LUDWIG VAN BEETHOVEN Ludwig van Beethoven Major, Op. 73; the String Quartet in E-flat Major, PIANO CONCERTO NO. 5 Born Bonn, baptized December 17, 1770; died Op. 74 (Harp); the Piano Sonatas in F-sharp, & WORKS FOR SOLO PIANO March 26, 1827, Vienna G, and E-flat, Opp. 78, 79, and 81a; et al. Piano Concerto No. 5 in E-Flat Major, Op. 73 Unlike the Eroica Symphony (composed in Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor” “Emperor” (1809) 1803, and in whose genesis Napoleon is 1 I. Allegro [20.26] In May 1809, Vienna fell to Napoleon for the directly, infamously, implicated), the Fifth Piano 2 II. Adagio un poco moto [6.55] second time in four years. The first conquest Concerto’s sobriquet – Emperor – was not 3 III. Rondo [10.13] of the Austrian capital, in 1805, happened bestowed by Beethoven, but by a publisher 4 Praeludium, WoO 55 [2.29] relatively quietly, as French forces entered the post facto. Although Beethoven completed Piano Sonata No. 27, Op. 90 city without opposition. But the 1809 siege the Concerto before the French invasion, the 5 I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck [5.26] of Vienna was accompanied by a heavy zeitgeist surrounding the Napoleonic Wars 6 II. Nicht zu geschwind und sehr singbar vorgetragen [6.27] bombardment. History has remembered the seems nevertheless to have permeated the image of Beethoven cowering in his brother’s work. Witness its martial rhythms and Contredanses, WoO 14 7 I. Contredanse in C Major [0.29] basement, holding a pillow tightly around his suggestions of military triumph in the 8 II. Contredanse in A Major [1.54] ears to preserve what was left of his hearing. outer movements. 9 III. Contredanse in D Major [1.04] 0 IV. Contredanse in B-Flat Major [1.10] Beethoven wrote to his publisher on November The Emperor, the last of Beethoven’s five piano q V. Contredanse in E-Flat Major [0.33] 22, “We are enjoying little peace after violent concerti, recalls the Eroica in several ways. w VI. Contredanse in C Major [0.29] destruction, after suffering every hardship that The two works share the same key, the same e VII. Contredanse in E-Flat Major [0.39] one could possibly endure. I worked for a few nobility of character. Indeed, the Emperor is r VIII. Contredanse in C Major [0.34] weeks in succession, but it seemed to me more sheerly symphonic in scope – more so than t IX. Contredanse in A Major [0.39] for death than for immortality… I no longer Beethoven’s other piano concerti, which, until y Polonaise Op. 89 [5.25] expect to see any stability in this age. The the Fourth (1806), generally proceed in the

Total timings: [64.52] only certainty we can rely on is blind chance.” Mozartian tradition. The Fourth and Fifth Despite Beethoven’s bleak outlook during this Concerti, composed after Beethoven’s promise ALESSIO BAX PIANO time and a consequently flagging impulse to in 1803 “from now on… to embark on a SOUTHBANK SINFONIA work, the year 1809 produced several major new path,” count alongside the Eroica as SIMON OVER CONDUCTOR compositions: the Piano Concerto No. 5 in E-flat signature works of his so-called “heroic” style. www.signumrecords.com - 3 - The piano concerto as a genre provides a Bucking the convention of orchestral exposition for introspection. Timpani and brass amplify The piano enters with grand, majestic chords, natural medium for Beethovenian heroism: preceding the soloist’s entrance, the Fourth the theme’s might – a thundering departure yet dolce; the hero’s strength is coincident the solo virtuoso, seated in front of the begins with a gentle utterance by the soloist from the Fourth Concerto, in which trumpets with his benevolence. Such is doubly asserted orchestra – and, nota bene, at Beethoven’s alone. The Fifth goes even farther – to the and timpani don’t appear until the final movement. when the piano takes up the contemplative own instrument. (Beethoven himself was shock, one can imagine, of contemporary second theme, pianissimo, leggiermente, and soloist in the premieres of the first four listeners – beginning with a piano cadenza The second theme is contemplative: staccato elaborated into thoughtful triplets – the concerti, but his worsening deafness precluded (typically reserved for the movement’s final lap) violins, followed by splendid, legato horns (see Solomonic reasoning of an enlightened ruler his premiering the Fifth. Beethoven’s student in dialogue with fortissimo orchestral tuttis. excerpt on previous page). (see excerpt below). and patron, Archduke Rudolph, to whom Beethoven dedicated the Concerto, gave its The Allegro’s primary thematic material further So is it brief, before the first theme returns “The quality of mercy is not strain’d,” first performance on January 13, 1811, at probes the essence of heroism. First violins excitedly to the fore. Anticipating the Romantic Shakespeare tells us. “It droppeth as the the palace of Prince Joseph Lobkowitz. The present the first theme, a gallant melody buoyed trope of Robert Schumann’s complementary gentle rain from heaven / Upon the place German pianist Friedrich Schneider gave the by a rush of sixteenth notes in the seconds and alter egos, the virile Florestan and the pensive beneath … ‘Tis mightiest in the mightiest: Emperor’s public premiere later that year, on violas. Clarinet takes up the melody, dolce, Eusebius, the Allegro’s exposition is squarely it becomes / the throned monarch better than November 28.) In this light, the Fourth and noble and sentimental, punctuated by dotted- Florestan’s purview. his crown.” Fifth Concertos each present an unorthodox rhythm tutti outbursts, as if to depict at once – indeed, revolutionary – take on heroism. the archetypal hero’s strength and capacity

- 4 - - 5 - Certainly, Beethoven’s throned monarch Notwithstanding the fi rst movement’s grandeur, emerging from a hazy fog of horns. This gesture moody creation of the angsty seventeen-year-old brandishes his sceptre too. A rich development and despite being the shortest of the explodes, attacca, into the ebullient 6/8 rondo Beethoven. More precisely, the Prelude betrays section pits the soloist toe-to-toe with the Concerto’s three movements, the sublime fi nale. The victorious refrain infuses the the young Beethoven’s deep study of Bach’s orchestra en masse. Throughout this colossal Adagio, in B Major, constitutes the Emperor’s galloping lilt of 6/8 time (ONE-two-three, TWO- keyboard preludes. (In 1783, Beethoven’s movement, the soloist is unquestionably the emotional heart. Its searching melody, marked two-three) with an adrenalized rhythmic jolt teacher, Christian Gottlieb Neefe, published catalyst, leading the orchestra here with by an aching ascent of a seventh, is surely (ONE-two-THREE, two-two-THREE, ONE-) see the following on his student’s behalf: “Louis virtuosic, fi nger-twisting counterpoint, there one of Beethoven’s most deeply felt (see excerpt at the bottom of the previous page).. van Beethoven… a boy of 11 years [sic] and of with magnifi cently sonorous proclamations. excerpt below). most promising talent. He plays the piano This fi nale is a sonata-rondo, a hybrid form in very skillfully and with power, reads at sight which the refrain not only recurs in between very well, and I need say no more than that contrasting episodes, but develops as the the chief piece he plays is Das wohltemperirte movement proceeds. Beethoven’s hero is ever Clavier of Sebastian Bach, which Herr Neefe searching, ever pursuing a new path. His put into his hands. … The youthful genius journey is never complete. … would surely become a second Wolfgang In 1821, Sir John Russell wrote of Beethoven, end of his life, writes biographer Maynard Amadeus Mozart if he were to continue as he “The moment he is seated at the piano, he is Solomon, “Beethoven’s most intimate means of has begun.”) evidently unconscious that there is anything self-communion.” The present recording complements the in existence but himself and his instrument.” Emperor Concerto with a selection of Beethoven composed a set of twelve In this poignant, private music, we hear the The Adagio ends with a pregnant closing lesser-known works for solo piano. There are Contradanses, WoO 14, for orchestra between composer thus seated at his piano – until the gesture: an ascending E-fl at Major chorale, two early works: a short prelude and a set 1791 and 1801; nine appear in versions for solo of contredanses; and two later ones, the piano. They seem innocuous, inconsequential Polonaise in C Major and the Sonata No. 27 in works, until the ear detects in the seventh E Minor, Opp. 89 and 90, both composed in 1814. dance a seed for the Eroica Symphony.

The Prelude in F Minor, WoO 55, is thought The polonaise, a stately Polish dance to have been composed in 1803 (it was distinguished by its characteristic rhythm – published in Vienna in 1805), though some sources contend it may date from as early as 1787. It is tempting to hear it as the dark,

- 6 - - 7 - – was popular among European nobility in the name the fact. I required no new motive thus und sehr singbar vorgetragen – not too fast early nineteenth century. Beethoven dedicated publicly to testify my sense of your friendship and very singable) is a flowing, bucolic E his Polonaise in C Major, Op. 89, to the Empress and kindness.” Major reverie. Elisabeth Alexeyevna of Russia, whom he met at the Congress of Vienna. The Empress The work intended for Lichnowsky was Beethoven’s associate and untrustworthy rewarded Beethoven with a fee of 50 ducats. Beethoven’s Piano Sonata No. 27 in E Minor, biographer Anton Schindler made the spurious Beethoven’s Polonaise begins with a flourish Op. 90. It remains one of the least well-known claim that the composer had intended to title before settling into a lively, delectable dance among Beethoven’s iconic cycle of thirty-two the movements Kampf zwischen Kopf und Herz tune. Even a C Minor interlude is fleeting, and piano sonatas, but of course merits closer (“A contest between head and heart”) and contains nothing of Beethoven’s signature attention. It is a compact work, comprising Conversation mit der Geliebten (“Conversation C Minor Sturm und Drang (cf. the Fifth just two movements. The sonata-form first with the beloved”) – references, supposedly, Symphony, Pathétique Sonata, et al.); this movement, marked Mit Lebhaftigkeit und to Lichnowsky’s consideration of a marriage Polonaise enjoys fair weather from start to finish. durchaus mit Empfindung und Ausdruck (with prospect. Though utter fiction, Schindler’s liveliness and with feeling and expression claim would not be implausible based on the “I had a delightful walk yesterday with a friend throughout), is rhetorically trim. It may put Sonata’s musical content alone. in the Brühl,” Beethoven wrote in September the listener in mind of Beethoven’s Serioso 1814 to his patron, the Count Moritz Lichnowsky, Quartet, a study in brevity whose first © 2017 Patrick Castillo “and in the course of our friendly chat you movement contains all components of a were particularly mentioned, and lo! and proper sonata-form movement – a brusque behold! on my return I found your kind letter. opening theme, lyrical second theme, full I see you are resolved to continue to load me development section, recapitulation, and with benefits. As I am unwilling you should coda – concentrated inside just four suppose that a step I have already taken is minutes of music. Likewise, this Sonata’s prompted by your recent favors, or by any first movement is all lean muscle, no fat, motive of the sort, I must tell you that a sonata nor even repeats. Its terse first theme yields of mine is about to appear, dedicated to you. fluidly to a contrasting second theme; the I wished to give you a surprise, as this development section occurs in the blink of an dedication has been long designed for you, eye, and the movement comes to a tidy close. but your letter of yesterday induces me to The second movement (Nicht zu geschwind

- 8 - - 9 - ALESSIO BAX Martin E. Segal Award, which recognizes young artists of exceptional accomplishment. Combining exceptional lyricism and insight with consummate technique, Alessio Bax is Bax’s celebrated discography for Signum without a doubt “among the most remarkable Classics includes a solo album of Mussorgsky young pianists now before the public” and Scriabin; a guest appearance on Chung’s (Gramophone). He catapulted to prominence disc of Poulenc piano works; Lullabies for Mila, with First Prize wins at both the Leeds and a collection dedicated to their baby daughter; Hamamatsu International Piano Competitions, Beethoven’s “Hammerklavier” and “Moonlight” and is now a familiar face on four continents, Sonatas (a Gramophone “Editor’s Choice”); not only as a recitalist and chamber musician, Bax & Chung (Stravinsky, Brahms, and Piazzolla); but as a concerto soloist who has appeared Alessio Bax plays Mozart (Piano Concertos with more than 100 orchestras, including the K. 491 and K. 595); Alessio Bax plays Brahms London and Royal Philharmonic Orchestras, (a Gramophone “Critics’ Choice”); Bach Dallas and Cincinnati Symphonies, NHK Transcribed; and Rachmaninov: Preludes & Symphony in Japan, St. Petersburg Philharmonic Melodies (an American Record Guide “Critics’ with Yuri Temirkanov, and the City of Birmingham Choice 2011”). Recorded for Warner Classics, Symphony with Sir Simon Rattle. his Baroque Reflections album was also a Gramophone “Editor’s Choice”. An accomplished chamber musician, in summer 2017 Bax inaugurated a three-year appointment Bax graduated with top honors from the as Artistic Director of Tuscany’s Incontri in Terra conservatory of Bari, his Italian hometown, at di Siena festival. His regular collaborators just 14. After further studies in Europe, in 1994 include his wife, pianist Lucille Chung, superstar he moved to the United States. A Steinway violinist Joshua Bell, Berlin Philharmonic artist, he now lives in New York City with principals Daishin Kashimoto and Emmanuel Lucille Chung and their daughter, Mila. Pahud, and the Chamber Music Society of Lincoln Center. In 2013 he received the Andrew www.alessiobax.com

Wolf Chamber Music Award and Lincoln Center’s © Lisa-Marie Mazzucco

- 10 - - 11 - Violin I Cello Clarinet Eugene Lee Rebecka Lagman Anthony Friend Joanna Park Mike Grittani Ross Montgomery Maria Oguren Bernadette Morrison Francina Moll Salord Carola Krebs Bassoon Andrea Montalbano Rebecca Eldridge John Han Bass Andres Yauri Daniel Griffi n Violin II Wendy Hellmann Horn Georgia Hannant Michael Arnold Claire Sledd Flute Jonathan Farey Colm Ó Braoin Jemma Freestone Jessica Coleman Luke Russell Trumpet Martha Lloyd Gwyn Owen Viola Dominic Hammett Julia Doukakis Oboe Elin Parry Lavinia Redman Timpani / Percussion Anastasia Sofi na Emma Gibbons Louise Goodwin Kesari Pundarika

Proud Principal Partner of Southbank Sinfonia

- 12 - - 13 - Southbank Sinfonia is an orchestra of young musical ventures. To date, nearly 500 musicians SIMON OVER professionals described by The Independent have completed the programme, many going as ‘a hugely talented young ensemble on to enjoy exciting careers with leading Simon Over studied at the Amsterdam whose performances are always theatrical’. orchestras worldwide. Conservatoire, the Royal Academy of Music It is internationally recognised as a leading and Oxford University. From 1992 to 2002, orchestral academy, each year bringing Founded in 2002 by Music Director Simon Simon was a member of the music staff of together 33 of the world’s most promising Over, the orchestra is proud to be based at St Westminster Abbey, and Director of Music at graduate musicians to provide a much-needed John’s Waterloo, in the heart of London, where both St Margaret’s Church and the Chapel of springboard into the profession. its musicians bring their own exploratory St Mary Undercroft in the Palace of impulse to bite-sized Free Rush Hour Concerts. Westminster. Since 2015 he has been Music Its annual fellowship provides unparalleled By virtue of their youth, energy and excellence, Director at St Clement Danes, the central opportunities to gain crucial experience in Southbank Sinfonia players not only bring church of the Royal Air Force. He is the orchestral repertoire, chamber music, opera, fresh resonance to the stage but are also Founder-Conductor of the UK Parliament dance and theatre – often in partnership with ideally placed to act as role-models who Choir and has conducted all the choir’s leading performing arts organisations including inspire many younger musicians on London’s performances in conjunction with the City the Royal Opera and Academy of St Martin in Southbank and beyond. of London Sinfonia, La Serenissima, London the Fields. From giving the first ever performance Festival Orchestra and Southbank Sinfonia. of Mozart’s Requiem at Notre-Dame to Enabling players to devote themselves fully taking centre-stage in the National Theatre’s to the experience, every place is free and Simon is Music Director and Principal Conductor acclaimed new production of Amadeus, every player receives a bursary. Making this of Southbank Sinfonia. He founded the Southbank Sinfonia ensures new generations possible is a family of supporters – trusts, orchestra in 2002 and has conducted many In 2006, Simon was appointed Conductor of uphold a venerable tradition, but also asks anew organisations and individuals like you – who of its concerts throughout the UK, in Europe the Malcolm Sargent Festival Choir and has what orchestras have the power to communicate recognise the players’ potential and relish and in Asia. He has conducted Southbank been associated with the Samling Foundation in the modern world. following their remarkable progress and the Sinfonia in recordings with cellist Raphael - working with young professional singers - spirit they exude in performances. To find Wallfisch, tenor Andrew Kennedy, soprano Ilona since its inception. As Music Director of Bury Alongside this, specialist development sessions out how you can support the orchestra and Domnich and tenor Leo Nucci. In 2009-10 Court Opera he conducted Dido and Aeneas, that embrace leadership and communication discover more about its next performances, visit he conducted the orchestra in 71 performances Rigoletto, La Cenerentola, Eugene Onegin, provide each musician with the professional southbanksinfonia.co.uk of Every Good Boy Deserves Favour (Tom The Fairy Queen, The Rake’s Progress and toolkit required to pioneer their own future Stoppard/André Previn) at the National Theatre. Madama Butterfly. Further credits include Guest

- 14 - - 15 - Conductor of the City Chamber Orchestra (Hong Kong), the Goyang Philharmonic Orchestra (Korea) and directing Mozart’s Bastien und Bastienne for the 2011 Vestfold International Festival in Norway. Recently appointed Principal Guest Conductor of the Southern Sinfonia, New Zealand, in 2013 he conducted a joint concert with the Yamagata Symphony Orchestra and Southern Sinfonia, representing Australia and New Zealand in Tokyo’s Asia Orchestra Week.

Simon has worked both as conductor and accompanist with many internationally-acclaimed artists, including Sir Thomas Allen, Sir James and Lady Galway, Dame Emma Kirkby, Dame Felicity Lott, Sir Willard White, Alessio Bax, Emma Johnson, Simon Keenlyside, Malcolm Martineau, and Amanda Roocroft. As a pianist, his performances with American violinist Miriam Kramer at the Wigmore Hall and Lincoln Center, New York – as well as on several recordings – have received high critical acclaim.

- 16 - - 17 - ALSO AVAILABLE on signumclassics

Recorded in St Silas Church, Kentish Town, London, UK on 19th and 20th April 2017 Producer – Anna Barry Recording Engineer – Mike Hatch Recording Assistant & Editor – Michael Gerrard

Cover Image – © Lisa-Marie Mazzucco Design and Artwork – Woven Design www.wovendesign.co.uk

P 2018 The copyright in this sound recording is owned by Signum Records Ltd © 2018 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Mozart: Concertos Nos. 24 & 27 Lullabies for Mila Alessio Bax piano Alessio Bax piano SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. Southbank Sinfonia SIGCD439 +44 (0) 20 8997 4000 E-mail: [email protected] Simon Over conductor www.signumrecords.com SIGCD321 “...this unselfconscious and simple playing is the most appealing to us all, infants and adults alike. I found “Bax and the Southbank Sinfonia bring a new lease of life to myself greatly enjoying this calming recording and surprisingly these concertos, making the most of the clean lines as well relaxed. A beautiful achievement without verging into as the cheekier moments hidden within the score … The the saccharine” result is youthful, beautiful music, peppered with Mozart’s NE:MM trademark tunes.” Classic FM

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 19 -