Bournemouth Symphony Orchestraconcert season 2015 / 16

LighthousePoole’s Centre for the Arts

Welcome

The BSO has a unique remit to provide world-class music and cultural engagement to communities across the South and South West and in doing so brings national and international recognition to our region. Your support has never been more important to sustain the future of this cultural beacon.

I would like to thank everyone who supports this remarkable organisation.

Dougie Scarfe Chief Executive

As we launch the 2015 / 16 season our excitement at the new programme is only enhanced by the memory of so many outstanding performances by the Orchestra in the last year. As ever our musicians lay at the heart of everything we do at Bournemouth Symphony Orchestra and great credit must go to them for their brilliant playing. Kirill Karabits’ inspiring artistic leadership of the organisation is being appreciated by ever growing audiences and we are delighted that Kirill’s renewed commitment to the

BSO as our Chief Conductor will see him leading us to our 125th Anniversary in 2018 and beyond. These are indeed exciting times.

The season is full of outstanding programmes and I am particularly excited by our artistic rostra, with many performers new to the BSO joining those we have known and loved for many years. For me it is this mix that builds a season into a memorable journey for musicians and audiences alike. We are especially delighted to welcome Augustin Hadelich as our Artist-in-Residence for the season.

r straussSalome

Kirill Karabits conductor

Lise LindstromSalome

James RutherfordJochanaan

Kim BegleyHerodes

Birgit RemmertHerodias

Andrew StaplesNarraboth

Salome

One of the most ground-breaking works of the 20th century, Strauss’ 1905 opera caused a sensation with its almost unimaginable orchestral power and dramatically gripping story-telling. The libretto is Strauss’ own German translation of Oscar Wilde’s lurid retelling of the biblical story of Salome, who dances for King Herod and in return can ask for whatever she wishes. Its highly innovative music matches the psychological ambiguity and intensity of the plot. Strauss employed an enormous orchestra which he used to comment on the extreme emotional and psychological content of the situation, expressing horror by way of dissonance,sudden splashes of colour and

word painting; creating a giant orchestral tone poem with voices. There are many extended orchestral passages including the extraordinary ‘Dance of the Seven Veils’ during which the music pounds relentlessly until Salome is exhausted and bared, both physically and psychologically. And what does she want? The head of John the Baptist on a silver platter!

wednesday

30 september 7.30 pm

Lise Lindstrom

weberEuryanthe Overturebrahms Piano Concerto No. 1saint-saens Symphony No. 3 ‘Organ’

Yan Pascal Tortelierconductor

Louis Lortie piano

Organ Symphony

Recognised at once as a landmark, Saint-Saëns’ Third Symphony had a powerful impact on later symphonists with its unconventional form and extended thematic development from a few simple opening ideas. It reveals a genuine flair for sumptuous orchestral colour, suave and unforgettable melody and brilliant craftsmanship – the zenith of his symphonic output. Brahms spent the greater part of the 1850s building his first orchestral masterpiece, the D minor Piano Concerto, out

of material meant for other works. It is a bold and daring work, stormy and dramatic, tender and lyrical, and filled with youthful passion and surging power written at a time of intense personal experiences for Brahms, most of which revolved around his complicated relationship with Robert and Clara Schumann. Schumann himself appraised Weber’s operatic gem as “a chain of sparkling jewels from beginning to end – all brilliant and flawless.”

wednesday

7 october 7.30 pm

Supported by

BSO Endowment Trust in memory of Canon & Mrs Ivor Jeffrey-Machin

de fallaThe Three Cornered

Hat Suiterachmaninov

Piano Concerto No.2stravinsky

Petrushka (1947 version)

Carlos Miguel Prietoconductor

Boris Giltburgpiano

Petrushka

Stravinsky’s great ballet has gone through a fascinating series of metamorphoses since first conceived as a concert piece, inspired by the immensely popular puppet plays of 19th century Russia. The score is one of his most brilliant achievements, bursting with the energy and inventiveness of youth. The depth of characterisation is astonishing; Stravinsky gives the melancholy puppet enough personality to make listeners care about him, without letting us forget that he

is made of straw and cloth, not flesh and blood. Rachmaninov’s most enduring masterpiece is the Second Piano Concerto. Rising out of mysterious depths of bell-like tolls, it quickly establishes itself as a rich and mature Romantic work with its surging themes, incessant energy and yearning passion that never fail to stir the emotions. In contrast de Falla’s light and airy work is a highly stylised depiction of Spanish life.

wednesday

14october

7.30 pm

Jesper SvedbergSupported by

Ian Wilson

jc bachAmadis des Gaules:Overture & SuitemozartViolin Concerto No.6 in D

mozartSymphony No.31 ‘Paris’mozart Chaconne from Idomeneo

Reinhard Goebelconductor

Mirijam Contzenviolin

Mozart by Goebel

Arriving in Paris in 1778, Mozart soon started writing for the Parisian taste for colour and excitement, and Symphony No.31 certainly offers entertainment of the highest order, grabbing the listener’s attention instantly and continuing with athletic energy and brilliant vitality and confidence. Mozart’s compositional development is also apparent in the controversial Violin ConcertoK271a but is it Mozart or not? Either way it is certainly worthy

of performance with its richnessof orchestral writing and dashing solo flourishes. More of a grand rondo than a traditional chaconne, Mozart crafted a richly scored, dignified and noble orchestral interlude reflecting the opera’s central theme of averted disaster and final harmonious conclusion. Also written for a Paris premiere in 1779, Johann Christian Bach’s opera did not receive public success, a pity as the music is dynamic and accomplished.

wednesday

21 october 7.30 pm

beethovenEgmont Overture

prokofievPiano Concerto No.1

shostakovichSymphony No.11 ‘The Year 1905’

James Gaffiganconductor

Alexander Gavrylyukpiano

1905

Shostakovich’s massive Eleventh Symphony depicts the events of 1905 when a first, unsuccessful Russian revolution had taken place. Satisfying the cultural bureaucrats’ directive for straightforward, uplifting music, it cleverly and subversively camouflages thematic materials from several revolutionary songs which strongly condemned the actions of dictators. It is a remarkable example of thematic continuity and integration, much of it derived from the

opening idea, which returns again and again, unfolding without a break. With its bravura solos and daring harmonies, Prokofiev’s first ‘mature’ composition announced him as a musical force to be reckoned with. This was a new kind of fiery Futurist music for the 20th century, full of hard, driving energy and speed. Beethoven’s dramatic and stormy overture is equally as stirring as it builds to its exhilarating climax and victory over tyranny.

wednesday

28 october 7.30 pm

Edward KaySupported by

Stephen Elder

prokofievSinfoniettashostakovichCello Concerto No.1haydnSymphony No.104 ‘London’

Kirill Karabitsconductor

Steven Isserliscello

Isserlis plays Shostakovich

Shostakovich’s First Cello Concerto has assumed a place as one of the most popular and often-performed works for cello. With its rousing themes and emotional melodies, at times witty, at other times passionate, and virtuosic writing for the soloist, it is a most amazing accomplishment from its march-like opening to furious conclusion. His final symphony, No.104 was one of twelve Haydn composed for a series of London concerts in 1795. Showing a

lightness of touch and classical grace at its finest, it is the crowning work of a master. Prokofiev wrote the Sinfonietta at a time when he was turning away from the full orchestral sound and becoming increasingly interested in a pared-down Mozartian scale. Full of sudden key shifts and capricious energy it is a delightful study of orchestral colour and typical inspired touches.

wednesday

11 november 7.30 pm

Steven IsserlisSupported by

Terence & Annette O'Rourke

franckSymphony in D minor

canteloubeSongs of the Auvergne (Series 1)

poulencGloria

David Hillconductor

Elizabeth Wattssoprano

Bournemouth Symphony Chorus

Glorious Song

Canteloube combined his love of collecting folk melodies and his skill as a composer to create an exquisite set of songs which evoke the rural beauty of his native countryside and the people who occupy it – elderly peasants, shepherds and shepherdesses and harvesters at work in the fields. The orchestral textures illuminate but do not overwhelm the simple melodic lines, articulating a wide variety of moods with a sure and delicate touch. Poulenc’s fabulous

Gloria quickly gained its place in core repertory and remains one of the most popular of all 20th century choral works. This is not surprising; it possesses both an amazing brilliance and joie de vivre, as well as passages of exceptional lyrical beauty. Franck’s powerful Symphony is his most enduring orchestral work. Wagnerian in scale and Romanticism, it is a wonderfully original work teeming with invention, excitement and interest.

wednesday

18 november 7.30 pm

“the bso’s performance on this recording illuminates

prokofiev’s scores with sensitivity and panache, and in the case of the

first symphony, refreshing a well-known work with

ear-catching spark”The TelegraphOnyx CD of

Prokofiev Symphonies 1 & 2November 2014

beethovenPiano Concerto No.4elgarSymphony No.2

Vassily Sinaiskyconductor

Kirill Gersteinpiano

With references to the brilliant warmth and light of Italy and the rugged grandeur of the Cornish coast, Elgar’s Second Symphony is far more complex and deeply personal than his First. Riddled with doubts, questioning and conflict it reflects not only the true spirit of the age but also the personality of the composer as it meanders from extrovert exuberance to melancholy introversion. Elgar himself stated that “I have written out my soul.”In this most lyrical, poetic and fantastical of his concertos, Beethoven does not abandon Mozartian concerto form but imbues it with a genuinely romantic voice. It is ardent and melancholy, heroic and ethereal, anguished and whimsical.

Elgar Unmasked wednesday

25 november 7.30 pm

Holly Randall and Tom Beer

sibeliusThe Tempest Suite

griegPiano Concerto

sibeliusTapiola

sibelius Symphony No. 7

Kirill Karabitsconductor

Juho Pohjonenpiano

The incidental music for The Tempest, the tone poem Tapiola and the Seventh Symphony were Sibelius’ last significant compositions. Possibly the most ambitious and extraordinary symphony in the repertoire – a work of great confidence and affirmation – the Seventh is more a sort of giant rondo. Comprising one seamless flow of thematic development it builds from a few melodic scraps towards a final upward sweep and trombone hymn that

seems to reach out to infinity. Contrastingly, Tapiola is dusky, mysterious and brooding – evoking the god of the forest and a seemingly endless northern landscape, untouched by human warmth, whilst the seldom performed music for Shakespeare’s final play is full of beauty, imagination and power. With its dreamlike, intoxicating atmosphere of magical sonorities it is the perfect foil for Grieg’s nearly perfect concerto, itself inspired by the Scandinavian countryside.

Sibelius 150 wednesday

2 december 7.30 pm

Supported by

Terence & Annette O'Rourke

Matt King and Carol Paige

Christmas & New Year with the BSO

wednesday 16 december7.30 pm

Handel’s Messiah

Paul Goodwinconductor

Rebecca Bottonesoprano

James Laingcounter-tenor

Benjamin Huletttenor

Neal Daviesbaritone

Bournemouth Symphony Chorus

saturday 19 december7.30 pm

Last Night ofthe ChristmasProms

Pete Harrisonconductor

Louise Dearmansinger

Stephen Wellersinger

wednesday 23 december7.30 pm

Celebration of Christmas Carols

Frank Zielhorstconductor

Bournemouth Symphony Chorus and Youth Chorus

friday 1 january 3pm

New Year’s Day Johann Strauss Gala

Aleksandar Markovicconductor

Rebecca Bottonesoprano

liadovKikimorashostakovich Violin Concerto No.1beethovenSymphony No.5

Kees Bakelsconductor

Valeriy Sokolovviolin

Sokolov plays Shostakovich

More akin to a symphony, Shostakovich’s First Violin Concerto is a real tour de force of a piece, calling on everything in the violinist's technical arsenal as well as vast physical and emotional stamina. The wide emotional range of its four-movement structure encompasses brooding, elegiac melancholy with savage, mocking sarcasm before it gives itself up totally to a rhythmic energy and brilliance of colour. Probably the best-known work

in classical music, Beethoven’s Fifth Symphony is one of the great masterpieces of the early 19th century. If listened to with fresh ears it is still possible to be astonished at the force and compressive power of this awesome vision of triumph over tragedy. Liadov’s enchanting descriptive miniature starts slow and somewhat cryptic before becoming faster and more malevolent before finally fading away.

wednesday

13january 7.30 pm

“hats off to karabits and the orchestra

for their commitment, stamina and obvious relish

for sepulchral hues”The Times

Penderecki Symphony No. 4Poole, Lighthouse

February 2015

dutilleuxTout un monde lointain

(Cello Concerto)tchaikovsky

Manfred Symphony

Kirill Karabitsconductor

Jean-Guihen Queyrascello

Manfred

Tchaikovsky saw himself as the victim of a cold, cruel fate. He felt a strong empathy for other people in the same situation, be they real or fictitious. That is why he identified so closely with Manfred, the lonely, heartbroken wanderer at the centre of Byron’s epic poem. Deeply programmatic, and technically challenging, the Symphony is often overlooked, yet it has a great deal to offer: bountiful drama, colour and a memorable series of melodies. Dutilleux’s concerto for cello

and orchestra is an intense meditation on the poet Charles Baudelaire; each of the five movements begins with a fragment of verse. Introspective, almost spooky, the luminous timbres and delicate textures collide with mighty climaxes in the orchestra whilst the demanding cello writing involves heart-rending melodies at the top of the instrument’s range and cluttered tangles of pizzicato notes near the bottom.

wednesday

20 january 7.30 pm

Jean-Guihen Queyras

kodalyDances of GalantabeethovenPiano Concerto No.3brahmsSymphony No.3

Christoph Königconductor

John Lillpiano

Beethoven & Brahms

In its final form, this concerto represented a pivotal moment for Beethoven between his first two fully Classical examples and the more Romantic models that would follow. It pays tribute to Mozart’s great masterpiece of the same key, yet also transcends the Mozartian constraints in a way only Beethoven could. Its opening has an unprecedented sense of power, purpose and potential; this is not just the start of a musical piece, it is the start of a journey into the unknown. Brahms’ Third

Symphony is more individual and characteristic than its two predecessors. In its striking mixture of passion and pessimism, of restlessness and serenity, Brahms offers a compelling, highly revealing musical self-portrait, rich with references to his own thoughts about life and love. The Dances of Galanta are based on authentic gypsy themes brought to vivid, colourful life by Kodály’s great skill as an orchestrator.

wednesday

27 january 7.30 pm

macmillanLittle Mass

mendelssohn Calm Sea and

Prosperous Voyageelgar

Enigma Variations

Kirill Karabitsconductor

The MacMillan Choir

Great Britons

A work dazzling in its ingenuity, technical skill and range of expression Enigma Variations was an immediate popular success and transformed Elgar from a moderately successful provincial composer to a national and international figure. Musically, the original theme is remarkable in that it has the same rhythm whether it is played backwards or forwards and the two halves of the phrase suggest two different keys, one major and one minor

which builds much drama into the melody. The Little Mass is a major new choral work, co-commissioned by the BSO from the man who has been called Britain’s greatest living composer. MacMillan’s music is passionate, sincere and charged with emotion, and bringing together a special choir of young people from Bristol, Bournemouth and Poole under the baton of Kirill Karabits, this will be a landmark event.

wednesday

10 february 7.30 pm

Jane Ferns

Pete Harrisonconductor

Heroes & Aliens epic galactic soundtracks

Join the BSO and boldy go where no orchestra has gone before in another blockbuster concert featuring music from some of the most iconic and successful space movies of all time, including Apollo 13, Star Wars, Star Trek, ET, Close Encounters of the Third Kind, Avatar and War of the Worlds... plus many more.

saturday

13 february 7.30 pm

Colette Overdijk and Mark Derudder

stravinskyDumbarton Oaks

tchaikovskyViolin Concerto

schumannSymphony No.1 ‘Spring’

Kirill Karabitsconductor

Augustin Hadelichviolin

Hadelich plays Tchaikovsky

Tchaikovsky’s Violin Concerto is a perennial favourite of violinists and audiences. Vibrant and confident, ironically, it dates from a crisis-laden two years in his life after the breakdown of his disastrous marriage. Folk music and French chanson merge with dazzling fireworks in this marvellous showpiece. When the Spring Symphony burst forth in a torrent of confidence and creativity in those famous four days of “symphonic fire...

sleepless nights,” Schumann was still a newcomer to orchestral music; yet it possesses the most successful use of orchestral colour that he ever obtained. Stravinsky’s concerto for orchestra derives inspiration not only from Bach but also from musical ideas from across the entire 18th century, giving it a particularly eclectic air – a blend of traditional counterpoint and fugal writing with Stravinsky’s spiky melodic lines and syncopated rhythms.

wednesday

17 february 7.30 pm

Supported by

Richard Bagley

mussorgsky A Night on the Bare MountainscriabinPiano ConcertoberliozSymphonie Fantastique

Alexander Vedernikovconductor

Yevgeny Sudbinpiano

Fantastic Berlioz

With its daring music and staggeringly inventive use of the orchestra, Berlioz’ new symphony sounded like no other music yet written when it was first performed in the 1830s. With bold, unexpected harmonies, and melodies united around a recurring musical motif that he called the ‘idée fixe’, that are still, to this day, unlike anyone else’s, there isn’t a page of this score that doesn’t contain something distinctive and surprising.

Scriabin’s Piano Concerto is a passionate outpouring of fluent elegance and supreme delicacy. It gives no hint of his later idiosyncratic musical philosophy and language, and the influence of both Chopin and his fellow Moscow Conservatoire classmate, Rachmaninov, can be heard throughout. More nightmarish visions abound in Mussorgsky’s interpretation and depiction of a Witches’ Sabbath.

wednesday

24 february 7.30 pm

Magda Gruca-Broadbent and Janice Thorgilson

chaussonSoir de fête

de fallaNights in the

Gardens of Spaindebussy

Pelléas et Mélisande Suitestravinsky

The Firebird (1919)

Fabien Gabelconductor

Frank Braleypiano

Firebird

One of the most impressive calling cards in the history of music, The Firebird is a work of such brilliance that it could only have been written by Stravinsky, mixing the orchestral mastery of his Russian mentors with the rhythmic vitality of the revolutionary about to burst out of his shell. The musical language shifts between exotic, chromatic gestures to illustrate the supernatural dimension and

the sing-song simplicity of folk song for the mortals creating a dazzling, evocative atmosphere. A Moorish exoticism is also present in de Falla’s set of symphonic impressions of the great gardens of Granada and Cordoba, incorporating dance rhythms of Andalusia, whilst Chausson’s more personal orchestral picture postcard of nocturnal revelries is altogether more dreamlike and ethereal.

wednesday

2 march 7.30 pm

Fabien GabelSupported by

Arts University Bournemouth

German Requiem

Serene and deeply moving, Brahms’ Requiem is a sublime fusion of his mastery of vocal and symphonic music: a study in unity and balance. The first half is devoted almost entirely to earthly suffering, lamentation and mourning over the nothingness of human life, whilst in the second, mourning is gradually transformed, passing through the stages of pious faith, consolation, and joy in the living God, to

celestial bliss and triumphant resurrection. Mozart was just sixteen when he wrote this exuberant vocal motet, probably his earliest work that is still regularly performed. It is in effect a concerto for soprano and orchestra, and the writing exploits a complete arsenal of virtuoso technique – scales, leaps, trills – as well as calling for beauty of tone and lyrical line.

mozart Exsultate Jubilatebrahms Ein Deutsches Requiem

Simon Halseyconductor

Sarah Tynansoprano

Jacques Imbrailobaritone

Bournemouth Symphony Chorus

wednesday

9 march 7.30 pm

“this was a resplendent performance of a refulgent work.

i would have happily sat through the whole

thing again”Seen and Heard International

Finzi Intimations of ImmortalityPoole, Lighthouse

March 2015

mozartPiano Quartet in G minor

ysayeSolo Violin Sonata No. 6

janacekSonata for Violin & Piano

mendelssohnOctet

Augustin Hadelichviolin

Sunwook Kimpiano

BSO Strings

Celebrity Recital augustin hadelich with sunwook kim

Continuing to astonish audiences with his phenomenal technique, poetic sensitivity, and gorgeous tone, Augustin Hadelich has established himself as one of the most sought-after violinists of his generation. His remarkable consistency throughout the repertoire, from Paganini to Brahms to Bartók, is seldom encountered in a single artist. Augustin combines forces with last year’s BSO artist-in-residence,

Sunwook Kim, in Janácek’s demanding and intense Sonata; and with members of the BSO Strings to perform two of the great works of the chamber music repertoire – Mozart’s dramatic G minor Quartet and Mendelssohn’s stunning Octet which, in his inimitable style, forges the best of Bach for its counterpoint, Mozart for its grace, and Beethoven for its power.

wednesday

16 march 7.30 pm

Sunwook KimAugustin Hadelich

“the essence of hadelich’s playing is beauty:

revelling in the myriadways of making a phrase

come alive on the violin,delivering the musical

message with no technicalimpediments whatsoever”

Washington PostJanuary 2015

js bachSuite No.3brittenSerenade for Tenor, Horn & StringsmozartSymphony No.39

Kirill Karabits conductor

John Mark Ainsley tenor

Nicolas Fleuryhorn

English Serenade

Hauntingly beautiful and compellingly emotional, Britten’s Serenade is an insightful and imaginative setting of poems which span five centuries of English verse, united under a loosely connecting theme of evening, the night-time and sleep. The music is immediately gripping, the tenor's penetrating vocal lines matched in spades by the wonderful horn calls. It is without question a genuine masterwork of the 20th century. Mozart’s Symphony No.39 opens grandly, with a darkly dramatic introduction in which orchestral texture and harmonic dissonance increase to near breaking point.

This gives way to superlatively crafted work of contrasting melodic invention and rhythmic and contrapuntal exploration. Bach’s orchestral suite in the French style opens with a majestic overture, a curtain raiser to a series of exquisite dances which include the famous ‘Air on a G string’ as well as a jubilant gavotte and final festive gigue.

wednesday

6 april 7.30 pm

Kirill Karabits

beethovenPiano Concerto No.5 ‘Emperor’

shostakovich Symphony No.10

Andrew Littonconductor

Simon Trpceskipiano

Imperial Concerto

The Fifth Piano Concerto, essentially a three-movement symphony with solo piano, is impressively imperial in scale and impact and represents the culmination of what we have come to think of as Beethoven’s ‘heroic’ manner. It far surpassed any and all other concertos in its expression of majesty and power, immediately established in its opening sonorous orchestral chords which give way to

cadenza-like flourishes from the piano. Shostakovich’s Tenth Symphony is forty-eight minutes of tragedy, despair, terror, and violence and two minutes of triumph; a reflection of the Stalin years in Russia, when as many as 20 million people died, or else lived in constant fear, and a collective sigh of relief at the dictator’s death just months before the premiere.

wednesday

13 april 7.30 pm

wagnerTannhäuser Overture walton Cello ConcertosibeliusSymphony No.2

Jac van Steen conductor

Quirine Viersencello

Fire & Ice

The Second Symphony, from its first performance to today, remains one of Sibelius’ most popular works. Its importance at the time was also due to the Finnish struggle for independence and early reactions to the work included some efforts to read into it an overtly nationalistic, patriotic programme. Much attention was focused on the heroic finale, of course, but

also on the long, anguished slow movement, music of great passion and pain, surging along in dramatic waves toward a grim conclusion. Walton’s Cello Concerto is introspective and reflective. Wistful romanticism and lush harmonies evoke the peace of the English countryside. It is a carefully balanced work; sizzling virtuosity is occasionally interrupted by moments of poignant lyricism. The overture to Tannhäuser presents a kind ofsynopsis of the operatic action, interweaving the struggle between sacred and profane love.

wednesday

20 april 7.30 pm

Jac van Steen

r straussDon Juansibelius

Violin Concertotchaikovsky

Symphony No. 4

Thomas Dausgaardconductor

Augustin Hadelichviolin

Violin Alchemy

The atmospheric opening of Sibelius’ only concerto casts an immediate spell of mystery. The solo violin emerges out of a murmuring bed of strings, with a long, yearning theme of ever-growing intensity, which continues to be developed throughout before reaching the thrilling finale – a pulsing hybrid of polonaise and rondo with some gypsy flavour thrown in for additional colour. As Tchaikovsky admitted, the Fourth Symphony is autobiographical; turbulent but finally triumphant; reflecting his

recent tribulations as well as his eventual recovery. The principal idea of the work, he said, is the implacability of Fate, a force that

“poisons the soul” by impeding the individual’s quest for peace and fulfilment. Strauss’ tone poem is a blend of sonata form and rondo, with Don Juan’s swashbuckling theme as the mainstay between romantic episodes and other scenes.

wednesday

27 april 7.30 pm

Thomas Dausgaard

“a terrific performance, full of taut energy and

vigour, with a wonderful climax, affirming that

the bso had well and trulysettled into the exciting

season ahead”Bachtrack

Dvorák Symphony No.6Poole, Lighthouse

January 2015

Supported by

Investec Wealth & Investment

brahms Violin Concerto mahler Symphony No.1

Kirill Karabits conductor

Vilde Frang violin

Titans

A new symphonic universe was born in Mahler’s First Symphony, one in which life and music remained virtually inseparable. This sound world invariably reflected his personal conflict, religious and philosophical outlook, and the current state of his psyche. The robust score bursts with the boldness and fire of youth and flirts cheekily with traditional ideas of good taste,

and what struck so many ears as shapeless and vulgar in 1889 is now one of his most popular pieces with its tunefulness and exciting fanfares. Brahms’ concerto stands as one of the largest and most challenging works in the solo violin repertoire. It is a song for the violin on a symphonic scale – a lyrical outpouring of joyous energy from its confident yet wistful opening to fiery finish.

wednesday

4 may 7.30 pm

“karabits’ brahms cycle underlines just

what an exciting prospect this young ukrainian

conductor is. he combined scholarly rigour with

a freshness and buoyancy that never flagged”

The GuardianBrahms Symphony Cycle

Poole, LighthouseMay 2014

Anna Pyne and Kevin Smith

The BSO and you

In the last year Bournemouth Symphony Orchestra has performed over 115 symphonic concerts with a further 35 ensemble performances and more than 300 separate school workshops, recitals, tea dances and other community activity across the South and South West of England and beyond. It is not surprising then, that you, our loyal supporters and audience members, voted the BSO the World’s Favourite Orchestra in the 2014 Bachtrack global poll of symphony orchestras.

Over 125,000 people attended a BSO concert and BSO Participate engaged with more than 30,000 children, students and community groups including working with people with dementia, special ‘meet the music’ seminars and also our free concerts for primary schools which saw the BSO play to over 6,000 youngsters. And did you know? Any child under 18 can come to almost every BSO concert for just £1!

In order to support all this activity and maintain the high artistic standards that we strive to attain in everything we do, we are increasinglyreliant on financial support above and beyond the grants we receive and the income we generate.

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thank youTo our Performance Patrons and Champions and to everyone who supports the BSO through donations, membership or by volunteering their time.

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Special prices apply for wheelchair users and up to one companion. Please contact the ticket office for details. There are no discounts for disabled patrons, but an accompanying companion qualifies for a 50% discount.

additional concertsTickets on sale now

Messiah (16 Dec)Christmas Proms (19 Dec)Johann Strauss Gala (1 Jan)Heroes & Aliens (13 Feb)

£33 £29 £25 £23 £20 £15 £10Christmas Carols (23 Dec)

£26 £20 £17 £15£13 £11 £9Celebrity Recital (16 Mar)

£19

Group booking discounts10 or more tickets 10%20 or more tickets 20%30 or more tickets 30%Group bookings must be paid in full one month in advance of the concert date, after which tickets will be released for resale.

tickets0844 406 8666bsolive.com

by roadLighthouse is a 10-minute drive away from Bournemouth and 40 minutes from Southampton. Travelling west on the M27 the road becomes the A31 to bypass Ringwood, Ferndown and Wimborne Minster. Remain on the bypass until reaching the roundabout junction signposted A349 Poole town centre. Turn left here onto the A350 (Holes Bay Road). At the next round-about turn left over the flyover, cross the next roundabout and you will see Lighthouse on the left.satnav use postcode BH15 1UG

parkingThere are a number of car parks close by. 24-hour parking is available at the Dolphin Shopping Centre multi-storey car park a short walk across the road. It is possible to pay for parking at either the machines in the car park or one located in Lighthouse. There is also a car park located at Dolphin Swimming Centre on Kingland Road only a 5-minute walk away. Disabled parking is available directly outside Lighthouse.

Kingland Road Poole BH15 1UG

public transportLighthouse is opposite Poole bus station with an underpass or a level access crossing providing easy access across the road.

Poole rail station is a 5-minute walk from Lighthouse. Follow signs to ‘Arts Centre’, which direct you through the shopping centre.

Kirill Karabits Chief Conductor

Bournemouth Symphony Orchestra2 Seldown Lane, Poole, BH15 1UF Tel: 01202 670611 www.bsolive.com

BSO is a Charity Registered No.208520 and a company limited by guarantee Registered No.538351 England.

All information is correct at the time of going to press – however artists are subject to availability and the BSO reserves the right to make any necessary changes from the advertised programmes.

www.bsolive.com Bournemouth Symphony Orchestra

@BSOrchestra

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BSOrchestra