Bernard Haitink: Mozart and Strauss, 2 February 2018

BERNARD HAITINK: MOZART AND STRAUSS Friday 2 February 2018 7.30pm | Amaryllis Fleming Concert Hall Bernard Haitink conductor Martin James Bartlett piano RCM Symphony Orchestra 2018 Rod Williams Memorial Concert

BERNARD HAITINK: MOZART AND STRAUSS Friday 2 February 2018, 7.30pm | Amaryllis Fleming Concert Hall 2018 Rod Williams Memorial Concert Bernard Haitink conductor Martin James Bartlett piano RCM Symphony Orchestra Mozart Piano Concerto no 24 in C minor K491 (1756– 1791) i Allegro ii Larghetto iii Allegretto

(31’)

INTERVAL R Strauss (1864–1949)

An Alpine Symphony op 64

(47’)

This evening Bernard Haitink returns to the Royal College of Music to conduct the RCM Symphony Orchestra for works by Mozart and Strauss.

BBC Young Musician and RCM Concerto Competition winner Martin James Bartlett opens this evening’s concert with a performance of Mozart’s Piano Concerto no 24, considered one of the composer’s greatest works. The orchestra is unusually large for a Mozart piano concerto, as it is the only one scored for both oboes and clarinets. The autograph manuscript is in the collection of the Royal College of Music.

Scored for an immense orchestra of over 120 players, Strauss’s tone poem An Alpine Symphony, depicts a vivid journey across the alpine mountains. It features a rarely played instrument called the heckelphone, similar to the oboe, but pitched an octave lower. The RCM’s magnificent new organ, designed by Flentrop Orgelbouw, can also be heard during this performance.

Mozart Piano Concerto no 24 in C minor K491 Upon hearing Mozart’s Piano Concerto no 24 in C minor, Beethoven declared he ‘shall never be able to do something like that’. Brahms’ reaction was equally filled with admiration, admitting the concerto was a ‘masterpiece of art and full of inspired ideas’.

So what exactly triggered Beethoven and Brahms to make such concrete statements? For starters, Mozart certainly wanted to create something new; the orchestral forces are the largest Mozart ever wrote for in a concerto. Beyond this, the concerto is one of only two Mozart wrote in a minor key. And what does one make of the turbulent opening Allegro which knocks on the door of the stormy dialect usually associated with Beethoven?

A visit to the concerto’s manuscript, a prized possession in the Royal College of Music’s Special Collections, casts some light on Mozart’s thoughts. The usual tidiness found in many of Mozart’s manuscripts is absent, instead replaced by crossing outs and even little faces that help direct the observer to the next passage which is unpredictably located. This cluttered organisation of the manuscript suggests a sense of turmoil in Mozart’s mind, but also points towards a degree of certainty; Mozart knew what he wanted and would remove anything that did not conform. The renowned Mozart scholar Robert Levin suggests that the forceful energy of the concerto is a product of Mozart needing to ‘siphon off darker thoughts’, the concerto acting as somewhere for Mozart to inject this disturbed side of his character.

Regardless of Mozart’s real impulses, one fact remains; the concerto stands testament to a composer deservedly described by Haydn as the ‘great Mozart, if only I could explain the inimitable art of Mozart, its depth, the greatness of its emotion, and its unique musical conception, as I myself feel and understand it’. © Alec Coles-Aldridge (RCM BMus Year 4)

R Strauss An Alpine Symphony op 64 In Strauss’s operas it is usually women who take centre stage, in powerful and moving portrayals of their psychology and social position – as viewed from a male perspective. Some are profoundly threatening (Salome, Elektra), others emerge as less intimidating but equally complex figures enfolded in music of enormous compassion (the Marschallin in Der Rosenkavalier, the Countess in Capriccio). On the other hand, Strauss’s symphonic poems are primarily a male preserve, inhabited by the likes of Macbeth, Don Juan, Till Eulenspiegel and Don Quixote; women are either absent, marginalized or treated as sex objects and helpmates, but they are never partners. In the last of the series, An Alpine Symphony (1911–15), there are moments when, typically, it seems that Strauss is chiefly concerned with portraying a day in the life of an Alp-conquering mountaineer who has some of most important themes, in the most heroic of keys, E flat major. Meanwhile Nature (Earth Mother, Erda, Demeter) at times has to make do with (albeit brilliantly realised) onomatopoeic gestures, conjuring up amongst other natural phenomena, a waterfall and a storm. Even at the great C major climax at the centre of the work, the arrival at the summit is preceded by an augmented version of material associated with the climber: nature in all its grandeur and beauty is nothing without man. This response to and exploitation of alpine scenery was not confined to Strauss: in the 1920s and 30s the mountain film was a popular genre cultivated by the German film industry, one sometimes tinged with national socialist ideology. Even in black and white, these dramas imply that Nature is conquered by blonde, blue-eyed men. But for Strauss the confrontation of Man and Nature is complex and dangerous.

It is true that as a composer Strauss generally showed less interest in the natural world than his great contemporaries, Mahler and Sibelius. For them, Nature had a profound spiritual significance, and its evocation inspired some of their most eloquent and imaginative music, but for Strauss urban settings were usually more congenial. Nevertheless, in An Alpine Symphony he explores a number of the familiar romantic responses to nature – its fruitfulness, its beauty, its power to inspire elevated thought and spiritual insight, but also its mystery, recalcitrance and dangers. Overshadowing all is the memorably impassive, granite-like introduction in a sombre B flat minor, the thematic idea being presented over a dark-hued backdrop made up of all the notes of that scale: the form of the mountain just visible (audible) through the gloom of the night.

The narrative of the work – entirely of Strauss’s own invention – is clearly outlined by the programmatic headings in the score: Night – Sunrise – The Ascent – Entry into the Wood – Walk by the Brook – At the Waterfall – Apparition – On the flowering Meadows – On the Alpine Pasture – Through Thicket and Undergrowth on the Wrong Way – On the Glacier –

Dangerous Moments – On the Summit – Vision – Mists rise – The Sun is gradually obscured – Elegy – Calm before the Storm – Thunder and Tempest, descent – Sunset – Conclusion – Night Detailed though this commentary is, it leaves one prominent and instrumentally extravagant gesture unaccounted for: the 21 bars of hunting calls played offstage by horns, trumpets and trombones, just before the wood is reached. Otherwise the titles indicate comprehensively the sequence of moods and images Strauss evokes with masterly skill, and they indirectly imply some elements of the musical structure with its introduction (Night, Sunrise), exposition (Ascent and succeeding sections), development (Through Thicket and Undergrowth…), slow central episode (On the Summit et seq.) developing recapitulation (Thunder and Tempest…, Sunset), and coda (Conclusion, Night). The penultimate section is a bold (if perilous) gesture: an expansive melodic summation given initially to the woodwind section accompanied by the organ (demanding extraordinary stamina and accuracy of intonation) before a deft harmonic twist diverts the music from the expected conclusion in the heroic E flat major that has dominated most of the work, to the bleak B flat minor of the opening. When man has left – taking his memories of the day and its quasi-religious experience with him – Nature remains, untouched. An Alpine Symphony may be structurally and narratively less compact than the most compelling of the earlier tone poems, but it reveals the composer’s imaginative and inventive powers to be still at their peak, and it forms an impressive conclusion to his cycle of such works. © Paul Banks (2011)

Bernard Haitink Bernard Haitink’s conducting career began in his native Holland 63 years ago with the Netherlands Radio Philharmonic Orchestra, of which he is now Patron.

He went on to become Chief Conductor of the Concertgebouw Orchestra for 27 years, where he currently holds the title of Honorary Conductor, as well as Music Director of Glyndebourne Festival Opera, The Royal Opera, Covent Garden, and Principal Conductor of the London Philharmonic Orchestra, the Staatskapelle Dresden and the Chicago Symphony Orchestra. He is Conductor Emeritus of the Boston Symphony, and an Honorary Member of the Berlin Philharmonic and the Chamber Orchestra of Europe.

The 2017/18 season includes engagements with the London Symphony, Boston Symphony and Bavarian Radio Symphony orchestras, the Berlin Philharmonic and Royal Concertgebouw orchestras. Bernard Haitink will conduct the Chamber Orchestra of Europe in Amsterdam, Luxembourg and the Lucerne Festival, and the Orchestra Mozart in Bologna and Lugano.

He is committed to the development of young musical talent, and gives an annual conducting masterclass at the Lucerne Easter Festival. This season he also gives classes at the Zurich Hochschule der Kunst and the Juilliard School, New York.

Bernard Haitink has received many awards and honours in recognition of his services to music, including the Gramophone Lifetime Achievement Award in 2015 for his extensive and critically acclaimed discography. He was made an honorary Companion of Honour in the United Kingdom, and in February 2017 was made a Commander of the Order of the Netherlands Lion following a concert marking his 60-year relationship with the Royal Concertgebouw Orchestra in Amsterdam.

Martin James Bartlett Martin James Bartlett won BBC Young Musician of the Year in 2014. Since winning the competition, Martin has performed with the BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Bournemouth Symphony Orchestra and Royal Philharmonic Orchestra. In 2017 Martin was a finalist of the Van Cliburn Competition, held in Fort Worth, Texas. Martin has performed in recital and with orchestras at the Royal Albert Hall, Queen Elizabeth Hall, Barbican, Wigmore Hall, Purcell Rooms, Birmingham Symphony Hall and Cheltenham Town Hall. He has participated in masterclasses with Sir András Schiff, Lang Lang, Stephen Kovacevich, Richard Goode, Peter Donohoe and Ferenc Rados.

In 2014, Martin began his undergraduate studies with Professor Vanessa Latarche at the Royal College of Music, where he is a Foundation Scholar. He also performed Gershwin’s Rhapsody in Blue with the Ulster Orchestra at the BBC Proms ‘Last Night’ celebrations, which were broadcast live from Belfast on BBC Four and BBC Radio Ulster. He made his BBC Proms debut in 2015 performing Gershwin’s Rhapsody in Blue with the Royal Philharmonic Orchestra, conducted

by Eric Whitacre.

Following Bartlett's success in the BBC Young Musician Competition, he received support from the Young Classical Artists Trust. As part of the 2015 Chinese State visit, Martin performed a private concert for the First Lady of China, Peng Liyuan and other dignitaries. More recently, Martin performed at Her Majesty The Queen’s 90th Birthday thanksgiving service, which was broadcast live on BBC One from St Paul’s Cathedral.

In the 2017/18 season, Martin will make his Japanese debut performing Prokofiev’s Piano Concerto no 3 with the Tokyo Symphony Orchestra conducted

by Josep Pons.

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, Jac van Steen and Nicholas Collon. 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, the Philharmonia and the Royal Philharmonic Orchestra. 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.

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, Gerald Finley and Dame Sarah Connolly. In addition to its 800 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 Creative Careers 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: Peter Stark (preparation conductor & tutti strings), Gaby Lester (violin & tutti strings), Robert Turner (viola), Timothy Walden (cello), Enno Senft (bass), Nigel Black (horns), Stephen Fitzpatrick (harp & celeste), Simon Channing (woodwind), Hugh Seenan (brass), Alex Neal (percussion) and Byron Fulcher (tutti wind, brass & percussion)

Violin I Roberto Ruisi Laia Braun Liza Tyun Emma Arizza Clara Garde Kanon Miyashita Ines Delgado Maren Bosma Maxime Morise Sophie Phillips Freya Goldmark Ezgi Sarikcioglu Patrizia Lichtscheidl Anais Boyadjieva Christopher Quaid Arda Karakaya Mun Jeong Kim Aleem Kandour

Cello Yaroslava Trofymchuk Kai Hei Chor Anna Litvinenko Wallis Power Erlend Vestby Florian Belbeoch Robert Stanley-Smith Jobine Siekman Lily Hope Deni Teo Bass Sam Beck-Johnson Declan Birchall Philip Nelson Thea Butterworth Lucia Polo Moreno Daniel Tancredi Matt Begg Evangeline Tang

Horn Diego Incertis Sanchez Jacob Bagby Jack Pilcher May Hannah Takahashi Alex Oon Flora Bain Jack Sewter Jess Goff Remi Faggiani Offstage horn Tom Pollock Kristina Yumerska Diana Sheach Georgia Dawson Emma Edwards Ludovico Maletti Arianne Rooney

Trumpet Erika Curbelo Kirsty Loosemore Flute Jaymee Coonjobeeharry Duncan Hughes Nick Walker Grace Walker Antoine Sarkar Catherine Hare (pic) Imogen Royce (pic) Offstage trumpet Peter Athans Oboe Joe Skypala Alec Harmon Madison Hallworth Trombone Anna Seaton (cor) Rich Lines-Davies (heckl) Robert Moseley Ross Johnson Alex Kelly (bass) Clarinet James Maund (bass) Elliot Gresty Eve Wieltschnig Offstage trombone Lauren Brown (bass) Viola Matt Glendening (E flat) Judith Richmond Ana Alves Alec Coles-Aldridge Nicholas Hughes Nicholas Kent Bassoon Nazli Erdogan James Fisher Marsailidh Groat Hardy Kristina Hedley Tuba Morven Graham Ollie Brooks Petr Sedlak Ethan Rouse Adam Reynolds Alanna Macfarlane Ana Dunne Sequi (contra) Nakyung Park Duncan Commin Tilly Chester Liam Johnson Jenny Key Tuoyu Li Violin II David Lopez Iona Allan Wilford Goh Bethan Allmand Wei-Ting Wu Richard Thomas Liam Keneally Cristian Anton Anna Ziman Luis Rodriguez Lax Nadia Vasileva Quyang Chen Christopher Cohen Anna Tulchinskaya Winnie Law Peiyi Ng

Timpani Joley Cragg Nick Cowling Percussion Sam Howes Andre Soares Camacho Gina Lee Jess Wood Offstage percussion Max Heaton Harp Bethan Griffiths Imogen Ridge Celeste Stephanie Shucksmith Organ Magdalena Jones Offstage conductor Matthew Hardy Personnel correct at the time of going to print.

Italics denote section principals.

2018 ROD WILLIAMS MEMORIAL CONCERT Peter Mills established the Mills Williams Award upon the death of his life-long partner, Rod Williams, in 1995, with the aim of supporting music and young musicians. To date, the award has endowed 22 Mills Williams Junior Fellows, and continues to fund an annual concert at the Royal College of Music. In addition, scholarships have been given to students at the Purcell School. Sadly, Peter died in September 2006 after a long battle against cancer. Happily, the Mills Williams Foundation lives on, with the objective of supporting music and young musicians under the guidance of his chosen trustees.

Rod Williams and Peter Mills Mills Williams Junior Fellows 1996/97 1997/98 1998/99 1999/00 2000/01 2001/02 2002/03 2003/04 2004/05 2005/06 2006/07 2007/08 2008/09

Paul Robinson, voice Alexander Taylor, piano Sarah Thurlow, clarinet Damian Thantrey, voice Alexandra Wood, violin Rachel Nicholls, voice Alba Ventura, piano Elizabeth Cooney, violin Ruth Palmer, violin Gabriella Swallow, cello Anna Cashell, violin Luis Parés, piano Erik Dippenaar, harpsichord

2009/10 2010/11 2011/12 2012/13 2013/14 2014/15 2015/16 2016/17 2017/18

Konstantin Lapshin, piano Jianing Kong, piano Frédérique Legrand, cello Yulia Deakin, piano Maksim Stsura, piano Soh-Yon Kim, violin Magdalena Loth-Hill, violin Andrew Yiangou, piano Jonathan Radford, saxophone

Rod Williams (1939−1994) Purely because he was the son of a serving Army Officer on a foreign posting, Rodney Peter Williams was born in Singapore in November 1939. It was unfortunate timing. Not long thereafter his mother and the two tiny boys made their escape to Australia, and Rod’s father became a Japanese prisoner of war for four years. Eventually the family was reunited, and much of Rod’s education took place at Steyning, where he showed athletic promise. He followed his father into the Royal Engineers and once again to the Far East, where he was engaged in mapmaking.

Deciding that army life was not for him, he bought himself out, but continued for a while along the photogrammetry road with Fairey Aviation. Then came a career change: he embarked on accountancy and joined Unilever.

Rod Williams and I met in 1964 and quickly found that we had much in common, particularly our tastes in music, both tending to favour ancient and baroque, and late 19th and 20th-century English music − Vaughan Williams, Butterworth and Britten being particularly well-represented in our record collections.

In 1975, Rod was diagnosed with a cancer of the lymph glands, and there commenced a lengthy chemotherapy battle which he won and achieved full remission. This had the remarkable effect of making him more ambitious. He was a gentleman of courage and great good humour. In 1980, inspired by watching the London Marathon on TV, he became first a jogger, then a runner and, astoundingly, a marathon runner in London in April of 1986, and again in New York in the same year. He ran his last marathon the following year. As time relentlessly removed family ties, Rod and I decided to make reciprocal wills dedicated to the encouragement of musical excellence. This was all too timely, as in 1992 there were signs that all was not well, and Rod died in January 1994.

About a year later I approached the Royal College of Music, and thus the Mills Williams Junior Fellowship was established.

Peter Mills,1996

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MORE MUSIC INVESTING IN THE FUTURE OF MUSIC Our More Music development is a once-in-a-generation opportunity to transform our campus.

New state-of-the-art facilities at the heart of our building will complement our existing spaces and heritage.

Our plans include:     

two new performance spaces additional practice rooms for students a new Royal College of Music Museum a new café/ restaurant and courtyard area with improved access a new organ

Over the next few months, some instruments and equipment may be visible on the Amaryllis Fleming Concert Hall stage while we undertake these works.

Access routes around the College may vary throughout the project and wayfaring signage will be regularly updated to reflect changes.

We ask for your patience and understanding as we transform our campus.

The video playing in the Inner Hall and BaRCM visualises the ways in which the development will enhance our campus facilities and you can find more information on the More Music Campaign at www.rcm.ac.uk/moremusic If you have any questions please contact moremusic@rcm.ac.uk

RCM SYMPHONY ORCHESTRA: STRAVINSKY'S JOURNEY Tuesday 27 February 2018, 7.30pm | Amaryllis Fleming Concert Hall Martyn Brabbins conductor Dominic Doutney piano Singers from Moscow Tchaikovsky Conservatory Bogdan Golyapa tenor | Alexander Borodeiko tenor Timophey Pavlenko bass | Kirill Kapachinskikh bass Alena Rozkopa soprano | Veronika Ershova mezzo soprano Anna Viktorova mezzo soprano | Alexander Chernov tenor RCM Symphony Orchestra Stravinsky Renard Concerto for piano and wind instruments Symphonies of wind Instruments Mavra Singers from Moscow Tchaikovsky Conservatory join us for Renard – the fable of the Fox, the Cock, the Tomcat and the Ram – and Mavra, based on a poem by Pushkin, which tell nostalgic stories from Stravinsky's homeland in Russia. They frame two pieces for wind instruments composed during his immersion into the world’s artistic capital, Paris, shortly after the First World War. This concert is part of the London Philharmonic Orchestra’s Changing Faces: Stravinsky's Journey series.

Tickets: £10, £15 RCM Box Office 020 7591 4314 | www.rcm.ac.uk/events

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