Sir Yehudi Menuhin. Todd Gibson-Cornish 2 3 Jane Simpson 3 Jcuolimanp Mleiltoenley1 2 h3 ysterical, Mgaerniat lZea chaasri adboual1m 2 3 and From here it’s a bumpy ride – plenty of song-like Royal Theatre and does so to this day. Nielsen Luke Whitehead 2 Psacurleaa Cmlifitnogn- Eavesr esat 1streetcaArn noe nB akpeoro1r 2l y3 lubricated Some way into the first movement the clarinet Ipna 2s0sa1g1e hse i nwtaersr uapptpeodi nbtye tdh pe rcinlacriipnaelt fjlauptes i n(o tfhten Phislhtaarrtmedo nhiais O rccahreesetrr ai na ntdh ep roofrecshseosrt raat’ sth es eRcooynadl Graidielson’ –Ro Nbiineslosnen1 2 h3ad deliveErnerdic ow Ghrazti awnoi u2 3ld soon be indulges in its own choleric cadenza, which Ainc atdheem foy romf Mofu sfliocw ienr yL,o vnidrtouno.so flourishes) or by violin section, before becoming a resident 614 157

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cRoenadliutcyt opr raets ethnet atthioeant refr oamnd eav eUntKu asllyym wprhitoinngy Fthuert wpräenligmleinr,a ryR riecheaardrs alsS troaf utshse, baTlolestc acnoirnpis, PShuilthearims ofnoiuan dreecdo rdlainrgge, lya nodn ttohdea y daundceie nacneds Umnuwsrica ptpheed ;wionrtlder goevneer raatniodn ainl cwrheaicthiv eN imelsuesnic’s- towrcoh oepsterraa,s afonrd itgsi asntat gaeu. d io-visual installation, jCuasnt tewlelie, kKs aaraftjearn haen’dd rGeciueliivneid. Othtteo pKlaleym’s pfeirsetr epnrogcaegses iwonitahl tnhue mOrbcehress wtrrait ttherno ufogrh tvhied esoc egnaemse isn, hmaarkminogn ic omDmNAu niwtya sp rorjoeoctte dH. eaArg ainnd, Nthowerei’ns Universe of Sound: The Planets, first premiered tweaxtss thine tfhires t suofm mearn yo fo u1t9s1ta8n. diSntgil l,P rNinieclispeanl fwilhmic hs ctohres maanrdr iaitgse aowfa rAdl-awdidnini ntgo pGourltnfoalrieo oisf nBoetdhfionrgd ; aau tlhaergneti-csaclalyl eC choimnemseu naitbyo ucto mNmieilsseino’ns Batu t haes SNcieielsnecne aMcuhsievuemd inna stiporninagl t 2re0a1s2u.r e status sCwoneadtuecdt oirts o, uta n(‘dI amot hgeori ngg rteharto ugnha ma efsr ighatfvuel vciedlebosra taendd. Itd oicmumednitaatreyl y fiblmecsa. mAen aa pppo,p uTlhaer ‘tCo hcineleesber aDtae ntchee’ d(tihsceo cvleariym osf tKhiantg ARlaicdhdairnd wIIaI’s in Denmark and got into his symphonic stride, ianmclouudnet d ofL owrionr k’M ahae zewl ro(tAes stooc itahte cPorminpcoipsaerl Ocorcnhcesrtt rwaofrokr, eiPvaedn, ifr eilte haasded t oi nw Daietc uemntbile 1r 924001 2to, hreimsaeinlfs a inC hiLneeisce stcehr araccatlelerd arTeh ee quLaalslyt hBeo tdhi sUtnainvceerds eh oimf Sseolufn fdro amn dh iist sf oprrmedere cweosrskoprl aRcEe-. WCoilnhdeulmct oSrt)e, nShiarm Cmhaarr)l easn dM waictkhe rtrhaes he(Plpri nocf iphaisl hbae sp suoblldis theends. of thousands of copies. sPplaunritoaugse)n beut;t thae mpiuosniece irsin agb soulrubtaenly- cNliaeslsseicna’sl RThITeE c(o2m0p1o0s,e br acslaeidm oend Sevtrearyv inonskey o’sf Tithse pRroitjec otsf fGourmesetr pCuopnidl uNcatnorc)y, DRailcbceargrd, ow hMo uatsi si(sPtreidn cwipitahl ipnr oijtesc tp ucsahlliendg Styhmropuhgohn irzeepiena tLeedic nesoters; taonwda Trdhse Shpe rhinagd) b teoeunr eindv oinlvterdn iant isoinacell yt haen pdr ewmeireer ea otf thhies oCrocnhdeusctrtaotri oannsd, Mhue sihca Dd irceocmtopr)l,e tKeudr tt hSea nfduelrl li8n0g RTheec oSruditneg’s amnuds ibcr moaidgchat sntoint gb eb aot hq ucinotnetsinseunet itaol sFuirdedbeinrd s, hifatsn in agwaaitr,d a-nwdi nin iintsg thcrioftllya sbeonrsaeti vofe hopeaerrat Maosf karaa demina j1o9r 06 thwaod- ybeeaern daougdgieedn cbey m(Cionnudteusc toofr mEumsiecr ibtuy sJ)a naunadry 1G9iu1s9e.ppe Sinopoli pexlaym pal e soigf niNficealsnetn ’sp aprtr oginre stshivee ,O rinchdeivsitdruaa’sl cslcimhoaoxl sa npdro rjepcot swe.o rking across Hounslow and dcoemveplroopmmiseen ta nda nwdil lfule diusctaorttiioonn of inhiitsi awtiovrek,. (Music Director). astcytliev,it iebsu, tn oitta’sb lyu tnhdroubghte ditlsy pcahrtanremrsihnigp wainthd Richmond boroughs. Some thought Nielsen was overreacting. His Nielsen’s hunch that the project wouldn’t end intermittently revealing too. The scene is set Next comes the Suite’s most fascinating iOrchestra (2014-15), which took place in Signum Records, releasing new live recordings work on the Royal Theatre’s 1919 production of well for him came good. Poulsen’s production with the ‘Oriental Festive March’, which uses movement. Nielsen was rightly proud of ‘The South-West England and engaged over 120,000 As well as Esa-Pekka Salonen, Principal Conductor of Philharmonia performances with its key The Philharmonia’s Emerging Artists programme Aladdin suggested he had been right all along. became more and more elaborate; it was minor keys to evoke the mysterious splendor of Marketplace in Ispahan’, and its effective people. The project also featured a pop-up since 2008, current titled conductors are Christoph conductors. Since 2003 the Philharmonia has includes the Composers Academy, linked to Music eventually divided into two separate shows the east. Nielsen had visited Constantinople in castration by Poulsen proved the breaking point iTnhtee rtahcetaivtree haddi gsitcahle dulmedu sai cr evivinasl taofl laAtdioanm, v(polna yDinohgn oánn ycio n(fsoercmuetrilvye Pervinecniipnagls )C aondu tchteo rs, tnaogwe e1n9j0o3ye da nad m asjeoern p atrhtne erdsahnipc iwnigt h dCelravsisihce FsM; , hais ofof r Ttohdea yc, omanpdo stehre’s Masasroticni aMtiouns icwailt hS ctheol awrshhoilpe MOeuhsliecnLsacbh, lwæhgiecrh’s uasdeda ptthaet iloante sotf ttehceh nsotloorgy iefsro tmo Hwoanso eraxtreyn dCeodn odvuecrt othr e fRoor yaLl iTfeh)e atarned’s oVrclahdeismtriar tahtete mClpatsss itco FreMc aOprtcuhres thrae oenss eTonucre, oafs thwee lel aasst FAulanddd, inwphricohje cht.a sIn fcoor njmuraingy tyheea rbs usstulep poofr taedn cthreea Atera ab isaenr iNeisg ohft sh iann adns- aotnt emmupsti ctoa ll igfta smpeirsit as nads Apsith. kTehnea zoyr c(hCeosntdrau cittosre lLf awuaresa the)u. s Aslqsou eae zecden itnratol coenrttaininuliyn gh atrok edb rboadckc atsot thexatte nmseivmeloyr aobnle BtrBipC, tOarlieenntteadl muasrkiceita pnlsa acte t(hteh ast awrth oicf ht hNeiier lcsaerne ewrosu. Ilnd iwnaterr aractviaognesd. Tmhea iOnlracnhdes tEruar ohpaes. wThone fporuord uRcotyioanl faig urerec einss t oodna y’st Oargceh elsetvreal ,is ucnomdepronseeart ahn da Agrtriastnidc Rbuatd iwoe 3re. certainly more inspired than authentic. 2h0a1ve6 /k1n7o, wtnhe f rOomrc hCeosntrsat arnetlainuonpclhee) dt hteh ec osmcphoemseer Pwhaislh atrom bone icl avSioschi,e tay nda wiatsrd sd irfeocrt orit sJ ohdaignintaesl Dstiraeicrctoars oef tthhaet lofonrgm-reudn npiangrt Mofu stihce o sf eTto.d Nayieslseerine’s asus petrhime poPsheislh armfoounri a MseMpSaFra teIn strummuesnictal pProoujelscetn a wnda natued iNeniecles eenn tgoa pgreomviednet owriogrikn.al music isnc oLroen dwoans, Uhenasuvikl yC chuint . aAn ds ewcohnadt rsetmraanidn eodf forfe eit, The Pchomilhpaorsmeor’ns iag’sif tE dfourc astcieone -wsoertkt insgit si sa te vthene Fsetalltoewmsehnipts P, reoagcrha mgrmeeet i–n ga tnh ee lnihstaennceerd a so fiffe frr ofomr for the show – aware of his abilities to write in a ewaarsly -reevaernrianngg epdr.o gTrhaem mcoimngp owsears aasdkedded t htaot thhies cbenttterre hoefa rdth ien l‘iAflea dadnind’s wDirdeearm ’w, oar kh yomf n thone ydoiuffnegre nmt usciocrinaenrss, souf ppthoert insgo uikn;s thruemree nitsa litshtse Tfheset Pivhei,l hjoayromuosn siaty lOer.c Bhuest tPraou wlsaesn f oarlmsoe kdn ienw 1 t9h4a5t Lnoanmdoen b es eraemsoonv eind f2ro0m15 awll ipthu bali ccihtya msubreror umnduisnicg Omructheeds trsat.r iTnhges d ewphaircthm esnoto’sn w ogrikv efsa llsw ainyt ot ofo uar simeeakgininga taivne eoxrpcehreismtreanlt acliasrte were haenadr icno Nnineelcstein’gs bNyie lWsaenlt erw oLuelgdg et.a kIte hsaosm bee esne raio usse lfp-gerosvuearndiing rtehcei tpael rfsoerrmieasn, cpesro. grammed and performed by cdhisatrimncitn gs twraanltdzs b –le sSscehdo wolist ha an dly rYiocuanl gli gPhetonpelses, twhienmd tcoo tnhcee rwtoidse. r Tlwifeo ovfi gthoer oPuhsi lhdaarnmcoens iac oanncdl uthde ogricvhenes htrisa ospiinncieo n1s 9o6n4 t haen tdh eisa troew. nSeod t hbey diitrse c8to0r members of the Orchestra, many of whom perform tCyopmicmalu onfi tNieiesl saen;d i t Fdaimsaiplyp, eaInrs igsuhdtsd,e nalny dli keth ae ethxpe eSrtuisitee :w tihthei nim itpso msinemg b‘Dearsnhciep .of the Prisoners’ mwreomteb erNsi.e lDsuenri nga itfsa wfnirisntg s epvoeenm d ebcya dwesa,y thoef wNiedlesley na sh saodl,o haonwde cvhear,m tbaekre mn upsrieceiamnpst. ive action. tEwmisetrignign gp lAurmtiset so fp sromgorakem. mTeh,e rienafclehcintegd tmenosd aolf and, finally, the furiously energetic ‘Negro Oprecrshueastsriao nc, owllhaibcohr aseteedm ewdi ttho mdoo stht eo tfr itchke. great Before the show opened that February he othpoeunsinagn dosf othf ep e‘Hopinled ue vDearyn cyea’ ri.s Rreecpernest epnrtoajeticvtes Dance’, a rollercoaster that accelerates as it classical artists of the 20th century. Conductors Masilsleiomnbs loefd peao pslue istein coef 1s9e4v5e nh avmeo evnejmoyeendt st hfeoir oinf cOlurideen tainl sttorkuemneisnmta lt ypricoajelc otsf twheit hti mMeu. sBicu t Hitu’sb Thhuert lPehsi lthoawramrodnsi ait’s cPorinnccliupsaiol nIn. ternational aBsusto fcoira tNeide lsewn,i thth e tohmee nsO rwcehres tbraad frionmcl utdhe foirrcsht eesxtrpae riaelnocnee o(ft hcel aosrsigicinaal l msucsoirce tchornoutagihn ead npoatratbnleer sh;o wK, einy thSitsa gde lic2a tec opniecceer,t sth oOsrec mheosdtaral Partner is Wuliangye. start. The theatre announced it needed music for solo songs and a wordless chorus). The Aladdin scales meet the rural harmonies common to folk © Andrew Mellor 812 139

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films, video games and commercial audio Festival and The Anvil in Basingstoke, where it releases. The Orchestra’s home is Southbank has been Orchestra in Partnership since 2001. Centre’s Royal Festival Hall in the heart of London, where the Philharmonia has been A busy international touring schedule takes the resident since 1995 and performs 40 concerts a Orchestra all over the world. Projects in 2016/17 year. Under Esa-Pekka Salonen a series of include a major West Coast US tour (October flagship, visionary projects at Royal Festival Hall 2016) and a tour to Japan and Taiwan (spring – distinctive for both their artistic scope and 2017), both with Esa-Pekka Salonen. Recent supporting live and digital content – have been highlights include the 2016 Festival critically acclaimed. Projects including City of International d’Art Lyrique d’Aix-en-Provence, Light: Paris 1900-1950 (2015), City of Dreams: where the Orchestra and Esa-Pekka Salonen Vienna 1900 -1935 (2009), Bill Viola’s Tristan were in residence, performing two Stravinsky und Isolde (2010) and Infernal Dance: Inside the programmes and Debussy’s Pelléas et World of Béla Bartók (2011) were followed in Mélisande, directed by Katie Mitchell. B r o e d 2016 by the major, five-concert series F e l i x Stravinsky: Myths & Rituals. Central to the Philharmonia and Esa-Pekka P h o t : Salonen’s work in London, the UK and The Orchestra is committed to presenting the internationally are their digital projects, all of PHILHARMONIA ORCHESTRA new technology to reach a global audience. same world-class, live music-making in venues which are designed to communicate the thrill of Together with its relationships with the world’s throughout the country as it does in London, the experience of a live orchestra to audiences The Philharmonia Orchestra is one of the world’s most sought-after artists, most importantly its especially at its UK residencies, where up to seven outside the concert hall. In September 2016, in great orchestras. Widely acknowledged for its Principal Conductor and Artistic Advisor Esa- concerts each season are complemented by a partnership with Southbank Centre, the pioneering approach to the role of an orchestra Pekka Salonen, the Philharmonia is at the heart wide-ranging education and audience Orchestra presented The Virtual Orchestra, a in the 21st century, the Philharmonia leads the of British musical life. development programme. The Orchestra’s UK free two-week series in the public spaces of field for the quality of its playing and its residencies are at Bedford’s Corn Exchange (since Royal Festival Hall, culminating with a specially innovative work with residencies, music The Philharmonia performs more than 160 1995), De Montfort Hall in Leicester (since 1997), programmed concert at the venue. The project education, audience development and the use of concerts a year, as well as recording music for the Marlowe Theatre in Canterbury, Three Choirs featured 360 Experience, the first major Virtual

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Rcoenadliutcyt opr raets ethnet atthioeant refr oamnd eav eUntKu asllyym wprhitoinngy Fthuert wpräenligmleinr,a ryR riecheaardrs alsS troaf utshse, baTlolestc acnoirnpis, SPhuilthearims ofnoiuan dreecdo rdlainrgge, lya nodn ttohdea y daundceie nacneds Umnuwsrica ptpheed ;wionrtlder goevneer raatniodn ainl cwrheaicthiv eN imelsuesnic’s- towrcoh oepsterraa,s afonrd itgsi asntat gaeu. d io-visual installation, jCuasnt tewlelie, kKs aaraftjearn haen’dd rGeciueliivneid. Othtteo pKlaleym’s pfeirsetr epnrogcaegses iwonitahl tnhue mOrbcehress wtrrait ttherno ufogrh tvhied esoc egnaemse isn, hmaarkminogn ic omDmNAu niwtya sp rorjoeoctte dH. eaArg ainnd, Nthowerei’ns Universe of Sound: The Planets, first premiered tweaxtss thine tfhires t suofm mearn yo fo u1t9s1ta8n. diSntgil l,P rNinieclispeanl fwilhmic hs ctohres maanrdr iaitgse aowfa rAdl-awdidnini ntgo pGourltnfoalrieo oisf nBoetdhfionrgd ; aau tlhaergneti-csaclalyl eC choimnemseu naitbyo ucto mNmieilsseino’ns Batu t haes SNcieielsnecne aMcuhsievuemd inna stiporninagl t 2re0a1s2u.r e status sCwoneadtuecdt oirts o, uta n(‘dI amot hgeori ngg rteharto ugnha ma efsr ighatfvuel vciedlebosra taendd. Itd oicmumednitaatreyl y fiblmecsa. mAen aa pppo,p uTlhaer ‘tCo hcineleesber aDtae ntchee’ d(tihsceo cvleariym osf tKhiantg ARlaicdhdairnd wIIaI’s in Denmark and got into his symphonic stride, ianmclouudnet d ofL owrionr k’M ahae zewl ro(tAes stooc itahte cPorminpcoipsaerl Ocorcnhcesrtt rwaofrokr, eiPvaedn, ifr eilte haasded t oi nw Daietc uemntbile 1r 924001 2to, hreimsaeinlfs a inC hiLneeisce stcehr araccatlelerd arTeh ee quLaalslyt hBeo tdhi sUtnainvceerds eh oimf Sseolufn fdro amn dh iist sf oprrmedere cweosrskoprl aRcEe-. WCoilnhdeulmct oSrt)e, nShiarm Cmhaarr)l easn dM waictkhe rtrhaes he(Plpri nocf iphaisl hbae sp suoblldis theends. of thousands of copies. sPplaunritoaugse)n beut;t thae mpiuosniece irsin agb soulrubtaenly- cNliaeslsseicna’sl RThITeE c(o2m0p1o0s,e br acslaeidm oend Sevtrearyv inonskey o’sf Tithse pRroitjec otsf fGourmesetr pCuopnidl uNcatnorc)y, DRailcbceargrd, ow hMo uatsi si(sPtreidn cwipitahl ipnr oijtesc tp ucsahlliendg Styhmropuhgohn irzeepiena tLeedic nesoters; taonwda Trdhse Shpe rhinagd) b teoeunr eindv oinlvterdn iant isoinacell yt haen pdr ewmeireer ea otf thhies oCrocnhdeusctrtaotri oannsd, Mhue sihca Dd irceocmtopr)l,e tKeudr tt hSea nfduelrl li8n0g RTheec oSruditneg’s amnuds ibcr moaidgchat sntoint gb eb aot hq ucinotnetsinseunet itaol sFuirdedbeinrd s, hifatsn in agwaaitr,d a-nwdi nin iintsg thcrioftllya sbeonrsaeti vofe hopeaerrat Maosf karaa demina j1o9r 06 thwaod- ybeeaern daougdgieedn cbey m(Cionnudteusc toofr mEumsiecr ibtuy sJ)a naunadry 1G9iu1s9e.ppe Sinopoli pexlaym pal e soigf niNficealsnetn ’sp aprtr oginre stshivee ,O rinchdeivsitdruaa’sl cslcimhoaoxl sa npdro rjepcot swe.o rking across Hounslow and dcoemveplroopmmiseen ta nda nwdil lfule diusctaorttiioonn of inhiitsi awtiovrek,. (Music Director). astcytliev,it iebsu, tn oitta’sb lyu tnhdroubghte ditlsy pcahrtanremrsihnigp wainthd Richmond boroughs. Some thought Nielsen was overreacting. His Nielsen’s hunch that the project wouldn’t end intermittently revealing too. The scene is set Next comes the Suite’s most fascinating iOrchestra (2014-15), which took place in Signum Records, releasing new live recordings work on the Royal Theatre’s 1919 production of well for him came good. Poulsen’s production with the ‘Oriental Festive March’, which uses movement. Nielsen was rightly proud of ‘The South-West England and engaged over 120,000 As well as Esa-Pekka Salonen, Principal Conductor of Philharmonia performances with its key The Philharmonia’s Emerging Artists programme Aladdin suggested he had been right all along. became more and more elaborate; it was minor keys to evoke the mysterious splendor of Marketplace in Ispahan’, and its effective people. The project also featured a pop-up since 2008, current titled conductors are Christoph conductors. Since 2003 the Philharmonia has includes the Composers Academy, linked to Music eventually divided into two separate shows the east. Nielsen had visited Constantinople in castration by Poulsen proved the breaking point iTnhtee rtahcetaivtree haddi gsitcahle dulmedu sai cr evivinasl taofl laAtdioanm, v(polna yDinohgn oánn ycio n(fsoercmuetrilvye Pervinecniipnagls )C aondu tchteo rs, tnaogwe e1n9j0o3ye da nad m asjeoern p atrhtne erdsahnipc iwnigt h dCelravsisihce FsM; , hais ofof r Ttohdea yc, omanpdo stehre’s Masasroticni aMtiouns icwailt hS ctheol awrshhoilpe MOeuhsliecnLsacbh, lwæhgiecrh’s uasdeda ptthaet iloante sotf ttehceh nsotloorgy iefsro tmo Hwoanso eraxtreyn dCeodn odvuecrt othr e fRoor yaLl iTfeh)e atarned’s oVrclahdeismtriar tahtete mClpatsss itco FreMc aOprtcuhres thrae oenss eTonucre, oafs thwee lel aasst FAulanddd, inwphricohje cht.a sIn fcoor njmuraingy tyheea rbs usstulep poofr taedn cthreea Atera ab isaenr iNeisg ohft sh iann adns- aotnt emmupsti ctoa ll igfta smpeirsit as nads Apsith. kTehnea zoyr c(hCeosntdrau cittosre lLf awuaresa the)u. s Aslqsou eae zecden itnratol coenrttaininuliyn gh atrok edb rboadckc atsot thexatte nmseivmeloyr aobnle BtrBipC, tOarlieenntteadl muasrkiceita pnlsa acte t(hteh ast awrth oicf ht hNeiier lcsaerne ewrosu. Ilnd iwnaterr aractviaognesd. Tmhea iOnlracnhdes tEruar ohpaes. wThone fporuord uRcotyioanl faig urerec einss t oodna y’st Oargceh elsetvreal ,is ucnomdepronseeart ahn da Agrtriastnidc Rbuatd iwoe 3re. certainly more inspired than authentic. 2h0a1ve6 /k1n7o, wtnhe f rOomrc hCeosntrsat arnetlainuonpclhee) dt hteh ec osmcphoemseer Pwhaislh atrom bone icl avSioschi,e tay nda wiatsrd sd irfeocrt orit sJ ohdaignintaesl Dstiraeicrctoars oef tthhaet lofonrgm-reudn npiangrt Mofu stihce o sf eTto.d Nayieslseerine’s asus petrhime poPsheislh armfoounri a MseMpSaFra teIn strummuesnictal pProoujelscetn a wnda natued iNeniecles eenn tgoa pgreomviednet owriogrikn.al music isnc oLroen dwoans, Uhenasuvikl yC chuint . aAn ds ewcohnadt rsetmraanidn eodf forfe eit, The Pchomilhpaorsmeor’ns iag’sif tE dfourc astcieone -wsoertkt insgit si sa te vthene Fsetalltoewmsehnipts P, reoagcrha mgrmeeet i–n ga tnh ee lnihstaennceerd a so fiffe frr ofomr for the show – aware of his abilities to write in a ewaarsly -reevaernrianngg epdr.o gTrhaem mcoimngp owsears aasdkedded t htaot thhies cbenttterre hoefa rdth ien l‘iAflea dadnind’s wDirdeearm ’w, oar kh yomf n thone ydoiuffnegre nmt usciocrinaenrss, souf ppthoert insgo uikn;s thruemree nitsa litshtse Tfheset Pivhei,l hjoayromuosn siaty lOer.c Bhuest tPraou wlsaesn f oarlmsoe kdn ienw 1 t9h4a5t Lnoanmdoen b es eraemsoonv eind f2ro0m15 awll ipthu bali ccihtya msubreror umnduisnicg Omructheeds trsat.r iTnhges d ewphaircthm esnoto’sn w ogrikv efsa llsw ainyt ot ofo uar simeeakgininga taivne eoxrpcehreismtreanlt acliasrte were haenadr icno Nnineelcstein’gs bNyie lWsaenlt erw oLuelgdg et.a kIte hsaosm bee esne raio usse lfp-gerosvuearndiing rtehcei tpael rfsoerrmieasn, cpesro. grammed and performed by cdhisatrimncitn gs twraanltdzs b –le sSscehdo wolist ha an dly rYiocuanl gli gPhetonpelses, twhienmd tcoo tnhcee rwtoidse. r Tlwifeo ovfi gthoer oPuhsi lhdaarnmcoens iac oanncdl uthde ogricvhenes htrisa ospiinncieo n1s 9o6n4 t haen tdh eisa troew. nSeod t hbey diitrse c8to0r members of the Orchestra, many of whom perform tCyopmicmalu onfi tNieiesl saen;d i t Fdaimsaiplyp, eaInrs igsuhdtsd,e nalny dli keth ae ethxpe eSrtuisitee :w tihthei nim itpso msinemg b‘Dearsnhciep .of the Prisoners’ mwreomteb erNsi.e lDsuenri nga itfsa wfnirisntg s epvoeenm d ebcya dwesa,y thoef wNiedlesley na sh saodl,o haonwde cvhear,m tbaekre mn upsrieceiamnpst. ive action. tEwmisetrignign gp lAurmtiset so fp sromgorakem. mTeh,e rienafclehcintegd tmenosd aolf and, finally, the furiously energetic ‘Negro Oprecrshueastsriao nc, owllhaibcohr aseteedm ewdi ttho mdoo stht eo tfr itchke. great Before the show opened that February he othpoeunsinagn dosf othf ep e‘Hopinled ue vDearyn cyea’ ri.s Rreecpernest epnrtoajeticvtes Dance’, a rollercoaster that accelerates as it classical artists of the 20th century. Conductors Masilsleiomnbs loefd peao pslue istein coef 1s9e4v5e nh avmeo evnejmoyeendt st hfeoir oinf cOlurideen tainl sttorkuemneisnmta lt ypricoajelc otsf twheit hti mMeu. sBicu t Hitu’sb Thhuert lPehsi lthoawramrodnsi ait’s cPorinnccliupsaiol nIn. ternational aBsusto fcoira tNeide lsewn,i thth e tohmee nsO rwcehres tbraad frionmcl utdhe foirrcsht eesxtrpae riaelnocnee o(ft hcel aosrsigicinaal l msucsoirce tchornoutagihn ead npoatratbnleer sh;o wK, einy thSitsa gde lic2a tec opniecceer,t sth oOsrec mheosdtaral Partner is Wuliangye. start. The theatre announced it needed music for solo songs and a wordless chorus). The Aladdin scales meet the rural harmonies common to folk © Andrew Mellor 182 139

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128 139

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Also available… NIELSEN FLUTE CONCERTO CLARINET CONCERTO ALADDIN SUITE

20 1

291.0mm x 169.5mm CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title S 7 I G 7 N 4 U D M C Flute Concerto, FS 119 G C

I NIELSEN L S A

1 I. Allegro moderato 11.11 S S I

FLUTE CONCERTO C 2 II. Allegretto – Adagio ma non troppo 7.23 S CLARINET CONCERTO SAMUEL COLES FLUTE ALADDIN SUITE Clarinet Concerto, FS 129 3 I. Allegretto un poco 8.21 4 II. Poco adagio 5.05 5 III. Allegro non troppo – Adagio 6.52 A I

N 6 IV. Allegro vivace 3.52 O N M I R MARK VAN DE WIEL CLARINET E A L S H E L I N H Aladdin Suite, FS 89 P J

Ä /

R I 7 2.46 I. Oriental Festive March V V I R

/ Ä

J 8 2.54 II. Aladdin’s Dream and Dance of the Morning Mist P H N I L E 9 III. Hindu Dance 3.08 H S L A E R

I 10 IV. Chinese Dance 3.14 M N O

11 V. The Marketplace in Ispahan 4.52 N I A 12 VI. Dance of the Prisoners 5.09 13 VII. Negro Dance 4.32 Total timings: 69.22 PHILHARMONIA ORCHESTRA PAAVO JÄRVI S C I S S A

Signum Records Ltd, Suite 14, 21 Wadsworth Road, S L I C G

Perivale, Middx UB6 7JD, United Kingdom LC15723 C M D U P

DDD 4

N 2017 Philharmonia Orchestra 7

G www.signumrecords.com SIGCD477

I C 2017 Signum Records 24 bit digital recording 7 S 6 35212 04772 9 www.philharmonia.co.uk

201.0mm x 167.8mm