Royal College of Music Symphony Orchestra - 26 June

RCM Symphony Orchestra Friday 26 June 2015, 7.30pm Amaryllis Fleming Concert Hall

RCM Symphony Orchestra Friday 26 June 2015, 7.30pm | Amaryllis Fleming Concert Hall

Nicholas Collon conductor Philip Attard saxophone Atmosphères (9’)

Ligeti

Umschreibung (10’)

Arne Gieshoff Debussy

Rhapsody for Saxophone and Orchestra (10’) INTERVAL

Stravinsky Sibelius

Feu d’artifice (5‘) Symphony no 5 in E flat major op 82 (30’)

In the interests of safety, sitting or standing on the steps, gangways or floors in any part of the auditorium is strictly prohibited Please turn off your mobile phone to avoid any disturbance to the performance All private sound and video recordings are prohibited Photography before and during performances is not permitted. You may take photographs only during applause Latecomers will not be allowed into the auditorium until there is a suitable break in the performance Smoking is not permitted in any part of the building. Your co-operation is appreciated

An introduction to this evening’s programme To mark the 150th anniversary of Sibelius’s birth, tonight’s concert features his popular Symphony no 5, completed following revisions in 1919. These were tumultuous times in music, with premieres of radically innovative works including Schoenberg’s Five Orchestral Pieces and Stravinsky’s Rite of Spring in the years before Sibelius’s work. The formula he found in the Fifth Symphony combines a novel structure with more familiar elements of Sibelius’s style – in particular his highly personal orchestration and complex melodic development.

Stravinsky’s orchestral showpiece Fireworks was the work that drew him to the impresario Diaghalev’s attention, and led to the invitation to write The Firebird and subsequent ballets for the Ballets Russes. From another world is Ligeti’s Atmosphères, a work that eschews traditional elements of rhythm, melody and structure, and whose driving element appears to be the timbre of the orchestra. Huge tone clusters, spread across the instruments, appear in static and contrasting blocks. It was this unworldly sound that Stanley Kubrick used in his film 2001: a space odyssey to accompany the Stargate sequence – the fantastic journey into an interdimensional space.

To complete the programme, a new work by RCM student composer, Arne Gieshoff, premiered last year by the London Philharmonic Orchestra, and the Rhapsody for saxophone by Debussy, played by RCM Concerto Competition winner Philip Attard.

Stephen Johns RCM Artistic Director

Atmosphères

György Ligeti (1923–2006)

When Gyorgi Ligeti fled Hungary for Vienna after the failed and violently suppressed 1956 anti-Soviet revolution, he left behind the pale and wilted half-lies of a socialist-realist ‘aesthetic’, finding instead a turmoil of daring and new technology courtesy of the West German Radio electronic music studio in Wallrafplatz, close to the Rhine and in the rail and artistic hub-city of Cologne.

The experience catalysed Ligeti’s creativity and after a series of hit and miss experiments, resulted in a number of works that erupted out of the musical landscape of those years with the force of lava breaking the surface of a rocky plain. Atmosphères (1961), scored for an enormous orchestra, has no precedent.

Its music appears barely to move in any apprehensible time-frame. Line, melody and harmony are so densely and tightly packed that they can longer be heard as individual events. Instead sound-masses form, collide and melt into each other as tectonic plates shift and transform under extreme geological stress.

The world premiere, by the South West German Radio Symphony Orchestra under Hans Rosbaud in Donaueschingen in October 1961 established Ligeti as a ‘talking point’ – he sounded like no-one else. The avant-garde consensus, and Stockhausen in particular, having supported and nurtured him as a refugee would now disown him. © William Mival Umschreibung

Arne Gieshoff (b 1988)

Umschreibung – written as part of the London Philharmonic Orchestra’s Leverhulme Young Composers’ Programme – presents a slow, orbitally moving organism. The German term 'Umschreibung' takes on a double meaning relating either to the rhetorical concept of periphrasing, or to the process of rewriting. Both interpretations are of conceptual and procedural significance: Musical objects of differing shapes shift in and out of focus while never truly revealing their focal point but rather describing a circular motion around it; initial objects and structures have been overwritten, rewritten and resequenced with those procedures taking on a relevance of their own as part of the compositional process.

Umschreibung is part of a cycle of works which also comprises the string quartet Unwuchten (‘imbalances’), the oboe solo piece Wucherung (‘proliferation’) and verdreht (‘contorted’, ‘distorted’, ‘perverted’, ‘pixilated’, ‘wry’...) for trombone, melodica and scordatura melodica. © Arne Gieshoff

Rhapsody for Saxophone and Orchestra

Claude Debussy (1862–1918)

The commission for this potboiler came from a wealthy American wind-player in search of music to help her respiratory problems. Strange though this might sound, health-promoting properties of wind instruments were vigorously promoted by instrument-manufacturers at the end of the nineteenth century, particularly for women and especially by Sax and Co. The lady in question was one Elisa Hall who approached several French composers for pieces to add to this curative repertoire. Somewhat cheekily she turned up at the door of Debussy’s place in the rue Cardinet in 1905, when she had received no news of her piece, prompting the composer to write to André Messager: The tenacity of the Americans is proverbial and the ‘saxophone woman’ turned up, some days ago, on the doorstep of 58 rue Cardinet asking for news of her piece!

Naturally I assured her that […] it was the piece I was thinking of most. It’s something I must get down to ….

He also wrote to his friend Pierre Louÿs: Given that this Fantaisie is commissioned, paid for, and that I have eaten off its proceeds for a year, it would appear I’m a bit late! […] The saxophone is an instrument whose habits I don’t know very well. Does he like gentle Romanticism like clarinets?

The saxophone had not yet achieved the massive popularity that jazz was to bring it, but it had been employed by several French composers already. Among others Massenet had used its plangent voice as an obbligato in his opera Werther; César Franck had used a quartet of them in his opera Hulda; and Ambroise Thomas had managed to squeeze one on to the stage in his Hamlet.

Debussy’s mention of the piece as a ‘fantasy’ is noteworthy. In fact he changed the name of the piece several times. Earlier names he considered were Rapsodie Orientale as well as Rapsodie Mauresque (Moorish Rhapsody). The arabesques of Moorish music are clearly in evidence and some have detected Spanish rhythms. © Richard Langham Smith

Feu d’artifice

Igor Stravinsky (1882–1971)

Igor Stravinsky was one of the most individual and influential artists of the twentieth century. He was born into a musical family—his father was a famous bass-baritone who took the Russian operatic world by storm in the late 1870s, and his mother Anna was a good pianist and singer. He received instruction in piano and composition from the students of Anton Rubinstein and Rimsky-Korsakov, before studying composition privately with Rimsky-Korsakov himself in 1902-08.

Feu d’artifice (Fireworks) was composed as a wedding present for Rimsky-Korsakov's daughter Nadezhda, who married a Lithuanian-born Russian composer Maximillian Steinberg in 1908. This short programmatic work is suitably scintillating and energetic in its onomatopoeic depictions of festive fiery explosions.

Feu d’artifice is structured in simple ternary form, with the two outer parts showing clear influences of Rimsky-Korsakov in the use of orchestral colour and harmonic language, while the slower central section harks back to Dukas’s tone-poem The Sorcerer’s Apprentice (1897).

Although considered to be Stravinsky’s early composition of no great significance, Feu d’artifice attracted attention of another significant figure of Russian culture, a great entrepreneur Sergey Diaghilev, the founder of the world -famous ballet company Ballets Russes. Diaghilev commissioned the young composer a work that would bring Stravinsky overnight success in 1910 – Firebird – cementing his fame of a musical innovator for the rest of his life. © Anastasia Belina-Johnson

Symphony no 5 in E flat major op 82

Jean Sibelius (1865–1957) Tempo molto moderato leading to Allegro moderato (ma poco a poco stretto) Andante mosso, quasi allegretto Allegro molto In the early twentieth century the major works of Sibelius were understood by the composer and his audiences to be important examples of the ‘modern’ music composed by a group of innovative composers born in the 1860s, which also included Richard Strauss, Mahler and Debussy. Moreover, Sibelius was at pains to distance his ‘modern classicism’ from the styles of his distinguished contemporaries although works like the radical and austere Fourth Symphony proved to be particularly controversial. In any case this whole generation of modernists was soon sidelined by the music of younger composers, especially Schoenberg and Stravinsky. Well aware of their music, Sibelius faced a profound creative crisis: should he follow their initiatives? In the end he decided to stick to his own path, writing in his diary (5 June 1912): ‘You won’t be any “greater” by outdoing – or trying to outdo – your contemporaries in terms of a revolutionary “profile”. Let’s not join any race.’

This was not a simple or easy choice: Sibelius came to understand that for him ‘the musical thoughts – the motives, that is – are the things that must create the form’. That meant dispensing with the standard forms: each new work had to be built from its own unique thematic foundations. In the case of the Fifth Symphony this proved to be particularly problematic and between 1914 and 1916 he produced two early versions and it was not until 1919 that he completed the definitive text. There is a paradox at the heart of Sibelius’s mature style, which incorporate slowly evolving musical landscapes within a strongly goal-orientated framework. His revisions to the Fifth were aimed at achieving exactly the right balance between the two: creating a sufficient but not overwhelming climax at the end of the first movement, and embedding in the second movement precursors of the thematic material of the finale, the climax of which is a crowning statement of a wide-stepping theme that Sibelius, characteristically, associated with a natural event: Today….I saw 16 swans. One of my greatest experiences! Lord God, that beauty. They circled over me for a long time….Their call the same woodwind type as that of cranes, but with tremolo….The Fifth Symphony’s Finale theme. Legato on the Trumpets! © Paul Banks

Nicholas Collon Nicholas Collon is known as a commanding and inspirational interpreter in an exceptionally wide range of music. His skill as a communicator and innovator has been recognised by both critics and audiences alike – he was the recipient of the 2012 Critics’ Circle Award for Exceptional Young Talent and in 2013, for the third consecutive year, he was one of the London Evening Standard’s Most Influential Londoners. As founder and Principal Conductor of Aurora Orchestra he has promoted imaginative programming that integrates challenging repertoire from the twentieth and twenty-first centuries with masterworks of the Baroque, Classical and Romantic eras.

Having made a very successful debut at the BBC Proms in 2010, Nicholas has been re-invited each successive year with Aurora Orchestra, the London Sinfonietta and Birmingham Contemporary Music Group. With Aurora Nicholas leads the New Moves series, a unique cross-arts residency at LSO St Luke’s which has included critically acclaimed collaborations with dance, film, visual arts and theatre. Recent highlights include pairing Brazilian capoeira with French baroque music, tango with Bernstein, klezmer with Mahler, and breakdance with Shostakovich. Nicholas and Aurora have been part of the Mozart, Brahms and Bach Unwrapped seasons at Kings Place and also at Kings Place, a concert featuring the works of Nico Muhly launched the CD Seeing is Believing on Decca to critical acclaim. Other projects with Aurora include a collaboration with Ian Bostridge and Angelika Kirchschlager in performances of Satie’s Socrate and Britten’s Phaedra, critically acclaimed appearances at the Musikfest Bremen and in 2013 as part of the South Bank Centre’s Rest is Noise festival where programmes included music by Schoenberg, Antheil, Shostakovich and Britten.

In addition to his work with Aurora, he is in demand as a guest conductor with other ensembles in the UK and abroad. In recent seasons Nicholas has worked with the Philhamonia, the City of Birmingham Symphony Orchestra, the London Symphony Orchestra, the BBC and Royal Philharmonics, Orchestre national du Capitole de Toulouse, Orchestre National de Lyon, Bamberg Symphony, Trondheim Symphony, Spanish National Orchestra, Royal Northern Sinfonia, Academy of Ancient Music, Munich Chamber Orchestra, Auckland Philharmonia and Ensemble Intercontemporain and collaborated with artists such as Ian Bostrodge, Angelika Kirchschlager, Vilde Frankg, Pekka Kuusisto, Francesco Piemontesi, Colin Currie, Steven Isserlis, François Leleux and Nico Muhly.

Future engagements include re-invitations to the Philharmonia Orchestra, Orchestre national du Capitole de Toulouse, Spanish National Orchestra, BBC Philharmonic, City of Birmingham Symphony Orchestra, Trondheim Symphony,

London Sinfonietta, Ulster Orchestra, Birmingham Contemporary Music Group and the Royal Philharmonic Orchestra and debuts with Deutsches Symphonie-Orchester Berlin, Zurich Tonhalle, the Hallé Orchestra, Brussels Philharmonic, The Residentie Orchestra, Gurzenich Orchester, Warsaw Philharmonic, Danish National Symphony Orchestra, Les Siecles and SWR Sinfonieorchester.

Nicholas recently made his debuts last season with English National Opera The Magic Flute and Welsh National Opera Jonathan Harvey’s Wagner Dream and in 2013 he made his debut with Glyndebourne on Tour with Britten’s Rape of Lucretia.

Philip Attard Gozitan saxophonist Philip Attard has appeared in several concert series around Europe and the USA, at venues such at the Manoel Theatre, the Elgar Room at the Royal Albert Hall, and Cadogan Hall. Philip is currently studying at the Royal College of Music (RCM), where he has been the recipient of various awards, including the RCM Concerto Competition, Jane Melber Saxophone Competition, and the RCM Douglas Whittaker Woodwind Chamber Competition. Following a successful audition for the Tillett Trust’s Young Artists' Platform, he will be giving his debut at the Wigmore Hall in December 2015. He is also overall winner of the 9th Young Musician Contest, and prize winner at the VFIMF Music Competition. Philip obtained a first class BA (Hons) degree in Music from the University of Malta, majoring in saxophone performance under the tutelage of Godfrey Mifsud, and with Roberto Frati at the Conservatorio Luigi Cherubini in Florence. He is currently reading for a Masters degree at the RCM under the tuition of saxophonist Kyle Horch, supported by the Janatha Stubbs Foundation and the Malta Arts Scholarships.

Arne Gieshoff Arne Gieshoff is a German composer based in London. His works have been performed by the BBC Scottish Symphony Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, Royal Scottish National Orchestra, Luxembourg Sinfonietta, Hebrides Ensemble, Composers Ensemble, Size Zero Opera and the Phorminx Ensemble as well as conductors Clement Power, Richard Baker, Robin O'Neill, Gregory Charette, Marcel Wengler and Thomas Søndergård. His piece for large ensemble Nachtreise was released on CD by the Luxembourg Society of Contemporary Music in 2010. Arne’s works have been broadcast on BBC Radio 3, BR-KLASSIK and SR2.

He was awarded the 2012 Royal Philharmonic Society Composition Prize, the 2014 Theodore Holland Intercollegiate Award, Elgar Memorial Prize, Adrian Cruft Prize for Composition and is currently Sound and Music's Apprentice Composer-in-Residence with the Birmingham Contemporary Music Group as well as Composer-in-Residence with the Oerknal! new music collective. Arne is the 2014 Mendelssohn Scholar, associate composer for the London Symphony Orchestra’s Soundhub project and received a fellowship for the 2014 session of the Tanglewood Music Centre. In 2015 he was presented with the Royal College of Music's President's Award by HRH The Prince of Wales.

Arne is completing a Masters degree at the Royal College of Music supported by an ABRSM Scholarship, The Countess of Munster Musical Trust and an RVW Trust Award, studying with Jonathan Cole, Simon Holt and Dai Fujikura. Previous teachers include Kenneth Hesketh and Cord Meijering. He

has received mentoring, amongst others, from Oliver Knussen, Colin Matthews, Michael Gandolfi, Unsuk Chin, Julian Anderson, Philippe Hurel, Alasdair Nicolson, Sally Beamish, Richard Baker and Gerald Barry.

Current projects include commissions by the Tanglewood Music Center, BCMG/Sound and Music and Oerknal!. Arne is co-founder and artistic director of the contemporary music group explorensemble.

RCM Symphony Orchestra The Royal College of Music Symphony Orchestra plays with conductors and musicians of the highest international stature, and is frequently invited to perform in prestigious venues across London and beyond. The orchestra also performs regularly at its home in South Kensington, and its concerts are broadcast live to an international audience via the RCM website. Equally at home in classical, romantic and contemporary repertoire, the RCM Symphony Orchestra enjoys close relationships with some of the world’s most celebrated conductors, including Bernard Haitink, Vladimir Jurowski, Vladimir Ashkenazy and Sir Roger Norrington. Their willingness to return is evidence of the consistently high standards of playing that the RCM orchestral musicians achieve.

The members of the RCM Symphony Orchestra are some of the world’s very best young instrumentalists. They have chosen to study at the RCM because of its unrivalled blend of superlative teaching, extensive performance opportunities, and close connections with the orchestral profession. In addition to the many professors who are active professional instrumentalists, the RCM participates in side-by-side and other experience schemes with, amongst others, the BBC Symphony Orchestra, the London Symphony Orchestra, the Orchestra of English National Opera and the Philharmonia. This enables students to experience professional conditions and achieve professional standards before they graduate. The RCM’s long tradition of high-quality orchestral training has launched the careers of many distinguished orchestral players over several decades.

The RCM Symphony Orchestra recently performed with the RCM Chorus at the Royal Festival Hall in February 2014 as part of the Philharmonia’s Paris, City of Light Festival, conducted by Jac van Steen.

Founded in 1882, the RCM moved to its present site on Prince Consort Road in 1894. Illustrious alumni include Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Dame Joan Sutherland, Sir Thomas Allen, Sir Colin Davis, John Wilson, Alina Ibragimova and Sarah Connolly. In addition to its 750 full time

students, the College engages dynamically with a wider and more diverse community of children and adults through a dedicated range of creative activities delivered by RCM Sparks’ education and participation projects, RCM Junior Department programme and the Woodhouse Professional Development Centre. A further development is the growing schedule of live-streamed concerts and masterclasses which can be viewed on www.rcm.ac.uk.

The RCM would like to thank the following orchestral coaches: Clare Thompson violin I Gonzalo Acosta violin II Bekki Chambers viola Sebastian Comberti cello Tony Hougham double bass Rachel Masters harp Ben Palmer tutti strings David Hockings percussion Mark van de Wiel woodwind Byron Fulcher brass Timothy Lines woodwind, brass, percussion & harp

Violin I Eunsley Park* Laia Braun* Essi Kiiski Anna Ziman* Eleonora Consta Paul Milhau* Henry Chandler* Yingqun Cui Claudia-Sophie Giannotti Laura Capano Ramina Mukusheva* Jean-Baptiste Sarrou Violin II Rebecca Else* Jacqueline Martens* Helena Yah* Julia Liang James Longbottom Tatiana Gachkova Olivia Francis* Saya Ikenoya Joel Andersson Laure Massoni Sabina Stancs Leon Keuffer* (Ligeti only) Viola Natasha Michael Elaine Chen Marijke Welch Olivia Buckland Marsailidh Groat Hardy Lorene Carron Ben Voce Dominica Hallstead Yi Chen Chen Liam Johnson

Cello Melissa Ong Yaroslava Trofymchuk* Indigo Hicks Hauen Kim Idlir Shyti Cecilia Chan Lydia Dobson George Cooke* En-Ming Lin Deni Teo

Clarinet Ligeti, Gieshoff & Debussy Joy Boole Emma Burgess (bcl)* Ioannis Manolakakis James Noble (E flat)* Stravinsky & Sibelius Ewan Zuckert* Camellia Johnson Ioannis Manolakakis (bcl)

Bass Valentina Ciardelli Thea Butterworth* Salvatore La Rosa Christopher Xuereb Lewis Tingey Lucy Keller Declan Birchall Owen Nicolaou

Bassoon Catriona McDermid* Kristina Hedley Isaac McCullough cbn Emma Westley*

Flute Ligeti, Gieshoff & Debussy Aleksandra Henszel* Jihyun Chang (pic/afl) Javier Leon Collado (pic )* Taylor Maclennan (pic)* Stravinsky & Sibelius Taylor Maclennan Minhee Cho Javier Leon Collado (pic) Oboe Ligeti, Gieshoff & Debussy Alexander Fryer Elsie Woollard (cor) Poppy Ewence (cor)* Amber Verser Stravinsky & Sibelius Philip White* Fiona Jones (cor)*

Horn Helena Jacklin (first half)* Daniel Curzon (second half)* Samuel Walker* Elizabeth Tocknell* Christopher McKay* Remi Faggiani Alison Young* Trumpet Adam Stockbridge Kirsty Loosemore* Louis Barclay Ben Edwards Trombone Thomas Barton* Dominic Hales* Alec Coles-Aldridge btbn James Maund* Tuba Jeremy Morris Timpani Kizzy Brooks*

Percussion Fabian Edwards Thomas Hollister Wai Nok Hui Max Mills Harp Debussy & Gieshoff Bethan Griffiths Stravinsky Josephine Salvi* Dora Lim Piano/Celeste Muqiao Zhou Vanesa Santanach (Ligeti only)

Personnel correct at the time of going to print.

Italics denote section principals. * Scholars/Award Holders generously supported by the RCM

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RCM Philharmonic Wednesday 8 July 2015, 6.00pm Amaryllis Fleming Concert Hall Michael Seal conductor Emily Sun violin RCM Philharmonic Barber Violin Concerto op 14 Nielsen Symphony no 4 op 29 'The Inextinguishable' We’re delighted to welcome City of Birmingham Symphony Orchestra Associate Conductor Michael Seal back to the RCM to conduct the RCM Philharmonic. The attractive programme includes Samuel Barber’s virtuosic Violin Concerto, featuring star RCM violinist Emily Sun, and Carl Nielsen’s magnificent fourth symphony – The Inextinguishable – marking 150 years since the Danish composer’s birth.

Tickets: £5, £8 RCM Box Office 020 7591 4314 | www.rcm.ac.uk/events