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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence MARK-ANTHONY TURNAGE Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER
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AM†
SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 17 October 2009 | 7.00 pm
KURT MASUR conductor JOHN RELYEA bass baritone – Elijah MELANIE DIENER soprano – The Widow RENATA POKUPIC´ mezzo soprano – An Angel TOPI LEHTIPUU tenor – Obadiah ROSIE ALDRIDGE mezzo soprano – The Queen (Jezebel) TYLER CLARKE tenor – Ahab SARAH-JANE BRANDON soprano JAMES OLDFIELD bass baritone JIMMY HOLLIDAY bass LONDON PHILHARMONIC CHOIR MENDELSSOHN Elijah (140’ plus interval) (sung in German)
This concert is dedicated to the 20th Anniversary of the Fall of the Berlin Wall.
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supported by Macquarie Group
CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
PROGRAMME £3 CONTENTS 2 List of Players 3 Orchestra History 4 London Philharmonic Choir 5 Kurt Masur 6 Soloists 10 Ambassador’s Message / Southbank Centre 11 Programme notes 25 Supporters 26 Philharmonic News / Recordings 27 Administration 28 Future Concerts
The London Philharmonic Orchestra gratefully acknowledges the financial support of Arts Council England and Southbank Centre. The timing shown is not precise and is given only as a guide.
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LONDON PHILHARMONIC ORCHESTRA
FIRST VIOLINS Tomo Keller Guest Leader Vesselin Gellev Sub-Leader Benjamin Roskams Martin Höhmann Chair supported by Richard Karl Goeltz
Geoffrey Lynn Florence Schoeman Sarah Streatfeild Yang Zhang Peter Nall Alain Petitclerc Galina Tanney Toby Tramaseur Joanne Chen Midori Sugiyama Caroline Simms Geoffrey Silver SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp
Joseph Maher Nynke Hijlkema Ashley Stevens Andrew Thurgood Imogen Williamson Sioni Williams Heather Badke Peter Graham Stephen Stewart Mila Mustakova Sheila Law Elizabeth Baldey Naomi Anner
VIOLAS Alexander Zemtsov* Principal Robert Duncan Isabel Perreira Susanne Martens Benedetto Pollani Laura Vallejo Daniel Cornford Sarah Malcolm Martin Fenn Karin Norlen Georgina Payne Gwendolyn Fisher CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon
Susanne Beer Co-Principal Santiago Sabino Carvalho + Jonathan Ayling Sue Sutherley Helen Rathbone Pavlos Carvalho Emily Isaac Francois Rive William Routledge DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Kenneth Knussen David Johnson Jeremy Gordon Cathy Colwell Thomas Walley
FLUTES Jaime Martin Guest Principal Katie Bicknell OBOES Daniel Bates Guest Principal Owen Dennis CLARINETS Robert Hill* Principal Paul Richards
TUBA Lee Tsarmaklis Principal TIMPANI Marney O’Sullivan Guest Principal ORGAN Catherine Edwards
BASSOONS John Price Principal Gareth Newman* HORNS John Ryan Principal Martin Hobbs Stephen Nicholls Gareth Mollison TRUMPETS Brian Thompson Guest Principal Anne McAneney* Chair supported by Geoff and Meg Mann
TROMBONES David Whitehouse Principal Blair Sinclair BASS TROMBONE Lyndon Meredith Principal
* Holds a professorial appointment in London +
Chevalier of the Brazilian Order of Rio Branco
Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David and Victoria Graham Fuller John and Angela Kessler Julian and Gill Simmonds Mrs Steven Ward
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LONDON PHILHARMONIC ORCHESTRA
Seventy-seven years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin, its new Principal Guest Conductor from September 2008.
often headlining at major festivals. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA.
The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2009/10 include Between Two Worlds – an exploration of the music and times of Alfred Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and dedicated to the 20th Anniversary of the Fall of the Berlin Wall; and new works by Rautavaara, Górecki, Philip Glass, Ravi Shankar and the Orchestra’s Composer in Residence, Mark-Anthony Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.
The Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of Shostakovich’s monumental Tenth Symphony under Bernard Haitink; a disc of contemporary works by composers Thomas Adès, James MacMillan and Jennifer Higdon conducted by Marin Alsop; Rachmaninoff’s Symphony 3 along with Bax’s Tintagel conducted by Osmo Vänskä; a CD of early Britten works conducted by Vladimir Jurowski; and Mahler’s Symphony 6 under the baton of Klaus Tennstedt. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.
In addition to its London season, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra’s schedule, with regular appearances in North America, Europe and the Far East,
Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works extensively with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.
The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series and join us on Facebook.
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LONDON PHILHARMONIC CHOIR PATRON: HRH Princess Alexandra PRESIDENT: Sir Roger Norrington ARTISTIC DIRECTOR: Neville Creed
Sopranos Lasma Anspoka, Annette Argent, Tessa Bartley, Julia Chaplin, Paula Chessell, Penny Coombes, Sally Cottam, Shelia Cox, Sarah Deane-Cutler, Emily Eason, Sophie Fetocacis, Sarah Fisher, Alison Flood, Claudie Gheno, Rachel Gibbon, Simone Gregoire, Jane Hanson, Emily Harrup, Sally Harrison, Carolyn Hayman, Elizabeth Hicks, Karen Jason, Jocelyn Kelty, Jenni Kilvert, Boon Kim Fam, Olivia Knibbs, Ilona Kratochvilova, Frances Lake, Charlotte Lawrence, Laetitia Livesey, Maria Lundgren, Lorna Maynard, Jo Musgrove, Linda Park, Gen Quierin, Leanne Singh-Levett, Victoria Smith, Rachael Stokes, Susan Thomas, Isobel Timms, Laura Westcott, Fran Wheare Altos Joanna Arnold, Phye Bell, Susannah Bellingham, Michelle Brockbank, Isabelle Cheetham, Noel Chow, Liz Cole, Janik Dale, Megan Dean, Margaret Driver, Moira Duckworth, Andrea Easey, Carmel Edmonds, Regina Frank, Clare Galton, Kathryn Gilfoy, Melissa GimenezCassina, Suzanne Healey, Lucy Hewes, Pamela Hider, Sophy Holland, Erica Howard, Kasia Hunt, Kate Jackson,
Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain's finest choirs and consistently meets with great critical acclaim. It has been involved in over 80 recordings and has performed under leading international conductors throughout its history. The Choir enjoys a close relationship with the London Philharmonic Orchestra, joining it regularly for performances in the UK and abroad. It also works with many other leading orchestras and has enjoyed sharing the stage with Daleks, dinosaurs and various other creatures in last year's Doctor Who and this year's Evolution! Proms. The Choir often travels overseas and has made several visits to Europe over the last few years, singing in Rome, Lucerne and Cologne. It has travelled as far afield as Kuala Lumpur and Perth, Australia, and, in February 2008, visited Hong Kong, where it gave two concerts at the Hong Kong Arts Festival: a performance of Stravinsky’s Symphony of Psalms and Rachmaninoff’s The Bells with the Hong Kong Philharmonic Orchestra under Edo de Waart, and a programme of British choral music conducted by the Choir’s Artistic Director, Neville
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ACCOMPANIST: Iain Farrington CHAIRMAN: Mary Moore CHOIR MANAGER: Tessa Bartley
Edith Judd, Alice Kershaw, Alexis Kessler Calice, Andrea Lane, Liz Lewis, Lisa MacDonald, Laetitia Malan, Anna Mignot, Liz Moloney, Mary Moore, Elisabeth Nicol, Angela Pascoe, Helene Richards, Jenny Ryall, Stephanie Saffrey, Carolyn Saunders, Christina Stern, Rachel Taylor, Susi Underwood, Mariken van Dolen, Erika Weingarth Tenors Geir Andreassen, Sam Archer, Chris Beynon, Conway Boezak, John Boyne, Brian Coulstock, Kevin Darnell, Michael Delany, Jack Dixon, Aloysius Fekete, Iain Handyside, Rob Home, Andrew Martin, Rhydian Peters, Kevin Rainey, Paul Thirer, Alex Thomas Basses Jonathon Bird, Derek Bryanton, Gordon BukyWebster, Geoffrey Clare, David Clark, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Mark Hillier, Stephen Hines, Rylan Holey, Martin Hudson, Aidan Jones, John Luff, Anthony McDonald, John Morris, Ashley Morrison, William Parsons, Johan Pieters, Daniel Snowman, Peter Sollich, Greg Thomas, Dawid Viljoen, Hin-Yan Wong, John Wood
Creed. Over the New Year, the Choir travelled to Budapest with the London Philharmonic Orchestra to perform Haydn's Die Schöpfung at the Béla Bartók National Concert Hall. Last season's highlights included performances of Beethoven's Missa solemnis and Symphony 9, Dvo˘rák’s Requiem, Brahms’s Ein deutsches Requiem, Holst's The Planets and Schoenberg’s Gurrelieder. The Choir is delighted to be working again with Kurt Masur this evening and also looks forward to further collaborations with Vladimir Jurowski and Yannick Nézet-Séguin later in the season. In 2007, the Choir celebrated its 60th anniversary and published a book – Hallelujah: An Informal History of the London Philharmonic Choir. The book is available from retail outlets here in Southbank Centre and can be ordered through the Choir's website. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information about the Choir, including details about how to join, please visit www.lpc.org.uk.
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KURT MASUR
Sasha Gusov
CONDUCTOR
Kurt Masur is well known as both a distinguished conductor and a humanist. From 2000-07 he was Principal Conductor of the London Philharmonic Orchestra. In 2002, he became Music Director of the Orchestre National de France in Paris and has now assumed the title of Honorary Music Director for Life. From 1991-2002 he was Music Director of the New York Philharmonic and is now their Music Director Emeritus. In his honour, the New York Philharmonic established the Kurt Masur Fund for the Orchestra, which will endow conductor debut week at the Philharmonic in perpetuity. For many seasons, Maestro Masur served as Gewandhaus Kapellmeister of the Leipzig Gewandhaus Orchestra, a position of profound historic importance held in the past by Mendelssohn. Upon his retirement from that post in 1996, the Gewandhaus named him its first-ever Conductor Laureate. Since 1992 he has held the lifetime title of Honorary Guest Conductor of the Israel Philharmonic Orchestra. Since 1989, when he played a central role in the peaceful demonstrations that led to German reunification, the impact of his leadership has attracted worldwide attention. In 1995 he received the Cross of the Order of Merit of the Federal Republic of Germany; in 1996 he was awarded the Gold Medal of Honour for Music from the National Arts Club; and in 1997 he was awarded the titles of Commander of the Legion of Honour from the Government of France and New York City Cultural Ambassador from the City of New York. In 2007, the French government created Maestro Masur a Grand Officer of the Legion of Honour, a rank that is rarely given to foreign citizens. In 1999, in Wroclaw, Poland, he received the Commander Cross of Merit of the Polish Republic, one of the country’s highest honours. In 2004 he was appointed chairman of the Beethoven House, the composer’s birthplace. In March
2002 the President of the Federal Republic of Germany, Johannes Rau, bestowed upon him the Cross with Star of the Order of Merit of the Federal Republic of Germany and in 2007, the President of Germany, Horst Köhler, bestowed upon him the Great Cross of the Legion of Honour with Star and Ribbon. In 2008 he received the Furtwängler Prize in Bonn. Maestro Masur is also an Honorary Citizen of his hometown Brieg and in 2004 the city of Münster bestowed the Freedom Prize on him. A frequent guest of the world’s leading orchestras, Kurt Masur made his United States debut in 1974 with the Cleveland Orchestra; also that year he took the Gewandhaus Orchestra on its first American tour. He made his New York Philharmonic debut in 1981 and returns every season to the United States to conduct the major American orchestras. In Europe, he works with such orchestras as the Gewandhaus, Dresden Philharmonic, Concertgebouw, Berlin Philharmonic and London Philharmonic Orchestras. In 2007, Maestro Masur celebrated his 80th birthday in an extraordinary concert at the BBC Proms in London where he conducted the joint forces of the London Philharmonic Orchestra and the Orchestre National de France. Education is also very important to him and he often conducts youth orchestras and gives masterclasses. Maestro Masur has made over 150 recordings during the course of his career. His recordings of Shostakovich’s Symphony 13 (Babi Yar) and Mahler’s Symphony 9 with the New York Philharmonic won Record of the Year awards from Stereo Review. Amongst his most recent CDs are a Grammy nominated album of Brahms and Schumann and Beethoven’s Violin Concerto and two Romances with the New York Philharmonic and AnneSophie Mutter; Shostakovich’s Symphonies 1 and 5 and Britten’s War Requiem with the London Philharmonic; and Beethoven’s Symphonies 2 and 6 and Tchaikovsky’s Symphony 5 with the Orchestre National de France. Born in Brieg, Silesia, in 1927, Maestro Masur studied piano, composition and conducting at the Music College of Leipzig. He has been a professor there since 1975 and holds honorary degrees from education institutes such as the Cleveland Institute of Music, Hamilton College, Indiana University, Juilliard School, Leipzig University, Manhattan School of Music, University of Michigan and Yale University.
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JOHN RELYEA
MELANIE DIENER
BASS BARITONE
SOPRANO
ELIJAH
THE WIDOW
John Relyea continues to distinguish himself as one of today’s finest bass baritones. He has appeared in many of the world’s most celebrated opera houses including the Metropolitan Opera, San Francisco Opera, Seattle Opera, Royal Opera House Covent Garden, Paris Opera, Munich State Opera, Vienna State Opera and Mariinksy Theatre. His roles include the title roles in Le nozze di Figaro, Bluebeard’s Castle and Aleko; Méphistophélès in La Damnation de Faust, the Four Villains in Les Contes d’Hoffmann, Raimondo in Lucia di Lammermoor, Giorgio in I puritani, Escamillo in Carmen, Don Basilio in Il barbiere di Siviglia, Nick Shadow in The Rake’s Progress, Colline in La bohème, Marke in Tristan und Isolde, Caspar in Der Freischütz, Banquo in Macbeth, Collatinus in The Rape of Lucretia and Garibaldo in Rodelinda.
The German soprano Melanie Diener studied with Sylvia Geszty in Stuttgart, with Rudolf Piernay in Mannheim, and at Indiana University. She made her debut as Ilia in Idomeneo at the Garsington Opera Festival in 1996 and has since been heard at the Vienna Staatsoper, Metropolitan Opera, Royal Opera Covent Garden, Bavarian Opera, Semper Oper and Berlin Staatsoper, as well as in Paris, Zurich, Lausanne and Ferrara, among other cities. Her repertoire includes the operas of Mozart and Strauss, comprising roles such as Elettra (Vienna), Fiordiligi (London, Paris, Zurich, Dresden, Ferrara, MET), Donna Elvira (London, Paris, Aix-en-Provence, Vienna, Munich, MET), Vitellia (MET, Berlin), the Marschallin (Berlin, Hamburg), and Ariadne and Chrysothemis (Zurich, Munich, Vienna). She made her Bayreuth Festival debut in 1999 as Elsa in Lohengrin and was heard at the 2002 and 2003 Salzburg Festivals as Donna Elvira in Don Giovanni under the baton of Nikolaus Harnoncourt. She achieved great success as Katya Kabanova in Berlin and Vienna, as Ellen Orford in Peter Grimes at the Vienna Staatsoper and in the title role of Fidelio in Zurich.
He also sings with the leading orchestras of the world as well as at festivals such as Tanglewood, Ravinia, Blossom, Vail, Lanaudière, Salzburg, Edinburgh, Lucerne, Mostly Mozart and BBC Proms. In recital, he has performed at Weill Hall and the Metropolitan Museum of Art in New York City, the Wigmore Hall in London, the University Musical Society in Ann Arbor, and the University of Chicago Presents series. His most recent recording of Mahler’s Symphony 8 with Sir Simon Rattle and the City of Birmingham Symphony Orchestra, was released on the EMI label. He also recorded Idomeneo with Sir Charles Mackerras and the Scottish Chamber Orchestra for EMI, and appears on the Metropolitan Opera’s DVD presentations of Don Giovanni, I puritani, Die Meistersinger von Nürnberg and Macbeth. This season John Relyea makes his debut at the Lyric Opera of Chicago in La Damnation de Faust, and returns to the Metropolitan Opera for Le nozze di Figaro. He also makes appearances with the Los Angeles Philharmonic, Cleveland, Pittsburgh Symphony and Dresden Staatskapelle Orchestras.
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Since the beginning of her career, Melanie Diener has performed with some of the most prestigious orchestras in Europe and the USA. Her concert repertoire includes Beethoven's Symphony 9 and Missa solemnis, Britten’s War Requiem, Zemlinsky's Lyrische Sinfonie, Schoenberg's Gurrelieder, Richard Strauss’ Four Last Songs, Janá˘cek's Glagolitic Mass and Mahler's Symphony 8. Future projects include Berg's Sieben frühe Lieder in Berlin, Gurrelieder in Berlin, Janá˘cek’s Glagolitic Mass in Tokyo, Poème pour Mi with Pierre Boulez in Paris, Fidelio at the Gergiev Festival in Rotterdam with Valery Gergiev and in Paris with Kurt Masur, Das klagende Lied in Paris, London and Budapest, Weber’s Euryanthe in Toulouse and Warsaw, Sieglinde in Dresden, and Ursula in Hindemith’s Mathis der Maler in Paris.
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TOPI LEHTIPUU
MEZZO SOPRANO
TENOR
AN ANGEL
OBADIAH
Chris Gloag
RENATA POKUPIC´
Croatian mezzo soprano Renata Pokupic´ is known internationally through her acclaimed performances of the baroque, classical and other coloratura mezzo repertoire. Her recent opera engagements have included the roles of Sesto in La clemenza di Tito for Chicago Opera, Annio in La clemenza di Tito for Opéra de Lyon, Irene in Tamerlano at Teatro Real, Madrid, the title role in Cavalli’s Eliogabalo at Grange Park Opera and Statira in Vivaldi’s L'incoronazione di Dario for Garsington Opera. She excels on the concert platform where she has sung Mendelssohn’s A Midsummer Night’s Dream with the Orchestre National de France and Kurt Masur, Mozart’s Requiem with the Academy of St Martin in the Fields and Carlo Rizzi, Bach’s B minor Mass with the Montreal Symphony Orchestra and Kent Nagano, De Falla’s Le Tricorne under Kazushi Ono for Opéra de Lyon and Elijah with the Gabrieli Consort. Her baroque performances have included Pergolesi’s Stabat Mater with Les Talens Lyriques and Christophe Rousset, and the role of Teodata in Flavio with the Academy of Ancient Music and Christopher Hogwood. Also an accomplished recitalist, Renata Pokupic´ works regularly with pianist Roger Vignoles. They have recorded a recital album of Schumann, Fauré and Barber that is due to be released later this year and recently performed at the Delft Chamber Festival. Future engagements include her Royal Opera House debut as Irene in Tamerlano, Cherubino for Washington National Opera, the title role in Theodora with the Gabrieli Consort, Bach’s Christmas Oratorio on tour with the Ensemble Matheus, Messiah in Gran Canaria with Paul McCreesh, L’Enfance du Christ with Musikkollegium Winterthur and Stravinsky’s Pulcinella with the Orchestre Philharmonique de Monte Carlo. She will also make her debut at the Los Angeles Opera and work with the Rotterdam Philharmonic and Yannick Nézet-Séguin.
Topi Lehtipuu has gained an international reputation as one of Finland’s most individual performing artists. He is particularly sought after for his fine interpretations of contemporary and early music, and of the major Mozart operatic roles. A welcome guest in Europe, he has appeared all over Finland and France as well as in Berlin, Dresden, Frankfurt, Salzburg, Vienna, Zurich, London, Glyndebourne, Bilbao and Madrid. He has also sung in Los Angeles and worked with conductors such as Ivor Bolton, William Christie, René Jacobs, Christophe Rousset, Paul McCreesh, Sir John Eliot Gardiner, Riccardo Muti, Sir Simon Rattle, Esa-Pekka Salonen and Ivan Fischer. Concerts until 2011 will include performances of St Paul in Helsinki and Bach’s St Matthew Passion with the Berlin Philharmonic Orchestra in Birmingham, Salzburg and Berlin. On the operatic stage he will appear in Iphigénie en Tauride at La Monnaie, Brussels; in the world première of a new Eötvös opera with the Bavarian State Opera, Munich; in Stravinsky’s The Rake’s Progress and Die Meistersinger at the 2010 and 2011 Glyndebourne Festivals; and in La finta giardiniera at the Theater an der Wien. He will also take the roles of Ferrando in Così fan tutte at the Wiener Staatsoper and Tamino in a new production of The Magic Flute at the Théâtre des Champs-Elysées in Paris. Among his recordings are DVDs of Rameau’s Les Paladins with William Christie and Les Arts Florissants and Così fan tutte from Glyndebourne, Haydn’s The Creation with the Mozarteum Salzburg, Mozart’s Mass in C minor and two Monteverdi CDs. Topi Lehtipuu was born in Australia, grew up in Finland and nowadays resides in Paris. He studied piano, violin, choir conducting and singing at the Sibelius Academy. Since 2004, he has been Artistic Director of the Joroinen Music Days – a festival of chamber music – and he has been appointed Musical Director of the Turku Music Festival from 2010 to 2013.
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ROSIE ALDRIDGE
TYLER CLARKE
SARAH-JANE BRANDON
MEZZO SOPRANO
TENOR
SOPRANO
THE QUEEN (JEZEBEL)
AHAB
Born in Hertfordshire, Rosie Aldridge is currently a scholar at the Royal College of Music International Opera School, where she studies with Kathleen Livingstone. Competition successes have included the RCM Concerto Competition, the RCM English Song Prize and the Cuthbert Smith Prize in the Lies Askonas Competition. Rosie is a grateful recipient of the Sybil Tutton Award, awarded by the MBF, and is supported by the Countess of Munster Musical Trust and the Josephine Baker Trust.
Tyler Clarke is currently studying at the Royal College of Music International Opera School. Whilst there he has held the Peter Pears Scholarship supported by a Nora Popple award, the Drapers’ De Turckheim Vocal Scholarship and has been supported by the Josephine Baker Trust. He currently studies with Timothy Evans-Jones. Before joining the RCM, he studied at the Guildhall School of Music and Drama with Adrian Thompson and Susan McCulloch, and also completed the Georg Solti Accademia di Bel Canto 2007.
Recent roles have included Cleone in Handel’s Alessandro in association with the London Handel Festival; Hippolyta in Britten’s A Midsummer Night’s Dream with the RCM; and Baba the Turk and Mother Goose in Stravinsky’s The Rake’s Progress with British Youth Opera. In concert she has sung Elijah at the Barbican with Sir Thomas Allen; Dvo˘rák’s Stabat Mater at the Cadogan Hall; Bach’s Christmas Oratorio at St John’s, Smith Square; Bach’s St John Passion with the BBC Scottish Symphony Orchestra; Bach’s Mass in B minor with the Welsh Baroque Orchestra; Verdi’s Requiem; Elgar’s Sea Pictures; and Vaughan Williams’ Serenade to Music. Future projects include Mozart’s Requiem at King’s College Chapel and Handel’s Messiah at the West Road Concert Hall, Cambridge.
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He made his operatic debut in Geneva singing Bastien in Bastien und Bastienne and has since sung the roles of Tamino in The Magic Flute for Opera Loki and New Devon Opera, the Priest/Armed man in The Magic Flute for Longborough Festival Opera and Oxford Philomusica, San Giovanni in La resurrezione and Aminta in Atalanta for London Handel Festival, and the Italian Tenor in Capriccio for the Guildhall School. Most recently Tyler won the Les Azuriales Trust Prize at the 2009 Les Azuriales Ozone Competition, sang the title role in Albert Herring for CoOpera Company and gave his debut recital at the Crush Room, Royal Opera House. Forthcoming engagements include Tamino in Die Zauberflöte for the RCM.
Sarah-Jane Brandon is from Cape Town where she studied at the South African College of Music. She is currently in her final year at the Royal College of Music International Opera School under the guidance of Janis Kelly. In 2008, she won the Maggie Teyte Prize and Miriam Licette Scholarship, and was awarded the Overseas Trophy, and the Lorna Viol and Audrey Strange Prizes at the Royal Over-Seas League Competition. This year she won the Kathleen Ferrier Competition. Sarah-Jane toured China as soprano soloist in December 2007 with the Amadeus Orchestra. In the UK, she has performed at the Wigmore Hall, the Royal Over-Seas League and the Crush Room of the Royal Opera House. She sang the role of Maddalena in Handel’s La resurrezione at St George’s, Hanover Square, and with the Academy of Ancient Music under Stephen Cleobury at Bridgewater Hall. Her other roles include the Countess in Le nozze di Figaro, Pamina in Die Zauberflöte, Sandrina in La finta giardiniera and Lisaura in Alessandro. Sarah-Jane is supported by the Josephine Baker and Ernest Oppenheimer Memorial Trusts, and the Countess of Munster Musical Trust. This year she was awarded a Stephen Catto Memorial Scholarship and the Lucy Ann Jones Award.
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JAMES OLDFIELD
JIMMY HOLLIDAY
BASS BARITONE
BASS
James Oldfield was born in Ipswich and was a Choral Scholar at Trinity College, Cambridge, where he read Geography. He then spent three years at the Royal College of Music and, having been awarded several prestigious scholarships and prizes, graduated in June of this year.
Jimmy Holliday is currently in his last year at the Royal College of Music International Opera School as the Martin Harris scholar supported by a Toeman Weinberger Opera Scholarship and was recently awarded the inaugural Richard Van Allan Award administered by the Musicians Benevolent Fund. He regularly works with EXAUDI, Tenebrae, The Sixteen, The Gabrieli Consort, Ensemble Plus Ultra and The BBC Singers.
His operatic work so far has included the roles of Simon Magus in Vaughan Williams’ Pilgrim’s Progress for Richard Hickox, Clito in Handel’s Alessandro for the London Handel Festival and Bruschino Padre in Rossini’s Il signor Bruschino for British Youth Opera. His other operatic roles include Swallow in Peter Grimes, Bartolo in Le nozze di Figaro, Alfonso in Così fan tutte, Achilla in Handel’s Giulio Cesare, and Seneca in Monteverdi’s L’incoronazione di Poppea.
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Recent performances have included Bach’s St John Passion, Handel’s Messiah, Mozart’s Requiem, Haydn’s The Creation, Mahler’s Symphony 8 at The Sage, Gateshead, WalfordDavies’ The Pied Piper with Tenebrae and Stravinsky’s Threni and The Flood with the CBSO in Symphony Hall, Birmingham. His operatic roles A committed recitalist and concert include Father Truelove in Stravinsky’s artist, James has performed Haydn’s The Rake’s Progress, Caronte in Nelson Mass with the Royal Monteverdi’s L’Orfeo, Noye in Britten’s Philharmonic Orchestra, Britten’s War Noye’s Fludde and Polyphemus in Requiem, Handel’s Messiah, Brahms’ Handel’s Acis and Galatea. At the Requiem at the Albert Hall, Mozart’s RCM he has sung the roles of Dr Requiem at Westminster Abbey, Bartolo in Le nozze di Figaro, Bach’s B minor Mass at the Three Badger/Parson in The Cunning Little Choirs Festival and Monteverdi’s Vixen, and Bottom in A Midsummer Vespers with the London Handel Night’s Dream. This year he is singing Orchestra. Future engagements Sarastro in Die Zauberflöte for the include Verdi’s Requiem at St Alban’s RCM and is covering Lotario in Cathedral, Puccini’s Messa di Gloria, Handel’s Flavio for English Touring and the role of Figaro in Le nozze di Opera’s Handelfest. Jimmy is taught Figaro for Garsington Opera. by Graeme Broadbent.
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Dear Supporters of the London Philharmonic Orchestra,
Tonight’s concert of Mendelssohn’s Elijah is dedicated to the 20th anniversary of the Fall of the Berlin Wall – one of the most decisive and happiest moments in the recent history of Germany and Europe as a whole. Maestro Kurt Masur’s personal impact on the developments immediately preceding the fall of the wall can hardly be overstated. It was, to a great extent, due to his courageous public statement at the height of the famous Monday demonstrations in Leipzig in October 1989 that we can now look back on a peaceful democratic revolution in Germany leading to the unification of Europe.
Tonight we are celebrating this event with great music by Felix Mendelssohn whose 200th birthday is being richly marked all over Britain this year and whose life and musical activity were so closely linked to this country. My special thanks go to our partners in tonight’s jubilee concert, the London Philharmonic Orchestra and Pritchard Englefield London.
Georg Boomgaarden Ambassador of the Federal Republic of Germany
WELCOME TO SOUTHBANK CENTRE We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit, please contact our Head of Customer Relations at Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk or phone 020 7960 4250. We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium
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LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended MOBILES, PAGERS AND WATCHES should be switched off before the performance begins
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SPEEDREAD Mendelssohn was born 200 years ago last February, and tonight we hear his great oratorio Elijah in a new bicentennial German edition revised by reference to the newly accessible autograph score. This vividly dramatic masterwork, a huge success from its very first performance, was composed for Birmingham and completed only a year before Mendelssohn’s death at the age of 38. Drawing its text from the Bible, it tells the story of one of the fiercest Old Testament prophets. Elijah prophesies years of drought for the people of Israel, punishment for their worship of a false god, Baal. After raising a widow’s son from the dead, he challenges the priests of Baal to slay a bullock and call upon their
Felix MENDELSSOHN
god to light the sacrificial fire under it. Their prayers go unanswered, but Elijah’s prayer to the Lord God of Abraham is spectacularly successful. The priests of Baal are slain, and Elijah’s prayers bring the penitent Israelites abundant rain. In Part Two Elijah rebukes King Ahab, and Queen Jezebel rouses the people against the prophet. He flees to the wilderness, and laments in a poignant aria Es ist genug (It is enough). Angelic visitations restore his spirits, and he returns to the people, overthrowing kings and finally ascending to Heaven in a chariot of fire. The last section foretells the coming of Christ. © Eric Mason
ELIJAH, OP. 70
1809-1847
A composer’s centenary or bicentenary is usually the spur to consideration of his standing in the pantheon of great musicians. The bicentenary of Mendelssohn’s birth – he was born in Hamburg 200 years ago last February – finds his stock standing high, and this evening we hear his last masterwork in a new bicentennial German edition. This Urtext edition, edited by Christian Martin Schmidt for the publishing house of Breitkopf, is based on the Leipzig Mendelssohn Complete Edition after examination of the newly accessible autograph score. The bilingual vocal score includes the first correct underlay (i.e. the fitting of the words to the notes) of the English text that Mendelssohn’s translator, William Bartholomew, produced in close collaboration with him. This evening’s performance, however, will be sung in German.
The success of Mendelssohn’s first oratorio, St Paul, in 1836 encouraged him to plan another, and he wrote for help to Carl Klingemann, his diplomat friend in London, who had accompanied him on the fruitful visit to Scotland in 1829 and had written the libretto of his opera Son and Stranger. St Peter and Elijah were possible subjects that Mendelssohn had in mind, and during his next visit to England in 1837 he began drafting an Elijah text with Klingemann. When that collaboration petered out the following year, Mendelssohn turned to another friend, Julius Schubring, a German parson who had helped with the libretto of St Paul. The two men further developed the draft but disagreed on the appropriateness of drama in an oratorio. Mendelssohn wanted as much drama as possible. Work stopped for six years.
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In June 1845 Mendelssohn was invited to conduct the following year’s Birmingham Festival and to write a work for it. He regarded Britain as his second artistic home after Germany, and although he declined to take on the whole festival, he agreed to conduct the morning concerts and said he hoped to compose an oratorio. Schubring, working in consultation with the composer, now compiled from the Lutheran Bible a German text for Elijah. William Bartholomew, the London chemist, painter and amateur violinist who had made the English versions of most of Mendelssohn’s vocal works, translated Schubring’s text into English, keeping as close as possible to the English Bible. The correspondence between composer and translator shows how particular Mendelssohn was about musical as well as scriptural points. Although the composer worked quickly, he also had a heavy workload in Leipzig, and the choir received the last of its music only nine days before the concert. The performance, which took place on 26 August 1846, was nevertheless a great success. ‘Never was there a more complete triumph’, wrote The Times, ‘never a more thorough and speedy recognition of a great work of art.’ In the light of that single performance Mendelssohn made extensive revisions to text and music. Returning to England for the last time the following April, he conducted six performances of the definitive version, four in London and one each in Manchester and Birmingham. Queen Victoria and Prince Albert attended the third London performance, and Albert sent Mendelssohn his programme next day, inscribed with a fulsome eulogy ‘in grateful remembrance’. Having been overworked for most of his life, Mendelssohn returned to Germany in May 1847 utterly exhausted, and when his sister Fanny died suddenly the following week he collapsed. Six months later he too was dead. He was thirty-eight. For many years Elijah was immensely popular; in this country it used to be second in popularity only to Handel’s Messiah. Its rating declined for several reasons: a reaction against Mendelssohn that bore most severely on his choral works, a tendency to inflict a ponderous style of performance on it, and the rise in favour of other works, particularly those of Bach which Mendelssohn himself had assiduously fostered.
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However, despite changes down the years in taste and fashion Elijah continues to hold and deserve a secure place in the choral repertory. The original dramatic layout, the felicitous orchestral writing, the still fresh sound of much of the choral music, the nobility of Elijah’s prayer Herr, Gott Abrahams (Lord God of Abraham) and the inspired quality of such solos as Höre, Israel (Hear ye, Israel) and Es ist genug (It is enough) demand admiration. Elijah must still be accounted a work of genius. The grandson of a famous Jewish philosopher, Mendelssohn was born into a prosperous banking family and baptized and brought up as a Lutheran Christian. In choosing to recount the story of a fierce Old Testament prophet he felt that it had relevance to his own time. Early in their collaboration he wrote to Schubring: ‘I imagined Elijah as a real prophet … of the kind we could really do with today, strong, zealous and yes, even bad-tempered, angry and brooding, … at odds with almost the whole world, yet borne aloft as if on angels’ wings.’ The oratorio is in two parts. The introduction and first five numbers concern the drought visited upon the people of Israel for their sins and their worship of a false god, Baal. When Elijah prophesies the drought in the opening D minor recitative, a sombre orchestral motive of three descending diminished fifths, which will recur in other numbers, reinforces his pronouncement. The following fugal overture builds up a tension that climaxes in the cry for help with which the first chorus begins. The Israelites lament the famine in a free fugue, then fall to prayer. Obadiah’s tenor air So ihr mich von ganzem Herzen (If with all your hearts) is typical of Mendelssohn’s homely vein. Another fugal chorus concludes this section. An angel (mezzo soprano) commands Elijah to sojourn in the wilderness. After an eight-part angelic chorus she directs him to Zarephath, where he miraculously raises a widow’s son from death. The chorus, taking texts from the Psalms, meditates on this event after the manner of Bach’s Passions. The remainder of Part One is a dramatic treatment of the contest between Elijah and the priests of Baal and
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the ending of the drought. Mocked by the prophet, the priests three times call in vain upon Baal to kindle the fire beneath a sacrificial bullock. Then Elijah prays to the ‘Lord God of Abraham, Isaac and Israel’, who responds with miraculous fire, a chorus of Handelian power. The influence of Messiah is evident in Elijah’s Ist nicht des Herrn Wort wie ein Feuer (Is not His word like a fire). After a warning arioso (mezzo soprano solo) Elijah and the now repentant Israelites pray for rain. Elijah twice sends a boy up a hillock to look for a distant cloud, and Mendelssohn vividly depicts the eventual downpour in the accompaniment to a harmonically daring chorus. Part Two begins with the solo soprano’s Höre, Israel (Hear ye, Israel) – urgent in B minor then brightly reassuring in B major – and a vigorous chorus takes up her words. The next episode finds Elijah rebuking King Ahab for Baal worship, and Queen Jezebel (mezzo soprano) rousing the people against the prophet. Warned by Obadiah, Elijah flies for safety. Broken in spirit, he sings Es ist genug! (It is enough!), a poignant air clearly inspired by All is fulfilled in Bach’s St John Passion. The two solos share a similar mood and the same ternary form with a quicker middle section, and both use an obbligato instrument, in this instance a cello.
In the following numbers the angels watching over Elijah have perhaps the most beautiful music in the oratorio. Mendelssohn thought the comforting air Sei stille dem Herrn (O rest in the Lord ) too sweet, and he had to be persuaded not to destroy it. It became one of the best loved solos in the work. On Mount Horeb Elijah witnesses a mighty wind, earthquake and fire, as Mendelssohn describes in an imaginative chorus. In the ensuing calm the prophet hears the ‘still small voice’ of the Lord. He returns, strengthened and rejoicing, to his people. Another vivid chorus tells us that he overthrew mighty kings and ascended at last to heaven in a chariot of fire. The last section foretells the coming of Christ. ‘Alsdann wird euer Licht hervorbrechen’ (Then shall your light break forth) the final chorus prophesies. As the last Amens sound, the cellos and double basses return to the descending motive of Elijah’s first pronouncement, no longer in sombre D minor but now underpinning the firm assurance of D major. © Eric Mason
PART ONE INTRODUCTION Elijah So wahr der Herr, der Gott Israels lebet, vor dem ich stehe: Es soll diese Jahre weder Tau noch Regen kommen, ich sage es denn.
As God the Lord of Israel liveth, before whom I stand: there shall not be dew nor rain these years, but according to my word.
OVERTURE 1. CHORUS The People Hilf, Herr! Hilf, Herr! Willst du uns denn gar vertilgen? Die Ernte ist vergangen, der Sommer ist dahin, und uns ist keine Hilfe gekommen! Will denn der Herr nicht mehr Gott sein in Zion? Die Tiefe ist versieget! Und die Ströme sind vertrocknet! Dem Säugling klebt die Zunge am Gaumen vor Durst! Die jungen Kinder heischen Brot! Und da ist niemand, der es ihnen breche!
Help, Lord! Wilt Thou quite destroy us! The harvest now is over, the summer days are gone, and yet no power cometh to help us! Will then the Lord be no more God in Zion? The deeps afford no water and the rivers are exhausted! The suckling's tongue now cleaveth for thirst to his mouth; the infant children ask for bread; and there is no one breaketh it to feed them!
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2. DUET WITH CHORUS Sopranos and the People Herr, höre unser Gebet! Zion streckt ihre Hände aus, und da ist niemand, der sie tröste.
Lord, bow Thine ear to our prayer! Zion spreadeth her hands for aid, and there is neither help nor comfort.
3. RECITATIVE Obadiah Zerreißet eure Herzen und nicht eure Kleider! Um unsrer Sünden willen hat Elias den Himmel verschlossen durch das Wort des Herrn. So bekehret euch zu dem Herrn, eurem Gott, denn er ist gnädig, barmherzig, geduldig und von großer Güte und reut ihn bald der Strafe.
Ye people, rend your hearts and not your garments for your transgressions: even as Elijah hath sealed the heavens through the word of God. I therefore say to ye: forsake your idols, return to God; for He is slow to anger, and merciful, and kind, and gracious, and repenteth Him of the evil.
4. ARIA Obadiah "So ihr mich von ganzem Herzen suchet, so will ich mich finden lassen", spricht unser Gott. Ach, daß ich wüßte, wie ich ihn finden und zu seinem Stuhle kommen möchte!
“If with all your hearts ye truly seek Me, ye shall ever surely find Me.” Thus saith our God. Oh! that I knew where I might find Him, that I might even come before His presence!
5. CHORUS The People Aber der Herr sieht es nicht. Er spottet unser! Der Fluch ist über uns gekommen. Er wird uns verfolgen, bis er uns tötet! Denn ich der Herr, dein Gott, ich bin ein eifriger Gott, der da heimsucht der Väter Missetat an den Kindern bis ins dritte und vierte Glied derer, die mich hassen. Und tue Barmherzigkeit an vielen Tausenden, die mich liebhaben und meine Gebote halten.
Yet doth the Lord see it not, He mocketh at us! His curse hath fallen down upon us: His wrath will pursue us till He destroy us. For He, the Lord our God, He is a jealous God and He visiteth all the fathers' sins on the children to the third and the fourth generation of them that hate Him. His mercies on thousands fall, on all them that love Him and keep His commandments.
6. RECITATIVE An Angel Elias, gehe weg von hinnen und wende dich gen Morgen und verbirg dich am Bache Crith! Du sollst vom Bache trinken, und die Raben werden dir Brot bringen des Morgens und des Abends, nach dem Wort deines Gottes.
Elijah, get thee hence, Elijah; depart and turn thee eastward; thither hide thee by Cherith's brook. There shalt thou drink its waters; and the Lord thy God hath commanded the ravens to feed thee there; so do according unto His word.
7. DOUBLE QUARTET The Angels Denn er hat seinen Engeln befohlen über dir. Daß sie dich behüten auf allen deinen Wegen. Daß sie dich auf den Händen tragen und du deinen Fuß nicht an einen Stein stoßest.
For He shall give His angels charge over thee. That they shall protect thee in all the ways thou goest. That their hands shall uphold and guide thee, lest thou dash thy foot against a stone, they shall uphold thee.
7A. RECITATIVE An Angel Nun auch der Bach vertrocknet ist, Elias, mache dich auf, gehe gen Zarpath und bleibe daselbst! Denn der Herr hat daselbst einer Witwe geboten, daß sie dich
Now Cherith’s brook is dried up, Elijah, arise and depart, and get thee to Zarephath, thither abide! For the Lord hath commanded a widow woman there to sustain
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versorge. Das Mehl im Cad soll nicht verzehret werden, und dem Ölkruge soll nichts mangeln, bis auf den Tag, da der Herr regnen lassen wird auf Erden.
thee; and the barrel of meal shall not waste, neither shall the cruse of oil fail, until the day that the Lord sendeth rain upon the earth.
8. ARIA AND DUET The Widow Was hast du an mir getan, du Mann Gottes? Du bist zu mir hereingekommen, daß meiner Missetat gedacht und mein Sohn getötet werde! Hilf mir, du Mann Gottes! Mein Sohn ist krank, und seine Krankheit ist so hart, daß kein Odem mehr in ihm blieb. Ich netze mit meinen Tränen mein Lager die ganze Nacht. Du schaust das Elend, sei du der Armen Helfer! Hilf meinem Sohn! Es ist kein Odem mehr in ihm!
What have I to do with thee, O man of God? Art thou come to me, to call my sin unto remembrance? To slay my son art thou come hither? Help me, man of God, my son is sick, and his sickness is so sore that there is no breath left in him! I go mourning all the day long, I lie down and weep at night. See mine affliction, be thou the orphan’s helper! Help my son! There is no breath left in him!
Elijah Gib mir her deinen Sohn! Herr, mein Gott, vernimm mein Flehn, wende dich, Herr, und sei ihr gnädig; und hilf dem Sohne deiner Magd! Denn du bist gnädig, barmherzig , geduldig und von großer Güte und Treue! Herr, mein Gott, lasse die Seele dieses Kindes wieder zu ihm kommen!
Give me thy son. Turn unto her, O Lord, my God; turn unto her! O turn in mercy, help this widow’s son. For Thou art gracious, and full of compassion, and plenteous in mercy and truth. Lord, my God let the spirit of this child return, that he again may live!
The Widow Wirst du denn unter den Toten Wunder tun? Es ist kein Odem mehr in ihm!
Wilt thou shew wonders to the dead? There is no breath in him!
Elijah Herr, mein Gott, lasse die Seele dieses Kindes wieder zu ihm kommen!
Lord, my God, let the spirit of this child return, that he again may live!
The Widow Werden die Gestorbnen aufstehn und dir danken?
Shall the dead arise and praise thee?
Elijah Herr, mein Gott, lasse die Seele dieses Kindes wieder zu ihm kommen!
Lord my God, O let the spirit of this child return, that he again may live!
The Widow Der Herr erhört deine Stimme, die Seele des Kindes kommt wieder! Es wird lebendig!
The Lord hath heard thy prayer, the soul of my son reviveth!
Elijah Siehe da, dein Sohn lebet!
Now behold, thy son liveth!
The Widow Nun erkenne ich, daß du ein Mann Gottes bist, und des Herrn Wort in deinem Munde ist Wahrheit! Wie soll ich dem Herrn vergelten alle seine Wohltat, die er an mir tut?
Now by this I know that thou art a man of God, and that His word in thy mouth is the truth. What shall I render to the Lord for all His benefits to me?
Elijah and The Widow Du sollst den Herrn, deinen Gott, lieb haben von ganzem Herzen, von ganzer Seele, von allem Vermögen. Wohl dem, der den Herrn fürchtet.
Thou shalt love the Lord thy God, love Him with all thine heart, and with all thy soul and with all thy might. O blessed are they who fear Him!
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9. CHORUS Wohl dem, der den Herrn fürchtet und auf seinen Wegen geht! Wohl dem, der auf Gottes Wegen geht! Den Frommen geht das Licht auf in der Finsternis. Den Frommen geht das Licht auf von dem Gnädigen, Barmherzigen und Gerechten. 10. RECITATIVE WITH CHORUS Elijah So wahr der Herr Zebaoth lebet, vor dem ich stehe: Heute, im dritten Jahr, will ich mich dem Könige zeigen und der Herr wird wieder regnen lassen auf Erden.
Blessed are the men who fear Him, they ever walk in the ways of peace. Through darkness riseth light, light to the upright. He is gracious, compassionate; He is righteous.
As God the Lord of Sabaoth liveth, before whom I stand, three years this day fulfilled, I will shew myself unto Ahab; and the Lord will then send rain again upon the earth.
Ahab Bist du's, Elias, bist du's, der Israel verwirrt?
Art thou Elijah, art thou he that troubleth Israel?
The People Du bist's, Elias, du bist's, der Israel verwirrt!
Thou art Elijah, thou he that troubleth Israel.
Elijah Ich verwirre Israel nicht, sondern du, König, und deines Vaters Haus, damit, daß ihr des Herrn Gebot verlaßt und wandelt Baalim nach. Wohlan! So sende nun hin und versammle zu mir das ganze Israel auf den Berg Carmel, und alle Propheten Baals, und alle Propheten des Hains, die vom Tische der Königin essen. Da wollen wir sehn, ob Gott der Herr ist.
I never troubled Israel's peace; it is thou, Ahab, and all thy father's house. Ye have forsaken God's commands; and thou hast followed Baalim. Now send and gather to me the whole of Israel unto Mount Carmel: there summon the prophets of Baal, and also the prophets of the groves who are feasted at Jezebel's table. Then we shall see whose God is the Lord.
The People Da wollen wir sehn, ob Gott der Herr ist.
And then we shall see whose God is the Lord.
Elijah Auf denn, ihr Propheten Baals, erwählet einen Farren, und legt kein Feuer daran, und rufet ihr an den Namen eures Gottes, und ich will den Namen des Herrn anrufen. Welcher Gott nun mit Feuer antworten wird, der sei Gott.
Rise then, ye priests of Baal; select and slay a bullock, and put no fire under it; uplift your voices and call the god ye worship; and I then will call on the Lord Jehovah: and the god who by fire shall answer, let him be God.
The People Ja, welcher Gott nun mit Feuer antworten wird, der sei Gott.
Yea, and the god who by fire shall answer, let him be God.
Elijah Ruft euren Gott zuerst, denn eurer sind viele! Ich aber bin allein übriggeblieben, Prophet des Herrn. Ruft eure Feldgötter und eure Berggötter!
Call first upon your god, your numbers are many. I, even I only, remain one prophet of the Lord. Invoke your forest gods, and mountain deities.
11. CHORUS Baal, erhöre uns! Wende dich zu unserm Opfer, Baal, erhöre uns! Höre uns, mächtiger Gott! Send uns dein Feuer und vertilge den Feind!
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Baal, we cry to thee, hear and answer us! Heed the sacrifice we offer! Hear us, Baal, hear, mighty god! Baal, O answer us! Baal, let thy flames fall and extirpate the foe!
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12. RECITATIVE AND CHORUS Elijah Rufet lauter! Denn er ist ja Gott! Er dichtet, oder er hat zu schaffen, oder ist über Feld, oder schläft er vielleicht, daß er aufwache. Rufet lauter, rufet lauter!
Call him louder, for he is a god! He talketh, or he is pursuing, or he is on a journey; or, peradventure, he sleepeth; so awaken him. Call him louder, call him louder!
Chorus Baal, erhöre uns, wache auf! Warum schläfst du?
Hear our cry, O Baal. Now arise! Wherefore slumber?
13. RECITATIVE AND CHORUS Elijah Rufet lauter! Er hört euch nicht. Ritzt euch mit Messern und mit Pfriemen nach eurer Weise. Hinkt um den Altar, den ihr gemacht! Rufet und weissagt! Da wird keine Stimme sein, keine Antwort, kein Aufmerken.
Call him louder! He heareth not. With knives and lancets cut yourselves after your manner; leap upon the altar ye have made; call him and prophesy; not a voice will answer you, none will listen; none heed you.
Chorus Baal! Gib uns Antwort, Baal! Siehe, die Feinde verspotten uns!
Baal! Baal! Hear and answer, Baal! Mark how the scorner derideth us!
Elijah Kommt her, alles Volk, kommt her zu mir!
Draw near, all ye people, come to me!
14. ARIA Elijah Herr Gott Abrahams, Isaaks und Israels, laßt heut kund werden, daß du Gott bist und ich dein Knecht! Herr, Gott Abrahams! Und daß ich solches alles nach deinem Worte getan! Erhöre mich, Herr, erhöre mich! Herr Gott Abrahams, Isaaks und Israels, erhöre mich, Herr, erhöre mich! Daß dies Volk wisse, daß du Herr Gott bist, daß du ihr Herz danach bekehrest!
Lord God of Abraham, Isaac and Israel, this day let it be known that Thou art God, and I am Thy servant! Lord God of Abraham! Oh shew to all this people that I have done these things according to Thy word. Oh hear me, Lord, and answer me! Lord God of Abraham, Isaac and Israel, O hear me and answer me; and shew this people that Thou art Lord God, and let their hearts again be turned!
15. QUARTET Wirf dein Anliegen auf den Herrn, der wird dich versorgen und wird den Gerechten nicht ewiglich in Unruhe lassen. Denn seine Gnade reicht so weit der Himmel ist, und keiner wird zuschanden, der seiner harret.
Cast thy burden upon the Lord, and He shall sustain thee. He never will suffer the righteous to fall; He is at thy right hand. Thy mercy, Lord, is great, and far above the heavens. Let none be made ashamed, that wait upon Thee!
16. RECITATIVE AND CHORUS Elijah Der du deine Diener machst zu Geistern, und deine Engel zu Feuerflammen, sende sie herab!
O Thou, who makest Thine angels spirits, Thou, whose ministers are flaming fires, let them now descend!
The People Das Feuer fiel herab! Feuer! Die Flamme fraß das Brandopfer! Fallt nieder auf euer Angesicht! Der Herr ist Gott, der Herr ist Gott! Der Herr, unser Gott ist ein einiger Herr, und es sind keine andern Götter neben ihm.
The fire descends from heaven! The flames consume his offering! Before Him upon your faces fall! The Lord is God, the Lord is God! O Israel hear! Our God is one Lord: and we will have no other gods before the Lord.
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Elijah Greift die Propheten Baals, daß ihrer keiner entrinne, führt sie hinab an den Bach und schlachtet sie daselbst! The People Greift die Propheten Baals, daß ihrer keiner entrinne! 17. ARIA Elijah Ist nicht des Herrn Wort wie ein Feuer und wie ein Hammer, der Felsen zerschlägt? Sein Wort ist wie ein Feuer und wie ein Hammer, der Felsen zerschlägt. Gott ist ein rechter Richter, und ein Gott, der täglich droht. Will man sich nicht bekehren, so hat er sein Schwert gewetzt, und seinen Bogen gespannt und zielet! 18. ARIOSO Alto Weh ihnen, daß sie von mir weichen! Sie müssen verstöret werden, denn sie sind abtrünnig von mir geworden. Ich wollte sie wohl erlösen, wenn sie nicht Lügen wider mich lehrten. Ich wollte sie wohl erlösen, aber sie hören es nicht. Weh ihnen! Weh ihnen!
Take all the prophets of Baal, and let not one of them escape you. Bring them down to Kishon's brook, and there let them be slain. Take all the prophets of Baal, and let not one of them escape us; bring all and slay them!
Is not His word like a fire, and like a hammer that breaketh the rock into pieces? For God is angry with the wicked every day; and if the wicked turn not, the Lord will whet His sword; and He hath bent His bow, and made it ready.
Woe, woe unto them who forsake Him! Destruction shall fall upon them: for they have transgressed against Him. Though they are by Him redeemed, yet they have spoken falsely against Him. Though they are by Him redeemed even from Him have they fled. Woe unto them!
19. RECITATIVE AND CHORUS Obadiah Hilf deinem Volk, du Mann Gottes! Es ist doch ja unter der Heiden Götzen keiner, der Regen könnte geben; so kann der Himmel auch nicht regnen; denn Gott allein kann solches alles tun.
O man of God, help thy people! Among the idols of the Gentiles are there any that can command the rain, or cause the heavens to give their showers! The Lord our God alone can do these things.
Elijah O Herr! Du hast nun deine Feinde verworfen und zerschlagen! So schaue nun vom Himmel herab und wende die Not deines Volkes. Öffne den Himmel und fahre herab. Hilf deinem Knecht, o du mein Gott!
O Lord, Thou hast overthrown Thine enemies and destroyed them. Look down on us from heaven, O Lord; regard the distress of Thy people! Open the heavens and send us relief. Help, help Thy servant now, O God!
The People Öffne den Himmel und fahre herab. Hilf deinem Knecht, o du mein Gott!
Open the heavens and send us relief. Help, help Thy servant now, O God!
Elijah Gehe hinauf, Knabe, und schaue zum Meere zu, ob der Herr mein Gebet erhört.
Go up now, child; and look toward the sea. Hath my prayer been heard by the Lord!
The Child Ich sehe nichts; der Himmel ist ehern über meinem Haupte.
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Elijah Wenn der Himmel verschlossen wird weil sie an dir gesündigt haben, und sie werden beten und deinen Namen bekennen und sich von ihren Sünden bekehren, so wollest du ihnen gnädig sein. Hilf deinem Knecht, o du mein Gott!
When the heavens are closed up because they have sinned against Thee: yet, if they pray and confess Thy name, and turn away from their sin when Thou dost afflict them: then hear from heaven, and forgive the sin. Help, send Thy servant help, O God!
The People So wollest du uns gnädig sein. Hilf deinem Knecht, o du mein Gott!
Then hear from heaven, and forgive the sin. Help, send Thy servant help, O God!
Elijah Gehe wieder hin und schaue zum Meere zu.
Go up again, and still look toward the sea.
The Child Ich sehe nichts; die Erde ist eisern unter mir.
There is nothing. The earth is as iron under me.
Elijah Rauscht es nicht, als wollte es regnen? Siehest du noch nichts vom Meere her?
Hearest thou no sound of rain? Seest thou nothing arise from the deep?
The Child Ich sehe nichts!
No, there is nothing.
Elijah Wende dich zum Gebet deines Knechts, zu seinem Flehn, Herr! Herr, du mein Gott! Wenn ich rufe zu dir, Herr, mein Hort, so schweige mir nicht! Gedenke, Herr, an deine Barmherzigkeit!
Have respect to the prayer of Thy servant, O Lord, my God! Unto Thee will I cry, Lord, my rock: be not silent to me; and Thy great mercies remember, Lord!
The Child Es gehet eine kleine Wolke auf aus dem Meere, wie eines Mannes Hand; der Himmel wird schwarz von Wolken und Wind; es rauschet stärker und stärker!
Behold, a little cloud ariseth now from the waters; it is like a man's hand! The heavens are black with clouds and with wind; the storm rusheth louder and louder!
The People Danket dem Herrn, denn er ist freundlich.
Thanks be to God for all His mercies.
Elijah Danket dem Herrn, denn er ist freundlich, und seine Güte währet ewiglich!
Thanks be to God, for He is gracious; and His mercy endureth for evermore!
20. CHORUS Dank sei dir Gott, du tränkest das durst'ge Land! Die Wasserströme erheben sich, sie erheben ihr Brausen. Die Wasserwogen sind groß und brausen gewaltig. Doch der Herr ist noch größer in der Höhe.
Thanks be to God! He laveth the thirsty land. The waters gather, they rush along! They are lifting their voices! The stormy billows are high, their fury is mighty. But the Lord is above them and Almighty.
INTERVAL 20 minutes An announcement will be made five minutes before the end of the interval.
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PART TWO 21. ARIA Soprano Höre, Israel, höre des Herrn Stimme! Ach, daß du merktest auf sein Gebot! Aber wer glaubt unsrer Predigt. Und wem wird der Arm des Herrn geoffenbart! So spricht der Herr, der Erlöser Israels, sein Heiliger, zum Knecht, der unter den Tyrannen ist, so spricht der Herr: Ich bin euer Tröster. Weiche nicht, denn ich bin dein Gott! Ich stärke dich! Wer bist du denn, daß du dich vor Menschen fürchtest, die doch sterben, und vergissest des Herrn, der dich gemacht hat, der den Himmel ausbreitet und die Erde gründet. Wer bist du denn? 22. CHORUS Fürchte dich nicht, spricht unser Gott, fürchte dich nicht, ich bin mit dir, ich helfe dir! Denn ich bin der Herr dein Gott, der zu dir spricht: Fürchte dich nicht! Ob tausend fallen zu deiner Seite und Zehentausend zu deiner Rechten, so wird es doch dich nicht treffen. 23. RECITATIVE WITH CHORUS Elijah Der Herr hat dich erhoben aus dem Volk und dich zum König über Israel gesetzt. Aber du, Ahab, hast Übel getan über alle, die vor dir gewesen sind. Es war dir ein Geringes, daß du wandeltest in der Sünde Jerobeams, und machtest dem Baal einen Hain, den Herrn, den Gott Israels zu erzürnen; du hast totgeschlagen und fremdes Gut genommen! Und der Herr wird Israel schlagen, wie ein Rohr im Wasser bewegt wird, und wird Israel übergeben um eurer Sünde willen.
Hear ye, Israel! Hear what the Lord speaketh: “Oh, hadst thou heeded my commandments!” Who hath believed our report? To whom is the arm of the Lord revealed? Thus saith the Lord, the Redeemer of Israel, and His Holy One to him oppressed by tyrants, thus saith the Lord: “I am He that comforteth. Be not afraid, for I am thy God. I, thy God, will strengthen thee! Say, who art thou, that thou art afraid of a man that shall die; and forgettest the Lord thy Maker, who hath stretched forth the heavens, and laid the earth's foundations? Say, who art thou?” Be not afraid, saith God the Lord. Be not afraid, thy help is near. God, the Lord, thy God, saith unto thee: Be not afraid! Though thousands languish and fall beside thee, and tens of thousands around thee perish, yet still it shall not come nigh thee.
The Lord hath exalted thee from among the people, and over his people Israel hath made thee king. But thou, Ahab, hast done evil to provoke him to anger above all that were before thee: as if it had been a light thing for thee to walk in the sins of Jeroboam. Thou hast made a grove, and an altar to Baal, and served him and worshipped him. Thou hast killed the righteous, and also taken possession. And the Lord shall smite all Israel as a reed is shaken in the water; and He shall give Israel up, and thou shalt know He is the Lord.
The Queen Habt ihr's gehört, wie er geweissagt hat wider dieses Volk.
Have ye not heard, he hath prophesied against all Israel?
Chorus Wir haben es gehört!
We heard it with our ears.
The Queen Wie er geweissagt hat wider den König in Israel?
Hath he not prophesied also against the king of Israel?
Chorus Wir haben es gehört!
We heard it with our ears.
The Queen Warum darf er weissagen im Namen des Herrn? Was wäre für ein Königreich in Israel, wenn Elias Macht hätte über des Königs Macht? Die Götter tun mir dies und
And why hath he spoken in the Name of the Lord? Doth Ahab govern the kingdom of Israel, while Elijah’s power is greater than the king’s? The gods do so to me, and
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das, wenn ich nicht morgen um diese Zeit seiner Seele tue, wie dieser Seelen einer, die er geopfert hat am Bache Kison!
more, if by tomorrow about this time, I make not his life as the life of one of them whom he hath sacrificed at the brook of Kishon!
Chorus and The Queen Er muß sterben! Er hat die Propheten Baals getötet. Er hat sie mit dem Schwert erwürgt. Er hat sie erwürgt.Er hat den Himmel verschlossen. Er hat die teure Zeit über uns gebracht. So ziehet hin und greift Elias, er ist des Todes schuldig. Tötet ihn, laßt uns ihm tun, wie er getan hat.
He shall perish. Hath he not destroyed Baal’s prophets? Yea, by sword he destroyed them all! He also closed the heavens. And called down a famine upon the land. So go ye forth and seize Elijah, for he is worthy to die, slaughter him! Do unto him as he hath done!
24. CHORUS Wehe ihm, er muß sterben! Warum darf er den Himmel verschließen? Warum darf er weissagen im Namen des Herrn? Dieser ist des Todes schuldig! Wehe ihm, er muß sterben, denn er hat geweissagt wider diese Stadt, wie wir mit unsern Ohren gehört. So ziehet hin, greifet ihn, tötet ihn!
Woe to him! He shall perish; for he closed the heavens. And why hath he spoken in the name of the Lord? Let the guilty prophet perish! Woe to him! He shall perish! He hath spoken falsely against our land, and us as we have heard with our ears. Let the guilty prophet perish! So go ye forth, seize on him! He shall die!
25. RECITATIVE Obadiah Du Mann Gottes, laß meine Rede etwas vor dir gelten! So spricht die Königin: Elias ist des Todes schuldig; und sie sammeln sich wider dich, sie stellen deinem Gange Netze, und ziehen aus, daß sie dich greifen, daß sie dich töten! So mache dich auf und wende dich von ihnen, gehe hin in die Wüste. Der Herr, dein Gott wird selber mit dir wandeln, er wird die Hand nicht abtun, noch dich verlassen. Ziehe hin und segne uns auch!
Man of God, now let my words be precious in thy sight! Thus saith Jezebel; “Elijah is worthy to die.” So the mighty gather against thee, and they have prepared a net for thy steps; that they may seize thee, that they may slay thee. Arise then, and hasten for thy life, to the wilderness journey. The Lord thy God doth go with thee: He will not fail thee, He will not forsake thee. Now begone and bless me also!
Elijah Sie wollen sich nicht bekehren! Bleibe hier, du Knabe; der Herr sei mit euch! Ich gehe hin in die Wüste. 26. ARIA Elijah Es ist genug! So nimm nun, Herr, meine Seele! Ich bin nicht besser denn meine Väter. Ich begehre nicht mehr zu leben, denn meine Tage sind vergeblich gewesen. Ich habe geeifert um den Herrn, um den Gott Zebaoth, denn die Kinder Israels haben deinen Bund verlassen, und deine Altäre haben sie zerbrochen, und deine Propheten mit dem Schwert erwürgt. Und ich bin allein übriggeblieben; und sie stehn danach, daß sie mir mein Leben nehmen! Es ist genug! So nimm nun, Herr, meine Seele! Ich bin nicht besser denn meine Väter. Nimm nun, o Herr, meine Seele!
Though stricken, they have not grieved! Tarry here, my servant, the Lord be with thee. I journey hence to the wilderness.
It is enough, O Lord, now take away my life, for I am not better than my fathers! I desire to live no longer: now let me die, for my days are but vanity. I have been very jealous for the Lord God of Hosts, for the children of Israel have broken Thy covenant, and thrown down Thine altars, and slain all Thy prophets, slain them with the sword. And I, even I only am left; and they seek my life to take it away! It is enough, O Lord, now take away my life, for I am not better than my fathers! Now let me die, Lord, take away my life!
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27. RECITATIVE Tenor Siehe, er schläft unter dem Wacholder in der Wüste, aber die Engel des Herrn lagern sich um die her, so ihn fürchten.
See, now he sleepeth beneath a juniper tree in the wilderness, and there the angels of the Lord encamp round about all them that fear Him.
28. TRIO The Angels Hebe deine Augen auf zu den Bergen, von welchen dir Hilfe kommt. Deine Hilfe kommt vom Herrn, der Himmel und Erde gemacht hat. Er wird deinen Fuß nicht gleiten lassen, und der dich behütet, schläft nicht.
Lift thine eyes to the mountains, whence cometh help. Thy help cometh from the Lord, the Maker of heaven and earth. He hath said, thy foot shall not be moved. Thy Keeper will never slumber.
29. CHORUS Siehe, der Hüter Israels schläft noch schlummert nicht. Wenn du mitten in Angst wandelst, so erquickt er dich. 30. RECITATIVE The Angel Stehe auf, Elias, denn du hast einen großen Weg vor dir! Vierzig Tage und vierzig Nächte sollst du gehn bis an den Berg Gottes Horeb. Elijah O Herr, ich arbeite vergeblich und bringe meine Kraft umsonst und unnütz zu. Ach, daß du den Himmel zerrissest und führest herab! Daß die Berge vor dir zerflössen! Daß deine Feinde vor dir zittern müßten durch die Wunder, die du tust! Warum lässest du sie irren von deinen Wegen und ihr Herz verstocken, daß sie dich nicht fürchten? O daß meine Seele stürbe!
He, watching over Israel, slumbers not, nor sleeps. Shouldst thou, walking in grief, languish, He will quicken thee.
Arise, Elijah, for thou has a long journey before thee. Forty days and forty nights shalt thou go to Horeb, the mount of God. O Lord, I have laboured in vain! Yea, I have spent my strength for naught, and in vain! O that Thou would’st rend the heavens, that Thou would’st come down! That the mountains would flow down at Thy presence, to make Thy Name known to Thine adversaries, through the wonders of Thy works! O Lord, why hast Thou made them to err from Thy ways? And hardened their hearts, that they do not fear Thee? O that I now might die!
31. ARIA The Angel Sei stille dem Herrn und warte auf ihn; der wird dir geben, was dein Herz wünscht. Befiehl ihm deine Wege und hoffe auf ihn. Steh ab vom Zorn und laß den Grimm. Sei stille dem Herrn und warte auf ihn.
O rest in the Lord, wait patiently for Him, and He shall give thee thy heart's desires. Commit thy way unto Him, and trust in Him, and fret not thyself because of evildoers.
32. CHORUS Wer bis an das Ende beharrt, der wird selig.
He that shall endure to the end, shall be saved.
33. RECITATIVE Elijah Herr, es wird Nacht um mich, sei du nicht ferne! Verbirg dein Antlitz nicht vor mir! Meine Seele dürstet nach dir, wie ein dürres Land.
Night falleth round me, O Lord! Be Thou not far from me! Hide not Thy face, o Lord, from me; my soul is thirsting for Thee, as a thirsty land.
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The Angel Wohlan denn, gehe hinaus, und tritt auf den Berg vor den Herrn, denn seine Herrlichkeit erscheinet über dir! Verhülle dein Antlitz, denn es naht der Herr. 34. CHORUS Der Herr ging vorüber. Und ein starker Wind, der die Berge zerriß und die Felsen zerbrach, ging vor dem Herrn her, aber der Herr war nicht im Sturmwind. Der Herr ging vorüber, und die Erde erbebte, und das Meer erbrauste, aber der Herr war nicht im Erdbeben. Und nach dem Erdbeben kam ein Feuer, aber der Herr war nicht im Feuer. Und nach dem Feuer kam ein stilles, sanftes Sausen. Und in dem Säuseln nahte sich der Herr. 35. RECITATIVE AND QUARTET WITH CHORUS Seraphim standen über ihm, und einer rief zum andern: Heilig, heilig, heilig ist Gott, der Herr Zebaoth. Alle Lande sind seiner Ehre voll. 36. CHORUS AND RECITATIVE Gehe wiederum hinab! Noch sind übriggeblieben Siebentausend in Israel, die sich nicht gebeugt vor Baal. Gehe wiederum hinab! Tue nach des Herrn Wort!
Arise now! Get thee without, stand on the mount before the Lord, for there His glory will appear, and shine on thee! Thy face must be veiled, for He draweth near. Behold, God the Lord passed by. And a mighty wind rent the mountains around, brake in pieces the rocks, brake them before the Lord. But yet the Lord was not in the tempest. Behold, God the Lord passed by. And the sea was upheaved, and the earth was shaken. But yet the Lord was not in the earthquake. And after the earthquake there came a fire. But yet the Lord was not in the fire. And after the fire there came a still small voice. And in that still voice onward came the Lord. Above Him stood the Seraphim, and one cried to another: Holy, holy, holy is God the Lord, the Lord Sabaoth. Now His glory hath filled all the earth. Go, return upon thy way! For the Lord yet hath left Him seven thousand in Israel, knees which have not bowed to Baal. Go, return upon thy way, thus the Lord commandeth.
Elijah Ich gehe hinab in der Kraft des Herrn! Du bist ja der Herr! Ich muß um deinetwillen leiden; darum freuet sich mein Herz, und ich bin fröhlich; auch mein Fleisch wird sicher liegen.
I go on my way in the strength of the Lord. For Thou art my Lord; and I will suffer for Thy sake. My heart is therefore glad, my glory rejoiceth; and my flesh shall also rest in hope.
37. ARIOSO Elijah Ja, es sollen wohl Berge weichen und Hügel hinfallen, aber deine Gnade wird nicht von mir weichen, und der Bund deines Friedens soll nicht fallen.
For the mountains shall depart, and the hills be removed; but Thy kindness shall not depart from me; neither shall the covenant of Thy peace be removed.
38. CHORUS Und der Prophet Elias brach hervor wie ein Feuer, und sein Wort brannte wie eine Fackel. Er hat stolze Könige gestürzt. Er hat auf dem Berge Sinai gehört die zukünftige Strafe, und in Horeb die Rache. Und da der Herr ihn wollte gen Himmel holen, siehe, da kam ein feuriger Wagen, mit feurigen Rossen, und er fuhr im Wetter gen Himmel.
Then did Elijah the prophet break forth like a fire, his words appeared like burning torches. Mighty kings by him were overthrown. He stood on the mount of Sinai and heard the judgements of the future, and in Horeb its vengeance. And when the Lord would take him away to heaven. Lo! There came a fiery chariot with fiery horses, and he went by a whirlwind to heaven.
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39. ARIA Tenor Dann werden die Gerechten leuchten wie die Sonne in ihres Vaters Reich. Wonne und Freude werden sie ergreifen. Aber Trauern und Seufzen wird vor ihnen fliehen.
Then shall the righteous shine forth as the sun in their heavenly Father's realm. Joy on their head shall be for everlasting, and all sorrow and mourning shall flee away for ever.
40. RECITATIVE Soprano Darum ward gesendet der Prophet Elias, eh' denn da komme der große und schreckliche Tag des Herrn: Er soll das Herz der Väter bekehren zu den Kindern, und das Herz der Kinder zu ihren Vätern; daß der Herr nicht komme und das Erdreich mit dem Banne schlage.
Behold, God hath sent Elijah the prophet, before the coming of the great and dreadful day of the Lord. And he shall turn the heart of the fathers to the children, and the heart of the children unto their fathers: lest the Lord shall come and smite the earth with a curse.
41. CHORUS Aber einer erwacht von Mitternacht, und er kommt vom Aufgang der Sonne. Der wird des Herrn Namen predigen und wird über die Gewaltigen gehen; das ist sein Knecht, sein Auserwählter, an welchem seine Seele Wohlgefallen hat. Auf ihm wird ruhen der Geist des Herrn: Der Geist der Weisheit und des Verstandes, der Geist des Rats und der Stärke, der Geist der Erkenntnis und der Furcht des Herrn. Aber einer erwacht von Mitternacht. Und er kommt vom Aufgang der Sonne.
But the Lord, from the north hath raised one, who from the rising on His name shall call. He hath raised one, who, from the rising of the sun, shall call upon His Name and come on princes. Behold my servant and mine elect in whom my soul delighteth! On him the Spirit of God shall rest: the spirit of wisdom and understanding, the spirit of might and of counsel, the spirit of knowledge and of the fear of the Lord. Thus saith the Lord.
41A. QUARTET Wohlan alle, die ihr durstig seid, kommt her zum Wasser, kommt her zu ihm! Wohlan alle, die ihr durstig seid, kommt her zu ihm und neigt euer Ohr, und kommt zu ihm, so wird eure Seele leben.
O come every one that thirsteth, O come to the waters, O come unto Him. O hear, and your souls shall live for ever.
42. CHORUS Alsdann wird euer Licht hervorbrechen wie die Morgenröte, und eure Besserung wird schnell wachsen; und die Herrlichkeit des Herrn wird euch zu sich nehmen. Herr, unser Herrscher! Wie herrlich ist dein Name in allen Landen, da man dir dankt im Himmel. Amen.
And then shall your light break forth as the light of morning breaketh: and your health shall speedily spring forth then: and the glory of the Lord ever shall reward you. Lord, our Creator, how excellent Thy Name is in all the nations! Thou fillest heaven with Thy glory. Amen.
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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon
Guy & Utti Whittaker
Mr Daniel Goldstein Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland
Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans
Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry
Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Eric Tomsett
Mr P Hopper Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE
The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Gold Deloitte & Touche Silver British American Business Man Group plc Bronze Appleyard & Trew llp Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd
The United Grand Lodge of England Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust
The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Sergei Rachmaninoff Foundation Stansfield Trust The Underwood Trust and others who wish to remain anonymous.
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PHILHARMONIC NEWS
Orchestra Travels In early September the Orchestra went on tour to Germany with Kurt Masur giving four performances of Shostakovich’s Symphony 7 (Leningrad) in Berlin, Hannover, Cologne and Düsseldorf.
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KURT MASUR RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL
Later in the month, they set off with Vladimir Jurowski for a tour of Australia, the first time the Orchestra has visited the country since 1985. This time ten concerts were given in Perth, Brisbane, Sydney and Melbourne. LPO Contemporaries The London Philharmonic Orchestra is delighted to announce that on Saturday 24 October 2009 it will launch its new LPO Contemporaries membership programme for the next generation of arts supporters. Created for London’s dynamic young professionals, LPO Contemporaries will provide an opportunity for culturally inquisitive people in their 20s and 30s to belong to an exclusive group with the London Philharmonic Orchestra at its heart.
LPO-0001 Kurt Masur conducts Shostakovich’s Symphonies 1 and 5 ‘... displays this orchestra’s excellence ... with some superb soloists, serious class in every department.’ CLASSIC FM MAGAZINE
A specially selected LPO Contemporaries subscription series will be complemented by bespoke events hosted by the Orchestra and its cultural partners across London. Performances, exhibitions and talks, combined with coffees, cocktails and dinners will offer LPO Contemporaries a relaxed environment to mingle with musicians, artists, and other like-minded professional Londoners. LPO Contemporaries will be launched at the Orchestra’s concert on 24 October at Southbank Centre’s Royal Festival Hall, featuring the Orchestra’s Principal Guest Conductor Yannick Nézet-Séguin and British percussion soloist Colin Currie. Guests will enjoy excellent seats for the concert, a private drinks reception and post concert party, as well as the chance to meet the soloist and conductor on the evening. To receive an invitation to the launch event or to become a member, contact Anna Gover by telephone on 020 7840 4225 or email anna.gover@lpo.org.uk. For more information visit www.lpo.org.uk/lpocontemporaries
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LPO-0029 Kurt Masur conducts Schubert’s Unfinished Symphony and Janá˘c ek’s Glagolitic Mass ‘this awesomely muscular, vital account of Janá˘c ek’s Glagolitic (or Czech) Mass …’ RICK JONES, TIMES KNOWLEDGE, 8 SEPTEMBER 2007
The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. They may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk
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ADMINISTRATION
BOARD OF DIRECTORS
GENERAL ADMINISTRATION
Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †
Timothy Walker AM † Chief Executive and Artistic Director
*Non-Executive Directors
THE LONDON PHILHARMONIC TRUST Pehr Gyllenhammar Chairman Desmond Cecil CMG Sir George Christie CH Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Dr John Viney Timothy Walker AM † Laurence Watt Simon Yates AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Deloitte & Touche Auditors Dr Louise Miller Honorary Doctor
Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke Finance Director David Greenslade Finance and IT Manager Joshua Foong Finance Officer
EDUCATION AND COMMUNITY PROGRAMME
ARCHIVES Edmund Pirouet Consultant
Matthew Todd Education and Community Director
Philip Stuart Discographer
Anne Newman Education Officer
Gillian Pole Recordings Archive
Isobel Timms Community Officer
INTERN
Alec Haylor Education and Community Assistant
Christina Hickman Marketing
Richard Mallett Education and Community Producer
LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242
DEVELOPMENT
CONCERT MANAGEMENT
Emma O’Connell Development Director
Ruth Sansom Artistic Administrator
Georgina Cervin Charitable Giving Manager
Graham Wood Concerts, Recordings and Glyndebourne Manager
Phoebe Rouse Corporate Relations Manager
Alison Jones Concerts Co-ordinator Hattie Garrard Tours and Engagements Manager Camilla Begg Concerts and Tours Assistant Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian Michael Pattison Stage Manager Hannah Tucker Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)
Sarah Tattersall Corporate Relations and Events Manager Anna Gover Charitable Giving Officer Melissa Van Emden Corporate Relations and Events Officer MARKETING Kath Trout Marketing Director
www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities. The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Mendelssohn courtesy of the Royal College of Music, London. Photograph on the front cover by Benjamin Ealovega. Programmes printed by Cantate.
Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Heather Barstow Marketing Co-ordinator Valerie Barber Press Consultant (Tel: 020 7586 8560)
†Supported by Macquarie Group
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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
Wednesday 21 October 2009 | 7.30pm Liszt (orch. Adams) The Black Gondola Beethoven Piano Concerto 3 Mendelssohn Symphony 3 (Scottish)
Alexander Vedernikov and Piers Lane
Trevor Pinnock conductor Maria João Pires piano
JTI Friday Series | Friday 30 October 2009 | 7.30pm Prokofiev Classical Symphony Rachmaninoff Piano Concerto 2 Tchaikovsky Symphony 4 Trevor Pinnock and Maria João Pires
Alexander Vedernikov conductor Piers Lane piano
Saturday 24 October 2009 | 7.30pm Rautavaara Incantations (world première) Bruckner Symphony 8 Yannick Nézet-Séguin conductor Colin Currie percussion
Wednesday 4 November 2009 | 7.30pm
6.15pm | Royal Festival Hall FREE Pre-Concert Event Colin Currie demonstrates sections of Rautavaara’s Incantations.
Yannick NézetSéguin and Colin Currie
Wednesday 28 October 2009 | 7.30pm Scriabin Rêverie Scriabin Piano Concerto Wagner (arr. de Vlieger) The Ring, an Orchestral Adventure Neeme Järvi conductor Yevgeny Sudbin piano 6.15pm | Royal Festival Hall FREE Pre-Concert Event Musicologist John Deathridge introduces the elements of Wagner’s Ring Cycle that appear in this evening’s performance.
28 | London Philharmonic Orchestra
Christoph Eschenbach and Petra Lang
Wagner Overture, Tannhäuser Wagner Wesendonk-Lieder Bruckner Symphony 6 Christoph Eschenbach conductor Petra Lang mezzo soprano
JTI Friday Series | Friday 6 November 2009 | 7.30pm Verdi Overture, La forza del destino Tchaikovsky Piano Concerto 1 Dvo˘rák Symphony 9 (From the New World) Yutaka Sado conductor Denis Matsuev piano
TO BOOK
Tickets £9-£38 / Premium seats £55 London Philharmonic Orchestra Ticket Office 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members