STRAUSSJOSEPH PHIBBSSTRAVINSKY

MONDAY 9 OCTOBER 2017ST JOHN’S SMITH SQUARE

62ND SEASON2017/18

COVER IMAGE: The Joffrey Ballet performs The Rite of Spring to mark the work’s 100th anniversary in 2013. Photo: © Roger Mastroianni; courtesy of the Joffrey Ballet, Chicago

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STRAUSS Till Eulenspiegels lustige Streiche

JOSEPH PHIBBS Rivers to the Sea

MONDAY 9 OCTOBER 2017 7.30PMST JOHN’S SMITH SQUARE LONDON

RUSSELL KEABLE ConductorALAN TUCKWOOD Leader

ST JOHN’S SMITH SQUARE

St John’s Smith Square Charitable Trust: registered charity no. 1045390; registered in England; company no. 3028678. KSO: Registered charity no. 1069620

STRAVINSKY The Rite of Spring

Interval 20 minutes

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RICHARD STRAUSS 1864-1949TONIGHT’S PROGRAMME

RICHARD STRAUSS Till Eulenspiegels lustige Streiche, Op.28 (1894-95)

THE FAILURE of 29-year-old Richard Strauss’s first opera, Guntram, in Munich in May 1894 wounded him deeply, especially as he was planning a second opera based on Till Eulenspiegel, a kind of national clown in Germany, whose irreverent pranks and peasant wit deflated the pomposities of the upper classes. The first printed version of Till’s exploits appeared in around 1500 and translations into many European languages were soon made.

In the end, Strauss abandoned the opera and decided to write a purely instrumental piece on the same subject, which he worked on during the winter of 1894-95 and completed in May 1895, the first performance being conducted by Franz Wüllner in Cologne in November that year.

Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s merry pranks) was Strauss’s fourth tone poem and is perhaps his most perfect masterpiece, a work of the highest order conceived in a single burst of inspiration.

It shows a new, lighter side of the composer, free of any of the heavier Wagnerism of his previous works. Scored for the largest orchestra he had yet used, it pushed the players to their limits, but with a deep understanding of the nature of each instrument. This was virtuoso writing that opened a new era in orchestral technique.

Strauss uses rondo form, in which a recurring idea alternates with different episodes that depict Till’s various adventures. But he treats the form very freely. The work is unified by two motifs that appear at the beginning: a

fiendishly difficult horn solo that sets the light-hearted tone and which the orchestra develops to a climax, and another depicting Till on the small and perky D clarinet.

At first, Strauss was reluctant to give a detailed programme, but he later described the episodes – which, he said, “weave in and out of the whole texture in the most varied disguises and moods as the situations press on to the catastrophe in which Till is hanged”.

Till’s exploits get wilder and wilder as the work progresses. First he gallops through a marketplace, scattering everything and everyone in all directions, striding away in seven-league boots before hiding in a mouse hole. Then he mocks a priest, flirts with village maidens (depicted by an ardent solo violin) and mimics some professors.

But in the end, he is punished, an ominous drum roll heralding his trial. Till’s defence, in the clarinet, is repeatedly overruled by the judge, in the trombones. He is sentenced to be hanged, which Strauss depicts graphically on the clarinet with Till’s final shudder on the flute.

Strauss’s tone poem shows his lighter side

JOSEPH PHIBBS born 1974

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JOSEPH PHIBBS Rivers to the Sea (2012)

JOSEPH PHIBBS is one of the most successful composers of his generation, having been commissioned by, among others, the London Symphony Orchestra, the National Symphony Orchestra (Washington, DC) and the BBC Symphony Orchestra, which premiered his Lumina at the Last Night of the Proms in 2003 and his Partita, under Sakari Oramo, last year.

Born in London, Phibbs studied composition at King’s College London and with Steven Stucky at Cornell University, New York. He also studied with Param Vir and Harrison Birtwistle, and has taught at the Purcell School, King’s College London and the University of Cambridge. More recent commissions include a clarinet concerto and a chamber opera. “His output operates at a consistently high level of imagination and engagement,” one critic said.

Rivers to the Sea was commissioned by the Philharmonia Orchestra and Anvil Arts for the 18th anniversary of the Anvil in Basingstoke,

and the Philharmonia gave the first performance there in June 2012, conducted by Esa-Pekka Salonen, to whom the work is dedicated. It received wide critical acclaim and Phibbs was recognised with a British Composer Award in 2013. A later performance from the Royal Festival Hall was broadcast live on Radio 3 and the piece has since been played many times both in Britain and abroad.

The title comes from a collection of poems by the New York-based writer Sara Teasdale (1884-1933), some of whose texts Phibbs had already set. Lasting around 25 minutes, it was the largest orchestral work he had written.

“Although the work is not conceived as a seascape in a conventional sense,” the composer says, “the presence of the sea acts as a driving force… the structure corresponds loosely to traditional symphonic form, each movement set in a contrasting tempo: slow-moderate/fast/slow/very fast. The first and second movements are linked, as are the third and fourth, with a slow central interlude giving the work an overall three-part structure.”

The ‘Nocturne’ has an opening of subliminal beauty, while ‘Night Fugues’, with its closely woven string textures, is thrillingly fast-paced and diverting. Scored for clarinet and strings, the hushed ‘Interlude’ forms the static centre of the work, followed by the inward-looking ‘Dolente’, with its mournful horn solo and chaconne emerging in the harp. The final ‘Neon with Sunrise’ is a blatant celebration of New York, leading to a radiant ending. PH

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The composer was inspired by New York

‘It is not conceived as a seascape, but the sea acts as a driving force’Joseph Phibbs on Rivers to the Sea

6 KENSINGTON SYMPHONY ORCHESTRA

TONIGHT’S PROGRAMME

IGOR STRAVINSKY The Rite of Spring (1913)

LIKE HIS FRIEND Pablo Picasso, Igor Stravinsky became a Modernist icon – and, like Picasso, no one was ever quite sure what he would do next. He studied law before becoming a composer (against the advice of his teacher, Nikolai Rimsky-Korsakov), and his big break came when he was commissioned to write a score for the Ballet Russes by Sergei Diaghilev. This was The Firebird, which made his name overnight after its first performance in Paris in 1910. Petrushka followed in 1911 and The Rite of Spring (Le sacre du printemps) in 1913. Although Stravinsky composed in a wide range of genres, his output is dominated by ballet music, which he did more to reinvent for the 20th century than any other composer.

The idea for The Rite of Spring had come to Stravinsky several years earlier. “One day, when I was finishing the last pages of The Firebird in St Petersburg, I had a fleeting vision… a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.” He described the vision to his old friend Nicholas Roerich, a talented painter and one of the greatest authorities on the ancient Slavs. Together, they agreed on the titles and the order of the episodes, working on a scenario that they completed in July 1911 and which Roerich later sent to Diaghilev.

“As conceived by myself and Stravinsky, my object is to present a number of scenes of earthly joy and celestial triumph… the first set should transport us to the foot of a sacred hill… where Slavonic tribes are gathered to celebrate the spring rites… there is an old witch who predicts the future, a marriage by capture, round dances… the wise elder is

brought from the village to imprint his sacred kiss on the new-flowering earth. During this rite, the crowd is seized with mystic terror…

“After this uprush of terrestrial joy, the second scene sets a celestial mystery before us. Young virgins dance in circles on the sacred hill amid enchanted rocks; then they choose the victim they intend to honour. In a moment, she will dance her last dance before the ancients clad in bearskins to show that the bear was man’s ancestor. Then the greybeards dedicate the victim to the god Yarilo.”

Roerich sketched backcloths and designed costumes, while Stravinsky started with ‘The Augurs of Spring’. By the following spring, he had reached ‘Glorification of the Chosen One’. Progress slowed as Diaghilev postponed the first performance from 1912 until 1913, but the ‘Sacrificial Dance’ was completed on 17 November 1912. “I remember the day well,” Stravinsky wrote, “as I was suffering from a raging toothache.”

The full score was dated 13 March 1913, and the first performance, in Paris in May of that year, provoked one of the strongest reactions in musical history. Shocked by the awkwardness of the dancing and the rhythmic savagery of the music, many in the audience screamed their disapproval so loudly that the orchestra was drowned out, forcing Vaslav Nijinsky, who had choreographed the work, to shout out instructions to his dancers from the wings.

Harmonically, Stravinsky often superimposes chords a semitone apart to create dissonance

‘[It is] the scratching, gnawing, wiggling of birds and beasts’Stravinsky on The Rite of Spring

IGOR STRAVINSKY 1882-1971

OCTOBER 2017 7

and tension, and although the melodies are simple and diatonic, usually containing no more than four different notes, they are constantly rearranged or their time values altered to avoid literal repetition. They often sound like folk tunes but are not, apart from the opening melody at the top of the bassoon’s register, which is a Lithuanian folk song.

Rhythmically, the work is unlike anything that preceded it. Stravinsky either sets up a regular pattern that is disrupted by irregular accents, as in ‘The Augurs of Spring’, or he breaks up the music into irregular patterns, calling for almost constant changes of time signature, as in the final ‘Sacrificial Dance’.

Even Stravinsky did not at first know how to write this down, although he could play it. This combining of simple melodies with discordantly complex harmony creates great tension, intensified by the instrumentation. The work is scored for the largest orchestra Stravinsky ever used, with the percussion

raised in importance. But the volume that often assaults the ear is carefully judged, a highly sophisticated means by which to create primitive ends. The only moments of relief are two quiet, almost Impressionist introductions; the first, the composer said, “should represent the awakening of nature, the scratching, gnawing, wiggling of birds and beasts”.

Stravinsky made no suite from The Rite of Spring; it is always performed complete. And although there have been many stagings, it is in the concert hall that it has established itself as one of the most influential works of the 20th century. It was born out of some of the strongest emotions in Stravinsky’s life. When he was asked, as an old man, what he had loved most in Russia, he replied: “The violent spring that seemed to begin in an hour and was like the whole earth cracking. That was the most wonderful event of every year.”

FABIAN WATKINSONProgramme notes: © the author, 2017

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Arnold Newman’s famous 1946 photograph of Igor Stravinsky at the piano in New York

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8 KENSINGTON SYMPHONY ORCHESTRA

RUSSELL KEABLE ConductorARTISTS’ BIOGRAPHIES

RUSSELL KEABLE has established a reputation as one of the UK’s most exciting musicians. As a conductor, he has been praised in the national and international press. “Keable and his orchestra did magnificently,” wrote the Guardian; “one of the most memorable evenings at the South Bank for many a month,” said the Musical Times.

He performs with orchestras and choirs throughout Britain, has conducted in Prague and Paris (filmed by British and French television) and made his debut with the Royal Oman Symphony Orchestra in Dubai.

He has received particular praise as a champion of the music of Erich Korngold: the British première of Die tote Stadt was hailed as a triumph, and research in Los Angeles led to a world première of music from Korngold’s film score for The Sea Hawk.

Keable trained at the University of Nottingham and King’s College, London University; he studied conducting at London’s Royal College of Music with Norman Del Mar, and later with George Hurst. For more than 30 years, he has been associated with KSO, one of the UK’s

finest non-professional orchestras, with whom he has led first performances of works by British composers including Robin Holloway, David Matthews, Peter Maxwell Davies, John McCabe, Joby Talbot and John Woolrich.

He has made recordings of two symphonies by Robert Simpson, and a Beethoven CD was released in New York. He is recognised as a dynamic lecturer and workshop leader, with the rare skill of being able to communicate vividly with audiences of any age, from schoolchildren to music students, adult groups and international business conferences.

Over five years, Keable developed a special relationship with the Schidlof Quartet, with whom he established an innovative education programme. He also holds the post of director of conducting at the University of Surrey.

Keable is also in demand as a composer and arranger. He has written works for many British ensembles, and his opera Burning Waters, commissioned by the Buxton Festival, was premièred in July 2000. He has also composed music for the mime artist Didier Danthois to use in prisons and special needs schools.

Russell Keable has conducted KSO for more than 30 years

KENSINGTON SYMPHONY ORCHESTRA

OCTOBER 2017 9

Die tote Stadt, the latter praised by the Evening Standard as “a feast of brilliant playing”. In 2004, KSO and the London Oriana Choir performed a revival of Walford Davies’s oratorio Everyman, a recording of which is available on the Dutton label.

Contemporary music continues to be the lifeblood of KSO. Recent programmes have featured works by an impressive roster of composers working today, including Thomas Adès, Julian Anderson, Charlotte Bray, Brett Dean, Jonny Greenwood, Oliver Knussen, Magnus Lindberg, Benedict Mason, Rodion Shchedrin, Joby Talbot and John Woolrich.

In 2005, Errollyn Wallen’s Spirit Symphony, performed with the BBC Concert Orchestra and broadcast on BBC Radio 3, won the

FOUNDED IN 1956, Kensington Symphony Orchestra enjoys an enviable reputation as one of the finest non-professional orchestras in the UK. Its founding aim – “to provide students and amateurs with an opportunity to perform concerts at the highest possible level” – remains at the heart of its mission.

KSO has had only two principal conductors: its founder, Leslie Head, and the incumbent, Russell Keable, who recently celebrated three decades with the orchestra. The knowledge, passion and dedication of these musicians has shaped KSO, giving it a distinctive repertoire that sets it apart from other groups.

Revivals and premières of new works often feature in the orchestra’s repertoire, alongside the major works of the 19th, 20th and 21st centuries. World and British premières have included music by Bax, Brian, Bruckner, Nielsen, Schoenberg, Sibelius and Verdi.

Russell Keable has aired a number of unusual works, as well as delivering some significant musical landmarks: the London première of Dvořák’s opera Dimitrij and the British première of Korngold’s operatic masterpiece

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The orchestra at Cadogan Hall, London, in January 2017

‘KSO once again scores over most professional orchestras’Classical Source

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10 KENSINGTON SYMPHONY ORCHESTRA

THE ORCHESTRAARTISTS’ BIOGRAPHIES

Radio 3 Listeners’ Award at the British Composer Awards. In 2014, KSO gave the world première of Stephen Montague’s From the Ether, commissioned by St John’s Smith Square to mark its 300th anniversary. During the 2014/15 season, the orchestra was part of Making Music’s Adopt a Composer scheme, collaborating with Seán Doherty on his work Hive Mind.

From the very beginning, KSO has held charitable aims. Its first concert was given in aid of the Hungarian Relief Fund, and the orchestra has since supported many different charities, both musical and non-musical. In recent years, it has developed links with the Kampala Symphony Orchestra and Music School under its KSO2 programme, providing training, fundraising and instruments in partnership with the charity Musequality.

In February 2018, KSO will return to the Westfield London shopping centre for its latest “sponsored play” event, having raised more than £30,000 in total for War Child in 2013 and 2015. It also supports the music programme at Pimlico Academy, its primary rehearsal home.

The reputation of the orchestra is reflected in the quality of international artists who regularly appear with KSO. In recent seasons, soloists have included Nikolai Demidenko, Jean Rigby, Sir John Tomlinson, Matthew Trusler and Richard Watkins.

The orchestra enjoys working with up-and-coming artists such as Martin James Bartlett, the 2014 BBC Young Musician of the Year, and Young Classical Artists Trust musicians Ji Liu and Richard Uttley. KSO works with a guest conductor each year; recently, these have included Jacques Cohen, Nicholas Collon, Alice Farnham, Andrew Gourlay, Holly Mathieson and Michael Seal.

KSO’s regular performance venue is St John’s Smith Square. The orchestra also performs regularly at Cadogan Hall, and celebrated its 60th anniversary with a gala concert at the Barbican Centre in May 2017.

KSO has championed contemporary music throughout its 60-plus years

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‘A feast of brilliant playing’The Evening Standard

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Join our Friends’ Scheme and never miss a concert

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12 KENSINGTON SYMPHONY ORCHESTRA

SPONSOR OR DONATESUPPORT US

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SPONSORSHIP AND DONATIONS Make a difference to KSO

YOU, OUR AUDIENCE, can really help us through sponsorship. Anyone can be a sponsor, and any level of support – from corporate sponsorship of a whole concert to individual backing of a particular section or musician – is enormously valuable to us. We offer a variety of benefits to sponsors, tailored to their needs, such as programme and website advertising, guest tickets and assistance with entertaining.

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Choose a KSO musician to sponsor today

OCTOBER 2017 13

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14 KENSINGTON SYMPHONY ORCHESTRA

THE ORCHESTRATONIGHT’S PERFORMERS

FIRST VIOLINAlan TuckwoodRobert ChatleyBronwen FisherClaire DoveySabina NielsenRia HopkinsonHelen TurnellSarah HackettTaro VisserSusan KnightWill FouldsFrancoise RobinsonErica Jeal

SECOND VIOLINDavid PievskyJuliette BarkerHeather BinghamMatthew HickmanJenny DavieLiz ErringtonJeremy BradshawRufus RottenbergKathleen RuleRichard SheahanElizabeth BellHelen Ecclestone

VIOLABeccy Spencer Sonya WellsGuy RaybouldAlex Miller-JonesSally RandallAndrew McPhersonSam BladePhil CooperMeredith EstrenJane Spencer-DavisLiz LavercombeTom Milburn-Philpott

CELLOJoseph SpoonerLinda MorrisDavid Baxendale Natasha BriantKim PolmanRosi CalleryVanessa HadleyNatasha FosterBecca WalkerAnnie Marr-Johnson

Judith RobinsonAna Ramos

DOUBLE BASSSteph FlemingOliver BatesSam WiseMark McCarthyBen HavindenDamon Burrows

FLUTEChristopher WyattClaire KnightonDan DixonKatie Burling

PICCOLODan DixonKatie BurlingClaire Knighton

ALTO FLUTELiz Cutts

OBOECharles BrenanElly HardwickSarah BruceJuliette Murray-TophamChris Astles

COR ANGLAISChris AstlesJuliette Murray-Topham

CLARINETChris HorrilClaire BaughanGraham ElliottChris Walters

PICCOLO CLARINET Ivan Rockey

BASS CLARINETGraham ElliottChris Walters

BASSOONNick RampleyJohn Wingfi eld-HillKriskin AllumTh omas Potter

CONTRABASSOONSheila WallaceKriskin Allum

FRENCH HORNJon BoswellHeather PawsonEd CornAlex ReganSophie PrettJo TowlerAndy FeistRichard Slater

WAGNER TUBAAndy FeistRichard Slater TRUMPETStephen WillcoxJohn HackettLeanne Th ompsonMichael CollinsMathew Tucker

PICCOLO TRUMPETJohn Hackett

BASS TRUMPETPhil Cambridge

TROMBONEPhil CambridgeKen McGregor

BASS TROMBONEStefan Terry

TUBANeil WharmbyDavid Young

TIMPANIBrian FurnerCatherine Hockings

PERCUSSIONTim AldenAndrew BarnardCatherine HockingsRichard SouperSimon Willcox

HARP Bethan Semmens

MUSIC DIRECTORRussell Keable

TRUSTEESChris AstlesDavid BaxendaleElizabeth BellJohn DoveyJudith Ní BhreasláinSabina NielsenHeather PawsonNick RampleyRichard Sheahan

ENDOWMENT TRUSTRobert DrennanGraham ElliottJudith Ní BhreasláinNick RampleyNeil Ritson

EVENTSCatherine AbramsChris AstlesJudith Ní BhreasláinSabina NielsenBeccy SpencerLeanne Th ompson

MARKETINGJeremy BradshawRia HopkinsonJo JohnsonAndrew NealGuy Raybould

MEMBERSHIPJuliette BarkerDavid BaxendaleAndrew Neal

PROGRAMMESRia Hopkinson

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62ND SEASON2017/18

MONDAY 20 NOVEMBER 2017 7.30PMST JOHN’S SMITH SQUAREBACH orch. SCHOENBERG Prelude and Fugue in E fl at major, ‘St Anne’SCHOENBERG Five Pieces for OrchestraBRAHMS arr. SCHOENBERG Piano Quartet in G minor

TUESDAY 23 JANUARY 2018 7.30PMCADOGAN HALLSTRAVINSKY Violin Concerto Soloist: Fenella HumphreysSCHUBERT Symphony No.9, ‘The Great’

SATURDAY 10 MARCH 2018 7.30PMST JOHN’S SMITH SQUAREBRUCKNER Symphony No.8 Guest conductor: Michael Seal

MONDAY 21 MAY 2018 7PMST JOHN’S SMITH SQUAREPUCCINI La Bohème

TUESDAY 3 JULY 2018 7.30PMST JOHN’S SMITH SQUARE DELIUS A Song of SummerBRIDGE The SeaSIBELIUS Symphony No.6 in D minor

PHOTO: © SIM CANETTY-CLARKE