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Programme notes

Debussy composed his Trois mélodies settings of poems by Paul Verlaine in 1891 and his friend Pierre Louÿs described them as ‘Verlaine-like [‘verlainiennes’] down to the last quaver’. Louÿs clearly heard an echo of Verlaine’s qualities of simplicity elusiveness and melancholy in these songs – as well as understanding the characteristic Verlaine &'+1#*$ '"#,2'ɑ#" �1 2&# +-12 '+.-02�,2aspect of his poetry: its ‘musicality’ and enhancing this with actual music. All three poems come from Verlaine’s collection Sagesse ɑ012 .3 *'1&#" ',1881. �&# ɑ012 1-,% T�� +#0 #12 .*31belle’ is animated throughout by swirling piano arpeggios until the very end when the music becomes still at the lines ‘Plus belle que tous / Meilleure que nous!’ (‘Lovelier than all / Better than we!’). Debussy dedicated this song to the composer Ernest Chausson. Marked ‘Lent et dolent’ ‘Le son du cor’ begins with the most desolate and despondent of horn calls soon joined by the singer whose music is almost *')# �, ',!�,2�2'-,G �&# ɑ,�* 1-,% '1#,2'0#*7 "'Ɏ#0#,2J 2&# .-#2 1.#�)1 -$ �‘lazy Sunday’ amid nature and Debussy 0#ɗ#!21 2&'1 5'2& � )'," -$ "#*'!�2# (-7G

In April 1890 Satie moved into a small ɗ�2 �2 > 03# �-02-2 ', �-,2+�020#G �&#ɑ012 2&0## gnossiennes (a name invented by Satie) were written that year and ɑ012 .3 *'1&#" ', 9@A;J �-1G 9 �," ; ',Le Figaro musical �," �-G : ', Le Cœur. Musicians in the 1890s would have been surprised by what they saw on the page: music with no bar-lines and few dynamics that unfolds with a kind of strange limpid solemnity the score punctuated by unusual performance +�0)',%1J ', �-G ; 2&#1# ',!*3"#instructions to ‘advise yourself carefully’

‘demonstrate foresight’ and ‘open your head’. What anyone playing Satie needed to do was to open their minds and thanks to his friendship with Debussy Satie’s music started to be taken 1#0'-31*7G , 9A9; 2&# gnossiennes were .3 *'1&#" 2-%#2&#0 $-0 2&# ɑ012 2'+#�, #"'2'-, ', 5&'!& �-G 9 '1 "#"'!�2#"to Roland-Manuel a composer who is particularly remembered for his long association with Ravel – it was Satie who introduced them to each other.

Debussy !-+.-1#" &'1 ɑ012 --) -$Préludes between December 1909 and February 1910. Fauré was president of the newly-formed Société musicale indépendante and wrote to Debussy asking him to participate in the society’s $-302& !-,!#02 �2 2&# ��**# ´0�0" -, :=May 1910. On that occasion Debussy played four of his new pieces including La cathédrale engloutie an indication that he was more than happy to play selections from the set not envisaging it as a cycle to be performed in its entirety. La cathédrale engloutie recalls the Breton legend of the submerged cathedral of Ys an image with musical possibilities that appealed to Debussy: underwater bells and mythical grandeur. Minstrels '1 #,2'0#*7 "'Ɏ#0#,2 ', mood. It recalls a group of travelling musicians that Debussy heard on the promenade at Eastbourne during his visit there with Emma Bardac (later the second Mrs Debussy) in the 13++#0 -$ 9AB=G �# 3117U1 .'�,-writing in both pieces is dazzlingly inventive whether in the mysterious ancient world of Ys or the thrumming drum beats of seafront entertainers.

Tristan Klingsor the poet of Shéhérazade wrote that in Paris around 1900 ‘the East was in the air through

Bakst Rimsky-Korsakov and Doctor Mardrus’s French translation of the Thousand and One Nights’. Klingsor ', $�!2 -00-5#" 2&# 2'2*# -$ &'1 9AB;collection from Rimsky-Korsakov’s famous suite. Ravel and Klingsor were both members of the group of writers and composers known as ‘Les Apaches’ and after Ravel heard his friend’s latest poems he chose three for musical settings excited by the challenge of transforming the subtle accents of Klingsor’s free verse into song. The following year on 17 May 1904 the cycle Shéhérazade was performed for 2&# ɑ012 2'+# 13,% 7 2&# 1-.0�,- ��,#Hatto with an orchestra conducted by Alfred Cortot. One critic Louis Laloy not only praised the ‘exquisite lightness of touch’ in Ravel’s music but also emphasised how distinctive it was and #1.#!'�**7 &-5 "'Ɏ#0#,2 '2 1-3,"#" $0-+2&# +31'! -$ �# 3117G T�1'#U '1 2&# ɑ012and longest song of the cycle its text recalling the sights and sounds of the �12 $0-+ �#01'� 2- �&',�G , T�� ɗŔ2#enchantée’ a slave girl hears her lover’s "'12�,2 ɗ32# .*�7',% 5&'*# T�U',"'Ɏė0#,2Uis the most ambiguous in terms of the poet’s meaning but also draws the most bewitching music from Ravel.

C aude Debussy

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Ravel composed his Vocalise-étude en forme de habanera in 1907 in response to a request from Amédée Hettich r9@=>N9A;?s � .0-$#11-0 -$ 1',%',% at the Paris Conservatoire. Hettich �1)#" 1#4#0�* !-+.-1#01 r2&# ɑ012 5�1Fauré) for wordless vocal exercises that had artistic merit. Ravel’s appeared as the twentieth in the series and is based on a languid habanera rhythm. Renamed Pièce en forme de habanera it became a popular concert work for instrumentalists but the vocal original is its most distinctive version. Over the next thirty years Hettich’s series Répertoire moderne de vocalises-études included over a hundred composers. Most were French including Canteloube Dukas Honegger Messiaen Milhaud Poulenc and Tailleferre but Hettich cast his net wide and foreign composers who wrote works for the series ',!*3"#" ��*'.'#0- ��02',ŗ �'#*1#,Szymanowski and Villa-Lobos.

�#,ė# "# �0'+-,2 r9@@BN9A<;spublished her collection Mirages in 1918 and it came to Fauré’s attention through his friend Gabriel Hanotaux (a former French foreign minister). The poems immediately appealed to 2&# ?<L7#�0L-*" !-+.-1#0G , �3,#1919 Fauré had performed his cycle La chanson d’Ève with Madeleine Grey then a young soprano at the start of her career. She later inspired works by Ravel Canteloube and Milhaud and in August 1919 Fauré wrote to Grey from Annecy-le-Vieux to say he was ‘working at something which you will sing particularly well.’ This was the cycle MiragesG �&# ɑ012 1-,% T�7%,# 130 *U#�3U"#+-,120�2#1 2&# 13.0#+# 0#ɑ,#+#,2of Fauré’s late musical style: as the poet writes of a swan gliding over the ‘shores of ennui’ Fauré sets the voice – 5&'!& 1##+1 2- +31# #Ɏ-02*#11*7 N -4#0gently oscillating chords which cleverly

defy the bar-lines the music sliding �," ɗ-�2',% ', +3!& 2&# 1�+# 5�7 �1de Brimont’s swan. ‘Danseuse’ is the fourth and last of the Mirages and it shows that Fauré never lost his sense of adventure even at the end of his career: the music is pared down and angular combining modal harmonies with sharply-etched rhythms that conjure up an impression of ancient Greek dancers. Fauré and Madeleine Grey gave a private performance of Mirages at the Paris �-,1#04�2-'0# -, :@ �-4#+ #0 9A9Ato an invited audience including Renée "# �0'+-,2 �," 2&# .3 *'1&#0 ��!/3#1Durand. They gave the public première a +-,2& *�2#0 -, :? �#!#+ #0 9A9AG

Though Duparc *'4#" 3,2'* 9A;; &'1creativity was silenced by a nervous illness which left him unable to compose after the 1880s. He also destroyed many works leaving a legacy that rests essentially on seventeen remarkable songs. The earliest of these was T�&�,1-, 20'12#U !-+.-1#" ', 9@>@ 2-� .-#+ 7 �#�, ��&-0 r2&# .1#3"-,7+of Henri Cazalis 1840–1909 a medical doctor as well as a symbolist poet). The �..�0#,2 ɗ3#,!7 -$ �3.�0!U1 1#22',%the voice sailing over a quietly rippling piano part belies the struggle he had with virtually everything he composed. The following year Duparc travelled to Munich for the première of Wagner’s Das Rheingold and the impact of Wagner 5�1 2- # 2&# +-12 '+.-02�,2 ',ɗ3#,!#on his music. Little of that is apparent at the start of ‘Au pays où se fait la guerre’ !-+.-1#" ', �0-3," 9@>AN?BG �#22',%a poem by Théophile Gautier Duparc’s music begins gently the voice weaving its melody over modal piano chords. But an episode towards the end takes a decidedly operatic turn emphasised by piano tremolos and dramatic octaves before returning to the restraint of the opening.

�8Ħ* ��7 composed a trilogy of works relating to the protests in Istanbul’s �#8' ��0) ', :B9;J Gezi Park 1 is a concerto for two pianos and orchestra ɑ012 .#0$-0+#" ', ��,,-4#0 -, :<�!2- #0 :B9;G Gezi Park 2 a piano sonata was written for the Vienna �-,8#02&�31%#1#**1!&�$2 �," ɑ012.#0$-0+#" ', �'#,,� -, A ��7 :B9<by the composer. Gezi Park ; &#�0"tonight in its version for mezzo-soprano and piano was given its première in �0#+#, -, : �#.2#+ #0 :B9< �,"is dedicated to Marianne Crebassa. Gezi Park next to Taksim Square in central Istanbul became a focal point for those protesting against the erosion of personal and religious freedoms by 2&# ',!0#�1',%*7 �32&-0'2�0'�, 0"-ġ�,government. The deeply personal nature of Say’s work is particularly evident in the third movement Gezi Park 2 ‘On the killing of the innocent child Berkin Elvan’. Berkin Elvan was a teenage boy who went out to buy bread for his $�+'*7 ', �3,# :B9; �," 5�1 &'2 -, 2&#&#�" 7 � 2#�0 %�1 !�,'12#0 ɑ0#" 7police during the protests. After months ', � !-+� &# "'#" -, 99 ��0!& :B9<G0"-ġ�,U1 0#1.-,1# 5�1 2- !*�'+ 2&�2the boy was a ‘member of a terrorist organisation’ on the pretext that he was wearing a head scarf. The sonata is a courageous artistic response to the Gezi ��0) .0-2#121 � +31'!�* 0#ɗ#!2'-, -,the events in Istanbul on the slogans &#�0" �2 2&# 2'+# �," N ɑ,�**7 N -,the spirit of hope that lay behind this turbulent time. Say’s sonata is raw powerful and emotional. So too is Gezi Park 3 an anguished wordless lament which seems to draw nourishment from traditional Turkish music.

© Nigel Simeone 2020

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�-3 $� # + #36 !#22# . � ,2# �- +3ɘ# #22# 2& 1 assoup e, ament,La ne ge tombe à ongs t a ts de the snow fa s n ong sh eds cha p e of nt� 2 �4# 1 # !-3!&�,2 �! -11 2&# --"Lɗ#!)#" sangu no ent, sett ng sun,

Et a a a d êt e un soup And the a has the a of an d automne, autumn s gh,Tant fa t doux pa ce so so m d s th s monotonous monotone n ghtOù se do ote un paysage on wh ch a angu d andscape ent. takes ts ease.

L’échelonnement des haies The hedgerows stretch out

L éche onnement des ha es The hedge ows st etch out�-32-,,# Ą ,ɑ, I +# $ -2& ,% �$� I 1#�L )#C a e dans e b ou a d c a and c ea n the c ea m st,Qu sent bon es jeunes ba es. f ag ant w th young be es.

Des a b es et des mou ns T ees and w ndm s seSont ége s su e ve t tend e nsubstant a on the de cate g een,Où v ent s ébatt e et s étend e whe e ag e co tsL ag té des pou a ns. come to st etch and f o c.

Dans ce vague d un D manche On th s azy Sunday,Vo c se joue auss some a ge ewes,De g andes b eb s auss soft as the wh te woo ,Douces que eu a ne b anche. jo n them n the p ay.

�-32 Ą &#3 # "ė$# � 2 �312 ,-5 2&# # -)#L onde, ou ée en vo utes, a cu ng wave�# ! -!&#1 !-++# "#1 ɗŔ2#1 -$ ɗ32#L )# # 1Dans e c e comme du a t. n the m k-wh te sky.

Erik Satie r9@>> 9A:=s

3 gnossiennes r9@ABN;s

Lent Avec étonnement Lent

Claude Debussy r9@>: 9A9@s

Trois mélodies (1891)(Paul Verlaine)

La mer est plus belle The sea is lovelier

La me est p us be e The sea s ove eQue es cathéd a es, than the cathed a s,�-3 !# ɑ"Ę #I � $� 2&$3 5#2L,3 1#IBe ceuse de â es, u ng those n the g p of death,La me su qu p e the sea ove wh chLa V e ge Ma e! the V g n Ma y p ays!

E e a tous es dons t has a the qua t es,Te b es et doux. awesome and sweet.� #,2#,"1 1#1 .� "-,1 &#� 21 $- % 4#,#11G onde ses cou oux... sco d ng ts w ath...Cette mmens té th s mmens ty� � #, " #,2ę2ėG 1 5 2&-32 5 $3 ,#11G

Oh! s pat ente, Oh, so fo bea ng,Même quand méchante! even when w cked!�, 1-3ɘ# �+ &�,2# � $ #," 7 #�2& &�3,21La vague, et nous chante: the wave, and s ngs to us:‘Vous sans espé ance, ‘You w thout hope,�-3 #8 1�,1 1-3Ɏ �,!#C +�7 7-3 " # 5 2&-32 .� ,C

Et pu s, sous es c eux And then beneath the sk es,�3 1 7 #,2 . 31 ! � 1I #ɗ#!2#" 2&# # +- # %&2 7IE e a des a s b eus, t seems b ue,Roses, g s et ve ts... p nk, g ey, and g een...P us be e que tous, ove e than a ,Me eu e que nous! bette than we!

Le son du cor The sound of the horn

�# 1-, "3 !- 1 �ɘ %# 4# 1 �&# 1-3," -$ 2&# &- , 5� 1 es bo s towa ds the woodsD une dou eu on veut c o e w th an a most o phan o phe ne so owQu v ent mou au bas de a wh ch fades away at the foot of co ne the h�� + � 1# # �,2 #, !-3 21 �+ " 2&# %3121 -$ 2&# ɑ# !# � - 1G �- 2& 5 ,"G

L âme du oup p eu e dans The sou of the wo f weeps n cette vo x that vo ceQu monte avec e soe qu déc ne wh ch ses w th the sett ng sunD une agon e on veut c o e câ ne w th an a most sooth ng agony,Et qu av t et qu nav e à wh ch de ghts and d st esses a a fo s. at once.

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Please do not turn the page until the song and its accompaniment have ended

Claude Debussy

From Préludes Book I (1910)

La cathédrale engloutie Minstrels

Maurice Ravel r9@?= 9A;?s

Shéhérazade r9AB;s(Tristan Klingsor)

Asie Asia

As e, As e, As e, As a, As a, As a,V eux pays me ve eux des anc ent wonde and of contes de nou ce, fa y ta es,Où do t a fanta s e whe e fantasy s eepsComme une mpé at ce ke an emp ess, 1� $- ę2 2-32 #+. # "# , &# +712# 7Lɑ #" $- #12I mystè es, As e, As a,�# 4-3" � 1 + #, � # �4#! -,% 2- 1#2 1� 5 2& 2&# a goé ette schooneQu se be ce ce so dans wh ch ocks th s even ng n the e po t, ha bou ,Mysté euse et so ta e, myste ous and so ta y,2 /3 "ė. - # #,ɑ, 1#1 4- #1 �," 5& !& 1. #�"1 �2 �12 21 v o ettes v o et sa sComme un mmense o seau de ke a huge n ght-b d n the nu t dans e c e d o . go den sky.

�# 4-3" � 1 + #, � # 4# 1 "#1 -,% 2- 1#2 1� $- 1 #1 -$ ĩ #1 "# ɗ#3 1 ɗ-5# 1

En écoutant chante a me as sten to the song of the pe ve se waywa d seaSu un v eux ythme enso ce eu ; w th ts o d bew tch ng hythm;�# 4-3" � 1 4- ��+�1 #2 #1 -,% 2- 1## ��+�1!31 �," 2&# v es de Pe se c t es of Pe s aAvec es m na ets ége s dans a ; w th the a y m na ets;�# 4-3" � 1 4- "# #�36 -,% 2- 1## #�32 $3 1 )#, tu bans de so e tu bansSu des v sages no s aux dents above b ack faces w th wh te c a es; teeth;�# 4-3" � 1 4- "#1 7#36 -,% 2- 1## #7#1 "� ) 5 2& somb es d amou oveEt des p une es b antes de jo e and pup s spa k ng w th joyEn des peaux jaunes comme sunk n sk ns as ye ow as des o anges; o anges;�# 4-3" � 1 4- "#1 4ę2#+#,21 -,% 2- 1## 4# 4#2 de ve ou s a mentsEt des hab ts à ongues f anges; and ong-f nged obes;

�# 4-3" � 1 4- "#1 !� 3+#21 -,% 2- 1## !� 3+#21 , ent e des bouches mouthsTout entou ées de ba be b anche; f nged about w th wh te bea ds;�# 4-3" � 1 4- " ą. #1 -,% 2- 1## % �1. ,% +# !&�,21 ma chands aux ega ds ouches, w th sh fty ooks,Et des cad s, et des v z s and cad s and v z e sQu du seu mouvement de eu who w th a s ng e c ook of the "- %2 /3 1# .#,!&# ɑ,%#

Acco dent v e ou mo t au g é d spense fe o death on a de eu dés . wh m.

�# 4-3" � 1 4- � �# 1#I #2 ,"#I -,% 2- 1## �# 1 �I �," ," �I et pu s a Ch ne, and then Ch na,Les manda ns vent us sous es po t y manda ns beneath the omb e es, sunshades,2 #1 . ,!#11#1 �36 +� ,1 ɑ,#1I �," . ,!#11#1 5 2& "# !�2# &�,"1IEt es ett és qu se que e ent and ea ned men d sput ngSu a poés e et su a beauté; about poet y and beauty;

�# 4-3" � 1 + �22� "# �3 .� � 1 -,% 2- ,%# , #,!&�,2#" enchanté pa aces,Et comme un voyageu ét ange and ke a fo e gn t ave eContemp e à o s des gaze at e su e on andscapes paysages pe nts pa nted�3 "#1 ė2-Ɏ#1 #, "#1 !�" #1 -, $� !1 , . ,#5--" de sap n f ames,�4#! 3, .# 1-,,�%# �3 + #3 5 2& � ɑ%3 # , 2&# + "12 -$ �, d un ve ge ; o cha d;

�# 4-3" � 1 4- "#1 �11�11 ,1 -,% 2- 1## �11�11 ,1 sou ant sm ng,�3 -3 #�3 /3 !-3.# 3, !-3 �1 2&# #6#!32 -,# !321 -Ɏ �, d nnocent nnocent headAvec son g and sab e cou bé w th h s g eat cu ved O enta d O ent; sc m ta ;�# 4-3" � 1 4- "#1 .�34 #1 #2 -,% 2- 1## #%%� 1 �," des e nes; queens;�# 4-3" � 1 4- "#1 -1#1 #2 -,% 2- 1## -1#1 �," du sang; b ood;�# 4-3" � 1 4- +-3 " �+-3 -,% 2- 1## "#�2& $- -4# - ou b en de ha ne, e se fo hate,Et pu s, m en even p us ta d and then to etu n ate�� # +-, �4#,23 # �36 !3 #36 �," #!-3,2 +7 �"4#,23 #1 2- de êves, those nt gued by d eams,En é evant comme S ndbad wh e a s ng ke S nbadMa v e e p pe a abe my o d A ab an p peDu temps en temps jusqu à mes f om t me to t me to my èv es ps,Pou nte omp e e conte avec a tfu y to nte upt the a t... ta e...

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�� ɗŔ2# #,!&�,2ė# �&# #,!&�,2#" ɗ32#

L omb e est douce et mon The shade s soft and my maît e do t, maste s eeps,�- Ɏė " 3, -,,#2 !-, /3# � !-,#L1&�.#" 1 )#, !�. -, de so e, h s head,Et son ong nez jaune en sa and h s ong ye ow nose n h s ba be b anche. wh te bea d.Ma s mo je su s éve ée enco e But am st awake,Et j écoute au deho s sten ng to the song�,# !&�,1-, "# ɗŔ2# -œ 1 ė.�,!&# -$ � ɗ32# -321 "# 2&�2 .-3 1 $- 2&Tou à tou a t stesse ou a jo e, sadness and joy n tu n,Un a tou à tou angou eux a tune now anguo ous now ou f vo e ve y,Que mon amou eux ché joue, wh ch my dea ove p ays,Et quand je m app oche de a and when d aw nea the c o sée, casement, me semb e que chaque note each note seems to 1 #,4- # ɗ7

�# � ɗŔ2# 4# 1 +� (-3# $ -+ 2&# ɗ32# 2- +7 !&##)Comme un mysté eux ba se . ke a myste ous k ss.

�U',"'Ɏė0#,2 �&# ',"'Ɏ#0#,2 -,#

Tes yeux sont doux comme ceux You eyes a e soft ke a " 3,# ɑ #I % 1I

�#3,# ė2 �,%# I 7-3,% 12 �,%# I2 � !-3 # ɑ,# �," 2&# "# !�2# !3 4#De ton beau v sage de duvet of you handsome down-shaded omb agé faceEst pus sédu sante enco e de gne. s st mo e att act ve y shaped.

Ta èv e chante You ps s ngSu e pas de ma po te at my dooUne angue nconnue et cha mante an unknown cha m ng tongue,�-++# 3,# +31 /3# $�311#K )# +31 ! -ɎL. 2!&KEnt e! et que mon v n te Ente ! And et my w ne ef esh éconfo te... you...

Ma s non, tu passes But no, you pass byEt de mon seu je te vo s t é o gne and see you eav ng my th esho d,Me fa sant un de n e geste g acefu y wav ng avec g âce fa ewe ,Et a hanche égè ement p oyée you h ps ght y sway ngPa ta déma che fém n ne et asse. n you angu d fem n ne way.

Vocalise-étude en forme de habanera (1907)

Interval

Refreshments are ava lable from the Restaurant and Bechste n Room.ce creams are on sale n the foyer.�*#�1# !&#!) 2&�2 7-30 .&-,# '1 230,#" -ɎI #1.#!'�**7 '$ 7-3 31#" '2during the interval.

Gabriel Fauré r9@<= 9A:<s

From Mirages Op. 113 (1919)(Renée Bonnière, Baron Antoine de Brimont)

Cygne sur l’eau �.G 99; �-G 9 Swan on the water

Ma pensée est un cygne My m nd s a gent e, ha mon ous ha mon eux et sage swanQu g sse entement aux vages g d ng s ow y a ong the sho es of d ennu ennuSu es ondes sans fond du êve, on the fathom ess wate s of du m age, d eams and de us on,De écho, du b ou a d, de of echo, of m st, of shadow, of omb e, de a nu t. n ght.

g sse, o hauta n fendant un He g des, a haughty mona ch b e espace, c eav ng a path,�-3 13 2 3, #ɗ#2 4� ,I . ė! #36 .3 13 ,% � 4� , #ɗ#!2 -,I #2 !&�,%#�,2I . #! -31 �," ɗ##2 ,%I

Et es oseaux nomb eux and the count ess eeds bow as s nc nent quand passe, he passes,Somb e et muet, au seu d une da k and s ent befo e a s ve une d a gent; moon;

Et des b ancs nénupha s chaque And each ound co o a of the co o e onde wh te wate - es�-3 Ą 2-3 � ɗ#3 "# "ė1 &�1 -11-+#" 7 23 , 5 2& ou d espo ... des e o hope...Ma s p us avant toujou s, su but eve fo wa d on the m sts a b ume et su onde, and the waves,Ve s nconnu fuyant g sse e the b ack swan g des towa d the cygne no . eced ng unknown.

O j a d t: ‘Renoncez, beau And sa d: ‘Renounce, beaut fu cygne ch mé que, ch me a of a swan,À ce voyage ent ve s de th s s ow voyage to t oub ed t oub es dest ns; dest n es;

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�3 + �! # !& ,- 1I ,3 # ,- �& ,#1# + �! #I ,- #6-2 ! ét ange Amé que Ame ca�# 4-31 �!!3# # -,2 #, 5 5# !-+# 7-3 , 1�$# des hav es ce ta ns; havens;

Les go fes embaumés, es î es The scented gu fs, the mmo ta mmo te es s esOnt pou vous, cygne no , des awa t you, b ack swan, w th the éc fs pé eux; pe ous eefs;Demeu ez su es acs où se ema n on the akes wh ch + #,2I ɑ"Ę #1I $� 2&$3 7 #ɗ#!2

�#1 ,3�%#1I !#1 ɗ#3 1I !#1 2&#1# ! -3"1I 2&#1# ɗ-5# 1I ast es, et ces yeux. these sta s, and these eyes.

Danseuse �.G 99; �-G < Dancer

Sœu des Sœu s t sseuses S ste of v o et-weav ng de v o ettes, s ste s,Une a dente ve e b ém t tes a sco ch ng v g pa es you joues... cheeks...Danse! Et que es ythmes Dance! And et the sh hythms a gus dénouent unfuTes bande ettes. you sashes.

Vase sve te, f esque mouvante Sve te vase, supp e and mov ng et soup e, f esco,Danse, danse, paumes ve s dance w th pa ms outst etched nous tendues, befo e us,� #"1 ė2 - 21 $37�,2I 2# 1 "#1 1 #,"# $##2 ɗ7 ,% )# 2&# ,�)#" a es nues w ngsQu É os découp e... wh ch E os unb nds...

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So s a pensée! be thought!

Danse, danse au chant de ma Dance, dance to the song of my ɗŔ2# ! #31#I &- -5 ɗ32#I

Sœu des Sœu s d v nes. – s ste of sac ed s ste s. La mo teu g sse. Mo stu e t ck es,Ba se va n, e ong de ta a va n k ss, a ong you hanche sse... the h p...Va ne danseuse! va n dance !

Henri Duparc r9@<@ 9A;;s

Chanson triste r9@>@s Song of sadness(Jean Lahor)

Dans ton cœu do t un c a de une, Moon ght s umbe s n you hea t,Un doux c a de une d été, a gent e summe moon ght,Et pou fu a v e mpo tune, and to escape the ca es of fe�# +# ,- # � "�,1 2� ! � 2ėG 1&� " -5, +71# $ , 7-3 %&2G

� -3 # � #1 "-3 #3 1 .�11ė#1I 1&� $- %#2 .�12 1- -51IMon amou , quand tu be ce as my sweet, when you c ad eMon t ste cœu et mes pensées my sad hea t and my thoughtsDans e ca me a mant de tes b as. n the ov ng ca m of you a ms.

Tu p end as ma tête ma ade, You w est my poo head,Oh! que quefo s, su tes genoux, ah! somet mes on you ap,Et u d as une ba ade and ec te to t a ba adQu semb e a pa e de nous; that w seem to speak of us;

Et dans tes yeux p e ns de And f om you eyes fu of t stesses, so ow,Dans tes yeux a o s je bo a f om you eyes sha then d nkTant de ba se s et de tend esses so many k sses and so much oveQue peut-êt e je gué a . that pe haps sha be hea ed.

Au pays où se fait la guerre To the land where there is war rE9@>AN?Bs(Théophile Gautier)

I I

Au pays où se fa t a gue e To the and whe e the e s waMon be am s en est a é; my handsome ove has gone; semb e à mon cœu déso é t seems to my deso ate hea t

Qu ne este que mo su te e! that a one am eft on ea th!En pa tant, au ba se d ad eu, When we pa ted wth a fa ewe kss, m a p s mon âme à ma bouche. he took my sou f om my ps.

Qu e t ent s ongtemps, Who deta ns h m so ong, mon D eu! my God?Vo à e so e qu se couche, See, the sun s sett ng,Et mo , toute seu e en ma tou , and , a a one n my towe ,� �22#,"1 #,!- # 1-, #2-3 G 12 �5� 2 & 1 #23 ,G

Please do not turn the page until the song and its accompaniment have ended

wigmore-hall.org.uk

Marianne Crebassa

��0'�,,# �0# �11� '1 !-,ɑ0+',% &#0 .*�!# -, 2&# 5-0*"U1major opera concert and recital stages. She appears regularly at the Staatsoper Berlin Wiener Staatsoper Opéra de Paris La Scala Milan Lyric Opera of Chicago Salzburg Festival and the BBC Proms. She also performs with orchestras such as 2&# �0!&#120# ��2'-,�* "# 0�,!# �0!&#120# "# ��0'1 �'#,,�Symphony and Chicago Symphony Orchestra.

As an exclusive recording artist for Erato her second disc Secrets has an eclectically chosen programme and was 0#!-0"#" 5'2& �8 * ��7G 2 5�1 0#*#�1#" ', :B9? �," 0#!#'4#"a Gramophone Award.

Highlights of this season see her Metropolitan Opera debut as Cherubino in Mozart’s Le nozze di Figaro her return to Chicago as Rosina in Rossini’s Il barbiere di Siviglia and her reappearance as Dorabella in new productions of Mozart’s Così fan tutte in Berlin and Vienna. On the concert stage she sings Mahler’s Third Symphony in Paris conducted by Esa-Pekka Salonen and embarks on a European tour in the title role in Handel’s Ariodante. Tonight marks her Wigmore Hall recital debut.Marianne Crebassa appears by arrangement with IMG Artists

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�1 � !-+.-1#0 �8 * ��7 &�1 ##, !-++'11'-,#" 7 2&#Salzburg Schleswig-Holstein Musik and Mecklenburg-Vorpommern festivals Konzerthaus Vienna Dresden Philharmonic Louis Vuitton Foundation Orpheus Chamber Orchestra and the BBC. His work includes four symphonies two oratorios various solo concertos and numerous chamber and piano pieces.

He performs chamber music regularly and for many years was part of a duo with the violinist Patricia Kopatchinskaja. Other notable collaborators include Maxim Vengerov the Minetti �3�02#2 �'!-*�1 �*212�#"2 �," ��0'�,,# �0# �11�G

, :B9> &# 5�1 �5�0"#" 2&# ,2#0,�2'-,�* �##2&-4#, �0'8#for Human Rights Peace Freedom Poverty Reduction and ,!*31'-, ', �-,, �," ', :B9? &# 5�1 �5�0"#" 2&# �31'!Prize of the city of Duisburg.

His recordings of Bach Mozart Beethoven Gershwin and Stravinsky have won several prizes including three ECHO Klassik Awards. He is an exclusive Warner Classics artist and received his fourth ECHO Klassik Award for his recording of the complete Mozart sonatas. Secrets which he recorded with Marianne Crebassa won the Gramophone �-*- �-!�* �5�0" ', :B9@G �'1most recent album is entitled �0-7 �-,�2� N �8Ħ* ��7 .*�71 ��7.�8Ħ* ��7 �..#�01 7 �00�,%#+#,2 5'2& �Ć!& �02'121

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W th nea y £2.5 m on to a se each season eve y g ft, no matte the s ze, s mpo tant to us. f you wou d ke to suppo t W gmo e Ha by becom ng a F end o mak ng a donat on towa ds ou A t st c Se es o Lea n ng p og amme, p ease ca 020 7258 8230 o ema friends@wigmore-hall.org.uk fo mo e nfo mat on.

The Wigmore Hall Trust is very grateful to the individuals and organisations listed below who have made an investment in our concert and Learning programmes:

Royal PatronHRH The Duke o Ken , KG

Honorary PatronsAubrey Adams OBE�,"0ė �," �-1�*'# �-Ɏ+�,,Kohn Founda ionMr and Mrs Paul Morgan

D rector s C rcleAubrey Adams OBE*Tony and Marion Allen*Karl O o and ngemo Bonnier*L

Alan Bradley*Pe er and Lucy Chadling on*The Harbour Founda ionL

�,"0ė �," �-1�*'# �-Ɏ+�,,Pauline and an Howa *David and Louise Kaye*Simon Majaro MBEHamish ParkerVic oria and Simon RobeyL

William and Alex de Win on Trus L

and several anonymous donors

Season Patrons 2019/20Aubrey Adams OBE*Tony and Marion Allen*American Friends o Wigmore HallKarl O o and ngemo Bonnier*Henry and Suzanne DavisMark Echlin and Vic oria Ga hThe Hargreaves and Ball TrusPauline and an Howa *Hamish ParkerVic oria and Simon RobeyDavid Rockwell and Zsombor Csoma*Julia Scho lander*Ka hleen VerelsMichael and Rosemary WarburgWilliam and Alex de Win on Trusand several anonymous donors

Season Benefactors 2019/20Lord and Lady LloydJudy Davies and Kingsley Manning*The Ter is Founda ionPhilip and Emeline Wins on*

Beethoven C rcle�,"0ė �," �-1�*'# �-Ɏ+�,,

Aubrey Adams OBE*Tony and Marion Allen*Karl O o and ngemo Bonnier*John and Julia Boyd*Wol -Reiner Braun and John SinclairClive Bu lerNicola Colds reamPeggy Czyzak-Dannenbaum

Pauline Del MarJ L DrewiVernon and Hazel Ellis*Alan and Joanna Gemes*Nicholas and Judi h Goodison*Margery Gray�'**'�, �," �#,,'# �-Ɏ+�,,�#-Ɏ0#7 �," �-7 ��50#,!#an and Megan RichardsonJackie Rosen eld OBE*Serena Simmons and Michael Thomas*Jo and Barry Slavinn Memory o Rober S reiMarina Vaizey*Gerry Wakelin*

Gwen and S anley Burn onPhilip and Susan FeakinBenjamin HargreavesPauline and an Howa *Graham and Amanda Hu on*Dr Jenni er JonesChris ian Kwek and David Hodges*Alan Leibowi z and Barbara Weiss*Susan LundVirginia Lynch*Karen McLernonAlison and An ony Mil ordDon MooreOliver and Helen PrennHelen Thorn onJohn and Ann Tusaand several anonymous donors

Early Mus c and Baroque C rcle�#-Ɏ0#7 ��0,#Sandra CarlisleDr C Endersby and Pro D Cowan OBEDr M T A EvansFelici y Fairbairn*Deborah Finkler and

Allan Murray-JonesGilber and Vahideh HallDaniel HochbergAlan SainerPro essor Chris opher ThompsonMarina Vaizey*Anne and David Weizmann

Vo ces at W gmoreTony and Marion Allen*�#-Ɏ0#7 ��0,#Michael BrindRichard Dormen CBEMrs David DugdaleAlan and Joanna Gemes*Dame Felici y LoAnne and Brian MaceRoy and Celia PalmerGi o honour Rick Rogers

Julia Scho lander*Gerry Wakelin*Susan WardDavid Evan Williamsand an anonymous donor

Corporate SupportersCapi al Group (corpora e ma ched

giving)�-+.*# # �-Ɏ## � "The Howard de Walden Es a eMar in Randall Travel L dS einway & Sons

Donors and SponsorsMr Eric Abraham*Adam Mickiewicz ns i u eRalph and Elizabe h AldwinckleLady Alexander o Weedonan AllanAmerican Friends o Wigmore HallThe Andor Chari able Trus L

Ann AndrewsDavid and Jacqueline Ansell*Ar s Council EnglandAr Men or Founda ion Lucerne L

Mrs Arlene BeareAlan Bell-BerryMs Paula Bes *Mr Nicholas J BezMrs Arline BlassThe Nicholas Boas Chari able TrusDavid and Mary Bowerman*Hilary Browne-WilkinsonDonald CampbellCava ina Chamber Music Trus L

Chari ies Advisory Trus L

Colin ClarkThe John S Cohen Founda ionPe er Crisp and Jeremy Crouch*Michael and Felicia Crys al*Celia and Andrew CurranAn hony Davis*James DooleyThe Dorse Founda ion - in memory

o Harry M WeinrebeJane DouglasThe du Plessis Family Founda ionMrs David DugdaleDunard FundDouglas and Jane e EdenAnne e Ellis*The El on FamilyThe Emmanuel Kaye Founda ionL

The Fidelio Chari able TrusJim Fishern Memory o Pe er Fla erJohn and Amy FordL

The Foyle Founda ionNeil and Deborah Franks*

Friends o Wigmore HallJona han Gaisman*�&# ��0ɑ#*" �#1 -, -3,"� '-,John Gilhooly*John and Lauren Goldsmi h*Nicholas and Judi h Goodison*Pe er GoodwinSpencer and Lucy de GreyCharles GreenBarbara and Michael GwinnellMr and Mrs Rex Harbour*The Hargreaves and Ball Trus L

The Harold Hyam Winga e Founda ionL

Malcolm Herring*Simone Hyman*ndependen Opera a Sadlers WellsMarc Jourdren*n Memory o Donald KahnSu and Neil Kaplan*Mr Julian KornMaryly La Folle e*Gabor LackoJane and Leo Liebs erC Lillywhi e and B JasperThe Linbury Trus L

Tim LlewellynThe Loveday Chari able Trus L

Simon and Sophie Ludlam*Marianne and Andy Lusher*David Lyons*Julia MacRae*The Es a e o Pamela Majaro MBEThe Marchus TrusSelina and David MarksL

��7ɑ#*" ��**#7 �0 1 �031Michael and Lynne McGowan*Colin MenziesGeorge MeyerL

Michael Wa son Chari able Trus L

Mil on Damerel Trus L

The Monumen TrusAmyas and Louise Morse*Valerie O’ConnorL

P ParkinsonPaxos Fes ival TrusRober Podrosabel and Jona han PopperNick and Claire Pre ejohn*�&# ��"!*'Ɏ# �031Edi h RandallCharles Rose*Jackie Rosen eld OBE, HonRCM*L

The Lady R Founda ion*ain Ro hnie and Julie Few rell The Rubins ein CircleS E Franklin Chari able Trus No 3L

The Sampimon Trus L

Louise ScheuerJulia Scho lander*L

Richard Senne and Saskia Sassen*Rhona ShawSir Siegmund Warburg’s Volun ary

Se lemenSir Jack Lyons Chari able TrusSir Mar in and Lady Smi h*Michael Smi h and Nicholas Bar le *Spencer Har Chari able Trus L

Nigel and Johanna S aple on*Gill and Kei h S ella*

John S ephens OBE, Hon FTCL*Lord and Lady S irrup*Anne and Paul Swain*The Ter is Founda ionL

Coen TeulingsRobin Vousden*Andrew and Hilary Walker*David and Margare Walker*Pro essor Jane Walker CD and

Pro essor Doug Jones AO*Dame Fanny Wa erman*Frances and David Wa ers*Tony & Sheelagh Williams

Chari able Founda ionL

��4'" �," ��0 &� �',ɑ#*"gand several anonymous donors

* Rubins ein Circle members Con emporary Music Series suppor ers

Early Music and Baroque Series suppor ers

L Learning Programme suppor ers

W gmore Hall Endowment Fund Ar s Council England

AKO Founda ion Aubrey Adams OBE�,"0ė �," �-1�*'# �-Ɏ+�,,and an anonymous donor

Tony and Marion Allen American Friends o Wigmore Hall Karl O o Bonnier Clive and Helena Bu ler The John S Cohen Founda ion Columbia Founda ion Fund o he

London communi y Founda ionJudy Davies and Kingsley Manning Nicholas and Judi h Goodison The Hargreaves and Ball Trus Graham and Amanda Hu on Hamish Parker The Es a e o Philip T Smi hThe Es a e o Marie-Luise WaldeckMichael and Rosemary Warburg William and Alex de Win on and an anonymous donor

Colin Clark Celia and Andrew Curran Dr Carole Endersby and

Pro David Cowan OBEA beques rom he

la e Mr J L Hu chinsonn memory o Pa ricia Kare A beques rom he la e

Dr Naomi Michaels The Ter is Founda ion and an anonymous donor

Grateful thanks to all those who have contributed to the fund who for reasons of space we are unable to list here.

Supporting Wigmore Hall

wigmore-hall.org.uk

Bechste n Soc ety Aubrey Adams OBERalph and Elizabe h AldwinckleJeni er BallAl red BradleyAlan Bell-BerryMs Paula BesJohn and Julia BoydWol -Reiner Braun and John SinclairGwen and S anley Burn onAn hony DavisJane DouglasDr An hony EisingerSusan Scrimgeour and

Richard EmanuelDr Mervyn T A EvansJohn and Amy FordSimon GilberChris opher and Jane GoodeDavid Gu manBenjamin HargreavesJulia HillDr Jenni er JonesSu and Neil KaplanSir Timo hy and Lady LloydDame Felici y LoMarianne and Andy LusherPa ricia MarksMr Graham McLanachanColin MenziesTricia and Dan MillerPe er and Rosemary MooreValerie O’ConnorKen OrganMarie-Hélène Os erweilRoy and Celia PalmerOliver Prenn�#0#,� �3 !*'Ɏ#Julia Ro hDr Louise ScheuerRobin and Anne SharpCi a and rwin S elzerMarilyn S ockThe Revd John SwarbrickGerry Wakelin

N.B This list only includes credits !-,ɐ0+#" 2- "�2# �," 5'** #periodically updated.

For more information about leaving a lasting gift to Wigmore Hall, please call Marie-Hélène Osterweil on 020 7258 8220, or email legacy@wigmore-hall.org.uk

Patron Fr ends of W gmore Hall Louise Abrams and George Browning Leila Abu-Sharr and Mark YoungerRalph and Elizabe h AldwinckleLady Alexander o Weedonan AllanA B S Al-SaudNoël and Caroline AnnesleyKirs y AnsonAlain AubryAn hony Aus inSimon BaddeleyDr Richard Ballan ine

Dickie and Susan BannenbergDavid BarnesMrs Arlene BeareDavid and Margare Bea on�#Ɏ0#7 �#*)',Alan Bell-BerryElizabe h BenneLeslie and Dee BergmanBarry F and Emily S BerkovLady Berns ein CBEMr Nicholas J Bez�#-Ɏ0#7 �," �7,, �',"+�,Aurore and Adrian BlairMrs Arline BlassElisabe h and Bob BoasJean and John Bo sJohn and Carol Boul erChris opher and Lorna BownSir Alan and Lady BownessWilliam BoyceKa ie Brad ordCoco and Graham BrandonWol -Reiner Braun and John SinclairMichael Brind and Fiona S oneAngela and Pe er BrookesDr Chris opher BullerJohn BurgessNeil BurnsGwen and S anley Burn onTony BurClive Bu lerMar in Byman and Peggy SamsonSusan CarlisleMarcy Carpen erPe er CaveMr Colin Clarkan Clarkson and Richard MorrisPa ricia CoulsonMa hew P Coureyan CraneLiz Cra chley OBEW S ephen CroddyCelia and Andrew CurranPeggy Czyzak-DannenbaumTimo hy DaunMs Nicola J DaviesC N G Dawes OBEJack de Grui erO R de VeraPauline Del MarWou er DenhaanKei h DickerJames DooleyRichard Dormen CBEJane DouglasJ L DrewiKa e DugdaleMark Echlin and Vic oria Ga hDouglas and Jane e EdenJulian and Yoko Edge-Par ing onSusan EdisonMaureen El onAlexandra and David EmmersonDr C Endersby and Pro D Cowan OBECaroline ErskineApos olos E A S EvangelopoulosKevin Feeney and Sarah ShepleyMarshall Field�#Ɏ0#7 �," �� 0'!'� ',#

Deborah Finkler and Allan Murray-Jones

David Floyd and Mrs Dale Sheppard-Floyd

Pe er Fols ar and Brian AndréJoscelyn FoxFrancesca Freman leMark FriendSilvia Blum Gen ilomoMichael GlendinningBrian GoldsMr and Mrs James GolobPe er GoodwinMarilyn GreenDuncan and Barbara GreenlandJames and Pa Grimwood-TaylorGudeon & McFaddenFelici y GuinnessBarbara and Michael GwinnellAl red and Liselo e GysiGilber and Vahideh Hall��0�& � �-*Ɏ �,"

Joel L HandelmanJudi h and David HankinsonDr J J Har�0'�, �� ɑ#*"Mr Andrew HeadCharles and Rachel HendersonJavan Herberg and Jessica BoydAngela Hewi CC OBEJulia HillHelene Klein and Pe er HodesPe er and Carol HoneyAngela HowardPhilip and Psiche HughesElsya Speechly-Dick and

Kei h HymanPro essor John HymanBob and Ka hleen nghamWan Aziz brahimKei h JacobsenMarcus Jarvis and Tony SparrowDeborah and Rober JayJulian Johns onPenny JonasDr Jenni er Jones0�,!#1 �," �#Ɏ0#7 �-5#**Alan and Ru h JudesDr An hony Ka zTony KayAndrey KidelBruce KirbyColin Kirkpa rickMr Julian KornGabor Lacko and Pa ricia SperoLa ham Associa esHenna Ong and Pe er D LawrencePaul LayRose and Dudley LeighFlorian LeonhardTerence LewisC Lillywhi e and B JasperSir Sydney Lipwor h QC and

Lady Lipwor h CBEPaul and Brigi a LockGeorge and Angie LoudonDavid and Mary A Lowen halWilliam Lyne CBE AMAnne and Brian Mace

Simon Majaro MBEVirginia MakinsPaul and Pa ricia MarksJean MarshDr V Mas and Dr N Ul slamHarrie and Michael MaunsellBeryl McAlhoneHelen and Paul McAndrewsKaren McLernonGeorge MeyerMr and Mrs Vincen MeyerAlison and An ony Mil ordMark and Sarah Hol ordMichael MilnerChris opher Morcom QC and

Mrs Diane MorcomMr and Mrs Paul MorganTrevor MorossDavid MorrisChris Nelson and Eric Fel inRodney and Kusum Nelson-JonesVla ka and Norman NevilleJohn Nickson and Simon RewJohn NicollHugh NobleValerie O’ConnorJane and Michael OrrGeraldine OverillEllie PackerSimon PageRoy and Celia PalmerPhillip ParkinsonJane ParksJohn and Terry PearsonRichard and Lynda PenroseGeorge Pere z QC and Mandy BrownShira Perlmu erMr and Mrs Michael PescodJacopo PessinaDavid Pe chThe Lord and Lady PhillimoreDr R J W PhillipsTrevor Pi manPro essor Richard Por es CBE FBAPerry PressDenis RaeburnSally and Hedley RamshawMrs Edi h RandallRichard and Adrienne ReganGreg and Karen Reidan and Megan RichardsonPhilip and Charman RobinsonPearce & Beaujolais RoodSir Norman Rosen halRoxanne and Leonard RosomanPe er RossMrs D C RowanNabil SaidiAlan SainerLouise ScheuerRichard and Elizabe h Se chimPe er ShawLucy Silveran SimonsSusan and John Singer� � �)*�0-ɎLilian SloweGalina N Smi hJoe and Lucy Smouha

Elijah SpiesJackie S JohanserMark R S adlerDeborah S aun onS F M S eerS e an and Judi h S einerRodney S ewar Smi hSir Angus and Lady S irlingMr Vilppu M TarvainenDebbie and Rober TaussigSayoko and David Tei elbaumAllen Thomas and Jane SimpsonS ephen ThomasA H ThomlinsonPro essor Chris opher Thompsonn memory o

Jacquie Gulliver ThompsonHelen Thorn onJames and Linda TollerNa Damon and Ric TorresAminah and Michael TraskEric VezieMichael and Rosemary WarburgLady WardKa e Gavron and Gordon WassermanElizabe h Wa sonAnne and David WeizmannJames WigramDavid Evan WilliamsPamela and Tim WilliamsRichard Win ourDonald WorkmanDr Alain YouellMrs Susan YoungGrace YuClaudio and Simona ZampaPaul Za zDr Erns Zillekensand several anonymous Patron Friends

De ails correc as o Augus 2019

The Wigmore Hall Trus Regis ered Chari y No 1024838