Bournemouth Symphony Orchestra: Online Concert Programme | Thu 21 March 2024
- Extended Concert Programme
Bristol Beacon presents
Bournemouth Symphony Orchestra with Mark Wigglesworth
Thu 21 March 2024, 7.30pm
This evening’s performance:
Mark Wigglesworth Conductor
Ethan Loch Piano
Bournemouth Symphony Orchestra
Verdi The Force of Destiny Overture
Chopin Piano Concerto No. 2
Interval
Beethoven Symphony No. 5
Welcome
Welcome to Bristol Beacon and to our 2023/24 Reopening Orchestral Season, bringing symphonic orchestral music back home to Bristol. Whether this is your first experience of live orchestral music or your one hundred and first, I hope you can take this opportunity to sit back, relax and let the music pull you in. We are proud that the improved acoustics and 21st century levels of audience comfort, access and stage technology in the transformed Beacon Hall are now worthy of the world-class musicians you will see on stage.
This season we are delighted to welcome back many great orchestras, some celebrating their own milestones, and all playing some of the world’s greatest and best-loved classical works. We also have three brand new pieces of music to look forward to across the season, so please enjoy delving into all of the thrilling music on offer.
Have a wonderful evening and do come back soon.
Louise Mitchell CBE
Chief Executive, Bristol Beacon
Giuseppe Verdi (1813-1901): The Force of Destiny Overture
There is usually no more a definitive text of a Verdi opera than there is of a Bruckner symphony. In La Forza del destino (St Petersburg, 1862; revised Milan, 1869), there are two substantially different versions, that of the original Russian production and that of the Milan revision. The latter brought many changes, including a magnificent new overture, and an ending to the whole work in which the central character, Alvaro, lives on in Christian resignation rather than committing suicide having been cursed. Either way, the opera is the composer’s most nihilistic drama, a work which, in keeping with its title, places haunted individuals at the centre of a society caught in a dance of death. Verdi wrote, “After all, death is all there is in life. What else is there?”
The overture reflects this powerful and obsessive imagery, with exciting tunes and rhythms which are given added vitality and drama by the vivid orchestration. The work was conceived using themes from the opera, which of course had already been performed when this new music was composed. Thus it is dominated by the heroine Leonora’s expressive Act II aria, ‘Madre pietosa Vergine’ (‘Holy Mother, hear my prayer’), and by the rhythmically intense music representing the forces of fate.
© Terry Barfoot
Composer profile
Giuseppe Verdi was born in Roncole, some 80 miles south east of Milan, on 9/10 October, 1813. By the age of twelve he was studying with the organist of the main church in nearby Busseto. In 1832 he failed his entrance exam for the Milan Conservatory; instead, he spent two years studying composition privately with Vincenzo Lavigna. Oberto (1837-8), the first of Verdi’s subsequent twenty-six operas, was successfully staged at La scala in 1839. Its successor, however, Un giorno regno (1840) was a flop. This setback, combined with his grief at the deaths of his first wife and both their children, brought him close to abandoning composing. However, Nabucco (1841) with its political overtones chiming with the Risorgimento movement for Italian independence fired his imagination. Such was the opera’s success that it brought Verdi fame at home and abroad. What Verdi described as his ‘years in the galleys’ followed, as he composed at breakneck speed twelve operas including Macbeth (1846-7, rev 1865) and Luisa Miller (1849). This period culminated with three superb popular masterpieces which remain cornerstones of the operatic repertoire: Rigoletto (1850-1), Il trovatore (1851-2, rev 1857) and La traviata (1853).
Alongside works for Italian opera houses, for instance Simone Boccanegra (1856-7, rev 1880-1) and Un ballo in maschera (1859), Verdi’s reputation now brought commissions from abroad resulting in premieres in St Petersburg, La forza del destino (1862), Paris, Don Carlos (1866, rev 1883-4) and Cairo, Aida (1870). In 1849 Verdi bought an estate at Sant’ Agata, near Busseto and in 1857 he married the soprano Giuseppina Strepponi. He was also politically active being elected as a Deputy to Italy’s first parliament in 1860 and later becoming a senator. After Aida Verdi had no further operatic plans, instead in 1873 he composed a String Quartet and in 1873-4, and although agnostic, the Messa da Requiem in honour of Alessandro Manzoni, the Italian writer, poet and political thinker whom he revered. In 1879, Verdi’s publisher Riccordi and the composer-poet Boito, cajoled him into writing Otello (1884-6). Verdi worked on it with great care; it was acclaimed at its premiere in 1887. Two year later Boito proposed a further Shakespearean opera, Falstaff (1889 – 1893); the result was a comic masterwork. Verdi’s wife died in 1897, and his final work was Four Sacred Pieces (1888-9), for chorus and orchestra.
Verdi died in Milan on 27 January 1901: 28,000 of his countrymen and women lined the streets for his funeral.
© Andrew Burn
Frédéric Chopin (1810-1849): Piano Concerto No. 2
1. Maestoso
2. Larghetto
3. Allegro vivace
All six of Chopin’s orchestral compositions date from around 1830, forming a veritable creative outpouring, but only the two concertos are performed regularly today. They are held in high esteem by the world’s great pianists for the simple reason that they represent the ‘real’ Chopin. They should not be regarded as apprentice works, despite the composer’s youthfulness when he wrote them.
The F minor Concerto, opus 21, known today as the Second, was in fact Chopin’s first essay in the genre. The reason for the confusion resulted from problems with the publication of the orchestral parts, which delayed the work’s formal completion until 1836. In reality, however, the music was composed during the first weeks of 1830, and two private performances preceded the public premiere at the National Theatre in Warsaw, on 17 March 1830, with the composer as soloist. The audience responded most positively, the young Chopin having by now achieved cult status in Poland. By all accounts the central Larghetto received tumultuous acclaim.
Chopin’s orchestration is often compared unfavourably to that of Mozart and Beethoven; and it is true that the latter do offer a more sophisticated relationship between solo and ensemble. However, we should remember that these composers were not the young Chopin’s models. Rather he looked to the works of the new breed of piano virtuosi: for example, Field, Spohr, Moscheles and Hummel. Therefore Chopin’s achievement lay in the direction of moving pianistic decoration away from being an end in itself, and towards a more structural integration into the fabric of the music.
The concerto adopts the customary three-movement format. The opening Maestoso adopts a standard concerto first-movement form, except that the secondary theme is never really developed, and there is no separate cadenza for the soloist. The Larghetto contains the most characteristic music in the work, truly anticipating the poetic genius and sensibility of later masterpieces. In the final movement Chopin concentrates upon a new priority, parading a nationalist imagery by employing a lively mazurka. It is hardly surprising, therefore, that the virtuoso flourishes of the final phase achieve a sense of triumph.
© Terry Barfoot
Ludwig van Beethoven (1770-1827): Symphony No. 5
1. Allegro con brio
2. Andante con moto
3. Allegro
4. Allegro – presto
It was in the years immediately following the dawn of the new century that Beethoven came to realise that he was suffering from incurable deafness. In the moving document known as the Heiligenstadt Testament, he explained that it was only his commitment to his art which drew him back from suicide. It is no surprise, therefore, that in many of the works of these years, there is an undeniable sense of struggle. And of course, the most celebrated example of all is the Fifth Symphony, in the key of C minor, opus 67.
It was Beethoven’s habit to use sketchbooks to develop initial ideas until they could be transferred to firm projects. The earliest sketches for the Fifth Symphony date from around 1801, but it was some four or five years later that composition began in earnest. The first performance took place on 22 December 1808, at the same concert as the Sixth Symphony (Pastoral).
At its premiere, the Fifth Symphony made a strong impression, nor has its power diminished with the passing years. The opening four note rhythmic gesture is among the most memorable of all musical ideas, and is typical of Beethoven’s obsession with terse rhythmic mottos at this stage of his career. The rhythm dominates the entire first movement, though there is no lack of contrast because of the carefully organised structure. The lyrical second subject, for instance, is underpinned and soon overwhelmed by the rhythm, which gains in insistence and momentum as the movement proceeds. In the later stages Beethoven intensifies the effect. The scoring becomes fuller, the gestures more powerful, and there is the contrast of a poignant little cadenza for the oboe, before the vigorous drive to the close.
The second movement Andante is a set of variations, but there are two themes rather than one, allowing for greater freedom of expression. Each theme has an appealing simplicity. The elaborations are chiefly melodic, and when momentum is required it is usually achieved by the device of shortening the note values. The coda contains one of the most effective of all the transformations, and at the same time is the most beautiful music in the symphony.
Beethoven leaves the traditional dance form far behind in this third movement, which is frankly revolutionary in its role and nature. With unison cellos and basses the opening looms out of the darkness, and a mood of uncertainty seems to prevail as other instruments join. Suddenly Beethoven launches an alternative, a powerful horn theme which is soon endorsed by the full orchestra. But this too fades away, and the ghostly opening phrase is heard once again. Eventually cellos and basses set forth with the bustling fugato, which performs the function of central trio.
Instead of a conventional reprise of his unconventional material, Beethoven prefers to use a transition to link directly to the finale, starting from the quiet insistence of the timpani beat, and moving from darkness to light in an extraordinary crescendo. Thus the triumphant finale is launched, its impact the greater because of the addition of extra instruments which are heard for the first time: piccolo, contra-bassoon and three trombones. The movement generates a tremendous momentum, the themes vigorous and positive; and the negative forces of fate are surely swept aside. Yet there is room also for contrast, including the dramatic return of material from the third movement. This occurs shortly before the majestic principal theme resumes the music’s drive and purpose, and the exciting Presto coda affirms the C major triumph.
© Terry Barfoot
Mark Wigglesworth
Conductor
Mark Wigglesworth is recognised internationally for his masterly interpretations both in the opera house and in the concert hall, for his highly detailed performances that combine a finely considered architectural structure with great sophistication and rare beauty. He is an outstanding conductor who has forged many enduring relationships with orchestra and opera companies across the world, conducting repertoire ranging from Mozart through to Boulez.
Wigglesworth has enjoyed a long relationship with English National Opera (Lady Macbeth of Mtsensk, Cosi fan Tutti, Falstaff, Katya Kabanova, Parsifal, Force of Destiny, Magic Flute, Jenufa, Don Giovanni, and Lulu), and operatic engagements elsewhere include The Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg, Rise and Fall of Mahagonny, La Clemenza di Tito), The Metropolitan Opera, New York (The Marriage of Figaro) as well as at The Bavarian State Opera, Opéra national de Paris, Semperoper Dresden, Teatro Real, The Netherlands Opera, La Monnaie, Welsh National Opera, Glyndebourne, and Opera Australia. In 2017 he received the Oliver Award for Outstanding Achievement in Opera.
On the concert platform, highlights include performances with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, London Philharmonic, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Tokyo Symphony, and the Sydney Symphony. His recordings include a critically acclaimed complete cycle of the Shostakovich Symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler Sixth and Tenth symphonies, with the Melbourne Symphony, a disc of English music with the Sydney Symphony, Britten Peter Grimes with Glyndebourne, and the Brahms Piano Concertos with Stephen Hough.
He has written articles for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and held positions as Associate Conductor of the BBC Symphony, Principal Guest Conductor of the Swedish Radio Symphony, the Adelaide Symphony, Music Director of the BBC National Orchestra of Wales, and Music Director of English National Opera. His book The Silent Musician: Why Conducting Matters was published in October 2018 by Faber & Faber.
Ethan Loch
Piano
In September 2022 Ethan Loch won the Keyboard Category Final of the BBC Young Musician competition at the age of seventeen. He went on to secure a place in the Grand Final at Bridgewater Hall, where he performed Frédéric Chopin’s Piano Concerto no. 2 with the BBC Philharmonic Orchestra conducted by Mark Wigglesworth, broadcast on BBC Radio 3 and 4.
Ethan has also won the Scottish International Youth Piano Competition (2019), 7th James Waterhouse Loretto Piano Competition”Advanced” class (2017), Premio Asoluto prize at the 15th International ‘Giuseppe Sciacca’ awards (2016) and was a finalist in the EPTA Belgium International Piano Competition (2018). Ethan’s first CD,’Mysterious Pathways Volume One’ was featured on Classic FM and a Canadian Broadcasting Corporation radio documentary.
Ethan was born in 2004 and diagnosed completely blind since birth. As a toddler, he would explore the piano for hours imitating his first inspiration: Rowlf the piano-playing dog from the Muppet Show and his other inspiration, the DVD “Horowitz in Vienna”, was played relentlessly. His formal piano lessons began at age 4 with his mother, and he now studies with Fali Pavri at the Royal Conservatoire of Scotland.
Ethan was the focus of a BBC radio documentary called ‘Batman and Ethan’ which explored the freedom a blind child can experience through working with the talented teacher of the blind, Daniel Kish. He has also appeared on BBC’s The One Show and ITV’s Little Big Shots, where he performed both solo and with the Romanian singer and harpist Daria.
Ethan is grateful to the Young Classical Artists Trust for their generous support in their aftercare scheme for BBC Young Musician finalists.
Bournemouth Symphony Orchestra
One of the UK’s best-loved orchestras, Bournemouth Symphony Orchestra is a professional ensemble known for championing the role of culture in people’s lives. Based at Lighthouse, Poole, it has residencies in Bournemouth, Bristol, Exeter, Portsmouth, Southampton and Yeovil — and is the largest cultural provider in the South West, serving one of the biggest and most diverse regions in the UK.
The Orchestra is known for pushing artistic boundaries, and during Kirill Karabits’ 15-year tenure its ongoing survey of music from Ukraine and beyond has continued to gain praise. Its Digital Concerts have cemented its reputation for presenting live music of the highest quality, and this season have included artists Alina Ibragimova, Ethan Loch, Alexander Malofeev, and a groundbreaking partnership with Seeta Patel Dance.
The BSO leads hundreds of community-based events each year, from award-winning work in health settings to partnerships with education providers. Following international attention for igniting change, BSO Resound. the world’s first professional disabled-led ensemble at the core of a major orchestra, continues to challenge perceptions. bsolive.com
Orchestra Credits
Violin 1
Amyn Merchant (Leader)
Edward Brenton
Kate Turnbull §
Karen Leach §
Jennifer Curiel §
Julie Gillett-Smith
Kate Hawes §
Joan Martinez
Bella Fleming
Mackenzie Richards
Elena Abad
Emma Martin
Violin 2
Carol Paige *
Savva Zverev
June Lee
Vicky Berry §
Lara Carter §
Boglárka György
Maria Anastasiadou
Steven Crichlow
Aysen Ulucan
Matthew Elston
Viola
Miguel Rodriguez
Jacoba Gale §
Judith Preston §
Liam Buckley
Ben Norris
Stephanie Chambers
Julia Kornig
Sharada Mack
Cello
Joely Koos
Aristide du Plessis
Philip Collingham Ω
Hannah McFarlane
Melody Linn
Emily Isaac
Double Bass
David Daly * §
Ben du Toit
Michael Chaffin
Martin Henderson
Flute
Anna Pyne *
Jenny Farley
Piccolo
Owain Bailey *
Oboe
Edward Kay * §
Bryony Middleton
Clarinet
Barry Deacon *
Dan Bayley
Bassoon
Tammy Thorn *
Connie Tanner
Contra Bassoon
Kim Murphy
Horn
Diana Sheach
Ruth Spicer §
Rob Harris §
Kevin Pritchard §
Edward Lockwood §
Trumpet
Gideon Brooks
Peter Turnbull §
Ed Sykes
Trombone
Kevin Morgan * §
Robb Tooley
Bass Trombone
Alexander Froggatt
Tuba
Stuart Beard
Timpani
Emmanuel Joste
Percussion
Matt King * §
Ben Lewis
Harp
Eluned Pierce * §
Nia Evans
* Section Principal
§ Long Service Award (over 20 years)