London Symphony Orchestra

Living Music

Sunday 11 January 2015 7.30pm

Barbican Hall
DAS PARADIES UND DIE PERI
Schumann Das Paradies und die Peri

Londons Symphony Orchestra

Sir Simon Rattle conductor

Sally Matthews Peri
Mark Padmore narrator
Kate Royal soprano
Bernarda Fink alto
Andrew Staples tenor
Florian Boesch bass
London Symphony Chorus
Simon Halsey chorus director
Interval after Part Two
Concert finishes approx 9.50pm
Broadcast live on BBC Radio 3

Welcome

11 January 2015

Welcome
Kathryn McDowell

Living Music
In Brief
Happy new year and welcome to the first LSO
concert of 2015, which places the spotlight on
Schumanns rarity Das Paradies und die Peri.
It is a great pleasure to be joined by conductor
Sir Simon Rattle for the first of his four concerts
with the LSO this season. Sir Simon has been a
champion of this rarely heard work for the past
decade, and we much look forward to performing
this with him tonight.
The London Symphony Chorus, led by Simon Halsey,
also appear on stage with the Orchestra this evening,
along with six outstanding soloists Sally Matthews,
Mark Padmore, Kate Royal, Bernarda Fink,
Andrew Staples and Florian Boesch.

2015/16 SEASON LAUNCH

Were delighted to announce details of the LSOs
brand new season of inspiring music-making, taking
place at the Barbican between September 2015 and
June 2016. The concerts will be available to browse
on lso.co.uk from 20 January; online booking
will open on 4 February, with telephone booking
available from 18 February. LSO Friends get priority
booking from 19 January, along with a range of other
benefits; find out more at lso.co.uk/lsofriends.
lso.co.uk/201516season

THE LSO ON DIGITAL THEATRE

In addition to performances in the concert hall,
LSO Sing, the LSO programme aiming to involve
Londoners in choral singing, offers opportunities to
get more involved throughout the year. To find out
more about Singing Days taking place in 2015 and
the LSOs own choirs, visit lso.co.uk/lsosing.
Thank you to our media partners BBC Radio 3,
who will broadcast tonights concert live.

Selected LSO concerts, recorded live in HD at the

Barbican, are now available to buy or rent on demand
through Digital Theatre. The first releases are a
programme of Mendelssohn and Schumann with
conductor Sir John Eliot Gardiner and pianist Maria
Joo Pires, and Berliozs Romeo and Juliet with Valery
Gergiev, with more content to be added during 2015.
digitaltheatre.com/browse/classical-music

I hope that you enjoy the performance and will

return regularly to hear the LSO again this year.
Sir Simon Rattles concerts continue on Thursday,
with a programme centred on Stravinskys
The Rite of Spring.

Kathryn McDowell CBE DL

Managing Director

A WARM WELCOME TO TONIGHTS GROUPS

The LSO offers great benefits for groups of 10+
including a 20% discount on tickets.
Tonight we are delighted to welcome:
Danenberg Oberlin in London,
Rachel Bylo & Friends, Nicole Hu & Friends,
and Gordon Thomson & Friends
lso.co.uk/groups

lso.co.uk

Sir Simon Rattle

Conductor

Artist Biographies

Rattle conducts with missionary zeal,

as if he believes in every note.
Sir Simon Rattle was born in Liverpool and studied at
the Royal Academy of Music.

Chief Conductor
and Artistic Director
Berlin Philharmonic
Principal Artist
Orchestra of the Age of Enlightenment
Founding Patron
Birmingham Contemporary
Music Group

Between 1980 and 1998, Rattle was Principal Conductor

and Artistic Adviser of the City of Birmingham Symphony
Orchestra, then Music Director. He toured and
recorded extensively with them whilst also building
strong relationships with the leading orchestras
in London, Europe and the US. He regularly conducts
the Vienna Philharmonic, and is also a Principal Artist
of the Orchestra of the Age of Enlightenment and
Founding Patron of Birmingham Contemporary
Music Group. Following his 1977 Glyndebourne Festival
Opera debut, he has conducted many productions
there, as well as a series for Netherlands Opera.
Other notable debuts included English National Opera
(1985), his US opera debut in Los Angeles (1988),
the Royal Opera House (1990) and Thtre du
Chtelet, Paris (1996).
A regular guest conductor of the Berlin Philharmonic
Orchestra for 15 years, Simon Rattle became its
Chief Conductor and Artistic Director in 2002.
The partnership tours extensively and has garnered
many awards for its recordings and pioneering
educational work. The Berlin Philharmonic enjoys
close links with the Simon Bolivar Youth Orchestra
of Venezuela; since his appointment, Rattle has
led two projects in Venezuela.
For the Salzburg Easter Festival, Rattle has
conducted a number of staged productions
and concert programmes, all with the Berlin
Philharmonic. His latest opera productions have
included Debussys Pellas et Mlisande and
Poulencs Les Dialogues des Carmlites for the
Royal Opera House; Tristan and Isolde for the
Wiener Staatsoper; and his debut at Metropolitan
Opera, New York, with Pellas et Mlisande.

The Times

Rattle has made over 70 recordings for EMI, and has

received numerous prestigious international awards
for his recordings on various labels. Recent releases
with the Berlin Philharmonic include Stravinskys
Symphony of Psalms (2009 Grammy Award for
Best Choral Performance), Berliozs Symphonie
fantastique, Ravels Lenfant et les sortilges,
Brahms symphonies, Bizets Carmen, Stravinskys
The Rite of Spring, and Rachmaninovs The Bells and
Symphonic Dances. Rattles most recent releases
have been for Berliner Philharmoniker Recordings
the orchestras new in-house label.
In 2013 Simon Rattle and the Berlin Philharmonic
took up a residency at the Baden-Baden Easter
Festival, performing Mozarts The Magic Flute and a
series of concerts. This season he conducts Strauss
Der Rosenkavalier and Berliozs The Damnation of
Faust. Forthcoming seasons include performances
in Vienna, Berlin and New York; extensive touring
with the Berlin Philharmonic; and projects with
the Orchestra of the Age of Enlightenment, Vienna
Philharmonic and the Philadelphia Orchestra.
Simon Rattle was knighted in 1994 and in the New
Years Honours of 2014 he received the Order of
Merit from Her Majesty the Queen. He has also
been awarded the Shakespeare Prize, the Albert
Medal of the Royal Society of Arts and, in 2009, the
Grosse Verdienstkreuz by the German government.
Since taking up his appointment in Berlin, he has
broken new ground with the educational programme
Zukunft@Bphil, earning him the 2004 Comenius
Prize, the Schiller Special Prize from the city of
Mannheim in 2005, the Golden Camera and the
Urania Medal in Spring 2007. He and the Berlin
Philharmonic were also appointed International
UNICEF Ambassadors in 2007, the first time this
honour has been conferred on an artistic ensemble.

Programme Notes

11 January 2015

Robert Schumann (181056)

Das Paradies und die Peri (Paradise and the Peri) Op 50 (1843)
SIR SIMON RATTLE CONDUCTOR
SALLY MATTHEWS SOPRANO (PERI)
MARK PADMORE TENOR (NARRATOR)

however, she is told that she can re-enter Heaven

if she can bring back an example of that which is
dearest to God.

KATE ROYAL SOPRANO (MAIDEN, VOCAL QUARTET)

BERNARDA FINK ALTO (ANGEL, VOCAL QUARTET)
ANDREW STAPLES TENOR (YOUNG MAN, VOCAL QUARTET)
FLORIAN BOESCH BASS (GAZNA, MAN, VOCAL QUARTET)
LONDON SYMPHONY CHORUS
SIMON HALSEY CHORUS DIRECTOR
SOLOISTS FROM THE GUILDHALL SCHOOL
FRANCESCA CHIEJINA SOPRANO
ELIZABETH SKINNER SOPRANO
BIANCA ANDREW MEZZO-SOPRANO

On reading the poem, Schumann announced his

intention to set Paradise and the Peri to music, as
a work halfway between an opera and an oratorio.
The problem was that, with typical obsessive singlemindedness, Schumann had marked down 1841 as
his year of the symphony, to be devoted solely to
large-scale orchestral projects. 1842 was likewise
dedicated to chamber music. It wasnt until 1843
that he allowed himself to tackle choral music,
and what he was now calling his secular oratorio
Das Paradies und die Peri at last began to take shape.

EMILY KYTE MEZZO-SOPRANO

PROGRAMME NOTE WRITER

STEPHEN JOHNSON is the author
of Bruckner Remembered (Faber).
He also contributes regularly to BBC
Music Magazine and The Guardian,
and broadcasts for BBC Radio 3
(Discovering Music), BBC Radio 4

The verse epic Lalla Rookh, by the Irish poet

Thomas Moore, was one of the literary sensations
of the early 19th century. Published in 1817, it earned
Moore a headline-making 3,000 (for a modern
equivalent, think J K Rowling) and was quickly
translated into all the major European languages.
Moore had chosen the right moment to release
Lalla Rookh: taste for things oriental was rising
rapidly, and this collection of exotic, colourful tales,
modelled on medieval Persian verse forms and
linked like pearls by the narrative thread of a royal
love story, hit the target spectacularly.

and the BBC World Service.

Schumann may well have encountered Moores

poem in his teens, but it was in 1841, when his friend
Emil Flechsig sent him a German translation, that
his creative interest was fired. The tale that caught
Schumanns imagination above all was Paradise
and the Peri, which tells how a Peri a kind of
angelic female spirit is expelled from Paradise
for some unspecified sin. Unlike the Christian Satan,

At the moment Im involved in a

large project, the largest Ive yet
undertaken its not an opera
I believe its well-nigh a new
genre for the concert hall.
Schumann, in a letter to a friend in 1843
In conception, Das Paradies und die Peri is unlike
anything created before. Dramatic or colouristic
ingredients are reserved for a few carefully chosen
moments. What Schumann called the canary
effects of Italian bel canto opera (Rossini, Bellini
and Donizetti) are avoided, and recitative (imitation
of the rhythms and patterns of speech) is kept to
a minimum only one movement, No 3, is actually
designated Recitativ and even that quickly flowers
in more lyrical directions. On the whole, the choral
music avoids neo-Handelian contrapuntal writing:
instead the rhythms tend to be synchronised so
that the words can be heard more clearly.

lso.co.uk

Programme Notes

What stands out is the wonderful sustained melodic

invention. In effect, Das Paradies und die Peri is
more like a beautifully sequenced, sometimes
skilfully dovetailed orchestral song recital than
any oratorio of Schumanns day. Remarkably, the
music maintains its melodic flow across the works
three parts, so that the finale (Peri, chorus and full
orchestra) seems to rise on a rapturous tide of lyrical
invention, the Peris culminating high C forming its
deftly timed climax.
THOMAS MOORE (17791852)
was an Irish poet, songwriter and
musician, whose works included
an immensely popular collection of
Irish Melodies, which tapped into
the eras growing interest in national
history and folk music. Along with
Schumann, his poems have proved
popular with composers as diverse
as Berlioz, Mendelssohn, Ives,
Hindemith and Britten.

Realising that he couldnt simply set Moores tale

as it stood, Schumann enlisted his poet friend
Adolph Bttger to condense it and create more
opportunities for dialogue and first-person utterance.
As in many traditional fairy stories, the action divides
into three parts: the Peri makes two unsuccessful
attempts to fulfil Heavens command then, on her
third attempt, she succeeds and gains happiness.
Whatever the oriental roots of Moores Paradise
and the Peri, his version is angled to appeal to
19th-century bourgeois Christian morality, with its
fondness for pious sentimentality. The Peris first
two offerings to Heaven are a drop of blood from
a hero killed in battle and the last sigh of a girl who
refused to leave her fatally plague-stricken lover.
Good but not good enough. Finally the Peri
gets it right: she brings the tear of a sinner shamed
into repentance by the sight of a child at prayer.
Heavens gates open and the Peri, having learned
an important lesson, is re-admitted to Paradise.
Like Moore, Schumann judged the taste of his
time to perfection. Das Paradies und die Peri was
his first really big success. The works premiere,
in Schumanns home town Leipzig, was so well
received that it had to be repeated the following
week, and a follow-up performance was hastily
arranged in Dresden. Soon it was an international

hit, with amateur choral societies taking it up all over

Europe especially in England, where arrangements
and re-translations made good money for publishers.
Inevitably there was a reaction: 20th-century tastes
turned against anything that savoured of Victorian or
Biedermeier sweetness and light, and Das Paradies
und die Peri dropped out of favour. But in recent
years, as Schumanns star has begun to rise again,
performances have become more frequent.
Moores moral may be dated, but Schumanns
music gave it living flesh, and its tender vitality can
still move today. In 1890, the pioneer musicologist
Hermann Kretzschmar noted this paradox:
Schumann, he wrote, imparted a touch of [the Peris]
sorrows, her longing, and her loving nature even
to situations which objectively appear in a different
light and the power of Schumanns melody never
celebrated a greater triumph than in Das Paradies
und die Peri. Increasingly, it seems, modern listeners
are inclined to agree.
Libretto begins on page 8

Composer Profile

11 January 2015

Robert Schumann (181056)

Composer Profile

To send light into the

darkness of mens hearts
such is the duty of the artist.
The youngest son of a Saxon bookseller, Robert
Schumann was encouraged by his father to
study music. Soon after his tenth birthday
in 1820, young Robert began taking piano
lessons in his home town of Zwickau.
Although Schumann enrolled as a law
student at Leipzig University in 1828,
music remained an overriding passion
and he continued to study piano with
Friedrich Wieck. The early death of his
father and two of his three brothers
influenced Schumanns appreciation of
the worlds suffering, intensified further
by his readings of Romantic poets
such as Novalis, Byron and Hlderlin
and his own experiments as poet and
playwright. Schumann composed a number
of songs in his youth, but it was not until he
fell in love with and became secretly engaged
to the teenage Clara Wieck in September
1837 that he seriously began to exploit his
song-writing gift. Besides welcoming the
financial return that published Lieder
(songs) could deliver, Schumann
was also able to preserve his
intense feelings for Clara
in the richly expressive
medium of song.

Robert Schumann

The personal nature of Schumanns art even

influenced his choice of certain themes, with the
notes A B E G G enshrined as the theme
of one set of piano variations in tribute to his
friend Countess Meta von Abegg. Schumann also
developed his skills as a composer of symphonies
and concertos during his years in Leipzig.
Four years after their marriage in September 1840,
the Schumanns moved to Dresden where
Robert completed his C major Symphony.
In the early 1850s the composers health and
mental state seriously declined. In March 1854
he decided to enter a sanatorium near Bonn,
where he died two years later.
COMPOSER PROFILE WRITER
STEPHEN JOHNSON

lso.co.uk

2015 Highlights

LSO Spring/Summer 2015 Highlights

Concerts at the Barbican

For over 40 years,

my relationship with
the LSO has been a joy
and an inspiration.
Michael Tilson Thomas,
LSO Principal Guest Conductor

Londons Symphony Orchestra

MASTERPIECES FOR PIANO

MICHAEL TILSON THOMAS

BERNARD HAITINK

SIR SIMON RATTLE

Beethoven Piano Concerto No 3

70th Birthday Gala Concert

Mahler Symphony No 1 (Titan)

Brahms and Dvork

Sun 1 Feb 2015

Shostakovich Symphony No 5

Sun 14 Jun 2015

Thu 2 Jul 2015

Nicholas Angelich piano

Thu 12 Mar 2015

David Afkham conductor

Liszt Piano Concerto No 2
Sun 15 Feb 2015

with Krystian Zimerman piano

Beethoven Symphony No 9

Sibelius Symphony No 2

(Choral)

Jonathan Dove:

Sun 15 Mar 2015

Sun 21 Jun 2015

The Monster in the Maze

Sun 5 Jul 2015

Alice Sara Ott piano

Gianandrea Noseda conductor

020 7638 8891

lso.co.uk

Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto
Libretto by Emil Flechsig and Robert Schumann, translated from Thomas Moores poem Lalla Rookh.
Thomas Moores poem has been modified where necessary to make it correspond with the German text set by Schumann.
Passages in italics have been newly translated from the German, either because they do not form part of Moores original or are too
removed from it to be taken over directly. Words or phrases enclosed in brackets are found in Moores poem but not in Schumanns text.
The use of ellipses enclosed in brackets [] indicates places where redundant portions of Moores text have been omitted.

PART ONE
No 1
Alto solo
Vor Edens Tor im Morgenprangen
Stand eine Peri schmerzbefangen;
Und wie sie lauscht dem Lebensquelle,
Des Flut harmonisch drinnen hallte,
Und wie vom Licht ihr Fittich helle,
Das durch halboffne Pforten wallte,
Weint sie, verbannt aus diesen Aun,
Ihr sndiges Geschlecht zu schaun.

One morn a Peri at the gate

Of Eden stood, disconsolate;
And as she listend to the springs
Of life within, like music flowing,
And caught the light upon her wings
Through the half-open portal glowing,
She wept to think her recreant race
Should eer have lost that glorious place.

No 2
The Peri
Wie glcklich
Sie wandeln, die selgen Geister,
Im Dufte von Blumen, die nimmer verblhn!
Sind mein auch die Grten auf Landen und Meer,
Und pflck ich selbst Blumen auf Sternen umher,
Ein Blmlein des Himmels ist schner denn alle!

How happy, [exclaimd this child of air,]

Are the holy spirits who wander there
Mid flowers that never shall fade or fall!
Tho mine are the gardens of earth and sea,
And the stars themselves have flowers for me,
One blossom of Heaven out-blooms them all!

Glnzt Kaschemirs See auch sonnig und rein

Mit seiner Plataneninseln Schein,
Und rinnen dort Strme auf goldnem Sand,
Doch ach, nur den Seligen ists bekannt:
Ein Tropfen des Himmels ist schner denn alle!

Tho sunny the lake of cool Cashmere,

With its plane-tree isle reflected clear, []
And the golden floods that thitherward stray,
Yet oh, tis only the blest can say:
How the waters of Heaven outshine them all!

lso.co.uk Libretto
9

Geh, schwing dich im Fluge von Stern zu Stern,

Von Welt zu leuchtender Welt, so fern
Als der Himmel wlbt seine Sonnenhalle:
Nimm alle die Wonnen von allen den Sphren
Und lass durch unendliche Zeiten sie whren:
Ein Stndlein des Himmels ist schner denn alle!

Go, wing thy flight from star to star,

From world to luminous world, as far
As the universe spreads its flaming wall:
Take all the pleasures of all the spheres
And multiply each through endless years:
One minute of Heaven is worth them all!

No 3 Recitative
Narrator
Der hehre Engel, der die Pforte
Des Lichts bewacht, vernimmt die Worte,
Und wie er lauscht und nher schleicht
Dem sanften Lied, entsinkt ihm eine Trne;
Er sprach:

The glorious Angel, who was keeping

The gates of Light, beheld her weeping,
And, as he nearer drew and listend
To her sad song, a tear-drop glistend within his eyelids;
Gently he said:

The Angel
Dir, Kind des Stamms, schn, doch voll Snden,
Kann eine frohe Hoffnung ich noch knden.
Im Schicksalsbuche stehn die Worte,
Es sei der Schuld die Peri bar
Die bringt zu dieser ewgen Pforte
Des Himmels liebste Gabe dar!
Geh, suche sie und werde rein
Gern lass ich die Entsuhnten ein.

Nymph of a fair but erring line,

[] One hope is thine.
Tis written in the Book of Fate,
The Peri yet may be forgiven
Who brings to the eternal gate
The gift that is most dear to Heaven!
Go seek it and redeem thy sin
Tis sweet to let the Pardond in.

No 4
The Peri
Wo findich sie? Wo blht, wo liegt
Die Gabe, die dem Hirnmel gngt?
Ich kenne die Urnen, mit Schtzen gefllt,
Tief unter Tschelminars Sulen verhllt;
Ich sah der Weihrauchinseln Grn
Viel Klaftern tief im Meere blhn;
Ich weiss auch, wo die Genien
Knig Jamschids Pokal verhehlen.
Er ist von Gold und von Juwelen,
Und Lebenstropfen sind sein Getrnk.
Doch will auch der Himmel solch Geschenk?
Strahlt je der Demant einer Krone

But whither shall I go

To find this gift for Heavn? I know
The wealth, [she cries,] of every urn
In which unnumberd rubies burn
Beneath the pillars of Chilminar;
I know where the Isles of Perfume are
Many a fathom down in the sea,
I know, too, where the Genii hid
The jewelld cup of the King Jamshid,
With lifes elixir sparkling high
But gifts like these are not for the sky.
Where was there ever a gem that shone

10 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
Wie die Stufen an Allahs Wunderthrone?
Und, o ihr Lebenstropfen, was seid
Ihr fr die Tiefen der Ewigkeit?

Like the steps of Allas wonderful Throne?

And the Drops of Life oh! what would they be
In the boundless deep of Eternity?

No 5
Narrator
So sann sie nach und schwang die Flgel
Jetzt ber Indiens Blumenhgel.

While thus she musd her pinions fannd

The air of that sweet Indian land.

Vocal Quartet
O ssses Land! O Gtterpracht!
Es flstern die Palmen sacht,
Es flimmert die Sternennacht,
Dort schumt auf Bernsteingrund das Meer
ber Korallenriffe her,
Dort brtet heiss der Sonne Brand,
Im Schoss der Berge Diamant,
Es rieseln, reichen Bruten gleich,
Die Bchlein hold an Golde reich,
Dort duften Sandelhaine sss
O Paradies!

O fairest land! The gods delight!

Where rustling palms rejoice the sight
And stars twinkle in the sky at night,
[Whose air is balm;] whose ocean spreads
Oer coral rocks, and amber beds,
Whose mountains, pregnant by the beam
Of the warm sun, with diamonds teem,
Whose rivulets are like rich brides,
Lovely, with gold beneath their tides,
Whose sandal groves and bowers of spice
[Might be a Peris] Paradise!

No 6
Chorus
Doch seine Strme sind jetzt rot
Von Menschenblut, es wtet frchterlich der Tod;
Er schreitet durch die blumigen Wiesen
Verheerend mit den ehernen Fssen.
O Land der Sonne, wessen Schritt
Geht ber deinen Boden,
Wirft deine Pfeiler um, zertritt
Die Gttersulen und Pagoden?
Er ists, er ists von Gazna,
Er naht in seinem grimmen Zorn!

But crimson now her rivers ran

With human blood, the smell of death
Came reeking from those spicy bowers;
The flowering fields turn hideous red
As Death stalks, to universal dread,
Spreading havoc with his iron tread.
Land of the Sun! what foot invades
Thy Pagods and thy pillard shades
The cavern shrines and Idol stones?
Tis he of Gazna, fierce in wrath
He comes!

lso.co.uk Libretto
11

Chorus of the Conquerors

Gazna lebe, der mchtige Frst!

Long live Gazna, the mighty prince!

Chorus of the Indians

Es sterbe der Tyrann!

Death to the tyrant!

No 7
Narrator
Und einsam steht ein Jngling noch,
Es fliesst sein Blut aus manchen Wunden,
Er beugt den Nacken nicht ins Joch,
Ein Leu, umstellt von Waidmannshunden.
Schon hat sein Schwert im Feindesschwarm
Mit blutgen Lettern es geschrieben;
Dass ungebeugt ihm Herz und Arm,
Ein Pfeil nur ist ihm brig blieben.

Behold, a youthful warrior stands alone,

Blood gushing from his many wounds,
The hated tyrant he defies,
Love of country shining in his eyes,
A lion beset by baying hounds.
His sword has dealt a mortal blow
To many a vainglorious foe;
Undaunted still in arm and heart,
He aims his last remaining dart.

Chorus of the Conquerors

Gazna lebe, es lebe der mchtige Frst!

Long live Gazna, the mighty prince!

Gazna
Komm, khner Held, und huldge mir,
Willst du umsonst dein Blut verspritzen?
Dein eitles Kmpfen kann nichts ntzen:
Komm, dein Leben schenkich dir!

Come, bold hero, bend the knee to me,

Why should you shed your blood in vain?
In your resistance lies no gain:
Come, your life I guarantee!

The Young Man

Du schlugst des Landes Brger,
Du meiner Brder Wrger
Dir diesen letzten Pfeil!

You smote the people of my land,

To slay my brethren you have planned
This, my last arrow, is for you!

Gazna
Das sollst du bssen!

This you shall rue!

12 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
No 8
Chorus
Weh, weh, weh, er fehlte das Ziel,
Es lebt der Tyrann, der edle Jngling fiel!

False flew the shaft. Ah, sad to tell,

The Tyrant livd, the Hero fell!

No 9
Narrator
Die Peri sah das Mal der Wunde,
Und nun vertobt des Kampfes Wut,
Kam sie im Strahl des Morgenrots
Und nahm das letzte Trpflein Blut
Das aus dem Heldenherzen drang
Eh sich der freie Geist entschwang.

Yet markd the Peri where he lay,

And when the rush of war was past
Swiftly descending on a ray
Of morning light, she caught the last
Last glorious drop his heart had shed
Before its free-born spirit fled.

The Peri, Vocal Quartet and Chorus

Sei dies mein Geschenk,
Willkommen dorten
An Edens Pforten.
Denn heilig ist das Blut,
Fr die Freiheit verspritzt vom Heldenmut,
Und wrde nicht trben die klarste Flut,
Die durch die Haine der Selgen fliesst!
O, gibt es ein Opfer der Erdenwelt,
Ein Geschenk, das teuer der Himmel hlt,
S ist das Blut, das der Freiheit Sterbender Sohn
Ihr bringt als letzte Libation!
Sei dies mein/dein Geschenk,
Willkommen dorten!

Be this
my welcome gift
at the gates of light.
Blood like this,
For liberty shed so holy is,
It would not stain the purest rill,
That sparkles among the Bowers of Bliss!
Oh, if there be on this earthly sphere,
A boon, an offering Heaven holds dear,
Tis the last libation liberty draws
From a dying son.
Be this my gift,
Welcome to thee!

lso.co.uk Libretto
13

PART TWO
No 10
Narrator
Die Peri tritt mit schchterner Gebrde
Vor Edens Tor,
im Herzen Himmelshoffnungsglck,
Ob sich die Pforte ffnen werde
Sie fragts mit stummem Liebesblick.

With timid steps the Peri then,

Hope of heavnly bliss at heart,
Approached the pearly gates of Eden,
And asked with silent loving glance
If now she might through them advance.

The Angel
Gern grssen wir, die so gegangen
Den Heldentod frs Vaterland.
Doch sieh, noch weicht der ehrne
Riegel nicht
Viel heilger muss die Gabe sein
Die dich zum Tor des Lichts lsst ein!

[] Sweet is our welcome of the Brave

Who die thus for their native Land.
But see alas! the rigid bar
[Of Eden] moves not holier far
[Than evn this drop] the boon must be
That opes the Gates of Heaven for thee!

Chorus of Angels
Viel heilger muss die Gabe sein
Die dich zum Tor des Lichts lsst ein!

Holier far the boon must be

That opes the gates of Heaven for thee!

No 11
Narrator
Ihr erstes Himmelshoffen schwand,
Jetzt sank sie fern im heissen Land
Auf Afrikas Gebirge nieder
Und badete ihr matt Gefieder
Im Quell des Nils, dessen Entstehn
Kein Erdgeborner noch gesehn.

Her first fond hope of Eden blighted,

Now among Africs lunar Mountains,
Far to the south, the Peri lighted
And sleekd her plumage at the fountains
Of that Egyptian tide whose birth
Is hidden from the sons of earth.

Chorus of the Nile Spirits

Hervor aus den Wssern geschwind
Und sehet das holde, liebliche Kind!
Eine Peri ists, welch hold Gesicht
Doch strt sie nicht!
Hrt, wie sie singt!
Hrt, wie sie klagt!
Hervor aus den Wssern geschwind, usw. Stille! Stille!

From out the waters come in haste

To see this child with beauty graced!
She is a Peri, fair of face
But act now with restraint!
Hark, how she sings!
Listen to her plaint!
From out the waters come in haste, etc. Hush! Hush!

14 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
The Peri
Ach Eden, ach Eden, wie sehnt sich nach dir
Mein Herz! O wann ffnet die Pforte sich mir?

O Eden, how I yearn for thee!

When will thy gates be opened for me?

No 12
Narrator
Fort streift von hier das Kind der Lfte
ber gyptens Knigsgrfte,
Von Palmenhainen hehr umrauscht;
Jetzt sieht sie in Rosettas Tal
Dem Nesterbaun der Tauben zu,
Jetzt lauscht sie Schwnen,
weiss wie Schnee,
Die stolz durchziehen Mris-See.
Welch Bild! Kein sterblich Aug hat je
Ein Land gesehn voll hhrer Pracht!
Doch eine Stille, frchterlich,
Liegt ber diesen Himmelsfluren,
Mit giftgem Hauche ihre Spuren
Verfolgend, zieht durchs Land die Pest.

Thence over Egypts palmy groves,

Her grots, and sepulchres of Kings,
The exild Spirit sighing roves;
And now hangs listening to the doves
In warm Rosettas vale; now loves
To watch the moonlight on the wings
Of the snow-white swans that break
The azure calm of Moeris Lake.
Twas a fair scene: a land more bright
Never did mortal eye behold!
Who could have thought that there, evn there,
Amid those scenes so still and fair,
The Demon of the Plague hath cast
From his hot wing a deadlier blast.

The Peri
Fr euren ersten Fall
Wie hart, ihr Armen, bsst ihr doch
Habt einige Blten aus Eden zwar noch,
Die Schlang berschleichet sie all!

Poor race of men! [said the pitying spirit,]

Dearly ye pay for your primal Fall
Some flowrets of Eden ye still inherit,
But the trail of the Serpent is over them all!

No 13
Narrator and Vocal Quartet
Die Peri weint von ihrer Trne scheint
Rings klar die Luft, der Himmel lacht.
Denn in der Trn ist Zaubermacht
Die solch ein Geist fr Menschen weint!

She wept the air grew pure and clear

Around her, as the bright drops ran.
For theres a magic in each tear
Such kindly spirits weep for man!

lso.co.uk Libretto
15

No 14
Alto solo
Im Waldesgrn am stillen See
Da seufzt ein Jngling im schweren Weh:
Gepackt von der ttenden Seuche, stahl
Er her sich, zu enden seine Qual.
Er, dem im Leben, wo er stand,
Sich jedes Herz einst zugewandt;
Stirbt jetzt, als htt er keinen Freund,
Hier ungesehn und unbeweint!

Beneath that fresh and springing bower

Close by the Lake, she heard the moan
Of one who, at this silent hour,
Had thither stoln to die alone.
One who in life whereer he movd,
Drew after him the hearts of many;
Yet now, as tho he neer were lovd,
Dies here unseen, unwept by any!

The Young Man

Ach, einen Tropfen nur aus dem See
Zu khlen das fiebrisch brennende Weh!
Ach, einen Tropfen nur aus der Flut
Zu khlen die fiebrische Blut!

Ah, a single droplet from the lake

My feverish burning woe to slake!
Ah, a single droplet from the flood
To cool the agitation in my blood!

No 15
Alto solo
Verlassener Jngling! nur das eine
Bleibt, was ihm Trost noch gibt,
Dass sie, die er seit Jahren treu geliebt,
Geschtzt ist vor dem Hauch der Gruft
In ihres Vaters Furstenhallen;
Denn dorten khlig fallen
Fontnen, sss durchraucht,
Balsamscher Duft die Hallen,
Und rein ist dorten noch die Luft,
Rein wie die Stirn, von ihr umhaucht.
Narrator
Doch sieh wer naht dort leise schleichend,
Dem melancholischen Gebsch,
Der Gttin der Gesundheit gleichend
Mit Rosenwangen frhlingsfrisch?
Sie ists vom Strahl des Mondes schaut
Er still verklrt sich nahn die treue Braut.

Deserted youth! one thought alone

Shed joy around his soul in death,
That she whom he for years had lovd, []
Was safe from fetid graveyards breath,
Safe in her fathers princely halls,
Where the cool airs from fountain falls,
Freshly perfumd by many a brand
Of the sweet wood from Indias land,
Were pure as she whose brow they fannd.

But see who yonder comes by stealth,

This melancholy bower to seek,
Like a young envoy, sent by Health
With rosy gifts upon her cheek?
Tis she far off, through moonlight dim
He knew his own betrothed bride.

16 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
Sie hlt im Arm den Freund, sie presst
Die rote Wang an seine bleiche,
Sie netzt ihr wallend Haar im Teiche,
Dass es die Stirn ihm khlend nsst.

Her arms are round her lover now,

His livid cheek to hers she presses
And dips to bind his burning brow
In the cool lake her loosend tresses.

The Young Man

Du hier? Entflieh!
Ein Hauch von mir bringt dir den Tod!

Thou here? O flee!

A breath from me brings death to thee!

No 16
The Maiden
O lass mich von der Luft durchdringen.
Der selgen Luft, gehaucht von dir,
Und was sie trag auf ihren Schwingen
Tod oder Leben, sss ists mir!
Trink meine Trnen, auch mein Blut,
Mein Herzblut selbst empfingest du,
Wrs Balsam nur fr deine Glut,
Gbs dir nur auf Minuten Ruh.
Wend, o! dein hold Gesicht nicht ab
Bin ich nicht deine Braut bin dein?
Ist nicht im Leben wie im Grab
Der Platz an deiner Seite mein?
Denkst du, dass sie, die nur von dir
In dunkler Welt empfngt ihr Licht,
Die trbe Nacht ertrgt, die ihr
Hereinsinkt, wenn dein Auge bricht?
Ich leben ohne dich, allein,
Du meines Lebens Leben, nein!
O lass mich von der Luft durchdringen.
Der selgen Luft, gehaucht von dir,
Und was sie trag auf ihren Schwingen
Tod oder Leben sss ists mir!

Oh! let me only breathe the air.

The blessed air, thats breathd by thee,
And whether on its wings it bear
Healing or death tis sweet to me!
There drink my tears while yet they fall,
Would that my bosoms blood were balm,
And, well thou knowst, Id shed it all
To give thy brow one minutes calm.
Nay, turn not from me that dear face
Am I not thine thy own lovd bride
The one, the chosen one, whose place
In life or death is by thy side?
Thinkst thou that she whose only light,
In this dim world from thee hath shone,
Could bear the long, the cheerless night
That must be hers when thou art gone?
That I can live and let thee go,
Who are my life itself? No, no
Oh! let me only breathe the air.
The blessed air, thats breathd by thee,
And whether on its wings it bear
Healing or death tis sweet to me!

lso.co.uk Libretto
17

Narrator
Sie wankt sie sinkt und wie ein Licht
Im giftigen Hauche des Schachts
Verlischt, so pltzlich bricht
Ihr holdes Auge.
Ein Krampf, sein Weh ist dann vergangen,
Vollendet ist sein Leben!
Auf drckt sie ihm noch einen langen
Und letzten Kuss und stirbt im Geben!

She fails she sinks as dies the lamp

In charnel airs or cavern-damp,
So quickly do his baleful sighs
Quench all the sweet light of her eyes.
One struggle and his pain is past
Her lover is no longer living!
One kiss the maiden gives, one last,
Long kiss, which she expires in giving!

No 17
The Peri and Chorus
Schlaf nun und ruhe in Trumen voll Duft,
Balsamscher umweh dich die Luft
Als dem magischen Brand der Phnix entsteigt
Wenn er sein eigenes Grablied singt.
Schlaf nun und ruh in Trumen voll Lust,
Du, die treueste, liebendste Brust!
Sie sprachs, und Himmelshauch durchfliesst
Von ihren Lippen diese Stelle,
Sie schwingt den Strahlenkranz und giesst
Auf beider Antlitz solche Helle,
Dass wie ein Heilgenpaar sie lagen,
Indes die Peri wacht und Licht
Mild strahlt in ihre Todesnacht,
Bis ihre Seelen auferwacht.

Sleep on, in visions of odour rest,

In balmier airs than ever yet stirrd
Th enchanted pile of that lonely bird
Who sings at the last his own death-lay.
Sleep on, in pleasing dreams now rest,
Thou the truest, most beloved breast!
Thus saying, from her lips she spread
Unearthly breathings thro the place
And shook her sparkling wreath and shed
Such lustre oer each paly face,
That like two lovely saints they seemd,
While that benevolent Peri beamd
Like their good angel, calmly keeping
Watch oer them till their souls would waken.

INTERVAL 20 minutes
There are bars on all levels of the Concert Hall; ice cream can be bought
at the stands on Stalls and Circle level. The Barbican shop will also be open.
Why not tweet us your thoughts on the first half of the performance
@londonsymphony, or come and talk to LSO staff at the Information
Desk on the Circle level?

18 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
PART THREE
No 18
Chorus
Schmcket die Stufen zu Allahs Thron,
Schmckt sie mit Blumen, Freundinnen alle,
Dass auf des Himmels Unterste auch
Gndig ein Blick des Ewigen falle.
Schlinget den Reigen
Lasst uns verneigen
Freudig, demutsvoll vor dem Herrn!

Bedeck the steps to Allas throne,

Strew them with flowers, companions all,
So that the Eternal Gaze
May even on the lowliest fall.
Let us all join hands in a round
And in humility profound
Bow joyfully before our Lord!

Vocal Quartet
Auch der Geliebten vergesset nicht,
Die auf der Erde zurckgeblieben!
Unten ists dunkel, oben das Licht,
Hass ist dort, hier ewiges Lieben.

Do not forget the lovers plight,

Who on earth must still remain!
Below is darkness here is light,
There is hatred, this is loves domain.

Chorus
Schmcket die Stufen, usw.

Bedeck the steps, etc.

Sopranos I and II and Chorus

Seht da, die Bahn zum ewgen Licht
Kommt schon die Peri herangeflogen.
Liebliche Peri, verzweifle nicht,
Treu und Glaub hat noch nie betrogen!
Suche das Gut,
Im Auge ruht,
Was das Teuerste ist dem Herrn.
Jetzo zurck in die Rosenlauben,
Freude zu geben, Freudzu empfangen,
An des Geliebten Lippen zu hangen,
Ksse zu bieten, Ksse zu rauben.
Schon naht die Sonne, ewige Wonne
Harret, die freudig dienen dem Herrn.

Lo, to the path to eternal light

The Peri now has taken her flight.
Lovely Peri, be thou not afraid,
Truth and faith have never been betrayed!
Seek what is good,
In thine eye there lies
What is most precious to the Lord.
Now go back to the rosy bower,
Joy to give, joy to receive,
To the beloveds lips to cleave,
Kisses to offer and devour.
The sun draws near, endless reward
Waits for those who joyfully serve the Lord.

lso.co.uk Libretto
19

No 19
Narrator
Dem Sang von ferne lauschend, schwingt
Die Peri hher sich empor,
Der reinsten Liebe Seufzer bringt
Sie als Geschenk vor Edens Tor.
Hoch kopft ihr Herz, die Hoffnung sprichts,
Bald soll sie Edens Palmen nahn,
Denn lchelnd nimmt der Geist des Lichts
Am Tore diese Gabe an;
Und horch, von Himmelsbumen ruft
Kristallner Glckchen Klang, sie lauscht
Dem Luten in ambrosischer Luft
Die her von Allahs Throne rauscht;
Sie sieht die Sternenschalen blinken,
Rings um den See des Lichts gereiht,
Wo die verklrten Seelen trinken
Den ersten Trank der Herrlichkeit!
Doch eitel war der Peri Hoffen,
Noch stand das ewge Tor nicht offen

Hearkening to the distant song,

Again the Peri soars above,
Bearing to Heavn that precious sigh
Of pure, self-sacrificing love.
High throbbd her heart with hope elate,
The Elysian palm she soon shall win.
For the bright spirit at the gate
Smild as she gave that offering in;
And she already hears the trees
Of Eden with their crystal bells
Ringing in that ambrosial breeze
That from the throne of Alla swells;
And she can see the starry bowls
That lie around that lucid lake,
Upon whose banks admitted Souls
Their first sweet draught of glory take!

Es spricht der Engel, Schmerz im Blick:

But, ah! even Peris hopes are vain

Again [the Fates forbade, again]
Th immortal barrier closd
The angel said, as with regret:

The Angel
Noch nicht!
Treu war die Maid, und die Geschichte
Geschrieben berm Haupt des Herrn,
Liest lange noch der Seraph gern
Doch, Peri noch whrt der Verschluss
Von Edens Tor
Viel heilger muss die Gabe sein
Die dich zum Tor des Lichts lsst ein.

Not yet!
True was the maiden, and her story
Written in light oer Allas head,
By seraph eyes shall long be read.
But, Peri, see the [crystal] bar
Of Eden moves not holier far
Than evn this sigh the boon must be
That opes the gates of Heavn for thee.

20 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
No 20
The Peri
Verstossen! Verschlossen
Aufs neu das Goldportal!
Gerichtet! Vernichtet,
Der Hoffnung letzter Strahl!
So soll ichs nimmer finden
Das edle, kstliche Gut,
Weh mir, ich fhl ihn schwinden,
Den hohen Mut.
Doch will ich nicht ruhn, will ohne Rast
Von einem Pol zum andern schreiten,
Durchpilgern will ich alle Weiten
Bis ich das Gut, bis ichs erfasst
Das mir das hchste Glck verheisst
Das, Eden, mir dein Tor erschleusst.
Und wrs bewacht in Graun und Nacht,
Tief in der Erde tiefsten Grnden,
Ich will, ich muss das Kleinod finden!

Cast out! From the golden gate

Once more turned away!
Condemned! Of hope
Denied the smallest ray!
Like this I shall never gain
The noble, precious gift,
Ah, woe is me, my spirits wane,
I feel they nevermore will lift.
Yet I will never rest, nor cease
To wend my way from pole to pole,
A pilgrim till I reach my goal
And seize the prize of perfect peace
That I will hope to celebrate
When to me Eden opens the gate.
And even, if by a fate so cruel,
It lay hidden in the deepest depths,
I will, I must now find this jewel!

No 21
Bass solo
Jetzt sank des Abends goldner Schein
Auf Syriens Rosenland herein,
Wie Glorienschimmer hing die Sonn
ber dem heilgen Libanon,
Es ragt in Wintermajestt
Sein Haupt, vom ewgen Schnee beglnzt,
Indes der Sommer schlft bekrnzt
Am Fuss auf einem Blumenbeet.

Now, upon Syrias land of roses

Softly the light of Eve reposes,
And, like a glory, the broad sun
Hangs over sainted Lebanon,
Whose head in wintry grandeur towers
And whitens with eternal sleet,
While summer, in a vale of flowers,
Is sleeping rosy at his feet.

Die aus der Hhe konnte schaun

Herab auf all die Zauberaun,
Wie schn erschien ihr nicht die Welt,
Das rege Leben, rings erhellt!

To one who lookd from upper air

Oer all th enchanted regions there,
How beauteous must have been the glow,
The life, the sparkling from below!

Der Grten Pracht, der Wellen Schimmern,

An ihren Ufern goldne Frchte,
Die schner noch im Sonnenlichte;

Fair gardens, shining streams, with ranks

Of golden melons on their banks,
More golden where the sunlight falls;

lso.co.uk Libretto
21

Und dann das tausendstimmge Rufen,

Das alte Schferrohr, das Summen
Der Bienen im gelobten Land,
Die schwrmen ber Blumenfelder;
Und Jordan, dein beglckter Strand
Und deine nachtigallenreichen Wlder.

And then the mingling sounds that come,

Of shepherds ancient reed, with hum
Of the wild bees of Palestine,
Banquetting thro the flowery vales;
And, Jordan, those sweet banks of thine
And woods, so full of nightingales.

No 22
Narrator
Und wie sie niederwrts sich schwingt,
Eine Schar von Peris sie umringt:

And as she downward wings her way,

A host of Peris with her say:

Chorus of Peris Vocal Quartet

Peri, ists wahr,
Dass du in den Himmel willst?
Gengt dir nicht
Das Sonnenlicht
Und Sterne, Mond und Erde?
Peri, ists wahr,
Dass du in den Himmel willst?
So nimm uns eilig mit!

Peri, is it really true,

That thou dost long for Heavens blue?
Is the light of the glorious sun
Not itself of sufficient worth
Along with stars, the moon and earth?
Peri, is it really so,
That thou to Heavn dost long to go?
Then make haste to take us too!

Bass solo
Mit ihrer Schwestern Worten wchst ihr Schmerz,
Schwer ist ihr Fittich trb ihr Herz
Freudlos sieht sie die Sonn sich neigen
Dort hinterm Tempel, einst ihr eigen,
Des Sulen, hoch und einsam, weit
Die Schatten breiten durch die Aun.

[] Her sisters words increase her pain,

Her soul is sad her wings are weary
Joyless she sees the Sun look down
On that great Temple once his own,
Whose lonely columns stand sublime,
Flinging their shadows on the plain.

No 23
The Peri
Hinab zu jenem Sonnentempel!
Ein Amulett, auf dessen Stein
Ein Zeichen glnzt, vom Blitz hinein,
Geschmolzen, dort gewahr ichs, auch
Ein Blatt, auf welchem rein
Das Siegel prangt von Salomo;
Vielleicht entziffern sie mirs, wo

Downward to that temple of the sun!

An amulet, upon whose stone
Appears a lightning-flashs glint,
Do I see there, also a page
That bears great Solomons imprint;
Perhaps they will decode for me

22 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
Auf Erden, in den Meeren ruht
Die Zaubermacht, das edle Gut,
Das Eden ffnet sndgen Wesen,
Vielleicht vermags mein Aug zu lesen,
Hinab!

Where on earth or in the sea

Lies the magic power, the noble boon
That will open Eden soon
To sinners. Let my eye read it:
I will go down!

Narrator
Sie schwebt herab im frohen Hoffen;
Noch lacht des Himmels Auge hold,
Die Lauben auch aus Abendgold
Stehn noch im Westen offen;
Jetzt ber Balbecks Tal sich schwingend
Erblickt im Spiele sie ein Kind,
Inmitten wilder Rosen singend,
So rosig wild wie selbst sie sind;
Beim Knaben, der, des Spiels nun satt,
In Blumen sich gelagert hat.
Sieht sie vom heissen Rosse steigen
Jetzt einen mden Mann und schnell
An einem hochumgrasten Quell
Zum Trunke sich hinunterbeugen.
Dann kehrt er schnell sein wild Gesicht
Aufs schne Kind, das furchtlos sass,
Obgleich noch nie des Tages Licht
Ein wildres Antlitz sah als das,
Entsetzlich wild ein grauser Bund
Wie Wetterwolk aus Nacht und Glut;
Dort stehn die Laster all, es tut
Dort jedes Bubenstck sich kund;
Meineid erschlagner Gast
Betrogne Braut mit blutger Schrift
Auf jenem Antlitz stands geschrieben.

Cheerd by this hope she bends her thither;

Still laughs the radiant eye of Heaven,
Nor have the golden bowers of Even
In the rich west begun to wither;
When, oer the vale of Balbec winging
Slowly, she sees a child at play,
Among the rosy wild flowers singing,
As rosy and as wild as they;
And near the boy, who tird with play
Now nestling mid the roses lay.
She saw a wearied man dismount
From his hot steed and on the brink
Of a small imarets rustic fount
Impatient fling him down to drink.
Then swift his haggard brow he turnd
To the fair child who fearless sat,
Tho never yet hath day-beam burnd
Upon a brow more fierce than that,
Sullenly fierce a mixture dire
Like thunderclouds, of gloom and fire;
In which the [Peris] eye could read
Dark tales of many a ruthless deed;
The ruind maid the shrine profand
Oaths broken and the threshold staind
With blood of guests! there written, all.

Alto solo
Doch horch, wie Vesperruf zum Beten,
Da still die Sonn herniederschwebt,
Von Syriens tausend Minaretten
Jetzt durch die Lfte bebt;
Vom Blumenbeet hebt sich der Knab,

But, hark! the vesper call to prayer,

As slow the orb of daylight sets,
Is rising sweetly on the air
From Syrias thousand minarets!
The boy has started from the bed

lso.co.uk Libretto
23

Das seinem Haupt ein Lager gab,

Kniet nieder auf dem blumgen Grund,
Worauf mit reinem Engelsmund
Er Gottes ewgen Namen spricht;
Er scheint, indem er Blick und Hand
Zum Abendhimmel aufgewandt,
Ein Engelskind, das sich hernieder
Verirrt hat
Und seine Heimat suchet wieder.

Of flowers, where he had laid his head.

And down upon the fragrant sod
Kneels [] lisping the eternal name of God
From Puritys own cherub mouth,
And looking, while his hands and eyes
Are lifted to the glowing skies,
Like a stray babe of Paradise
Lost upon the earthly plain
And seeking for his home again.

Narrator
Und was fhlt er, der sndge Mann,
Der dort lehnt und sich nun entsann
So manchen Jahrs voll Schuld und Blut,
Der auf des Lebens dunkler Flut
Umsonst spht nach dem Rettungspfade,
Wo nichts den lzweig bringt der Gnade.

And how felt he, the wretched Man,

Reclining there while memory ran
Oer many a year of guilt and strife,
Flew oer the dark flood of his life,
Nor found one sunny resting-place,
Nor brought him back one branch of grace.

The Man
S war eine Zeit,
du selig Kind,
Da jung und rein, wie du, mein Tun
Und Beten war doch nun!

There was a time, [he said, in mild heart-humbled tones]

thou blessed child!
When young and haply pure as thou
I lookd and prayd like thee but now!

No 24
Vocal Quartet and Chorus
O heilge Trnen innger Reue!
In eurer sanften Shnungsflut
Die einzige, die erste neue
Schuldlose Lust fr Schuldge ruht.

Blest tears of soul-felt penitence!

In whose benign, redeeming flow
Is felt the first, the only sense
Of guiltless joy that guilt can know.

No 25
The Peri
Es fllt ein Tropfen aufs Land
gypten, von Juniushitze verbrannt,
Vom Mond herab,
Von so heilender Kraft, dass zur Stunde
Der Dmon der Pest entschwebt
Und Gesundheit Himmel und Erde belebt!

Theres a drop [] that down from the moon

Falls thro the withering airs of June
Upon Egypts land, of so healing a power,
So balmy a virtue, that evn in the hour
That drop descends contagion dies
And health reanimates earth and skies!

24 Libretto

11 January 2015

Robert Schumann
Das Paradies und die Peri: Libretto (continued)
Lsst so, o Snder, nicht genesen,
Dich dieser Reuetrnen Fall?
Wie glhnd die Wunden der Brust gewesen,
Ein Himmelstropfen, er heilt sie all!

Oh, is it not thus, thou man of sin,

The precious tears of repentance fall?
Tho foul thy fiery plagues within
One heavenly drop hath dispelld them all!

Narrator with Chorus

Und sieh, demtig betend kniet
Der Mann dort an des Kindes Seite,
Indes ein Sonnenstrahl auf beide
Den Snder und den Reinen glht.
Und Hymnen durch den Himmel schweben
Denn einer Seele ward vergeben!
Gesunken war der goldne Ball,
Noch lagen sie auf ihren Knien,
Da fiel ein reinrer, schnrer Strahl
Als je aus Sonnund Sternen schien,
Auf jene Trne.
Hymnen durch den Himmel schweben
Denn einer Seele ward vergeben!
Ein sterblich Auge nhm ihn zwar
Als Meteor, als Nordlicht wahr
Doch weiss die Peri wohl: der Schein,
Es muss des Engels Lcheln sein
Womit er mild die Trne grsst
Die bald den Himmel ihr erschliesst!

And now behold him kneeling there

By the childs side, in humble prayer,
While the same sunbeam shines upon
The guilty and the guiltless one.
And hymns of joy proclaim thro Heaven
The triumph of a soul forgiven!
Twas when the golden orb had set,
While on their knees they lingerd yet,
There fell a light more lovely far
Than ever came from sun or star,
Upon the tear. []
And hymns of joy proclaim thro Heaven
The triumph of a Soul Forgiven!
To mortal eye this light might seem
A northern flash or meteor beam
But well th enrapturd Peri knew
Twas a bright smile the Angel threw
From Heavens gate to hail that tear
Her harbinger of glory near!

No 26
The Peri
Freud, ewge Freude, mein Werk ist getan
Die Pforte geffnet zum Himmel hinan!
Wie selig, o Wonne, wie selig bin ich
Sss Eden, wie finster sind gegen dich
Schedukiams Demanttrme, wie matt
Die duftenden Lauben von Amberabad!

Joy, joy for ever! my task is done

The Gates are passd and Heaven is won!
Oh! am I not happy? I am, I am
To thee, sweet Eden! how dark and sad
Are the diamond turrets of Shadukiam,
Amid the fragrant bowers of Amberabad!

Lebt wohl, ihr Dfte der Erd, ihr verraucht

Schnell, wie der Liebenden Seufzer verhaucht
Vom Tubabaum ist nun mein Schmaus,
Er duftet der Ewigkeit Odem aus!

Farewell ye odours of Earth that die

Passing away like a lovers sigh;
My feast is now of the Tooba Tree,
Whose scent is the breath of eternity!

lso.co.uk Libretto
25

Lebt wohl, ihr Blten in meinem Kranz,

Ihr blhtet so schn und verwelket doch schon;
O was sind Blumen im irdischen Glanz
Doch gegen den Lotos vor Allahs Thron,
Mit ewgen Bltensten umstrebt
Wo in jeglichem Blatt eine Seele lebt.
O ewige Freud mein Werk ist getan,
Die Pforte geffnet zum Himmel hinan!
Wie selig, o Wonne? wie selig bin ich!

Farewell ye vanishing flowers, that shone

In my fairy wreath, so bright and brief;
Oh! what are the brightest that eer have blown
To the lote-tree, springing by Allas throne,
With eternal flowering branches strewn
Where a soul dwells in every leaf.
Joy, joy for ever! my task is done
The gates are passd, and Heaven is won!
Oh! am I not happy? I am, I am!

Chorus of the Blessed Spirits

Willkommen, willkommen
Unter den Frommen!
Du hast gerungen und nicht geruht;
Nun ists errungen, das kstliche Gut.
Sei uns willkommen,
Sei uns gegrsst!
Ja, gibt es ein Opfer der Erdenwelt,
Ein Geschenk, das teuer der Himmel hlt,
Die Trne ists, die du gebracht,
Die aus dem Aug des Snders floss,
Die dir den Himmel wieder erschloss.
Du hast gerungen und nicht geruht,
Nun hast dus errungen, das kstliche Gut!
Aufgenommen
In Edens Garten,
Wo liebende Seelen deiner warten
Dich ewge Wonne umfliesst,
Sei uns willkommen
Sei uns gegrsst!

Welcome, welcome
Among the godly!
Without cease thou hast striven and strained;
Now thou hast the precious boon obtained.
Welcome among us,
We greet thee!
Yes, if there is an earthly prize,
A gift that heaven holds ever dear,
It is the former sinners tear,
That drops in penitence from his eyes,
That opens heavens gate for thee.
Without cease thou hast striven and strained,
Now thou hast the precious boon obtained!
Accepted at last
In Edens garden,
Where loving souls extend a pardon
And eternal bliss awaits thee,
Be welcome among us
And receive our greeting!

This text and translation was first used in the programme

for an Edinburgh International Festival performance of
Das Paradies und die Peri in 2011.

26 Artist Biographies

11 January 2015

Sally Matthews
Peri (Soprano)

Mark Padmore
Narrator (Tenor)
Sally Matthews was the winner of
the 1999 Kathleen Ferrier Award.
She studied at the Guildhall
School of Music and Drama, was
a member of The Royal Opera,
Covent Garden Young Artists
Programme from 2001 to 2003,
and was a BBC New Generation
Artist. She currently studies with
Paul Farringdon.

In 2001 Sally made her Royal

Opera debut as Nannetta (Verdis
Falstaff). Since then, she has sung
roles in Mozarts The Magic Flute
and Cos fan tutte, Stravinskys
The Rakes Progress and Poulencs Les Dialogues des Carmlites.
She appears regularly at the Bayerische Staatsoper, Netherlands
Opera and Theater an der Wien.
Plans this season and beyond include Konstanze in Mozarts Die
Entfhrung aus dem Serail for Glyndebourne Festival Opera; Strauss
Daphne and Capriccio at La Monnaie, Brussels; Mendelssohns Elijah
with the Munich Philharmonic; and Mahlers Symphony No 4 with
the Deutsches Symphonie-Orchester Berlin. Appearances with the
Berlin Philharmonic Orchestra and Simon Rattle include Beethovens
Symphony No 9 and Orffs Carmina Burana. Future opera highlights also
include appearances at the Metropolitan Opera, New York, Salzburg
Festival and a return to the Royal Opera, Covent Garden.
Recent concerts include performances with the Philharmonia
Orchestra, Mahler Chamber Orchestra, San Francisco Symphony
Orchestra and Michael Tilson Thomas, and Berlin Philharmonic.
Regular appearances with the LSO have included Mahlers Symphonies
No 2 and 4; Strauss Four Last Songs; Szymanowskis Stabat Mater;
Brahms Requiem; Messiaens Pomes pour Mi; and Haydns Creation.
Sally has given recitals with Simon Lepper at La Monnaie, Brussels,
the Concertgebouw, Amsterdam and Wigmore Hall, where she has
also appeared with the Nash Ensemble.

Mark Padmore was born

in London and grew up in
Canterbury. After beginning his
studies on the clarinet, he gained
a choral scholarship to Kings
College, Cambridge and graduated
with an honours degree in music.
He has established a flourishing
career in opera, concert and
recital. His performances in Bachs
Passions have gained particular
notice throughout the world.
In the opera house he has worked
with directors Peter Brook, Katie
Mitchell, Mark Morris and Deborah
Warner. Recent work includes the leading role in Harrison Birtwistles
new opera The Corridor with performances at the 2009 Aldeburgh and
Bregenz Festivals, as well as Southbank Centre in London; Tom Rakewell
in Stravinsky The Rakes Progress at La Monnaie, Brussels; Handels
Jephtha for WNO and ENO; and Captain Vere in Brittens Billy Budd
and the Evangelist in a staging of Bachs St Matthew Passion for
Glyndebourne Festival Opera. In concert he has performed with
many of the worlds leading orchestras, and makes regular
appearances with the OAE, with whom he has conceived projects
exploring Bachs St John and St Matthew Passions.
Mark has given recitals in Amsterdam, Barcelona, Brussels, Madrid,
Milan, Moscow, New York, Paris and Vienna. He appears frequently
at Wigmore Hall in London, where he was Artist-in-Residence in
the 2009/10 season. Composers who have written for him include
Mark-Anthony Turnage, Alec Roth, Sally Beamish, Thomas Larcher
and Huw Watkins.
Since 2007 Mark has been recording for Harmonia Mundi, with
releases including a disc of Handel arias; Schuberts Schwanengesang,
Die schne Mllerin and Winterreise with Paul Lewis; and Schumanns
Dichterliebe with Kristian Bezuidenhout. Mark is Artistic Director of
the St Endellion Summer Music Festival in Cornwall.

lso.co.uk

Artist Biographies

Kate Royal
Soprano

27

Bernarda Fink
Alto
Born in London, Kate Royal studied
at the Guildhall School of Music
and Drama and the National Opera
Studio. Awards have included the
2004 Kathleen Ferrier Award,
the 2004 John Christie Award,
and the 2007 Royal Philharmonic
Society Young Artist Award.

In concert she has appeared

with the Orchestra of the Age
of Enlightenment and Sir Simon
Rattle; the Bachakademie Stuttgart
and Helmuth Rilling; the Royal
Liverpool Philharmonic and
Vassily Petrenko; the Orchestra of
La Scala Milan and Myung-Whun Chung; the Los Angeles Philharmonic
and Pablo Heras-Casado; the Boston Symphony Orchestra and Thomas
Ads; the New York Philharmonic Orchestra and Alan Gilbert; the
Cleveland Orchestra and Franz Welser-Mst; the Scottish Chamber
Orchestra and Robin Ticciati; the Philharmonia Orchestra and Esa-Pekka
Salonen; the London Philharmonic Orchestra and Vladimir Jurowski; the
Swedish Radio Symphony Orchestra and Daniel Harding; and the Berlin
Philharmonic and Bavarian Radio Symphony Orchestra under Sir Simon
Rattle. She has appeared in recital throughout Europe and North America.
In opera she has sung in Strauss Der Rosenkavalier, Mozarts The
Magic Flute and Don Giovanni, and Bizets Carmen for Glyndebourne
Festival Opera; with the Berlin Philharmonic Orchestra and Sir Simon
Rattle at the Baden-Baden Festival; in Mozarts The Marriage of Figaro
and Brittens The Turn of the Screw for Glyndebourne on Tour; in
Monteverdis Lincoronazione di Poppea for ENO; and in Thomas Ads
The Tempest for the Royal Opera.
In 2006 she signed an exclusive contract with EMI Classics. Her first
solo recordings were a musical portrait with the Academy of St Martin
in the Fields, followed by Midsummer Night, a collection of 20thcentury arias, and a solo recital disc with Malcolm Martineau,
A Lesson in Love.

Bernarda Fink, daughter of

Slovenian parents, was born in
Buenos Aires and received her
musical education at the Instituto
Superior de Arte del Teatro Coln.
She is a sought-after singer,
appearing frequently with the
Vienna and Berlin Philharmonic
Orchestras, Royal Concertgebouw,
Staatskapelle Berlin and Dresden,
Bavarian Radio Symphony
Orchestra, Cleveland Orchestra
and Chicago Symphony Orchestra.
Recent highlights have included
Mozarts Lucio Silla at the
Theater an der Wien, Idomeneo at the Teatro Real in Madrid, Handels
Theodora at the Salzburg Festival, and a concert performance of
Mozarts La clemenza di Tito under Ren Jacobs. She regularly appears
in recital at the Wiener Musikverein and Konzerthaus, Schubertiade
Schwarzenberg, Berlin Philharmonie, Thtre Royal de la Monnaie
in Brussels, and Carnegie Hall and Alice Tully Hall in New York.
In the current season she will give performances at Wigmore Hall
with Anthony Spiri, the Nash Ensemble, and the Pavel Haas Quartet.
Bernarda Fink holds regular masterclasses throughout Europe, and
was on the jury of the International Song Competition at Wigmore Hall
and the Bach Wettbewerb Leipzig. She has made numerous acclaimed
and award-winning recordings, ranging from Monteverdi and Rameau
to Schubert, Bruckner and Schumann. Recent recordings include
Bach Cantatas with the Freiburger Barockorchester, and Lieder by
Mahler with the Tonknstler Orchestra, conductor Andrs OrozcoEstrada and pianist Anthony Spiri.
In 2006 she was awarded the Austrian Honorary Medal for Art and
Science, and in 2013, together with her brother Marcos Fink, received
Slovenias most prestigious cultural award for their recording Slovenija!
and related concerts.

28 Artist Biographies

11 January 2015

Andrew Staples
Tenor

Florian Boesch
Bass
Andrew Staples sang as a
chorister at St Pauls Cathedral
before winning a Choral
Scholarship to Kings College,
Cambridge, where he gained a
degree in music. Andrew was the
first recipient of the RCM Peter
Pears Scholarship, sponsored by
the Britten Pears Foundation, at
the Royal College of Music, and
subsequently joined the Benjamin
Britten International Opera School.
He studies with Ryland Davies.

His concert engagements have

included Das Paradies und die Peri
with both the Berlin Philharmonic and Sir Simon Rattle, and the
Swedish Radio Symphony Orchestra and Daniel Harding; Taveners
The Veil of the Temple in New York; Brittens Serenade for Tenor,
Horn and Strings with the Swedish Chamber Orchestra; Brittens
War Requiem at the Kings College Chapel with David Hill; Mozarts
Requiem with the Scottish Chamber Orchestra; and concerts with the
LSO, Orchestra of the Age of Enlightenment, Bavarian Radio Symphony,
Rotterdam Philharmonic Orchestra and the Accademia Santa Cecilia.
He made his Royal Opera House debut as Jacquino in Beethovens
Fidelio, and has also sung at the National Theatre, Prague, the Salzburg
Festival, Opera Holland Park, La Monnaie, Brussels, the Hamburgische
Staatsoper, and the Lucerne Festival. Forthcoming performances
include Wagners Das Liebesverbot for the Royal Opera House and the
Teatro Real in Madrid, and concerts with the Swedish Radio Symphony
Orchestra, Bavarian Radio Symphony Orchestra, Berlin Philharmonic,
BBC Symphony Orchestra, Vienna Philharmonic Orchestra and the
Philadelphia Orchestra.
His recent venture, Opera for Change, which brings together
international musicians and local artists and communities to produce
great shows that inspire and transform lives, has taken Mozarts
The Magic Flute on tour in Africa, covering ten countries in total.

Florian Boesch is one of todays

foremost Lieder interpreters.
He has performed at Wigmore
Hall, Viennas Musikverein and
Konzerthaus, the Concertgebouw
Amsterdam, Laeiszhalle
Hamburg, Philharmonie Cologne,
Philharmonie Luxemburg,
the Edinburgh International
and Schwetzingen festivals,
and throughout North America.
During the 2014/15 season he is a
Wigmore Hall Artist-in-Residence.
Forthcoming concerts include
Haydns The Creation in Paris
and Lyon, Handels Saul in Vienna, Berliozs The Damnation of Faust
in Berlin, Dvorks Stabat Mater in Brussels, Paris and Amsterdam,
Brahms Requiem in Vienna, Bachs St Matthew and St John
Passions on tour, and Beethovens Ninth Symphony with the
Royal Concertgebouw Orchestra.
Boesch performs with leading orchestras and conductors,
and works very closely with the conductor Nikolaus Harnoncourt,
with whom he recently performed Bachs St Matthew Passion
and Haydns The Creation at the Vienna Musikverein, and Purcells
The Fairy Queen at the Styriarte Festival. Operatic engagements
have taken him to the Salzburg Festival, Theater an der Wien,
Staatsoper Hamburg, Handel Festival, Bregenz Festival, Bolshoi
Theatre Moscow, and to Tokyo and Los Angeles. In 2011 he made
his debut at the Opera Cologne in the title role of Bergs Wozzeck.
His recording of Lieder and ballads by Carl Loewe on Hyperion
received the Edison Klassiek Award. Other acclaimed CDs have
included Schuberts Der Wanderer (Hyperion), Die schne Mllerin
and Winterreise (Onyx).
Florian Boesch received his initial vocal training from Ruthilde Boesch
and later studied with Robert Holl in Vienna.

lso.co.uk

Artist Biographies

29

Simon Halsey
Chorus Director
Simon Halsey is one of the worlds
leading conductors of choral
repertoire, regularly conducting
prestigious orchestras and choirs
worldwide. Halsey holds the position
of Chief Conductor of the Berlin
Radio Choir, and has been Chorus
Director of the City of Birmingham
Symphony Orchestra Chorus
for over 25 years. Since 2012 he
has been Choral Director of the
London Symphony Orchestra
and London Symphony Chorus,
working closely with LSO Principal
Conductor Valery Gergiev and
leading choral strategy across
the LSOs performance and education programmes. Halseys work with
the LSC has been said to have caused a spectacular transformation
(Evening Standard). Simon Halsey also holds the positions of Artistic
Director of the Berlin Philharmonics Youth Choral Programme and
Director of the BBC Proms Youth Choir.
Recent projects with the Berlin Radio Choir include Mozarts
The Magic Flute with the Berlin Philharmonic and Sir Simon Rattle
in the Orchestras new Easter residency in Baden-Baden. As Director
of the BBC Proms Youth Choir, Halsey rehearsed young singers from
all over the UK to perform Vaughan Williams A Sea Symphony during
the First Night of the 2013 BBC Proms, and Brittens War Requiem at
the 2014 BBC Proms. Recent projects with the London Symphony
Chorus and Orchestra included the world premiere of Sir Peter Maxwell
Davies Tenth Symphony.
Halsey has worked on countless major recording projects, many of which
have won major awards, including several Gramophone Awards and Preis
der Deutschen Schallplattenkritik. He won the Grammy Award for Best
Choral Performance in 2008, 2009 and 2011. Halsey was also presented
with the prestigious Bundesverdienstkreuz Erste Klasse, Germanys
Order of Merit by State Cultural Secretary Andr Schmitz in Berlin,
in recognition of his outstanding services to choral music in Germany.

LSO SING IN 2015

Sat 7 Feb 2015 11am4.30pm, LSO St Lukes

LSO CHORAL SINGING DAY: DURUFL REQUIEM

Gain fresh insights into this much-loved work with Simon
Halsey at this participatory Singing Day, featuring a morning
workshop and an afternoon performance that friends and
family can watch.
Tickets 17 + booking fee (0.60 online, 0.70 by phone)
Sun 1 Mar 2015 7.30pm, Barbican

DURUFL REQUIEM
Debussy La damoiselle lue
Debussy La mer
Durufl Requiem
Donald Runnicles conductor
Simon Halsey chorus director
with Nicole Cabell, Kelley OConnor, Duncan Rock
London Symphony Chorus
Tickets 10 38 + booking fee (3 online, 4 by phone)
Sat 9 May 2015 11am4.30pm, LSO St Lukes

LSO CHORAL SINGING DAY: BRAHMS CONNECTIONS

In the run-up to a performance of Brahms Requiem on 24 May,
Simon Halsey runs a workshop exploring some of the music
that inspired it, including a Schtz setting of one of the Brahms
Requiem texts, a Handel fugue, a Bach chorale and an early
Brahms motet.
Tickets 17 + booking fee (0.60 online, 0.70 by phone)

lso.co.uk | 020 7638 8891

Something for every mood

with the London Symphony Orchestra
To roll our online dice, visit:
lso.co.uk/findmeaconcert

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lso.co.uk

London Symphony Chorus

31

London Symphony Chorus

On stage
The London Symphony Chorus was formed in 1966 to complement
the work of the London Symphony Orchestra. The partnership between
the LSC and LSO was developed and strengthened in 2012 with the
joint appointment of Simon Halsey as Chorus Director of the LSC and
Choral Director for the LSO.
The LSC also partners other major orchestras and has worked
internationally with the Berlin and Vienna Philharmonics,
Boston Symphony and the European Union Youth Orchestra.
The LSC tours extensively throughout Europe and has visited
North America, Israel, Australia and South East Asia.
The Chorus has recorded extensively; recent releases include
Brittens War Requiem with Gianandrea Noseda, Haydns The Seasons,
Waltons Belshazzars Feast, Verdis Otello, and the world premiere of
James MacMillans St John Passion all under the late Sir Colin Davis;
and with Valery Gergiev, Mahlers Symphonies Nos 2, 3 and 8.
A recent recording of Wagners Gtterdmmerung with the Hall
under Sir Mark Elder won a Gramophone award.
Last season the Chorus undertook critically acclaimed performances
of Verdis Rigoletto, the world premiere of Sir Peter Maxwell Davies
Tenth Symphony, Berliozs The Damnation of Faust and Romeo
and Juliet, Haydns The Creation, Scriabins The Poem of Ecstasy,
and Beethovens Mass. The Chorus performed their own concert,
including Rachmaninovs Vespers, on 26 November at the Barbican,
and return to sing Durufls Requiem on 1 March.
If you would like to arrange an audition, contact Aoife McInerney
on aoife.lsc@gmail.com for further details.
President Emeritus Andr Previn KBE
Vice Presidents Michael Tilson Thomas
Patron Simon Russell Beale
Chorus Director Simon Halsey
Deputy Chorus Director & Accompanist Roger Sayer
Assistant Directors Neil Ferris and Matthew Hamilton
Chairman Lydia Frankenburg
lsc.org.uk

SOPRANOS
Kerry Baker
Faith Baxter
Louisa Blankson
Evaleen Brinton
Carol Capper *
Laura Chiorean
Jessica Collins
Shelagh Connolly
Emma Craven
Rebecca Dent
Lucy Farrington
Joanna Gueritz
Maureen Hall
Isobel Hammond
Florentina Harris
Kuan Hon
Claire Hussey
Bethan Irving
Debbie Jones
Jessica Kirby
Luca Kocsmarszky
Mimi Kroll
Debbie Lee
Marylyn Lewin
Jennifer Norman
Emily Norton
Hiroko OReilly
Maggie Owen
Isabel Paintin
Andra Patterson
Oktawia Petronella
Frances Pope
Carole Radford
Liz Reeve
Mikiko Ridd
Chen Shwartz
Lizzie Webb
Beccy Wheaton
Miji Yi

ALTOS
Hetty Boardman-Weston
Elizabeth Boyden
Gina Broderick
Jo Buchan *
Jenni Butler
Lizzy Campbell
Jan Daines
Zoe Davis
Maggie Donnelly
Linda Evans
Lydia Frankenburg *
Amanda Freshwater
Tina Gibbs
Rachel Green
Yoko Harada
Amanda Holden
Jo Houston
Ginger Hunter
Lis Iles
Christine Jasper
Jill Jones
Vanessa Knapp
Gilly Lawson
Belinda Liao *
Anne Loveluck *
Liz McCaw
Jane Muir
Caroline Mustill
Helen Palmer
Susannah Priede
Lucy Reay
Fran Ringer
Maud Saint-Sardos
Lis Smith
Jane Steele
Claire Trocme
Curzon Tussaud *
Georgina Wheatley
Sara Williams

TENORS
David Aldred
Paul Allatt *
Robin Anderson
Antoine Carrier
Michael Delany
Daniel Ehrlich
John Farrington
Matt Fernando
Andrew Fuller
Jesse Hollister
Warwick Hood
Tony Instrall
John Marks
Alastair Mathews
John Moses *
Malcolm Nightingale
Daniel Owers
Chris Riley
Sam Roots
Peter Sedgwick
Richard Street
Malcolm Taylor
Owen Toller
Brad Warburton
Robert Ward *
Paul Williams-Burton
James Warbis

BASSES
Simon Backhouse
Bruce Boyd
Andy Chan
Steve Chevis
James Chute
Damian Day
Thomas Fea
Ian Fletcher
Robert French
Robert Garbolinski *
John Graham
Gerg Hahn
Owen Hanmer *
Anthony Howick
Thomas Kohut
Gregor Kowalski *
Peter Niven
Tim Riley
Alan Rochford
Zachary Smith
Rod Stevens
Gordon Thomson
Jez Wareing
* denotes council
member

32 The Orchestra

11 January 2015

London Symphony Orchestra

On stage
VIOLAS
FIRST VIOLINS
Gordan Nikolitch Leader Edward Vanderspar
Gillianne Haddow
Lennox Mackenzie
Malcolm Johnston
Clare Duckworth
Regina Beukes
Ginette Decuyper
Julia ORiordan
Jrg Hammann
Robert Turner
Claire Parfitt
Jonathan Welch
Laurent Quenelle
Cian ODuill
Harriet Rayfield
Ian Rhodes
CELLOS
Sylvain Vasseur
Rebecca Gilliver
Gerald Gregory
Alastair Blayden
David Worswick
Jennifer Brown
Minat Lyons
SECOND VIOLINS
Amanda Truelove
David Alberman
Eve-Marie Caravassilis
Thomas Norris
Sarah Quinn
DOUBLE BASSES
Miya Visnen
Matthew McDonald
Matthew Gardner
Colin Paris
Julian Gil Rodriguez
Nicholas Worters
Naoko Keatley
Patrick Laurence
William Melvin
Thomas Goodman
Iwona Muszynska
Paul Robson

Your views
Inbox

PICCOLO
Sharon Williams

HORNS
Timothy Jones
Angela Barnes
Alexander Edmundson
Jonathan
Quaintrell-Evans

Neil Wallington This Christmas choral concert

@londonsymphony is tremendous fun, and there
is a particularly lively audience tonight
on A Choral Christmas (14 Dec)

OBOES
Cristina Gmez Godoy
Alice Munday

TRUMPETS
Philip Cobb
Gerald Ruddock

CLARINETS
Andrew Marriner
Chi-Yu Mo

TROMBONES
Peter Moore
James Maynard

Tristan Noon I love seeing musicians at the top

of their game. Such amazing musicianship from the
@londonsymphony tonight. #DesplatConcert
on the LSO with Alexandre Desplat (11 Dec)

BASSOONS
Daniel Jemison
Joost Bosdijk

BASS TROMBONE
Paul Milner

FLUTES
Gareth Davies
Alex Jakeman

TUBA
Patrick Harrild
TIMPANI
Antoine Bedewi
PERCUSSION
Neil Percy
David Jackson
Sam Walton

Olivier Leconte The concert was incredible and all the

players were top notch.
on the LSO with Alexandre Desplat (11 Dec)
Nicholas Kroll Great music, wonderful singing and brass
sound, and a festive dose of feelgood factor!
on A Choral Christmas (14 Dec)

HARP
Bryn Lewis

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience
Scheme enables young string players at the
start of their professional careers to gain
work experience by playing in rehearsals
and concerts with the LSO. The scheme
auditions students from the London music
conservatoires, and 15 students per year
are selected to participate. The musicians
are treated as professional extra players
(additional to LSO members) and receive fees
for their work in line with LSO section players.

The Scheme is supported by

Help Musicians UK
The Polonsky Foundation
The Garrick Charitable Trust
The Lefever Award

London Symphony Orchestra

Barbican
Silk Street
London
EC2Y 8DS
Registered charity in England No 232391
Details in this publication were correct
at time of going to press.

Editor
Edward Appleyard
edward.appleyard@lso.co.uk
Photography
Igor Emmerich, Kevin Leighton,
Bill Robinson, Alberto Venzago
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