Jeremy Denk Milton Court Artist-in-Residence

‘The perfect person to take control of the keys to London’s most acoustically perfect auditorium’ Independent Jeremy Denk © Michael Wilson Michael © Denk Jeremy

Thu 12 Oct Tue 27 Feb 2018 Jeremy Denk Jeremy Denk plays Mozart and Britten Sinfonia

Sun 15 Oct Sat 3 Mar 2018 Jeremy Denk: Jeremy Denk in Recital Infinite Variations

Jeremy Denk A5 programme front page.indd 1 02/10/2017 18:12 2 and Variations Mozart videogame deathmusic Jeremy Denk Zagen’ Liszt ein End’ –thelateMozart sonatas 7.30pm, Milton CourtConcertHall Thu 12Oct Julian Steckel Karen Gomyo Measha Brueggergosman Jeremy Denk Purcell Haydn J SBach, arrBauer ‘Geistervariationen’ Schumann interval as well asviafeedback forms orthepodslocated around thefoyers. If anything limits your enjoyment pleaseletusknow duringyour visit.Additionalfeedback canbegiven online, images orusingrecording devices duringaperformance isstrictly prohibited. Please turnoff watch alarms,phones,pagers etc duringtheperformance. Taking photographs, capturing Sweelinck Variations onDeath 11am Infinite Variations Milton CourtConcertHall Sun 15Oct Jeremy Denk Rondo inAminor, K511 Sonata inDmajor, K576 Piano Sonata inBflat major, K570 interval Piano Sonata inCmajor, K545 Piano Sonata inFmajor, K533/494 Piano Sonata inCminor, K457 Artist-in-Residence Court Milton Jeremy Denk Variations on‘Weinen, Klagen, Sorgen, 20minutes 20minutes Dido’s Lament Variations inFminor Sonata inFmajor, K377– Theme Variations on‘MeinjungesLebenhat Theme andVariations inEflat major, piano piano Game Over: Briefvariations on violin Komm, süsserTod soprano

interval Monteverdi, arrDenk gone Verdi/Aaron/Wasserman Andante conmoto Brahms John Adams Monteverdi, arrDenk Peerson andHope Variations... onHeartbreak 7pm Julian Steckel Karen Gomyo Jeremy Denk Schumann interval (Variations burlesquessur‘Yankee Doodle’) Vieuxtemps Mendelssohn Bizet Biber Variationson Virtuosity 3pm Julian Steckel Karen Gomyo Measha Brueggergosman Jeremy Denk p O Beethoven 111 Variations chromatiques deconcert Mystery Sonatas –Passacaglia 20minutes 20minutes Piano Trio No 2inCmajor, Op 87– The fall of theleafe Études symphoniques, Op 13 Piano Sonata No 32inCminor, Souvenirs d’Amérique,Op 17 I Still Play cello cello piano piano Variations concertantes, Op 17 violin violin Lamento dellaninfa Zefiro torna Since my love has soprano Measha Brueggergosman, violinistKaren him onthejourney are thesoprano infinitely extendable form. Accompanying the way inwhichcomposers usethis 16th centuryto the21st, butalsoexplores range of variations, datingfrom thelate Variations’, itpresents not onlyawide in Sunday’s event. Aptlytitled‘Infinite Immersion isalsothenameof the game keyboard works. characterises thecomposer’sfinal solo ourselves intheemotional intensity that and offers usarare opportunityto immerse recital explores thesubjectof late Mozart, mind, aswe’ll behearing.Hisopening prodigious giftswithanacutely inquiring Court. Heisamusicianwhocombines this season’sArtist-in-Residence atMilton given by theAmericanpianistJeremy Denk, A warm welcome to theinitialconcerts Welcome

Available on iTunes, Soundcloud and the Barbican website Barbican the and Soundcloud iTunes, on Available Evgeny Kissin,Maxim Vengerov andNicoMuhly. Iestyn Davies, Joyce DiDonato, SirHarrisonBirtwistle, Sir JamesMacMillan, George Benjamin,Andrew Norman, artists from around theworld. Recent artists include for exclusive interviews andcontent from thebestclassical Stream ordownload ourBarbican ClassicalMusicpodcasts Barbican Classical MusicPodcasts Huw Humphreys, Head of Music,Barbican It promises to beathrilling residency. Schumann. programme of Prokofiev, Beethoven and as asolorecitalist on3 March for a rubs shoulderswithGershwin, andfinally Sinfonia on27February, where Nancarrow back next year, inthecompany of Britten We lookforward to welcoming Jeremy programme. and masterclasses related to themain School of Music&Drama inworkshops his artistrywithstudentsfrom theGuildhall Behind thescenes,Jeremy willbesharing Beethoven’s lastPianoSonata, Op 111. of variation intheentire repertoire – with oneof themostsublimeinstances Gomyo andcellistJulianSteckel. We end

3 Welcome 4 advertising by Cabbell(tel 02036037930) printed by Trade Winds ColourPrinters Ltd; Programme produced by HarrietSmith; vehicle for virtuosity. TheSchumann century, variation form becameapopular day) isinteresting. And theninthe19th in thefirst concertintheInfinite Variations regenerating life, to useitto depictdeath(as Since variation form isbasicallyabout and it’soneof thepiecesIlove themost. of musicandthedisintegration of style… that isalmosttalking aboutthevery art of time,theexpansion of time.It’sa piece to infinity, abouttimeitself–theexistence last sonata, Op 111, isaboutapproaches most transcendent setsever written. This ended hispianosonata life withoneof the draws out.Itfeels infinite. AndBeethoven where there’s almostacosmosthathe including Bach’s pieces of musicare invariation form – accident thatsomeof themostpowerful which becomesaform of catharsis.It’sno thing butithasbeenaltered insomeway, things thatitcando:you hearthesame of repetition pluschange isoneof thebest tedious. Butwithmusic,thatcombination with poetry, therepetition would become more sothanwords. Ifyou were to dothat Music lendsitselfespeciallywell to this–far and changeitover thecourseof the piece. technical device –you take aseriesof chords In asense,musicalvariations are justa infinite of the allure The Goldberg Variations

Études Études

, music thatIpractise like adogbutthenyou of direction andchangesof character. It’s music isaboutunpredictability, switches more soHaydn, andsome Beethoven –his itself. Mozartisvery often like that–even each momentitseemsto beinventing it oughtto bedonebutwhere, instead, procrustean, isn’tstuck in abedof how sonatas. I’mdrawn to musicthatisn’t This isprefaced by arecital of Mozart stylistically, thisgoesallover theplace. are alsoaboutromantic lossorfarewell; wanted to explore the ideathatvariations Finally, in thelastconcertof theday, I dramatically from variation to variation. is very strong, anditsmoodswitches sense of thejoy of playing theinstrument which isreally important to me.The it’s combinedwiththissenseof play, of thepossibilitiesof theinstrument.And on thethemebecomesakindof display virtuoso example of how theact of riffing symphoniques © Jeremy Denk harness inthemomentof performance. that extra somethingwhichyou’ve got to really belike that,becausethere always precisely whatI’ve practised, butitcannever outside of whatI’ve done.Mydream isto do get on-stage andsomethinghappensthat’s isayoung man’spiece–a

Wolfgang Amadeus Mozart sonatas Mozart late –the Oct 12 Thu Sonata in Fmajor, in K533/494Sonata assai 3 Allegro Adagio 2 1 Molto allegro Cminor, in K457Sonata Jeremy Denk Aminor,Rondo in K511 3 Allegretto Adagio 2 1 Allegro Dmajor, in K576Sonata 3 Allegretto Adagio 2 1 Allegro major, Bflat K570 in Sonata 3 Rondo (Allegro) Andante 2 1 Allegro Cmajor, in K545 Sonata 3 Rondo: Allegretto Andante 2 1 Allegro piano

(1787) (1788) (1784) (1789)

(1789)

(1787–8)

(1756–91)

5 Thu 12 Oct 6 is misleading –theAllegro isinfact highly improvisatory insoucianceinthefirst movement Similarly, thesenseof inevitability, of analmost whom composingcameaseasily breathing. to thatnotion of Mozartbeingafigure to with afitting finale, givingthelie(onceagain) 1788 (K533)butseemsunableto have comeup completed thefirst two movements inJanuary juxtaposition inthisFmajorSonata. Mozart The two Köchelnumbersreveal anunlikely Piano Sonata inFmajor, K533/494 effective than hiseventual solution. it isdifficult to imagine onemore dramatically conceived of aneven more abruptendingbut sketches for thismovement show thatheoriginally key climax, withnodissipationof tension. Mozart’s gathers upspeed,reaching aresounding minor- After comingcloseto frozen collapse,itfinally seem rather to buildonwhathasgonebefore. indeed, itssyncopations andstartling silences finale provides nolet-upineitherintensity orgrief; of Beethoven’s ‘Pathétique’ Sonata. Thefeverish at timesseemsto pre-echo theslow movement experimentation amongaria-like roulades and with dynamicindications,continuestheharmonic among Mozart’spianosonatas –liberally marked the piano.Theslow movement, whichis–uniquely the musicfinally sinkingto thelowest register of drive anddrama, thecodamaintains thetension, arpeggio themeonwards. After adevelopment of in thefirst movement, from itsagitated rising overtly dramatic work. Anguishisever-present making muchof dynamicsandrange inthis potential of thekeyboard instrumentof histime, Mozart’s CminorSonata exploits to thefull Piano Sonata inCminor, K457 WolfgangMozart Amadeus potent. heard together astonight, are extraordinarily eschewed for strength of feeling. Theresults, when the pure songfulnessof thismaster melodistis had hebeenstudyingtheworks of Bach), while a propensity for counterpoint (not for nothing There tends to beagreater leannessof material, new prioritiesinhislastslew of pianoworks. who diedat35,it’spossibleto seenew directions, Schubert orlate Chopin.Yet, even inacomposer ‘Late’ Mozartmightseemasdubious aslate widespread sales,hisfinances having become that Mozarttermed itinthisway to encourage one of artlessness.Ithaslongbeenspeculated hide inthismusic–andyet theeffect needsto be masterly extreme.’ There isabsolutely nowhere to in Mozart’spianisticwriting,iscarriedhere to a most essential,whichwe soadmire anddread and experience willknow. Thereduction to the repertory, asevery self-criticalpianistof age belongs to themosttreacherous piecesof the Alfred Brendel comments:‘Paradoxically, it a descriptionthatis!AslegendaryMozartian keyboard sonata for beginners’:how dangerous Mozart dubbedthisCmajorpiece‘alittle Piano Sonata inCmajor, K545 anticipates Beethoven. the fullrange of thekeyboard inamanner that for thissonata not onlyextends itbutalsoexploits published freestanding rondo, K494.Hisupdating in 1790 Mozartusedfor itsfinale apreviously intense calm.Whenthesonata was published theme. Themovement concludesinasenseof notes found inthesecondpartof theopening form) forms animposingcanonbasedonfour unusually amongClassicalsonatas, alsoinsonata climax of thedevelopment (for thismovement is, set against achromatic accompaniment; andthe motif are transformed for asecondidea,now economy of means.Elementsfrom itsopening the keyboard sonatas andagain isstrikingfor its is oneof thegreatest slow movements among contrapuntal andtautly organised. TheAndante ending emphatically in C. ending emphaticallyinC. appears, even more splendid’)before finally reflect uponabeautifulinspiration thananother catch hisbreath, for nosoonerisoneinclinedto lament that‘Hedoesnot give the listener timeto (reminding one of CarlDitters von Dittersdorf’s opening material, hegoesoff innew directions And then,rather thansimplyreiterating the in thecustomary homekey of CbutinFmajor. springs asurprise,returning to theopeningnot where itturns,briefly, into theminor. ButMozart deliberately lighthearted untilthedevelopment, as theopeningPrelude of Bach’s Its first movement, whichbegins asinsouciantly suggest thatthepiecelacks formal innovation. technical requirements are limited, thatisnot to it wasn’t publisheduntil1805). Buteven ifits by thisstage precarious (thoughintheevent 48 , remains , remains However, ‘easy’ ishardly theadjective thatcomes (for whomhe composedhis‘Prussian’Quartets). daughter of Friedrich WilhelmII,Kingof Prussia piano sonatas for PrincessFriederike’, eldest of whatthecomposerdescribedas‘sixeasy 1789 andistheonlyoneof apurported set Mozart’s final pianosonata, K576, dates from Piano Sonata inDmajor, K576 movement, andrecaptures its rondo, subtlyalludesback to theopening which isvery affecting. Thegleefulfinale, another back to thefirst episode,there’s awistfulness forays into theminorto thecoda,whichrefers horn-call theme,atoncetender andaustere, via harmonised rondo-form Adagio. From itsopening work, butnever more sothaninthesimply economy of expression characterises theentire spirit of taci, ingiusto core’ from providing acontrast. Thecodaquotes from ‘Ah, second subjectiscloselyrelated, rather than themes basedaround anarpeggio,whilethe understated Allegro openswiththesimplestof K570, butitneedsnofondant curlicues.Its apparent plainnessof theBflat majorSonata, in 1985. Itmightseemtempting to prettify the marble norof sugar’,wrote Alfred Brendel ‘Mozart ismade neitherof porcelain, norof enigmatic rather thansimplistic. that isanything butstraightforward. Theresult is its understated exterior, aleannessof invention Mozart’s penultimate pianosonata has,beneath Piano Sonata inBflatmajor, K570 interval again slipsinto theminorinitscentral section. a flash, isbasedaround agavotte rhythm, which less certain of itself.Thefinale, arondo gonein by theexperience of theminor, sounding a little When theopeningideareturns, itseemsunnerved yielded from himmusicof yearning lamentation. Mozart dipsinto Gminor, akey thatalways Contrast comesinthemiddlesection, which not obtrusive andatruly tempo, anaccompaniment thatisaudibleyet slow movement demandsjusttherightflowing The bucolicsimplicityof theserenade-like buffa 20minutes isnever far away. Mozart’s Don Giovanni cantabile buffa melodic line. melodicline. -ish spirit. -ish spirit. , and the , andthe bleak effect. bleak effect. a key thatMozartusedrarely, andinvariably to more intense thaninthisextraordinary rondo in Brendel. Andnowhere are thosesearchlights if they didnot blindhim.’Wisewords from Alfred illuminated everything, while the player must act as to becarriedoff lightly. Itisasifhugesearchlights these few proffered notes isimmense,yet needs in Mozart’spianoconcertos. Theresponsibility to every smalldecision–agreat dealmore sothan performer isleftalonehere withevery nuance, every note countsinMozart’ssoloworks. The ‘The …willbekeenly aware of how much Rondo in A minor, K511 . great slow movements of Mozart’smature piano gently dolefuldemeanourisreminiscent of the extrovert creations isacontrasting Adagio, whose becomes more evident. Between theseessentially intensity asthecounterpoint between thehands too, thoughinitiallylighthearted, increases in of minorkeys, lendingitafrantic edge.Thefinale, destabilised asitiswrenched through asequence where theself-confident martial-soundingthemeis in thedevelopment of theopeningmovement, He usesitto tremendous effect here, for instance preoccupation for Mozartduringhislatter years. as we’ve beenhearing,becameanincreasing amount of contrapuntal writing,somethingthat, to mindinawork thatisstrikingfor thesheer Programme note ©HarrietSmith its close. music remains resolutely intheminorrightupto underlines themoodof utter desolationandthe second major-key section,now condensed, rhythm. The return of thisthemefollowing the pungent harmoniesweigh down thesiciliano idea, whosechromatically twistinglineand temporary respite from thegloomof themain shockingly sunlit,they canoffer nomore than episodes, thefirst serene, thesecondalmost and inward works. Thoughthere are warmer himself to produce oneof hismostsoul-searching contrast to thesepieces,Mozartturninginon of Figaro composed inbetween theoperas The work isdated 11 March 1787 andwas and Don Giovanni . Itstands inabsolute The Marriage The Marriage

7 Thu 12 Oct 8 Karen Gomyo Jeremy Denk earth’ in laid Iam Dido’s ‘When Lament: Purcell Henry XVII:6 Fminor,Variations in Hob Haydn Joseph Tod,Komm, süsser BWV478 Bauer Harold arr Bach Sebastian Johann ‘Geistervariationen’ major, Eflat Variations in and Theme Variations Fmajor, in K377 Sonata Violin music death videogame on Over: variations Game Brief Jeremy Denk Variations on ‘Weinen, Klagen, Sorgen, Zagen’ Liszt Franz End’ ein hat Leben junges Variations ‘Mein on Jan Pieterszoon Sweelinck Variations Death on 11am: Variations Infinite Oct: 15 Sun

(2017)

piano violin

(1811–86) (1873–1951) (1659–95)

(born 1970)(born . .

(1732–1809) Measha Brueggergosman Julian Steckel Julian (1854) (1810–56)

1942)(1736, arr (1685–1750), (1781) cello (1793)

(1562–1621)

– Theme and and – Theme

(1756–91

(1689)

soprano )

(1862)

place, from whichLisztcommences hislong quickly pullsthemusicinto aquieter, more inward is deceptive: thesinkingshapeof Bach’s theme an anatomy of grief.Thebravura of theopening virtuosity enabledhimto explore whatiseffectively variations inwhichhisunsurpassedkeyboard cantata andcreated from itamightysetof piano Felice, Liszttook theground bassof Bach’s That autumn,athisapartmentinRome’s Via Zagen in Bach’s 1714 cantata and theconsolationsof thechurch: asexpressed zu Sayn-Wittgenstein. Andthenheturnedto Bach, out my sorrow’ to hisbeloved PrincessCarolyne shocked anddevastated; Liszt,inRome, ‘poured unclear, shedied,aged just26.Herfamily was ill, andon11 September, for reasons thatremain gave birthto ason,Daniel.Amonthlater shefell On 3July1862, ’sdaughter Blandine Variations on‘Weinen, Klagen,Sorgen, Zagen’ Franz Liszt In themidstof death,itseems,we are inlife. misquoted by Stephen DedalusinJoyce’s only finally publishedin1895 –justintimeto be survived inasinglemanuscriptcopy andwas unsuspected depthsinthisconcisework, which potential of itsharmonies).Certainly, he finds (though possiblyhewas attracted to theexpressive secular songasasubjectfor variation isunknown after themainevent. Why hechosethisparticular famously inventive setsof variations before and organ from services,soSweelinck performed his Oude Kerk. TheReformed Church barred the who flocked to hearhisplaying atAmsterdam’s to awholegeneration of younger organists, children andserve asteacher andinspiration ripe oldage for histime–sufficient to father six called ‘Orpheusof Amsterdam’, lived to 59–a as well …’Theirony isthatJanSweelinck, theso- ‘My young life hasanend/Myjoy andsorrow Variations on‘MeinjungesLebenhateinEnd’ Jan Pieterszoon Sweelinck For texts, pleaseseepage18 times torrential, butat thelast,aninstrumental musical mourning process. What follows isat the markof Jesus. Are thebread of tears of Christianswhobear anxiety anddistress Weeping, lamentation, worry, apprehension, , whoseopeningchorustranslates as: Weinen, Klagen, Sorgen, Ulysses . existence: whenitreally isGameOver. when each of thesedifferent worlds blinks outof – andnow offers hisown variations ontheinstant Over with acclaimed scores by Koji Kondo), present), particular confront death– musical language withwhichfour gamesin experience. SoJeremy Denkhaslooked atthe for emotion, musicisavital partof thegaming Puccini’s Mimìbreathes herlast.Asanengine Mahler’s SixthSymphony crashes inruins,or moment –asthefeelings we experience when emotion of losscanseematleastasreal –inthe lives are lived andlost.Andwithinthatworld, the can create anentire world. Characters develop; Like any trulyimmersive artform, videogames 3 Mortal Kombat 4 2 TheLegendof Zelda,GameOver 1 Donkey Kong death music Game Over: brief variations onvideogame Jeremy Denk holy orders. force of will:three years later Lisztwould take music seemsto propel itselfheavenwards by sheer wohlgetan’ (WhatGoddoes,iswell done).The Bach endedhiscantata: ‘Was Gott tut,dasist and adefiant statement of thechorale withwhich recitative leads themusicfrom Fminorto Fmajor same year, they bore adedicationto Fraulein six of Mozart’s violinsonatas inNovember of the Despite this, whenthepublisherArtaria issued to tell herthetruth tactfully.’ sérieusement Josepha Auernhammer: ‘Whatismore, sheis didn’t feel particularlycloseto his pianopupil as thisletter to his father shows. Sadly, hejust disarmingly frank to thoseto whomhefelt close, Oh dear!Hardly gallant!ButMozartcouldbe Variations: Andante Violin Sonata inFmajor, K377– Theme and Wolfgang Mozart Amadeus playing, however isenchanting…’ lady of thehouseishideouslyugly!–her house of Herrvon Auernhammer. Theyoung ‘I spendalmostevery day after lunchatthe , 27June1781 (1987) and The Legendof Zelda inlove withme…soIwas compelled Mortal Kombat Donkey Kong (1986–present, (1992–present) Game Game (1981–

9 Sun 15 Oct 10 (who in1861 had made hisown tribute to his volume of 1893, thanks to the urging of Brahms alone eventually appeared inasupplementary that sheprepared withBrahms. Instead, thetheme piece was excluded from thecomplete edition Robert dedicated thework to Clara, thoughthe turmoil, producing five variations onthetheme. able to composeatallwhileinsuchastate of What’s remarkable, perhaps,is thefact he was to Endenichasylum. attempt, after whichhehad himselfcommitted Ten days later cameSchumann’stragic suicide that of thelate ViolinConcerto’s slow movement. Prophet’ from themuchearlier close relation of themiddlesectionof ‘Vogel als Because thethemeof thisfinal work isavery account doesn’tringentirely true.Why not? of theso-called night of 17 February 1854. Itwas thetheme recorded Clara Schumanninherdiaryof the which hesaidangelshad sungto him.’So ‘Robert got upagain andwrote outatheme his lastwork, andoneshrouded inmystique. Schumann’s so-called‘Ghost’Variations is ‘Geistervariationen’ Theme and Variations inEflatmajor, WoO24, Robert Schumann interval Programme notes ©Richard Bratby bounds of 18th-century courtesy. to aclose–would probably beoverstepping the sweetness, before aminor-key the fifth variation offers aglimpseof Dmajor charged movement –andinparticular, the way narrative into theprogress of thisemotionally by any means.Still, to read anautobiographical didn’t treat allof hisstudentsasmusicalequals, otherwise ebullientFmajorSonata, K377. Mozart that comprisemore thanhalfthelengthof the the expansive Dminorthemeandsixvariations however, have theirshare of theexpression in That was aconvention of thetime.Both players, keyboard player. sonatas were actually written as showcases for the that theviolinisaccompanist, andthese date to apianist;theanswer, of course,being dedicated hismostambitious violinsonatas to modern listener, thereal questioniswhy Mozart lucrative pupil,orbalmfor abroken heart?To the Auernhammer. Atactful gesture to retain a 20minutes Geistervariationen siciliano Waldszenen , yet that lulls things lullsthings , and , and entered theSecondWorld War. Atthattroubled in New York in1942, shortlyafter theUSA had song completed thispianotranscription of Bach’s 1736 played Bach’s SoloCelloSuites inpublic),andhe pianist onthetour duringwhichPablo Casalsfirst for thecomposerwas profound (Bauerwas the Bach player of theoldschool.Buthisreverence Anglo-American pianistHarold Bauerwas a virtuoso andstatesman JanPaderewski, the Unsurprisingly for apupilof thegreat Polish Komm, süsser Tod, BWV478 Johann SebastianBach, arrHarold Bauer Programme note ©HarrietSmith drawing to anenigmaticclose. ever more spectral as itrisesupthekeyboard, by thefinal variation, Schumann’swritingseeming the fourth gives itastarker edge,whichisrighted treble accompaniment. Aswitch to theminorfor in thelower register, wreathed by anagitated out asitprogresses andthethird places thetheme with theimitative entriesbecomingmore spaced a sonorous accompaniment, thesecondiscanonic first introduces agreater senseof movement with sparse andyet emotionally intense. Ofthem,the hovers over thefollowing variations, whichare from itsfalling phrases, andthatmoodvery much The themeitselfderives asenseof inwardness set of pianofour-hand Variations, Op 23). beloved Robert whenheuseditasthebasisfor a Symphony. found intheslow movement of his‘Drumroll’ example combiningmajorandminor canbe was fond of thisdevice –another outstanding one inF minor, theother inFmajor. Haydn a doublesetof variations, basedontwo themes, slightly misleading inasmuchasthisisactually compositional sleightof hand.‘Fminor’is in scalebutit’sa Haydn’s FminorVariations may bemodest Variations inFminor, HobXVII:6 Joseph Haydn Programme note ©Richard Bratby sombre itswords. have offered profound consolation–however time, thespiritualstrength of Bach’s musicmust Komm, süsserTod tour deforce (‘Come, sweet death’) interms of

devastating climax. in theform of apassacaglia forms thequietly drama, to whichthisbrief,poignantlament narrative to aconcisebutnear-perfect musical Aeneid audience was familiar withBookIVof Virgil’s invention’. ButTate andPurcell knew thattheir in share of posthumouscriticism:Alexander Pope, flocks by night world for the hymn Tate (now best-known inthe English-speaking an unmistakable dyingfall. Thelibrettist Nahum heartbroken QueenDidoexpires to musicthathas and hisTrojans have leftCarthage, andthe It’s Act 3of Purcell’s Dido’s Lament:‘WhenIamlaidinearth’ Henry Purcell Programme note ©HarrietSmith dotted rhythm thathasthefinal word. sounding outburstof arpeggios.Butitisthat tension untilitgives way to animprovisatory- the chromaticism deliciouslyheightening the the dotted rhythm becomesincreasingly obsessive, giving itthesenseof akindof refrain. Inthecoda, movement, retains agreater senseof stability, though imbuedfirst withtrillsandthentriplet demisemiquavers respectively), themajorone, treatment initstwo variations (syncopations and minor themeissubjectto increasingly complex ornamentation andwhimsicalair. Whilethe relatively carefree major theme,withitsfrothy weighty, dragging qualitythatcontrasts withthe and theprevalent dotted rhythms, whichgive ita such impact inhis49thSymphony, ‘Lapassione’) minor themeare theunusualkey itself(usedwith What’s immediately strikingabouttheopeningF late Bagatelles orSchumann’s about asmisleading atitleasthatof Beethoven’s the notion thatthisisalittleentertainment makes it piece thesubtitle‘Unpiccolodivertimento’, though and touchingly elegiac coda.Healsogave the extending thevariations andwritinganelaborate a sonata, thoughhelater abandonedthisidea, the variations to form theopeningmovement of for her, K449andK453.Initially, Haydn intended wrote two of hismostjoyously elegantconcertos Ployer, whosenamemay ringabell,asMozart The work was written in1793 for Barbara von Programme note ©Richard Bratby The Dunciad , and Dido andAeneas ) hasreceived more thanhisfair ,

called him‘acoldwriter, of no While shepherds watched their Dido andAeneas condenses the condensesthe Humoreske : Aeneas : Aeneas .

11 Sun 15 Oct 12 Julian Steckel Julian Karen Gomyo Jeremy Denk 13 Op symphoniques, Études Robert Schumann ‘Yankeesur Doodle’) (Variations burlesques 17 d’Amérique, Op Souvenirs Vieuxtemps Henri Variations concertantes, Op Mendelssohn Felix Variations chromatiques de concert Bizet Georges Mystery Sonatas von Franz Biber Ignaz Heinrich Variations Virtuosity 3pm: on cello piano violin

( (1838–75) c 1676) (1843) – Passacaglia (1810–56) (1820–81) (1809–47)

17 (1834–7) (1829)

(1868) (1644–1704)

and melodramatic of other composersisbacked upby themighty as ameansof familiarising himself withtheworks But thenotion thatBizetsaw thepianoprincipally sight-readers of hisability.’ After LisztandMendelssohnonecouldseefew stop himwhensight-reading orchestral scores. talent asapianistissogreat thatnodifficulty can abilities, writinginaParis newspaper in 1863: ‘His he wrote to afriendin1867. Berliozconfirmed his nothing intheworld couldmake meplay publicly’, the pianovery well andlive onitvery poorly, as pianism primarilyasacompositionaltool. ‘Iplay fine pianist,thoughheseemsto have viewed his Bizet was regarded by hiscontemporaries asa Variations chromatiques deconcert Georges Bizet for aperformer of supreme insightandability. exercise initsown right:asortof musical Biber’s, thevery challengebecomesaspiritual in thecontext of works asavowedly spiritualas find outtwo generations after Biber’sdeath).But could beviewed withsuspicion(asMozartwould musical fashion andvirtuosityfor itsown sake without it.InanecclesiasticalcitysuchasSalzburg, single-movement masterpiece are sufficient and emotional demandsof thisconcentrated It demandsno theme taken from ahymn to theGuardian Angel. an angelleading achildby thehand,andabass alone hasnoexplanation, merely anengraving of a different sacred mystery; thefinal Passacaglia Mystery Sonatas of Salzburg –where hebeganto composethe worked from 1670 intheCatholicchurch-state Biber was borninBohemia,butlived and written for soloviolin. of themosttechnically demandingworks ever generally allowed thatthesewere (andare) some recognised from theoutset–even whileitwas featuring von Biber’s15 different.’ Andthe‘somethingmore’ inHeinrich ‘One arrives atsomethingmore, not something must first beavirtuoso,’saidFerruccio Busoni. ‘In order to getbeyond thevirtuosolevel, one Mystery Sonatas –Passacaglia Heinrich IgnazFranz von Biber just finished the Beethoven’s CminorVariations, WoO 80. ‘Ihave de concert scordatura of 1868, seeminglyinspired by Mystery scordatura Variations chromatiques in around 1676. Each represents Variations chromatiques (re-tuned) violinwas (or , either: the technical , either:thetechnical Rosary ) Sonatas ’ hewrote via crucis via crucis

family, inwhichhisyounger brother Paul was the Felix Mendelssohngrew upinanintensely musical Op 17 Variations concertantes for celloandpiano, puts awrong foot forward’. the 19th century…awork that,harmonically, never for solopianoto emerge from thethird quarter of called theresult ‘oneof thevery few masterpieces anything in atmosphere both asheady andasominous all overshadowed by thepullof Cminor, andan 11) andGounod’s overt andhidden)to Beethoven, Chopin(Variation a polonaise(Variation 10), andallusions(both And over these14 variations you’ll hearrecitatives, self-proclaimed chromaticism continuallysubverts. and shade, thoughit’satrajectory thatthework’s and Cmajorcreates aready-made senseof light imagination. Thefluctuation between Cminor display of virtuosity, both of thefingers andthe theme, thework certainly offers animposing Based onastrikinglylugubrious,chaconne-like Société NationaledeMusiqueinDecember1871. with hisown custom andperform itinpublicatthe was sufficiently pleasedwiththepieceto break the Hungarian-bornvirtuosoStephen Heller, he see.’ Andalthoughhededicated the with thispiece.Itistreated audaciously, you will drafted thiswinter. Iam,admit it,totally satisfied to hispupilEdmondGalabert. ‘ItisonthethemeI eight bustling, blossomingvariations represent Mendelssohn’s elegant originalthemeandits having Paul’ hewrote to theirsister Fanny). But – obviously unsatisfactorily (‘Isincerely regret not the elderlyYorkshire-born cellistRobert Lindley that year, where hetriedthemoutinpublicwith Paul. Hetook themonhistravels to Englandlater written these A decade earlier, inJanuary1829, Felix had wrote hisCelloSonata, Op 45in1838. cellist well into adult life: itwas for himthatFelix finance, butheseemsto have beena fine amateur F sharp…”’Paul went onto pursueacareer in “Felix! Inthe10th baryou played F;itshouldbe was over, tap himontheshoulderandsay softly: would occasionallysteal upto hisbrother after it the passionate expression andshortdarkcurls almost always withoutsheetmusic,theyouth with recalled that,‘WhenFelix played, whichwas ear inhisown right.Afamily friend,Adolf Marx, principal cellist.Paul possessedaformidable Carmen Variations concertantes Roméo et Juliette . GlennGould,writingin1973, (Variation 13): , Op 17 for Variations to to

13 Sun 15 Oct 14 singular bent and one whose lofty principles singular bent andonewhose lofty principles understandable, for here was a genius of a plaint hefrequently made, though perhapsit’s in aletter dated 18 March 1838. Thiswas a So wrote Schumannrather ruefully to Clara Études symphoniques, Op 13 Robert Schumann interval Programme notes ©Richard Bratby No juryonearthwould convict him,though. that helater describedas‘acrimeagainst music’. no fewer than75concertsinthree months:afeat his secondvisitto theUSA in1857, heperformed Vieuxtemps drew cheeringcrowds –andwhy, on tune multiple-octave stringcrossing, harmonics)to the gives thefullPaganini treatment (triplestops, introduction, over sixshortvariations basically and which,after agrandiose unaccompanied composed in1843 for hisfirst tour of theUSA, fail to bedelighted by his And whatlistener –Americanornot –could ability to captivate anaudience. on Paganini –seemsto have had anunparalleled by Schumannat14 andmodelledhistechnique his first violinrecital attheage of six,was praised lifetime, theBelgian-bornVieuxtemps –whogave about Auer thanabouteithercomposer. Butinhis idol HenriVieuxtemps, itprobably tells usmore , genuinelysaidthatabouthisboyhood the originaldedicatee of Tchaikovsky’s Violin whole of Tchaikovsky’s concerto.’ IfLeopoldAuer, ‘I’d rather have alineof Vieuxtemps thanthe burlesques sur‘Yankee Doodle’) Souvenirs d’Amérique, Op 17(Variations Henri Vieuxtemps represented somethingunderstood. of poetrythat,between Felix andPaul, clearly – upuntilthequiet,fantastical coda,atouch skilful players withoutexposing theirlimitations virtuosity onadomesticscale,designedto amuse sake.’ nothing atallandexisting purely for itsown with theirapplause–indeed,concerned with failed to understand something unconcerned idle for meto complain later thattheaudience are not suited for anaudience, anditwould be ‘You’ve donewell not to play my pieces.They Yankee Doodle 20minutes ? Thisiswhy players suchas Souvenirs d’Amérique , The virtuosityof the point sethisheartonClara Wieck. Ernestine episode,particularlyashehad by this perhaps anattempt to distance himselffrom the more generalised titleof Finale surunthèmedeM leBaron deFricken is quite apparent, for hecalledit version of thework of 1835, thepersonalelement briefly engaged in1834. InSchumann’sinitial Friedrich Wieck.SheandSchumannbecame of Ernestinevon Fricken, afellow pianopupilof significantly, theBaron was alsotheguardian variations, andthengot carriedaway. But,equally subtly amendedthetheme,started writinghisown it seems,was not overly impressed and,having proudly written several variations onit.Schumann, amateur music-lover, Baron von Fricken, whohad itself was not hisown butwas sentto himby an autobiographical work. TheCsharpminortheme Even by Schumann’sstandards, thisisahighly en forme devariations shortened thework andchangeditstitleto symphoniques of athemeand12 (1837), whichJeremy Denkplays today, consists fundamentally two publishedversions. Thefirst A quickexplanation abouttheeditions:there are emphasising theseriousnessof hisambition. appearing from - atthattime, from theepidemicof flashy studiesthatwere of the weren’t always intunewiththetimes.Thevery title Programme note ©Harriet Smith naturally have allowed. upbeat mannerthan theBaron’s themewould also provided anopportunityto endinamore English composerWilliamSterndale Bennett,but only ahomage to thework’s dedicatee, the opera stolzes England,freue dich’,from Marschner’s what was atthattimeawell-known melody, ‘Du final Strikingly, hereturns to themajorinextended much of aswitch to EmajorintheSeventh to thebass,against anew melody, whilehemakes the second French ouverture. Thework istirelessly inventive: in with instance. Schumannalsoreferences earliermusic, that are suchafeature of physical ones–thefugato andcanonicwriting as muchfrom itsintellectual demandsasfrom its to beunderestimated; thework’s difficulty stems Étude Étude Études symphoniques Der Templer unddieJüdin 8imbuedwiththespiritof theBaroque , whichincorporates aquotation from Étude . Fifteen years later, Schumann theoriginalthemeistransferred études Études symphoniques . Études symphoniques andisentitled études sets the work apart setsthework apart 1, 4and5,for . Thiswas not Fantaisies et Études Études is not isnot Étude Études Études . The . The is is . Claudio Monteverdi Claudio leafe of the fall The Peerson Martin Hope and 7pm: Variations Heartbreak on Zefiro torna Zefiro arr Jeremy Denk Julian Steckel Julian Karen Gomyo Measha Brueggergosman Jeremy Denk Cminor, 32 111 No in Op Sonata Piano ninfa della Lamento Monteverdi Claudio my love Since gone has Verdi/Aaron/Wasserman Andante con moto Trio Cmajor,Piano 87 2 in Op No Play I Still Adams John (2017) (2017) (pub cello piano violin European premiere 1632) (born 1947)(born

(born 1970)(born

(before 1619)(before (

c (1638) 1571–1651) (1833–97) (1951) soprano

, (1567–1643),

arr Jeremy Denk

(1770–1827)

(1880–82)

(1821–2) –

...

15 Sun 15 Oct 16 decades defined by unstinting, open-minded years atthehelmof NonesuchRecords –three In March thisyear, Robert Hurwitzcelebrated 30 I StillPlay (European premiere) John Adams wonderfully sophisticated –set of variations. piece of Renaissance highspiritsanearly–but (from onepointof view) makes thisexquisite the chaconne: therepeating ground bassthat But equallyunmistakable isthehallmarkof sensuality of thetwo echoing,intertwining voices. is infectious andunmistakable; asistheplayful musicali Arianna Rinuccini (thelibrettist of Monteverdi’s lostopera continuo to anamorous sonnetby Ottavio torna That’s certainly thecasewithMonteverdi’s between more thanoneperformer. was lively, licentious andsomethingto beshared (Cervantes implieditoriginated inMexico), butit exalted by Bach. Itmay have comefrom Spain long way from becomingthestately, solemnform in thetimeof Cervantes andMonteverdi was stilla The IllustriousKitchen-Maid revel,’ declares Miguel deCervantes inhisnovella ‘The danceof thechaconne makes life ajoyous Zefiro torna, S251 Claudio Monteverdi, arr Jeremy Denk is thestart of aprocess of renewal. nourishes invention, andthateven thefall of a leaf cyclical, that(asinallsetsof variations) repetition masterpiece thatremind usthattheseasonsare there’s aninventiveness andfantasy aboutthistiny speaks for itselfasasymbol of transience: but heavy metal bandTheFall of theLeafe. Autumn works by FinziandImogenHolstto theFinnish the centuries–inspiringvariations thatrange from of notes andgentlyevocative title,echoesdown brief, lamentingalman,withitsdescendingflurries famous FitzwilliamVirginal Book( Peerson, allof whichare contained withinthe the Elizabethanorganist andvirginalist Martin We have onlyfour survivingkeyboard piecesby The fall of theleafe PeersonMartin For texts, pleaseseepage18 , originallyamadrigal for two voices and ), andfirst publishedasoneof his in Venice in1632. Thedancerhythm (1613). The chaconne c 1619). Yet this Scherzi Scherzi Zefiro Zefiro ten years.’ very likely have not publisheditsequalinthelast to hispublisherSimrock onitscompletion‘–and yet had suchabeautifultriofrom me,’hewrote grown hisfamous beard in1878). ‘You have not older, wiserandmore confident composer(he’d to thesummerof 1882, we’re in theworld of an Second Trio, written over two years from 1880 creative lifetime to reach itsfinal form. Withhis tragedy: itwould take 37years andawhole Robert andClara Schumann,andtheirshared forged inthefires of hisyouthful relationship with Johannes Brahms. Hisfirst PianoTrio, Op 8,was Chamber musicwas always anintimate matter for Andante conmoto Piano Trio No 2inCmajor, Op 87– Johannes Brahms piano inhisoffice. keeps acopy of the short, very personaltribute to arecord exec who keyboard variations iswhollyintentional inthis resemblance to acelebrated Baroque setof the other ,’explains Adams. Any Still Play, I have to write apiecefor Bobthat’scalled overhearing Hurwitzadmit, ‘Istillplay’. ‘Ithought, is JohnAdams’s, inspired by hisdelightat brought theirown musicalofferings, andthis message viavideolink).Nonesuch composers Pat Metheny paidtribute (Jeremy Denksenta York, artistsranging from LouisAndriessento support of livingmusicians. AtthepartyinNew as itholdsthemmasterfully inplace. Brahms’s emotions: redoubling theirstrength, even piece, thevariation form serves asachannelfor piano asabirthday giftfor Clara. Here, asinthat Op 18 (1860), whichhe’doncetranscribed for echo theslow movement of hisString Sextet, emotion, thefive variations that follow distantly the heart.Andinboth theirformality andtheir to adopt Magyar dress before speakingfrom ‘graceful theme’. Throughout hislife, Brahms liked the ardent, Hungarianflavour of thatmelancholy graceful theme…’Butshe’dsurely have noticed the scherzois,andthenAndante withits each figure grows from the others! How charming each motif grows outof theonebefore it,how each movement, how wonderful theway inwhich Clara Schumannagreed: ‘WhataTrio! …Ilove andthatjustexpanded outto asking Well-Tempered Clavier

on the on the I as itunfolds, theemotional power of amusic cries inhearttrending dissonance:accumulating, and downwards. Against it,themaiden’s voice generating variations –pullsrelentlessly onwards while, aground bass–thatmostbasicmethodof interjections whichremain instricttime. Andallthe expressively against accompanying parts and the beatof thehand’–inother words, freely and should besung‘asheremotions dictate, not to unhappy girl,whosepart,Monteverdi directed, harmonised narrations frame thelamentof the mere expressive settingof Rinuccini’spoem.Richly lovelorn maiden.ButMonteverdi goesbeyond a enough, given it’stheheartbroken song of a falls into thecategory of 40 extraordinary miniatures. of emotion andcharacter heexplores inthese Love’ –butthatdoesn’tremotely cover therange Madrigals (1638) as‘Madrigals of War and Monteverdi describedhisEighthBookof Lamento dellaninfa Claudio Monteverdi, arr Jeremy Denk from 1960 hasinspired Jeremy Denktoday. though NinaSimone’sgloriouslysmokyversion opera’, andBennettscored ahitwithitin1951 – take anything away from listening to theoriginal wrote Englishlyricsthat,hehoped,‘would not La traviata Violetta’s aria‘Addio delpassato’ from Verdi’s ‘brainy musicianfriend’Jack Aaron whoidentified potential hitfor Tony Bennett–thoughitwas his his ideato adapt anItalian opera ariaasa was thesonof Russianimmigrants, anditwas The jazzdrummerHerbWasserman (1922–2001) capable of infinite variation. (1972). A‘standard’, after all,isamelodythat’s to Rachmaninov repurposed as Chopin-based audience asAmericanpopularsongs,from the of classicalmelodiesfinding asurprisingnew when itheard one,andthe20thcenturywas full their own story. TinPan Alley knew agreat tune Moishe Gershowitz) andOscarHammerstein tell (whosefather was born Kurt Weill, IrvingBerlin(bornIsrael Beilin), old Europe –andnameslike SigmundRomberg, The Great AmericanSongbookhasitsroots in Since my love hasgone /Herb Wasserman/Jack Aaron Programme notes © Richard Bratby drama inminiature. as theidealchoice.Wasserman I’m always chasingrainbows amorosi Lamento dellaninfa All by myself : understandably : understandably (1918) (1918) sounding edginessasshards of themainmotif, rhetorical writing,givingitanalmostdesperate- in whichsemiquaver motion contrasts withmore chords setthetone for thedriven Allegro conbrio, rhythms andthepreponderance of diminished came to write hisBminorSonata. Thosedotted jagged writingsurely inspiringLisztwhenhe bars of theMaestoso introduction, itsstarkly And thatangstislaidbare inthevery opening movement resolving theCminorangstof thefirst. against major, withtheseraphic Cmajorsecond slow, one to resolve theother: settingfast against intentional, andit’salmostasifBeethoven uses But thismarriage of opposites was absolutely the more extended by somedistance. consists of justtwo movements, thesecondbeing publisher thoughtthefinale was missing).Op 111 deafness had affected hisjudgement(and some contemporaries wondered ifhisprofound peculiar –wrongheaded even. Nowonder ambiguous. Onpaper, thiswork looks quite final sonata, matters had becomealot more ). Butby thetimeof this,his (just thinkof theFifthSymphony ortheThird Beethoven works of vehemence anddrama The key of Cminortraditionally inspired from 2 Arietta: Adagio molto, sempliceecantabile 1 Maestoso –Allegro conbrioedappassionato Piano Sonata No 32inCminor, Op 111 Ludwig van Beethoven interval major the music onlyoncedeparts from C major no ideawhere Beethoven willtake you. Strikingly, it’s alsoonemired inmystery: asitopensyou have all theformal restraints of thisvariation movement, weightless, tension gradually dissipating. Butfor ethereal setof variations thatbecomeever more movement are exchanged for arapt, almost The violenceandtheearthinessof thefirst edges into theArietta finale. sounding uneasy. And here itstays asthemusic chord, movement finally comesto rest onaCmajor developed since Beethoven’s first sonata. The as ifto remind ushow far theinstrumenthad and again exploits theextremes of thekeyboard development sectionthataboundsincontrast now fulfils itsdestiny asafull-blown fugueina we first heard it–andsoturnsoutto be,asit sounded ripefor contrapuntal treatment when in allranges of thekeyboard. Themotif itself often dramatically accented, are thrown about appassionato pianissimo 20minutes , apparently resolved butstill against semplice , minor , minor

17 Sun 15 Oct 18 raddoppian l’armonia gli antri canori. eprofonde ime valli eda monti e da egioconde; d’amor care tempran note eClori Fillide crin il Inghirlandato ifiori. prato ’l suo suon bel al danzar fa fronde, verdi le tra e, mormorando al’onde, discioglie pie e’l l’aer grato fa accenti soavi edi torna Zefiro SV251 torna, Zefiro MonteverdiClaudio Nahum Tate (1652–1715) my fate. forget ah! but me, Remember breast; thy in trouble No create my wrongs may earth, in laid am laid, Iam When earth in laid Iam When Henry Purcell Texts Programme note ©HarrietSmith sonata couldnot beimagined. calm. Amore fitting, touching farewell to thepiano keyboard. Thebriefcodareinforces thesenseof the themenow intheuppermostrealms of the variation, afeature thatcontinuesinto thesixth, glistening trillsadorn thepenultimate, fifth, murmuring demisemiquaver accompaniment; is calmerinmood,thethemepresented over a rhythms forming amad kindof dance;thefourth opening hasbecomealmosteuphoric,itsdotted variation. Bythethird variation thecalmof the and theincreasingly intricate figuration of each the smallerandsubdivisionsof thepulse unchanging, thesenseof momentumcomesfrom (in Variation 5)andwhilethebasicpulseis harmonies. their join caverns echoing below, valleys and high on peaks from and love; of songs joyful and bright sing Their hair garlanded, Phyllida and Chloris music. sweet his to dance flowers meadow the makes boughs, green the amid murmuring and, ice, from free waters the sets and air the freshens utterings gentle with and returns Zephyr Zephyr returns

così piangendo va: amori perduti I suoi là. hor qua hor Errava [i] fiori calpestando Sì cor. dal sospir gran Un sciolto venìa gli Spesso dolor suo il Scorgeasi volto pallidetto Sul uscì. albergo proprio Del Ch’una donzella fuora dì, il mondo al Recato ancora Febo havea Non ninfa la de Lamento MonteverdiClaudio gone. has my love since on, carry I must gone. has my love Since tomorrow alone, face Imust now but happiness our again Live you, enfold you,my arms in hold to Ilong how Beloved amemory. but me left is else Nothing ending? unhappy this for blame Ito Am astray? gone hearts two Were pretending, you aday? for played agame love Was our I’mOh lonely, on? Igo can h.ow him, with went my heart and another, for me left me, He’s left gone. has my love since tomorrow face I can’t sorrow, and tears with left and I’mOh lonely gone my love has Since Jack Aaron Giuseppe Verdi/Herb Wasserman/ Ottavio Rinuccini(1562–1621) come vuol mia ventura, hor piango hor canto. tormento, mio e’l occhi begli due l’ardor di esole, abbandonate selve io, per Sol manto. ceruleo Teti di bel il fregia argento d’or; puro luci più più sparge sole, l’aurora, e’l ciel in vaga più Sorge etc .

Translation © Susannah Howe torment. my of and eyes, beautiful two of fire the of commands, my destiny as sing, then I weep, forests, deserted lonely, through wandering alone, All blue. azure of mantle fair Thetis’ adorns silver apurer light; golden amore off gives sun sky, the the in lovely more rises dawn The the affection shethe had affection lost: thus lamenting that, and way this wandered she underfoot, flowers the Trampling heart. her from sigh a great heaved she frequently and Grief was visible, face pallid her Upon dwelling. her from when a maiden came forth day the in ushered not still had Phoebus Lament Maiden’s The

19 Sun 15 Oct 20 ‘Né mai sì dolci baci Miserella, fé.’ Amor, bella sì seno, in rinchiude non Già è, non mio ‘l che Colei, sereno più ha ciglio ‘l ‘Se Miserella, pregherà?’ mi Ancor fuggo ‘l se sì, che sì, Che Tutt’orgoglioso sta. struggo, mi lui di ‘Perché Miserella, affè.’ dirammi non Più martiri isuoi No, no, che me. da lontan non Se ‘Non vò più ch’ei sospiri Ottavio Rinuccini Rinuccini Ottavio AmorMesce fiamm’e gel. amanti cori nei Così ciel. al voci le Spargea Sì tra sdegnosi pianti sà.’ il Taci, troppo ché taci, ah soavi, più Né havrà, bocca quella Da Miserella, più.’ tormenti mi Non m’ancidi,O tu ch’io com’ei fu,Amor pur ‘Fa che ritorni mio può. non Tanto soffrir gel no, più, no, ah Miserella, Che ‘l traditor giurò.’ fé la dov’è ‘Dove, fermò, ciel il Mirando, ‘Amor,’ pie e‘l dicea, etc. etc. etc. etc. Unhappy maid, maid, Unhappy God!’ please me, spared be then will misery this all no, for oh me; near is he whenever longer no sigh him have will ‘I maid, Unhappy need no longer torment myself.’ I that so me, kill or be, to used he lover the more once be to him ‘Persuade indifference. cold such bear she can more no more, No maid! Unhappy swore?’ deceiver the that faith the of become has ‘what rest, to coming now feet sky, her the upon gaze ‘O Love,’ her said, she a love as true as mine.’ as true as a love implanted not has Love breast her in do, yet mine than brightly more shine may eyes ‘Her maid, Unhappy me?’ to return he will indifference, Ishow if so end, no himself preens he Isuffer, how ‘Seeing Translation © Bardoni Avril ice. and flame mingles love hearts lovers’ in thus for air; the filled she plaints sad and outbursts angry with so And well.’ too that know you for hush, silent, be …ah, gentler nor sweeter from kisses those lips, receive ever you will ‘Nor maid, Unhappy etc. etc. etc. etc. Michael Wilson Thomas, andCarnegie HallwiththeOrchestra Symphony withMichael Tilson This season,hereturns to theSan Francisco seven centuriesof Western music. programme thatincludedajourney through ’s White LightFestival inaspecial Boston, SanFrancisco, Philadelphia andat including, recently, inChicago, Washington, extensively ontour inrecital throughout the US, Klavier-Festival Ruhr, andcontinuesto appear Concertgebouw, theColognePhilharmonieand also recently made hisdebutsattheAmsterdam whom hewillperform again thisseason.He Symphony Orchestra andBritten Sinfonia, with in pastseasonshasperformed withtheLondon playing Bartók’sSecondPianoConcerto, and Hall. Healsoreturned to theBBC Proms of theUK,includingareturn to theWigmore Fields. Lastseasonheundertook arecital tour as ontour withtheAcademy of St Martininthe Philharmonic andCleveland Orchestra, aswell Symphony, ,LosAngeles has recently performed withtheChicago He returns frequently to CarnegieHalland and Sciences. recently elected to theAmericanAcademy of Arts Fellowship andtheAvery FisherPrize,hewas also pianists. Winnerof aMacArthur ‘Genius’ Jeremy Denkisoneof America’sforemost Jeremy Denk About the performers the SaintPaul Chamber Orchestra withmultiple of St Luke’s, andcontinues asArtisticPartner of Jeremy Denk piano

Hiep Vu is of Bach’s recorded onmodernpiano.Hislatest recording Building aLibrary Beethoven sonata was selected by BBC Radio 3’s Lidoine ( contes d’Hoffmann opera stage includeGiulietta andAntonia ( a widerange of repertoire. Highlightsonthe renowned for hermusicalityandversatility across Canadian soprano MeashaBrueggergosman is Measha Brueggergosman Op 111 with Ligeti Nonesuch Records paired Beethoven’s Sonata, Random HouseintheUS.Hisdebutdiscfor will bepublishedby Macmillan intheUKand ,andisworking onabookwhich Classical Style: anopera (of sorts) Book Review New Republic in publicationsincluding perceptive writingonmusic,whichhasappeared Jeremy Denkisknown for hisoriginaland and . with hislongtimemusicalpartnersJoshuaBell Academy of St Martin intheFields,andaUStour Seoul. Future projects includereuniting withthe including recitals inHongKong, Singapore and Lash. Healsomakes hisdebutontour inAsia, new pianoconcerto written for himby Hannah performances throughout theseason,anda Mahagonny Measha Brueggergosman Dialogues desCarmélites Goldberg Variations ), EmiliaMarty( . Hehaswritten thelibretto for , Guardian as thebestavailable version Études ), Elettra ( and ; hisaccount of the The New Yorker The Makropulos Idomeneo The soprano . , presented by

), Jenny (Weill’s New York Times ), Madame , the , the The The Les Les

21 About the performers 22 for Barbican withtheBBC Symphony Orchestra a return to Madrid’s Teatro Real andto the and arecital attheSydney Opera House; debut withtheMelbourneSymphony Orchestra Her forthcoming highlightsincludeherAustralian Julius Drake andSimonLepper. worked includeJustusZeyen, Roger Vignoles, and Bergen festivals. Pianistswithwhomshehas as attheSchwarzenberg, Edinburgh, Verbier Musikverein andMadrid’s Teatro Real, aswell the ,theViennaKonzerthaus and at CarnegieHall,Washington’s Kennedy Center, recital andshehasgiven innovative programmes Her earliercareer was focused onthesong Franz Welser-Möst. Daniel Harding, Michael TilsonThomasand Barenboim, SirAndrew Davis, Gustavo Dudamel, working withconductors suchasDaniel Philharmonic andtheCleveland Orchestra, Francisco Symphony , New York with theBoston, London,New World andSan On theconcertplatform, shehasappeared audiences andholdsseveral honorary doctorates. educational projects andthepromotion of new Measha Brueggergosman champions Orchestra earned heraGrammy nomination. Lieder while herrecording of Wagner’s Duparc andFauré, andwon several awards, Brahms, , Schubert,Debussy, Night andDreams widely criticallyacclaimed. Hersubsequentdisc, by Schoenberg, SatieandWilliamBolcom,was Her first recording for DG, Tilson Thomas. and theLosAngelesPhilharmonicunderMichael Philharmonic Orchestra underVasily Petrenko the Philadelphia Orchestra, theRoyal Liverpool Walking Noise Affair Dead ManWalking ), Hannah(Miroslav Srnka’s ) andSister Rose (Jake Heggie’s withFranz Welser-Möst andtheCleveland ). , featured songsby Mozart, ; andperformances with Surprise Wesendonck Make No , of works Dead Man DC, New York Philharmonic andthe Ottawa, NationalSymphony inWashington orchestras, NationalArtsCentre Orchestra Houston andSanFrancisco Symphony the , theDallas,Detroit, she regularly performs withorchestras such as Already strongly established inNorthAmerica, WDR RundfunkSinfonieorchester inCologne. Orkest, ViennaChamberOrchestra andthe Symphonique deRadio France, Residentie Radio Symphony orchestras, Orchestre Birmingham, DanishNationalandStuttgart included concertswiththeBamberg, Cityof Recent European engagements have now makes herhomeinBerlin. grew upinMontreal andNew York and Violinist Karen Gomyo was borninTokyo, Karen Gomyo Vasks’s of thecomposer, aswell asperforming Pe of MatthiasPintscher’s music andgave theNorthAmericanpremiere She isstrongly committed to contemporary Taiwan NationalSymphony orchestras. as well asdebutswiththeKristiansandand WASO Perth andtheTasmanian Symphony, Symphony, followed by performances with with EdodeWaart andtheNew Zealand at theSydney Opera Houseandatour Other highlightsthisseasonincludearecital Symphony conducted by Esa-Pekka Salonen. Adams’s ViolinConcerto withtheChicago season shegives theworld premiere of Sam Philadelphia Orchestra, amongothers. This Karen Gomyo Vox amoris violin with the Lapland Chamber with theLaplandChamber Mar’eh under the baton underthebaton - teris teris and Goldschmidtwon anECHOKlassikAward. 2012his recording of theconcertos by Korngold and theMunichChamberOrchestra Prize.In the Audience Award, theOehmsClassicsAward International MusicCompetition,alsowinning In 2010, JulianSteckel won first prizeattheARD Julian Steckel Julian Steckel for herexclusive useby aprivate sponsor. ex-Foulis Stradivarius violinof 1703, bought Karen Gomyo plays onthe‘Aurora’ Ismo Eskelinen. also performs regularly withtheFinnishguitarist guitar) andPedro Giraudo ().She Curto (bandoneon),ClaudioRagazzi (electric pianist Pablo Ziegler, together with Hector del Piazzolla, whichsheperforms withhislongtime Another of herinterests isthemusicof Astor Australian Festival of ChamberMusicin Townsville. appears attheSeattleChamberFestival andthe van Keulen andLawrence Power. Next year she Christian IhleHadland, Antoine Tamestit, Isabelle Ove Andsnes,OlliMustonen, Kathryn Stott, Schiff, ChristianPoltéra, AlisaWeilerstein, Leif music collaborators have includedHeinrich mezzo-soprano SusanGraham. Herchamber Chamber Orchestra andfellow guestartistthe Europe. Sherecently toured withtheAustralian performed infestivals throughout theUSA and As arecitalist andchambermusician,shehas Olli Mustonen andSofia Gubaidulina. music compositionswithJörg Widmann, Orchestra; shehascollaborated inchamber cello

Gothenburg Symphony Orchestra, Orchestre de This seasonJulianSteckel makes debuts withthe Orchestra, was released lastyear. by C PEBach withtheStuttgart Chamber Paul Rivinius.Hislatest CD,of celloconcertos critically acclaimed recordings withpianist Julian Steckel hasreleased anumberof Zermatt, MondseeandLucernefestivals. Ludwigsburg, Moritzburg, ,Schwetzingen, Holstein, Mecklenburg-Western Pomerania, at the‘Spannungen’Heimbach, Schleswig- and ModiglianiQuartets. Hehasappeared Lonquich, QuatuorEbèneandtheArmida Pressler, VildeFrang, LarsVogt, Alexander Antje Weithaas, Veronika Eberle,Menahem artists includingJanineJansen,ChristianTetzlaff, active asachambermusician,performing with In addition to hiswork asasoloist,heisalso Litton, LanShuiandMichael Sanderling. John Storgårds, DanielRaiskin, Andrew Yamada, HeinrichSchiff,Andrey Boreyko, Mario Venzago, Christopher Hogwood, Kazuki Norrington, Valery Gergiev, Gustavo Gimeno, with leading conductors, includingSirRoger Vienna Chamberorchestras. Hehasworked Baltica andtheZurich,Stuttgart, Franz Lisztand orchestras, Orchestre deParis, Kremerata the Royal andSt Petersburg Philharmonic and Warsaw Radio Symphony orchestras, Berlin, Copenhagen, Saarbrücken, Stuttgart throughout Europe, includingtheBavarian, He regularly performs withmajororchestras an UrsW Mächler cellomade in2005. and Performing ArtsinMunich.Heplays professor of celloattheUniversity of Music Schiff andAntjeWeithaas andisnow a Rivinius, BorisPergamenschikow, Heinrich Julian Steckel studied withUlrichVoss, Gustav Moscow andinhishometown Pirmasens. Dresden, Istanbul, ,Antwerp, Jerusalem, Other highlightsincludeconcertsinMunich, Festspielhaus andtheElbphilharmonieHamburg. return to theLucerneFestival, theBaden-Baden tours Italy withCamerata Berne,following his andtheHague Residentie Orkest. Healso

23 About the performers Star Pianists A5programmead.indd 1

Piotr Anderszewski MG de Saint Venant Saint de MG Anderszewski Piotr Bavouzet Benjamin Ealovega Jean-Efflam Abdourazakov Nissor Abduraimov Behzod 24Images: in 2018 in pianists Star Book nowBook atbarbican.org.uk/classical Wed 11 Apr Variations Diabelli the plays Piotr Anderszewski Mar 25 Sun Debussy plays Bavouzet Jean-Efflam Thu 18 Jan Sonata Liszt the plays Abduraimov Behzod 02/10/2017 18:11