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soloists of the London Philharmonic Orchestr a Tuesday 28 November 2017 7.30pm Wigmore Hall progr amme £2
Featuring soloists of the London Philharmonic Orchestra Tuesday 27 November 2017 – 7.30pm Wigmore Hall
Programme notes The String Sextet also dates from this happy, fruitful time. It is, perhaps, no coincidence that Dvořák chose to write in this form, given Brahms’s success with his First String Sextet in 1859–60 and the Second String Sextet of 1864–65. And yet Dvořák moves confidently away from those models, showing the genre in a noticeably Slavic light, not least in the inner movements. These take the form of an elegiac Dumka, inspired by the melancholy poetry of the Slavic epics, and a Furiant, based on a stormy, syncopated Bohemian dance. Written within just two weeks in May 1878, the Sextet was published the following year by Simrock. The first public performance was given in Berlin on 9 November by Joseph Joachim’s quartet (plus guests), just as with the first of Brahms’s two celebrated sextets.
Tuesday 28 November 2017 – 7.30pm Dvořák String Sextet in A major, Op. 48 (28’) Kevin Lin | Tania Mazzetti violins David Quiggle | Robert Duncan violas Kristina Blaumane | Pei-Jee Ng cellos
Interval – 20 minutes Schubert Octet in F major, D803 (53’) Thomas Watmough clarinet Jonathan Davies bassoon Mark Vines horn Kevin Lin | Tania Mazzetti violins David Quiggle viola Kristina Blaumane cello Kevin Rundell double bass
The opening Allegro moderato is characterised by a warm melody, albeit one that is constantly tinged with minor-key melancholy. The music is then stirred into more animated life by an insistent dotted rhythm, which gives way to sprightly counterpoint. Such nimble tones are followed by something more combative during the development, before concluding in a defiant mood.
Would patrons please ensure that mobile phones are switched off. Please stifle coughing as much as possible and ensure that watch alarms and any other electronic devices which may become audible are switched off.
The poetic roots of the Dumka form are made manifest in the discursive melody of the second movement. The tune is initially given to the second violin and then passed to the first violin as it modulates to a sweeter major key. There follows a somewhat hesitant march, with various folksy inflections, and an expressive Andante, before the return of the original theme. The ensuing Furiant brings with it helter-skeltering joy and flashy exchanges of melodic ideas. A slower, less hectic Trio features reduced, quartet-like textures, though it becomes more outspoken when preparing for the reprise of the stamping Furiant.
Antonín DvoŘák (1841–1904) String Sextet in A major, Op. 48 (1878) (28’) 1 2 3 4
Allegro moderato Dumka (Elegie): Poco allegretto Furiant: Presto – Trio Finale (Tema con variazioni): Allegretto grazioso, quasi andantino
It was in the late 1870s that Dvořák, to date a somewhat unknown entity, became an international celebrity. Although well regarded at home in Prague he was yet to conquer the rest of Europe. His successful application for the Austrian State Stipend for Artists in the summer of 1877 changed all that, not only guaranteeing the somewhat cash-poor composer much needed funds but also bringing his music to the attention of esteemed critics in Vienna and, most importantly, to Brahms. The two composers formed a firm friendship and Brahms quickly introduced his new Czech colleague to the Berlin-based publisher Fritz Simrock.
It is a quartet again – two violas (Dvořák’s own instrument) and two cellos – that declaims the theme for the Finale’s series of variations. The first of these unfolds gently, while the second is a skittering scherzando. The first cello then leads the third variation, in which the other instruments offer a series of eerily static chords. The fourth and fifth variations see a gradual intensification of mood before the music’s nascent energy brims to the surface in the final variation. Gradually, Dvořák moves beyond the minorkey colouring of the theme and closes the work with a burst of A major glee.
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After a strident tutti, the introduction to the first movement turns rather reticent. This tentative dialogue is then expelled by a feisty Allegro. The clarinet (commissioner Count Troyer’s instrument) leads the first subject of this sonata-form structure, before the horn takes over for the second subject, couched in the relative minor. The development is altogether more fragmentary, as the two themes pass between the various instruments.
Interval: 20 minutes Please check that your mobile phone is switched off, especially if you used it during the interval.
franz schubert (1797–1828) Octet in F major, D803 (1824) (53’) 1 Adagio – Allegro 2 Adagio 3 Allegro vivace – Trio 4 Andante 5 Menuetto: Allegretto – Trio 6 Andante molto – Allegro
Schubert uses a sextet texture at the opening of the Lied-like Adagio. As in the introduction to the first movement, the theme is often undercut by much darker harmonies. It then passes via the bassoon to the horn, before all the forces join together for another iteration of this fruitful material. The third movement is the first of the Octet’s two dances. Its opening section is rhythmically quirky, while the second features much denser harmonies. The string-led Trio, on the other hand, is much less vigorous, offering a premonition of the oddly exhausted trios that came to feature in Schubert’s later works.
Although he had been ill for over a year and was even hospitalised during 1823, Schubert’s energy for work was undimmed: the Introduction and variations for flute and piano on ‘Trockne Blumen’ (from Die schöne Müllerin) were written in January 1824; the Octet that forms the second part of today’s concert and the A minor ‘Rosamunde’ String Quartet were completed in February; and the D minor String Quartet (‘Der Tod und das Mädchen’), as well as many songs, followed in March. ‘What I produce is due to my understanding of music and to my sorrows’, Schubert wrote in his notebook, ‘that which sorrow alone has produced seems to give least pleasure to the world’. Of course, Schubert’s last statement was to be proved wrong, for many of these works, even the most sorrowful, are now regarded as among his greatest. At the time, however, he struggled to find keen advocates and it was only in early 1827 that the Octet was finally heard in public. Like much of the music from early 1824, the Octet draws readily on melodic material from Schubert’s songs and other pieces. The inspiration for the work’s structure, however, came from Beethoven. Indeed, the Octet was commissioned by Beethoven’s patron Archduke Rudolph’s chief steward, Count Ferdinand Troyer, who asked Schubert for a new piece modelled on Beethoven’s Septet, Op. 20. While Schubert added a second violin to Beethoven’s original lineup, he nonetheless followed the serenade-like form of that 1799 composition, providing further parallels by means of a slow introduction to the first movement, a liquid Adagio, a Scherzo – as well as a Menuetto – and a set of variations. And like the earlier Septet, Schubert’s Octet is conceived on an almost symphonic scale.
Pre-existing material, specifically a duet from Schubert’s abortive 1815 singspiel Die Freunde von Salamanka, provides the theme for the fourth movement. The Octet’s instrumentation alone would lend the succeeding variations great variety, though Schubert’s extrapolation and adaptation of the theme’s constituent motifs proves dazzling in its own right. Mirroring his third movement (the Allegro vivace), the composer then provides another ternary structure for the fifth, albeit swapping round the constituent characters of its precursor: the Menuetto, like the previous Trio, stumbles along; while the fifth movement’s second part, a Ländler, is warm and free-flowing. An ominous note sounds at the opening of the Finale, which takes its lead from Schubert’s song ‘Die Götter Griechenlands’. Indeed, Friedrich Schiller’s poem may provide a programme, beginning, ‘Fair world, where are you? Return again, sweet springtime of nature!’. Here, however, the music’s questioning mood is only shortlived and a cheerier spirit intervenes. After a discursive development, followed by a return of the threatening music from the introduction, the Octet closes on a positive note. Spring has indeed returned. Programme notes © Gavin Plumley
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Tonight’s performers Robert Duncan (viola) was born in London and studied at the Royal College of Music. After a period of freelancing in London he joined the London Philharmonic Orchestra in 1977, becoming Sub-Principal Viola in 1995. Apart from his long career in the LPO he has played in many chamber music groups including the Park Lane Sextet, which delved into the lesser-heard pieces of the repertoire giving many first performances, BBC broadcasts and concerts.
Kevin Lin (violin) joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, he has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music.
Kristina Blaumane (cello) was born in Riga and graduated from the Latvian Academy of Music and the Guildhall School of Music & Drama. She has performed as soloist with the London Philharmonic Orchestra (of which she is Principal Cello), Amsterdam Sinfonietta, Kremerata Baltica, Britten Sinfonia and Lithuanian Chamber Orchestra, as well as all the main orchestras in Latvia. As a chamber musician Kristina has worked with such renowned artists as Isaac Stern, Gidon Kremer, Yo-Yo Ma, Yuri Bashmet, Leif Ove Andsnes and Janine Jansen, and has performed at festivals such as Lockenhaus, Gstaad, Salzburg, Verbier, Basel, Jerusalem, Utrecht, Spitalfields, Cheltenham and Aldeburgh.
Tania Mazzetti (violin) is the London Philharmonic Orchestra’s Co-Principal Second Violin. She was born in Italy and in 2000 graduated from the Conservatory of Music Guido Cantelli in Novara. Tania began her orchestral career with the Orchestra Symphonica Toscanini under Lorin Maazel. She has also played in the Orchestra del Teatro alla Scala, the Filarmonica della Scala, the Orchestra del Teatro La Fenice di Venezia, the Mahler Chamber Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia. Since 2014 she has led the Orchestra del Teatro Lirico di Cagliari in Sardinia. David Quiggle (viola) joined the London Philharmonic Orchestra as Principal Viola in August 2017. Born in the USA, he has been a leading violist, chamber musician and teacher for more than 20 years. As a member of the Casals Quartet he toured Europe and South America, and won prizes in the London, Hamburg and Paolo Borciani string quartet competitions. Solo performances include the Bartók Viola Concerto with the Simón Bolívar Youth Orchestra of Venezuela; Hindemith’s Der Schwanendreher with the Medellín Philharmonic; and Mozart’s Sinfonia Concertante in Madrid and Valladolid. David has been a frequent guest principal with groups such as the Mahler Chamber Orchestra, the Malaysian Philharmonic and the Chamber Orchestra of Europe.
Chair supported by Stuart and Bianca Roden Pei-Jee Ng (cello) joined the London Philharmonic Orchestra as Co-Principal Cello in 2015. Originally from Australia, he was the 2001 Symphony Australia Young Performer of the Year and won the 2008 Young Concert Artists Trust auditions in London. In addition to the six major Australian symphony orchestras, he has performed concertos with the Hong Kong Philharmonic, Malaysian Philharmonic, Singapore Symphony, Oulu Symphony, Sinfonia ViVA and Estonian National Symphony, and made his debut with the Philharmonia Orchestra at the 2011 Chichester Festivities, performing the Elgar Concerto.
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Tonight’s performers continued Kevin Rundell (double bass) began his studies with his grandfather, Jack Silvester, and continued with Adrian Beers at the Royal College of Music. He joined the Orchestra of the Royal Opera House at the age of 19 and studied with the virtuoso Thomas Martin. Kevin was appointed Professor at the Guildhall School in 1975 at the age of 22, a position he still holds. In 1980 he joined English National Opera as Principal, where he remained for ten years. He joined the London Symphony Orchestra as Principal Double Bass in 1990 and subsequently the London Philharmonic Orchestra in 1991.
Mark Vines (horn) studied at the University of Manchester and the Royal Northern College of Music. After touring extensively with the European Union Youth Orchestra, in 1998 Mark was appointed Principal Horn of the Hong Kong Philharmonic Orchestra. He remained in this position for 13 years, performing several times as a soloist with the orchestra, before moving back to the UK in 2011 to join the London Philharmonic Orchestra as Co-Principal Horn. In addition to the busy LPO schedule, Mark regularly plays guest principal horn with many of the other major UK symphony orchestras. Chair supported by Laurence Watt
Thomas Watmough (clarinet) studied the clarinet at The Purcell School and the Guildhall School of Music & Drama. After several years as a freelancer working with many of the British orchestras (particularly with the LPO), he spent nine years as a member of the Royal Philharmonic Orchestra before finally joining the LPO in September 2014 as Principal E-flat Clarinet. He recorded many of the principal clarinet cornerstones of the orchestral repertoire while with the RPO, and Schubert’s Shepherd on the Rock for EMI.
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick David & Yi Buckley The Candide Trust Andrew Davenport William & Alex de Winton Sonja Drexler Friends of the Orchestra Dr Barry Grimaldi Geoff & Meg Mann Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Neil Westreich
Jonathan Davies (bassoon) joined the London Philharmonic Orchestra in 2016 as Principal Bassoon, having previously held the same position with the Royal Philharmonic Orchestra. Solo engagements have included Haydn’s Sinfonia Concertante alongside Maxim Vengerov; Elliott Carter’s Retracing for solo bassoon in the Purcell Room; and a world premiere by David Fennessy with the London Sinfonietta. Jonathan studied at the Royal Academy of Music under the tuition of John Orford, Amy Harman and David Chatterton, graduating with the HRH Princess Alice The Duchess of Gloucester’s Prize for Exemplary Studentship.
To find out more about supporting a player’s chair in the Orchestra, please contact Rosie Morden on 020 7840 4212 or rosie.morden@lpo.org.uk Meet our members: lpo.org.uk/players
Photographs © Benjamin Ealovega (Robert Duncan, Kristina Blaumane, Kevin Rundell, Thomas Watmough, Mark Vines); © Guido Vadilonga (Tania Mazzetti); © Kaupo Kikkas (Pei-Jee Ng); © Aiga Photography (Jonathan Davies)
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Wigmore Hall
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For full details please contact House Management, tel: 020 7258 8210 or email housemanagers@wigmore-hall.org.uk Wigmore Hall is a no-smoking venue. No recording or photographic equipment may be taken into the auditorium, nor used in any other part of the Hall without the prior written permission of the Hall Management. Wigmore Hall is equipped with a ‘Loop’ to help hearing aid users receive clear sound without background noise. Patrons can use the facility by switching their hearing aids over to ‘T’. In accordance with the requirements of City of Westminster, persons shall not be permitted to stand or sit in any of the gangways intersecting the seating, or to sit in any of the other gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the numbers indicated in the notices exhibited in those positions.
London Philharmonic Orchestra
Concert presented by London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP • lpo.org.uk Tel 020 7840 4200 • Box Office 020 7840 4242 HRH The Duke of Kent KG Patron Vladimir Jurowski Principal Conductor & Artistic Advisor Andrés Orozco-Estrada Principal Guest Conductor Pieter Schoeman Leader Timothy Walker AM Chief Executive and Artistic Director Board of Directors Victoria Robey OBE Chairman, Stewart McIlwham* President, Gareth Newman* Vice-President, Henry Baldwin*, Roger Barron, Richard Brass, David Buckley, Bruno De Kegel, Al MacCuish, Susanne Martens*, George Peniston*, Natasha Tsukanova, Mark Vines*, Timothy Walker AM, Neil Westreich, David Whitehouse* * Player-Director The London Philharmonic Orchestra Limited is a registered charity No. 238045. Cover artwork: Ross Shaw
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