Bournemouth Symphony Orchestra: Exeter Concert Season 2015/16

Bournemouth Symphony Orchestra concert season 2015 / 16 Great Hall, Exeter University Exeter Cathedral

Welcome With over 50 years of live performances at the Great Hall, I am delighted to share with you our exciting 2015 / 16 concert season – the first under our new partnership with the University of Exeter. As ever our musicians lay at the heart of everything we do at Bournemouth Symphony Orchestra and great credit must go to them for their brilliant playing. Kirill Karabits’ inspiring artistic leadership of the organisation is being appreciated by ever growing audiences and we are delighted that Kirill’s renewed commitment to the

BSO as our Chief Conductor will The BSO has a unique remit to provide world-class music see him leading us to our 125th Anniversary in 2018 and beyond. and cultural engagement to communities across the South These are indeed exciting times. and South West and in doing so The season is full of outstanding brings national and international programmes and I am particularly recognition to our region. Your excited by our artistic rostra, with support has never been more many performers new to the BSO important to sustain the future joining those we have known and of this cultural beacon. loved for many years. For me it is this mix that builds a season I would like to thank everyone into a memorable journey for who supports this remarkable musicians and audiences alike. organisation.

We are especially delighted to welcome Augustin Hadelich as our Dougie Scarfe Artist-in-Residence for the season. Chief Executive

Organ Symphony Recognised at once as a landmark, Saint-Saëns’ Third Symphony had a powerful impact on later symphonists with its unconventional form and extended thematic development from a few simple opening ideas. It reveals a genuine flair for sumptuous orchestral colour, suave and unforgettable melody and brilliant craftsmanship – the zenith of his symphonic output.

Brahms spent the greater part of the 1850s building his first orchestral masterpiece, the D minor Piano Concerto, out of material meant for other works.

It is a bold and daring work, stormy and dramatic, tender

and lyrical, and filled with youthful passion and surging power written at a time of intense personal experiences for Brahms, most of which revolved around his complicated relationship with Robert and Clara Schumann. Schumann himself appraised Weber’s operatic gem as “a chain of sparkling jewels from beginning to end – all brilliant and flawless.”

Louis Lortie

friday

9

october 7.30 pm

weber Euryanthe Overture brahms Piano Concerto No.1 saint-saens Symphony No. 3 ‘Organ’ Yan Pascal Tortelier conductor Louis Lortie piano

thursday

22

Mozart by Goebel

jc bach Amadis des Gaules: Overture & Suite mozart Violin Concerto No. 6 in D mozart Symphony No. 31 ‘Paris’ mozart Chaconne from Idomeneo

Arriving in Paris in 1778, Mozart soon started writing for the Parisian taste for colour and excitement, and Symphony No.31 certainly offers entertainment of the highest order, grabbing the listener’s attention instantly and continuing with athletic energy and brilliant vitality and confidence. Mozart’s compositional development is also apparent in the controversial Violin Concerto K271a but is it Mozart or not?

Either way it is certainly worthy

october 7.30 pm

Reinhard Goebel conductor Mirijam Contzen violin

Supported by

Old Mill Accountants and Financial Planners

of performance with its richness of orchestral writing and dashing solo flourishes. More of a grand rondo than a traditional chaconne, Mozart crafted a richly scored, dignified and noble orchestral interlude reflecting the opera’s central theme of averted disaster and final harmonious conclusion.

Also written for a Paris premiere in 1779, Johann Christian Bach’s opera did not receive public success, a pity as the music is dynamic and accomplished.

John Lill Piano Recital Arguably Britain's most well known pianist, who has recently celebrated his 70th birthday with a highly acclaimed complete Beethoven Sonata Cycle, John Lill first came to international attention when he won the coveted Tchaikovsky prize in 1970 and is known for his aristocratic interpretations of Beethoven and the great masters of the 19th and 20th century piano repertoire. He has been a popular visitor to the BSO for over forty years and this is a special opportunity to hear him in recital.

Supported by

Jane Ferns

BSO Endowment Trust

John Lill

friday

20

november 7.30 pm

mozart Sonata in F Major schumann Fantasy in C Major chopin Nocturne in C minor Polonaise in F-sharp minor beethoven Sonata in F minor ‘Appassionata’ John Lill piano

thursday

26

Elgar Unmasked

beethoven Piano Concerto No.4 elgar Symphony No. 2

With references to the brilliant warmth and light of Italy and the rugged grandeur of the Cornish coast, Elgar’s Second Symphony is far more complex and deeply personal than his First.

Riddled with doubts, questioning and conflict it reflects not only the true spirit of the age but also the personality of the composer as it meanders from extrovert

november 7.30 pm

Vassily Sinaisky conductor Kirill Gerstein piano

Kirill Gerstein

exuberance to melancholy introversion. Elgar himself stated that “I have written out my soul.”

In this most lyrical, poetic and fantastical of his concertos, Beethoven does not abandon Mozartian concerto form but imbues it with a genuinely romantic voice. It is ardent and melancholy, heroic and ethereal, anguished and whimsical.

“the bso’s performance on this recording illuminates prokofiev’s scores with sensitivity and panache, and in the case of the first symphony, refreshing a well-known work with ear-catching spark” The Telegraph Onyx CD of Prokofiev Symphonies 1 & 2 November 2014

Matt King and Carol Paige

friday

Sibelius 150 11 december 7.30 pm

sibelius The Tempest Suite grieg Piano Concerto sibelius Tapiola sibelius Symphony No. 7 Kirill Karabits conductor Juho Pohjonen piano

The incidental music for The Tempest, the tone poem Tapiola and the Seventh Symphony were Sibelius’ last significant compositions. Possibly the most ambitious and extraordinary symphony in the repertoire – a work of great confidence and affirmation – the Seventh is more a sort of giant rondo.

Comprising one seamless flow of thematic development it builds from a few melodic scraps towards a final upward sweep and trombone hymn that

seems to reach out to infinity.

Contrastingly, Tapiola is dusky, mysterious and brooding – evoking the god of the forest and a seemingly endless northern landscape untouched by human warmth, whilst the seldom performed music for Shakespeare’s final play is full of beauty, imagination and power. With its dreamlike, intoxicating atmosphere of magical sonorities it is the perfect foil for Grieg’s nearly perfect concerto, itself inspired by the Scandinavian countryside.

Last Night of the Christmas Proms Kick off Christmas with our fun-packed concert for all the family, featuring seasonal classics old and new, all wrapped up with a sprinkling of magic and sparkle.

A rollercoaster of Christmas favourites lies in store, including Jingle Bells, White Christmas, Sleigh Ride, Have Yourself a Merry Little Christmas and It’s the Most Wonderful Time of the Year.

All this plus a selection of popular songs from the best of West End and Broadway musicals.

Holly Randall and Tom Beer

tuesday

22

december 7.30 pm

Pete Harrison conductor Louise Dearman singer Stephen Weller singer

saturday

2

New Year Johann Strauss Gala

Aleksandar Markovi´c conductor Rebecca Bottone soprano

The BSO’s annual series of traditional New Year concerts sees the return of Vienna based conductor Aleksandar Markovi´c.

Enjoy a gala concert featuring the full symphonic forces of the BSO performing Johann Strauss as it should be heard, bringing to the fore his great craftsmanship that made him the talk of the Viennese dance halls.

january 3pm

Colette Overdijk and Mark Derudder

Heroes & Aliens

epic galactic soundtracks Join the BSO and boldy go where no orchestra has gone before in another blockbuster concert featuring music from some of the most iconic and successful space movies of all time, including Apollo 13, Star Wars, Star Trek, ET, Close Encounters of the Third Kind, Avatar and War of the Worlds... plus many more.

thursday

4

february 7.30 pm

Pete Harrison conductor

thursday

Hadelich plays 18 Tchaikovsky february 7.30 pm

stravinsky Dumbarton Oaks tchaikovsky Violin Concerto schumann Symphony No.1 ‘Spring’ Kirill Karabits conductor Augustin Hadelich violin

Tchaikovsky’s Violin Concerto is a perennial favourite of violinists and audiences. Vibrant and confident, ironically, it dates from a crisis-laden two years in his life after the breakdown of his disastrous marriage. Folk music and French chanson merge with dazzling fireworks in this marvellous showpiece.

When the Spring Symphony burst forth in a torrent of confidence and creativity in those famous four days of “symphonic fire...

Supported by

University of Exeter

sleepless nights,” Schumann was still a newcomer to orchestral music; yet it possesses the most successful use of orchestral colour that he ever obtained.

Stravinsky’s concerto for orchestra derives inspiration not only from Bach but also from musical ideas from across the entire 18th century, giving it a particularly eclectic air – a blend of traditional counterpoint and fugal writing with Stravinsky’s spiky melodic lines and syncopated rhythms.

“the essence of hadelich’s playing is beauty: revelling in the myriad ways of making a phrase come alive on the violin, delivering the musical message with no technical impediments whatsoever” Washington Post January 2015

thursday

Firebird

Fabien Gabel

One of the most impressive calling cards in the history of music, The Firebird is a work of such brilliance that it could only have been written by Stravinsky, mixing the orchestral mastery of his Russian mentors with the rhythmic vitality of the revolutionary about to burst out of his shell. The musical language shifts between exotic, chromatic gestures to illustrate the supernatural dimension and

3

march 7.30 pm

the sing-song simplicity of folk song for the mortals creating a dazzling, evocative atmosphere.

A Moorish exoticism is also present in de Falla’s set of symphonic impressions of the great gardens of Granada and Cordoba, incorporating dance rhythms of Andalusia, whilst Chausson’s more personal orchestral picture postcard of nocturnal revelries is altogether more dreamlike and ethereal.

chausson Soir de fête de falla Nights in the Gardens of Spain debussy Pelléas et Mélisande Suite stravinsky The Firebird (1919) Fabien Gabel conductor Frank Braley piano

thursday

7

English Serenade

js bach Suite No. 3 britten Serenade for Tenor, Horn & Strings mozart Symphony No. 39

Hauntingly beautiful and compellingly emotional, Britten’s Serenade is an insightful and imaginative setting of poems which span five centuries of English verse, united under a loosely connecting theme of evening, the night-time and sleep. The music is immediately gripping, the tenor’s penetrating vocal lines matched in spades by the wonderful horn calls.

It is without question a genuine masterwork of the 20th century.

Mozart’s Symphony No. 39 opens

april 7.30 pm

Kirill Karabits conductor John Mark Ainsley tenor Nicolas Fleury horn

grandly, with a darkly dramatic introduction in which orchestral texture and harmonic dissonance increase to near breaking point.

This gives way to superlatively crafted work of contrasting melodic invention and rhythmic and contrapuntal exploration.

Bach’s orchestral suite in the French style opens with a majestic overture, a curtain raiser to a series of exquisite dances which include the famous ‘Air on a G string’ as well as a jubilant gavotte and final festive gigue.

Fire & Ice The Second Symphony, from its first performance to today, remains one of Sibelius’ most popular works. Its importance at the time was also due to the Finnish struggle for independence and early reactions to the work included some efforts to read into it an overtly nationalistic, patriotic programme. Much attention was focused on the heroic finale, of course, but also on the long, anguished slow movement, music of great passion and pain, surging along in dramatic waves toward a grim conclusion.

Edward Kay

thursday

21 april 7.30 pm

Walton’s Cello Concerto is introspective and reflective.

Wistful romanticism and lush harmonies evoke the peace of the English countryside. It is a carefully balanced work; sizzling virtuosity is occasionally interrupted by moments of poignant lyricism. The overture to Tannhäuser presents a kind of synopsis of the operatic action, interweaving the struggle between sacred and profane love.

Jac van Steen

wagner Tannhäuser Overture walton Cello Concerto sibelius Symphony No.2 Jac van Steen conductor Quirine Viersen cello

saturday

7 Enigma 7.30 pm

may

at Exeter Cathedral

brahms Violin Concerto mendelsohnn Calm Sea and Prosperous Voyage elgar Enigma Variations

A work dazzling in its ingenuity, technical skill and range of expression Enigma Variations was an immediate popular success and transformed Elgar from a moderately successful provincial composer to a national and international figure. Musically, the original theme is remarkable in that it has the same rhythm whether it is played backwards or forwards and the two halves of

Kirill Karabits conductor Vilde Frang violin

the phrase suggest two different keys, one major and one minor which builds much drama into the melody. Brahms’ concerto stands as one of the largest and most challenging works in the solo violin repertoire. It is a song for the violin on a symphonic scale – a lyrical outpouring of joyous energy from its confident yet wistful opening to fiery finish.

“karabits’ brahms cycle underlines just what an exciting prospect this young ukrainian conductor is. he combined scholarly rigour with a freshness and buoyancy that never flagged” The Guardian Brahms Symphony Cycle Poole, Lighthouse May 2014

Anna Pyne and Kevin Smith

The BSO and you

there are many ways that you can give to the bso

In the last year Bournemouth Symphony Orchestra has performed over 115 symphonic concerts with a further 35 ensemble performances and more than 300 separate school workshops, recitals, tea dances and other community activity across the South and South West of England and beyond. It is not surprising then, that you, our loyal supporters and audience members, voted the BSO the World’s Favourite Orchestra in the 2014 Bachtrack global poll of symphony orchestras.

Become a Member from as little as £60 per year, or if you give more you can join our growing community of Performance Champions and Patrons.

You might also like to consider leaving a legacy to the BSO in your will or simply go online and make a donation today.

We also offer a number of great corporate sponsorship packages.

Over 125,000 people attended a BSO concert and BSO Participate engaged with more than 30,000 children, students and community groups including working with people with dementia, special ‘meet the music’ seminars and free concerts for primary schools which saw the BSO play to over 6,000 youngsters. And did you know? Any child under 18 can come to almost every BSO concert for just £1!

In order to support all this activity and maintain the high artistic standards that we strive to attain in everything we do, we are increasingly reliant on financial support above and beyond the grants we receive and the income we generate.

To find out more about how you can give to the BSO call our Development Department on 01202 644734 or email development@bsorchestra.co.uk

principal funders

public funders

trusts & foundations With special thanks to Paul Hamlyn Foundation for its support of BSO Participate

partners

in-kind partners

principal academic partner

academic partner

affiliates

Esmée Fairbairn Foundation Garfield Weston Foundation The Leverhulme Trust The Foyle Foundation The Valentine Charitable Trust Flaghead Charitable Trust The Michael & Ilse Katz Foundation Basil Samuel Charitable Trust Coral Samuel Charitable Trust The Marchus Trust The Mercers’ Company Cressy Foundation The Pitt-Rivers Charitable Trust Ralph Vaughan Williams Trust The Garrick Charitable Trust Gess Charitable Trust The Radcliffe Trust The VEC Acorn Trust Anthony du Boulay Charitable Trust The Norman Family Charitable Trust

principal patrons

David & Jill Peters Robert White Terence & Annette O’Rourke

principal media partner

media partner

broadcast partner

thank you

To our Performance Patrons and Champions and to everyone who supports the BSO through donations, membership or by volunteering their time.

tickets 01392 493493 bsolive.com

box offices

ticket prices

Exeter Northcott Theatre Stocker Road Exeter, EX4 4QB

Tickets go on general sale on Wednesday 2 September.

Exeter Visitor Information & Tickets, Dix’s Field Exeter, EX1 1GF All concerts take place at the Great Hall, Exeter University except for Saturday 7 May which is at Exeter Cathedral.

Free ‘Meet the Music’

pre-concert talks take place before most concerts (not 20 Nov, 22 Dec, 2 Jan & 7 May) at 6.40pm in the Forum Alumni Auditorium.

£38 £32 £24 £20 £14 John Lill Recital (20 Nov)

£19 A £2 booking fee per transaction is payable for all ticket sales except for cash sales in person.

Why not book a package of concerts and save money?

Generous discounts are available if you buy 4 concerts or more and if you book for 11 or 12 concerts you will receive a massive 40% off!

Multibuy Discounts 11– 12 concerts 40% 9 – 10 concerts 30% 6 – 8 concerts 20% 4 – 5 concerts 10%

concessions The BSO offers the following concessions to most concerts. Please note that only one concession applies per ticket and that concessions are not available retrospectively. Proof of status is required at the time of collection. All concessions and discounts are subject to availability.

BSO Kids for a Quid Under 18s: £1 per ticket (some exclusions apply).

BSO Vibes £5 per ticket (for 18–25s signed up to the scheme).

50% discount for Full-time students Wheelchair users and up to one companion Patrons on Jobseeker’s Allowance or Income Support There are no discounts for disabled patrons, but an accompanying companion qualifies for a 50% discount.

Group booking discounts 10 or more tickets 10% 20 or more tickets 20% 30 or more tickets 30% Group bookings must be paid in full one month in advance of the concert date, after which tickets will be released for resale.

Great Hall Exeter University Stocker Road Exeter, EX4 4PY Exeter Cathedral The Cloisters Exeter, EX1 1HS

by road

great hall parking

public transport

The Great Hall is situated on the main Streatham campus of Exeter University. It is adjacent to the Northcott Theatre which is signposted from Exeter City Centre. The campus lies to the north of the City Centre.

From the M5 and A30 to the west, the best route to take from the ring road (B3181) is Pinhoe Road (B3212) and enter the campus via Union Road and Prince of Wales Road.

Car parking is available on campus – free from 6pm. We advise that you allow plenty of time to find a space as it is often very busy. The main car parks are Car Parks A, B and D as marked on the map. Blue badge holders can use the Car Park C at the top of Stocker Road.

The Streatham Campus is served by the Stagecoach D and H bus routes which run all evening from the City Centre. The bus stop is at North Park Road opposite the Northcott Theatre.

cathedral parking

Exeter has two railway stations – Exeter St David’s (main station) and Central. Exeter St David’s Station is a 10-minute walk from the Streatham Campus and taxis are available.

Central Station is a 5-minute walk from the Cathedral.

satnav use postcode EX4 4QJ

City Centre car parks are all within easy walking distance. The nearest is the Cathedral and Quay multi-storey on Lower Coombe Street, EX11DX

Most local bus services stop at Exeter Bus and Coach Station which is a 5-minute walk from the Cathedral.

Kirill Karabits Chief Conductor

Bournemouth Symphony Orchestra 2 Seldown Lane, Poole, BH15 1UF Tel: 01202 670611 www.bsolive.com BSO is a Charity Registered No.208520 and a company limited by guarantee Registered No.538351 England.

All information is correct at the time of going to press – however artists are subject to availability and the BSO reserves the right to make any necessary changes from the advertised programmes.

www.bsolive.com

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