living music - london symphony orchestra

Living Music

London’s Symphony Orchestra

Sunday 17 April 2016 7pm Barbican Hall

THE SEASONS

Haydn The Seasons Interval after ‘Summer’

Sir Simon Rattle conductor Monika Eder soprano Andrew Staples tenor Florian Boesch baritone London Symphony Chorus Simon Halsey chorus director

Concert finishes approx 9.55pm

Recorded by Sky Arts for broadcast in May

London Symphony Orchestra

Living Music In Brief

BMW LSO OPEN AIR CLASSICS 2016

The LSO is delighted to announce details of the 2016 BMW LSO Open Air Classics concert on Sunday 22 May at 6.30pm. Conducted by Valery Gergiev, the LSO will perform an all-Tchaikovsky programme in London’s Trafalgar Square, free and open to all, with the Orchestra joined on stage by young musicians from LSO On Track and students from the Guildhall School for a special arrangement of the composer’s Swan Lake Suite.

lso.co.uk/openair

LSO LIVE NEW RELEASE: PANUFNIK LEGACIES II

LSO Live presents an album of new works by emerging composers, all of whom have been members of the Panufnik Composers Scheme. Following on from The Panufnik Legacies, which showcased works by composers from the first five years of the Scheme, this recording brings together music by selected composers from the programme’s first decade, conducted by François-Xavier Roth.

lso.co.uk/lsolive

A WARM WELCOME TO TONIGHT’S GROUPS

The LSO offers great benefits for groups of 10+, including a 20% discount on standard tickets. At tonight’s concert we are delighted to welcome Marjorie Wilkins & Friends

lso.co.uk/groups

2 Welcome 17 April 2016

Welcome Kathryn McDowell

A very warm welcome to this evening’s LSO concert at the Barbican. We are delighted to be joined by Sir Simon Rattle, LSO Music Director Designate, as he conducts Haydn’s nature oratorio, The Seasons.

Tonight’s concert features an outstanding cast of international soloists, including Monika Eder, who makes her LSO debut, and returning artists Florian Boesch and Andrew Staples. The Orchestra is also joined this evening by the London Symphony Chorus, led by the LSO’s Choral Director Simon Halsey. The performance forms part of their 50th anniversary season, a great milestone in the history of the choir.

I would like to take this opportunity to thank our media partner Sky Arts, who will be filming tonight’s performance for broadcast in the UK in early May.

We hope that you enjoy the concert, and look forward to welcoming you to the Barbican again soon. The London Symphony Chorus return to continue their 50th anniversary celebrations on 24 April, conducted by Sir Mark Elder in Elgar’s oratorio, The Dream of Gerontius.

Kathryn McDowell CBE DL Managing Director

MAHLER AND ELGAR WITH SIR ANTONIO PAPPANO

Thu 19 May 7.30pm

Shostakovich Violin Concerto No 1

Mahler Symphony No 6

Sir Antonio Pappano conductor

Viktoria Mullova violin

Sun 29 May 7pm

Beethoven Violin Concerto

Elgar Symphony No 2

Sir Antonio Pappano conductor

Nikolaj Znaider violin

MAHLER AND DVORÁK WITH DANIEL HARDING

Sun 5 Jun 7pm

Mahler Symphony No 2

(‘Resurrection’)

Daniel Harding conductor

Miah Persson soprano

Anna Larsson alto

London Symphony Chorus

Simon Halsey chorus director

Thu 9 Jun 7.30pm

Dvorák Overture: Othello

Bartók Violin Concerto No 1

Dvorák Symphony No 8

Daniel Harding conductor

Lisa Batiashvili violin

SIR PETER MAXWELL DAVIES: THE HOGBOON

Sun 26 Jun 7pm

Maxwell Davies The Hogboon

(world premiere; LSO commission)

Berlioz Symphonie fantastique

Sir Simon Rattle conductor

LSO Discovery Choirs

London Symphony Chorus

Simon Halsey chorus director

Guildhall School Musicians

In memory of the late

Sir Peter Maxwell Davies CBE CH 1934–2016

Generously supported by David HS Hobbs

BBC RADIO 3 LUNCHTIME CONCERTS: ELGAR UP CLOSE

Thu 21 Apr 1pm, LSO St Luke’s

with LSO String Ensemble

Thu 28 Apr 1pm, LSO St Luke’s

with Elias Quartet

Huw Watkins piano

Thu 5 May 1pm, LSO St Luke’s

with Elias Quartet

London Symphony OrchestraLiving Music

lso.co.uk 020 7638 8891

‘The LSO at full tilt is a terrifying, glamorous beast.’The Times on the LSO with Daniel Harding

Summer 2016Highlights

PROGRAMME NOTE WRITER

RICHARD WIGMORE is a writer for

BBC Music Magazine, Gramophone

and other journals, lecturer and

broadcaster, specialising in the

Viennese Classical period and in

Lieder. His Pocket Guide to Haydn

was published by Faber in 2009.

4 Programme Notes 17 April 2016

Joseph Haydn (1732–1809) The Seasons (1801)

1

2

3

4

Haydn, though, worked on The Seasons with increasing reluctance, protesting that he was too weary and that the libretto was banal by comparison with The Creation. Still smarting at attacks on The Creation’s animal imitations, he derided the frogs and crickets in ‘Summer’, so delightful to us, as ‘Frenchified trash’; and he summed up the relative merits of the two oratorios by remarking that while the solo voices in The Creation were those of angels, in The Seasons ‘only [the peasant] Simon speaks’.

Yet for all Haydn’s strictures, Van Swieten’s text gave him plenty to fire his imagination, and he responded with music of unquenchable vitality and freshness of observation. First heard in the Palais Schwarzenberg on 24 April 1801 ‘with the same unanimous approval as The Creation’ (Haydn’s words), The Seasons is a joyous evocation of the world in which the composer, a master-wheelwright’s son, had grown up. Essentially a series of lovingly painted frescoes, this least solemn of oratorios fuses pastoral innocence with the most sophisticated harmonic and orchestral language. Indeed, like Mozart’s The Magic Flute, another great celebration of Enlightenment values, The Seasons effortlessly incorporates a wide array of styles, from Viennese Singspiel to exhilarating

SPRING

SUMMER

INTERVAL

AUTUMN

WINTER

SIR SIMON RATTLE CONDUCTOR

MONIKA EDER SOPRANO

ANDREW STAPLES TENOR

FLORIAN BOESCH BARITONE

LONDON SYMPHONY CHORUS

SIMON HALSEY CHORUS DIRECTOR

After the triumph of Haydn’s oratorio The Creation, the librettist, Baron Gottfried van Swieten, was quick to propose another text to the composer, again with a British source: an adaptation of James Thomson’s famous pastoral epic, The Seasons, published in 1730. Jettisoning most of Thomson’s moralising, Van Swieten shifted the scene to Haydn’s own Burgenland, complete with wine harvest, inserted a couple of popular German poems to jolly up ‘Winter’ (the spinning song, and Hanne’s quasi-folk tale), and in the spirit of Enlightenment optimism omitted tragic details such as the wanderer frozen to death in a snowstorm.

The self-opinionated Baron was no poet. Time and again he dulled and flattened Thomson’s imagery, compounding the problem with the English ‘back-translation’ of his German text (The Seasons was actually published with words in German, English and French). But, working closely with the composer, he was shrewd in his choice of which details to include and which to omit. In many ways the libretto was right up Haydn’s street: akin to The Creation in its celebration of an idyllic, divinely ordered world, yet embracing an even wider range, from the stag hunt and the wine harvest to paeans of praise to the Almighty.

BARON GOTTFRIED VAN SWIETEN

(1733–1803) was a diplomat,

librarian and government official

who served the Austrian Empire

during the 18th century. He was an

enthusiastic amateur musician and

is best remembered today as the

patron of several great composers

of the Classical era, including Haydn,

Mozart and Beethoven.

‘Silent devotion, astonishment and loud enthusiasm relieved one another with the listeners … the immeasurable quantity of happy ideas surprised and overpowered even the most daring of imaginations.’A report on the first performance of The Seasons in the Leipzig Allgemeine musikalische Zeitung

lso.co.uk Programme Notes 5

SUMMER ‘Summer’ falls into two large, virtually continuous sections. The first moves from the atmospheric orchestral portrayal of ‘the meek-eyed morn’, via the oboe-as-cockerel and Simon’s bucolic aria with horn (a foretaste here of Beethoven’s ‘Pastoral’ Symphony), to an exhilarating chorus in praise of the sun that culminates in a riot of fugal laughter.

In the second part of ‘Summer’, drought and torpor, graphically evoked in the Lukas’ recitative and cavatina, find relief in Hanne’s enchanting woodland scene: first in a pictorial recitative, then in a two-section aria, beginning as a languorous duet for soprano and oboe and ending with ecstatic coloratura flourishes. The scene darkens in a baleful recitative, punctured by distant thunder.

Then, with forked lightning on the flute, the tempest erupts. In this, the first great Romantic picture-in-sound of the warring elements, Haydn creates a musical counterpart to the cataclysmic storms that Turner would depict a quarter of a century later. After a fugue on a drooping chromatic subject, the tempest recedes amid desultory lightning flashes; and normal rustic life resumes in the final trio and chorus, opening with Haydn’s ‘Frenchified trash’ (bellowing cattle, croaking frogs and the like) and closing with a graceful chorus of villagers that transmutes the storm’s tremolandos into drowsy murmurs.

AUTUMN Following the minuet-like introduction to ‘Autumn’, the trio and chorus in praise of industry is Haydn’s supreme triumph over a prosaic text: a noble, powerfully organised movement initiated by Simon alone, with chuckling woodwind commentaries, and culminating in a choral fugue that climaxes in a

fugal choruses that reflect Haydn’s encounter with Handel’s music in London.

SPRING Each of the four ‘cantatas’ that make up The Seasons opens with an orchestral tone poem. The splendid G minor introduction ‘depicts the passage from winter to spring’, the former evoked in blustery, densely contrapuntal music, the latter in airy exchanges between violins and wind. In the recapitulation Haydn omits this ‘spring’ music and sweeps directly into the recitative for the peasants: Simon (bass), Lukas (tenor) and Simon’s daughter Hanne (soprano). Tonal resolution only comes with the lilting G major chorus, ‘Komm, holder Lenz’.

In the jaunty ploughman’s song – one of the oratorio’s instant hits – Haydn resisted van Swieten’s attempts to get him to include a tune from a popular German opera and instead had Simon whistle the famous melody from his ‘Surprise’ Symphony. Two solo-choral complexes make up the second half of ‘Spring’. The Prayer ‘Sei nun gnädig’ begins with serene, hymnic melody and ends with a fervent fugue that virtually quotes the ‘Quam olim Abrahae’ from Mozart’s Requiem – the first of several Mozartian reminiscences in The Seasons.

The ‘popular’ and the ‘sublime’ are directly juxtaposed in the last number of ‘Spring’. This opens in A major with a ‘Song of Joy’ in quasi-folk vein, enlivened by charming illustrative touches. After working its way to D major, the music seems to peter out. Then, following a pause, Haydn introduces a series of massive fanfares in the remote key of B-flat. After a lyrical solo trio, dramatically interrupted by more choral cries, ‘Spring’ closes with a majestic fugue that, as so often in Haydn’s fugal choruses, becomes more symphonic and less strictly contrapuntal as it proceeds.

HAYDN’S SYMPHONY NO 94

(‘SURPRISE’) is one of the ‘London’

Symphonies, written during a visit

to the capital in 1791–92. The

composer’s music was known for

its wit and humour; this symphony

earned its nickname due to the

sudden fortissimo chord that

concludes the second movement’s

quiet opening theme, which Haydn

apparently predicted would ‘wake

the ladies and make them jump’.


Joseph Haydn The Seasons (continued)

virtue remains – asserts Simon in his new role of philosopher, a notion taken up and expanded in the final trio and double chorus. There are distinct Masonic overtones here, with antiphonal passages for the two choirs that recall the dialogue between Tamino and the Old Priest in The Magic Flute. Ignoring van Swieten’s request for an eight-part choral fugue, Haydn celebrates the certainty of salvation in a magnificently rugged four-part fugue that builds to a resplendent homophonic climax, replete with proto-Wagnerian brass fanfares, at the vision of ‘the holy hill of heavenly bliss’.

INTERVAL: AFTER ‘SUMMER’ – 20 minutes

There are bars on all levels of the Concert Hall; ice cream

can be bought at the stands on Stalls and Circle level.

The Barbican shop will also be open.

Why not tweet us your thoughts on the first half of the

performance @londonsymphony, or come and talk to

LSO staff at the Information Point on the Circle level?

stunning harmonic ‘purple patch’. The tension then relaxes with the love duet that contains a soulful central Adagio before ending, like the Adam and Eve duet in The Creation, as a sprightly contredanse.

The hunting scenes that follow are portrayed with relish by Haydn, an enthusiastic huntsman himself in earlier days. After the bird shoot, recounted in a Baroque-style bass aria with burbling bassoon obbligato, and the hare-coursing, comes the most spectacular of all hunting choruses, based on traditional hunting calls and tracing an audacious tonal journey from D major to E-flat. Yet Haydn manages to cap even this thrilling genre scene in the increasingly riotous wine harvest, memorably described by the German critic Karl Schumann as ‘a feast of Bacchus in the Burgenland, painted by a musical Breughel’.

WINTER At the furthest extreme from this C major revelry is the depiction of ‘thick fogs’ that opens ‘Winter’, a piece of near-impressionistic tone-painting to set alongside ‘Chaos’ from The Creation. The season’s grim aspects are further explored in Hanne’s Cavatina, and the opening of the tenor aria, with its vivid portrayal of the lost wanderer’s mounting anxiety. But, unlike Thomson’s doomed traveller, van Swieten’s wanderer finds refuge in a tavern in which the villagers cheerfully pursue their winter tasks: a cue for a picturesque spinning scene, and Hanne’s sly tale of seduction outwitted.

In the valedictory bass aria ‘Erblicke hier, betörter Mensch’, where the declining year becomes an allegory for old age, Haydn poignantly recalls the slow movement of Mozart’s Symphony No 40. At the end the music dissolves in insubstantial woodwind chords. ‘Nur Tugend bleibt’ – only

HAYDN on LSO LIVE

The Seasons (£6.99);

The Creation (£12.99);

Symphonies Nos 92, 93 & 97–99

(£11.99)

Sir Colin Davis conductor

‘Colin Davis is alive to every nuance

of Haydn’s late masterpiece. The

conductor’s lightness of touch allows

the music to flow like quicksilver …

The soloists are also on beguiling

form … Sir Colin, revelling in his

glorious Indian summer with the LSO,

points heavenwards in this visionary

reading of Haydn’s late masterpiece.’

Classic FM Magazine

Review of The Seasons

lsolive.lso.co.uk

lso.co.uk Composer Profile 7

Joseph Haydn

Composer Profile

Most general histories of music emphasise Joseph Haydn’s achievements as a composer of instrumental works, a pioneer of the string quartet genre and the so-called ‘father of the symphony’. In short, he was one of the most versatile and influential composers of his age. After early training as a choirboy at Vienna’s St Stephen’s Cathedral and a period as a freelance musician, Haydn became Kapellmeister to Count Morzin in Vienna and subsequently to the music-loving and wealthy Esterházy family at their magnificent but isolated estate at Eszterháza, the ‘Hungarian Versaillles’. Here he wrote a vast number of solo instrumental and chamber pieces, masses, motets, concertos and symphonies, besides at least two dozen stage works.

In old age Haydn fashioned several of his greatest works, including The Creation and The Seasons, his six Op 76 String Quartets and his so-called ‘London Symphonies’. ‘I am forced to remain at home … It is indeed sad always to be a slave, but Providence wills it thus,’ he wrote in June 1790. Haydn was by now tired of the routine of being a musician in service, but was resigned to remaining at Eszterháza Castle. The death of Prince Nikolaus prompted unexpected and rapid changes in Haydn’s circumstances. His son and heir, Prince Anton, cared little for what he regarded as the lavish and extravagant indulgence of music. He dismissed all but a few instrumentalists and retained the nominal services of Haydn, who became a free agent again and returned to Vienna.

Haydn was enticed to England by the impresario Johann Peter Salomon, attracting considerable newspaper coverage and enthusiastic audiences to hear his new works for London. Back in Vienna, Haydn, the son of a master wheelwright, was feted by society and honoured by the imperial city’s musical institutions

COMPOSER PROFILE WRITER

ANDREW STEWART

020 7638 8891 lso.co.uk


SIR SIMON RATTLE IN 2016/17: NOW ON SALE

Sat 14 & Sun 15 Jan 2017 Ligeti Le grand macabre (semi-staged opera)

Produced by LSO and Barbican

Part of LSO 2016/17 season and Barbican Presents

Thu 19 Jan 2017 Mark-Anthony Turnage Remembering (world premiere, LSO co-commission) Mahler Symphony No 6

Generously supported by Susie Thomson

Sun 9 Jul 2017 Andrew Norman Children’s Opera (UK premiere) Sibelius Symphony No 2

Tue 11 & Wed 12 Jul 2017 Wagner Excerpts from ‘Tristan and Isolde’ Bartók Piano Concerto No 2 Haydn An Imaginary Orchestral Journey

8 Texts 17 April 2016

Joseph Haydn The Seasons: Texts

SPRING

No 1 Introduction and Recitative

Simon Seht, wie der strenge Winter flieht! Zum fernen Pole zieht er hin. Ihm folgt auf seinen Ruf der wilden Stürme brausend Heer, mit gräßlichem Geheul.

Lucas Seht, wie vom schroffen Fels der Schnee in trüben Strömen sich ergießt!

Hannah Seht, wie von Süden her, durch laue Winde sanft gelockt, der Frühlingsbote streicht!

No 2 Chorus of Country People

Chorus of Country People Komm, holder Lenz! des Himmels Gabe, komm! Aus ihrem Todesschlaf erwecke die Natur! Komm! komm, holder Lenz! usw

Er nahet sich der holde Lenz, schon fühlen wir den linden Hauch, bald lebet alles wieder auf. Er nahet sich, usw

Frohlocket ja nicht allzu früh, oft schleicht in Nebel eingehüllt, der Winter wohl zurück, und streut auf Blüt’ und Keim sein starres Gift.

Simon See how stern Winter takes to flight! He is retreating to the distant Poles. In response to his command, the blustering hordes of tempests follow, howling dismally.

Lucas See how from the craggy cliffs the snow runs down in muddy streams!

Hannah See how the heralds of the spring, enticed by warm, soft breezes, are arriving from the south!

Chorus of Country People Come, fair spring, thou gift of Heaven, come! Awaken Nature from her deathlike sleep! Come, come, fair spring! etc

Fair spring is drawing nigh, we feel its gentle breath already, soon shall everything return to life. Fair spring is drawing nigh, etc

Do not celebrate too soon, for often, mist-enshrouded, the winter can creep back, and over bud and shoot spew numbing poison.

lso.co.uk Texts 9

Komm, holder Lenz, des Himmels Gabe, komm! Komm! auf uns’re Fluren senke dich! O komm, holder Lenz, o komm und weile länger nicht! O komm, usw

No 3 Recitative

Simon Vom Widder strahlet jetzt die helle Sonn’ auf uns herab. Nun weichen Frost und Dampf und schweben laue Dünst’ umher; der Erde Busen ist gelöst, erheitert ist die Luft.

No 4 Aria

Simon Schon eilet froh der Ackermann zur Arbeit auf das Feld, in langen Furchen schreitet er dem Pfluge flötend nach. Schon eilet, usw

In abgemeßnem Gange dann wirft er den Samen aus, den birgt der Acker treu und reift ihn bald zur gold’nen Frucht. In abgemeßnem Gange, usw Schon eilet froh der Ackermann, usw

No 5 Recitative

Lucas Der Landmann hat sein Werk vollbracht und weder Müh’ noch Fleiß gespart. Den Lohn erwartet er aus Händen der Natur und fleht darum den Himmel an.

Come, fair spring, thou gift of Heaven, come! Come! Upon our meadows set thy foot! Oh come, fair spring, oh come and delay no longer! Oh come, etc

Simon In Aries now, the sun streams brightly down upon us. Frost and fog are in retreat, mild vapours hover all around; softness returns to the earth and gladness to the air.

Simon Merrily the ploughman hastens to his labour in the field; down the long furrows he strides, whistling behind the plough. Merrily the ploughman, etc

Measuring his paces, he strews the seed broadcast which, hidden in the trusty soil, will soon a golden harvest yield. Measuring his paces, etc Merrily the ploughman hastens, etc

Lucas The labourer has fulfilled his task, and spared himself no pains or toil. He looks to nature’s hand for his reward and prays that heaven may grant it.


Joseph Haydn The Seasons: Texts (continued)

No 6 Trio and Chorus: The Farmer’s Prayer

Lucas Be gracious now, O gentle heaven, open up and shower blessings down upon our land.

Chorus Be gracious, etc

Lucas Send thy dew to refresh the earth!

Simon Send rain to water the furrows!

Hannah Let thy breezes softly blow, let thy sun shine bright and clear! Then shall we in abundance thrive …

Hannah, Lucas, Simon … and praise thee for thy goodness.

All Be gracious now, O gentle heaven, etc Send thy dew to refresh the earth! Send thy rain to water the furrows! Let thy breezes softly blow, etc

Hannah Our prayer is heard, the mild west wind warms and fills the air with moisture. Rainclouds form; and now they open, showering upon the earth Nature’s jewels and riches.

No 6 Trio and Chorus: The Farmer’s Prayer

Lucas Sei nun gnädig, milder Himmel! öffne dich und träufe Segen über unser Land herab.

Chorus Sei nun gnädig, usw

Lucas Laß deinen Tau die Erde wässern!

Simon Laß Regenguß die Furchen tränken!

Hannah Laß deine Lüfte wehen sanft, laß deine Sonne scheinen hell! Uns sprießet Überfluß alsdann …

Hannah, Lucas, Simon … und deiner Güte Dank und Ruhm.

All Sei nun gnädig, milder Himmel! usw Laß deinen Tau die Erde wässern! Laß Regenguß die Furchen tränken! Laß deine Lüfte wehen sanft, usw

No 7 Recitative

Hannah Erhört ist unser Fleh’n, der laue West erwärmt und füllt die Luft mit feuchten Dünsten an. Sie häufen sich; nun fallen sie, und gießen in der Erde Schoß den Schmuck und Reichtum der Natur.

lso.co.uk Texts 11

Hannah How fair the countryside looks now! Come, lasses, let us wander through the flowery meadows!

Lucas How fair the countryside looks now! Come, lads, let us us wander to the leafy grove!

Hannah, Lucas How fair the countryside, etc

Hannah Look at the lilies, look at the roses, look at all the flowers!

Lucas Look at the meadows, the grassland, look at all the fields!

Lads and Lasses How fair the countryside looks now! Let’s wander through the flowery meadows!

Hannah Look at the earth, the lakes and rivers, look at the bright sky!

Lucas All is alive, all is expectant, all bestirs itself.

Hannah See how the lambs are leaping!

No 8 Song of Joy

Hannah O wie lieblich ist der Anblick der Gefilde jetzt! Kommt, ihr Mädchen, laßt uns wallen auf der bunten Flur!

Lucas O wie lieblich ist der Anblick der Gefilde jetzt! Kommt, ihr Bursche, laßt uns wallen zu dem grünen Hain!

Hannah, Lucas O wie lieblich ist der Anblick, usw

Hannah Seht die Lilie, seht die Rose, seht die Blumen all’!

Lucas Seht die Auen, seht die Wiesen, seht die Felder all’!

Lads and Lasses O wie lieblich ist der Anblick der Gefilde jetzt! Laßt uns wallen auf der bunten Flur!

Hannah Seht die Erde, seht die Wasser, seht die helle Luft!

Lucas Alles lebet, alles schwebet, alles reget sich.

Hannah Seht die Lämmer, wie sie springen!



Lucas Seht die Fische, welch Gewimmel!

Hannah Seht die Bienen, wie sie schwärmen!

Lucas Seht die Vögel, welch Geflatter!

Country Lads and Lasses Alles lebet, alles schwebet, alles, alles reget sich. Welche Freude, welche Wonne schwellet unser Herz! Süße Triebe, sanfte Reize heben uns’re Brust!

Simon Was ihr fühlet, was euch reizet ist des Schöpfers Hauch.

Lads and Lasses Laßt uns ehren, laßt uns loben, laßt uns preisen ihn!

Men Laßt erschallen, ihm zu danken, eure Stimmen hoch!

All Es erschallen, ihm zu danken, un’sre Stimmen hoch! Ewiger, mächtiger, gütiger Gott!

Hannah, Lucas, Simon Von deinem Segensmahle hast du gelabet uns.

Lucas Look at the fish: what a milling around!

Hannah See how the bees are swarming!

Lucas Look at the birds: what a fluttering!

Country Lads and Lasses All is alive, all is expectant, all bestirs itself. How our hearts are swelling with happiness and delight! Tender feelings, soft sensations awake within our breasts.

Simon The source of your emotion, your delight, is the breath of the Creator.

Lads and Lasses Let us glorify, let us praise, let us worship him!

Men Raise your voices in a song of thanksgiving to him!

All Let’s raise our voices in a song of thanksgiving to him! Eternal, almighty, bounteous God!

Hannah, Lucas, Simon From thy blessed table hast thou provided for us.

lso.co.uk Texts 13

Chorus Mächtiger Gott!

Hannah, Lucas, Simon Vom Strome deiner Freuden hast du getränket uns. Gütiger Gott!

Chorus Ewiger, mächtiger, gütiger Gott!

Simon, Lucas, Hannah Ewiger, mächtiger, gütiger Gott!

Chorus Ehre, Lob und Preis sei dir, ewiger, gütiger, mächtiger Gott, usw

Chorus Almighty God!

Hannah, Lucas, Simon With the rivers of thy joy hast thou quenched our thirst. Bounteous God!

Chorus Eternal, almighty, bounteous God!

Simon, Lucas, Hannah Eternal, almighty, bounteous God!

Chorus Honour, praise and glory be to thee, eternal, almighty, bounteous God, etc



SUMMER


Lucas In grauem Schleier rückt heran das sanfte Morgenlicht, mit lahmen Schritten weicht vor ihm die träge Nacht zurück.

Zu düst’ren Höhlen flieht der Leichenvögel blinde Schar; ihr dumpfer Klageton beklemmt das bange Herz nicht mehr.

Simon Des Tages Herold meldet sich, mit scharfem Laute rufet er zu neuer Tätigkeit den ausgeruhten Landmann auf.

No 10 Aria

Simon Der munt’re Hirt versammelt nun die frohen Herden um sich her zur fetten Weid’ auf grünen Höh’n treibet er sie langsam fort.

Nach Osten blickend steht er dann auf seinem Stabe hingelehnt, zu seh’n den ersten Sonnenstrahl, welchem er entgegen harrt.

Hannah Die Morgenröte bricht hervor, wie Rauch verflieget das leichte Gewölk, der Himmel pranget im hellen Azur, der Berge Gipfel im feurigen Gold.

Lucas Veiled in misty grey, dawn’s soft light returns, while sluggish night, at her approach, hobbles away once more.

Back to their dark crannies fly shadowy hordes of owls; their hollow tones no longer strike fear into our hearts.

Simon Day’s harbinger reveals himself; with piercing voice he summons the farmer, newly-arisen, to the new day’s work.

Simon The merry shepherd gathers his happy flocks around him; and slowly ushers them away towards lush grazing in the verdant hills.

Gazing eastward then he stands, leaning on his staff, watching for the sun’s first ray for which he waits impatiently.

Hannah Rosy dawn has now arrived, little clouds dissolve like smoke, the sky’s resplendent in bright blue, the mountain-peaks in fiery gold.

No 11 Trio and Chorus

Hannah, Lucas, Simon Sie steigt herauf, die Sonne, sie steigt, sie naht, sie kommt, sie strahlt, sie scheint.

Chorus Sie scheint in herrlicher Pracht, in flammender Majestät!

Song of Praise to the Sun Heil, o Sonne, Heil! des Lichts und Lebens Quelle, Heil! Heil, o Sonne, Heil! O du des Weltalls Seel’ und Aug’, der Gottheit schönstes Bild! Dich grüßen dankbar wir!

Hannah, Lucas, Simon Wer spricht sie aus, die Freuden alle, die deine Huld in uns erweckt? wer zählet sie, die Segen alle, die deine Mild’ auf uns ergießt?

Chorus Die Freuden, o wer spricht sie aus? Die Segen, o wer zählet sie?

Hannah, Lucas, Simon Dir danken wir, was uns ergötzt. Dir danken wir, was uns belebt. Dir danken wir, was uns erhält. Dem Schöpfer aber danken wir, was deine Kraft vermag!

lso.co.uk Texts 15

Hannah, Lucas, Simon The sun is rising, rising, coming closer, beaming, shining.

Chorus It shines in wondrous glory, in flaming majesty!

Song of Praise to the Sun Hail to thee, O Sun! Thou fount of light and life, all hail! Hail to thee, O Sun! O thou, the soul, the eye of all the world, fairest likeness of the Deity! We greet thee thankfully!

Hannah, Lucas, Simon Who could express the joy thy beauty awakes within us? Who could number the blessings thy goodness showers upon us?

Chorus The joy, oh, who could express it? The blessings, oh, who could count them?

Hannah, Lucas, Simon We thank thee, bringer of delight. We thank thee, cheerer of the heart. We thank thee, giver of support. And we thank the Creator too who endowed thee with such power.



Chorus Heil! o Sonne, Heil! des Lichts und Lebens Quelle, Heil! Heil! o Sonne, Heil! Dir jauchzen alle Stimmen, dir jauchzet die Natur.

All Dir jauchzet die Natur, usw

No 12 Recitative

Simon Nun regt und bewegt sich alles umher, ein buntes Gewühl bedecket die Flur. Dem braunen Schnitter neiget sich der Saaten wallende Flut, die Sense blitzt, da sinkt das Korn; doch steht es bald und aufgehäuft in festen Garben wieder da.

Lucas Die Mittagssonne brennet jetzt in voller Glut, und gießt durch die entwölkte Luft ihr mächtiges Feu’r in Strömen hinab. Ob den gesengten Flächen schwebt in nieder’m Qualm ein blendend Meer von Licht und Widerschein.

No 13 Cavatina

Lucas Dem Druck erlieget die Natur, welke Blumen, dürre Wiesen, trock’ne Quellen, alles zeigt der Hitze Wut, und kraftlos schmachten Mensch und Tier am Boden hingestreckt. Dem Druck erlieget die Natur, usw

Chorus Hail to thee, O Sun! Thou fount of light and life, all hail! Hail to thee, O Sun! Every voice exalts thee, all Nature shouts with joy.

All All Nature shouts with joy, etc

Simon Now all the folk bestir themselves, a colourful crowd bedecks the fields. Waves of golden corn bow down before the sunburned reaper, the scythe flashes, the corn falls; but soon it stands again, now bound into sturdy stooks.

Lucas The midday sun now blazes at full strength, beating down through the unclouded sky in mighty waves of heat. Over the parched meadows lies a gauzy veil, a dazzling sea of sunlight and reflections.

Lucas Nature succumbs to the onslaught, wilted flowers, arid fields, dried-up springs, all demonstrate the heat’s ferocity, and man and beast lie languishing, stretched upon the ground. Nature succumbs, etc

lso.co.uk Texts 17

No 14 Recitative

Hannah Willkommen jetzt, o dunkler Hain, wo der bejahrten Eiche Dach den kühlenden Schirm gewährt, und wo der schlanken Espe Laub mit leisem Gelispel rauscht! Am weichen Moose rieselt da in heller Flut der Bach, und fröhlich summend irrt und wirrt die bunte Sonnenbrut. Der Kräuter reinen Balsamduft verbreitet Zephyrs Hauch, und aus dem nahen Busche tönt des jungen Schäfers Rohr.

No 15 Aria

Hannah Welche Labung für die Sinne, welch’ Erholung für das Herz! Jeden Aderzweig durchströmet, und in jede Nerve bebt erquickendes Gefühl. Welche Labung, usw

Die Seele wachet auf zum reizenden Genuß, und neue Kraft erhebt durch milden Drang die Brust. Die Seele, usw

Hannah Welcome art thou now, O shady wood, where a roof of ancient oaks provides a cool umbrella, and where the slender aspen’s leaves softly rustle and whisper! Babbling between soft mossy banks runs the crystal brook, and swarms of buzzing insects dance gaily in the air. The pure and balmy scent of herbs is wafted on the breeze, while from the nearby thicket sounds the shepherd-boy’s reed-pipe.

Hannah What refreshment for the senses, what a restorative for the heart! Through every vein and every nerve there runs an invigorating thrill. What refreshment, etc

The soul awakes to pleasure and delight, and hearts are gently lifted to new strength, new desires. The soul awakes, etc



No 16 Recitative

Simon O seht! Es steiget in der schwülen Luft, am hohen Saume des Gebirgs von Dampf und Dunst ein fahler Nebel auf. Empor gedrängt, dehnt er sich aus und hüllet bald den Himmelsraum in schwarzes Dunkel ein.

Lucas Hört wie vom Tal ein dumpf Gebrüll den wilden Sturm verkündt! Seht, wie vom Unheil schwer die finst’re Wolke langsam zieht, und drohend auf die Eb’ne sinkt!

Hannah In banger Ahnung stockt das Leben der Natur: kein Tier, kein Blatt beweget sich, und Todesstille herrscht umher.

No 17 Chorus

Chorus Ach! das Ungewitter naht. Hilf uns, Himmel! O wie der Donner rollt! O wie die Winde toben! Wo flieh’n wir hin! Flammende Blitze durchwühlen die Luft, den zackigen Keilen berstet die Wolke (Hilf uns, Himmel!) und Güsse stürzen herab. Wo ist Rettung! Wo ist Rettung! Wütend rast der Sturm, (Himmel, hilf uns!) der weite Himmel entbrennt, (Wo ist Rettung?)

Simon Behold! There rises in the sultry air, from the high rim of the mountain-range, a livid cloud of mist and vapours. Forced upwards, it expands and soon the vault of heaven is veiled in darkness.

Lucas A hollow rumble from the valley heralds a raging storm. Laden with disaster, see the dark clouds slowly muster and, full of menace, sink towards the plain.

Hannah In fearful apprehension life stands still: no beast, no leaf is moving, a deathly silence reigns.

Chorus Ah! The tempest is upon us! Heaven protect us! Oh, how the thunder booms! Oh, how the winds do rage! Where can we shelter? Flashes of lightning rend the air they crack the clouds with jagged spears (Heaven protect us!) and rain comes pouring down. Where can we seek safety? The storm in fury rages, (Heaven protect us!) the whole sky is aflame, (Where can we seek safety?)

lso.co.uk Texts 19

der weite Himmel entbrennt. Weh uns Armen! Schmetternd krachen, Schlag auf Schlag (Wo ist Rettung? Weh uns!) die schweren Donner fürchterlich. (Hilf uns, Himmel!) Weh uns! Weh uns! Erschüttert wankt die Erde bis in des Meeres Grund. (Weh uns!) Schmetternd krachen Schlag auf Schlag usw

No 18 Trio and Chorus

Lucas Die düst’ren Wolken trennen sich, gestillet ist der Stürme Wut.

Hannah Vor ihrem Untergange blickt noch die Sonn’ empor, und von dem letzten Strahle glänzt mit Perlenschmuck geziert die Flur.

Simon Zum lang gewohnten Stalle kehrt gesättigt und erfrischt das fette Rind zurück.

Lucas Dem Gatten ruft die Wachtel schon.

Hannah Im Grase zirpt die Grille froh.

Simon Und aus dem Sumpfe quakt der Frosch.

the whole sky is aflame. Alas! Alas! Banging, crashing, one upon the other (Where can we seek safety? Alas!) come the terrifying thunderclaps. (Heaven protect us!) Alas! Alas! The reeling world is shaken to the ocean floor. (Alas!) Banging, crashing, one upon the other, etc

Lucas The dark clouds are dispersing, the anger of the storm is stilled.

Hannah Before it sets, the sun peeps out again, and in its last ray the meadows shine, bedecked with pearls.

Simon To their long-accustomed stalls, satisfied and refreshed, the fattened cattle return.

Lucas The quail is calling to her mate.

Hannah In the grass the merry crickets chirp.

Simon And frogs croak from the marshes.



Hannah, Lucas, Simon Die Abendglocke tönt. Von oben winkt der helle Stern, und ladet uns zur sanften Ruh.

Chorus Mädchen, Bursche, Weiber kommt! Unser wartet süßer Schlaf, wie reines Herz, gesunder Leib und Tagesarbeit ihn gewährt. Mädchen, Bursche, Weiber kommt! Wir geh’n, wir geh’n, wir folgen euch. Die Abendglocke hat getönt, von oben winkt der helle Stern und ladet uns zur sanften Ruh. Mädchen, Bursche, Weiber kommt! Wir gehn, wir folgen euch. Die Abendglocke hat getönt, usw

INTERVAL

Hannah, Lucas, Simon The vesper-bell rings out. On high, Venus like a messenger appears, inviting us to sweet repose.

Chorus Lasses, lads, and women, come! Golden slumbers now await us, for a pure heart, a healthy body and a day’s labour vouch for that. Lasses, lads, and women, come! We’re coming, we’re coming, we’ll follow you. The vesper-bell has rung; on high, Venus like a messenger appears inviting us to sweet repose. Lasses, lads and women, come! We’re coming, we’ll follow you. The vesper-bell has rung, etc

lso.co.uk Texts 21

AUTUMN


Hannah Was durch seine Blüte der Lenz zuerst versprach, was durch seine Wärme der Sommer reifen hieß, zeigt der Herbst in Fülle dem frohen Landmann jetzt.

Lucas Den reichen Vorrat fährt er nun auf hochbelad’nen Wagen ein. Kaum faßt der weiten Scheune Raum, was ihm sein Feld hervorgebracht.

Simon Sein heit’res Auge blickt umher, es mißt den aufgetürmten Segen ab, und Freude strömt in seine Brust.

No 20 Trio with Chorus

Simon So lohnet die Natur den Fleiß, ihn ruft, ihn lacht sie an; ihn muntert sie durch Hoffnung auf, ihm steht sie willig bei, ihm wirket sie mit voller Kraft.

Hannah, Lucas Von dir, o Fleiß, kommt alles Heil. Die Hütte, die uns schirmt, die Wolle, die uns deckt, die Speise, die uns nährt ist deine Gab’, ist dein Geschenk.

Hannah That which spring first promised with its blossoms, that which summer ripened with its warmth, autumn presents in abundance to the joyful farmer now.

Lucas The golden store he now transports in heavy-laden wagons. The spacious barn can hardly hold all that his fields have yielded.

Simon Happily he looks around him, measuring the piled-up grain, and happiness fills his heart.

Simon So Nature honest toil rewards, she invokes it, smiles upon it, gladdens it with hope, lends it a willing hand, and guides it with all her might.

Hannah, Lucas All benefits come from thee, O toil. The cottage that shelters us, the wool that clothes us, the food that sustains us, all come from thee, they are thy gifts.



O Fleiß, o edler Fleiß, von dir kommet alles Heil.

Hannah Du flößest Tugend ein, und rohe Sitten milderst du.

Lucas Du wehrest Laster ab, und reinigest der Menschen Herz.

Simon Du stärkest Mut und Sinn zum Guten und zu jeder Pflicht.

Hannah, Lucas, Simon O Fleiß, o edler Fleiß, von dir kommet alles, alles Heil.

Chorus O Fleiß, o edler Fleiß, von dir kommet alles, alles Heil.

Hannah, Lucas, Simon Die Hütte, die uns schirmt, usw

Chorus, then All O Fleiß, o edler Fleiß, von dir, usw

No 21 Recitative

Hannah Seht, wie zum Haselbusche dort die rasche Jugend eilt! An jedem Aste schwinget sich der Kleinen lose Schar, und der bewegten Staud’ entstürzt gleich Hagelschau’r die lock’re Frucht.

O toil, O noble toil, all benefits come from thee.

Hannah Thou dost Virtue instil, and makest rough-hewn manners gentle.

Lucas Thou dost ward off vice, and purify the heart of man.

Simon Thou dost fortify the courage and intention to strive for goodness and perform our duty.

Hannah, Lucas, Simon O toil, O noble toil, from thee comes every benefit.

Chorus O toil, O noble toil, from thee comes every benefit.

Hannah, Lucas, Simon The cottage that shelters us, etc

Chorus, then All O toil, O noble toil, etc

Hannah See how impatiently the youngsters rush to the hazel-bush! Small boys swing on every single branch, and from the swaying bush the ripe fruit rains like hail.

lso.co.uk Texts 23

Simon The farmer’s son is climbing nimbly up a ladder to the top of the tree. Hidden in the topmost branches, he sees his sweetheart drawing nigh, and, with a lover’s sense of fun, throws the fat nuts down into her path.

Lucas Around every tree in the garden girls are gathered, big and little, their colour as fresh and rosy as the ripe fruit they pick.

Lucas You town-bred beauties, come and look! Look at these daughters of Nature, unadorned by finery or paint. Just look at my Hannah! You town-bred beauties, etc The bloom of health is on her cheeks; joy sparkles in her eyes, and her heart speaks through her lips when she swears she loves me.

Hannah You mincing dandies, stay away! Here your airs and graces count for nothing, and smooth talk does no good: no one will listen to you. You mincing dandies, etc No gold, no gorgeousness can blind us, we are moved by an honest heart alone; and all my hopes will be fulfilled if Lucas is true to me.

Simon Hier klimmt der junge Bau’r den hohen Stamm entlang die Leiter flink hinauf. Vom Wipfel, der ihn deckt, sieht er sein Liebchen nah’n, und ihrem Tritt entgegen fliegt dann im trauten Scherze die runde Nuß herab.

Lucas Im Garten steh’n um jeden Baum die Mädchen groß und klein, dem Obste, das sie klauben, an frischer Farbe gleich.

No 22 Duet

Lucas Ihr Schönen aus der Stadt, kommt her! Blickt an die Töchter der Natur, die weder Putz noch Schminke ziert. Da seht, mein Hannchen, seht! Ihr Schönen aus der Stadt, usw Ihr blüht Gesundheit auf den Wangen; im Auge lacht Zufriedenheit, und aus dem Munde spricht das Herz, wenn sie mir Liebe schwört.

Hannah Ihr Herrchen, süß und fein, bleibt weg! Hier schwinden eure Künste ganz, und glatte Worte wirken nicht, man gibt euch kein Gehör. Ihr Herrchen, süß, usw Nicht Gold, nicht Pracht kann uns verblenden, ein redlich Herz ist, was uns rührt; und meine Wünsche sind erfüllt, wenn treu mir Lucas ist.



Lucas Blätter fallen ab, Früchte welken hin, Tag und Jahr vergeh’n, nur meine Liebe nicht.

Hannah Schöner grünt das Blatt, süßer schmeckt die Frucht, heller glänzt der Tag, wenn deine Liebe spricht.

Hannah, Lucas Welch ein Glück ist treue Liebe! Uns’re Herzen sind vereinet, trennen kann sie Tod allein. Welch ein Glück, usw

Lucas Liebstes Hannchen!

Hannah Bester Lucas!

Hannah, Lucas Lieben und geliebet werden ist der Freuden höchster Gipfel, ist des Lebens Wonn’ und Glück! Lieben und geliebet werden, usw

Hannah Bester Lucas!

Lucas Liebstes Hannchen!

Hannah, Lucas Lieben und geliebet werden, usw

Lucas Leaves can fall, fruit can decay, days and years can pass away, my love alone is changeless.

Hannah A leaf appears more lovely, fruit has a sweeter taste, the day is brighter than before when you speak of your love.

Hannah, Lucas What happiness is true love! Our hearts are united, only death can divide us. What a joy, etc

Lucas Dearest Hannah!

Hannah Peerless Lucas!

Hannah, Lucas To love and to be loved is the peak of happiness, the pride and joy of life! To love and to be loved, etc

Hannah Peerless Lucas!

Lucas Dearest Hannah!

Hannah, Lucas To love and to be loved, etc

lso.co.uk Texts 25

No 23 Recitative

Simon Nun zeiget das entblößte Feld der ungebet’nen Gäste Zahl, die an den Halmen Nahrung fand und irrend jetzt sie weiter sucht. Des kleinen Raubes klaget nicht der Landmann, der ihn kaum bemerkt; dem Übermaße wünscht er doch nicht ausgestellt zu sein. Was ihn dagegen sichern mag, sieht er als Wohltat an, und willig fröhnt er dann zur Jagd, die seinen guten Herrn ergötzt.

No 24 Aria

Simon Seht auf die breiten Wiesen hin! Seht, wie der Hund im Grase streift! Am Boden suchet er die Spur und geht ihr unablässig nach. Seht, wie der Hund, usw

Jetzt aber reißt Begierd’ ihn fort, er horcht auf Ruf und Stimme nicht mehr. Er eilet zu haschen … da stockt sein Lauf, und steht er unbewegt wie Stein.

Dem nahen Feinde zu entgeh’n, erhebt der scheue Vogel sich, doch rettet ihn nicht schneller Flug. Es blitzt, es knallt, ihn erreichet das Blei, und wirft ihn tot aus der Luft herab. Dem nahen Feinde zu entgeh’n, usw

Simon Now in the denuded fields uninvited guests are seen; they found food in the standing corn und irrend jetzt sie weiter sucht. The labourer does not begrudge such pilfering, which he hardly notices, but he does not want to show excessive laxity. Any means of protection he regards as beneficial, and happily sets off for the hunt, which pleases his good landlord.

Simon Look at yonder open field! See how the dog is prowling in the grass! He seeks the scent upon the ground, then follows it relentlessly. See how the dog is prowling, etc

Now, maddened by excitement, he is deaf to all commands. He races towards his prey … then stops and stands as motionless as stone.

To escape his approaching foe, the timid bird flies up into the air, but swift flight cannot save him. A flash, a bang, the bullet reaches him, and hurls him, dead, to the ground. To escape his approaching foe, etc



No 25 Recitative

Lucas Hier treibt ein dichter Kreis die Hasen aus dem Lager auf. Von allen Seiten hingedrängt hilft ihnen keine Flucht. Schon fallen sie und liegen bald, in Reihen freudig hingezählt.

No 26 Chorus

Farmers and Hunters Hört! hört das laute Getön, das dort im Walde klinget! Welch’ ein lautes Getön durchklingt den ganzen Wald! Es ist der gellenden Hörner Schall, der gierigen Hunde Gebelle.

Schon flieht der aufgesprengte Hirsch, ihm rennen die Doggen und Reiter nach. Er flieht, er flieht! O wie er sich streckt! Ihm rennen die Doggen und Reiter nach. O wie er springt! O wie er springt! O wie er sich streckt!

Da bricht er aus den Gesträuchen hervor und läuft über Feld in das Dickicht hinein. Jetzt hat er die Hunde getäuscht, zerstreuet schwärmen sie umher. Die Hunde sind zerstreut, sie schwärmen hin und her. Tajo, tajo, tajo!

Lucas Here the main body of the hunt chases the hares from their forms. Driven from all directions, they have no escape. They fall, and soon are laid in rows and gleefully counted.

No 26 Chorus

Farmers and Hunters Hear, O hear the clamour that echoes through yonder woods! What a clamour that is that echoes throughout the woods! It is the shrill cry of the horn, the baying of eager hounds.

Now the stag leaps up and runs, followed by hounds and riders. He flees, he flees! O how he flies along! Hounds and riders follow him. Oh, how he leaps and bounds! Oh, how he runs for his life!

Now he bursts out of cover and races across the fields and into the thicket. Now he’s outwitted the hounds; they scatter, run hither and thither. The hounds have scattered and are running hither and thither. Tally-ho, tally-ho, tally-ho!

lso.co.uk Texts 27

Der Jäger Ruf, der Hörner Klang versammelt aufs neue sie. Ho, ho ho! Tajo! Ho, ho! Mit doppeltem Eifer stürzet nun der Haufe vereint auf die Fährte los. Tajo, tajo, tajo!

Von seinen Feinden eingeholt, an Mut und Kräften ganz erschöpft, erlieget nun das schnelle Tier. Sein nahes Ende kündigt an des tönenden Erzes Jubellied, der freudigen Jäger Siegeslaut: Ha-la-li, ha-la-li, ha-la-li. Den Tod des Hirsches kündigt an des tönenden Erzes Jubellied, usw

No 27 Recitative

Hannah Am Rebenstocke blinket jetzt die helle Traub’ im vollen Safte, und ruft dem Winzer freundlich zu, daß er zu lesen sie nicht weile.

Simon Schon werden Kuf’ und Faß zum Hügel hingebracht, und aus den Hütten strömet zum frohen Tagewerke das munt’re Volk herbei.

Hannah Seht, wie den Berg hinan von Menschen alles wimmelt! Hört, wie der Freudenton von jeder Seit’ erschallet!

The huntsman’s voice and the horn rally the pack anew. Ho, ho, ho! Tally-ho! Ho, ho! With redoubled zeal the reunited pack sets off again. Tally-ho, tally-ho, tally-ho!

Surrounded by his enemies, his courage and his powers quite exhausted, the fleet-footed beast now sinks. His approaching death is heralded by the victory-call of the horn and the cries of the happy hunters: Halloo, halloo, halloo! The death of the stag is heralded by the victory-call of the horn, etc

Hannah Upon the vine the grapes now glisten, bright and full of juice, inviting the grower pleasantly to pick them without delay.

Simon Now are tub and barrel being carried to the slopes, and from their shacks the pickers are trooping merrily to their pleasant work.

Hannah See, how the slopes up yonder are all alive with people! Harken to the merry voices ringing on all sides!



Lucas Die Arbeit fördert lachender Scherz, vom Morgen bis zum Abend hin, und dann erhebt der brausende Most die Fröhlichkeit zum Lustgeschrei.

No 28 Chorus

Chorus Juh-he, juh-he! Der Wein ist da, die Tonnen sind gefüllt, nun laßt uns fröhlich sein, und juh-he, juh-he juh! aus vollem Halse schrei’n! Laßt uns trinken! Trinket Brüder, laßt uns fröhlich sein! Laßt uns singen! Singet alle, laßt uns fröhlich sein!

Juh-he, juh-he juh! es lebe der Wein! Es lebe das Land, wo uns reift! Juh-he, juh! es lebe der Wein! Es lebe das Faß, das ihn verwahrt! Juh-he, juh! es lebe der Wein! Es lebe der Krug, woraus er fließt! Juh-he, juh! es lebe der Wein! usw

Kommt, ihr Brüder! füllt die Kannen, leert die Becher, laßt uns fröhlich sein! Hei-da, hei-da! laßt uns fröhlich sein, und juh-he, juh-he, juh! aus vollem Halse schrei’n! Juh-he, juh-he! es lebe der Wein!

Lucas The work is helped along by jokes from daybreak to sunset, and then the foaming grape-juice turns merriment to cries of joy.

Chorus Hurrah, hurrah! The wine is safe, the barrels have been filled, now let us be merry, and shout hurrah, hurrah with might and main! Let us drink! Brothers, drink up, let us all be merry! Let us sing! Everyone sing, and be merry!

Hurrah, hurrah, hurrah for wine! Hurrah for the land that produces it! Hurrah, hurrah, hurrah for wine! Hurrah for the barrel that holds it! Hurrah, hurrah, hurrah for wine! Hurrah for the jug from which it flows! Hurrah, hurrah, hurrah for wine! etc

Come, my friends, fill your jugs, empty your beakers, let’s be merry! Heigh-ho, heigh-ho! Let’s be merry, and sing hurrah, hurrah with might and main! Hurrah, hurrah, hurrah for wine!

lso.co.uk Texts 29

Nun tönen die Pfeifen und wirbelt die Trommel. Hier kreischet die Fiedel, da schnarret die Leier, und dudelt der Bock. Schon hüpfen die Kleinen und springen die Knaben; dort fliegen die Mädchen im Arme der Bursche den ländlichen Reih’n! Hei-sa! hop-sa! laßt uns hüpfen!

Ihr Brüder kommt! Hei-sa! hop-sa! Laßt uns springen! Die Kannen füllt, die Kannen füllt! Hei-sa! hop-sa! Laßt uns tanzen! Die Becher leert, die Becher leert! Hei-da! hei-da! Laßt uns fröhlich sein! Hei-da! und juh-he, juh-he, juh! aus vollem Halse schrei’n!

Jauchzet, lärmet! Juh-he, juh-he, juh! Juh-he, juh! Springet, tanzet! Hei-sa, hop-sa! Lachet, singet, jauchzet, singet! Hei-sa, hei-sa, hei! Nun fassen wir den letzten Krug, hei-sa, hop-sa, hei-sa! und singen dann im vollen Chor dem freudenreichen Rebensaft! Hei-sa, hei! Juh-he, juh!

Es lebe der Wein, der edle Wein, der Grillen und Harm verscheucht! Sein Lob ertöne laut und hoch in tausendfachem Jubelschall! Hei-da, laßt uns fröhlich sein, und juh-he, juh-he, juh! aus vollem Halse schrei’n! Juh, juh!

Now pipes are piping, drums are beating, the fiddle is scraping, the hurdy-gurdy twanging, the bagpipes droning. The children are skipping, the lads are jumping; the lasses fly round arm in arm with the lads, dancing a country reel! One-two, one-two! Everyone hop!

Come on, my friends! One-two, one-two! Everyone jump! Fill your jugs, fill your jugs! One-two, one-two! Everyone dance! Drain your beakers, drain your beakers! Heigh-ho, heigh-ho! Let’s be merry! Shout heigh-ho and shout hurrah, shout with might and main!

Cheer, yell! Hurrah, hurrah! Hurrah, hurrah! Leap and dance! One-two, one-two! Laugh, sing, cheer and sing! Hip-hip-hip-hurray! Now let’s claim our final jug, hip-hip-hip-hurray! and then sing all together of the grape that makes us merry! Hip-hip-hurrah! Hurray!

Hurrah for wine, for the noble wine in which we drown our sorrows! May its praises be sung far and wide in thousandfold rejoicing! Heigh-ho, let’s be merry, and shout hurrah, hip-hip-hurrah with might and main! Hurrah!



WINTER


Simon Nun senket sich das blasse Jahr, und fallen Dünste kalt herab. Die Berg’ umhüllt ein grauer Dampf, der endlich auch die Flächen drückt, und am Mittage selbst der Sonne matten Strahl verschlingt.

Hannah Aus Lapplands Höhlen schreitet her der stürmisch düst’re Winter jetzt. Vor seinem Tritt erstarrt in banger Stille die Natur.

No 30 Cavatina

Hannah Licht und Leben sind geschwächet, Wärm’ und Freude sind verschwunden. Unmutsvollen Tagen folget schwarzer Nächte lange Dauer

No 31 Recitative

Lucas Gefesselt steht der breite See, gehemmt in seinem Laufe der Strom. Im Sturze vom türmenden Felsen hängt gestockt und stumm der Wasserfall. Im dürren Haine tönt kein Laut. Die Felder deckt, die Täler füllt ein’ ungeheure Flockenlast.

Simon Now the outworn year is dying and chilly fogs descend. The mountains are shrouded in grey mist that reaches down to the vales, and even at midday hides the sun’s pale beams.

Hannah From Lapland’s caverns now the sombre, stormy winter stalks. Before his tread all Nature stands in frozen, frightened silence.

Hannah Light and life are now enfeebled, warmth and joy have disappeared. Ill-humoured days are followed by long dark nights.

Lucas The lake’s expanse is gripped in ice, the current of the stream is stemmed. Suspended from the towering cliffs the waterfall hangs motionless and silent. In the leafless woods no sound is heard. A monstrous covering of snow blankets the fields and fills the vales.

lso.co.uk Texts 31

Der Erde Bild ist nun ein Grab, wo Kraft und Reiz erstorben liegt, wo Leichenfarbe traurig herrscht, und wo dem Blicke weit umher nur öde Wüstenei sich zeigt.

No 32 Aria

Lucas Hier steht der Wand’rer nun, verwirrt und zweifelhaft, wohin den Schritt er lenken soll. Vergebens suchet er den Weg, ihn leitet weder Pfad noch Spur.

Vergebens strenget er sich an, und watet durch den tiefen Schnee; er find’t sich immer mehr verirrt.

Jetzt sinket ihm der Mut, und Angst beklemmt sein Herz, da er den Tag sich neigen sieht, und Müdigkeit und Frost ihm alle Glieder lähmt. Jetzt sinket ihm der Mut, und Angst beklemmt sein Herz, doch plötzlich trifft sein spähend Aug der Schimmer eines nahen Lichts.

Da lebt er wieder auf, vor Freude pocht sein Herz. Er geht, er eilt der Hütte zu, wo starr und matt er Labung hofft. Da lebt er wieder auf, usw

Earth now looks like a tomb where strength and grace lie dead, where sad corpse-colours predominate, and where, on every side, the gaze falls only on barren wasteland.

Lucas Here the traveller now stands bewildered and perplexed, not knowing which way to turn. In vain he seeks the road, but finds neither path nor track.

Vainly he tries to struggle, and wades through the deep snow; only to find himself more lost than ever.

Now his courage ebbs away, his heart is gripped by the fear of seeing daylight disappear and being paralysed by weariness and cold. Now his courage ebbs away, his heart is gripped by fear, but suddenly his eye is caught by the glimmer of a light nearby.

Now he breathes again, his heart throbs with joy. He runs towards the cottage where, cold and tired, he hopes to find refreshment. Now he breathes again, etc



No 33 Recitative

Lucas Sowie er naht, schallt in sein Ohr, durch heulende Winde nur erst gestreckt, heller Stimmen lauter Klang.

Hannah Die warme Stube zeigt ihm dann des Dörfchens Nachbarschaft, vereint im trauten Kreise, den Abend zu verkürzen mit leichter Arbeit und Gespräch.

Simon Am Ofen schwätzen hier von ihrer Jugendzeit die Väter, zu Körb’ und Reusen flicht die Weidengert’, und Netze strickt der Söhne munt’rer Haufe dort. Am Rocken spinnen die Mütter, am laufenden Rade die Töchter; und ihren Fleiß belebt ein ungekünstelt frohes Lied.

No 34 Solo Song and Chorus: The Spinning Song (words by G A Bürger)

Soprano Knurre, schnurre, Rädchen, schnurre!

Hannah Drille, Rädchen, lang und fein, drille fein ein Fädelein, mir zum Busenschleier. Drille, Rädchen, usw


Lucas As he draws nigh, he catches, borne on the howling wind, the sound of voices bright and clear.

Hannah The warm room soon reveals the people of the village gathered sociably to while away the evening with light tasks and chatter.

Simon Fathers sitting by the stove, natter about their youth while willow twigs are plaited into baskets, and in a jolly group their sons are making nets. Mothers spin with distaffs, their daughters with spinning wheels; and their toil is enlivened by an artless, happy song.

Soprano Purr and whirr, my little wheel, whirr on!

Hannah Twist, my little wheel, long and fine, twist a fine, neat thread to make a kerchief for my breast. Twist, etc


lso.co.uk Texts 33

Hannah Weber, webe zart und fein, webe fein das Schleierlein mir zur Kirmeßfeier. Weber, webe, usw


Hannah Außen blank und innen rein muß des Mädchens Busen sein, wohl deckt ihn der Schleier. Außen blank, usw


Hannah Außen blank und innen rein, fleißig, fromm und sittsam sein, locket wack’re Freier.

Chorus Außen blank und innen rein, usw

No 35 Recitative

Lucas Abgesponnen ist der Flachs, nun steh’n die Räder still. Da wird der Kreis verengt, und von dem Männervolk umringt, zu horchen auf die neue Mär, die Hannah jetzt erzählen wird.

Hannah Shuttle, weave both soft and fine, finely weave the kerchief I shall wear at Easter. Weave, weave, etc


Hannah Fair without and pure within will a maiden’s bosom be when her kerchief is becoming. Fair without, etc

Soprano Purr and whirr, my little wheel, whirr!

Hannah Fair without and pure within, industrious, pious and modest be, to attract a worthy suitor.

Chorus Fair without and pure within, etc

Lucas The flax has all been spun, and now the wheel stands silent. The circle has drawn closer and the men surround it to listen to the latest story Hannah has to tell.


No 36 Solo Song with Chorus

Hannah Ein Mädchen, das auf Ehre hielt, liebt’ einst ein Edelmann, da er schon längst nach ihr gezielt, traf er allein sie an. Er stieg sogleich vom Pferd und sprach: komm, küsse deinen Herrn! Sie rief vor Angst und Schrecken: Ach! ach ja, von Herzen gern.

Chorus Ei, ei, warum nicht nein?

Hannah Sei ruhig, sprach er, liebes Kind, und schenke mir dein Herz! denn meine Lieb’ ist treu gesinnt, nicht Leichtsinn oder Scherz. Dich mach’ ich glücklich, nimm dies Geld, den Ring, die gold’ne Uhr, und hab ich sonst, was dir gefällt, o sag’s und ford’re nur.

Chorus Ei, ei, das klingt recht fein.

Hannah Nein, sagt sie, das wär’ viel gewagt, mein Bruder möcht’ es sehn, und wenn er’s meinem Vater sagt, wie wird mir’s dann ergehn! Er ackert hier uns allzunah, sonst könnt’ es wohl geschehn. Schaut nur, von jenem Hügel da, könnt’ ihr ihn ackern sehn.

Hannah A nobleman that once did love a maid who held her honour dear, on finding her alone at last set about wooing her. Dismounting from his horse, he said: come, kiss your lord, my dear! Alarmed and frightened, she cried out: Oh yes, with all my heart!

Chorus Oh, why did she not say no?

Hannah Be not alarmed, dear child, he said, but give your heart to me, for my love is sincerely meant, I do not trifle or jest. I’ll make you happy, take this gold, this ring, this golden watch, and if there is anything else you’d like you only have to tell me.

Chorus Aha, that sounds too smooth!

Hannah Oh no, she said, you are too bold, my brother might have seen us, and if he tells my father, I don’t know what would happen! He’s ploughing in a nearby field, he could be watching us. Just go and look, from yonder hill you might see him ploughing.


lso.co.uk Texts 35

Chorus Ho, ho, was soll das sein?

Hannah In dem der Junker geht und sieht, schwingt sich das lose Kind auf seinen Rappen und entflieht geschwinder als der Wind. Lebt wohl! rief sie, mein gnäd’ger Herr, so räch’ ich meine Schmach! Ganz eingewurzelt stehet er und gafft ihr staunend nach.

Chorus Ha, ha, ha, ha, das war recht fein, das war recht fein, ha, ha, usw

No 37 Recitative

Simon Von dürrem Oste dringt ein scharfer Eishauch jetzt hervor. Schneidend fährt er durch die Luft, verzehret jeden Dunst und hascht des Tieres Odem selbst. Des grimmigen Tyranns, des Winters Sieg ist nun vollbracht, und stummer Schrecken drückt den ganzen Umfang der Natur.

Chorus Oho, now what will happen?

Hannah While the squire went off to look, the clever girl did leap upon his black horse, and flew off as swiftly as the wind. Farewell! she cried, my gracious lord, so I avenge my shame! Quite rooted to the spot, he stood gaping after her.

Chorus Ha, ha, ha, ha, she did do well, she did do well, ha, ha, etc

Simon Now from the arid east blows a biting, icy breath. It slices through the air consuming the very mists and even catching at the cattle’s breath. The dominance of winter, that dread tyrant, is complete, and all the natural world is mute with terror.



No 38 Aria

Simon Erblicke hier, betörter Mensch, erblicke deines Lebens Bild! Verblühet ist dein kurzer Lenz, erschöpfet deines Sommers Kraft. Schon welkt dein Herbst dem Alter zu, schon naht der bleiche Winter sich und zeiget dir das off’ne Grab.

Wo sind sie nun, die hoh’n Entwürfe, die Hoffnungen von Glück, die Sucht nach eitlem Ruhme, der Sorgen schwere Last? Wo sind sie nun, die Wonnetage, verschwelgt in Üppigkeit?

Und wo die frohen Nächte, im Taumel durchgewacht? Wo sind sie nun? Wo? Verschwunden sind sie, wie ein Traum. Nur Tugend bleibt.

Da bleibt allein und leitet uns unwandelbar durch Zeit und Jahreswechsel, durch Jammer oder Freude bis zu dem höchsten Ziele hin.

No 39 Trio and Double Chorus

Simon Dann bricht der große Morgen an, der Allmacht zweites Wort erweckt zum neuen Dasein uns, von Pein und Tod auf immer frei.

Simon Look on this, deluded Man, see here an image of your life! Your brief spring’s blooms are over, your summer’s power exhausted. Your autumn soon fades to old age, soon pallid winter approaches and points to an open grave.

Where are now your lofty plans, your hopes of happiness, your search for empty fame, the cares that burdened you? Where are they now, the golden days squandered in self-indulgence?

And where are the merry nights of drunken revelry? Where are they now? Where? All have vanished like a dream. Virtue alone remains.

It survives alone and leads us, undeviatingly through time and the rolling years, through sorrow and joy to the highest goal.

Simon Then the greatest dawn will break, and the Almighty’s second word awaken us to new life, from pain and death forever freed.

lso.co.uk Texts 37

Lucas, Simon Die Himmelspforten öffnen sich, der heil’ge Berg erscheint. Ihn krönt des Herren Zelt, wo Ruh’ und Friede thront.

Chorus 1 Wer darf durch diese Pforten geh’n?

Hannah, Lucas, Simon Der Arges mied und Gutes tat.

Chorus 2 Wer darf besteigen diesen Berg?

Hannah, Lucas, Simon Von dessen Lippen Wahrheit floß.

Chorus 1 Wer darf in diesem Zelte wohnen?

Hannah, Lucas, Simon Der Armen und Bedrängten half.

Chorus 2 Wer wird den Frieden dort genießen?

Hannah, Lucas, Simon Der Schutz und Recht der Unschuld gab.

Chorus 1 O seht! der große Morgen naht!

Chorus 2 O seht! er leuchtet schon!

Lucas, Simon The gates of heaven open wide, the holy Mount appears, crowned by the tabernacle of the Lord, where peace and joy reign supreme.

Chorus 1 Who may enter these portals?

Hannah, Lucas, Simon He who shunned evil and did good.

Chorus 2 Who may ascend this Mount?

Hannah, Lucas, Simon He who has spoken the truth.

Chorus 1 Who may dwell in this tabernacle?

Hannah, Lucas, Simon He who helped the poor and needy.

Chorus 2 Who shall taste of these joys?

Hannah, Lucas, Simon He who protected the innocent.

Chorus 1 Oh see, the great dawn approaches!

Chorus 2 Oh see, it gleams already!



Chorus 1, 2 Die Himmelspforten öffnen sich, der heil’ge Berg erscheint. Vorüber sind, verbrauset sind die leidenvollen Tage, des Lebens Winterstürme. Ein ew’ger Frühling herrscht, und grenzenlose Seligkeit wird der Gerechten Lohn.

Hannah, Lucas, Simon Auch uns werd’ einst ein solcher Lohn! Laßt uns wirken, laßt uns streben!

Chorus 1, 2 Laßt uns kämpfen! Laßt uns harren, zu erringen diesen Preis!

Uns leite deine Hand, o Gott! verleih uns Stärk’ und Mut, usw. Dann singen wir, dann geh’n wir ein in deines Reiches Herrlichkeit. Amen. Amen.

Chorus 1, 2 Heaven’s portals open, the holy Mount appears. Finished, their racket silenced, are the sorrow-laden days, the winter-storms of life. An eternal spring now reigns, and infinite blessedness rewards the righteous.

Hannah, Lucas, Simon May such a reward one day be ours! Let us work and strive!

Chorus 1, 2 Let’s fight the good fight, hoping that this prize will be ours!

Guide us with Thy hand, O God! Give us strength and courage, etc. Then shall we sing, then shall we enter the kingdom of Thy glory. Amen. Amen.

English Translation © Avril Bardoni

LSO Gala for Sir Simon RattleAn exclusive evening at The Mansion House, June 2016By kind permission of The Right Honourable The Lord Mayor

Join Sir Simon Rattle, LSO musicians and distinguished guests at The Mansion House, the official residence of The Lord Mayor of London, and celebrate with us Sir Simon Rattle’s appointment as Music Director of the London Symphony Orchestra and his return to Britain.

‘Sir Simon Rattle’s return to Britain is a once-in-a-generation opportunity; not just for the London Symphony Orchestra, but for the whole of orchestral and classical music in the county.’ The Guardian

Guests will arrive to a champagne reception, followed by a formal dinner interspersed with recitals performed by Members of the London Symphony Orchestra.

Funds raised from this very special event will help support a new chapter of ambitious music-making that reaches deep into the communities we serve and touches people’s lives with the power of music.

For information and to buy tickets, email [email protected] or call +44 (0)20 7382 2552

Mansion House Programme Ad 2.indd 1 08/04/2016 09:37

40 Artist Biographies 17 April 2016

Sir Simon Rattle Conductor

‘Rattle conducts with missionary zeal, as if he believes in every note.’ The Times

Sir Simon Rattle was born in Liverpool and studied at the Royal Academy of Music. From 1980 to 1998, he was Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra and was appointed Music Director in 1990. In 2002 he took up his current position of Artistic Director and Chief Conductor of the Berlin Philharmonic, where he will remain until 2018. From September 2017 he will become Music Director of the London Symphony Orchestra.

Rattle has made over 70 recordings for EMI (now Warner Classics), and has received numerous prestigious international awards for his recordings on various labels. Releases on EMI include Stravinsky’s Symphony of Psalms, Berlioz’s Symphonie fantastique, Ravel’s L’Enfant et les Sortilèges, Tchaikovsky’s Nutcracker, Mahler’s Second Symphony and Bizet’s Carmen.

As well as fulfilling a taxing concert schedule in Berlin, Rattle and the Berlin Philharmonic regularly tour within Europe, North America and Asia. The partnership has also broken new ground with the education programme Zukunft@Bphil, earning the Comenius Prize in 2004, the Schiller Special Prize from the city of Mannheim in May 2005, the Golden Camera and the Urania Medal in Spring 2007. He and the Berlin Philharmonic were also appointed International UNICEF Ambassadors in the same year – the first time this honour has been conferred on an artistic ensemble.

In 2013 Simon Rattle and the Berlin Philharmonic took up a residency at the Baden Baden Easter Festival performing The Magic Flute and a series of concerts. Past seasons have included Puccini’s Manon Lescaut and Peter Sellars’ ritualisation of Bach’s St John Passion, Strauss’ Der Rosenkavalier and Berlioz’s La damnation de Faust. For the Salzburg Easter Festival Rattle conducted staged productions of

Fidelio, Così fan tutte, Peter Grimes, Pelléas et Mélisande, Salome and Carmen, a concert performance of Idomeneo and many contrasting concert programmes. He also conducted Wagner’s complete Ring Cycle with the Berlin Philharmonic for the Aix-en-Provence and Salzburg Easter Festivals and most recently at the Deutsche Oper, Berlin and the Wiener Staatsoper.

Sir Simon Rattle has strong long-standing relationships with the leading orchestras in London, Europe and the US, initially working closely with the Los Angeles Philharmonic Orchestra and Boston Symphony Orchestra, and more recently with the Philadelphia Orchestra. He regularly conducts the Vienna Philharmonic, with which he has recorded the complete Beethoven symphonies and piano concertos (with Alfred Brendel) and is also a Principal Artist of the Orchestra of the Age of Enlightenment and Founding Patron of Birmingham Contemporary Music Group.

His 2015/16 season includes the Beethoven Cycle with the Berlin Philharmonic, with concerts in Europe and Carnegie Hall, New York, and a production of Tristan and Isolde at Baden Baden. Future engagements will see him return to the Bayerischer Rundfunk, the Metropolitan Opera and the Orchestra of the Age of Enlightenment.

Simon Rattle was knighted in 1994, and in the New Year’s Honours of 2014 he received the Order of Merit from Her Majesty the Queen. He will be a Carnegie Hall Perspectives Artist throughout the 2015/16 and 2016/17 seasons.

Music Director Designate


Chief Conductor

and Artistic Director

Berlin Philharmonic Orchestra

Principal Artist

Orchestra of the Age of

Enlightenment

Founding Patron

Birmingham Contemporary

Music Group

lso.co.uk Artist Biographies 41

Monika Eder Soprano

Monika Eder began singing lessons in her late teens with Margarete Ast. She studied at the University for Music and Performing Arts in Frankfurt in the vocal class of Professor Paula Page, giving a number of guest performances while studying.

Eder has performed with the Gewandhausorchester Leipzig, Thomanerchor Leipzig, Dresdner Kreuzchor, Kammerorchester Zürich, Prague Philharmonic, Bavarian State Orchestra, Münchner Philharmonic Orchestra

and Orchestre National du Liban. She has also performed in numerous staged productions, singing the roles of Drusilla (Monteverdi’s L’incoronazione di Poppea), Vespetta (Telemann’s Pimpinone), Euridice (Gluck’s Orfeo), Despina (Mozart’s Così fan tutte), Blonde (Mozart’s Die Entführung aus dem Serail), Pamina (Mozart’s The Magic Flute), Marzelline (Beethoven’s Fidelio) and Gilda (Verdi’s Rigoletto).

Under the direction of Ton Koopman, Eder performed Mozart’s Coronation Mass in La Coruna and Santiago de Compostela, Bach’s St John Passion with the Münchner Philharmonic Orchestra and Handel’s Messiah with the Amsterdam Baroqueorchestra. She recently sang first soprano in Mozart’s C minor Mass and Bach’s Magnificat in Lyon.

As a passionate Lied singer, Monika Eder has worked with Heidi Kommerell, Eugen Wangler and Gerold Huber. She specialises in the works of Schubert, Schumann and Mendelssohn, as well as the German female Romantic composers Fanny Hensel, Clara Schumann and Josephine Lang.

In 2013 and 2014 the German Foreign Office invited Monika Eder to perform orchestral Lieder by Alban Berg and Richard Strauss, as well as Beethoven’s Egmont, with the Lebanese National Orchestra under the direction of Harout Fazlian in Beirut, Lebanon.

Andrew Staples Tenor

Andrew Staples sang as a chorister in St Paul’s Cathedral before winning a Choral Scholarship to King’s College Cambridge, where he gained a degree in Music. Andrew was the first recipient of the RCM Peter Pears Scholarship, sponsored by the Britten Pears Foundation, at the Royal College of Music and subsequently joined the Benjamin Britten International Opera School. His engagements include concerts with the Berlin and Vienna Philharmonic Orchestras, the Akademisten Berlin, the Bavarian Radio Symphony, and

the Orchestra of the Age of Enlightenment and Sir Simon Rattle; the Swedish Radio and London Symphony Orchestra with Daniel Harding; the Swedish Chamber Orchestra and Scottish Chamber Orchestra with Andrew Manze; the Gävle Symphony and Robin Ticciati; the Rotterdam Philharmonic Orchestra and the Philadelphia Orchestra with Yannick Nézet-Séguin; and the Accademia Santa Cecilia with Semyon Bychkov.

He made his Royal Opera House debut as Jacquino (Fidelio), returning for Flamand (Capriccio), Tamino (The Magic Flute), Artabenes (Arne’s Artaxerxes) and Narraboth (Salome). He has also sung Ferrando for Opera Holland Park and Narraboth for the Hamburgische Staatsoper. He semi-staged and sang Tamino in The Magic Flute for the Lucerne Festival and in Drottningholm with Daniel Harding conducting.

He will sing Kudrjas and Luzio (Das Liebesverbot) for both the Royal Opera House and the Teatro Real in Madrid, Froh (Das Rheingold) for the Royal Opera House and the Deutsche Staatsoper Berlin, and Tamino in Chicago. In concert he appears with the Swedish Radio Orchestra, the Bavarian Radio Symphony and the Berlin Philharmonic with Daniel Harding and Simon Rattle, the BBC Symphony Orchestra and Semyon Bychkov, and returns to the Philadelphia Orchestra with Yannick Nézet-Séguin.

42 Artist Biographies 17 April 2016

Florian Boesch Baritone

Austrian baritone Florian Boesch is counted as one of today’s foremost Lieder interpreters with appearances at the Wigmore Hall, Musikverein and Konzerthaus Vienna, Het Concertgebouw Amsterdam, Laeiszhalle Hamburg, Philharmonie Cologne, Edinburgh and Schwetzingen Festival, Philharmonie Luxemburg, as well as appearances throughout the US (Carnegie Hall) and Canada. Florian Boesch was a Wigmore Hall artist in residence in the 2014/15 season. He received his initial vocal training from Ruthilde

Boesch and later studied Lied and oratorio with Robert Holl in Vienna.

As a frequent guest on the concert platform, Florian Boesch has worked with leading orchestras such as the Wiener and Berliner Philharmoniker, Royal Concertgebouw Orkest Amsterdam, Orchestre Philharmonique de Radio France, Gewandhausorchester Leipzig, Danish National Symphony Orchestra, Mozarteumorchester Salzburg, and Bamberger Symphoniker. He has worked very closely with Nikolaus Harnoncourt, with whom he performed Messiah and Saul at the Wiener Musikverein and Purcell’s The Fairy Queen at the 2014 Styriarte Festival. Further joint projects included Haydn’s The Creation and The Seasons at the 2013 Salzburg Festival, and The Creation in Japan.

His recording of Lieder and ballads by Carl Loewe, with Roger Vignoles on Hyperion, recently received the prestigious Edison Klassiek Award. Florian Boesch’s latest CDs, Schubert’s Der Wanderer (also released on Hyperion, with Roger Vignoles) and the complete Schubert cycle with Winterreise, Die schöne Müllerin and Schwanengesang (released on Onyx, with Malcolm Martineau) have been highly acclaimed. Die schöne Müllerin was nominated for a Grammy Award in 2015 for Best Classical Vocal solo.

Simon Halsey Choral Director

Simon Halsey is a sought-after conductor of choral repertoire at the very highest level and an ambassador for choral singing across the world. Halsey is the Chorus Director of the City of Birmingham Symphony Orchestra Choruses, and the Choral Director of the London Symphony Orchestra and Chorus. He is also Conductor Laureate of the Rundfunkchor Berlin, the permanent partner of the Berliner Philharmoniker, where he has been Principal Conductor for 14 years.

Since becoming Choral Director of the London Symphony Orchestra and Chorus in 2012, Halsey has been credited with bringing about a ‘spectacular transformation’ (Evening Standard) of the LSC. 2015/16 highlights with the LSO include Debussy’s Pelléas et Mélisande, as well as Elgar’s The Dream of Gerontius with Sir Mark Elder, and Beethoven’s Ninth Symphony with Michael Tilson Thomas.

Simon Halsey is also Professor and Director of Choral Activities at the University of Birmingham, where he directs a postgraduate course in Choral Conducting, in association with the CBSO. He is in great demand as a teacher at other universities and has presented masterclasses at top universities such as Princeton and Yale. In 2011 Schott Music published his book and DVD on choral conducting, Chorleitung: Vom Konzept zum Konzert, as part of its ‘Master Class’ series.

Halsey was awarded The Queen’s Medal for Music 2014 for his influence on the musical life of the UK, and was also made Commander of Order of the British Empire in The Queen’s Birthday Honours 2015. In recognition of his outstanding contribution to choral music in Germany, Halsey was also given the Officer’s Cross of the Order of Merit of the Federal Republic of Germany in 2011.

lso.co.uk London Symphony Chorus 43

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement the work of the London Symphony Orchestra and this season marks its 50th anniversary. The partnership between the LSC and LSO has continued to develop and was strengthened in 2012 with the appointment of Simon Halsey as joint Chorus Director of the LSC and Choral Director for the LSO.

The LSC has partnered many other major orchestras and has performed nationally and internationally with the Berlin and Vienna Philharmonic Orchestras, and the Leipzig Gewandhaus Orchestra. Championing the musicians of tomorrow, it has also worked with both the NYOGB and the EUYO. The chorus has toured extensively throughout Europe and has also visited North America, Israel, Australia and South East Asia.

Highlights from last season include Haydn’s The Creation with Ed Gardner at the City of London Festival, Brahms’ Requiem with Daniel Harding, and critically acclaimed performances with Sir Simon Rattle of Schumann’s rarely performed Das Paradies und die Peri with the LSO at the Barbican, and Mahler’s Second Symphony with the Berlin Philharmonic and the CBSO Chorus at the Royal Festival Hall.

In the 2015/16 season the LSC celebrates its 50th anniversary with a range of performances, including Rachmaninov’s All-Night Vigil in Temple Church; Bernstein’s Chichester Psalms with James Gaffigan; Haydn’s The Seasons with Rattle; Elgar’s The Dream of Gerontius with Sir Mark Elder; and the world premiere performance of a new opera by Sir Peter Maxwell Davies, The Hogboon in June.

President Sir Simon Rattle OM CBE

President Emeritus André Previn KBE

Vice President Michael Tilson Thomas

Patrons Simon Russell Beale CBE and Howard Goodall CBE

Chorus Director Simon Halsey CBE

Assistant Directors Neil Ferris and Matthew Hamilton

Chorus Accompanist Roger Sayer

Chairman Owen Hanmer

BASSES Simon Backhouse* Roger Blitz Chris Bourne Gavin Buchan Andy Chan Steve Chevis James Chute Matt Clarke Damian Day Joe Dodd Thomas Fea* Ian Fletcher Robert Garbolinski* Ricardo Gillfillan Gerald Goh John Graham Owen Hanmer* Anthony Howick Alex Kidney Thomas Kohut George Marshall Hugh McLeod Alan Rochford Rod Stevens Richard Tannenbaum Gordon Thomson Robin Thurston Tom Torley Jez Wareing

* Denotes LSC council member

SOPRANOS Frankie Arnull Heather Ashford Liz Ashling Faith Baxter Louisa Blankson Evaleen Brinton Carol Capper* Shelagh Connolly Harriet Crawford Rebecca Dent Lucy Farrington Lucy Feldman Joanna Gueritz Jenna Hawkins Emily Hoffnung Josefin Holmberg Kuan Hon Claire Hussey* Debbie Jones Ruth Knowles-Clark Mimi Kroll Debbie Lee Winnie Lei Marylyn Lewin Jane Morley Jessica Norton Hiroko O’Reilly Maggie Owen Isabel Paintin Andra Patterson Frances Pope Liz Reeve Mikiko Ridd Alison Ryan Laura Catala-Ubassy Lizzie Webb Becky Wheaton

ALTOS Liz Boyden Gina Broderick Jo Buchan* Lizzy Campbell Zoe Davis Maggie Donnelly Diane Dwyer Lynn Eaton Linda Evans Tina Gibbs Rachel Green Yoko Harada Kate Harrison Lis Iles Ella Jackson Kristi Jagodin Jill Jones Vanessa Knapp Belinda Liao* Anne Loveluck* Aoife McInerney* Jane Muir Caroline Mustill Dorothy Nesbit Helen Palmer Susannah Priede Emma Recknell Maud Saint-Sandos Sarah Scott Lis Smith Jane Steele Margaret Stephen Claire Trocme Georgina Wheatley Magdalena Ziarko

TENORS David Aldred Paul Allatt* Robin Anderson Michael Delany Matt Fernando Matthew Flood Andrew Fuller Euchar Gravina Mike Harman Warwick Hood Matt Horne John Marks Alastair Mathews Tom McNeill John Moses* Daniel Owers Chris Riley Peter Sedgwick Richard Street Malcolm Taylor James Warbis Brad Warburton Robert Ward* Paul Williams-Burton

The London Symphony Chorus is generously supported by:

John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust,

The Welton Foundation, LSC Friends, Members of the LSC

LSO Sing is generously supported by:

Sir Siegmund Warburg’s Voluntary Settlement

44 The Orchestra 17 April 2016

London Symphony Orchestra On stage

Your views Inbox

FIRST VIOLINS Roman Simovic Leader Carmine Lauri Lennox Mackenzie Clare Duckworth Ginette Decuyper Gerald Gregory Jörg Hammann Maxine Kwok-Adams Claire Parfitt Sylvain Vasseur

SECOND VIOLINS Thomas Norris Sarah Quinn David Ballesteros Matthew Gardner Julian Gil Rodriguez Naoko Keatley Belinda McFarlane William Melvin Andrew Pollock Paul Robson

Polly Smith @JoshuaBellMusic Wonderful Tchaikovsky last night with @londonsymphony – thank you!

Jessy Croghan Great concert with @londonsymphony – the first time I heard @JoshuaBellMusic was 2 days before I was due to be born!

The Scheme is supported by Help Musicians UK The Barbara Whatmore Charitable Trust The Idlewild Trust The Lefever Award The Polonsky Foundation

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience Scheme enables young string players at the start of their professional careers to gain work experience by playing in rehearsals and concerts with the LSO. The scheme auditions students from the London music conservatoires, and 15 students per year are selected to participate. The musicians are treated as professional ’extra’ players (additional to LSO members) and receive fees for their work in line with LSO section players.

Editor Edward Appleyard [email protected]

Photography Igor Emmerich, Kevin Leighton, Bill Robinson, Alberto Venzago

Print Cantate 020 3651 1690

Advertising Cabbell Ltd 020 3603 7937

London Symphony Orchestra Barbican Silk Street London EC2Y 8DS

Registered charity in England No 232391

Details in this publication were correct at time of going to press.

VIOLAS Edward Vanderspar Malcolm Johnston Lander Echevarria Anna Bastow Julia O’Riordan Robert Turner Jonathan Welch Carol Ella

CELLOS Tim Hugh Alastair Blayden Jennifer Brown Noel Bradshaw Eve-Marie Caravassilis Daniel Gardner

DOUBLE BASSES Colin Paris Patrick Laurence Thomas Goodman Joe Melvin

3 APR: ALAN GILBERT AND JOSHUA BELL – NIELSEN, SIBELIUS, ANDERS HILLBORG AND TCHAIKOVSKY

Jamie John Hutchings What a concert! Phenomenal. Bravo @londonsymphony @GilbertConducts & @JoshuaBellMusic. Unforgettable.

7 APR: ALAN GILBERT AND DANIIL TRIFONOV – SIBELIUS, PROKOFIEV AND NIELSEN

Valerie Broussard ‘Music is life, and like it,inextinguishable’. What a night at the @londonsymphony, thanks all

Benjamin Griffiths @londonsymphony @GilbertConducts Stunning Nielsen! And @daniil_trifonov ‘s Prokofiev was AMAZING. Thank you!

Teresa Guerreiro Prodigious @daniil_trifonov playing Prokofiev Concerto No 2 under maestro @Gilbertconducts. Overwhelming!

FLUTES Adam Walker Alex Jakeman

PICCOLO Sharon Williams

OBOES Olivier Stankiewicz Rosie Jenkins

CLARINETS Chris Richards Chi-Yu Mo

BASSOONS Rachel Gough Joost Bosdijk

CONTRA BASSOON Dominic Morgan

HORNS Timothy Jones Angela Barnes Alexander Edmundson Jonathan Lipton Nick Hougham

TRUMPETS Philip Cobb Gerald Ruddock Daniel Newell

TROMBONES Dudley Bright James Maynard

BASS TROMBONE Paul Milner

TIMPANI Nigel Thomas

PERCUSSION Neil Percy David Jackson Antoine Bedewi

FORTEPIANO Rob Howarth

living music - london symphony orchestra

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