English Chamber Orchestra programme - Ana de la Vega (Cadogan Hall, 19 February 2019)

ENGLISH CHAMBER ORCHESTRA

London Concert Series 2018/19

Ana de la Vega Flute Stephanie Gonley Director

Cadogan Hall – Tuesday 19 February 2019, 7.30pm

ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

Saturday 16 March 2019, 7.30pm Cadogan Hall

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Ravel Le Tombeau de Couperin

Ben Johnson tenor Ben Goldscheider horn Jessica Cottis conductor

Tickets: £15 - £45

All bookings subject to a £3 transaction fee (no booking fees for ENCORE Members).

www.cadoganhall.com / 020 7730 4500

Britten Serenade for Tenor, Horn and Strings, Op.31 Purcell/Britten Suite of Six Songs from Orpheus Britannicus Stravinsky Pulcinella Suite

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Cadogan Hall 19 February 2019, 7.30pm

English Chamber Orchestra Grieg Holberg Suite, Op.40

Mozart Flute Concerto in D major, K314

Interval ˇ Myslivecek Flute Concerto in D major

Tchaikovsky Serenade for Strings in C major, Op.48

Ana de la Vega Flute Stephanie Gonley Director

The ECO is grateful to Frédéric de Mevius and the English Chamber Orchestra Charitable Trust for their generous support of this concert.

English Chamber Orchestra reserves the right to substitute artists and to vary programmes if necessary.

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ECO London Series 2018/19 Cadogan Hall

ENGLISH CHAMBER ORCHESTRA LEADER STEPHANIE GONLEY

PA T R O N H R H T H E P R I N C E O F WA L E S

Welcome

Photograph Chris Christodoulou

It is with great pleasure that I welcome you to this concert given by the English Chamber Orchestra. From its inception, the ECO has forged special relationships with great artists; these collaborations have become legendary. We have also been privileged to give the first performance of many works including what was almost certainly the first UK performance ˇ of Myslivecek's Flute Concerto with tonight’s artist Ana de la Vega and it is a pleasure to present another opportunity to hear this music. She will also be playing the Mozart Flute Concerto in D major and will be available this evening to sign copies of her album of these works which was recently ranked number three in John Suchet’s 'Ten Best Classical

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Albums for 2018' for Classic FM. Greig's delightful Holberg Suite and Tchaikovsky's Serenade for Strings complete the programme.

I hope you have a special evening with us and thank you for your support.

Sincerely,

Michael Facey Trustee, English Chamber Orchestra Charitable Trust

Edvard Hagerup Grieg (1843–1907) From Holberg’s Time: Suite in the Olden Style, Op. 40 for String Orchestra Praeludium: Allegro vivace Sarabande: Andante Gavotte (Allegretto) and Musette (Un poco mosso) Air: Andante religioso Rigaudon: Allegro con brio

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udvig Holberg (1684–1754) was the first Danish author to absorb the literary influences of English rationalism and French Enlightenment and apply them to Danish drama, thereby laying the foundations of the distinctive tradition of Scandinavian theatre (and subsequently cinema). His comedies gained him the reputation of ‘the Molière of the North’. Although he grew up in Copenhagen and became known as the father of Danish literature, Holberg was – like Edvard Grieg – born in Bergen, in Norway; so Grieg must have felt particularly honoured to be asked to compose a work in celebration of the bicentenary of Holberg’s birth, in 1884.

The original request was for a grand cantata, to be sung in the open air during the unveiling of a statue of Holberg; but Grieg was not inspired by this idea (and did not relish the prospect of conducting out of doors in midwinter) and destroyed his sketches. Instead, he composed a suite ‘in the olden style’, evoking the spirit of a set of Baroque dances; he first

wrote it for piano, and performed it himself in December 1884, reworking it for string orchestra a few months later. The ‘Holberg Suite’ has become one of Grieg’s most popular and best-loved works.

The energetic, toccata-like Praeludium is followed by a tender Sarabande, then a courtly Gavotte with a central Musette imitating the drone of bagpipes. The intensely expressive Air was inspired by the example of J.S. Bach, an almost exact contemporary of Holberg, although the theme’s later turns of phrase recall some of Grieg’s own songs. The jaunty final Rigaudon (with a slower middle section) is more reminiscent of Handel, but with echoes of the folk music of the Norwegian Hardanger fiddle.

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ECO London Series 2018/19 Cadogan Hall

Wolfgang Amadeus Mozart (1756–1791)

Flute Concerto in D major, K314 Allegro aperto Adagio non troppo Rondeau (Allegro)

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n 1777 Mozart composed an oboe concerto for Giuseppe Ferlendis, an Italian oboist in the orchestra of the Archbishop of Salzburg. A few months later, Ferdinand Dejean, a wealthy surgeon in the Dutch East India Company and an amateur flautist, commissioned Mozart to write him three flute concertos and some flute quartets. Mozart was apparently not a great fan of the flute as a solo instrument, and he found it hard to motivate himself to fulfil Dejean’s commission: ‘My mind gets easily dulled, as you know,’ he wrote to his father, ‘when I’m supposed to write for an instrument I can’t stand.’ But perhaps this was not the real reason for Mozart’s lack of enthusiasm; he had recently made the acquaintance of the Weber family in Mannheim and fallen madly in love with one of the daughters, Aloysia (he later married her younger sister Constanze). Distracted from the business of composing, Mozart took the easy way out and recycled his oboe concerto as one of two flute concertos he eventually delivered to Dejean, transposing it up a tone from C to D major. (Dejean considered he had been shortchanged and paid Mozart less than half of the commissioning fee.)

In its new guise, the Flute Concerto in D is a cheerful, outgoing piece, full of felicitous writing for the solo instrument. The opening movement, marked Allegro aperto (‘open’), is followed by a touching, song-like Adagio non

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troppo. The tempo of the bouncy final Rondo was originally given as Allegretto for the oboe, but Mozart winds it up a notch to Allegro for the more agile flute; the main theme foreshadows Blonde’s joyous aria, ‘Welche Wonne, welche Lust’ (‘what delight, what pleasure’) in Mozart’s opera Die Entführung aus dem Serail – perhaps a reflection of the love-struck young composer’s state of mind at the time.

Josef Myslivecek (1737–1781) Flute Concerto in D major Allegro moderato Andante mezza voce Allegro molto

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ozar t first met the Czech composer Josef Myslivecek in 1770, when they were both in Bologna; they remained firm friends ever after. Josef and his twin brother Jáchym were the sons of a prosperous miller in Prague, but while Jáchym went into the family business, Josef became a composer, specialising in Italian operas. The Italians understandably had trouble with Myslivecek's name, referring to him instead as ‘Il boemo’ (the Bohemian), or ‘Giuseppe Venatorini’ (‘Josef the little hunter’ – a literal translation of his name in Czech). Besides his 26 operas, Myslivecek wrote oratorios, symphonies, concertos, wind ensembles and string quintets, all of which provided Mozart with inspiration and compositional models. Myslivecek's hugely popular oratorio Abramo ed Isacco was formerly attributed to Mozart (as K241a), and it has been suggested that some of Mozart’s early works were actually composed by Myslivecek.

Mozart certainly quoted some of the Bohemian composer’s tunes in his own works; Mozart’s canzonetta ‘Ridente la calma’ (K152) is an arrangement, with new words, of an aria from Myslivecek's opera Armida.

Having at one time been the highest-paid composer in Europe, Myslivecek fell on hard times in later life; his operas were out of favour and having contracted syphilis (his exploits

with women were notorious), he lost his nose.

In October 1777, Mozart reported that he had visited Myslivecek in hospital in Munich: ‘The man is completely deserted and often no one goes to see him for a whole week. “I assure you”, he said, “it seems very strange that so few people come to see me. In Italy I had company every day.” If it were not for his face, he would be the same old Myslivecek, full of fire, spirit and life, a little thin, of course, but otherwise the same excellent, cheerful fellow.’ Myslivecek died penniless at the age of 43; his memorial in Prague bears the words ‘Il divino boemo’ – ‘the divine Bohemian’.

Vast quantities of Myslivecek's works remain undiscovered and unpublished.

Sir Charles Mackerras amassed a collection of his manuscripts, which are now deposited at the Royal Academy of Music in London.

The manuscript of the Flute Concerto in D was discovered in 1943 in the University Library at Wroclaw in Poland; tonight’s soloist, Ana de la Vega, gave what was almost certainly the UK premiere of the work in December 2010 with the ECO. The concerto is in three movements, ‘fast-slow-fast’, the central Andante bearing the unusual marking ‘mezza voce’ – in ‘half voice’, or very quietly.

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ECO London Series 2018/19 Cadogan Hall

Peter Ilyich Tchaikovsky (1840–1893) Serenade for Strings in C, Op. 48 Pezzo in forma di Sonatina (Andante non troppo – Allegro moderato) Valse Élégie Finale: Tema russo (Andante – Allegro con spirito)

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chaikovsky composed his Serenade for Strings in the autumn of 1880, perhaps as light relief while he was working on the ‘1812’ Overture; its first performance was in St Petersburg on 30 October 1881. The Serenade’s simple outlines and memorable tunes, and the rich variety of sounds that Tchaikovsky conjures from the medium of the string orchestra, have assured it a place among his best-loved works. Tchaikovsky calls the first movement a ‘piece in the form of a Sonatina’ – meaning that it is in classical sonata form but without a development section; nevertheless, it is conceived on a grand scale. The movement opens with a spacious slow introduction, featuring a descending scale figure, which seems to want to move from C major to A minor. The first theme of the Allegro moderato, though firmly in C major, has a wistful yearning quality that also seems to pull it towards minor keys. The bustling second subject, over a bouncing pizzicato bass line, leads straight into the recapitulation; the movement is rounded off by a reprise of the slow introduction.

Then follows a delightful waltz, bubbling with wit and light-footed energy; Tchaikovsky was particularly fond of waltzes, introducing them not only into his ballet scores but also into operas and symphonies. The third

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movement transforms the rising scale outline of the waltz theme into a slow elegy, out of which emerges a heartfelt melody for the violins which is taken up with dignified intensity by violas and cellos. The opening rising-scale elegy returns, now in the hushed tones of muted strings.

The hushed mood persists in the opening of the Finale, with the instruments still muted.

Tchaikovsky subtitles the movement Tema russo (Russian theme), but in fact he uses two Russian folk tunes, taken from a collection by Balakirev. The slow introduction, based on a work song from the river Volga, abruptly gives way to a lively dance in the rhythm of a Trepak; Tchaikovsky introduces a lyrical second subject on the cellos, in the remote key of E flat, and proceeds to develop these two ideas at some length. As the excitement is at its height, he suddenly re-introduces the music of the first movement’s slow introduction – revealing, with a conjuror’s flourish, that the seeds of the Trepak theme were hidden within it all along..

Programme notes by Jonathan Burton © 2019

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Performances in 2019 will be given by the Castalian String Quartet in the Old Methodist Hall, and include works by Schumann, Haydn and Beethoven. There will also be a series of musical talks and a visit to the private garden at Lamorran, inspired by Lady Walton’s garden on the island of Ischia. Dinner is included each evening at the excellent Tresanton restaurant which overlooks the sea and is lit by candles in the evening.

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Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the villa of the Habsburg Archduke Luis Salvador at Son Marroig.

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ECO London Series 2018/19 Cadogan Hall

Ana de la Vega Flute

‘When I decided to be a flautist, I had never seen a flute. I didn’t know what an orchestra was and I had certainly never been into a concert hall. I was seven years old playing in the garden on our farm when Jean Pierre Rampal’s recording of the Mozart Flute and Harp Concerto KV299 (Erato) came through my parents’ speakers.The second movement of that concerto rendered me choice-less – a physical reaction – an infiltration of body and soul. Every decision from that moment on led me to the flute, to Paris… and to Mozart... A long way from the flies and the dust!’ Ana de la Vega

Photograph Neda Nevaee

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uch an interesting new soloist in the field of flute has not existed for a very long time’ (Naxos). Indeed, the Australian flautist Ana de la Vega is stirring up the classical music scene at present. Her Wigmore Hall debut was reviewed as ‘outstanding’ (Classical Source), her Cadogan Hall London performance as ‘true artistry’ (Musical Opinion), and her Berlin Philharmonie debut as ‘first-class’.

Her debut album with the English Chamber Orchestra on PENTATONE is attracting unbridled attention worldwide (Classic FM ‘Best Albums of 2018’, Amazon Best Seller, NDR CD of the week, BBC Scotland CD of the week, Pizzicato 5 Stars et al.).

Her premiere of Myslivecek’s forgotten flute concerto with the ECO was broadcast live on BBC Radio 3, made Critics’ Choice in London Time Out and received rave reviews in BBC Magazine, Gig Magazine and the Daily Telegraph. Having discovered numerous

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lost works for flute which she pioneers in expanding the flute repertoire, Ana de la Vega is rapidly becoming one of the most exciting ambassadors of her instrument today.

In the 2018/19 season Ana performs as soloist with DKO Berlin, the Trondheim Soloists, ECO, Sinfonia Rotterdam and Berliner Camerata. She gives her debuts at the Concertgebouw Amsterdam, Berlin Philharmonie, Hamburg Laeiszhalle and with Muenchen Music in Munich, as well as her maiden voyage on the MS Europa, and to the Schloss Elmau.

Ana de la Vega grew up on a farm in Southern New South Wales, Australia, as the third of four sisters. She was a student of the Conservatoire Supérieur de Paris where she studied under Catherine Cantin, as well as with Philippe Pierlot and Raymond Guiot and hence is a successor of the great French school of Flute playing.

Stephanie Gonley Director

Photograph Chris Christodoulou

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tephanie Gonley studied with David Takeno at the Guildhall and Dorothy DeLay at the Juilliard School in New York, USA and is now a leading professor of violin at the Guildhall School of Music and Drama and at Trinity Laban Conservatoire of Music and Dance. In 1991 she was the youngest leader in London when she was appointed the leader of the English Chamber Orchestra and has since both directed and appeared as soloist with the orchestra throughout the world. Her recordings include the Sibelius Concerto on BMG and works by Dvorak with the ECO and Sir Charles Mackerras.

Stephanie will perform Mendelssohn’s lesserknow Concerto for Violin in D minor when she appears as soloist and director as part of the ECO’s Concert Series on 16 April 2019 at Cadogan Hall.

MOZART MYSLIVEČEK

Anade la Vega

Flute Concertos NEW ALBUM

And in all good record shops

ENGLISH CHAMBER ORCHESTRA

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ECO London Series 2018/19 Cadogan Hall

ENGLISH CHAMBER ORCHESTRA LEADER STEPHANIE GONLEY

PA T R O N H R H T H E P R I N C E O F WA L E S

Photograph Chris Christodoulou

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he English Chamber Orchestra is the most recorded chamber orchestra in the world, its discography containing nearly 900 recordings of over 1,500 works by more than 400 composers.

Throughout its history, the ECO has performed in numerous countries and played with many of the world’s greatest musicians; the American radio network CPRN selecting it as one of the world’s greatest ‘living’ orchestras. Its illustrious past features many major musical figures, including Benjamin Britten who was the orchestra’s first Patron and a significant musical influence. The ECO has enjoyed long relationships with such great musicians as Mstislav Rostropovich, Pinchas Zukerman, Daniel Barenboim and many others. Last Season, the ECO performed

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across the UK and enjoyed a successful London series with artists including Christian Zacharias, Tenebrae, Jennifer Pike, Tasmin Little and Howard Shelley. International highlights included a tour to Mexico with José Serebrier and a soldout European tour with Julian Rachlin culminating in a concert at the Musikverein in Vienna. In addition, the orchestra has recorded many successful film soundtracks including Dario Marianelli’s prizewinning scores for Atonement and Pride and Prejudice and several James Bond soundtracks.

Last year, the ECO was honoured to participate in the ceremony for the wedding of Prince Harry and Meghan Markle and over the summer was on tour at the Lucerne Festival and in Turkey, where it worked with pianists Guher and Suher Pekinel at the Izmir and Istanbul music festivals. Last month, the ECO became the Orchestra-in-Partnership at Christ’s Hospital School in West Sussex, a collaboration that will involve side-by-side and one-to-one tuition.

Stay in touch with the ECO by subscribing to our monthly e-newsletter at www.englishchamberorchestra.co.uk Follow and engage with the ECO on Facebook and Instagram(@EnglishChamberOrchestra) and Twitter(@ECOrchestra).

First violins

Stephanie Gonley John Mills Elizabeth Cooney Ciaran McCabe Ruth Funnell Tom Aldren

Violas

Jonathan Barritt Lydia Lowndes-Northcott Daisy Spiers Cara Coetzee

Second violins Michael Gurevich Natalia Bonner Matt Elston Natasha Hall Djumash Poulsen

Horns

John Thurgood** Andrew Sutton

Cellos

Caroline Dale* Tim Lowe Boz Vukotic

Basses

Oboes

Philip Harmer Ruth Contractor

Stephen Williams Paul Sherman

General Management Fabio Sarlo Lydia Brookes Juliette Barber

* The Chair of Principal Cello is generously supported by the Phair Family Foundation ** The Chair of Principal Horn is generously supported by Lynn Holmes in memory of Brian Holmes The list of players was correct at the time of going to press.

SCENE TO BE BELIEVED

Programme features

Humperdinck

Selections from Hansel and Gretel

Dvořák

ORCHESTRAL AND OPERATIC MUSIC INSPIRED BY FOLK TALES Sun 14 Apr, 3pm

‘Song to the Moon’ from Rusalka

Rossini

‘Non più mesta’ from La Cenerentola

Rimsky-Korsakov Scheherazade

Dominic Wheeler Conductor Carmen Artaza Mezzo Samantha Clarke Soprano

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A small selection of sandwiches, cakes and snacks is available from the Oakley Bar. Concert goers may also enjoy a wide selection of champagnes, spirits, red and white wines, beers and soft drinks from the Culford Room bar. Customers seated in the Gallery can buy interval drinks from the Gallery Bar at some concerts.

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ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

Tuesday 16 April, 7.30pm Cadogan Hall

Stephanie Gonley violin/director Bartók Divertimento for String Orchestra, Sz113 Mendelssohn Concerto for Violin in D minor Schubert Rondo in A major, D438 Suk Serenade for Strings in E flat major, Op.6 Tickets: £15 - £45

All bookings subject to a £3 transaction fee (no booking fees for ENCORE Members).

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ENGLISH CHAMBER ORCHESTRA

www.englishchamberorchestra.co.uk/concerts

Wednesday 22 May 2019, 7.30pm Cadogan Hall

‘He is the most perfectly accomplished pianist of his generation.’

Behzod Abduraimov piano

The Independent

Stephanie Gonley director

Stravinsky Concerto in D major for String Orchestra, 'Basel Concerto' Beethoven Piano Concerto No.1 in C major, Op.15 Mozart Rondo for Piano and Orchestra in D major, K382 Mozart Symphony No.38 in D major, K504, ‘Prague’

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Tickets: £15 - £45

All bookings subject to a £3 transaction fee (no booking fees for ENCORE Members).

www.cadoganhall.com / 020 7730 4500

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