PROGRAMME

Monday, 24 November 2008, 7.30pm
St Chad's Church, Shrewsbury

Manchester Camerata

Douglas Boyd - conductor
John Lill - piano

Symphony No 22 "The Philosopher" Piano Concerto No 1 Symphony No 1

Haydn Beethoven Beethoven

 

Symphony No 22 in E flat major, 'The Philosopher'
Joseph Haydn (1732-1809)
Adagio; Presto; Menuelto; Finale: Presto

Joseph Haydn is often remembered as the 'Father of the Symphony': the musician who laid the foundations of the form which would dominate non-theatrical art music for the next two hundred years. But Haydn did more than simply prepare the ground for other artists. He had an imagination and vision all of his own, and exercised a profound influence on the music of his own time as well as that of the future. To experience both these aspects of Haydn's significance, tonight we hear his music against that of Ludwig van Beethoven.

In 1761 Haydn arrived at the castle in Eisenstadt to enter the service of the arts-loving Esterhazy family, in which he would remain for almost his entire career. It was with the castle's orchestra that Haydn would come lo flex his symphony-building muscles across a three decade period, but the early work we hear tonight was written just three years into Haydn's thirty at Eisenstadt.

Each of Haydn's 104 symphonies is original and imaginative in its own way. This example is structured in the manner of a 'church sonata', beginning with a slow, chorale-like Adagio whose thoughtful disposition lent the symphony its nickname. Haydn fashions the following Presto from just one musical idea, and similarly in the Finale creates a 'monothematic' movement from the simple falling three-note idea: a concept Beethoven would take quite a shine to.

Piano Concerto No 1 in C major Opus 15
Ludwig van Beethoven (1770-1827)
Allegro con brio; Largo; Rondo: Allegro scherzando

In December 1795 Joseph Haydn organised a concert at Vienna's Burgtheater, and invited one of his young pupils to present and perform a suitable work for the occasion. That pupil was Ludwig van Beethoven, and the concerto was the C major piano concerto - that we now know as the First, but which was actually written just after the B flat major concerto known as the Second.

The piano was central to Beethoven's life, and in his concerti for the instrument, he saw an opportunity to explicitly express his worldview. As a composer, in this concerto more than that in B flat 'Second', Beethoven forced the form into the extended dimensions of his ambitious dramatic vision. As a pianist, he pitted the instrument against the orchestral tutti: presenting himself as the individual (the soloist) who could inspire and influence the masses (the orchestra). Theirs! movement is strong in character and material, despite the opening orchestral ritornello's propensity to wander through traditionally unrelated keys notably E flat: already the unpredictable Beethoven we know is emerging. The beautiful Largo has the equally leftfield A flat major as its tonal centre, and seems at times almost like chamber music in its exchanges between piano, ensemble and clarinet. The Rondo final movement reverts to the fortitude and wit of the opening, again visiting the keys of E flat and A flat (as well as the sub-tonic B major). In its Haydnesque playfulness the finale develops an affinity with its similarly numbered symphony; in the words of Donald Frances Tovey, 'full of Haydn-Beethoven surprises.'


Symphony No 1 in C major Opus 21
Ludwig van Beethoven (1770-1827)
Adagio molto - Allegro con brio; Andante cantabile con moto; Menuetto and Trio: Allegro molto e vivace; Adagio - Allegro molto e vivace

It has been said that if Beethoven's symphonies were presented un-dated and unnumbered, it would be difficult to place them in chronological order. Probably easiest to position though, after the Ninth that is, would be the First and Second Symphonies - works which demonstrate a distinct process of expansion and exploration, not only as a pair but also in the context of the soil from which they grew: the symphonies of Mozart and Haydn.

The First, written for inclusion in a concert on 2 April 1800, is scored for a similarly proportioned orchestra to that called for by Haydn's later symphonies. There are mannerisms and techniques which specifically recall the music of that composer, too - as does the work's genial and 'gallant' feel. But Beethoven was very much his own man, an artist living in an era of heroism and passionate gesture who sought to fashion both himself and his works in that very image. Indeed, he had already been performing his first two piano concertos for some years when he began work on this symphony, aged 30.

The first movement begins with short figures comparable to many in Haydn's symphonies, and Beethoven soon sets to work proving their hidden potential: they stand up to expansion and development and prove powerful beyond their substance. But even before this Beethoven has proved bashful: the symphony begins with a discord, a dominant seventh which isn't even in the home key of C major, but in the 'sub-dominant' chord of F major. The music soon assumes symphonic proportions, and embodies what we now recognise as a Beethovenian ebullience - prone to sudden changes in key and mood (the seeds of which are noticeable in the piano concerto heard earlier tonight) and to off-beat, insistent rhythmic techniques.

The musicologist Donald Francis Tovey referred to Beethoven's First Symphony as 'a comedy of manners'. There are gestures throughout that support that description: the scherzo-like Menuetto with prominent timpani; the first violins at the start of the final movement which seem coaxed like lost sheep into music to which they are thematically vital. But Beethoven's imagination wasn't a flippant one. He meant his music to engage the listener before it did anything else, and in this work he created his first genuinely accomplished piece of symphonic architecture in the process.


JOHN LILL

John Lill's concert career spans over fifty years. His rare talent emerged al an early age - he gave his firs! piano recital at the age of nine. At eighteen he performed Rachmaninov's 3rd Piano Concerto under Sir Adrian Boult, followed by his much-acclaimed London debut playing Beethoven's 'Emperor' Piano Concerto at the Royal Festival Hall. His success was reflected in many prestigious international prizes and awards, and in 1970 he won the most coveted of these, the Moscow International Tchaikovsky Competition, further consolidating his already busy international concert schedule.

Unanimously described as the leading British pianist of his generation, John Lill's career has taken him to over fifty countries, both as a recitalist and as a soloist with the world's greatest orchestras. He regularly performs in all the European capitals (including Amsterdam, Berlin, Paris, Prague, Rome, Stockholm and Vienna), Russia, the Far East, Australasia, (including several ABC tours) and he is a frequent visitor to the United Slates, where he has worked with the Cleveland, New York Philharmonic, Philadelphia, Dallas Symphony, Baltimore Symphony, Seattle Symphony, Boston Symphony, Washington and San Diego Symphony Orchestras.

John Lill's extensive repertoire includes more than seventy concertos, and he is acclaimed in particular as a leading interpreter of Beethoven, whose complete sonata cycle he has performed on several occasions in the UK, USA and Japan. In Britain he has given over 30 BBC Promenade concerts and regularly appears with all the major symphony orchestras. He has toured overseas with the London Symphony, London Philharmonic, BBC Symphony, City of Birmingham, Halle, Royal Scottish National and BBC Scottish Symphony Orchestras. Recently John Lill has performed with, among others, the Seattle Symphony, Indianapolis, Gothenburg, Rotterdam, Czech Philharmonic and Royal Philharmonic Orchestras and the Orchestre Philharmonique de Radio France and gave recitals throughout the UK, USA, Europe and Australia. In the 2007/08 season he returned to the Halle Orchestra, Seattle Symphony, London Philharmonic, Royal Stockholm and National Philharmonic of Moscow.

John Lill has recorded for Deutsche Grammophon, EMI (Complete Beethoven Piano Concertos with RSNO and Gibson), ASV (both Brahms Concertos with the Halle and Loughran) plus the complete Beethoven Sonatas and Pickwick Records (Tchaikovsky I with the LSO and Judd). More recently he has recorded the complete Prokofiev sonatas with ASV and his recent recording of the complete Beethoven Bagatelles and Piano Concertos with the CBSO and Weller is available on Chandos, He recorded Malcolm Arnold's Fantasy on a Theme of John Field (dedicated to John Lill) with RPO and Handley for Conifer and the complete Rachmaninov Concertos and major solo piano works for Nimbus Records. His most recent recording projects have been the 60'h birthday release of piano works by Schumann on the Classics for Pleasure label and 2 new releases for Signum records of Schumann and Brahms and Haydn Piano Sonatas.

John Lill lives in London and was awarded the CBE for his services to music in the 2005 New Year's Honours List.


DOUGLAS BOYD

Douglas Boyd was born in Glasgow and studied at the Royal Academy of Music in London. He is currently Music Director of Manchester Camerata, Artistic Partner of Saint Paul Chamber Orchestra in Minnesota, and Principal Guest Conductor of City of London Sinfonia. He begins a three year tenure as Principal Guest Conductor of the Colorado Symphony Orchestra in the 2008-09 season.

In the UK he has appeared with the BBC Symphony Orchestra, BBC National Orchestra of Wales, BBC Philharmonic Orchestra, Bournemouth Symphony Orchestra, City of Birmingham Symphony Orchestra, London Mozart Players, Northern Sinfonia, Royal Scottish National Orchestra and the Scottish Chamber Orchestra. He has conducted the Manchester Camerata and Academy of St Martin in the Fields at the Mostly Mozart Festival at the Barbican. As well as his regular appearances with the Manchester Camerata and City of London Sinfonia in the 2007-08 season he conducted concerts with the Bournemouth Symphony and Ulster Orchestra.

In 2000 Douglas Boyd made his US conducting debut with the Gardner Chamber Orchestra. In 2001 he conducted at the Mainly Mozart Festival in San Diego and at the end of 2002 made his début with the St Paul Chamber Orchestra. His relationship with the St Paul Chamber Orchestra continues to develop and in May 2008 he took them to New York for concerts at Carnegie Hall. Other US appearances in the 2007-08 season included appearances with the Colorado, Dallas, Detroit, Indianapolis, National Arts Centre Orchestra Ottawa, San Antonio, Seattle and Utah Symphony Orchestras.

A founding member and Principal Oboist of the Chamber Orchestra of Europe until 2002, he now conducts them on a regular basis. Other engagements in Europe this season include concerts with Göteborgs Symphony Orchestra, Musikkollegium Winterthur, Irish Chamber Orchestra and his debut with the Gürzenich Orchestra of Cologne. In the 2008-09 season he will make his debut with the Sydney and Melbourne Symphony Orchestras.

Douglas Boyd is developing an interest in opera and in 2008 conducted Die Zauberflöte with Glyndebourne Opera on Tour and in 2009 Fidelio at Garsington Opera. He is also committed to working with students and has conducted the orchestras of the Royal College of Music, Royal Northern College of Music, Guildhall School of Music and Oxford and Cambridge Universities on many occasions.

Formerly a great oboist, Douglas Boyd has many recordings to his credit including a recital disc with pianist Maria Joao Pires, and concertos with Claudio Abbado and Paavo Berglund. Boyd's recording of the Bach Concerti for DO marked his recording debut as director/soloist and his recordings as a conductor with Manchester Camerata of Beethoven Symphonies No 2 and No 5 and Mahler Symphony No 4 for Avie received universal critical acclaim. He has recently recorded Schubert Symphonies with the St Paul Chamber Orchestra for their own label.


MANCHESTER CAMERATA

Manchester Camerata has been presenting live music for over thirty-five years and has established an enviable reputation as an orchestra which delivers high quality concerts in a refreshingly relaxed and friendly atmosphere. Based in England's North West, Manchester Camerata is Chamber Orchestra-in-Residence at Manchester's prestigious Bridgewater Hall and presents an annual series here and at the Royal Northern College of Music. The Orchestra gives concerts throughout the Northwest region and beyond; Cheltenham, Sheffield, Leeds, Bradford, Lancaster and Harrogate being some of the places in which it will perform this season. Manchester Camerata also enjoys flourishing residencies in Colne, Crewe, Stafford and Ulverston.

In June 2007 Manchester Camerata became Professional Partner-in-Residence at the Royal Northern College of Music, and the orchestra began using the state of the art rehearsal spaces there. This groundbreaking collaboration between a professional orchestra and an international conservatoire is the first of its kind in Europe.

Douglas Boyd, Manchester Camerata's Music Director since 2001, is increasingly in demand both in the UK and the USA. Nicholas Kraemer, the highly respected Baroque specialist, is Permanent Guest Conductor and has been making music with the Orchestra for 25 years. Gordan Nikolitch, Leader of London Symphony Orchestra, has been their Principal Guest Director since 2006.

Manchester Camerata works with many outstanding artists; soloists featured in our 2008-09 season include John Lill, Martin Roscoe, Natalie Clein and Jack Liebeck. The Orchestra's repertoire spans 5 centuries including Baroque classics, the great Classical symphonies and concertos, and music from the 20th and 21st century chamber orchestra repertoire.

Manchester Camerata's first three live CDs, recordings of Beethoven, Mahler and Mozart with Douglas Boyd, have received great acclaim, and are available from all good record shops. The orchestra is in the middle of a long term project to record all nine Beethoven symphonies live at The Bridgewater Hall.

Education and life-long learning are at the heart of Manchester Camerata's work. Workshops, concerts and coaching involve groups from all sections of the community and are increasingly integrated into our concert-giving activities. Manchester Camerata is committed to bringing high quality live music to all people, in particular to those who would not otherwise have access to orchestral concerts or instrumental tuition. Each year, over 300 education activities take place across the North West, involving children from nursery through to A-levels, adults, special need groups and those already specialising in music.

Principal supporters of all Manchester Camerata's work are Arts Council England and the Association of Greater Manchester Authorities, and the orchestra also works with a wide range of other supporters. Manchester Camerata was awarded an Arts and Business Bravo Award in April 2007 which recognised the long-standing relationship it has built with sponsor, Air Products plc.

The Orchestra's name was inspired by a 16th century group called the Florentine Camerata who met to share ideas and discuss the arts. Their spirit of friendship inspires Manchester Camerata's approach to all their work.

1st VIOLIN Richard Howarth Deirdre Ward David Routledge Paula Smart Sarah Whittingham Claire Osborne Therese Ohldin Katy King 2nd VIOLIN Julia Hanson Suzanne Bareau Rebecca Thompson Anthony Banks Maureen Wray Sophie Mather VIOLA Richard Williamson James Swainson Rachel Jones David Aspin CELLO Jonathan Price Hannah Roberts Barbara Grunthal Zoe Long

DOUBLE BASS Daniel Storer Diane Clarke FLUTE Amina Hussain Sarah Whewell OBOE Rachael Clegg Emmet Byrne CLARINET Fiona Cross Lynne Racz BASSOON Laurence Perkins Ben Hudson HORN Naomi Atherton Diane Harper TRUMPET Tracey Redfern Helen Quayle TIMPANI lan Hood HARPSICHORD Bernard Robertson

 

Last Updated : 07/12/2008