Bath Festival Orchestra - Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey
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Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey
Programme Carl Maria von Weber
Overture: Der Freischütz
Weber Der Freischütz (Op.77, The Marksman) is a German
Overture to Der Freischütz opera in three acts which premiered in 1821 at the
Schauspielhaus, Berlin. Many have suggested that it
was the first important German Romantic opera,
Strauss with the plot based around August Apel’s tale of the
same name. Upon its premiere, the opera quickly
5 Orchestral Songs became an international success, with the work
translated and rearranged by Hector Berlioz for a
French audience. In creating Der Freischütz Weber
Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired
Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a
national opera that would reflect the uniqueness of
Säusle, liebe Myrthe German culture.
Amor Weber is considered, alongside Beethoven, one of
the true founders of the Romantic Movement in
Morgen! Op.27 music. He lived a creative life and worked as both a
pianist and music critic before making significant
contributions to the operatic genre from his
appointment at the Dresden Staatskapelle in 1817,
Das Rosenband Op.36 where he realised that the opera-goers were hearing
almost nothing other than Italian works. His three
German operas acted as a remedy to this situation,
Brahms with Weber hoping to embody the youthful
Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic
stage. These works not only established Weber as a
long-lasting Romantic composer, but served to
define German Romanticism and make its name as
an important musical force in Europe throughout
the 19th century.
The opera itself is a convoluted tale of magic bullets,
invisible spirits and pacts with the devil, the overture
of which employs folk mysticism and, in Weber’s
own words, ‘the life of the hunger and the rule of
demonic powers’ through an introductory tone
poem and a consideration of important melodies in a
symphonic foreshadowing of music to come. Though
the opera is now rarely staged anywhere, it remains
one of Weber’s most popular orchestral works, and
is one larger in scope and scored in broader, more
Romantic terms than the Classical overtures of
Mozart and Beethoven that had come previously.
Richard Strauss received its premiere in 1919, becoming Strauss’
most significant song collection before his Four Last
5 Orchestral Songs Songs (1948).
Richard Strauss was a master of vocal composition,
possessing a particular reverence for the soprano
Morgen!, Op.27 No.4
voice, likely inspired by his happy marriage to the
Morgen! is the last in a set of four songs composed in
operatic soprano Pauline de Ahna. On one occasion,
1894, setting a rapturous love poem by John Henry
Strauss is known to have commented: ‘I thank my
Mackay, a contemporary of Strauss’ born in Scotland
Almighty Creator for the gift and inspiration of the
but raised in Germany. In Strauss’ poignant setting,
female voice’. Strauss began composing lieder in his
the singer remains mute until well into the piece, as
early years as a composer and continued to do so
if lost in reverie. She joins mid-thought: ‘and
right up until his death in 1949. While some of
tomorrow the sun will shine again’. The true melody
Strauss’ songs have entered the standard vocal
of this song is never presented in its entirety by the
repertoire, many of his songs are often overlooked
singer, but appears in elegant and subtly
despite his superb vocal writing and particular
conversational fragments in a neat dialogue with the
compositional ability to masterfully handle the
orchestra. In orchestrating the song, Strauss
dramatic as well as the sentimental.
emphasised its nostalgic atmosphere by drawing on
the sweet tones of a solo violin to enunciate the
Brentano Lieder, Op.68 theme. The song is one of Strauss’ best known, and
three stunning recordings of the composer himself
Originally composed as songs in 1918, Richard playing or conducting the work survive. The
Strauss’ settings of six poems by Clemens Brentano collection from which Morgen! is taken from was
(1778-1842) was fully orchestrated by 1940. The published as a wedding present to Pauline de Ahna,
composition of the Brentano Lieder followed a 12 and the two would often perform them in recital
year period in which Strauss did not compose a together.
single song, instead focusing on his opera Die Frau
ohne Schatten. However, he returned to the genre of
lied with the voice of Elisabeth Schumann in mind,
Das Rosenband, Op.36 No.1
though she only performed the entire cycle on one
Composed in 1897, Das Rosenband is based on a text
occasion in 1922. Though the four central songs
seem tailor-made for her clear, light soprano, the by 18th century poet Friedrich Gottleib Klopstock.
first and final of the set have a much more dramatic The charming poem paints an image of youthful love
tone, requiring a lower tessitura to effectively colour in the springtime, with Strauss opting for a sensual
lyricism and lush harmonies to colour the words in a
the music.
typically late-Romantic fashion. The song begins
Brentano was a notable figure in the German with a delicate and affectionate melody which is
Romantic movement. Like a medieval minstrel, he then taken up and expanded by the voice for the first
spent a number of years wandering the countryside verse. The second adopts a new melody with a more
with his guitar on his back collecting folk poetry. anxious accompaniment, before the third is different
Along with his lifelong friend Achim von Arnim, the again, returning to the tonic key with an altered
two released a collection of German folk poetry version of the established melody. The final verse
known as Des Knaben Wunderhorn, later set by recalls the music of the second, building to a heart-
Gustav Mahler as well as Strauss. The six poems warming climax and a beautiful melisma; the
included in the Brentano Lieder are all original euphoria of the two lovers suggested musically.
works by Brentano alone, with Strauss’ settings of
these texts inspired by the lyrical gestures of love
and nature laced between the lines. The collection
Ich wollt ein Sträußlein binden I meant to make you a posy Ich wollt ein Sträußlein binden, I meant to make you a posy, Da kam die dunkle Nacht, But dark night then came, Kein Blümlein war zu finden, There were no flowers to be found, Sonst hätt’ ich dir’s gebracht. Or I’d have brought you some. Da flossen von den Wangen Tears then flowed down my cheeks Mir Tränen in den Klee Into the clover Ein Blümlein aufgegangen And now I saw a flower Ich nun im Garten seh. That had sprung up in the garden. Das wollte ich dir brechen I meant to pick it for you Wohl in dem dunklen Klee, There in the dark clover, Da fing es an zu sprechen: When it started to speak: “Ach, tue mir nicht weh! “Ah, do not hurt me! Sei freundlich im Herzen, Be kind in your heart, Betracht dein eigen Leid Consider your own suffering, Und lasse mich in Schmerzen And do not make me die Nicht sterben vor der Zeit!” In torment before my time!” Und hätt’s nicht so gesprochen, And had it not spoken these words, Im Garten ganz allein, All alone in the garden, So hätt’ ich dir’s gebrochen, I’d have picked it for you, Nun aber darf’s nicht sein. But now that cannot be. Mein Schatz ist ausgeblieben My sweetheart stayed away, Ich bin so ganz allein. I am utterly alone. Im Lieben wohnt Betrüben, Sadness dwells in loving, Und kann nicht anders sein. And cannot be otherwise. Säusle, liebe Myrthe! Rustle, dear Myrtle! Säusle, liebe Myrthe! Rustle, dear Myrtle! Wie still ist’s in der Welt, How silent the world is, Der Mond, der Sternenhirte The moon, that shepherd of the stars, Auf klarem Himmelsfeld, In the bright Elysian fields, Treibt schon die Wolkenschafe Already drives the herd of clouds Zum Born des Lichtes hin, To the spring of light, Schlaf, mein Freund, o schlafe, Sleep, my friend, ah sleep, Bis ich wieder bei dir bin! Till I am with you again! Säusle lieber Myrthe! Rustle, dear myrtle! Und träum im Sternenschein, And dream in the starlight, Die Turteltaube girrte The turtledove has already cooed Auch ihre Brut schon ein. Her brood to sleep. Still ziehn die Wolkenschafe Quietly the herd of clouds travel Zum Born des Lichtes hin, To the spring of light, Schlaf, mein Freund, o schlafe, Sleep, my friend, ah sleep, Bis ich wieder bei dir bin! Till I am with you again! Hörst du, wie die Brunnen rauschen? Do you hear the fountains murmur? Hörst du, wie die Grille zirpt? Do you hear the cricket chirping? Stille, stille, lass uns lauschen, Hush, hush, let us listen, Selig, wer in Träumen stirbt; Happy is he who dies while dreaming. Selig, wen die Wolken wiegen, Happy he who is cradled by clouds, Wenn der Mond ein Schlaflied singt; While the moon sings a lullaby. O! wie selig kann der fliegen, Ah, how happily he can fly, Den der Traum den Flügel schwingt, Who takes flight in dreams, Dass an blauer Himmelsdecke So that from heaven’s blue vault Sterne er wie Blumen pflückt; He gathers stars as though they were flowers; Schlaf, träume, flieg’, ich wecke Sleep, dream, fly, I shall wake Bald dich auf und bin beglückt! You soon and be made happy!
Amor Cupid An dem Feuer saß das Kind By the fire sat the child Amor, Amor Cupid, Cupid Und war blind; And was blind; Mit dem kleinen Flügel fächelt With his little wings he fans In die Flammen er und lächelt, Into the flames and smiles; [fächle, lächle], schlaues Kind. Fan, smile, wily child! Ach, der Flügel brennt dem Kind! Ah, the child’s wing is burning! Amor, Amor Cupid, Cupid Läuft geschwind! Runs quickly. “O wie mich die Glut durchpeinet!” O how the burning hurts him deeply! Flügelschlagend laut er weinet; Beating his winds, he weeps loudly; In der Hirtin Schoẞ entrinnt To the shepherdess’s lap runs, Hülfeschreiend das schlaue Kind. Crying for help, the wily child. Und die Hirtin hilft dem Kind, And the shepherdess helps the child, Amor, Amor Cupid, Cupid, Bös und blind. Naughty and blind. Hirtin, sieh, dein Herz entbrennet, Shepherdess, look, your heart is burning; Hast den Schelm du nicht gekennet. You did not recognise the rascal, Sieh, die Flamme wächst geschwinde. See, the flame is growing quickly. Hüt dich vor dem schlauen Kind! Save yourself, from the wily child! Morgen! Tomorrow! Und morgen wird die Sonne wieder scheinen And tomorrow the sun will shine again Und auf dem Wege, den ich gehen werde, And on the path that I shall take, Wird uns, die Glücklichen, sie wieder einen It will unite us, happy ones, again, Inmitten dieser sonnenatmenden Erde… Amid this same sun-breathing earth… Und zu dem Strand, dem weiten, wogen bläuen, And to the shore, broad, blue-waved, Werden wir still und langsam niedersteigen, We shall quietly and slowly descend, Stumm werden wir uns in die Augen schauen Speechless we shall gaze into each other’s eyes, Und äuf uns sinkt des Glückes stummes Schweigen… And the speechless silence of bliss shall fall on us. Das Rosenband The Rose Garland Im Frühlingshaften fand ich sie; I found her in the spring shade, Da band ich Sie mit Rosenbändern: And bound her fast with a rose garland: Sie fühlt’ es nicht und schlummerte. Oblivious, she slumbered on. Ich sah sie an; mein Leben hing I gazed on her; with that gaze Mit diesem Blick an ihrem Leben: My life became entwined with hers: Ich fühlt es wohl, und wuẞt’ es nicht. This I sensed, yet did not know. Doch lispelt’ ich ihr sprachlos zu, I murmured wordlessly to her Und rauschte mit den Rosenbändern: And rustled the garland of roses: Da wachte sie vom Schlummer auf. Then she woke from slumber. Sie sah mich an; ihr Leben hing She gazed on me; with that gaze Mit diesem Blick’ an meinem Leben, Her life became entwined with mine, Und um uns ward Elysium. And Paradise bloomed about us.
Johannes Brahms At the first performance in Hanover on 3 March
1860, Brahms believed it ‘did not go very well’, but
Serenade No.1 in D, Op.11 the large audience of 1200 people said otherwise,
with applause that ‘persisted until [Brahms] came
Allegro molto out and down in front’ to calm them. The work
Scherzo epitomises a neo-classical style that was reminiscent
Adagio non troppo of the earlier small-orchestral works of Mozart,
Menuetto I – Menuetto II Beethoven and Schubert, while maintaining a
Scherzo typically Romantic sensibility throughout the six
Rondo movements. Brahms is lavish with the profusion of
themes in this work, with a development full of
Brahms’ two Serenades (Op.11 and 16) represent surprising extensions and associations that hint to
his early efforts to write orchestral music. Both were the mastery of his later years.
written following the death of his friend and fellow
composer Robert Schumann in 1856, with the first The first movement addresses classical expectations
Serenade, No.1 in D, also marking his first officially in a relaxed manner, before ending with a bewitching
published orchestral work. At the time of coda that sees twenty-seven bars of D in an attempt
composition, Brahms was under the spell of to announce that the movement is over. The flute,
Mozart’s serenades, as well as the Beethoven Septet however, ignores this, leading the cellos astray as
and the Schubert Octet; these influences are the music becomes more and more lost in wandering
undeniable throughout the composition. dreams ever farther afield, culminating in a floating
chord. The second movement is more sinister, with a
Brahms wrote this Serenade while residing in the slow movement afterwards that is spacious and
town of Detmold, just southwest of Hanover. The unmistakably Brahmsian in sound. This movement is
town provided an agreeable setting for Brahms to the heart of the Serenade and moves delicately on to
compose, with his musical engagements allowing a pair of minuets before a scherzo and finale that
him to both expand his knowledge of the established continues the emerging energetic spirit, all
repertoire and gain experience as a conductor. It concluding in a sonorous and happy end.
also provided the necessary peace in the wake of
Robert Schumann’s tragic death, as well as in the
aftermath of a love affair with a gifted young singer,
Agathe von Siebold. Schumann’s death, aside from
the distress value it had on its own, had also put
Brahms’ situation with his beloved Clara into an
alarming new light. All of this arguably tragic context
and the undying compositional voice of Robert
Schumann indirectly colour the musical background
of this Serenade, alongside orchestration close to
what can be found in both late Haydn, and early-to-
middle Beethoven.
Originally scored for wind and string octet, the
Serenade was first expanded into a longer work for
chamber nonet before being readapted for
orchestra. This final version was completed in
December 1859. During this compositional period,
Brahms had received a great deal of advice from his
good friend, the violinist Joseph Joachim, who later
referred to the work as a ‘Symphony Serenade’.
Bath Festival Orchestra Violins Bassoons
Originally formed in 1959 by Yehudi Menuhin, the Maren Bosma (Leader) William Gough
Bath Festival Orchestra has returned under the Iona Allan Matthew Harrison
baton of Peter Manning. The relaunch of the Laura Ayoub
chamber orchestra aims to highlight the particular Anais Boyadijeva Horns
skills that young talent can contribute to the Christopher Cohen Kristina Yumerska
development of the performing arts, while also Ellie Consta Alexander Boukikov
harnessing the latest digital technologies in a bid to Claire Edwards Bertille Cascio
reimagine the experience of a classical orchestral Freya Goldmark Olivia Gandee
concert for young people. Building on a Aleem Kandour
distinguished musical legacy, as well as that of Sir Eloise MacDonald Trumpets
Thomas Beecham and Yehudi Menuhin, the Bath Sophie Williams Katie Lodge
Festival Orchestra aims to use young, gifted Olivia Ziani Ruby Orlowska
musicians from all corners of the UK regardless of
background, with current members chosen based on Violas Trombones
natural talent and artistic promise. Sergio Insuasti Nicholas Kent
Georgie Davis Andrew Crampton
The Bath Festival Orchestra would like to thank the Fran Gilbert Benny Vernon
generosity of its founding donors for the financial Joanna Patrick
and moral support they have offered. Timpani
Cellos Alex Temple-Heald
Website: https://bathfestivalorchestra.com/ Kieran Carter
Instagram: @bathfestivalorchestra Lily Hope Harp
Twitter: @BFestOrchestra Nina Kiva Alis Huws
Wallis Power
Double Basses
Loukas Kerkyras
Evangeline Tang
Flutes
Frederico Paixão
Imogen Royce
Piccolo
Marcus Dawe
Oboes
Sarah Bence
Alec Harmon
Clarinets
Rennie Sutherland
Melissa Youngs
Maren Bosma (credit: James Basire)
Bass Clarinet
Luke English
photo credit: James Basire Rowan Pierce Soprano Peter Manning Conductor Yorkshire-born soprano Rowan Pierce is a graduate Peter Manning FRSA is a British conductor and of the Royal College of Music and a former English violinist, whose career includes work with the BBC National Opera Harewood Artist (2018). Rowan has Symphony Orchestra, the Royal Opera House and appeared on concert platforms around the world, the Edberg Chamber Orchestra. Peter attended with notable performances alongside the Academy Chetham’s School of Music and the Royal Northern of Ancient Music, Gabrieli Consort, BBC Scottish College of Music, where has later appointed as Symphony Orchestra and Orchestra of the Age of Professor of the Violin. Peter was Leader of the Enlightenment. She has also performed twice at the London Philharmonic, where he gained experience BBC Proms, most recently in a 2019 performance of working with conductors including Sir Simon Rattle. Handel’s Jeptha with the Scottish Chamber He later formed The Britten String Quartet, which Orchestra. Alongside operatic and concert established an international reputation and appearances, Rowan has collaborated with Sir discography with Peter as Leader. Peter has also Thomas Allen and Christopher Glynn at the Ryedale held the positions of concertmaster for the Royal Festival where she shared a recital with Roderick Opera House and leader of the Royal Philharmonic Williams, and also Dame Ann Murray and Malcolm Orchestra. As well as live performances, Peter has Martineau at the Oxford Lieder Festival. Rowan has also recorded as a conductor for the BBC, BBC received a number of prestigious awards, including World and YouTube, and is currently the Music the President’s Award and the Van Someren Director of the Mozart Kinderorchester in Salzburg Godfrey Prize at the Royal College of Music, both for MozartWoche. Peter is also a board member of the Song Prize and First Prize at the inaugural the National Campaign for Arts in the UK, a Fellow Grange Festival International Singing Competition of the Royal Northern College of Music, and a Fellow (2017). She is also a Rising Star of the Orchestra of of the Royal Society of Arts. the Age of Enlightenment, and an Oxford Lieder featured artist, as well as the voice behind Siena Rosso in Netflix’s Bridgerton (2020). Editor Maisie Lewis
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