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NEEME JRVIconductor JANICE WATSON sopranoDAGMAR PECKOVmezzo soprano PETER AUTY tenor PETER ROSE bassLONDON PHILHARMONIC ORCHESTRAand CHOIR

DVOKSTABAT MATER

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Dvok made a (now lost) setting of the Mass as a studentexercise; but apart from that his first sacred work was his Stabat Mater , a setting of the mediaeval Latin prayer tothe bereaved mother of the crucified Christ. It was draftedbetween February and May 1876, apparently as a delayedreaction to the death of the Dvo ks daughter Josefa theprevious September, two days after her birth. Several otherprojects intervened before Dvo k got down to the task oforchestrating the work, in October and November 1877 bywhich time the couple had also lost their second daughter,R ena, who had died aged less than a year in August, and amonth later their only son, the three-year-old Otakar.

Having been written out of personal impulse rather thanto a commission, the Stabat Mater had to wait some timeto be heard. It was eventually performed on 23 December1880, by the opera company of the Czech Provisional Theatrein Prague. The following year it was issued by the Germanpublisher Simrock (to whom Dvo ks mentor Brahms had

recommended the young Czechs music). And, once in print,it became one of the works that made Dvo ks name knowninternationally. It received its first British performance inLondon under the pioneering choral conductor Joseph Barnbyin March 1883; and a year later Dvo k himself conducted itwith great success in the Royal Albert Hall, on the first of hismany visits to London.

The Stabat Mater sequence, of 13th-century Franciscan origin,begins as a description of the Virgin Mary at the foot of theCross, and turns into a prayer to her for her intercession.Dvok set it in its entirety, several times grouping a numberof its three-line stanzas together to form a substantial self-contained movement, and repeating passages of text freelyto give each movement a strong formal outline. His scoringis for four soloists, four-part chorus and orchestra; theinclusion of a part for organ (originally harmonium) in thefourth movement suggests that he expected the instrumentto be used elsewhere in the work to support the chorus.The musical language is highly personal, with the generouswriting for the woodwind section that was a hallmark ofDvoks orchestration throughout his career. There is littleof the nationalist emphasis which later made itself felt in hismusic, but equally there are none of the strict fugues that atthe time were considered virtually obligatory in large-scalesacred works. The vocal lines seem to owe most to the operasof Verdi, many of which Dvok had encountered as a young

violist in the orchestra of the Provisional Theatre in Prague.

The work begins with its longest movement, a setting of thefirst four stanzas of the poem for chorus and all four soloists,with an extended orchestral introduction and an overallABA shape. In B minor, it begins with bare octave F sharps,perhaps symbolising the Cross itself (the German

DVOKSTABAT MATER, OP. 58

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word for a sharp is Kreuz, cross), and continues with asorrowing descending chromatic phrase which is to dominatethe outer sections of the movement, usually associated withthe opening words Stabat mater dolorosa. Quis est homo,in E minor, similarly gathers four stanzas into a substantialABA structure, this time for the four soloists without thechorus; its outer sections are again dominated by the short,expressive phrase to which the opening words are set.

The stanza in which description turns to prayer, Eia, mater,is set as a short, solemn chorus in C minor. The followingmovement, in B flat minor, alternates between the basssoloists Fac ut ardeat cor meum, declamatory and thenlyrical, and the choruss devotional Sancta mater. Tui nati, inE flat major (the first major-key movement in the work), is setfor chorus in a gently flowing 6/8 time, with a more agitated,and more contrapuntal, middle section. Fac me vere, in Bmajor, after its Brahmsian introduction, is set for solo tenorand male chorus, in alternation and then in combination; the

stanza Juxta crucem appears twice as brief, urgent contrast.Virgo, virginum praeclara, in A major, is a predominantlyquiet movement for chorus alone, for much of the timeunaccompanied or discreetly supported by the orchestra. Facut portem, in D major, is a lyrical duet for soprano and tenor.Inflammatus, in D minor, is an alto solo, beginning with theHandelian colouring of oboes, bassoons and strings and witha trudging Handelian bass line.

The setting of the final stanza reunites all four soloistswith the chorus. It begins in B minor with the octaveF sharps of the opening of the whole work, but turnsdecisively to D major at the first choral climax; in thiskey, the descending motive of the first movementreappears, now consoling rather than sorrowing,and is even incorporated into the fabric of theexuberant Amen, the works one episode of sustainedcontrapuntal texture. After a blazing chordal passage forunaccompanied chorus, the descending motive makesits last appearances in the D major coda, a final calmaffirmation of Dvo ks abiding faith.

Programme note Anthony Burton

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1 Chorus and solo quartet

Stabat mater dolorosaJuxta crucem lacrymosa, Dum pendebat Filius.Cujus animam gementemContristantem et dolentem Pertransivit gladius.O quam tristis et afictaFuit illa benedicta Mater Unigeniti;Quae moerebat et dolebatEt tremebat, cum videbat Nati poenas inclyti.

2 Solo quartet Quis est homo qui non eretChristi matrem si videret In tanto supplicio?Quis non posset contristariPiam matrem contemplari Dolentem cum Filio?Pro peccatis suae gentisVidit Jesum in tormentis Et agellis subditum.Vicit suum dulcem natumMoriendo desolatum Dum emisit spiritum.

DVOKSTABAT MATER, OP. 58

The sad mother was standingtearful beside the cross while her Son was hanging.Her grieving soulheavy with sadness and pain a sword pierced.O how unhappy and burdened with sorrowwas that blessed mother of the only begotten One;Who mourned and sufferedand trembled as she saw the agonies of her glorious Son.

Who is the man who would not weepif he saw the mother of Christ in such afiction?Who could fail to feel compassionseeing the dear mother suffering with her Son?For the sins of His peopleshe saw Jesus in torment and lashed by whips.She saw her dear Sondying in desolation as He gave up His soul.

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3 Chorus

Eia, mater, fons amoris,Me sentire vim doloris Fac, ut tecum lugeam.

4 Bass solo and chorusFac ut ardeat cor meumIn amando Christum Deum Ut sibi complaceam.

Sancta mater, istud agas,Crucixi ge plagas Corde meo valide.

5 ChorusTui nati vulneratiTam dignati pro me pati Poenas mecum divide.

6 Tenor solo and chorusFac me vere tecum ereCrucixo condolere Donec ego vixero.Juxta crucem tecum stareTe libenter sociare In planctu desidero.

O mother, fount of love,make me feel the strength of thy grief that I may lament with thee.

Make my heart blazewith love of Christ the Lord that I may be pleasing to Him.

O holy mother, bring that to pass,plant the wounds of the Crucied One deep in my heart.

Of thy wounded Sonwho so greatly deigned to suffer for me share the pains with me.

Make me truly weep with theeand share the Crucied Ones suffering as long as I shall live.To stand beside the cross with youand gladly to share your desolation is my desire.

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7 Chorus

Virgo, virginum praeclara,Mihi jam non sis amara Fac me tecum plangere.

8 Soprano and tenor duet Fac ut portem Christi mortem,Passionis fac consortem, Et plagas recolere.

Fac me plagis vulnerari,Cruce hac inebriari, ob amorem Filii.

9 Mezzo soprano soloInammatus et accensusPer te, Virgo, sim defensus In die judicii.Fac me cruce custodiri,Morte Christi praemuniri, Confoveri gratia.

10 Soloists and chorusQuando corpus morietur,Fac ut animas donetur Paradisi gloria.

11 Soloists and chorusAmen.

Virgin, noblest of virgins,do not be cruel to me now, make me share thy desolation.

Make me bear the death of Christ,make me a companion of His passion, and feel His wounds again.

Make me be wounded with His woundsand swoon beneath this cross for love of thy Son.

When I am ablaze and consumed with reO Virgin, let me be protected by you in the day of judgment.Let me be guarded by the cross,protected by the death of Christ and cherished by His grace.

When the body shall die,may my soul be given the glory of Paradise.

Amen.

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NEEME JRVIconductor

The head of a musical dynasty, Neeme

Jrvi is one of todays most respectedmaestros. He conducts many of theworlds most prominent orchestras andworks alongside soloists of the highestcalibre. A prolic recording artist, hehas amassed a discography of over 450recordings.

Over his long and highly successful career, Jrvi has heldpositions with orchestras across the world. He is ChiefConductor of the Residentie Orkest in The Netherlands,Artistic Director of the Estonian National SymphonyOrchestra, and Conductor Laureate and Artistic Advisor of theNew Jersey Symphony Orchestra. He became Artistic Directorof the Orchestre de la Suisse Romande in January 2011 andbecomes the orchestras Music Director in September 2012.He also holds the titles of Music Director Emeritus of the

Detroit Symphony Orchestra, Principal Conductor Emeritusof the Gothenburg Symphony Orchestra, and ConductorLaureate of the Royal Scottish National Orchestra.

Highlights of an impressive discography include criticallyacclaimed complete symphony cycles of Prokoev, Sibelius,Nielsen and Brahms. Neeme Jrvi has also championedlesser-known composers such as Wilhelm Stenhammar, HugoAlfvn and Niels Gade, and composers from his native Estonia

S i m o n v a n

B o x t e l

including Rudolf Tobias, Eduard Tubin and Arvo Prt. He has

recorded with Chandos, Deutsche Grammophon, BIS and EMI,amongst others.

Recent discs with Chandos include a Wagner and de Vliegerseries with the Royal Scottish National Orchestra; a recordingof Mahlers Symphony No. 7 with the Residentie Orkest;and a series of Johan Halvorsens works with the BergenPhilharmonic Orchestra.

Throughout his career, Neeme Jrvi has been honoured withmany international awards and accolades. These include anhonorary doctorate from the Music Academy of Estonia inTallinn, and the Order of the National Coat of Arms from thePresident of the Republic of Estonia, Lennart Meri. He holdshonorary doctorates from Detroits Wayne State University,the University of Michigan, the University of Aberdeen andthe Royal Swedish Academy of Music. He has also received

the Commander of the North Star Order from King KarlGustav XVI of Sweden.

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JANICE WATSONsoprano

A regular guest at both English National Opera and Welsh

National Opera, Janice Watson has sung at the Royal OperaHouse, Covent Garden; the Metropolitan Opera, New York;and the opera houses of Lyon, Amsterdam, Munich, Vienna,Santa Fe, Milan and Chicago. She has sung the Marschallin inDer Rosenkavalier for English National Opera; the title rolesin Ariadne auf Naxos for Welsh National Opera and K aKabanov for La Scala and the Royal Opera; and in AndrPrevins A Streetcar Named Desire at the Theater an der Wien.Recent engagements include Alice Ford in Falstaff for WelshNational Opera; Elisabeth in Tannhuser for Opera Australia;Ellen Orford in Peter Grimes in Naples and Turin; Elisabetta inDon Carlos for Opera North; Elsa in Lohengrin for HamburgState Opera; Madame Lidoine in Les dialogues des Carmlites in Valencia; and Leonore in Fidelio in Beijing and at theBrighton Festival.

Her many recordings include Orffs Carmina Burana for VirginClassics; Peter Grimes under Richard Hickox, the title role in Jen fa, and Poulencs Gloria under Sir Charles Mackerras forChandos; and Helena in A Midsummer Nights Dream underSir Colin Davis for Philips Classics. She has also recorded withSir Colin Davis and the London Symphony Orchestra on theLSO Live label.

Dagmar Peckov is one of todays leading Czech mezzo

sopranos. She was born in Chrudim near Prague, and is agraduate of Prague Conservatoire.

Dagmar Peckov has a particular afnity with the Slavicrepertoire: she has performed Dvo ks Biblical Songs with theVienna Philharmonic at the Vienna Musikverein, and Jan eksGlagolitic Mass at the BBC Proms. Other notable performancesinclude Mahlers Kindertotenlieder with the Royal FlandersPhilharmonic Orchestra under Philippe Herreweghe; Dasklagende Lied at the Tonhalle Dsseldorf under MartynBrabbins; Das Lied von der Erde with the Orchestre nationalde Montpellier under Enrico Delamboye; Mahlers SecondSymphony with the Philharmoniker Hamburg under SimoneYoung; and the Third Symphony at the Vienna Konzerthausunder Christian Arming, as well as Des Knaben Wunderhorn with the Orquestra Simfnica de Barcelona under PabloGonzlez.

During her career Dagmar Peckov has worked withconductors including Vladimir Ashkenazy, Ji B lohlvek,Semyon Bychkov, Sir Colin Davis, Charles Dutoit, ChristophEschenbach, Richard Hickox, Kent Nagano, Donald Runniclesand Wolfgang Sawallisch.

DAGMAR PECKOVmezzo soprano

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Peter Auty is established as one of Britains leading tenors.

He made his professional dbut at Opera North in 1998and returned in 2001 as Rodolfo in their much acclaimedproduction of La bohme . He was a company principal at theRoyal Opera, Covent Garden, from 1999 until 2002, where hecovered several major roles and had the opportunity to workwith many of the worlds leading singers and conductors.He later returned as a guest to sing the roles of Malcolm inMacbeth and Edgardo in Lucia di Lammermoor .

Elsewhere, Peter Auty has worked with Grange Park Opera;Opera Holland Park; Glyndebourne Festival Opera andGlyndebourne on Tour; English National Opera; Opera North;Scottish Opera; Frankfurt Opera; and the Nationale Reisopera.

On the concert platform Peter Auty has appeared withmany of the UKs leading orchestras including the LondonPhilharmonic Orchestra, London Symphony Orchestra andOrchestra of the Age of Enlightenment. He made his Londonrecital dbut in the 2009 Rosenblatt Recital Series. Duringthe 2011 BBC Proms season at Londons Royal Albert Hall, heperformed the tenor solo with combined forces of over 1000musicians in Havergal Brians Symphony No. 1, The Gothic.

PETER AUTYtenor

British bass Peter Rose made his operatic dbut in 1986 with

Glyndebourne Festival Opera in Hong Kong as Commendatorein Mozarts Don Giovanni . Since then he has been a regularguest at the worlds most prestigious opera houses.

His enormous repertoire includes Ramphis, Fasolt, Somnus,Daland, King Marke, Basilio, Kecal, Ochs, Banquo, Philip,Prince Gremin, Leporello, Osmin, Gurnemanz, Zaccaria,Claggart and Falstaff. He has won particular acclaim forhis performances of Bottom, which he has sung in Aix-en-Provence; Paris; London; Rome; on the occasion of his dbutat the Metropolitan Opera, New York; and for GlyndebourneFestival Opera.

A prolic concert artist, he has sung under leading conductorsincluding Sir Colin Davis, Daniel Barenboim, Pierre Boulez,Zubin Mehta, Sir Georg Solti and Kurt Masur, with orchestrasincluding the London Symphony, Chicago Symphony, NewYork Philharmonic and Cleveland orchestras.

He can be heard on recordings with the Berlin and ViennaPhilharmonic orchestras, as well as in a variety of operas onthe Chandos label.

PETER ROSEbass

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The London Philharmonic Orchestra is known as one of theworlds great orchestras with a reputation secured by itsperformances in the concert hall and opera house, its manyaward-winning recordings, its trail-blazing international toursand its pioneering education work. Distinguished conductorswho have held positions with the Orchestra since itsfoundation in 1932 by Sir Thomas Beecham include Sir AdrianBoult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti,Klaus Tennstedt, Franz Welser-Mst and Kurt Masur. VladimirJurowski was appointed the Orchestras Principal GuestConductor in March 2003 and became Principal Conductorin September 2007. The London Philharmonic Orchestra hasbeen Resident Symphony Orchestra at Southbank CentresRoyal Festival Hall since 1992 and there it presents its mainseries of concerts between September and May each year.

In summer, the Orchestra moves to Sussex where it has beenResident at Glyndebourne Festival Opera for over 40 years.The Orchestra also performs at venues around the UK andhas made numerous tours to America, Europe and Japan, andvisited India, Hong Kong, China, South Korea, Australia, Oman,Russia, South Africa and Abu Dhabi.

The London Philharmonic Orchestra made its rst recordingson 10 October 1932, just three days after its rst publicperformance. It has recorded and broadcast regularly eversince, and in 2005 established its own record label. Theserecordings are taken mainly from live concerts given byconductors including LPO Principal Conductors from Beechamand Boult, through Haitink, Solti and Tennstedt, to Masur andJurowski. lpo.org.uk

LONDON PHILHARMONIC ORCHESTRA

P a t r i c k H a r r

i s o n

http://www.lpo.org.uk/http://www.lpo.org.uk/

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