LPO-0026_Beethoven_booklet

LUDWIG VAN BEETHOVEN 1770–1827

71:58

Symphony No.9 in D minor, Op.125 ‘Choral’

01 02 03 04

16:53 09:23 18:40 26:51

Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto

KLAUS TENNSTEDT conductor LUCIA POPP soprano ANN MURRAY mezzo-soprano ANTHONY ROLFE JOHNSON tenor RENÉ PAPE bass LONDON PHILHARMONIC ORCHESTRA and CHOIR Joakim Svenheden leader Jeremy Jackman chorus master

Recorded live at ROYAL FESTIVAL HALL London

LPO – 0026

BEETHOVEN

Symphony No.9 in D Minor ‘Choral’ KLAUS TENNSTEDT conductor LUCIA POPP soprano ANN MURRAY mezzo-soprano ANTHONY ROLFE JOHNSON tenor RENÉ PAPE bass LONDON PHILHARMONIC orchestra and CHOIR

Friedrich von Schiller’s poem ‘Ode to Joy’ could almost have been calculated to appeal to the idealistic Beethoven. Written in 1785, it lauds the joys of fellowship, the happiness of married life, the wonders of nature and the universe and the eternal mystery of divine love, and as early as 1793 Beethoven was considering setting it as a song. In 1812 he attempted a ‘choral overture’ using parts of the text, but it was not for another decade that he was to find a true home for it when he made it the subject of the extraordinary and revolutionary finale to his Ninth and last symphony, the first ever to include a choral movement.

It was not just accommodating Schiller’s words that took a long time, however.

Although the symphony was essentially composed in a ten-month burst between April 1823 and January 1824, there is a case for saying that Beethoven had been writing it for much longer – he had contemplated a D minor symphony as early as 1812, immediately after the completion of the Seventh and Eighth, while some of its musical ideas date back even further. Not that these matters would have concerned the audience at the work’s first performance in Vienna’s Kärntnerthor Theatre in May 1824; for them the excitement lay in hearing Beethoven’s first new symphony in twelve years, and they lapped it up. At the end the applause was thunderous, and the deaf composer was

turned round by the contralto soloist Caroline Unger to see hats and handkerchiefs being waved frantically all over the hall. ‘The whole audience was impressed, crushed by the greatness of your work’, wrote Beethoven’s friend Anton Schindler. Vienna may not have always appreciated Mozart to the full, but it certainly loved Beethoven.

The Ninth is not, strictly speaking, Beethoven’s last symphony – in 1825 he began but failed to complete another – but it is a fitting summation of his mighty contribution to the genre’s history.

His achievement had been nothing less than that of bringing about an irreversible transformation in the entire concept of what a symphony is, turning a piece of concert music designed primarily to entertain into a psychological journey in which, over the course of four movements, the listener’s emotions undergo some kind of change.

This could be triumph over adversity, as in the death and rebirth of the Eroica, or a passage from darkness to light as demonstrated in the famous Fifth Symphony. In the Ninth, it is a journey from a bleak and brutal void to a glorious vision of an ideal world of love, tolerance and universal brotherhood.

Certainly the shimmering strings which open the first movement seem to conjure a mood of primeval emptiness before the music moves on into more combative regions.

At the end, a sternly resolute theme emerges from the depths like a clenched fist. The second movement seems straightforwardly joyful with its playful timpani beats (spontaneously applauded at the first performance), its interplay between the violins and its cheeky ending, but there is more than a hint of seriousness underlying it as well. The third movement is unambiguous in intent, however, a sublimely tender and beautiful set of variations on a tune whose deceptively simple hymn-like nature is a Beethoven speciality, above all in ‘late-period’ works.

And then the finale bursts in, startlingly and radically. At first the orchestra reviews themes from all three earlier movements, with the cellos and basses seeming to debate their worth in melodic phrases which deliberately mimic the style of vocal recitative. It is as if they are struggling to tell us something, yet it is also a dramatically enhanced continuation of the fragmentary, groping introductions to the finales of two earlier symphonies, the First and the Third.

Eventually, though, the orchestra hits on the now-famous folksong-like theme, but after they have played a few variations on it another upheaval leads to the first human sounds – a bass soloist commanding us to discard all this in favour of ‘pleasing and more joyful tones’. These words are Beethoven’s, but from here to the end it is

Schiller’s message which dominates, and as the voices take over, we hear in the course of further variations on the theme a vision of Elysium that is by turns exultant and awestruck. ‘This gigantic work’, Hans Keller suggested, ‘should convince even the firmest pessimist that mankind’s life has been worthwhile.’

For Klaus Tennstedt, conspicuous success came relatively late, but in the last two decades of his life he was a major figure on the international conducting scene.

Born into a musical family in the Saxon town of Merseburg in 1926, his early path as a conductor in East Germany was solid but unremarkable: having had to give up a career as an orchestral violinist in Halle because of a hand problem, he held conducting posts at the Chemnitz Opera, the Dresden Staatsoper and the Mecklenburg State Theatre in Schwerin. In 1971 he defected to the West, initially to work at the Stora Theatre in Gothenburg and the Kiel Opera, but by now he was also well experienced as an orchestral conductor, and when he stood in as a late replacement for Karel Ančerl in Bruckner’s Seventh Symphony with the Toronto Symphony in 1974 the resulting rave reviews changed his fortunes for ever. He went on to conduct all the major American orchestras, and when a sensational London debut followed in 1976 he was soon in demand with the big names in Europe as well. Posts

were gained with the North German Radio Symphony Orchestra and the Minnesota Orchestra, before the London Philharmonic Orchestra made him its Principal Guest Conductor in 1980. In 1983 he succeeded Sir Georg Solti as the Orchestra’s Music Director.

With the LPO he would make a number of highly regarded recordings, mainly for EMI, including works by Beethoven, Wagner, Bruckner and Strauss, and a complete cycle of the Mahler symphonies that stands as perhaps his greatest legacy. Yet fragile health – his time in London coincided with two hip replacements and treatment for throat cancer – meant that his appearances with the orchestra were restricted, and when he collapsed at a rehearsal in 1987 he resigned his post immediately. He continued to work with them as Conductor Laureate, however, until his full retirement in 1994. His death came in Kiel four years later.

The emotional intensity and architectural sense which made Tennstedt so celebrated as a conductor of Mahler and Bruckner are well in evidence in this performance of Beethoven’s ‘Choral’ Symphony, recorded during a concert at London’s Royal Festival Hall in October 1992. This is epic, romantic Beethoven, which pays little or no heed to the radical and influential rethinkings that had recently been brought about by the period-instrument movement. Rather than

the brash, punchy Beethoven introduced by the likes of Roger Norrington and subsequently echoed even by conductors such as Rattle, Abbado and Haitink, Tennstedt’s preference is for the long phrase, the inexorably timed climax and the grandly drawn gesture which place him firmly in a line from the German Romantic tradition.

‘From the wrong end of the nineteenth century’ is how one reviewer characterised an earlier Tennstedt performance of the ‘Choral’, but in an interview given in 1993 the now ailing conductor suggested an altogether more urgent interpretational imperative for his particular brand of musicmaking. ‘I live now’, he said. ‘This is today!’

Lindsay Kemp 2007

04 Presto O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen, und freudenvollere!

O friends, not these sounds!

Rather let us strike up something more pleasing and joyful!

Freude, schöne Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt.

Joy, lovely spark of the divine, Daughter from Elysium, Drunk with fire, we approach, Heavenly one, thy shrine!

Thy spells reunite What convention has torn apart; All humanity becomes brothers Where thy gentle wings rest.

Wem der grosse Wurf gelungen Eines Freundes Freund zu sein, Wer ein holdes Weib errungen Mische seinen Jubel ein!

Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund!

Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund.

Let him who has that great good fortune A friend’s friend to be, Let him who has gained a charming wife Join in rejoicing!

Yes, and whoever calls even one soul Upon the earth his own!

And he who never could, let him steal weeping away.

Freude trinken alle Wesen An den Brüsten der Natur, Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, Einen Freund geprüft im Tod, Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott!

All creatures drink joy At Nature’s breast, All the good, all the evil Follow her rosy trail.

She gave us kisses and the vine, A proven friend to the death, The worm was given sensual feelings, And the cherub stands before God!

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Glad, as his suns race Through the heavens’ glorious design, Run your course, brothers, Joyful, like a hero to the victory.

Seid umschlungen, Millionen, Diesen Kuss der ganzen Welt!

Brüder, überm Sternenzelt Muss ein lieber Vater wohnen.

Be embraced, you millions, This kiss for all the world!

Brothers, above the starry firmament A loving father must dwell.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such’ihn überm Sternenzelt! Über Sternen muss er wohnen.

Do you fall to your knees, you millions?

Do you feel the Creator’s presence, world?

Seek him above the starry firmament!

Above the stars he must dwell.

Lucia Popp was one of the most distinguished lyric sopranos of her time. She was born in 1939 in Czechoslovakia, and began her performing career as an actress before training as a singer at the Bratislava Academy of Music.

She made her stage debut at the Bratislava Opera House as the Queen of the Night in Mozart’s Die Zauberflöte – a role which she would very much make her own – and in 1963 was engaged by Herbert von Karajan to perform at the Vienna Staatsoper. There followed an illustrious career in which she performed at major opera houses throughout the world under some of the most eminent conductors of the day, amongst them Solti, Klemperer, Giulini, Bernstein, Kleiber and Rostropovich. Lucia Popp was also a renowned recitalist, concert and Lieder singer, and had a particular fondness for the works of Strauss, Mozart, Mahler and Haydn. Her many recordings won her worldwide acclaim and a plethora of awards, including the Grand Prix du Disque and three Grammy Awards. Lucia Popp died in Munich in 1993 at 54 years of age.

Trevor Leighton

LUCIA POPP soprano

ANN MURRAY mezzo-soprano Ann Murray was born in Dublin and studied with Frederic Cox at the Royal Manchester College of Music. She has close links with English National Opera, with which she has sung Handel’s Xerxes and Ariodante and Donizetti’s Maria Stuarda, and the Royal Opera House, Covent Garden, where her many roles have included Cherubino, Octavian, Despina and Giulio Cesare. Ann Murray has appeared with many of the world’s great orchestras and conductors and has been a regular guest at the BBC Promenade Concerts at the Royal Albert Hall. Her operatic engagements have taken her to the cities of Hamburg, Paris, Brussels, Cologne, Berlin, Amsterdam and Chicago, and to companies including the Metropolitan Opera New York, the Vienna Staatsoper and the Munich Staatsoper. She holds an honorary doctorate from the National University of Ireland, an honorary fellowship of the Royal Academy of Music, and in the 2002 Golden Jubilee Honours was named an honorary Dame Commander of the Most Excellent Order of the British Empire.

ANTHONY ROLFE JOHNSON tenor Anthony Rolfe Johnson, one of Britain’s most distinguished singers, was born in 1940 and has since worked with all the UK’s major orchestras and performed at the world’s leading musical festivals and centres. He has sung with the Chicago Symphony Orchestra under Solti, the Boston Symphony Orchestra under Ozawa, the New York Philharmonic under Rostropovich, the Cleveland Orchestra under Rattle and the Berlin Philharmonic under Levine. Anthony Rolfe Johnson’s vast range of recordings reflects his worldwide reputation as an interpreter of great eclecticism from Bach to Britten. His recordings of the Handel oratorios were widely acclaimed, whilst his recordings of Britten’s War Requiem, Mozart’s Die Zauberflöte and Haydn’s Die Schöpfung and Die Jahreszeiten won major awards. Anthony Rolfe Johnson has appeared in operatic performances at Glyndebourne Festival Opera, the Salzburg Festival, the Vienna Staatsoper, the Metropolitan Opera New York the Bayerische Staatsoper, the Paris Opera and the Royal Opera House, Covent Garden. He was named a Commander of the British Empire in 1992.

RENÉ PAPE bass Born in Germany, René Pape received his musical education in his native city of Dresden. He made his debut at the Berlin Staatsoper in 1988 whilst still a student and has been a company member ever since. His operatic work incorporates many of the great Wagnerian roles for bass including Hans Sachs, King Marke, King Heinrich, Pogner, Fasolt and Hunding. He has appeared at all the major opera houses and concert halls in Europe, Japan, the USA, and at the Glyndebourne, Bayreuth, Lucerne, Orange, Salzburg and Verbier Festivals. Among his numerous recordings are Tristan und Isolde under Antonio Pappano, Lohengrin and Tannhäuser under Daniel Barenboim, Die Meistersinger von Nürnberg under Sir Georg Solti and Die Zauberflöte under Claudio Abbado, while his TV and DVD appearances include Le Nozze di Figaro under Daniel Barenboim, Die Zauberflöte in a film production directed by Kenneth Branagh, and from the Met, Tristan und Isolde and Fidelio under James Levine. He has won two Grammy Awards and was Musical America’s Vocalist of the Year in 2002. Most recently, he won a 2007 Opera News Award.

Richard Holt

KLAUS TENNSTEDT conductor Born in East Germany, Klaus Tennstedt studied at the Leipzig Conservatory and conducted throughout his native land, but it was not until he moved to the West in 1971 that he started to achieve world recognition.

He made his American debut with the Boston Symphony Orchestra in 1974 and his debut with the London Philharmonic Orchestra in 1977. He had an instant rapport with the London Philharmonic Orchestra which resulted in return invitations and his appointment as the Orchestra’s Principal Conductor and Music Director in 1983. This developed into a unique and remarkable relationship until illness finally brought it to a premature end some ten years later.

Tennstedt was particularly renowned for his performances of the German repertoire, especially Mahler whose symphonies he conducted regularly with the London Philharmonic Orchestra at the Royal Festival Hall and on disc to huge public acclaim.

His energy, musicianship and emotional involvement combined with a rare humility endeared him to audiences and musicians alike. Klaus Tennstedt died in 1998.

LONDON PHILHARMONIC CHOIR The London Philharmonic Choir was founded in 1947 as the chorus for the London Philharmonic Orchestra. It is widely acclaimed as one of the nation’s finest choirs and consistently meets with critical acclaim.

Continuing to perform regularly with the London Philharmonic Orchestra, the London Philharmonic Choir also works with many other orchestras throughout the United Kingdom and makes annual appearances at the BBC Proms. It has performed under some of the world’s most eminent conductors – among them Pierre Boulez, Mark Elder, Sir John Eliot Gardiner, Bernard Haitink, Kurt Masur, Sir Roger Norrington, Sir Simon Rattle, Sir Georg Solti and Klaus Tennstedt. The London Philharmonic Choir has participated in more than seventy recordings, including a Gramophone Award-winning performance of Mahler’s Eighth Symphony under Klaus Tennstedt. The Choir often travels overseas and in recent years it has appeared at the Canary Islands and Lucerne music festivals, and given concerts in Europe, Hong Kong, Malaysia and Australia.

London Philharmonic Orchestra The London Philharmonic Orchestra is known as one of the world’s great orchestras with a reputation secured by its performances in the concert hall and opera house, its many award-winning recordings, its trail-blazing international tours and its pioneering education work. Distinguished conductors who have held positions with the Orchestra since its foundation in 1932

by Sir Thomas Beecham include – alongside Klaus Tennstedt – Sir Adrian Boult, Bernard Haitink, Sir Georg Solti and Franz WelserMöst. Vladimir Jurowski was appointed the Orchestra’s Principal Guest Conductor in March 2003, becoming Principal Conductor

in September 2007, succeeding Kurt Masur.

The London Philharmonic Orchestra has been resident symphony orchestra at the Royal Festival Hall since 1992 and there it presents its main series of concerts between September and May each year. In summer, the Orchestra moves to Sussex where it has been the resident symphony orchestra at Glyndebourne Festival Opera for over 40 years. The Orchestra also performs at venues around the UK and has made numerous tours to America, Europe and Japan, and visited India, Hong Kong, China, South Korea, Australia and South Africa.

Richard Haughton

The London Philharmonic Orchestra with Klaus Tennstedt at the Royal Festival Hall