Manchester Camerata The Seven Last Words of Our Saviour on the Cross - Gábor Takács-Nagy conductor - Amazon S3
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Manchester Camerata The Seven Last Words of Our Saviour on the Cross Gábor Takács-Nagy conductor VOCES8 Edvard Grieg Kor Thursday 28 March 7.30pm Presented by The Bridgewater Hall in association with Manchester Camerata
The Bridgewater Hall
International Concert Series 18|19
The Sixteen’s
Choral Pilgrimage 2019
Voices of Angels
Harry Christophers conductor
Monday 8 July 7.30pm
Season Sponsor
Manchester Camerata
VOCES8
Edvard Grieg Kor
Gábor Takács-Nagy conductor
Thursday 28 March 7.30pm
Arvo Pärt Trisagion We are once again delighted to welcome
Haydn Symphony No.49 in F minor, Manchester Camerata to The Bridgewater Hall.
Manchester is indeed fortunate to have this
‘La passione‘
outstanding international chamber ensemble
as part of its cultural life and heritage.
Interval Manchester Camerata has an enviable reputation
for its innovative programming and willingness to
delve into new and exciting musical associations;
it is within this collaborative spirit that tonight we are
Haydn The Seven Last Words of Our
especially pleased to also welcome Voces8 and
Saviour on the Cross the Edvard Grieg Kor vocal ensembles who will
join with the Camerata in what I am sure will be
a memorable and uplifting evening of music.
Thank you for joining us this evening and we look
forward to welcoming you again.
Andrew Bolt
Chief Executive
The Bridgewater Hall
Members of the audience are politely requested to try to refrain from
coughing during the performance, other than between pieces and
movements; the resonant acoustic of The Bridgewater Hall means that
the noise of an uncovered cough can be very disturbing for audience
and performer alike. Patrons are also requested to turn off all electronic
devices for the duration of the performance.About the Music
48, to a sense of disintegration and chaos. This was
followed by several years of experimentation and
an inability to complete anything while he searched
for a new direction. His reawakening came with a
new technique that was to underpin everything he
has subsequently written. Crucially important during
those years of experimentation was his study of early
music, which he found both spiritually and musically
fulfilling. As he has written: ‘I have discovered that it
is enough when a single note is beautifully played.
This one note, or a silent beat, or a moment of
silence, comforts me … I build with the most primitive
materials – with the triad, with one specific tonality.
The three notes of the triad are like bells. And that is
why I called [this style] tintinnabulation.’
Arvo Pärt (born 1935)
Trisagion (Introductory Prayers) was written in
Trisagion (1992, rev.1994) Berlin, where he moved to in 1981, and is scored for
string orchestra. But though it’s an instrumental work,
its sacred intent and inspiration is made apparent by
the quotations of sacred texts written on the score
itself, culminating in the Lord’s Prayer. It unfolds over
Arvo Pärt was born in Estonia in 1935 and, at 83, is
12 minutes at a musing pace, combining gentleness
still composing, his music among the most-performed
with a sense of yearning, the music rooted by long
of any living composer. Like many other cultural
held notes. It gradually builds in volume, before
figures in Eastern Europe, he found the communist
dying away once more. Then after a bar’s silence
regime a far from conducive place to live and work;
the strings re-enter fortissimo, in unison chords,
his rebellion against such oppression found voice in
fervent in mood (the words at this point in the score
works such as Nekrolog (1960) – the first-ever serial
are ‘O Holy God, Holy Mighty, Holy Immortal, have
piece by an Estonian composer – in which he set out
mercy on us’). From here the tempo increases, but
to shock through its sheer dissonance. He continued
the music is suddenly stopped in its tracks by two
through the 1960s with a sequence of pieces,
solo violins, high up, in unison, answered by solo
including two symphonies, which marked him out
viola and cello, creating the most intimate moment of
as a modernist with a clear voice. But crisis came
chamber music, albeit a fleeting one. The full string
in 1968, manifested in his work Credo, for piano,
orchestra, divisi, returns: initially hesitant but then
chorus and orchestra, which moves from perfect
gaining in confidence, with upper strings and lower
euphony, quoting the opening Prelude of Bach’s
strings frequently answering one another. In the final
2minutes the music gradually comes to rest on just two The work opens in a mood of the utmost lamentation,
notes – E and G, forming a triad that ends pppp. befitting the key, with sustained strings and horns and
bassoon for colour. This bipartite Adagio, with each
half repeated, is given a sense of greater movement
with semiquavers in the violins against a throbbing
repeated-note backdrop in the lower strings. The
second part begins in a slightly more optimistic
mode, now in A flat major, but it doesn’t last and, as
it turns to the minor and the opening theme appears,
Haydn once more proves himself the master of
orchestration, adding the two oboes for the first time
in the symphony, to deliciously plangent effect.
This Adagio ends with a drooping sadness,
ineluctably in the minor.
Next is an Allegro di molto of considerable
vehemence, the violins’ motif defined by big
downward leaps against busy quaver motion from
oboes and lower strings. The music has a frenetic,
Joseph Haydn (1732–1809) slightly desperate feel to it, as if unable to settle.
And even when it turns to the major its busyness
proves unstoppable, and moments before the end
Symphony No.49 in F minor,
a little dotted motif is passed between violins and
‘La passione’ (1768) violas before the music is cut off by three chords,
emphatically in the minor.
1 Adagio
2 Allegro di molto
The Menuet, with oboes in unison with the violins,
3 Menuet has an unusually tragic tread, thanks again to its
4 Finale: Presto unremitting F minor. The only respite in a sonorous
Trio, now in the major, with Haydn giving the
oboes and horns the limelight to delightfully mellow
effect. But this lasts mere moments before the
As so often with Haydn’s music, we don’t know how return of the Menuet. The finale is a dashing affair,
his 49th Symphony came to acquire its nickname, with quicksilver changes of key and a sense of
though, according to one account, it was initially driving energy, which is emphasised by Haydn’s
performed on Good Friday at the Esterházy Palace characteristic thematic economy; like the second
in Eisenstadt, home of Haydn’s patrons. It’s the movement, it too ends very abruptly.
composer’s last symphony to conform to the old
‘sonata da chiesa’ (church) style, with its sequence Programme notes © Sharona Volcano
of slow–fast–slow–fast movements. It’s also one
of the most outstanding examples of his Sturm und
Drang style.
Interval
3Joseph Haydn after the bishop had intoned each ‘Word’ and
delivered a discourse on it.
The Seven Last Words of Christ
Haydn finished The Seven Last Words in time for
(choral version: 1795–6)
performance, both at the Oratorio de la Santa
Cueva in Cádiz and the Schlosskirche in Vienna,
Part 1
on Good Friday 1787. To ensure the music’s wider
Introduzione: Maestoso e Adagio
circulation, he quickly made an arrangement for
1 Largo (Father, forgive them, for they know not
string quartet, and also authorised a keyboard
what they do)
arrangement by another hand. We can, though, take
2 Grave e cantabile (Verily I say unto thee: today
with several pinches of salt the story that the priest
thou shalt be with me in Paradise)
who commissioned The Seven Last Words paid the
3 Grave (Woman, behold thy son, and thou,
composer in the form of a cake filled with gold coins.
behold thy mother)
4 Largo (My God, why hast thou forsaken me?)
Haydn was especially proud of the work,
pronouncing it one of his most successful and writing
Part 2
to his English publisher William Forster that the music
Introduzione: Poco Largo
was ‘of a kind to arouse the deepest impression
5 Adagio (Jesus saith: Alas, I thirst!)
on the soul of even the most naïve person’. In both
6 Lento (It is finished)
its orchestral and quartet versions The Seven Last
7 Largo (Father, into thy hands I commend my spirit)
Words quickly became popular in England, where
Il terremoto (‘The Earthquake’): Presto e con tutta
Haydn’s friend Charles Burney deemed it ‘perhaps
la forza
the most sublime composition without words to point
out its meaning that has ever been composed’.
Either en route for his second London visit in 1794 or
By the mid-1780s Haydn was the most celebrated on his return journey in September 1795 (reports are
composer of the age, and more famous contradictory), Haydn heard a choral arrangement
internationally than any composer had been in his of The Seven Last Words in Passau by the local
lifetime. European publishers fell over each other to Kapellmeister. Not surprisingly, he felt he could
acquire his latest symphonies and quartets, while have done the thing better himself. After his return
prestigious commissions and invitations poured in to Vienna he commissioned a revised text by the
not only from Paris and London (one newspaper redoubtable Baron Gottfried van Swieten, future
even proposed that the composer should be librettist of the The Creation and The Seasons.
rescued from his ‘servitude’ at the Esterházy court Swieten duly adapted and improved the Passau
and ‘transplanted’ to England) but also from as far text, pilfering Karl Wilhelm Ramler’s then famous
afield as Madrid and Naples. Among Haydn’s most poem ‘Der Tod Jesu’ for the final earthquake
successful works, especially in Catholic countries, (‘Il terremoto’), while Haydn reworked the vocal
was his Stabat mater of 1767. Its popularity in Spain lines and amplified his original orchestration by
may have prompted the request from a priest in adding pairs of clarinets and trombones and a
Cádiz for a series of orchestral reflections on second flute. But his most significant additions were
The Seven Last Words of Christ, to be performed the brief a cappella choral chants before each
at the annual Passion celebration on Good Friday Word (except the fifth) and an extraordinarily
4bleak, archaic-sounding A minor Introduzione for to the challenge through carefully planned contrasts
wind (including contrabassoon) and brass, like a of tonality (alternating major and minor keys
Renaissance canzona refracted through a late- throughout), pulse, metre and texture, while binding
18th-century prism. The choral arrangement was the individual Words together by recurrent rhythmic
an immediate success on its premiere on 26 March and melodic figures: most obviously the falling thirds,
1796, and after its publication in 1801 quickly symbolising supplication or resignation, that saturate
eclipsed the orchestral original in popularity. It still the First, Third, Fifth and Sixth Words. The Seven Last
does so today. Words are the loftiest, most fervently Catholic music
Haydn ever wrote, and a magnificent expression
In the preface to the choral version, Haydn gave a of his reverent yet fundamentally optimistic faith.
famous account of the work’s origin: No work of his could be further from the patronising
image of ‘Papa’ Haydn the amiable funster.
‘About 15 years ago I was asked by a canon of
Cádiz to compose instrumental music on The Seven The D minor Introduzione, with its pervasive dotted
Last Words of our Saviour on the Cross. It was rhythms (another of the work’s unifying features),
customary at Cádiz Cathedral [ie, the Oratorio de graphically evokes the pity and cruelty of the scene.
la Santa Cueva] to produce an oratorio every year Characteristically of Haydn, the whole movement
during Lent, the effect of the performance being grows from the opening bars, with their abrupt
greatly enhanced by the following circumstances. contrasts of fortissimo harshness and pathos. At the
The walls, windows and pillars of the church were start of the development Haydn dips mysteriously
hung with black cloth, and only one large lamp from F major to the dusky key of D flat major, before
hanging from the centre of the roof broke the working a forlorn four-note figure through a restless
solemn darkness. At midday the doors were closed sequence of shifting harmonies.
and the ceremony began. After a short service the
bishop ascended the pulpit, pronounced the first As the Latin text under the first violin part makes
of the seven words (or sentences) and delivered explicit, each of the Words opens with a theme
a discourse on it. When this had finished he left determined by the sound and rhythm of the Latin
the pulpit and prostrated himself before the altar. text, drawn variously from the gospels of Matthew,
The interval was filled by music. The bishop then in Luke and John. After the bleak pianissimo close
similar manner pronounced the second word, then of the Introduzione, the music of No.1, in B flat, is
the third, and so on, the orchestra following on by turns urgently imploring and soothing, though
the conclusion of each discourse. My composition its moments of lyrical calm are always precarious.
was subject to these conditions, and it was no In the recapitulation Haydn expands the darkly
easy task to compose seven adagios lasting 10 chromatic passage at the end of the exposition into
minutes each, one after the other, without tiring a climax of passionately rising sequences: typical
the listeners; indeed, I found it quite impossible of his desire to reinterpret and intensify, rather than
to keep to the prescribed duration.’ merely restate, in the final sections of each Word.
Haydn was only too aware of the danger of There is another inspired thematic transformation in
monotony in a sequence of sonata-form slow the Second Word, where the C minor funeral march
movements (even the wind-band interlude has the warms to E flat major for a glimpse of paradise:
outline of a sonata) designed to foster contemplation a broad cantabile for first violin underpinned by
and penitential awe at Christ’s sacrifice. Yet he rose murmuring semiquavers in the second. After the
5hesitations and anxious tonal wanderings of the recapitulation, which slips almost at once from
the development, the recapitulation settles G minor to G major. Anguish has yielded to a spirit
immediately into C major for a still more radiant of hope and reconciliation.
vision of paradise.
The final Word, in E flat – a mellow key for strings
The tenderly ‘feminine’ theme of No.3 in E major, – consolidates this newly won acceptance with the
based on falling thirds, is shaped by the text ‘Mulier, most serenely diatonic music in the work. The two
ecce filius tuus’. Yet the music’s serenity is faintly violins are now muted: a beautiful contrast of colour
undermined by syncopations and an underlying that seems to symbolise Christ’s weakened voice
harmonic tension, with resolving cadences as he nears death. Towards the end the textures
postponed longer than the ear expects. The majestic grow barer and more fragmentary, culminating
progression to a remote key in the recapitulation, in a haunting evocation of ebbing life over a
with a crescendo from pianissimo to fortissimo, repeated cello pedal. The mood is then shattered
is paralleled by the breathtaking distant modulations by the C minor ‘Terremoto’, marked to be played
in the Fourth and Fifth Words. Presto e con tutta la forza, and depicting in a series
of convulsive shocks St Matthew’s description of
Throughout The Seven Last Words Haydn calculates how ‘the earth did quake; the rocks were rent;
his sequence of tonalities for maximum dramatic the graves opened’.
effect. The F minor opening of No.4 sounds all the
more shocking after the compassionate E major Programme note © Richard Wigmore
close of No.3. Reflecting the despair of the text,
this is music of extreme chromatic disturbance.
Haydn also evokes a vivid sense of loneliness and
abandonment in the mournful unaccompanied
figures for first violin. This is the only Word to end
disconsolately in the minor key.
No.5, in A major, sets the first violin’s two-note
phrases, corresponding to the word ‘Sitio’ (and
recalling the ‘Mulier’ motif at the opening of No.3),
against desolate, ‘desiccated’ pizzicato depicting
Christ’s thirst. The music then erupts in a violent tutti
that counterpoints lashing quavers for the two violins
and a painfully contorted motif for viola and cello.
The catharsis comes with No.6, ‘Consummatum
est’, in G minor. Haydn makes inspired use of the
opening motto, based on descending thirds: as an
underlay to the consolatory major-key melody, and
as a mainspring of the searing, proto-Beethovenian
contrapuntal development (a foretaste here of the
Funeral March in the ‘Eroica’). After a climax of
excruciating intensity, the development elides with
6Text & Translation
Haydn The Seven Last Words of Our Saviour on the Cross
Part 1
1 Introduction
2 Vater, vergib ihnen, Father, forgive them,
Denn sie wissen nicht, was sie tun. for they know not what they do.
Luke 23:34
Vater im Himmel, o sieh hernieder Father in Heaven, look down
Vom ewigen Thron! from thy eternal throne!
Vater der Liebe, dein Eingeborner, Loving Father, thy only begotten Son
Er fleht für Sünder, für deine Kinder, prays for sinners, for thy children,
Erhöre den Sohn! grant the prayer of thy Son!
Ach, wir sind tief gefallen, Alas, we have fallen from grace,
Wir sündigten schwer; we have grievously sinned;
Doch allen zum Heil, uns allen, but for us all and for our salvation
Floss deines Sohnes Blut. thy Son has shed his blood.
Das Blut des Lamms schreit nicht um Rach’; The blood of the Lamb does not cry out for
vengeance;
Es tilgt die Sünden. it redeems our sins.
Vater der Liebe, lass uns Gnade finden, Loving Father, let us find grace,
Erhöre den Sohn! Grant the prayer of thy Son.
No.2: Fürwahr, ich sag’ es dir: Verily, I say unto thee:
Heute wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise.
Luke 23:43
Ganz Erbarmen, Gnad’ und Liebe, Full of mercy, grace and love,
Bist du Mittler, Gotteslamm. thou art the mediator, the Lamb of God.
Kaum ruft jener reuig auf zu dir: If he but calls to thee, full of remorse:
Wenn du kommest when thou enterest
In dein Reich, ach, so denke mein! into thy kingdom, alas, think of me!
So versprichst du ihm voll Milde: To him thou didst promise, full of pity:
Heut’ wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise.
7Herr und Gott! Blick auf uns! Lord God! Look upon us!
Sieh an deines Kreuzes Fusse See at the foot of thy Cross
Unsre wahre Reu’ und Busse! our true remorse and repentance!
Sieh, o Vater, unsere Reue! O Father, see our remorse!
Gib uns auch zur letzten Stunde Grant us in our final hour
Jenen Trost aus deinem Munde: that consolation from thy lips:
Heut’ wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise.
No.3: Frau, hier siehe deinen Sohn, Woman, behold thy son,
Und du, siehe deine Mutter! and thou, behold thy mother!
John 19:26–27
Mutter Jesu, die du trostlos weinend, Mother of Jesus, weeping in despair,
Seufzend bei dem Kreuze standst, standing sighing by the Cross,
Und die Qualen seines Leidens and in the hour of bitter parting,
In der Stund’ des bittern Schneidens the torments of his suffering
Siebenfach in dir empfandst. thou didst feel in sevenfold measure.
Kaum mehr fähig, dich zu fassen, Barely conscious in thy anguish,
Und doch standhaft und gelassen, yet ever steadfast and composed,
Nimmst als Sohn den freuen Jünger thou didst take as thy son the faithful disciple
Und mit ihm auch uns als Kinder an. and didst take all of us as thy children.
Mutter Jesu, o du Zuflucht aller Sünder, Mother of Jesus, refuge of all sinners,
Hör das Flehen deiner Kinder. hear the entreaty of thy children.
O du Zuflucht aller Sünder, Refuge of all sinners,
Steh uns bei im letzten Streit, be with us in our final throes,
Mutter voll der Zärtlichkeit, Mother full of tenderness
O steh uns allen bei! be our succour!
Wenn wir mit dem Tode ringen When with death we struggle
Und aus dem beklemmten Herzen and the sighs of our fearful hearts
Unsre Seufzer zu dir dringen, rise aloft to thee,
Lass uns, Mutter, lass uns da nicht unterliegen! let us not, Mother, let us not succumb!
Hilf uns dann den Feind besiegen. Help us to overcome the enemy.
Und steh uns bei im letzten Streit! Be with us in our final throes!
Wenn wir mit dem Tode ringen, When at last with death we struggle
O da zeige dich als Mutter show us that thou art our Mother
Und empfehl’ uns deinem Sohn, o Mutter! and, O Mother, intercede for us with thy Son.
8No.4: Mein Gott! Warum hast du mich My God, why hast thou forsaken me?
verlassen?
Matthew 27:46 (or Mark 15:34)
Warum hast du mich verlassen? Why hast thou forsaken me?
Wer sieht hier der Gottheit Spur? Who can see God’s work in this?
Wer kann fassen dies Geheimnis? Who can grasp this mystery?
O Gott der Kraft und Macht, O God of strength and might,
O Gott der Macht und Stärke O God of might and power,
Wir sind deiner Hände Werke, we are the works of thy hand,
Und deine Lieb, o Herr, hat uns erlöst. and thy love, O Lord, has redeemed us.
O Herr, wir danken dir von Herzen. O Lord, we thank thee from our hearts.
Unserwegen Iittst du Schmerzen, For our sakes thou didst suffer pain,
Spott, Verlassung, Angst und Pein. mockery, abandonment, fear and torment.
Herr, wer sollte dich nicht lieben, Who could fail to love thee, Lord,
Dich mit Sünden noch betrüben? who could sadden thee with sin?
Wer kann deine Huld verkennen? Who could deny thy grace?
Nein, nichts soll uns von dir trennen, No, nothing shall part us from thee,
Allhier und dort in Ewigkeit. here and in eternity.
9Part 2
Introduction
No.5: Jesus rufet: Ach, mich dürstet! Jesus saith: alas, I thirst!
John 19:28
Hemmt nun die Rache, stillt eure Wut! Curb your vengeance, calm your anger!
Menschen, lasset Mitleid euch erweichen, Men, let pity soften you,
Ruft Erbarmung in das Herz! summon mercy to your hearts.
Ihm reicht man Wein, den man mit Galle mischet. They give him wine to drink mingled with gall,
So labt man ihn. that is how they refresh him.
Kann Grausamkeit noch weiter gehn? Can cruelty be harsher?
Nun kann er nicht mehr fassen He who was goodness itself
Den Schmerz, der Wohltun war. can no longer endure the pain.
Ach, im Durst vor seinem Ende Alas, he thirsts before his end
Reichet man ihm Galle dar! and they offer him gall!
No.6: Es ist vollbracht. It is finished.
John 19:30
An das Opferholz geheftet, Nailed to the tree of sacrifice,
Hanget Jesus in der Nacht; Jesus hangs throughout the night;
Und dann ruft er laut: then he loudly cries:
Es ist vollbracht. it is finished.
Was uns jenes Holz geschadet, The harm done to us by that tree
Wird durch dieses gut gemacht. is redeemed by this.
Weh euch Bösen, Woe to you evil ones,
Weh euch Blinden, weh euch allen, woe to you who are blind, woe to you all,
Die ihr Sünden immer häuft auf Sünden! who pile sins upon one another!
Menschen, denket nach! World, consider!
Werdet ihr Erbarmung finden, Will you find mercy,
Wenn er kommt in seiner when he comes in his majesty
Herrlichkeit und seiner Macht? and power?
Rett’ uns, Mittler, vom Verderben! Save us, our mediator, from damnation!
Höre, Gottmensch, unser Schrein! Hear our cries, God-made-man!
Lass dein Leiden und dein Sterben Let not thy suffering and death
Nicht an uns verloren sein. be for nought because of us.
Lass uns einst den Himmel erben Let us some day inherit Heaven
Und mit dir uns ewig freun. and eternally rejoice with thee.
10No.7: Vater, in deine Hände empfehle ich Father, into thy hands I commend
meinen Geist. my spirit.
Luke 23:46
In deine Händ’, o Herr, empfehle ich meinen Geist. Into thy hands, O Lord, I commend my spirit.
Nun steigt sein Leiden höher nicht, Now his sufferings can increase no more,
Nun triumphiert er laut und spricht: now he triumphs loudly and says:
Nimm, Vater, meine Seele, Father, take my soul,
Dir empfehl’ ich meinen Geist. to thee I commend my spirit.
Und dann neigt er sein Haupt und stirbt. And then he bows his head and dies.
Vom ewigen Verderben From everlasting damnation
Hat uns sein Blut errettet; his blood has redeemed us;
Aus Liebe für uns Menschen, aus Liebe for his love for all mankind, for his love
Starb er den Tod der Sünder. he died a sinner’s death.
Du gabst uns neues Leben; Thou gavest us new life;
Was können wir dir geben? what can we give to thee?
Zu deinen Füssen liegen wir, At thy feet, O Jesus,
O Jesu, tief gerührt; deeply moved we lie;
Nimm unser Herz als Opfer an! accept our hearts in sacrifice!
Il terremoto: Er ist nicht mehr. The earthquake: He has departed.
Er ist nicht mehr. He has departed.
Der Erde Tiefen schallen wieder: The depths of the earth resound:
Er ist nicht mehr. he has departed.
Erzittre, Golgotha, erzittre! Tremble, Golgotha, tremble!
Er starb auf deinen Höhen. He died upon your summit.
O Sonne, fleuch O, sun, begone
Und leuchte diesem Tage nicht! and light this day no more!
Zerreisse, Land, worauf die Mörder stehen. Be rent, land, on which the murderers stand.
Ihr Gräber, tut euch auf, Graves, open up,
Ihr Väter, steigt ans Licht! fathers, rise up into the light!
Das Erdreich, das euch deckt, The earth which covers you
Ist ganz mit Blut befleckt. is all stained with blood.
Translation © Gery Bramall
11About the Performers
Gábor Takács-Nagy conductor Conductor of the Budapest Festival Orchestra.
In January 2013 he was nominated Principal Artistic
Partner of the Irish Chamber Orchestra.
Born in Budapest, Gábor Takács-Nagy began He is regularly invited to conduct the Orchestre
studying the violin at the age of 8. As a student at National de Lyon, the Bologna, Calgary, Malaysian
the Franz Liszt Academy, he won First Prize in 1979 and Monte-Carlo Philharmonic orchestras, the Bilkent
in the Jeno Hubay Violin Competition and later and Detroit Symphony orchestras, Orchestra of Dijon-
pursued studies with Nathan Milstein. Bourgogne and the Franz Liszt Chamber Orchestra,
among others.
From 1975 to 1992 he was founding member and
leader of the acclaimed Takács Quartet, performing Gábor Takács-Nagy is also a dedicated and highly
with legendary artists such as Yehudi Menuhin, sought-after chamber-music teacher. He is Professor
Georg Solti, Isaac Stern and Mstislav Rostropovitch. of String Quartet at the Haute École de Musique
In 1996 he founded the Takács Piano Trio and made in Geneva. In June 2012 he was awarded honorary
world-premiere recordings of works by Hungarian membership of the Royal Academy of Music
composers Franz Liszt, Lászlo Lajtha and Sándor in London.
Veress. He is considered one of today’s most
authentic exponents of Hungarian music, and in
particular, that of Béla Bartók. In March 2017
he was awarded the prestigious Béla Bartók-Ditta
Pasztory Prize.
In 1998 he established the Mikrokosmos String
Quartet with compatriots Zoltan Tuska, Sandor Papp
and Miklos Perényi. In 2002 he turned to conducting,
becoming Music Director of the Weinberger
Kammerorchestra in 2006 and, the following year,
Music Director of the Verbier Festival Chamber
Orchestra. The VFCO performs every summer at
the Verbier Festival and also in numerous European
and Asian cities throughout the year. From 2010 until
2012 he was Music Director of the MAV Symphony
Orchestra Budapest. Since September 2011 he has
been Music Director of Manchester Camerata and
in September 2012 was named Principal Guest
12Manchester Camerata with dementia, other mental health issues and
young people in schools across the North.
In partnership with the University of Manchester,
Camerata PhD Robyn Dowlen is pioneering a
Glastonbury openers, UK Ensemble of the Year tool to measure the ‘in-the-moment’ impacts of the
(RPS Music Awards 2017) and ‘Probably Britain’s orchestra’s work for people with dementia – a new
most adventurous orchestra’ (The Times) – the field of study. Camerata is a leader in sharing best
Manchester Camerata is redefining what an practice across the globe – recently visiting Japan
orchestra can do. Famous for innovation, the to share its unique approach in music therapy with
orchestra pops up in all sorts of places, from concert care homes in Osaka.
halls to care homes, and collaborates with a
spectrum of artists, from classical superstars such as Principal supporters of Manchester Camerata
Martha Argerich to the iconic band New Order. include Arts Council England, the Association of
The orchestra opened the Pyramid Stage at Greater Manchester Authorities and Manchester
Glastonbury last year with its collaboration with City Council. The orchestra has a number of
the Hacienda DJs. Manchester Camerata is also generous partners and supporters, including Media
at the forefront of music-led dementia research, Partner Manchester Evening News, and invites new
and its pioneering community programme helps to organisations and individuals to support its journey.
promote social change in its communities.
www.manchestercamerata.co.uk/supportus
The great Hungarian musician Gábor Takács-Nagy
is in his seventh season as Music Director, a post he
holds 2019. This season, Gábor and the orchestra
will continue to push the boundaries of classical
music through the alchemy of pioneering artistic
partnerships that will form the nucleus of innovation
at Camerata.
Exceptional violinist Adi Brett was appointed Leader
in 2014. Adi plays a 1752 Guadagnini violin, kindly
on loan to the orchestra by Jonathan Moulds CBE,
one of the UK’s most inspirational philanthropists.
The orchestra bears the name of Manchester
consciously and believes passionately in making
music with the community of which it is a vital
part. The orchestra’s Camerata in the Community
programme is not about learning music – it’s about
using music to enable people to make positive
change in their own lives.
Camerata is developing ground-breaking research
and evaluation to measure the impact of its work,
highlighting the quality of the projects for people
13Manchester Camerata player list
Violin 1 Flute
Caroline Pether leader Amina Cunningham
Sarah Whittingham Sarah Whewell
Zara Benyounes
Rebecca Mathews Oboe
Minn Majoe Rachael Clegg
Laia Braun David Benfield
Sarah Baldwin
Jody Smith Clarinet
Fiona Cross
Violin 2 Daniel Bayley
Roisin Walters
Rebecca Thompson Bassoon
Rosemary Attree Rachel Whibley
Edward Pether Sarah Nixon
Sian Goodwin
Eliette Harris Contrabassoon
Simon Davies
Viola
Heather Wallington Horn
Alistair Vennart Adam Howcroft
Lucy Nolan Sam Yates
Matthew Maguire
Anthony Jones Trumpet
Neil Fulton
Cello Katherine Curlett
Hannah Roberts
Nathaniel Boyd Trombone
Graham Morris Timothy Chatterton
Barbara Grunthal David Price
Jacob Barns
Timpani
Double Bass Harry Percy
Daniel Storer
Rachel Meerloo
Maria Nolan
14VOCES8 VOCES8 is passionate about music education and
is the flagship ensemble of the music charity VCM
Foundation. Engaging in a broad range of outreach
work that reaches up to 40,000 people a year, the
The British vocal ensemble VOCES8 inspires people group runs an annual programme of workshops and
through music and sharing in the joy of singing. masterclasses at the Foundation’s home in London,
The group tours globally and performs an extensive the Gresham Centre at St Anne & St Agnes Church.
repertoire both in its a cappella concerts and in Dedicated to supporting promising young singers,
collaborations with leading orchestras, conductors the group awards eight annual choral scholarships
and soloists. through the VOCES8 Scholars initiative. The
ensemble is also Associate Ensemble for Cambridge
It has performed at many notable venues University and delivers a Masters programme in
including the Wigmore Hall, Bridgewater Hall, choral studies.
Elbphilharmonie, Cité de la Musique, Vienna
Konzerthaus, Tokyo Opera City, NCPA Beijing, As official Ambassadors for Edition Peters, the
Mariinsky Theatre Concert Hall, Singapore’s Victoria ensemble publishes educational material including
Concert Hall and the Palacio de Bellas Artes in the ‘VOCES8 Method’. Developed by Paul Smith,
Mexico City. This season the ensemble adds the co-founder of VOCES8, this renowned and unique
Sydney Opera House, Muziekgebouw aan’ _t teaching tool is available in four languages and
IJ and La Seine Musicale Paris to the list. It also adopts music to enhance development in numeracy,
gives concerts with the Academy of Ancient Music, literacy and linguistics.
Manchester Camerata, the Edvard Grieg Kor,
Hugo Ticciati, the Orchestre Philharmonique de
Monte-Carlo and with violinist Rachel Podger, with
whom the critically acclaimed ‘Guardian Angel’
project will continue. Touring highlights of the season
include concerts throughout the UK and Europe,
across the USA and Japan, and debut visits to
Australia and Lithuania.
VOCES8 has an ongoing programme of recordings,
videos and live broadcasts and is heard regularly on
international television and radio. The ensemble is
a Decca Classics artist and has released acclaimed
recordings, with a new album planned for this
year. VOCES8 has premiered commissions from
Alexander Levine, Alec Roth, Ben Parry, Ola Gjeilo,
Philip Stopford, Graham Lack, Thomas Hewitt
Jones and Owain Park. 2019 will see the premiere
of a commission by Jonathan Dove to mark the
culmination of his period as the group’s Composer-
in-Residence.
15VOCES8 singer list
Soprano
Andrea Haines
Eleonore Cockerham
Alto
Katie Jeffries-Harris
Barnaby Smith artistic director
Tenor
Blake Morgan
Sam Dressel
Baritone
Christopher Moore
Bass
Jonathan Pacey
16Edvard Grieg Kor Edvard Grieg Kor singer list
The Norwegian vocal ensemble Edvard Grieg Soprano
Kor, founded and based in Bergen, is the resident Hilde Veslemøy Hagen
a cappella ensemble at Troldhaugen, the home Rachel Ambrose Evans
of Edvard Grieg. Displaying versatility across all
musical genres, it performs regularly with the Alto
Bergen Philharmonic Orchestra and also forms the Turid Moberg
heart of the Chorus of Bergen National Opera. Daniela Iancu Johannessen
It is rapidly gaining a reputation as a leading
eight-part a cappella ensemble, giving more than Tenor
50 performances annually throughout Norway and Tyler Ray
internationally. Leading composers have written Paul Robinson musical director
numerous works and arrangements especially for
the choir, including an eight-part arrangement of Bass
Grieg’s Holberg Suite and a setting of Våren by Ørjan Hartveit
David Lang. David Hansford
In addition to its busy performing schedule, the
choir manages a comprehensive development and
education programme, dedicated to encouraging
a cappella singing on the highest level: this includes
five children’s choirs in Bergen and the Edvard Grieg
Ungdomskor (whose members are aged 16–24),
whose eclectic work has included an appearance
in concert with the Rolling Stones.
Edvard Grieg Kor has recently participated in
performances of Schoenberg’s Gurrelieder with
the Berlin Philharmonic Orchestra conducted by
Sir Simon Rattle, as well as Britten’s War Requiem
and Peter Grimes, Elgar’s The Dream of Gerontius
and Haydn’s Die Schöpfung. In 2017 the choir’s
recording of Janáček’s Glagolitic Mass with the
Bergen Philharmonic Orchestra was nominated
for a Grammy award.
17Acknowledgments
The Bridgewater Hall Season Sponsor
Manchester Airport
The Bridgewater Hall The Bridgewater Hall
Members Community Education Trust
Sponsors
Alto
HelmsBriscoe
Brother
New Charter Housing Trust
Tony & Daniela Coxon
Great Neighbourhoods
Steve Dempsey
Endress and Hauser Ltd
Green Contract Services
Tenor
Beaverbrooks
C&O Wines
Soprano
Edmundson Electrical Ltd
The Bridgewater Hall Colophon
Senior Management Team Published by The Bridgewater Hall. Information correct at time of press.
The Bridgewater Hall is managed by SMG Europe Holdings Limited.
Chief Executive Andrew Bolt The construction of The Bridgewater Hall was funded in partnership by
Head of Marketing Dawn Yates Manchester City Council and Manchester Development Corporation with
assistance from the European Regional Development Fund. The ongoing
Bars & Catering Manager Gemma Brooks operation of the Hall is now the responsibility of an independent
Executive Assistant Jack Mottram charitable trust, Manchester Concert Hall Limited.
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