FISCHER CONDUCTS MAHLER SYMPHONY NO.4 8 MARCH 2022
Hello! We are the Orchestra of the Age of Enlightenment (OAE) We play on historic instruments using techniques from the time the composer was writing. This means that every time we perform, you will see a stage of intriguing instruments and hear our passion for making the old feel new. Welcome to the fourth concert of our 2021-22 season, The Wilderness Pleases; exploring the Enlightenment fascination with nature and its awe-striking beauty. The title of the series, The Wilderness Pleases is inspired by a book from the Enlightenment era; Shaftesbury’s controversial 'The Moralists.' In the book, the main character, Theocles, describes the terror of encountering a group of crocodiles in an Egyptian desert. After escaping the monsters, he is overcome with a desire to admire them as wondrous creatures of the natural world.
‘let us fly to the vast deserts of these parts […] ghastly and hideous as they appear they want not their peculiar beauties. The Wilderness pleases.’ -Anthony Ashley Cooper, the third Earl of Shaftesbury, 1709
FISCHER CONDUCTS MAHLER SYMPHONY NO.4 Tuesday 8 March, 2022
Southbank Centre's Royal Festival Hall MAHLER
SYMPHONY NO.5 - ADAGIETTO
DES KNABEN WUNDERHORN -Wer hat das Liedlein erdacht? -Wo die schönen Trompeten blasen -Rheinlegendchen INTERVAL SYMPHONY NO.4 Conductor Ádám Fischer Solo Soprano Masabane Cecilia Rangwanasha
This concert is generously supported by Julian and Annette Armstrong, Adrian Frost and the Gustav Mahler Society UK
Violin I Matthew Truscott Kati Debretzeni Rodolfo Richter Dominika Feher Henry Tong Kinga Ujszaszi Jane Gordon Daniel Edgar Nia Lewis Jayne Spencer Simon Kodurand Anna Curzon Violin II Margaret Faultless Huw Daniel Andrew Roberts Claire Holden Alice Evans Rachel Isserlis Rebecca Livermore Iona Davies Deborah Diamond Stephen Rouse Viola Max Mandel Oliver Wilson Martin Kelly Katie Heller Marina Ascherson Lisa Cochrane Christopher Beckett
Cello Kate Gould Catherine Rimer Andrew Skidmore Helen Verney Ruth Alford Richard Tunnicliffe Penny Driver Double bass Christine Sticher Cecelia Bruggemeyer Carina Cosgrave Ronan Dunne Raivis Misjuns Flute Lisa Beznosiuk Katharine Bircher Frederico Paixao Rosie Bowker Oboe Daniel Bates Adrian Rowlands Mark Baigent Clarinet Katherine Spencer Sarah Thurlow Emily Worthington
Bassoon Alexander Meyrick Sally Jackson Rebecca Hammond Contrabassoon David Chatterton Horn Roger Montgomery Martin Lawrence Gavin Edwards David Bentley Trumpet David Blackadder Phillip Bainbridge Matthew Wells Timpani Adrian Bending Percussion Nicholas Ormrod Matthew Dickinson Scott Bywater Nicholas Cowling Harp Alison Martin
programme notes SYMPHONY NO. 5, 'ADAGIETTO' Gustav Mahler (1860-1911) It’s still quite a common misconception that Gustav Mahler, composer of the “Symphony of a Thousand”, did everything on a colossal scale. But at the turning point of his Fifth Symphony (1902), Mahler dispenses with everything except strings and harp, and withdraws into a world of tender, luminous intimacy. At first the melody of this Adagietto (“little Adagio”) is hesitant; the harp plucks tentatively as a sense of deep peace, bittersweet hope and then growing passion spreads through the music. The violins hint at a love theme from Wagner’s Tristan und Isolde, and the intensity deepens. It seems almost certain that Gustav wrote this movement after meeting his future wife Alma in November 1901, and the Dutch conductor Willlem Mengelberg – one of Mahler’s most trusted colleagues – said that Mahler had sent the score to Alma, accompanied by the words of a love song:
How much I love you / You, my sun / I cannot find the words to say Only my longing can I lament to you / And my love, and my delight. In the end, the Adagietto melts into near-silence – or perhaps a realm where even music cannot reach.
THREE SONGS FROM DES KNABER WUNDERHORN
SYMPHONY NO.4
- 'Wer hat dies Liedelein erdacht?' - 'Wo die schönen Trompeten blasen' - 'Rheinlegendchen'
Bedächtig, nicht eilen In gemächlicher Bewegung, ohne Hast Ruhevoll (Poco adagio) Sehr behaglich
Gustav Mahler
Gustav Mahler
In 1805, in the German university town of Heidelberg two young poets, Achim von Arnim and Clemens von Brentano, published a collection of folk-poems that they’d heard and noted down as they travelled through the Rhineland. They called it Des Knaben Wunderhorn – “The lad’s wondrous horn” – and for a generation of Romantic writers and composers it was a gateway to a world of dark legends, magical stories and haunting images, all rooted in folklore and nature. Gustav Mahler loved it, and between 1887 and 1901 he set over 20 of the Wunderhorn poems to vivid music.
In 1900, Gustav Mahler built himself a villa by the shore of Lake Worthersee in the Carinthian Alps. “The summer was lovely”, he later recalled. Deep in the woods in his newly built retreat, he completed his Fourth Symphony. It had been four years since he’d completed his colossal Third Symphony; the Fourth, in contrast, is his shortest symphony, and uses an orchestra without low brass. And it begins like a children’s piece: a quiet jangle of sleighbells, birdsong from the flutes and a foursquare, Mozart-like melody.
'Wer hat dies Liedelein erdacht?' (1893) is a playful love-song: flying geese seem to mock the hopeful suitor of a beautiful innkeeper’s daughter. It’s all in good spirit, but 'Wo die schönen Trompeten blasen' (1900) has darker undertones – two lovers have been parted by war, and the trumpet’s distant call quietly hints that their reunion may not be of this world. 'Rheinlegendchen' (1893) is both knowing and deliciously playful: a “little Rhine legend” of a lover throwing their golden ring into the Rhine, confident that love (and fish) will see it returned. Mahler’s smile is lopsided – but it’s a smile, nonetheless.
Is Mahler pulling our leg? Well, maybe. Mahler heard those bells (or so he told his friend Natalie Bauer-Lechner) as “the bells of the Fool’s Cap”. And there’s certainly a macabre humour in the scherzo: “so mystical, confused and uncanny that it will make your hair stand on end” joked Mahler. “But you’ll soon see, in the following Adagio – where everything sorts itself out – that it wasn’t meant so seriously after all”. In the finale a soprano sings something like a nursery rhyme. It’s “The Heavenly Life”, a poem from the folk-anthology Des Knaben Wunderhorn, in which an impoverished child imagines a heaven stuffed with goodies. Again, is Mahler pulling our leg? He leaves the question open… Richard Bratby
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BIOGRAPHIES
ÁDÁM FISCHER Born in Budapest Adam Fischer is one of the leading conductors of our time. In 1987, he founded the Österreichisch-Ungarische Haydn Philharmonie with musicians from his two home countries Austria and Hungary, and at the same time the Haydn Festival in Eisenstadt as an international centre for the performance of Haydn’s music. Whether in Bayreuth, at the Metropolitan Opera or at Teatro alla Scala in Milan, whether with the Wiener or Berliner Philharmoniker, the Orchestra of the Age of Enlightenment or at the Salzburg Festival: Adam Fischer is recognised, by audiences and musicians alike, as a mediator between music and the outside world. Adam Fischer acquired his profound understanding of the opera world and his unusually broad repertoire by taking the classic career path steps from répétiteur (Graz) to General Music Director (Freiburg, Kassel, Mannheim und Budapest). His international breakthrough came in 1978 when he took over the baton from Karl Böhm, conducting “Fidelio” at the Bayerische Staatsoper. Since then he has been a guarantor of thrilling opera evenings at all leading opera houses of the world. His closest links are with the Wiener Staatsoper where he was appointed Honorary Member in 2017.
MASABANE CECILIA RANGWANASHA Rising star, South African soprano Masabane Cecilia Rangwanasha was the winner of the Song Prize at the BBC Cardiff Singer of the World Competition 2021 and is former a Jette Parker Young Artist at the Royal Opera House, Covent Garden. This season, Masabane will join the ensemble of Theater Bern where her repertoire will include Élisabeth de Valois Don Carlos, Mathilde Guillaume Tell, and Elettra Idomeneo. Future seasons will see a series of exciting house and role debuts, including Staatsoper Hamburg and returns to the Royal Opera House. On the concert platform, Masabane will make debuts with the Orchestra of the Age of Enlightenment, Royal Philharmonic Orchestra, The Hallé, and give recitals in Edinburgh and at Wigmore Hall. Rangwanasha completed her PGDip at the University of Cape Town, where she studied with Virginia Davids, and then went on to study Vocal Performance at Tshwane University of Technology. Masabane was the winner of the Audience Prize and two special prizes in the 2019 Hans Gabor Belvedere Competition.
Join our friendly Society and experience the fascinating music and life of Gustav Mahler throughout the year with our study days, social events and recitals
GMS UK is proud to sponsor this concert and wishes the Orchestra, Conductor and soloist every success this evening. info@mahlersociety.org www.mahlersociety.org. www.facebook.com/TheGMSUK/
ABOUT THE ORCHESTRA “Not all orchestras are the same” Over three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and
repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its association at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the OAE to live, work and play amongst the students of the school. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor orchestraoftheageofenlightenment theoae oae_photos YouTube.com/OrchestraEnlighten
OAE TEAM Chief Executive Crispin Woodhead
Orchestra Consultant Philippa Brownsword
Life President Sir Martin Smith
Finance and Governance Director Pascale Nicholls
Choir Manager David Clegg
Board of Directors Imogen Overli [Chairman] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel Alison McFadyen David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead
Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Marketing Director Doug Buist General Manager Edward Shaw Education Officer Andrew Thomson Projects Manager Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah Projects Officer Ed Ault Operations Assistant Henry Ashmall Nathanael Jordine
Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington
OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams
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THANK YOU
OAE Experience scheme Henocq Law Trust The Harold Hyam Wingate Foundation Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe
- James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur Barney and Catherine Burgess David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Miss Claire Espiner Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum
Shelley von Strunckel Mr J Westwood Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Fenton Arts Trust Denys and Vicki Firth Garrick Charitable Trust Bruce Harris Ms Madeleine Hodgkin Mrs Sarah Holford Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg Old Possum's Practical Trust Imogen and Haakon Overli Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Stephen and Cristina Goldring Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels
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APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. We gratefully acknowledge those donors below Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock Sir Anthony Cleaver Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew
Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams
WE MOVED INTO A SCHOOL
A little over a year ago we took up permanent residence at Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project. The school isn't just our landlord or physical home. Instead, it allows us to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” Continues Margaret: “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.
OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE
Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live.
The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.
SUPPORT OUR EDUCATION PROGRAMME
The work we do could not happen without the support of our generous donors. If you would like to support our education programme please contact Emily Stubbs, Development Director emily.stubbs@oae.co.uk | 02081599318
NEXT CONCERT
ST JOHN PASSION Saturday 26 March 2022, 7pm
Queen Elizabeth Hall, Southbank Centre BACH St John Passion Director and Evangelist Mark Padmore Soprano Mary Bevan Mezzo-soprano Paula Murrihy Tenor Laurence Kilsby Bass Raoul Steffani Eminent Evangelist Mark Padmore guides us on the journey of Christ to the cross in St John Passion with Soprano Mary Bevan, Tenor Laurence Kilsby, Mezzo-soprano Paula Murrihy and Bass Raoul Steffani. The word ‘Passion’ is rooted in the Latin word for suffering and tonight’s concert is a meditation on suffering and an attempt to make some sense of it.
TICKETS FROM £10 - 80*
OAE.CO.UK/EVENT/ST-JOHN-PASSION-2/ or scan the QR code 020 815 9323 | boxoffice@oae.co.uk
*For tickets bought from the Southbank Centre, booking fees apply online (£3.50) and over the phone (£4). There are no booking fees for Southbank Centre Members and Supporters Circles.
The OAE is a registered charity number 295329. Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH | 0208 159 9310 | info@oae.co.uk We are grateful for the support of our environmental partner Oxford Botanic Garden and Arboretum who generously allowed us to conduct our season photoshoot in their grounds. Photo credit Emma-Jane Lewis.