RCM Symphony Orchestra & Thomas Zehetmair 21 Oct

RCM SYMPHONY ORCHESTRA ZEHETMAIR CONDUCTS BEETHOVEN’S SYMPHONY NO 7 Friday 21 October 2016, 7.30pm Amaryllis Fleming Concert Hall

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RCM SYMPHONY ORCHESTRA ZEHETMAIR CONDUCTS BEETHOVEN’S SYMPHONY NO 7 Friday 21 October 2016, 7.30pm | Amaryllis Fleming Concert Hall Thomas Zehetmair conductor RCM Symphony Orchestra Mendelssohn (1809–1847)

String Octet in E flat major op 20

I II III IV

(33’)

Allegro moderato ma con fuoco Andante Scherzo Presto

INTERVAL Colin Matthews (b 1946)

…through the glass

(16’)

Beethoven (1770–1827)

Symphony no 7 in A major op 92

(36’)

I II III IV

Poco sostenuto – Vivace Allegretto Presto – Assai meno presto Allegro con brio

We have been delighted to welcome Thomas Zehetmair to the RCM this week, and this evening’s concert reflects the range of work he has been doing with RCM musicians. Thomas Zehetmair begins by leading a performance of Mendelssohn’s celebrated Octet, composed in 1825 when he was just 16 years old. Its exuberant themes and masterly construction belie the age of its composer – with no obvious model, the young Mendelssohn produced a symphonic masterwork of originality and maturity, equally loved by players and audiences alike.

…through the glass was written by RCM Prince Consort Professor of Composition Colin Matthews in 1994, commissioned through the innovative Sound Investment Scheme of Birmingham Contemporary Music Group, for a chamber ensemble of 16 players. We are particularly happy to be performing the work in Colin Matthews’ 70th birthday year.

The programme is completed by Beethoven’s Symphony no 7 – a work characterised throughout by its lively and joyous rhythmic impulse, leading Richard Wagner to describe it as ‘the apotheosis of the dance’. Beethoven considered it one of his finest works, and as Antony Hopkins so appositely put it, ‘Who are we to dispute his judgment?’

Felix Mendelssohn String Octet in E flat major op 20 Despite the fact that Haydn, Mozart and Beethoven had refined the chamber music medium in the late 18th and early 19th centuries, the approach to this repertoire by contemporary professional performers may seem rough and unsympathetic to a modern audience. A string quartet, for instance, would often be gathered by a violin virtuoso for a specific event to provide accompaniment for his first violin part. As a keyboard virtuoso, Mendelssohn had a similar view on his own works for piano-based ensembles, where his early piano quartets, according to his own title pages, were written pour le Pianoforte avec Accompagnement de Violon, Alto et Violoncelle. Compared to these piano-based works, the Octet in E flat major op 20 is significantly different in its layout. At the same time as Mendelssohn published his first piano quartet op 1, he was experimenting with various styles and combinations of instruments in his string sinfonias. By the end of 1823 he had completed 13 of these, many of them to be performed at Sunday musicales in his family home, and they were to be followed by his Symphony no 1 in C minor op 11 the year after. With the Octet, probably composed in 1825, his efforts in experimenting with writing for large string ensembles are clearly rewarded.

The first movement in particular is orchestral in its display with its tremolandos and syncopated chords, which may have prompted the 16-year-old Mendelssohn to instruct all players to play in ‘symphonic orchestra style. Pianos and fortes must be strictly observed and more strongly emphasised than is usual in pieces of this character’. The Andante surprisingly opens with a bare fifth played by the two violas. After a brief introduction, where the lower strings are grouped against the four violins, the whole ensemble collaborates in a beautiful siciliano. ‘Like the Scherzo of the Reformation Symphony it rarely escapes an encore’, Grove noted about the Scherzo of the Octet. Due to its popularity Mendelssohn added wind parts to the score and allowed it to be used as a substitute to the minuet of Symphony no 1. After this shimmering interlude the second cello sets off a fugal opening, unleashing a brilliant finale – marked presto – with a great variety in the density of scoring: full chords are contrasted to the sound of a single instrument.

© Balder Neergaard (RCM Doctoral Programme)

Colin Matthews …through the glass One of the joys, for me, of writing music is that it’s possible to avoid being specific, to indulge in ambiguity, and so to pin it down with words seems inappropriate. I can explain that the title of this piece derives from the last three words of a poem by Edmund Blunden; but to quote the whole of that poem (a dark and sinister one) would be thoroughly misleading. Besides, the title only came as titles tend to, half way through imagery of a thing seen through, unreachable, or overlaid with elucidate it, and a brief description of the music may be more helpful, even if it goes no further in ‘explaining’ it. …through the glass was composed between March and September 1994, and lasts around 16 minutes in a single span of music, mostly slow. The opening is fiercely monodic (a single-line melody); music which recurs in the form only once, after a series of refrain-like episodes, the last of which is a hushed ‘chorale’ for muted strings (more like a distant song than a chorale). A central fast section fleetingly alludes to all the earlier material, before a recapitulation of the refrain leads to an apotheosis of the ‘chorale’ in an extended coda. …through the glass is dedicated to Sally Cavender. I am very grateful to the Birmingham Contemporary Music Group for this second commission, made possible through their Sound Investment Scheme, and particularly to Simon Clugston for his enthusiasm and encouragement. © Colin Matthews

Ludwig van Beethoven Symphony no 7 in A major op 92 The composition of the Seventh Symphony coincided with the final struggle of the Napoleonic Wars: the work was composed during the period of 1811–1812, and Beethoven conducted the first performance in December 1813 in a benefit concert for troops wounded in the battle against Napoleon’s army at Hanau.

Sketches reveal that the Seventh and Eighth Symphonies were conceived together.

The Seventh was dedicated to Count Moritz von Fries, a Viennese banker who acted as intermediary between the composer and the Scottish publisher George Thompson. This connection is significant on account of the folk-song settings that Thompson had commissioned from Beethoven. It seems hardly coincidental that the first subject of the Seventh Symphony finale has its origins in Beethoven’s arrangement of the Irish round-dance Save me from the grave and wise (WoO 154 no 8). The Symphony remained unpublished until 1816, when Steiner released score and parts simultaneously, together with various chamber arrangements.

The first movement opens with a slow introduction followed by a light and playful flute theme in compound rhythm. This, together with the nature of the finale, led Wagner to hail the work as ‘the apotheosis of the dance’ for its endless, yet varied dance rhythms.

The second movement’s melancholic theme, with its affinity to the funeral march of the Eroica Symphony, is introduced by the lower strings and then treated in a quasi-variational style: the gentle but persistent rhythm of the opening theme is maintained throughout.

The third movement is an energetic scherzo which opens with a theme of immediate and arresting contrast: two bars of upward forte arpeggiation are followed by four bars of downward piano scale-passage.

The sonata-form finale has its origins in dance, though Beethoven develops the simple gaiety of the source into a whirlwind which is completely unrestrained, or to use Beethoven’s own word, ’aufgeknöpft’ (unbuttoned).

The Allgemeine Musikalische Zeitung reported that after the first performance, ‘the applause rose to the point of ecstasy’: Beethoven’s popularity in Vienna was cemented. The composer himself appeared unusually content with the work when in a letter to Johann Salomon of 1815, he called it ‘one of my best works’. © Charles Wiffen

Thomas Zehetmair Thomas Zehetmair's ability to skillfully blend his musical interests is unparalleled.

He enjoys widespread international acclaim not only as a violinist, but also a conductor and chamber musician, making him one of the most prominent artist personalities of the present day. His international career as a conductor is defined primarily by his position as Artistic Partner of the Saint Paul Chamber Orchestra, USA as well as Principle Conductor of the Musikkollegium Winterthur commencing with the season 2016/2017.

Taking the helm of the Royal Northern Sinfonia as Principal Conductor in 2002, he sculpted it into one of England's leading orchestras during his term ending in 2014. As ‘Conductor Laureate’ he will continue to maintain close ties with the orchestra in the future. A number of recordings document his exceedingly prolific work with the orchestra: Brahms' Violin Concerto and Schumann's Symphony no 4, Sibelius' symphonies no 3 and 6 as well as Stravinsky's Violin Concerto in D major, Schubert's symphonies no 6 and no 9 as well as symphonies no 1 and no 2 by Hans Gal. His latest releases feature Mendelssohn's symphonies no 1 and no 5 with the Musikkollegium Winterthur as well as two albums presenting works

by French composers with the Orchestre de chambre de Paris (Naïve).

Thomas Zehetmair has recorded a large selection of repertoire for the violin; many of his releases have earned multiple awards. These recordings include, among others, Zimmermann's Violin Concerto with the Westdeutscher Rundfunk Köln Sinfonieorchester under Heinz Holliger (Diapason d'Or de l'année 2009), 24 Paganini Caprices (the best list of the Preis der deutschen Schallplattenkritik 2009, Midem Classic Award 2010), a recording of Elgar's Violin Concerto with the Hallé Orchestra Manchester under Sir Mark Elder (Gramophone Award 2010) and Mozart's violin concertos with the Orchestra of the Eighteenth Century under Frans Brüggen, acclaimed as a reference recording. Furthermore, the recording Manto and Madrigals appeared with Edition of Contemporary Music (ECM) in March 2011, where the duo Thomas Zehetmair and Ruth Killius embark on a journey charting modern and contemporary repertoire for the violin and viola.

Thomas Zehetmair is both a sought-after soloist and conductor among leading international orchestras. He is also the founding member of the Zehetmair Quartett, with which he was awarded the Paul Hindemith Prize by the City of Hanau in November 2014 in recognition of outstanding musical achievement.

For his far-reaching artistic contributions, Thomas Zehetmair was awarded, among other things, the certificate of honour by the Preis der Deutschen Schallplattenkritik as well as the Karl Bohm Interpretation Prize by the federated state of Styria .

Thomas Zehetmair is an honorary doctor at the University of Music Franz Liszt in Weimar and Newcastle University.

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, Jac van Steen and John Wilson. Their willingness to return is evidence of the consistently high standards of playing 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 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 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.

Mendelssohn Thomas Zehetmair violin Laia Braun* violin Roberto Ruisi* violin David Lopez violin Ana Alves* viola Nazli Erdogan viola Riccardo Pes* cello Kieran Carter* cello

Viola

Trumpet

Pippa Bint

Nick Walker*

Liam Johnson Gerardo Mendez Juarez Charles Whittaker Dominica Hallstead Lisa Bucknell

Duncan Hughes*

Matthews (strings) Roberto Ruisi* violin Paula Sanz Alasa violin Pippa Bint viola Kieran Carter* cello Sam Beck-Johnson bass

Florian Belbeoch Carolina Bartumeu* Cecilia Chan* Andrew Harsley Lily Hope

Cello

Riccardo Pes*

Bass

Sam Beck-Johnson Violin I

Lasma Taimina* Paula Sanz Alasa Abel Puustinen* Naomi Watson* Aleksandra Li* Sarah Daramy-Williams Marike Kruup* I-Hung Yeh* Mun Jeong Kim Elisabeth Turmo Violin II

Maxime Morise Sally Law* Liza Tyun* Luis Rodriguez Lax Christopher Quaid Josh Dalton Seda Margarjan Ines Delgado

Alfie Harries Philip Nelson* Peter Farthing

Timpani Alun McNeil-Watson* Percussion Nick Cowling Harp Imogen Ridge*

Piano Lena Napradean* Personnel correct at the time of going to print.

Italics denote section principals.

* Scholars/Award Holders generously Sofia Castillo Zambrano* supported by the RCM (alto) The RCM would like to Grace Walker* thank the following orchestral and chamber Oboe coaches: Hannah Tyler* (cor) Sarah Bence Thomas Zehetmair & Mark Messenger octet Clarinet Enno Senft Matthews Elliot Gresty* strings Anna Webster* (E flat and bass) Gaby Lester violins Robert Turner viola Bassoon Amanda Truelove cello James Fisher* (contra) Enno Senft bass Justin Sun* Ben Palmer & Gaby Lester tutti strings Horn Nigel Black brass Remi Faggiani Ben Palmer tutti Jacob Bagby* John Anderson Helena Jacklin* woodwind & wind, brass Kristina Yumerska* and percussion Flute

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RCM STRING BAND Wednesday 2 November 2016, 7.30pm | Amaryllis Fleming Concert Hall Mark Messenger conductor Katie Potts oboe Sacconi Quartet RCM Quartet in Association RCM String Band Bartók Romanian Folk Dances BB76 Beethoven Symphony no 2 in D major op 36 Vaughan Williams Oboe Concerto in A minor Elgar Introduction and Allegro op 47 The Sacconi Quartet joins Head of Strings Mark Messenger and the RCM String Band for Elgar’s exhilarating Introduction and Allegro. This programme of classical favourites continues with music by Bartók and Beethoven as well as Vaughan Williams’ Oboe Concerto performed by RCM Concerto Competition winner Katie Potts.

Tickets: £8, £10 ORCHESTRAL MASTERWORKS: BEETHOVEN'S EROICA SYMPHONY Thursday 10 November 2016, 6pm | Amaryllis Fleming Concert Hall Martyn Brabbins conductor RCM Philharmonic William Mival On the Ringstreet Beethoven Symphony no 3 in E flat major op 55 Eroica The RCM Philharmonic and Martyn Brabbins take on Beethoven’s epic Symphony no 3. Struggling against his increasing deafness, music became Beethoven’s salvation as he set to work writing his third symphony. This innovative work is a magnificent exploration of heroism; vast, powerful and unforgettable. RCM Head of Composition William Mival’s breakneck sight-seeing tour of the Vienna Ringstrasse begins this thrilling programme.

Tickets: £5, £8. Book for 2 or more concerts and save up to 30%.

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