MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO

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Recorded at Southbank Centre’s Royal Festival Hall, London, 8 May 2011 Producer – Misha Donat Engineer – Jonathan Stokes, Classic Sound Ltd Design – With Relish (for the Philharmonia Orchestra) and Darren Rumney Cover image CLebrecht Music & Arts MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO. 3

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“On Mahler” Mahler’s earlier symphonies frequently draw GUSTAV MAHLER on the world of his Wunderhorn songs – A century after his death, Mahler’s music settings of simple folk poems about birds and SYMPHONY NO. 3 resonates more powerfully than ever. Its animals, saints and sinners, soldiers and their unique mix of passionate intensity and lovers. But this apparently naive, even childlike CD1 terrifying self-doubt seems to speak directly to Part One tone is found alongside vast musical our age. One moment visionary, the next canvasses that depict the end of the world. In 1 I. Kräftig. Entscheiden 37.46 despairing, this is music that sweeps us up in quieter, more intimate movements, Mahler CD2 its powerful current and draws us along in its seems to speak intimately and directly to the Part Two drama. We feel its moments of ecstatic rapture listener, but the big outer movements are 2 II. Tempo di Menuetto. Sehr mässig 11.32 and catastrophic loss as if they were our own. addressed to the entire world. At its most This is not music for detached contemplation: sentimental, Mahler’s music echoes the fairy- 3 III. Comodo. Scherzando. Ohne Hast 17.39 it matters to us, urgently and directly. Its tales of children’s picture books, yet in the 4 IV. Sehr langsam. Misterioso 9.10 musical language may be romantic, but what next moment it marches with gritted teeth and 5 V. Lustig im Tempo und keck in Ausdruck 4.15 makes Mahler’s music so distinctively modern unleashes terrifying violence. is its unflinching honesty – its embrace of the 6 VI. Langsam. Ruhevoll. Empfunden 25.51 contradictions of life and of art. Few All this makes for great symphonic dramas, Total timings: 68.29 composers wrote music of such searing lyrical often lasting more than an hour, which imply a PHILHARMONIA ORCHESTRA intensity, nor music that is often ironic to the vivid sense of storytelling without ever being point of parody. But it took a long time for this confined to a specific programme (as a young PHILHARMONIA VOICES unique tone to be understood; in his own man, Mahler adopted the idea of programmes TIFFIN BOYS’ CHOIR time, critics heard Mahler’s ability to see the from the tone poems of Richard Strauss, but SARAH CONNOLLY MEZZO-SOPRANO world from several perspectives as a sign of soon abandoned them). This is a composer LORIN MAAZEL CONDUCTOR insincerity. Today, we tend to read it as quite who insisted that the symphony should www.signumrecords.com the opposite. ‘include the whole world’ – hence its bewildering

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mix of different characters, and the sense that, and annotations on his scores, he encouraged Symphony No. 3 (1895-96) unordered by the rational or moral codes of for him, it worked rather like the great novels of listening to his music as a kind of modern society, and the music to his vast first the 19th century, such as those by Dostoyevsky autobiography, as Berlioz had before him. As he had been with both his First and Second movement certainly seems to bear this out. or Balzac. symphonies, Mahler was initially ambivalent But like all great art, Mahler’s music far about whether the Third was indeed a Like the Second Symphony, the Third is a mega- We should remember that Mahler was a man exceeds the life that made it, just as it far symphony or a symphonic poem. The early symphony, a work with a cosmic ambition to of the theatre who, for the 30 years of his exceeds his own age. His symphonies look outline sketches from 1895 suggest various sum up the trajectory of creation itself, in professional life, spent most of his time and back to those of Beethoven and Schubert, but programmatic titles for individual movements Mahler’s own words ‘a musical poem embracing energy conducting in the opera house. He at the same time forwards to the music of and for the work as a whole. One such was all stages of development in a step-wise ascent knew how to create an effect, to stage a scene Shostakovich and Britten. In his later works he ‘The Happy Life, a Midsummer Night’s Dream’, [that] begins with inanimate nature and and to pace a drama. But, like anyone who has was increasingly drawn to the music of Bach, though without any intended reference to ascends to the love of God.’ This vast worked in the theatre, he had an acute sense at the same time that his own music was Shakespeare’s play. Another was ‘Symphony conception has to be understood in the context that all art is ultimately artifice and make- revered by the young Schoenberg and his No. 3: The Joyful Science. A Summer Morning’s of an age that was highly attracted to grand, all- believe. His favourite writers were those whose pupils. This is music that crosses historical Dream’. The reference here is to Nietzsche’s encompassing accounts of the natural world. works underline their own fictionality which is boundaries – as contemporary and vital now Die fröhliche Wissenschaft, usually translated Mahler had a lifelong interest in philosophical why, after the dust of the drama has settled, as it was a hundred years ago. as The Gay Science, published in 1882. If and scientific theories and read widely in these there is a quality of Mahler’s music that recalls there are any links between Mahler’s music areas, but he was also part of a cultural the enchanted forest of Shakespeare’s A and Nietzsche’s book they lie in a shared tone tradition in which artists and musicians Midsummer Night’s Dream. of irreverence rather than any philosophical expected to take on the great themes of life and content. A third possible title was simply ‘Pan: death. He had a life-long devotion to the works Perhaps it is this many-sided character to the Symphonic Poems’. The reference to the Greek of Richard Wagner, whose last music drama music that feeds our fascination with Mahler god Pan, the wild god of nature, was explicitly Parsifal (1882) was, at that time, still himself. Of course, this was fuelled by the linked in Mahler’s sketches to Dionysus, the performed only at Bayreuth under quasi- composer. Mahler subscribed fully to the god of wine but also of ecstatic ritual. In both religious conditions. Mahler’s Third Symphony Romantic idea that art is made from the life of cases, Mahler’s reference seems to be to the thus grows out of an understanding of art as a the artist and, in comments to friends, letters, Maestro Lorin Maazel timeless force of an unrestrained nature, kind of religious and philosophical quest.

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Given such a conception, Mahler was Strauss likened the great march of the first ‘how from lifeless matter (I could just as well monosyllables it gradually learns to speak understandably frustrated that his symphony movement to the experience of a May Day have named the movement ‘What the with a lyricism and expressive tone that make became known, before its première, almost parade in the Prater Park in Vienna. The unison Mountains Tell Me’) life gradually breaks forth, great demands of the player. The entrance of entirely through performances of one isolated horn call that opens the movements was developing step-by-step into ever-higher forms summer and the displacing of winter are movement, the so-called ‘Blumenstück’ heard by some as the quotation of a 19th- of life.’ The opening call, played fortissimo on marked by a tremendous march, starting from (Flower piece). In a letter to Richard Batka, of century student protest song, as used also by eight horns in unison, seems to echo into some the distance, converging from all directions February 1896, he expressed his concern that Brahms in his Academic Festival Overture. vast emptiness. A sombre march rhythm and eventually carrying all before it. In his the public would hear him simply as a Critics railed against what they saw as the begins, the only hint of directed movement, annotations, Mahler marked one passage Der ‘sensuous, perfumed singer of nature’: symphony’s vulgar, banal and frivolous amid low rumblings in the percussion. The Gesindel (The rabble) and another passage elements, perplexed about how to understand emptiness is broken only by unpredictable Der Südsturm (The southern storm). These are ‘That this nature hides within itself everything the sudden contrasts between the rarified eruptive gestures, shooting skywards like the anarchic forces with which the world is that is frightful, great, and also lovely (which is world of symphonic music and tunes and spouts of molten lava. ‘Some passages of it renewed, the unstoppable, irrational and exactly what I wanted to express in the entire rhythms more usually heard on the street. Was seem so uncanny to me’, Mahler later unordered harbingers of the new. Mahler work, in a sort of evolutionary development) – of Mahler trying to parody the hallowed genre of commented, ‘that I can hardly recognise them described the storm as ‘raging like the course no one ever understands this. It always the symphony in this way? Often, they as my own work.’ His representation of southern gale we are experiencing here these strikes me as odd that most people, when they concluded that he was. elemental origins was, necessarily, also a days, and which – I am sure – brings with it speak of ‘nature’, think only of flowers, little sounding of the Unconscious. fertility, coming from faraway, fruitful, hot birds and woodsy smells. No one knows the god 1. Summer Marches In (Pan Awakes) countries, not like the gentle east wind we Dionysus, the great Pan. There now! You have a This is an immense movement, conceived on a Out of this lifeless world, form and motion usually wish for. With a march tempo it roars, sort of programme ... Everywhere and always, it vast scale – not just in terms of its duration gradually emerge. The first sense of a tangible closer and closer, louder and louder, swelling is only the voice of nature!’ (over 30 minutes for this movement alone) but identity is voiced by a solo trombone, which like an avalanche, until all the loud, jubilant in its unwieldy form and sheer weight of sound. comes to assume an unlikely central role in noise engulfs you.’ Many commentators, including Mahler’s Few pieces of music evoke such a powerful this movement. It emerges from the rawness of contemporaries, heard in this work not just the sense of ‘the world without form’, summoning the opening section, calls into the silence, and 2. What the meadow flowers tell me force of nature, but also that of the new its materials out of a kind of primeval echoes out around the amphitheatre of The second movement sees a complete politics of a popular and mass society. Richard emptiness. ‘It is eerie’, Mahler commented, lifeless matter. But from its initial stark change of voice; in place of massive energy

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and force we are presented with utter is perhaps less obvious to the modern listener, melody. It creates a powerful sense of yearning movement in the face of the dark transparency and simplicity. Mahler’s Ländler who is more likely to hear the charm of this reminiscence – of looking back to a distant silence of nocturnal nature. In the context of is marked grazioso, denoting a sense of ease movement. It is derived from one of Mahler’s time. Mahler’s forest creatures, at first startled Nietzsche’s philosophical fable, this poem has and perhaps even a gentle sentimentality. ‘It is Wunderhorn songs but, as with the Scherzo of by this intrusion, begin to interact with the new to do with the prophet’s disgust at the most carefree music I have ever written’, the Second Symphony, turned here into a voice. Two horns join in, and the rapt string contemporary man but also acts as an Mahler said, ‘as carefree as only flowers can purely instrumental movement. Der Ablösung chordal accompaniment is marked to be played expression of faith in his potential for be.’ Its tremendous lightness of touch suggests im Sommer (The change in summer) is typical ‘as if overhearing’. transformation. This threshold function is a chamber-orchestra style in which solo of his naïve folk-style. It tells of the ‘change of exactly how Mahler’s setting of it works within orchestral voices often come to the fore. Like the guard’ in the forest, from the spring 4. What night tells me the Third Symphony – as a borderland many of Mahler’s inner movements, this is a (represented by the cuckoo) to the summer The fourth movement brings the distant sound between one state of consciousness and character piece, made up of contrasting (represented by the nightingale). The of the human world centre-stage as, for the another, a place where the earthly and the sections more like ballet music than the symphonic movement takes up some of the first time in this work, we hear the human heavenly overlap. symphonic narratives of Mahler’s outer simple humour of the song, in which the world voice. An alto soloist delivers a setting of the movements. A sense of dream-like fantasy is of the forest birds and animals takes on a self- dark ‘Midnight Song’ from Nietzsche’s Also 5. What the morning bells tell me never very distant here, more like the world of sufficient quality. sprach Zarathustra (Strauss’s tone poem of The brooding, meditative and deeply solemn Mendelssohn’s A Midsummer Night’s Dream that title was written at exactly the same time, tone of Nietzsche’s ‘Midnight Song’ gives way than the grand tone of Bruckner or Wagner. This world, however, is broken into by a distant 1896). It begins in the depths of night, with a to the light-hearted humorous tone of ‘Es fanfare signalling the human world. The famous deeply mysterious atmosphere created by sungen drei Engel’ (‘Three angels were 3. What the creatures of the forest tell me ‘posthorn’ interlude (written for a flügelhorn) is Mahler’s withholding any familiar sense of singing’). Mahler’s performance direction is ‘The Scherzo, the animal piece, is the most directed to be played ‘as if from a great musical movement. In its place, we hear only keck (cheeky), and it begins with a boys’ choir ludicrous and at the same time the most distance’. It provides a wonderful example of the gentle rocking of the bass instruments, the imitating the tolling of the bells (‘Bimm tragic ... This piece really sounds as if all Mahler’s ability to create the haunting effect not slow tolling of bells and ‘sounds of nature’, like Bamm’) before being joined by a women’s nature were making faces and sticking out its only of spatial distance – but also of temporal the haunting screech of a night-bird (in the choir for the song proper. The original tongue. But there is such a horrible, panic-like distance. What starts out as a fanfare, such as oboe). Only gradually does the lyrical Wunderhorn poem has the title ‘Poor humour in it that one is overcome with horror one might imagine hearing from a distant expression of the voice, joined by solo violin Children’s Begging Song’, and the childlike rather than laughter.’ Mahler’s sense of horror posthorn, becomes a more sentimental folk-like and horn, begin to draw out a sense of viewpoint of the song is key to Mahler’s setting

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here, just as in his setting of Das himmlische expand beyond the limits of human vocality is Mahler’s music finds its affirmative conclusion Leben (Heavenly Life), originally intended as all the more powerful for the restrained in a containment of that chromatic pain within the seventh movement of the Third Symphony, beginning. This is a sublimated choir, one the calm assurance of the diatonic – here, a but which Mahler used as the finale of the taken up into supra-human realms by the sustained coda in D major. In doing so, it Fourth instead. With childlike directness the instruments of the orchestra, and the draws together a symphony of unprecedented song tells of the angels’ singing before moving movement as a whole proceeds in this way, by heterogeneity, which has journeyed from the to the idea of sin and forgiveness. Its irreverent a succession of expansions rather than by raw, elemental world of the first movement tone makes for an unlikely and oblique account development or narrative. It enlarges itself with the anarchic energy of its storm winds, of the sinner’s tears of contrition and the from within, rising up through a series of through the sounds of meadows, forests and promise of the eternal love of God, a divergence ascending plateaux. Undoubtedly, it takes its night, to the folk-like vision of heaven. The between text and setting that was exactly what model from the slow movements of finale’s vision of divine love is given in a unity confounded critics in Mahler’s lifetime. Beethoven; the critic William Ritter was so and purity of tone that would not reappear in moved that he claimed it as ‘perhaps the Mahler’s music again until the Eighth 6. What love tells me greatest Adagio written since Beethoven’. Symphony a decade later. With the Adagio finale, however, Mahler reverts to his most sincere and religious tone. The other echo that contemporary critics might © Julian Johnson Though this movement is written for have heard was Wagner’s Parsifal. The drama instruments alone, Mahler uses his orchestra of that opera is played out between the like a choir. The strings at the beginning are diatonic chorale and march-like materials of marked sehr ausdrucksvoll gesungen (sung the Grail knights and a rather tortured with great expression). The chorale-like texture, chromaticism associated with the idea of the register and movement of the individual desire and longing. Mahler’s Adagio similarly parts, all suggest a kind of intense choral moves between these two types of music, with singing, and for a while Mahler confines his the calm assurance of the D major hymn string parts to the range of singers. The effect, alternating with passages of searching and when it comes, of allowing the orchestra to intensely passionate music. Like Parsifal,

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TEXTS Armer Kinder Betterlied Poor Children’s Begging Song aus Neitzsches from Neitzsche’s Es sungen drei Engel einen süssen Gesang; Three angels were singing a sweet song; Also sprach Zarathustra Also sprach Zarathustra mit Freuden es selig in dem Himmel klang, with joy it resounded blissfully in heaven, sie jauchzten fröhlich auch dabei, they rejoiced also O Mensch! Gib Acht! O man! Attend! dass Petrus sei von Sünden frei, that Peter was free from sin, Was spricht die tiefe Mitternacht? What says the deep midnight? er sei von Sünden frei. he was free from sin. Ich schlief! I slept! Und als der Herr Jesus zu Tische sass, And when the Lord Jesus sat at table, Aus tiefem Traum bin ich erwacht! From a deep dream have I awoken! mit seinen zwölf Jüngern das Abendmahl ass: with his twelve disciples ate the supper, Die Welt ist tief! The world is deep! Da sprach der Herr Jesus: Was stehst du There spoke the Lord Jesus: What are you und tiefer als der Tag gedacht! and deeper than the day has imagined! denn hier? doing? Whenever I look at you, I find you O Mensch! Tief, tief ist ihr Weh! O man! Deep, deep is its suffering! Wenn ich dich anseh’, so weinest du mir! weeping! Lust tiefer noch als Herzeleid! Joy deeper still than heart's sorrow! Und sollt’ ich nicht weinen, du gütiger Gott. And should I not weep, you gracious God. Weh spricht: Vergeh! Suffering speaks: Perish! (Du sollst ja nicht weinen! Sollst ja nicht (You should truly not weep! Should truly not Doch alle Lust will Ewigkeit! But all joy desires eternity! weinen!) weep!) will tiefe, tiefe Ewigkeit. desires deep, deep eternity. Ich hab’ übertreten die zehn Gebot. I have broken the Ten Commandments. Ich gehe und weine ja bitterlich. I go and weep most bitterly. Ach komm und erbarme dich über mich! Ah, come and have mercy on me! Hast du denn übertreten die zehen Gebot, If you have broken the Ten Commandments, so fall auf die Kniee und bete zu Gott! then fall on your knees and pray to God! Liebe nur Gott in alle Zeit! Only love God forever! So wirst du erlangen die himmlische Freud’, Thus will you attain heavenly joy, die himmlische Freud’, die selige Stadt, heavenly joy, the holy city, die himmlische Freude war Petro bereit’t, heavenly joy was prepared for Peter durch Jesum und allen zur Seligkeit. by Jesus and for all for their salvation. auf Des Knaben Wunderhorn from Des Knaben Wunderhorn

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PHILHARMONIA ORCHESTRA visionary projects – City of Dreams: Vienna 1900 -1935 (2009), Bill Viola’s Tristan und The Philharmonia Orchestra is one of the Isolde (2010), Infernal Dance: Inside the world’s great orchestras. Acknowledged as the World of Béla Bartók (2011) and Woven UK’s foremost musical pioneer, with an Words, a celebration of Witold Lutosławski’s

© Benjamin Ealovega extraordinary recording legacy, the Philharmonia centenary year – have been critically acclaimed. leads the field for its quality of playing, and for its innovative approach to audience For 17 years now the Orchestra’s work has been development, residencies, music education underpinned by its much admired UK and and the use of new technologies in reaching a International Residency Programme, which global audience. Together with its relationships began in 1995 with the launch of its residencies with the world’s most sought-after artists, most at the Bedford Corn Exchange and London’s importantly its Principal Conductor and Artistic Southbank Centre. During 2013/14 the Advisor Esa-Pekka Salonen, the Philharmonia Orchestra not only performs more than 35 Orchestra is at the heart of British musical life. concerts at Southbank Centre’s Royal Festival Hall, but also celebrates its 17th year as Today, the Philharmonia has the greatest claim Resident Orchestra of De Montfort Hall in of any orchestra to be the UK’s National Leicester and its 13th year as Orchestra in orchestra. It is committed to presenting the Partnership at The Anvil in Basingstoke; and same quality, live music making in venues enters the third year of its residencies at the new throughout the country as it brings to London Marlowe Theatre in Canterbury and the Three and the great concert halls of the world. In Choirs Festival. The Orchestra’s extensive touring 2013/14 the Orchestra is performing more schedule this season also includes concerts in than 160 concerts, as well as recording scores Russia, Austria, Switzerland, Italy, Germany, for films, CDs and computer games. Under France and Spain with Esa-Pekka Salonen, a Esa-Pekka Salonen a series of flagship, two week residency at the Théâtre des Champs-

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Elysées in Paris performing Poulenc’s Les well as established artists. This policy extends ways to bring its top quality live performance to more than 67,000 visitors. It won the 2012 Dialogues des Carmelites under Jérémie Rhorer, into the Orchestra itself, where many of the audiences worldwide, and to using new RPS Award for Audiences and Engagement. and tour of China in June with Salonen. players have solo or chamber music careers technologies to achieve this. Many millions of Following touring appearances in Birmingham alongside their work with the Orchestra. The people since 1945 have enjoyed their first and Canterbury in 2013 Universe of Sound will During its first six decades, the Philharmonia Philharmonia’s Martin Musical Scholarship experience of classical music through a form part of a major new audience development Orchestra has collaborated with most of the Fund has for many years supported talented Philharmonia recording, and in 2013/14 and education initiative on the South West great classical artists of the 20th century. musicians at the start of their careers, audiences can engage with the Orchestra Peninsula in 2014 and 2015, alongside RE- Conductors associated with the Orchestra including an Orchestral Award, which allows through computer games, film scores and RITE and a new mobile “pop-up” installation. include Furtwängler, Richard Strauss, two young players every year to gain through its YouTube and Vimeo channels Toscanini, Cantelli, Karajan and Giulini. Otto performing experience within the Orchestra. featuring the Orchestra’s award-winning Recording and broadcasting both continue to Klemperer was the first of many outstanding documentary films, which have been watched play a significant part in the Orchestra’s Principal Conductors, and other great names The Orchestra is also recognised for its by more than a million people worldwide. In activities, notably through its partnership with have included Lorin Maazel (Associate innovative programming policy, at the heart of May 2010 the Orchestra’s digital ‘virtual Signum Records, releasing new live recordings Principal Conductor), Sir Charles Mackerras which is a commitment to performing and Philharmonia Orchestra’ project, RE-RITE, won of Philharmonia performances with its key (Principal Guest Conductor), Riccardo Muti commissioning new works by leading both the RPS Audience Development and conductors. Since 2003 the Philharmonia has (Principal Conductor and Music Director), Kurt composers, among them the Artistic Director Creative Communication Awards, and after enjoyed a major partnership with Classic FM, Sanderling (Conductor Emeritus) and of its Music of Today series, Unsuk Chin. appearances in London, Leicester and Lisbon, as The Classic FM Orchestra on Tour, as well as Giuseppe Sinopoli (Music Director). As well as toured to Dortmund in November 2011, Tianjin continuing to broadcast on BBC Radio 3. Esa-Pekka Salonen, current titled conductors Since 1945 the Philharmonia Orchestra has in China in April/May 2012, Izmir (Turkey) in are Christoph von Dohnányi (Honorary commissioned more than 100 new works from June 2012, and in 2013 to Hamburg and the www.philharmonia.co.uk Conductor for Life) and Vladimir Ashkenazy composers including Sir Harrison Birtwistle, Sir Salzburg Festival. RE-RITE, devised with Esa- (Conductor Laureate). Peter Maxwell Davies, Mark-Anthony Turnage Pekka Salonen, secured the Philharmonia’s and James MacMillan. position as a digital innovator and its follow-up The Philharmonia Orchestra continues to pride audio-visual installation to RE-RITE, Universe of itself on its long-term collaborations with the Throughout its history, the Philharmonia Sound: The Planets, premièred at the Science finest musicians of our day, supporting new as Orchestra has been committed to finding new Museum from May to August 2012, receiving

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PHILHARMONIA VOICES and Christoph von Dohnányi. Highlights of the TIFFIN BOYS’ CHOIR (LSO Live/Gergiev and Telarc/Zander), and AIDAN OLIVER CHORUS MASTER choir’s early history included memorable SIMON TOYNE DIRECTOR Britten War Requiem (LPO Live/Masur). performances with the Philharmonia of Britten’s Members of the choir feature in DVD releases Philharmonia Voices was formed in 2004 to Death in Venice and Vaughan Williams’s The Since its foundation in 1957, the Tiffin Boys’ of Carmen, La Bohème, Tosca and Hänsel und work with the Philharmonia Orchestra and Pilgrim’s Progress under Richard Hickox. Choir has been one of the few state school Gretel from the Royal Opera House. In international conductors on performances of choirs to have been continually at the forefront addition, the choir is heavily involved with the the great choral-orchestral repertoire. Since The members of Philharmonia Voices are of the choral music scene in Britain. The choir Sing Up programme for schools and makes then the choir has established itself as one of drawn from some of the finest young singers in has worked with all the London orchestras and regular exemplar recordings of songs for the most exciting professional choruses in the country, most of them either at the start of performs regularly with the Royal Opera. Recent national distribution. London, attracting consistently high praise their professional careers or completing their engagements have included Britten’s War from the critics for its collaborations with the conservatoire studies. Working exclusively with Requiem (Philharmonia/Maazel), Mahler 3 Tiffin School is state grammar school and Orchestra in a huge range of repertoire. the Philharmonia Orchestra, the size and (LSO/Bychkov), Parsifal (Mariinsky/Gergiev), specialist Arts College in Kingston-upon- make-up of the choir is able to be tailored as well as the soundtrack for The Hobbit and Thames, described by OFSTED as Under Esa-Pekka Salonen the choir has precisely to the varying demands of each The Croods at Abbey Road studios. With altos, ‘exceptional’. The majority of the 1200 boys in enjoyed several notable triumphs, particularly collaboration by Chorus Master Aidan Oliver, tenors and basses also drawn entirely from the school play a musical instrument, and over in 20th-century and contemporary repertoire. providing the Orchestra with a choral within the school, the choir gives regular 100 boys study Music at GCSE and A Level. These have included performances of partnership of unique flexibility. concerts in London and tours regularly, Several members of the choir have gained Stravinsky’s Oedipus rex (after which a Sunday including to Australia in 2011. university choral scholarships on leaving Tiffin: Times review described the choir as . there are ex-Tiffinians currently singing in the ‘spectacularly good’); Schoenberg’s Gurrelieder, The choir has made recordings of most of the choirs of King’s, St John’s, Trinity and Jesus subsequently released as a critically lauded orchestral repertoire that includes boys’ choir. Colleges in Cambridge, and Exeter, Magdalen, live recording; and an acclaimed performance Notable releases have included Mahler 8 Oriel and St Edmund Hall Colleges in Oxford. of Dallapiccola’s neglected one-act opera Il (EMI/Tennstedt), which was nominated for a Prigioniero. Philharmonia Voices have also Grammy Award, Puccini Il Trittico, Massenet www.tiffinboyschoir.com worked with conductors including John Wilson, Werther and Puccini Tosca (EMI/Pappano), Kent Nagano, Lorin Maazel, Vladimir Ashkenazy Britten Billy Budd (Chandos/Hickox), Mahler 3

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SARAH CONNOLLY Giulio Cesare and Brangäne in Tristan und LORIN MAAZEL Concertgebouw Orchestra and the Boston Isolde at the Glyndebourne Festival; Sesto in Symphony Orchestra. He completed a Mahler Born in County Durham, mezzo-soprano Sarah La clemenza di Tito at the Festival d’Aix-en- For over five decades, Lorin Maazel has been cycle in London with the Philharmonia (for the Connolly studied piano and singing at the Provence; Phèdre in Hippolyte et Aricie at the one of the world’s most esteemed and sought- Mahler centennial year of 2011) in addition to Royal College of Music, of which she is now a Paris Opera and at the Glyndebourne Festival after conductors. In spring 2011, he completed touring extensively with the Orchestra in Europe. Fellow. She was made CBE in the 2010 New and Nerone in L’Incoronazione di Poppea at his fifth and final season as the inaugural In September 2010, he marked the 100th Year’s Honours List. the Maggio Musicale in Florence and at the Music Director of the Palau de les Arts Reina anniversary of the première of Mahler’s Eighth Gran Teatro del Liceu in Barcelona. Sofia in Valencia, Spain. Music Director of the Symphony at the Ruhr Festival conducting the Much in demand with the world’s great New York Philharmonic from 2002 to 2009, he work with forces numbering in excess of 1,000 orchestras for the lyric mezzo-soprano She has also sung Octavian in Der assumed the same post with the Munich performers. In March 2011, he took two repertoire, she works regularly with conductors Rosenkavalier for Scottish Opera; Komponist Philharmonic at the start of the 2012/13 Castleton Festival Opera productions to such as Bolton, Chailly, Andrew Davis, Colin for the Welsh National Opera; the title role in season. He is also the founder, Executive and Berkeley, California (Cal Performances) for the Davis, Elder, Harding, Herreweghe, Jurowski, Maria Stuarda and Roméo in I Capuleti e i Artistic Director of a new festival based on his West Coast debut of the company, with Britten’s Maazel, Nézet-Séguin and Rattle. Her many Montecchi for Opera North and Octavian, farm property in Virginia, the Castleton Festival, Rape of Lucretia and Albert Herring. In August concert engagements include appearances at Romeo, Sesto, Agrippina, Xerxes, Ariodante, launched to exceptional acclaim in 2009 and 2011 he conducted an all-Beethoven Festival the Aldeburgh, Edinburgh, Lucerne, Salzburg, Ruggiero in Alcina, Didon in Les Troyens and expanding its activities nationally and in Rio de Janeiro, Brazil. On 31 December 2011 Tanglewood and Three Choirs Festivals and at the title role in Charpentier’s Medea at the internationally in 2012/13 and beyond. he conducted the first New Year’s Concert – the BBC Proms where, in 2009, she was a English National Opera. televised live for a world-wide audience – in memorable guest soloist at the Last Night. Maestro Maazel’s 2010/11 season was Beijing, China. In February 2012 Mr Maazel She has recorded prolifically and twice been highlighted by productions of Aïda and his own embarked on a Scandinavian-American Tour In opera, her appearances include Fricka in nominated for a Grammy Award. opera 1984 at the Palau de les Arts; two with the Vienna Philharmonic celebrating their Das Rheingold & Die Walküre at Covent concerts with the newly formed resident 50-year long collaboration. Garden; Purcell’s Dido at La Scala; Komponist orchestra of China’s National Center for the in Ariadne auf Naxos and Clairon in Capriccio Performing Arts in Beijing; a marathon concert Maestro Maazel is also a highly regarded at the Metropolitan Opera; Gluck’s Orfeo at of all nine Beethoven symphonies in Tokyo; and composer, with a wide-ranging catalogue of the Bayerische Staatsoper; the title role in return appearances with the Royal works written primarily over the last dozen or

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so years. His first opera, 1984, based on appearing at Bayreuth in 1960 (the first position; Music Director of The Cleveland George Orwell’s literary masterpiece, received American to do so), with the Boston Orchestra (1972– 82); and Artistic Director its world première at the Royal Opera House, Symphony in 1961, and at the Salzburg and Chief Conductor of the Deutsche Oper Covent Garden, in May 2005. A revival of 1984 Festival in 1963. Berlin (1965–71). His close association with took place at La Scala, Milan in May 2008 the Vienna Philharmonic includes 11 and in Valencia, Spain in February & March In 72 years on the podium, Maestro Maazel internationally televised New Year’s Concerts 2011. A Decca DVD of the original London has conducted nearly 200 orchestras in no from Vienna. production was released in May 2008. fewer than 7,000 opera and concert performances. He has made over 300 Alongside his prodigious performing activity, A second-generation American born in Paris, recordings, including symphonic cycles/ Maestro Maazel has found time to work with Lorin Maazel began violin lessons at the age of complete orchestral works of Beethoven, and nurture young artists, based on his strong five, and conducting lessons at seven. He Brahms, Debussy, Mahler, Schubert, belief in the value of sharing his experience studied with Vladimir Bakaleinikoff and Tchaikovsky, Rachmaninov and Richard with the next generation(s) of musicians. He appeared publicly for the first time aged eight. Strauss, winning ten Grands Prix du Disques. founded a major competition for young Between the ages of nine and 15, he conductors in 2000, culminating in a final conducted most of the major American During his music directorship of the New York round at Carnegie Hall two years later, and has orchestras, including the NBC Symphony at Philharmonic Maestro Maazel conducted the since been an active mentor to many of the the invitation of Toscanini. At 17, he entered orchestra on their landmark visit to finalists. In 2012 he was President of the the University of Pittsburgh to study Pyongyang, North Korea on 26 February Malko Conductor’s Competition Jury in languages, mathematics and philosophy. In 2008. Maestro Maazel has been Music Copenhagen. Through his Cháteauville 1951 he went to Italy on a Fulbright Director of the Symphony Orchestra of the Foundation, in Castleton, Virginia, he has Fellowship to further his studies, and two years Bavarian Radio (1993–2002), Music Director created a new Festival and training program for later made his European conducting debut, of the Pittsburgh Symphony (1988–96); young artists, bringing together aspiring stepping in for an ailing conductor at the General Manager, Artistic Director and singers, instrumentalists and conductors to www.maestromaazel.com Massimo Bellini Theatre in Catania, Italy. He Principal Conductor of the Vienna State Opera work in an intensive, collaborative environment, www.chateauville.org quickly established himself as a major artist, (1982–84) – the first American to hold that with guidance from senior artists and mentors. www.castletonfestival.org

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291.0mm x 169.5mm CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title SIGNUM CLASSICS SIGCD353 GUSTAV MAHLER SYMPHONY NO. 3

CD1 MAHLER: Part One 1 I. Kräftig. Entscheiden 37.46 CD2 NO.SYMPHONY 3 Part Two

PHILHARMONIA/MAAZEL 2 II. Tempo di Menuetto. Sehr mässig 11.32 3 III. Comodo. Scherzando. Ohne Hast 17.39

4 IV. Sehr langsam. Misterioso 9.10 PHILHARMONIA/MAAZEL 5 V. Lustig im Tempo und keck in Ausdruck 4.15

SYMPHONY NO. 3 SYMPHONY NO. 6 VI. Langsam. Ruhevoll. Empfunden 25.51 Total timings: 68.29

MAHLER: PHILHARMONIA ORCHESTRA SARAH CONNOLLY MEZZO-SOPRANO PHILHARMONIA VOICES LORIN MAAZEL CONDUCTOR TIFFIN BOYS’ CHOIR www.signumrecords.com

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD353

CLASSICS Perivale, Middx UB6 7JD, United Kingdom LC15723 P DDD www.signumrecords.com SIGCD353 2013 Philharmonia Orchestra C 2013 Signum Records 24 bit digital recording SIGNUM www.philharmonia.co.uk

201.0mm x 167.8mm