Fawzi Haimor (Conductor)

12 Pages·2014·1.01 MB·English

About the Orchestra

Sinfonia Viva is a virtuoso ensemble delivering original and extraordinary creative musical
experiences. Founded in 1982, Sinfonia Viva has a national reputation as a leader in creative music
activity in the UK. Its work offers relevant and enriching possibilities for all.

Sinfonia Viva:

(cid:120) Embraces new opportunities and ways of working whilst nurturing the

best of existing practice, making music accessible to the widest audience

(cid:120) Connects participants, communities and professional musicians through
shared creative activities and performances

(cid:120) Creates exciting and imaginative performance experiences for audiences
and participants Sinfonia Viva in association with

(cid:120) Collaborates with partners to devise, develop and deliver original
Derby LIVE and Orchestras Live presents
musical opportunities

(cid:120) Is an ambassador for music making Leonard Elschenbroich (Cello)

The Orchestra has toured to Ireland and Berlin, has broadcast on BBC Radio 3 and has been part of Fawzi Haimor (Conductor)
a project for Granada Television. The Orchestra made its London debut as part of an Indian music

festival in London’s Kings Place, building on its partnership with top Indian classical violinist Kala
Ramnath. One of the Orchestra’s tracks on the Gorillaz’ album Plastic Beach was nominated for a Derby Cathedral
Grammy award. The Orchestra has hosted the Association of British Orchestras’ national conference.
It took part in the BBC Radio 3 co-ordinated Music Nation week-end which was a countdown event to Tuesday 22nd July 2014, 7.30pm
the London 2012 Festival and the performance was also broadcast on BBC Radio 3. The Orchestra

was the local content producer for the Olympic Torch Evening Celebration event in June 2012 in
Derby.

Sinfonia Viva prides itself on its project development activity and partnership working, often bringing
together musicians from other musical styles, genres and traditions. It also has extensive experience
in event management activity and delivery.

Sinfonia Viva is supported using public funding by the National Lottery through Arts Council England
and receives funding from Derby City Council.

Feedback on any Sinfonia Viva event is welcome via the contact details below.

Sinfonia Viva, Beaufort Street Business Centre, Beaufort Street, Derby, DE21 6AX
Tel: [phone] Fax: [phone] Email: [email protected] www.vivaorch.co.uk

www.facebook.com/sinfonia.viva https://twitter.com/sinfoniavivauk

Viva Chamber Orchestra Ltd is a company limited by guarantee
registered in England No.187955. Registered address 22-26 Nottingham Road, Joseph Haydn
Stapleford, Nottingham. Registered Charity No.291046 VAT No.385367024 Overture to Il Ritorno di Tobia

This concert is supported by Rolls-Royce plc, Derby City Council,
Schumann
Derby LIVE and Orchestras Live.
Cello Concerto in A minor, Op 129

Wagner
Siegfried Idyll

Sibelius
Incidental music to Kuolema, Op 44,
Valse Triste and Scene with Cranes

Beethoven
Symphony No.1 in C, Op 21
Overture to Il Ritorno di Tobia
Joseph Haydn (1732-1809)
P

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Il Ritorno di Tobia (The Return of Tobias) was Haydn’s first oratorio, composed in 1775, some
twenty yearso or so before the much better-known The Creation. Written for a Viennese musical
society, it sets a libretto by Giovanni Gastone Boccherini, brother of the cellist and composer Luigi
g
Boccherini. r

a
It was a success at its first performance, and it was revived in 1784, when Haydn cut some of the
arias and added twom new choruses, including a storm chorus which has since taken on a life of its
own, fitted to a new Latin text, as Insanae et Vanae Curae.
m
The oratorio has rarely been heard since, however, for which weaknesses in the libretto have
been held largUely responesible. It is based on the story from the Apocrypha (biblical texts
sometimes considered perip heral to the Old Testament) in which the elderly Tobit is cured of his
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blindness. n
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The overture (Haydnu used the tthen current term ‘Sinfonia’) begins with a slow minor-key
introduction, leading to thte spirited, energetic main section.
e
h
s
Cello Concerto in A moinor, Op 129
Robert Schumann (1810r-i1849) c
1. Nicht zu schnell (not too fast) s- 2. Langsoam (slow) - 3. Sehr lebhaft (very lively).

When Brahms first heard Dvo(cid:284)ák’es Cello Copncerto he expressed amazement that it was possible
to write a cello concerto like that, adnd said thayt if he had known, he would have done so himself
long ago. He must have known Schum ann’s Cornicerto; he was, after all, a close colleague in the
last few years of Schumann’s life, and uit was the first major concerto for the instrument written in
g
the nineteenth century. But where Dvo(cid:284)ák’s is a big-boned, heroically-scaled work, of the kind we
s
tend to think of as the typical nineteenth-century conhcerto, Schumann’s works for solo instrument
and orchestra rarely aim for all-conquerineg heroism;t the relationship is generally conceived in

more equal terms, and nowhere more so than iin his intimate, almost chamber-like Cello Concerto.
He implied as much when he first entered it in his oMwn catalogue of his compositions as a
s
Konzertstück (Concert-piece), which suggests mo re modesti aims.
p k
After damaging his right hand in 1832 Schumann rtook up the cello for a while, and this was
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enough to give him some grasp of how to write effectively for it . In particular, he understood the
o
problems of balance involved in keeping the cello part audible against a full orchestra. As a result,
he limits the concerto’s instrumentation, with just twho each oWf horns and trumpets, omitting
i
trombones altogether. Lightly scored accompanying passages allow the cello plenty of space to
make itself heard, particularly in its lower register. b h
i
t e
Schumann sketched the concerto in two weeks in October 1850, during a particularly productive
period following his move to Düsseldorf to take up the poest of direcetorl of music there, and
immediately before the first signs of his mental breakdown. Tdhe work is a particularly striking
e
example of his attention to an extended composition’s overall unity. Themes recur across the
r
entire, remarkably compact, three-movement structure, and each movement run s seamlessly into
the next. After just four bars of orchestral introduction, the soloist enters with a characteristically
2
broad, lyrical main theme which soars and swoops through several octaves. Time and again
Schumann catches our attention with a typically poetic turn of phrase. In fact he is0 so concerned
with exploring the music’s lyrical qualities that the return of the opening theme at the
1
recapitulation, often the point at which the dramatic tension of a piece is at its height, here slips by
4
almost unnoticed.
A brief transition passage, hinting at the first movement’s opening bars, leads into the tender,
song-like slow movement. This is Schumann the introverted dreamer, the side of his personality
he callePd ‘Eusebius’, in contrast to ‘Florestan’, the impulsive, fiery extrovert. As the movement
draws to rits haunting close the tempo begins to revive, the first movement’s opening theme
returns, and a short unaccompanied passage for the soloist runs into the perky, rhythmically
o
incisive finale. The music drives impetuously towards its climax, and it is here, rather than the
more convengtional point at the end of the first movement, that Schumann places the soloist’s
r
cadenza. That in itself was a stroke of great originality for its time, but he also gives it a discreet
orchestral accomapaniment. It is typical of his whole approach that both the cadenza and the
exuberant final pages should be more concerned with musical values than virtuoso display.
m
Schumann’s uncertainty as to what to call the work looks not so much like indecision on his part
as doubt as to how it would be received by the public, an impression reinforced by its subsequent
m
comparative neglect. Schumann directed a run-through with the Düsseldorf orchestra and its
principal cellisUt in March 1e851, but the concerto was not performed in public until 1860. Even now,
in spite of the advocacy of cellists of the stature of Pablo Casals, it still tends to be all too rarely
played, though tnhe current re-assessment of Schumann’s later music may yet see it taking its
n
rightful place in thea repertoire.
o
u t
Siegfried Idyll t
e
Richard Wagner (1813-1883)
h
s
Wagner and Liszt’s daughoter, Cosim a, became lovers in 1864, and two years later decided to
set up home in Tribschenr, ia housec overlooking Lake Lucerne, near Geneva. They were
formally married in August 187s0. In Junoe 1869 their third child, Siegfried, was born and, except
for a few pages of the full score, Wagner also completed Siegfried, the third opera of the four-
part Niebelung’s ring cycle the seame year.p
d y
Cosima celebrated her birthday on 25th Decermiber, even though the actual day was the 24th.
To mark the occasion in 1870 Wagner planned a surprise present, extravagant even by his
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g
standards, a twenty-minute work for an ensemble of thirteen players, to be performed on the
s
staircase outside her room. The work was rehearhsed in secret by the conductor Hans Richter,
who also played the trumpet part, having elearned thet instrument specially for the occasion.

i
The title page of the manuscript score read “TribscMhen Idyll with Fidi-Birdsong and Orange
s
Sunrise, presented as a symphonic birthday gr eeting to hiis Cosima by her Richard, 1870.” Fidi
was their nickname for Siegfried and the orangep sunrise wkas the phenomenon noted by Cosima
in her diary the day he was born when the sun shone in on the orange wallpaper of the room
r
e
creating “an incredibly beautiful, fiery glow”.

o
The piece draws on themes from Siegfried, and a trhaditional lWullaby, ‘Sleep, baby, sleep’. The
i
result was so intensely personal to Wagner and Cosima that it was only with extreme
reluctance, for financial reasons, that they agreed to “theb secret trehasure” being published.
i
t e
Incidental music to Kuolema, Op 44
e e
Jean Sibelius (1865-1957) l
d
1. Valse triste; 2. Scene with Cranes. e
r
While Sibelius’s symphonies and tone-poems demonstrate his mastery of l ong-range musical
thinking, his many theatre scores show his ability to convey a mood or create an atmosphere in a
2
short space of time.
0
In 1903 he provided music for Kuolema (Death), a play by his brother-in-law Arvid 1Järnefelt. The
following year he prepared a concert version of the music for the opening scene, in which the
4
central character, Paavali, is with his dying mother. She sees the figure of Death comin g to claim
her; thinking he is her late husband, she dances with him. Under the title Valse Triste it quickly
became one of Sibelius’s most popular works. But he sold the copyright to his publisher for a We Value Your Support
paltry amount, a move that he was to regret for the rest of his life.
P As a registered charity, supporting Sinfonia Viva enables individuals, trusts and foundations,
Scene withr Cranes, adapted from the music to scenes 3 and 4 of the play, was published in 1906. businesses and statuary bodies to play a key role in a range of innovative artistic, education
Sibelius waso particularly haunted by the sight and sound of cranes in flight, and this is one of his and community programmes.
most powerfully atmospheric nature scenes. As so often, he achieves an unforgettable effect with
very simple megans – a brief passage featuring falling two-note figures for two clarinets stands out You can make a real difference and support the work we do right away. It couldn’t be easier -
with stark clarityr against the gentle background of string tone set up at the beginning, with a just Text VIVA30 and either 1, 2, 3, 4, 5, 6, 7, 8, 9 or 10 to 700 70. You can text donate a
passage of dialoguae for solo violin and solo cello drawing the piece to its soft conclusion. maximum of £30 per day in multiples of up to £10.

m Alternatively you can make a donation securely online through BT mydonate
Symphony No.1 in C, Op 21 www.mydonate.bt.com/charities/sinfoniaviva Or send a cheque together with your contact
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1. Adagio molto – allegro con brio; 2. Andante cantabile con moto; 3. Menuetto. Allegro molto e
vivace; 4. AdagUio – allegroe m olto e vivace. To discuss different ways you can help please call Simone Lennox-Gordon on 01332 207 566
n or email [email protected].
As a composer, Beethoven fnirst established himself in his adopted Vienna with chamber works,
a
sonatas and concertos, mostly ofor, or involving, his own instrument, the piano. He seems to have Thank You
deliberately avoided thue genres otf string quartet and symphony of which Haydn was the greatest
t www.vivaorch.co.uk
living master. At any rate it is noticeeable that Beethoven only began his First Symphony long after
Haydn had produced his lhast completed examples.
s Special thanks go to our supporters:
o
Beethoven started work on ar symphoncy in C in 1795, but he left it unfinished. In the musical Funders: Arts Council England, Derby City Council, Derbyshire County Council
climate of Vienna in the mid-1i790s it would have taken more prestige than Beethoven currently Lincolnshire County Council, Orchestras Live
enjoyed to be able to present sa symphoony in public, and it may simply have been this lack of
performance opportunity which caeused him tpo lose interest in the work. P rincipal Business Sponsor: Rolls-Royce plc
y Business Supporter - New Year's Eve Gala Performance 2013: Handelsbanken Nottingham
Swohmiche hoef thbee gmana teinr ia1l7 f9ro9m. I tt hwisa sa bporredtmed ie arettde mapt th rfisoi ufnirsdt itbse wneafyit incoton cheisr t fiirns tV fiuelnlyn-fale idng Aedp rsil y1m8p0h0o, nayn, Leader’s Chair - Sponsored by Maestro Members: Brian King, Peter Steer, Robin Wood
ambitious undertaking which also includued his Piango Concerto No.1 in C (Beethoven had intended
Trust and Foundations
to perform No.3 in C minor but it was nsot completed in time) and the first performance of his
h Angus Allnatt Charitable Foundation
Septet. e t Children in Need

i D'Oyly Carte Charitable Trust
From the point of view of the later symphonies, No.1 can seem a relatively conventional work on
M Freemasons of Derby Grassroots Fund
the surface. No doubt conscious of what he wsas taking on, Beethoven, not surprisingly, drew on
i Foyle Foundation
the example of Haydn and Mozart as he tested the waters in his first completed attempt at the
genre. In particular, the second movement has apn eighteenkth-century grace and elegance, and Heritage Lottery Fund
the main part of the finale bubbles along with Haydnersque gooed humour. Jessie Spencer Trust
o JR Halkes Settlement
Royal Philharmonic Society and PRS for Music Foundation
All the same, the music forcefully announces a frehsh talentW harbouring unorthodox ideas. Santander
Beethoven’s scoring, which gives prominence to the wiind instruments, was novel enough to
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attract unfavourable comment after the first performance. The first movement does not even start
b h The Ernest Book Trust
in the main key; instead the music works its way round to it iduring the slow introduction. The so-
called minuet is no such thing, but a boisterous, hectic scherzto which meoves at a faster pace than The John Ellerman Foundation
The National Forest
eclveeanrl yH ashydonw sh aBde edtahroevde nin shtirsik isntgri nogu qt uoanr tehtiss aonwdn spyamthp.h oTnhiee esf.i nTahleis bise gtehinels mwoitvhe ma etneta sthinagt mslooswt The Prince of Wales Charitable Foundation
d The Thomas Farr Charity
introduction, unfolding a rising scale one note at a time in mock-pedantic fasheion (this idea derives
The Wallbrook Fund
from the earlier, unfinished, symphony). r
The Waynflete Charitable Trust
Tom Carey Fund
For all its indebtedness to Haydn and Mozart, it is the sheer force and energ2y of Beethoven’s

personality which comes across most strongly in his First Symphony – qualities which Mozart had Our grateful thanks also go to our kind patrons who attended our concerts and those that have
0
recognised some fifteen years earlier when, after hearing the teenage Beethoven improvise, he provided donations to support our work.
commented “Keep an eye on him. One day he will give the world something to talk ab1out.”
Just as each of our musicians in today’s concert has played a vital part, we invite you to play a
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ 4~ ~ ~ ~ vital role. To find out how you can make a difference please contact Simone Lennox-Gordon,
Head of Development on 01332 207 566 or email [email protected]
Programme notes © Mike Wheeler 2014. Unauthorised reproduction is prohibited.
The Orchestra

Conductor Soloist
Fawzi Haimor Leonard Elschenbroich

Violin 1 Flute
Benedict Holland Rachel Holt
Kelly McCusker Jonathan Booty
Ken Mitchell
Rebecca Allfree
Chris Windass Oboe
Clare Bhabra Emily Pailthorpe
Emily Chaplais Maddy Aldis-Evans
Belinda Hammond

Clarinet
Violin 2 Helen Bishop
Philip Gallaway Matthew Dunn
Sian McInally
Janet Hall
Hazel Parkes Bassoon
Jacob Lay Adam Mackenzie
Mathias Svensson Claire Gainford

Viola Horn
Isobel Adams James Topp
David Danford Richard Lewis
Janina Kopinska
Nicky Akeroyd
Trumpet
Anthony Thompson
Cello Gordon Truman
Deirdre Bencsik
Graham Morris
Lucy Wilding Timpani
Diane Tice Graham Hall

Double Bass
Dan Storer
David Burndrett

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Images front cover and overleaf: Leonard Elschenbroich – copyright Felix Broede.
Fawzi Haimor Leonard Elschenbroich
Conductor Cello

“The Alabama Symphony, under Fawzi Haimor, performed both “A very interesting interpretation… from cellist Leonard Elschenbroich - a
works with remarkable verve.” Birmingham News, Alabama name we're going to hear much more of.” David Mellor, Classic FM

Fawzi Haimor holds the position of Resident Leonard Elschenbroich has excited interest
Conductor of the Pittsburgh Symphony as one the most charismatic cellists of his
Orchestra, where he conducts a variety of generation. Leonard joined the BBC Radio 3
concerts including subscription, pops, education New Generation Artist scheme in 2012, a
and outreach. While in Pittsburgh, he has prestigious award offering performances and
served as a cover to esteemed conductors recordings with all the BBC orchestras,
including Manfred Honeck, Leonard Slatkin, recitals at Wigmore Hall and The Sage,
Gianandrea Noseda, Rafael Fruhbeck de Gateshead, with all performances broadcast
Burgos and Jan Pascal Tortelier. on the BBC. Leonard has appeared at the
BBC Proms, most recently in 2013 with the
As a guest artist, Haimor works with such Royal Philharmonic Orchestra and Charles
orchestras as Alabama Symphony Orchestra, Dutoit. In the 2013/14 season he makes
Jacksonville Symphony, Kansas City debuts with the Netherlands Philharmonic
Symphony, Erie Chamber Orchestra and Orchestra at the Amsterdam Concertgebouw
Amman Symphony in the Middle East. He with Andrew Litton and his debut with the
made his European debut with Orquestra Washington National Orchestra is a highlight.
Sinfónica do Porto in 2011 and he recently He returns to the London Philharmonic
made his Italian debut with the Filarmonica del Teatro Comunale di Bologna, receiving an immediate Orchestra and the Japan Philharmonic where he made his Tokyo debut in 2012 conducted by
reinvitation to the orchestra in the 2014/15 season. He returns to Europe this June to work with Alexander Lazarev. He also appears with BBC Scottish Symphony and John Wilson, BBC
Württembergisches Kammerorchester Heilbronn, which will incorporate his London debut at Philharmonic and Vassily Sinaisky, BBC National Orchestra of Wales and Gullberg Jensen.
Cadogan Hall. In the 2014/2015 season, debuts include those with Orchestra Sinfonica di Milano
Giuseppe Verdi and with Qatar Philharmonic Orchestra. He has worked with a number of eminent conductors, including Christoph Eschenbach, Dmitri
Kitajenko, Valery Gergiev, Semyon Bychkov and Manfred Honeck. As a soloist he has
Passionate about the education of young musicians, Fawzi Haimor was the first music director of the performed with the London Philharmonic, Chicago Symphony Orchestra, WDR Symphony
newly formed Alabama Symphony Youth Orchestra where he was involved in the development of a Orchestra, Konzerthaus Orchester Berlin, Swedish Radio Symphony, Basel Symphony
brand new premier level youth orchestra for the state of Alabama. He was also the founder and first Orchestra, Stavanger Symphony, St. Petersburg Philharmonic Orchestra, Buenos Aires
music director of the Davis Summer Symphony, an organization geared towards the education and Philharmonic, Nagoya Philharmonic and Japan Philharmonic. He made his debut at the
outreach of classical music to residents of the Davis, California community. He has subsequently Musikverein in Vienna with the Dresden Staatskapelle and Christoph Eschenbach on their 2011
been invited to guest conduct youth ensembles across the United States. European tour. Leonard made his debut tour of China at the start of the 2012/2013 season with
concerts in Shanghai, Guangzhou, Tianjin, and Beijing. Leonard Elschenbroich has given
His repertoire includes the late romantic Germanic works, 19th and 20th century Russian and recitals at the Wigmore Hall in London and the Concertgebouw in Amsterdam, both returns this
American composers, plus he is a committed advocate of contemporary music and has performed season, the Auditorium du Louvre, at the Ravinia Festival in Chicago, the Lucerne Festival, the
works by composers such as Kevin Puts, Bela Fleck, Mohammed Fairouz and Avner Dorman. Gstaad Festival, the Istanbul International Festival, the Rheingau, Mecklenburg-Vorpommern,
and Schleswig-Holstein Festival, where he performed the complete Beethoven sonatas with
Born in Chicago in 1983, Fawzi Haimor was raised in the Middle East and the San Francisco Bay Christoph Eschenbach. On tour in South America, he has performed with the Buenos Aires
Area. He began playing the violin at the age of 4 and completed his training at the Jacobs School of Philharmonic at the Teatro Colon and gave recitals in Rio de Janeiro, Buenos Aires,
Music in Indiana University. Here he studied under David Effron and Arthur Fagen as well as Montevideo, Lima and Sao Paulo.
attending master classes around the world led by highly respected conductors including Herbert
Blomstedt, Jorma Panula and Gustav Meier. In 2013, his debut CD (Rachmaninov & Shostakovich (viola) sonatas) for Onyx Classics
received 5 star reviews from The Telegraph, The Guardian, BBC Music Magazine (Choice of
He earned bachelor’s degrees in both music and neurobiology, physiology, and behaviour, and a the Month), Pizzicato, Diapason, amongst others. Leonard is a member of two distinguished
master’s degree in conducting from the University of California-Davis, before completing his second piano trios: the Sitkovetsky Piano Trio with whom he toured Australia this season and the
master’s in instrumental conducting at Indiana University. Benedetti, Elschenbroich, Grynyuk Piano Trio. Leonard Elschenbroich’s many awards include:
the Leonard Bernstein Award, Borletti-Buitoni Trust Award, Eugene Istomin Prize, Pro Europa
Fawzi Haimor currently lives in Pittsburgh, Pennsylvania with his wife Houda and their young prize, Landgraf von Hessen price of the Kronberg Academy, Nordmetall Prize of the
children. Mecklenburg-Vorpommern Festival, Firmenich Prize of the Verbier Festival.
Fawzi Haimor Leonard Elschenbroich
Conductor Cello

“The Alabama Symphony, under Fawzi Haimor, performed both “A very interesting interpretation… from cellist Leonard Elschenbroich - a
works with remarkable verve.” Birmingham News, Alabama name we're going to hear much more of.” David Mellor, Classic FM

Fawzi Haimor holds the position of Resident Leonard Elschenbroich has excited interest
Conductor of the Pittsburgh Symphony as one the most charismatic cellists of his
Orchestra, where he conducts a variety of generation. Leonard joined the BBC Radio 3
concerts including subscription, pops, education New Generation Artist scheme in 2012, a
and outreach. While in Pittsburgh, he has prestigious award offering performances and
served as a cover to esteemed conductors recordings with all the BBC orchestras,
including Manfred Honeck, Leonard Slatkin, recitals at Wigmore Hall and The Sage,
Gianandrea Noseda, Rafael Fruhbeck de Gateshead, with all performances broadcast
Burgos and Jan Pascal Tortelier. on the BBC. Leonard has appeared at the
BBC Proms, most recently in 2013 with the
As a guest artist, Haimor works with such Royal Philharmonic Orchestra and Charles
orchestras as Alabama Symphony Orchestra, Dutoit. In the 2013/14 season he makes
Jacksonville Symphony, Kansas City debuts with the Netherlands Philharmonic
Symphony, Erie Chamber Orchestra and Orchestra at the Amsterdam Concertgebouw
Amman Symphony in the Middle East. He with Andrew Litton and his debut with the
made his European debut with Orquestra Washington National Orchestra is a highlight.
Sinfónica do Porto in 2011 and he recently He returns to the London Philharmonic
made his Italian debut with the Filarmonica del Teatro Comunale di Bologna, receiving an immediate Orchestra and the Japan Philharmonic where he made his Tokyo debut in 2012 conducted by
reinvitation to the orchestra in the 2014/15 season. He returns to Europe this June to work with Alexander Lazarev. He also appears with BBC Scottish Symphony and John Wilson, BBC
Württembergisches Kammerorchester Heilbronn, which will incorporate his London debut at Philharmonic and Vassily Sinaisky, BBC National Orchestra of Wales and Gullberg Jensen.
Cadogan Hall. In the 2014/2015 season, debuts include those with Orchestra Sinfonica di Milano
Giuseppe Verdi and with Qatar Philharmonic Orchestra. He has worked with a number of eminent conductors, including Christoph Eschenbach, Dmitri
Kitajenko, Valery Gergiev, Semyon Bychkov and Manfred Honeck. As a soloist he has
Passionate about the education of young musicians, Fawzi Haimor was the first music director of the performed with the London Philharmonic, Chicago Symphony Orchestra, WDR Symphony
newly formed Alabama Symphony Youth Orchestra where he was involved in the development of a Orchestra, Konzerthaus Orchester Berlin, Swedish Radio Symphony, Basel Symphony
brand new premier level youth orchestra for the state of Alabama. He was also the founder and first Orchestra, Stavanger Symphony, St. Petersburg Philharmonic Orchestra, Buenos Aires
music director of the Davis Summer Symphony, an organization geared towards the education and Philharmonic, Nagoya Philharmonic and Japan Philharmonic. He made his debut at the
outreach of classical music to residents of the Davis, California community. He has subsequently Musikverein in Vienna with the Dresden Staatskapelle and Christoph Eschenbach on their 2011
been invited to guest conduct youth ensembles across the United States. European tour. Leonard made his debut tour of China at the start of the 2012/2013 season with
concerts in Shanghai, Guangzhou, Tianjin, and Beijing. Leonard Elschenbroich has given
His repertoire includes the late romantic Germanic works, 19th and 20th century Russian and recitals at the Wigmore Hall in London and the Concertgebouw in Amsterdam, both returns this
American composers, plus he is a committed advocate of contemporary music and has performed season, the Auditorium du Louvre, at the Ravinia Festival in Chicago, the Lucerne Festival, the
works by composers such as Kevin Puts, Bela Fleck, Mohammed Fairouz and Avner Dorman. Gstaad Festival, the Istanbul International Festival, the Rheingau, Mecklenburg-Vorpommern,
and Schleswig-Holstein Festival, where he performed the complete Beethoven sonatas with
Born in Chicago in 1983, Fawzi Haimor was raised in the Middle East and the San Francisco Bay Christoph Eschenbach. On tour in South America, he has performed with the Buenos Aires
Area. He began playing the violin at the age of 4 and completed his training at the Jacobs School of Philharmonic at the Teatro Colon and gave recitals in Rio de Janeiro, Buenos Aires,
Music in Indiana University. Here he studied under David Effron and Arthur Fagen as well as Montevideo, Lima and Sao Paulo.
attending master classes around the world led by highly respected conductors including Herbert
Blomstedt, Jorma Panula and Gustav Meier. In 2013, his debut CD (Rachmaninov & Shostakovich (viola) sonatas) for Onyx Classics
received 5 star reviews from The Telegraph, The Guardian, BBC Music Magazine (Choice of
He earned bachelor’s degrees in both music and neurobiology, physiology, and behaviour, and a the Month), Pizzicato, Diapason, amongst others. Leonard is a member of two distinguished
master’s degree in conducting from the University of California-Davis, before completing his second piano trios: the Sitkovetsky Piano Trio with whom he toured Australia this season and the
master’s in instrumental conducting at Indiana University. Benedetti, Elschenbroich, Grynyuk Piano Trio. Leonard Elschenbroich’s many awards include:
the Leonard Bernstein Award, Borletti-Buitoni Trust Award, Eugene Istomin Prize, Pro Europa
Fawzi Haimor currently lives in Pittsburgh, Pennsylvania with his wife Houda and their young prize, Landgraf von Hessen price of the Kronberg Academy, Nordmetall Prize of the
children. Mecklenburg-Vorpommern Festival, Firmenich Prize of the Verbier Festival.
The Orchestra

Conductor Soloist
Fawzi Haimor Leonard Elschenbroich

Violin 1 Flute
Benedict Holland Rachel Holt
Kelly McCusker Jonathan Booty
Ken Mitchell
Rebecca Allfree
Chris Windass Oboe
Clare Bhabra Emily Pailthorpe
Emily Chaplais Maddy Aldis-Evans
Belinda Hammond

Clarinet
Violin 2 Helen Bishop
Philip Gallaway Matthew Dunn
Sian McInally
Janet Hall
Hazel Parkes Bassoon
Jacob Lay Adam Mackenzie
Mathias Svensson Claire Gainford

Viola Horn
Isobel Adams James Topp
David Danford Richard Lewis
Janina Kopinska
Nicky Akeroyd
Trumpet
Anthony Thompson
Cello Gordon Truman
Deirdre Bencsik
Graham Morris
Lucy Wilding Timpani
Diane Tice Graham Hall

Double Bass
Dan Storer
David Burndrett

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Images front cover and overleaf: Leonard Elschenbroich – copyright Felix Broede.
became one of Sibelius’s most popular works. But he sold the copyright to his publisher for a We Value Your Support
paltry amount, a move that he was to regret for the rest of his life.
P As a registered charity, supporting Sinfonia Viva enables individuals, trusts and foundations,
Scene withr Cranes, adapted from the music to scenes 3 and 4 of the play, was published in 1906. businesses and statuary bodies to play a key role in a range of innovative artistic, education
Sibelius waso particularly haunted by the sight and sound of cranes in flight, and this is one of his and community programmes.
most powerfully atmospheric nature scenes. As so often, he achieves an unforgettable effect with
very simple megans – a brief passage featuring falling two-note figures for two clarinets stands out You can make a real difference and support the work we do right away. It couldn’t be easier -
with stark clarityr against the gentle background of string tone set up at the beginning, with a just Text VIVA30 and either 1, 2, 3, 4, 5, 6, 7, 8, 9 or 10 to 700 70. You can text donate a
passage of dialoguae for solo violin and solo cello drawing the piece to its soft conclusion. maximum of £30 per day in multiples of up to £10.

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1. Adagio molto – allegro con brio; 2. Andante cantabile con moto; 3. Menuetto. Allegro molto e
vivace; 4. AdagUio – allegroe m olto e vivace. To discuss different ways you can help please call Simone Lennox-Gordon on 01332 207 566
n or email [email protected].
As a composer, Beethoven fnirst established himself in his adopted Vienna with chamber works,
a
sonatas and concertos, mostly ofor, or involving, his own instrument, the piano. He seems to have Thank You
deliberately avoided thue genres otf string quartet and symphony of which Haydn was the greatest
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living master. At any rate it is noticeeable that Beethoven only began his First Symphony long after
Haydn had produced his lhast completed examples.
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Beethoven started work on ar symphoncy in C in 1795, but he left it unfinished. In the musical Funders: Arts Council England, Derby City Council, Derbyshire County Council
climate of Vienna in the mid-1i790s it would have taken more prestige than Beethoven currently Lincolnshire County Council, Orchestras Live
enjoyed to be able to present sa symphoony in public, and it may simply have been this lack of
performance opportunity which caeused him tpo lose interest in the work. P rincipal Business Sponsor: Rolls-Royce plc
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Swohmiche hoef thbee gmana teinr ia1l7 f9ro9m. I tt hwisa sa bporredtmed ie arettde mapt th rfisoi ufnirsdt itbse wneafyit incoton cheisr t fiirns tV fiuelnlyn-fale idng Aedp rsil y1m8p0h0o, nayn, Leader’s Chair - Sponsored by Maestro Members: Brian King, Peter Steer, Robin Wood
ambitious undertaking which also includued his Piango Concerto No.1 in C (Beethoven had intended
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to perform No.3 in C minor but it was nsot completed in time) and the first performance of his
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From the point of view of the later symphonies, No.1 can seem a relatively conventional work on
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the surface. No doubt conscious of what he wsas taking on, Beethoven, not surprisingly, drew on
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the example of Haydn and Mozart as he tested the waters in his first completed attempt at the
genre. In particular, the second movement has apn eighteenkth-century grace and elegance, and Heritage Lottery Fund
the main part of the finale bubbles along with Haydnersque gooed humour. Jessie Spencer Trust
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All the same, the music forcefully announces a frehsh talentW harbouring unorthodox ideas. Santander
Beethoven’s scoring, which gives prominence to the wiind instruments, was novel enough to
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attract unfavourable comment after the first performance. The first movement does not even start
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in the main key; instead the music works its way round to it iduring the slow introduction. The so-
called minuet is no such thing, but a boisterous, hectic scherzto which meoves at a faster pace than The John Ellerman Foundation
The National Forest
eclveeanrl yH ashydonw sh aBde edtahroevde nin shtirsik isntgri nogu qt uoanr tehtiss aonwdn spyamthp.h oTnhiee esf.i nTahleis bise gtehinels mwoitvhe ma etneta sthinagt mslooswt The Prince of Wales Charitable Foundation
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introduction, unfolding a rising scale one note at a time in mock-pedantic fasheion (this idea derives
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from the earlier, unfinished, symphony). r
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For all its indebtedness to Haydn and Mozart, it is the sheer force and energ2y of Beethoven’s

personality which comes across most strongly in his First Symphony – qualities which Mozart had Our grateful thanks also go to our kind patrons who attended our concerts and those that have
0
recognised some fifteen years earlier when, after hearing the teenage Beethoven improvise, he provided donations to support our work.
commented “Keep an eye on him. One day he will give the world something to talk ab1out.”
Just as each of our musicians in today’s concert has played a vital part, we invite you to play a
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Programme notes © Mike Wheeler 2014. Unauthorised reproduction is prohibited.
A brief transition passage, hinting at the first movement’s opening bars, leads into the tender,
song-like slow movement. This is Schumann the introverted dreamer, the side of his personality
he callePd ‘Eusebius’, in contrast to ‘Florestan’, the impulsive, fiery extrovert. As the movement
draws to rits haunting close the tempo begins to revive, the first movement’s opening theme
returns, and a short unaccompanied passage for the soloist runs into the perky, rhythmically
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incisive finale. The music drives impetuously towards its climax, and it is here, rather than the
more convengtional point at the end of the first movement, that Schumann places the soloist’s
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cadenza. That in itself was a stroke of great originality for its time, but he also gives it a discreet
orchestral accomapaniment. It is typical of his whole approach that both the cadenza and the
exuberant final pages should be more concerned with musical values than virtuoso display.
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Schumann’s uncertainty as to what to call the work looks not so much like indecision on his part
as doubt as to how it would be received by the public, an impression reinforced by its subsequent
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comparative neglect. Schumann directed a run-through with the Düsseldorf orchestra and its
principal cellisUt in March 1e851, but the concerto was not performed in public until 1860. Even now,
in spite of the advocacy of cellists of the stature of Pablo Casals, it still tends to be all too rarely
played, though tnhe current re-assessment of Schumann’s later music may yet see it taking its
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rightful place in thea repertoire.
o
u t
Siegfried Idyll t
e
Richard Wagner (1813-1883)
h
s
Wagner and Liszt’s daughoter, Cosim a, became lovers in 1864, and two years later decided to
set up home in Tribschenr, ia housec overlooking Lake Lucerne, near Geneva. They were
formally married in August 187s0. In Junoe 1869 their third child, Siegfried, was born and, except
for a few pages of the full score, Wagner also completed Siegfried, the third opera of the four-
part Niebelung’s ring cycle the seame year.p
d y
Cosima celebrated her birthday on 25th Decermiber, even though the actual day was the 24th.
To mark the occasion in 1870 Wagner planned a surprise present, extravagant even by his
u
g
standards, a twenty-minute work for an ensemble of thirteen players, to be performed on the
s
staircase outside her room. The work was rehearhsed in secret by the conductor Hans Richter,
who also played the trumpet part, having elearned thet instrument specially for the occasion.

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The title page of the manuscript score read “TribscMhen Idyll with Fidi-Birdsong and Orange
s
Sunrise, presented as a symphonic birthday gr eeting to hiis Cosima by her Richard, 1870.” Fidi
was their nickname for Siegfried and the orangep sunrise wkas the phenomenon noted by Cosima
in her diary the day he was born when the sun shone in on the orange wallpaper of the room
r
e
creating “an incredibly beautiful, fiery glow”.

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The piece draws on themes from Siegfried, and a trhaditional lWullaby, ‘Sleep, baby, sleep’. The
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result was so intensely personal to Wagner and Cosima that it was only with extreme
reluctance, for financial reasons, that they agreed to “theb secret trehasure” being published.
i
t e
Incidental music to Kuolema, Op 44
e e
Jean Sibelius (1865-1957) l
d
1. Valse triste; 2. Scene with Cranes. e
r
While Sibelius’s symphonies and tone-poems demonstrate his mastery of l ong-range musical
thinking, his many theatre scores show his ability to convey a mood or create an atmosphere in a
2
short space of time.
0
In 1903 he provided music for Kuolema (Death), a play by his brother-in-law Arvid 1Järnefelt. The
following year he prepared a concert version of the music for the opening scene, in which the
4
central character, Paavali, is with his dying mother. She sees the figure of Death comin g to claim
her; thinking he is her late husband, she dances with him. Under the title Valse Triste it quickly