1900 HERE COMES THE 20TH CENTURY A new century, a new world

F Discovering national identity through folk songs

Counterculture and revolution

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musical theatre

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Concert programme

LONDON SINFONIETTA

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Igor Stravinsky: RenardSunday 10 February, 3:00pm Queen Elizabeth Hall, Southbank Centre, London

Erik Satie Socrate# 32’

Igor Stravinsky 3 Pieces for String Quartet 7’

Igor Stravinsky 3 Pieces for Clarinet 5’

Igor Stravinsky Concertino for String Quartet 6’

Igor Stravinsky Renard – chamber opera in 1 act* 18’

Paris during the 1910s and 1920s was a hotbed of experimentation and creative dialoguebetween the arts. The concert explores the important works that came out of the city’ssalons, hosted by great patrons such as Winnaretta Singer, also known as la PrincesseEdmond de Polignac. Central to the programme is Stravinsky’s comic chamber operaRenard, in which a fox comes to a sticky end.

Presented by the London Sinfonietta and Southbank Centre as part of Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’ book The Rest Is Noise.

Barbara Hannigan director*/soprano#

Daniel Norman tenor*Edgaras Montvidas tenor*Roderick Williams bass*John Molloy bass*Reinbert de Leeuw piano#

Timothy Lines solo clarinetHarriet Walter presenterTimberlake Wertenbaker script writer

The London Sinfonietta is grateful to Arts Council England and the PRS for MusicFoundation for their generous support of the ensemble’s Music Programme 2012/13 and to the John Ellerman Foundation for their support of the ensemble.

Images on front cover: Marlene Dietrich as Lola, 1930 © AFP Getty / Stravinsky © Moviestore Collections/Rex Features

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Welcome to this, our second project in The Rest IsNoise festival.

The story of 20th-century music can’t be toldwithout accounting for the extraordinary outputand huge influence of Igor Stravinsky. The festivalin the early 1980s of all of Stravinsky’s output,inspired and led by The London Sinfonietta’s co-founder David Atherton and involving manyperformances by this ensemble, is still regarded as a landmark event. While the ensemble has sinceincreasingly worked on music being written in thesecond half of the century, and especially on musicwritten now, the opportunity to return and re-present some of this repertoire, as part of The RestIs Noise festival, is hugely rewarding.

It’s important that we find a way to present thisrepertoire afresh, so it’s exciting to be working onthis project with Barbara Hannigan as musicaldirector. This extraordinary, multi-talentedmusician brings an exciting insight into everything

she does, and we are looking forward to herleadership from the podium as well as herperformances as a singer. It’s also a pleasure towelcome the other singing and instrumentalsoloists to work with us today.

Our work on The Rest Is Noise Festival continues in the Autumn, when we take up the story with theSouthbank Centre on post-war repertoire, and bringthe project right up to the year 2000 and beyond –when our New Music Show in December will featurepieces with the ink still wet on the page.

It’s good to be part of this enormously importantfestival, and we trust that you will want to returnagain and again across the year to follow the journeyof music and the other arts across the last century.

Andrew BurkeChief Executive

londonsinfonietta.org.uk

Welcome

London SinfoniettaResident at Southbank Centre

The London Sinfonietta is proud of its Residency atSouthbank Centre. From the world-class platform ofevents and festivals at Southbank Centre, the LondonSinfonietta takes major projects around the UK andthe world, creates new work through commissionsand collaborations with major composers and artists,and involves the public from across London incontemporary performance events with the ensemble.

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Southbank Centre

We hope you enjoy your visit to Southbank Centre.We have a Duty Manager available at all times. Ifyou have any queries please ask any member ofstaff for assistance.

Eating, drinking and shopping? Southbank Centreshops and restaurants include Foyles, EAT, Giraffe,Strada, YO! Sushi, wagamama, Le Pain Quotidien,Las Iguanas, ping pong, Canteen, Caffe Vergnano1882, Skylon, Concrete and Feng Sushi, as well ascafes, restaurants and shops inside Royal FestivalHall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to make a comment following your visit please contact Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email customer@southbankcentre.co.uk.

We look forward to seeing you again soon.

The Rest Is Noise

The Rest Is Noise is a year-long festival that digsdeep into 20th-century history to reveal theinfluences on art in general and classical music inparticular. Inspired by Alex Ross’ book The Rest IsNoise, we use film, debate, talks and a vast range ofconcerts to reveal the fascinating stories behind thecentury’s wonderful and often controversial music.

We have brought together some of the world’sfinest orchestras and soloists to perform many ofthe most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of themodern world.

Over the year, The Rest Is Noise features 12 focusweekends. The music is set in context with talksfrom a fascinating team of historians, scientists,philosophers, political theorists and musicalexperts as well as films, online content and other special programmes.

If you’re new to 20th-century music, then this isyour time to start exploring with us as your tourguide. There has never been a festival like this.

Jude Kelly Artistic Director, Southbank Centre

Join the journeysouthbankcentre.co.uk/therestisnoise

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Erik Satie(1866 – 1925)

The son of a French ship broker, Erik Satie was bornin Honfleur, north-western France. Following theFranco-Prussian war in 1870, Satie and his familymoved to Paris, but Satie was forced to move backwith his grandparents after the death of his motherjust two years later. His turbulent childhoodcontinued upon the death of his grandmother in1878 and Satie moved back to Paris to live with his father and his new step-mother whom he greatly disliked.

Satie’s musical education began in earnest upon hisentry into the Paris Conservatoire in 1879, but hewas dismissed shortly afterwards in 1882 for notadhering to the conservatoire’s performancestandards. All was not lost, however, as Satie’s father,Alfred, was beginning to establish a music publishingbusiness, providing him with a platform to publishhis work. In 1887, Satie wrote his three Sarabandes;composing his Gymnopédies in 1888. Encouraged byhis recent musical outpourings, Satie began toexplore his surroundings in and around Montmartrewith his great friend Contamine de Latour, and hisdiscovery of the café Le Chat Noir was of importanceto his future career, for it was here that Satie metClaude Debussy – with whom he would form afriendship lasting over 25 years.

In 1898, Satie left Montmartre for the Parisiansuburb of Arcueil-Cachan and for a while, earned hisliving playing the piano in cafes around town. Thismarks the most melancholy period in Satie’s life, the main highlight in these 15 years being his set of Trois morceaux en forme de poire based largely oncabaret melodies.

His luck changed, however, in 1915 when the youngJean Cocteau heard a performance of Satie’s Troismorceaux. Cocteau used his social status to securecommissions and engage with virtuoso soloists toperform Satie’s music.

The upshot of this relationship was Cocteau’scollaboration with Satie in the ballet Parade whichpremiered in May 1917. The ballet was composed for Diaghilev’s Ballet Russes and was not without its scandal. The music critic Jean Poueigh reviewedthe ballet unfavourably, resulting in Satie writing apostcard to the critic insulting him and his opinions.Satie was sued by Poueigh and given an eight-day jail sentence for his retaliation. Amidst the furore of the work’s premiere, a group of young composersestablished themselves under the title, “LesNouveaux Jeunes”, with journalist Henri Collet laterdefining them as the now well-known, “Les Six”, seenas a reactionary group to the impressionist music oftheir contemporaries Debussy and Ravel and theGerman romantics, particularly the music of Wagner.

Satie was now enjoying widespread success, helpedalong by the composition of Socrate in 1917 based on Victor Hugo’s translation of Plato’s Dialogues. Hissuccess was marked in 1920 by two festivals of hismusic, with the final period of his compositionaloutput being starkly more stylistically varied than hisprevious compositions. Satie continued to writemusic for ballet, collaborating with Léonide Massineand Pablo Picasso in Mercure (1924) along with thepainter Francis Picabia and the French film-makerRené Clair in Relâche, translating as “performancecancelled” in French. Scandal erupted once again onthe opening night of the latter ballet as Jean Borlin,the principal dancer, had to withdraw due to illness.The ballet had truly lived up to its title.

Following the composition of Relâche, Satie’s healthbegan to take a turn for the worse, culminating inadmittance to hospital to monitor his progress. Hisdeterioration continued, however and Satie died on 1July 1925 of sclerosis of the liver. His manuscriptswere saved following his death by his good friend andmember of “Les Six” Darius Milhaud, ensuring thathis eclectic output was preserved.

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Erik Satie (1866–1925):Socrate (1919)

Few periods of history have witnessed such closeassociations between the arts as early 20th-centuryParis, when a close group of composers, artists,dancers and theatre directors collaborated to producesome of the century’s enduring artistic masterpieces.Café concerts, art exhibitions and philosophy groupswere all meeting points for Paris’ new artistic elite,and it was at one of these regular haunts, the cabaretvenue Le Chat Noir, that Erik Satie first befriendedClaude Debussy and became enfolded in his closemusical circle. Like Debussy, Satie had attended theParis Conservatoire a few years earlier, where he tooklessons in piano from Georges Mathias. But whileDebussy had been recognised as a talented youngcomposer during his time there, Satie was dismissed from theConservatoire on account of his ‘insignificant,laborious and worthless’ piano playing. Fortunately,Mathias recognised that Satie’s real talent lay withcomposing, and he was readmitted to theConservatoire soon after, but his unusual style ofcomposition and disregard for traditional rules didnot make a favourable impression on his tutors.

Both Satie and Debussy shared the same musicalvision, rejecting the over-complex musical languagethat had developed in recent years, and advocating areturn to a purer form of musical expression. Satiefirst earned fame for his Six Gymnopédies, whosesimplicity is captured through repetition. The firsteighteen bars of Gymnopédie No. 1 feature just sixpitches, there is no ‘development’ or ‘transition’ perse, and the piece circles insistently around therepetition of the opening two bars. Sparsely texturedand harmonically narrow, barlines and key signatures, too, become almost obsolete in the fluidity of Satie’simpressionistic style. This eccentric style and clarityof vision was matched by Satie’s appearance: everyday he emerged from his apartment on the outskirtsof Paris wearing one of the dozen immaculate velvetsuits he owned, each identical, earning him thenickname ‘the Velvet Gentleman’.

As Satie’s renown as a composer increased, so too did his eccentricity. Alongside his compositions, whichhad become increasingly humorous and stylisticallycomplex over time, annotated with puns, anecdotesand mysterious directions, Satie also published anumber of writings on music. Some were intended tobe taken seriously, others were more absurd. As well aspublishing elaborate hoaxes, such as announcing thenon-existent premiere of a non-existent anti-Wagnerian opera entitled Le bâtard de Tristan, Satie’swritings included implausible ‘diary entries’ from hislife: ‘I am inspired from 10:23 to 11:47. I have lunch at 12:11 and leave the table at 12:14… Another bout ofinspiration from 3:12 to 4:07… Dinner is served at7:16 and over at 7:20. Then come symphonic readings(aloud) from 8:09 until 9:59. My bedtime is regularly at10:37. I awaken with a start at 3:19am (Tuesdays).’

Despite these absurdities, Satie continued to be takenseriously as a composer, and his friendship with thepoet Jean Cocteau sparked a series of works inspiredby, or based on, poetry and philosophy. In 1919, Satiepublished one of his most serious works to date:subtitled ‘a symphonic drama in three parts’, Socratefollows aspects of the life of the classical Greekphilosopher Socrates, told through a series of writings.Despite the subtitle, as a work it is neither symphonic,nor particularly dramatic. Scored for four solosopranos and chamber orchestra (although Satie alsopublished a version for voice and piano for its earlyoutings at Parisian café concerts), the three partscomprise: a eulogy of Socrates written by his pupil,Alcibaides; a dialogue between Socrates and another ofhis pupils, Phaedrus; the death of Socrates in the formof a monologue by the philosopher Phaedro. Ratherthan present the work as a dramatic narrative in thesame manner as a baroque cantata, divided intodistinct musical sections such as arias and recitatives,the whole work is recitative-like in its style, set toSatie’s sparse orchestral backdrop. Nevertheless, themusic is characteristically effective, despite itseconomy of resources, and Satie’s simple, repetitiverhythms form a counterpoint to the complexity andintricacy of the text. Satie affords more than half of themusic to the work’s final movement – a slowrecessional in which we see Socrates life graduallyebbing away from him after he commits suicide.

Jo Kirkbride

Notes on the programme

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Igor Stravinsky (1882–1971)

Igor Feodorovich Stravinsky was born inOranienbaum, near St Petersburg, on 5 June 1882,the third son of Feodor Stravinsky, one of theprincipal basses at the Maryinsky Theatre in StPetersburg. Stravinsky’s musical education beganwith piano lessons when he was ten; he later studied law at St Petersburg University and musictheory with Fyodor Akimenko and Vassily Kalafati.His most important teacher, though, was NikolayRimsky-Korsakov, with whom he studied informallyfrom the age of twenty, taking regular lessons from 1905 until 1908.

Although Stravinsky’s first substantial compositionwas a Symphony in E flat, written in 1906 under thetutelage of Rimsky-Korsakov, it was The Firebird, aballet commissioned by Sergei Diaghilev andpremiered by his Ballets Russes in Paris in 1910,that brought Stravinsky into sudden internationalprominence. In the next year he consolidated hisreputation with Petrushka, like The Firebird atransformation of something essentially Russianinto a work of surprising modernity. Stravinsky’snext major score – a third ballet commission fromDiaghilev – is one of the major landmarks in thehistory of music: the blend of melodic primitivismand rhythmic complexity in The Rite of Springmarked the coming of modernism in music and wasmet with a mixture of astonishment and hostility.Stravinsky became established as the most radicalcomposer of the age.

In the years that followed, the explicitly Russianflavour of his music gave way to a more refined neo-classicism, beginning with the ballet Pulcinella(1920), for which Stravinsky went back to the musicof Pergolesi, reworking it into something completelypersonal. 1920 was also the year that Stravinskysettled in France, taking French citizenship in 1934.His ties to his adopted homeland were furtherloosened when, in a mere eight months, fromNovember 1938, Stravinsky suffered the deaths ofhis daughter, his mother and then his wifeCatherine. Faced with an imminent war in Europe,Stravinsky and his second-wife-to-be Vera Sudeikinemigrated to the United States where they were tomake their home for the rest of their lives.

Pulcinella turned out to be only the first of manyworks in which, over the next two decades,

Stravinsky subdued the music of the past to his own purposes, among them the ‘divertimento’ TheFairy’s Kiss, derived from Tchaikovsky, and the balletApollon Musagète, both premiered in 1928. Twochoral-orchestral works – the oratorio Oedipus Rex(1927) and the Symphony of Psalms (1930) – showedthat he could also work on an epic scale; and it wasnot long before he tackled a purely orchestralSymphony in C (1938), which was followed withinfour years by the Symphony in Three Movements.With Perséphone (1934), Jeu de Cartes (1936) and Orpheus (1946), the series of ballets alsocontinued, generally in collaboration with GeorgeBalanchine, a partnership as important to dance inthe 20th-century as Tchaikovsky’s and Petipa’s had been in the 19th. Stravinsky’s neo-classicalperiod culminated in 1951 in his three-act opera The Rake’s Progress, to a libretto by W. H. Auden and Chester Kallman.

One of the most unexpected stylistic volte-faces inmodern music came in 1957, with the appearance ofthe ballet Agon; Stravinsky himself conducted itspremiere at a 75th-birthday concert. Hitherto hehad ignored Schoenbergian serialism, but in 1952he began to study Webern’s music intensely andAgon was the first work in which he embracedserialism wholeheartedly, though the music thatresulted was entirely his own – indeed, it has aformal elegance that he seemed to have been tryingto capture in his neo-classical period. The chiefworks from Stravinsky’s late serial flowering areThreni, for six solo voices, chorus and orchestra(1958), The Flood, a ‘musical play for soloists, chorusand orchestra’ (1962), the ‘sacred ballad’ Abrahamand Isaac (1963), Variations for Orchestra (1964) andRequiem Canticles (1966).

Stravinsky was also active as a performer of his ownmusic, initially as a pianist but increasingly as aconductor. The first among contemporarycomposers to do so, he left a near-complete legacyof recordings of his own music, released then onCBS and now to be found on Sony Classical. Hisconducting career continued until 1967, whenadvancing age and illness forced him to retire fromthe concert platform. His tenuous grasp on lifefinally broke on 6 April 1971, in New York, and hisbody was flown to Venice for burial on the island ofSan Michele, near to the grave of Diaghilev.

Reprinted by kind permission of Boosey & Hawkes

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Igor Stravinsky (1882-1971):Three Pieces for String Quartet (1914)

In the hotbed of artistic cross-fertilisation thatcharacterised early 20th-century Paris, ‘art music’took on a completely new appearance: traditional‘classical’ forms were combined with jazz, folksong,rag-time and musical hall, to name but a few.Stylistically, it was a musical free-for-all. At the heartof this transformation, Igor Stravinsky laid down thegauntlet for his contemporaries. A chameleoniccomposer to say the least, Stravinsky’s musical styleunderwent more radical transformations during thecourse of his career than perhaps any other composerto date. His styles are difficult to classify succinctly,but they are widely thought to fall into threeidentifiable periods: an early ‘Russian’ period,characterised by the use of Russian folk ideas, hard-edged sounds and rhythmic complexity; hissubsequent ‘neoclassical’ phase (although heabhorred the term) which saw him look back toClassical and Baroque models and rejuvenate themwith modern techniques; and lastly his ‘Serial’ period,in which he finally embraced the twelve-tonetechniques that Arnold Schoenberg and his schoolhad explored some years earlier.

But amidst these broad categories, Stravinsky’s musicalso absorbed the sounds of other musical cultures.His Three Pieces for String Quartet of 1914, forexample, is inspired by the sights and sounds of theSpanish city of Madrid. Stravinsky described thework as follows: ‘Many of the musicians who hadpreceded me in visiting Spain had, on their return,put their impressions on record… first and foremostGlinka, with his incomparable Jota Aragonaise and ANight in Madrid – and on my side I was delighted toconform with this custom. This piece was inspired bythe surprising results of the mixture of strains fromthe mechanical pianos and orchestrinas in the streetsand little night taverns of Madrid.’ Described by PaulGriffiths as ‘determinedly not a ‘string quartet’ but aset of pieces to be played by four strings’, the quartetis not so much a self-contained work as a set ofstudies on different moods. Stravinsky later titled themovements ‘Dance’, ‘Eccentric’ and ‘Canticle’,exploring through music the implications of thesevery different words.

Igor Stravinsky (1882-1971):Three Pieces for Clarinet (1919)

Unsurprisingly, it was not Stravinsky’s chambermusic that made him famous, but his large theatricalspectacles. With his bold, confident style, Stravinskysoon attracted the attention of Serge Diaghilev, thedirector of the Ballet Russes in Paris, and was askedto write a ballet for the company in 1910. The resultwas The Firebird, the first of three ballets thatStravinsky would compose during his first three-yearstay in Paris (the others were Petrushka and The Riteof Spring). Scored for large orchestras of oftenunusual instrumentation and with heavy Russianfolk influences, these ballets were not to everyone’stastes, with the Musical Times claiming of The Rite ofSpring that ‘practically, it has no relation to music atall as most of us understand the word.’ The premiereof The Rite marked the dawn of a new era in westernart music, as Alex Ross writes in The Rest Is Noise:‘Lowdown yet sophisticated, smartly savage, style andmuscle intertwined… Melodies would follow thepatterns of speech; rhythms would match the energyof dance; musical forms would be more concise andclear; sonorities would have the hardness of life as itis really lived.’

While The Rite catapulted Stravinsky to widespreadfame (and, indeed, infamy), it also brought him to theattention of a number of important patrons. Amongthem, was the Swiss merchant and philanthropistWerner Reinhart, who subsequently bankrolledStravinsky’s first production of his chamber operaL’histoire du Soldat, among a number of other works.Werner was also an amateur clarinettist, and ingratitude for his support of his music Stravinskywrote a set of Three Pieces for Clarinet in Werner’shonour. At barely a minute and a half long each, thethree short movements present a miniaturisedsnapshot of Stravinsky’s early works. Devised aroundan octatonic scale, the first piece takes as its theme ameandering Russian folk melody, whose melancholichues lead on to a far more upbeat second movement,this time capturing the circling, driving rhythms ofPetrushka and The Rite. In the final movementStravinsky returns to Paris, incorporating jazz andragtime features that recall the ragtime movementfrom L’histoire du Soldat – a fitting gesture towards his patron.

Jo Kirkbride

Notes on the programme

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Igor Stravinsky (1882–1971):Renard (1916)

While the division of style into distinct periods is, aswith every composer, an over-simplification of theirmusical development, in Stravinsky’s case thechanges are readily identifiable. Yet one strand of hismusical outlook remained constant through hiscareer: his distaste for over-indulgence and personalexpression. In his autobiography of 1936 he wrote: ‘Iconsider that music is, by its very nature, essentiallypowerless to express anything at all, whether a feeling,an attitude of mind, a psychological mood, aphenomenon of nature, etc… Expression has neverbeen an inherent property of music. That is by nomeans the purpose of its existence.’ This polemic,which was essentially a reaction to the indulgentsounds of Romanticism that preceded Stravinsky’searly works, has been widely reproduced (andcriticised) over the years. So much so, that Stravinskyeventually found himself defending his own words,when he wrote in his 1962 book with Robert Craft:

‘The over-publicised bit about expression (or non-expression) was simply a way of saying that music issupra-personal and super-real and as such beyondverbal meanings and verbal descriptions… I stand bythe remark, incidentally, though today I would put itthe other way around: music expresses itself.’Stravinsky abhorred the labels that were attributedto his music, and largely resisted the throes ofnationalism that grew around the tumultuouspolitical events of the early 20th-century. That hisearliest works were conceived in a ‘Russian’ idiomwas, for Stravinsky at least, little more than a sourceof musical inspiration, rather than a defiantnationalist statement. Although the works of hisearly Russian phase were tremendously successful,over time he would come to distance himselfincreasingly from these associations for fear of beingtypecast. With his music receiving a lukewarm – ifnot altogether cool – reception back at home inRussia, Stravinsky would begin to cut the ties withhis homeland, something that Debussy lamented tohis contemporary in a letter: ‘Cher Stravinsky, you area great artist! Be, with all your energy, a great Russianartist! It is a good thing to be from one’s country, tobe attached to the earth like the humblest peasant.’Of the great works that grew out of Stravinsky’srelatively short Russian period, his dramatic work

Renard remains one of the least well-known, despiteits charming premise. Renard is based on the folktales of Russian writer Alexander Afanasyev, with thetext written by Stravinsky himself. Set in a farmyard,this moral tale follows a cunning young Fox as hetwice outwits and captures the Cock, who in turn isrescued each time by the Cat and the Goat. After theCock is captured for the second time, the Cat and theGoat capture and strangle the Fox, and the threerejoice at their victory.

Although Stravinsky called the piece a ‘burlesque’,Renard falls somewhere between the genres of balletand opera, in that it is a dramatic work that is sungand played, while incorporating elements of dance.The piece was written at the request of one of Paris’most important philanthropists, Winnaretta Singer,also known as la Princesse Edmond de Polignac, heirto the Singer sewing machine fortune. Singer askedStravinsky to write a new work that could beperformed in her salon, so it is hardly surprising thatthe dramatic action was not designed to be fully-staged. While there are as many characters as thereare singers, the vocal parts themselves are notaligned with particular characters: when not singing,the actors/singers are asked to perform freely asclowns, dancers and acrobats, instead of being givenspecific choreography. However, the firstperformance was given not in Singer’s salon – in fact,the work was never performed there for reasons thatare unclear – but was premiered by the Ballet Russesat the Théâtre de l’Opéra in Paris in 1922, completewith full costumes and elaborate choreography.

As well as the source of the folk tales, the music of Renard is also distinctly Russian, and makesextensive use of the cimbalom – a stringedinstrument that is played with mallets, chosenbecause it is similar in timbre to the Russian guzla(an instrument that was not easy to come by inParis). This percussive instrument is perfectly suitedto the work’s linear texture, which makes extensiveuse of repeated melodic fragments, alternating timesignatures and driving rhythms – features ofRussian folksong which Stravinsky had introducedin Petrushka and The Rite just a few years earlier.

Jo Kirkbride

Notes on the programme

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I. Portrait de Socrate (Le Banquet)

AlcibiadeOr, mes chers amis, afin de louer Socrate,j’aurai besoin de comparaisons: on croirapeut-être que je veux plaisanter; mais rienn’est plus sérieux. Je dis d’abord qu’ilressemble tout à fait à ces silènes qu’on voitexposés dans les ateliers des sculpteurs et queles artistes représentent avec une flûte ou despipeaux à la main, et dans l’intérieur desquels,quand on les ouvre en séparant les deux piècesdont ils se composent, on trouve renferméesdes statues de divinités. Je prétends ensuitequ’il ressemble au satyre Marsyas… Et n’es-tupas aussi joueur de flûte? Oui, sans doute, etbien plus étonnant que Marsyas. Celui-cicharmait les hommes par les belles chosesque sa bouche tirait de ses instruments, etautant en fait aujourd’hui quiconque répèteses airs; en effet, ceux que jouait Olympus, jeles attribue à Marsyas son maître. La seuledifférence, Socrate, qu’il y ait ici entreMarsyas et toi, c’est que sans instruments,avec de simples discours, tu fais la mêmechose… Pour moi, les amis, n’était la craintede vous paraître totalement ivre, je vousattesterai avec serment l’effet extraordinaireque ses discours m’ont fait, et me font encore.En l’écoutant, je sens palpiter mon coeur plusfortement que si j’étais agité de la maniedansante des corybantes. Ses paroles fontcouler mes larmes, et j’en vois un grandnombre d’autres ressentir les mêmesémotions. Tels sont les prestiges qu’exerce etsur moi et sur d’autres la flûte de ce satyre…

SocrateTu viens de faire mon éloge: c’est maintenant àmoi de faire celui de mon voisin de droite.

II. Les Bords de l’Ilissus

(Phèdre)

SocrateDétournons-nous un peu du chemin et, s’il teplaît, descendons le long des bords de l’Ilissus.Là, nous trouverons une place solitaire pournous asseoir où tu voudras.

Erik Satie: Socrate

I. Portrait of Socrates (The Banquet)

AlcibiadesNow, my dear friends, in order to praise Socrates,I shall need comparisons: he will believe,perhaps, that I am joking, but I couldn’t be moreserious, I shall say first of all that he completelyresembles those figures of Silenus that are ondisplay in sculptors’ studios, and that artistsdepict with a flute or pipes in their hands, andinside of which, when one opens them byseparating the two halves of which they aremade, one finds, enclosed, statues of divinities. I then maintain that he is like the satyr Marsyas…But are you not, too, a flute player? Yes, nodoubt, and then, even more surprising thanMarsyas, the latter charmed men by thebeautiful things that his mouth drew out of hisinstruments, something that can be done todayby anybody who plays like him. Indeed, thosethat Olympus played, I attribute them toMarsyas, his master. The only difference,Socrates, that there is between you and Marsyas,is that without instruments, with mere words,you achieve the same thing… For me, my friends,were it not for fear of appearing to you to becompletely drunk, I should swear on oath to youthe extraordinary effect his words have hadupon me, and still have. When listening to him,I feel my heart beating more strongly than if Ihad been excited by the orgiastic dance of theCorybantes, his words cause my tears to flow,and I see that many others are overcome by thesame emotions. Such are the extraordinarythings that upon me and many others the fluteof this satyr works…

SocratesYou have just sung my praises: now it is up tome to praise my neighbour on my right.

II. On the Banks of the Ilissus

(Phaedrus)

SocratesLet us turn away a little from the path, and, ifsuch be your pleasure, let us go down to thebanks of the Ilissus. There we shall find asolitary place to sit down wherever you like.

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PhèdreJe m’applaudis, en vérité, d’être sorti aujourd’huisans chaussures, car pour toi, c’est ton usage. Qui donc empêche de descendre dans le courantmême, et de nous baigner les pieds tout enmarchant? Ce serait un vrai plaisir, surtout danscette saison et à cette heure du jour.

SocrateJe le veux bien; avance donc et cherche enmême temps un lieu pour nous asseoir.

PhèdreVois-tu ce platane élevé?

SocrateEh bien?

PhèdreLà nous trouverons de l’ombre, un air frais et dugazon qui nous servira de siège, ou même de lit,si nous voulons.

SocrateVa, je te suis.

PhèdreDis-moi Socrate, n’est-ce pas ici quelque part surles bords de l’Ilissus, que Borée enleva, dit-on,la jeune Orithye?

SocrateOn le dit.

PhèdreMais ne serait-ce pas dans cet endroit même?Car l’eau est si belle, si claire et si limpide, quedes jeunes filles ne pouvaient trouver un lieuplus propice à leurs jeux.

SocrateCe n’est pourtant pas ici, mais deux ou troisstades plus bas, là où l’on passe le fleuve. On yvoit même un autel consacré à Borée.

PhèdreJe ne me le remets pas bien. Mais dis-moi, degrâce, crois-tu donc à cette aventure fabuleuse?

SocrateMais si j’en doutais, comme les savants, je neserais pas fort embarrassé; je pourraissubtiliser et dire que le vent du nord la fittomber d’une des roches voisines, quand ellejouait avec Pharmacée, et que ce genre de mortdonna lieu de croire qu’elle avait été ravie parBorée; ou bien je pourrais dire qu’elle tomba durocher de l’Aréopage, car c’est là que plusieurstransportent la scène… Mais à propos, n’est-cepoint là cet arbre où tu nous conduis?

PhaedrusI congratulate myself, in truth, not to bewearing shoes today, for such is your owncustom. Who is to stop us from going into thestream and bathing our feet as we walk along?It would be a true pleasure, above all at thistime of the year, and at this hour of the day.

SocratesThat suits me well; go on, then, and at the sametime let us seek a place where we can sit down.

PhaedrusDo you see that place up there?

SocratesWell?

PhaedrusThere shall we find shade, a cool breeze, andsward that will be a seat for us, or even a bed,should we so desire.

SocratesGo on, then, I shall follow you.

PhaedrusTell me, Socrates, was it not somewhere hereon the banks of the Ilissus, that Boreas, so theysay, carried off the young Oreithyia?

SocratesSo people say.

PhaedrusBut could it not have been in this very spotitself? For the water is so beautiful, so clear andso limpid, that young maidens could scarcefind a place more propitious to their frolics.

SocratesAll the same, it is not here but two or threefurlongs away, at the ford across the river.There’s even an altar dedicated to Boreas there.

PhaedrusI can’t bring it to mind. But tell me, I beg you,do you really believe in this fable story?

SocratesIf I doubted it, as wise men do, I would not betroubled; I might be rational and simply saythat the north wind blew her off one of thenearby rocks, when she was playing withPharmacea, and that the manner of her deathled one to believe that she had been ravishedby Boreas; or else I could say that she fell fromthe rock of the Areopagus, for ‘tis there thatseveral people place the scene… But by the way,is not that the tree whither you are taking us?

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PhèdreC’est lui-même.

SocratePar Junon, le charmant lieu de repos! Comme ceplatane est large et élevé! Et cet agnus cactusavec ses rameaux élancés et son bel ombrage, nedirait-on pas qu’il est tout en fleur, pourembaumer l’air? Quoi de plus gracieux, je teprie, que cette source qui coule sous ce platane,et dont nos pieds attestent la fraîcheur? Ce lieupourrait bien être consacré à quelque nymphe etau fleuve Achéolus, à en juger par ces figures etces statues. Goûte un peu l’air qu’on y respire:est-il rien de plus suave et de si délicieux? Lechant des cigales a quelque chose d’animé et quisent l’été. J’aime surtout cette herbe touffue quinous permet de nous étendre et de reposermollement notre tête sur ce terrain légèrementincliné. Mon cher Phèdre, tu ne pouvais mieuxme conduire.

III. La Mort de Socrate (Phédon)

PhédonDepuis la condamnation de Socrate, nous nemanquions pas un seul jour d’aller le voir.Comme la place publique où le jugement avait étérendu était tout près de la prison, nous nous yrassemblions le matin, et là nous attendions, ennous entretenant ensemble, que la prison futouverte, et elle ne l’était jamais de bonne heure…Le geôlier qui nous introduisait ordinairementvint au-devant de nous et nous dit d’attendre, et dene pas entrer avant qu’il nous appelât lui-même.Quelques moments après, il revint et nous ouvrit.

En entrant, nous trouvâmes Socrate qu’onvenait de délivrer de ses fers, et Xantippe, tu laconnais, auprès de lui, et tenant un de sesenfants dans ses bras. Alors Socrate, se mettantsur son séant, plia la jambe qu’on venait dedégager, la frotta avec sa main, et nous dit:

“L’étrange chose, mes amis, que ce que leshommes appellent plaisir, et comme il a demerveilleux rapports avec la douleur, que l’onprétend contraire! N’est-ce pas dans la jouissanceet la souffrance que le corps subjugue et enchaînel’âme? A grand’peine persuaderais-je aux autreshommes que je ne prends point pour un malheurl’état où je me trouve, puisque je ne saurais vousle persuader à vous-mêmes. Vous me croyez donc,

PhaedrusThe very one.

SocratesBy Juno, what a charming resting place! Howhigh and wide is the plane tree! And thatagnuscactus with its intertwined boughs, and thebeautiful shade it affords, would not you say thatis has blossomed to perfume the air? And what ismore pleasant, I ask you, than this spring flowingbeneath the plane tree, and to whose refreshingcoolness our feet bear witness? This place mightbe consecrated to a nymph and the riverAchelous, judging by these figures and statues.Taste the air one breathes here: is there aughtmore seductive or more delicious? The song ofthe cicadas is lively and speaks of the summer; Ilove above all this thick grass which enables us tostretch out and gently rest our heads on thisgently sloping ground. My dear Phaedrus, youcould not have guided me better.

III. The Death of Socrates (Phaedo)

PhaedoSince Socrates was condemned, we let not aday go by without seeing him. As the publicplace where judgment was given was close tothe prison, we assembled there in the morning,and there we waited, talking with one another,for the prison to be opened, and it was neveropened early… The gaoler who usually let us incame to us and told us to wait and not to comein until he himself had called us. A fewmoments later, he came back and opened the door.

When we went in, we found Socrates, whosechains had been removed, and Xanthippe,whom you know, standing beside him holdingone of her children in her arms. And thenSocrates sat up, bent the leg that had just beenfreed rubbed it with his hand, and said to us:

“How strange it is, my friends, what men callpleasure, and what a wonderful relationship itenjoys with pain, which everybody claims to bethe opposite! Is it not in pleasure and sufferingthat the body subjugates and enchains the soul?With great difficulty shall I persuade my fellowmen that I find not in the least unfortunate thesituation in which I find myself, since I couldnot bring even you to believe this. You believe

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à ce qu’il paraît, bien inférieur aux cygnes, pource qui regarde le pressentiment et la divination.Les cygnes, quand ils sentent qu’ils vont mourir,chantent encore mieux ce jour-là qu’ils n’ontjamais fait, dans la joie d’aller trouver le dieuqu’ils servent.”

Bien que j’aie plusieurs fois admiré Socrate, jene le fis jamais autant que dans cette circonstance.J’étais assis à sa droite à côté du lit sur un petitsiège, et lui il était assis plus haut que moi. Mepassant la main sur la tête, et prenant mescheveux qui tombaient sur mes épaules:

“Demain, ô Phédon, dit-il, tu feras couper cesbeaux cheveux, n’est-ce pas?”

Il se leva et passa dans une chambre voisinepour y prendre le bain; Criton l’y suivit, etSocrate nous pria de l’attendre. En rentrant, ils’assit sur son lit et n’eut pas le temps de nousdire grand’chose, car le serviteur des Onze entrapresque en même temps et s’approchant de lui,

“Socrate, dit-il, j’espère que je n’aurai pas à tefaire le même reproche qu’aux autres: dès que jeviens les avertir, par l’ordre des magistrats, qu’ilfaut boire le poison, ils s’emportent contre moi,et me maudissent; mais pour toi, je t’ai toujourstrouvé le plus courageux, le plus doux et lemeilleur de ceux qui sont jamais venus dans cetteprison, et en ce moment je sais bien que je suisassuré que tu n’es pas fâché contre moi, maiscontre ceux qui sont la cause de ton malheur etque tu connais bien. Maintenant, tu sais ce que jeviens t’annoncer, adieu, tâche de supporter avecrésignation ce qui est inévitable.”

Et en même temps il se détourna en fondanten larmes et se retira. Socrate en le regardant, luidit: “Et toi aussi, reçois mes adieux. Je ferai ceque tu dis.”

Et se tournant vers nous: “Voyez, nous dit-il,quelle honnêteté dans cet homme: tout le tempsque j’ai été ici, il m’est venu voir souvent et s’estentretenu avec moi: c’était le meilleur deshommes, et maintenant il me pleure de boncoeur! Mais allons, Criton, obéissons-lui debonne grâce, et qu’on apporte le poison, s’il estbroyé, sinon qu’il le broie lui-même.”

Criton fit signe à l’esclave qui se tenait auprès.L’esclave sortit, et après être sorti quelque temps,il revint avec celui qui devait donner le poison,qu’il portait tout broyé dans une coupe. Aussitôt

me therefore, or so it would appear, muchinferior to the swans, where premonition anddivination are concerned. Swans, when theyfeel they are about to die, sing on that day betterthan they have ever sung before, in the joy theyfeel in going to meet the god they serve.”

Although I have several times admiredSocrates, I never did as much as then. I wasseated on his right, beside his bed, on a littleseat, and he himself was seated higher than I.Putting his hand on my head, and taking holdof my hair which fell to my shoulders, he said:

“Tomorrow, O Phaedo, you’ll have all this finehair cut off, will you not?”

He got up and went into a nearby room to takehis bath. Crito followed him, and Socrates badeus await him. When he came back, he sat on hisbed, and had but little time to say anything to us,for the servant of the Eleven came in almost atthe same time and, approaching Socrates, said tohim: “I hope I shall not have to reprimand you forthe same thing as the others: as soon as I come totell them, by order of the magistrates, that theyhave to drink the poison, they fly into a rageagainst me and curse me. But as for you, I havealways found you to be the bravest, the mostgentle and the best of those who ever came intothis prison, and now too I know I can be sure thatyou will not be angry with me, but with thosewho caused your misfortune, and whom youknow well. Now, you know what I have come tosay to you, farewell, try to bear with resignationthat which is inevitable.”

At the same time, he turned aside, and,bursting into tears, he left the room. Socrates,watching him, said: “And you too, receive myfarewell. I shall do what you say.”

And turning towards us, he said: “See howhonest this man is. All the time I have beenhere, he has come to see me often, and talkedwith me. He was the best of men, and now heweeps heartfelt tears for me! But come, Crito!Let us obey him with good grace, and let thepoison be brought, if it has been mixed, and ifnot, let him mix it himself.”

Crito motioned to the slave who was standingby. The slave went out, and after a shortabsence, he came back with the person whoseduty it was to give the poison, which he brought

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que Socrate le vit: “Fort bien, mon ami, lui dit-il, mais que faut-il que je fasse? Car c’est à toi à mel’apprendre.”

“Pas autre chose, lui dit cet homme, que dete promener, quand tu auras bu, jusqu’à ceque tu sentes tes jambes appesanties, et alorsde te coucher sur ton lit; le poison agira delui-même.”

Et en même temps, il lui tendit la coupe.Socrate porta la coupe à ses lèvres et la but avecune tranquillité et une douceur merveilleuses.Jusque-là, nous avions eu presque tous assez deforce pour retenir nos larmes; mais en le voyantboire, et après qu’il eut bu, nous n’en fûmes plusles maîtres. Pour moi, malgré tous mes efforts,mes larmes s’échappèrent avec tant d’abondanceque je me couvris de mon manteau pour pleurersur moi-même; car ce n’est pas le malheur deSocrate que je pleurais, mais le mien, en songeantquel ami j’allais perdre.

Cependant , Socrate, qui se promenait, dit qu’ilsentait ses jambes s’appesantir et il se coucha surle dos comme l’homme l’avait ordonné.

En même temps le même homme qui lui avaitdonné le poison s’approcha, et après avoir examinéquelque temps ses pieds et ses jambes, il luiserra le pied fortement et lui demanda s’il le sentait;il dit que non. Il lui serra ensuite les jambes;et portant ses mains plus haut, il nous fit voir quele corps se glaçait et se raidissait; et le touchantlui-même, il nous dit que, dès que le froidgagnerait le coeur, alors Socrate nous quitterait.

Alors se découvrant, Socrate dit: “Criton,nous devons un coq à Esculape: n’oublie pasd’acquitter cette dette.”

Un peu de temps après, il fit un mouvementconvulsif; alors l’homme le découvrit tout à fait: ses regards étaient fixes. Criton s’en étant aperçu, lui ferma la bouche et les yeux. Voilà, Echécrates, quelle fut la fin de notre ami, du plus sage et du plus juste de tous les hommes.

Traduit du grec par Victor Cousin

mixed in a goblet. As soon as Socrates saw him,he said: “Fine, my friend, but what must I do?It’s up to you to tell me.”

“Nothing, said the man to him, save thatyou should walk when you have drunk it,until you feel your legs grow heavy. Then youmust lie on your couch, the poison will act by itself.”

And thereupon he handed him the goblet.Socrates brought it to his lips and drank withwonderful tranquillity and gentleness. Up tothat point, almost all of us had had enoughstrength to hold back our tears. But on seeinghim drink, and after he had drunk, we were nolonger masters of ourselves. As for me, in spiteof all my efforts, my tears flowed in suchabundance that I covered myself with mycloak in order to weep for myself; for it was notthe misfortune of Socrates that I wept over, butmy own, thinking that I was to lose him.

Socrates, however, as he walked around, saidthat he felt his legs growing heavy. He laydown on his back, as the man had told him.

Then the man who had given him the poisoncame to him, and after examining his feet andhis legs several times, he squeezed his foottightly and asked him if he could feel anything.No, he said. He then squeezed his legs; then,moving his hands higher, he showed us that hisbody was growing chill and stiff. Then, touchinghim, he told us that as soon as the chillreached his heart, then Socrates would leave us.

Then Socrates uncovered himself and said:“Crito, we owe a cockerel to Aeschulapus. Donot forget to pay this debt.”

A short while later, he had a convulsion.Then the man uncovered him entirely: his gazewas fixed. Seeing this, Crito closed his mouthand his eyes. So that was how it was,Echecrates, the death of him who was ourfriend, the wisest and the most just of men.

Text reproduced by kind permission of Universal MusicPublishing. Translation: John Sidgwick

March to which the players enter

The Cock is strutting on his perch

The CockKuda, kuda, kuda, kuda, kuda? Podayte mne yevo syuda!Ya nogami stopchu,toporom srublyu,Ya nogami stopchu,I toporom srublyu.Kuda, kuda, kuda, kuda, kuda? Podayte mne yevo syuda! Podayte mne yevo skorei syuda! Kuda, kuda, kuda, kuda, kuda? Kuda?I nozhisho zdesya,I nozhishko zdesya,I guzhishko zdesya,I zarezhem zdesya,I povesim zdesya.Kuda, kuda, kuda, kuda, kuda?I no … i nozhishko zdesya,I gu … i guzhishko zdesya,I za … i zarezhem zdesya,I po … i povesim zdesya.

Sizhu na dubu, Sizhu, dom steregu, Pesnyu poyu.

The Fox enters, dressed as a monk.

The FoxZdravstvuy, krasnoye chado, petel! Snidi, krasnoye chado, na zemlyu, Da pokaysya!Ya shla iz dalnikh pustïn,Ne pila, ne yela …

The Cock impatientlyPodi von lisa!

The Fox Mnogo nuzhdï preterpela; Tebya, miloye chado, Spovedat khotela.

The Cock haughtily O mati moya, lisitsa! Ya ne postilsya, ne molilsya; Pridiv innoye vremya.

Where, oh where, oh where, oh where is he?Bring him here to me!I’ll trample him underfoot,I’ll chop him up with an axe.I’ll trample him underfoot,I’ll chop him up with an axe.Where, oh where, oh where, oh where is he?Bring him here to me!Bring him along quicker than that!Where, oh where, oh where, oh where is he?Where is he?We’ve got a knife here,a little knife,and we’ve got a noose here,and we’ll chop him up,and we’ll string him up.Where, oh where, oh where, oh where is he?And the … knife is ready,and the … noose is ready,and we’ll … chop him up,and we’ll … string him up.

I’m on my perch,I’m guarding the house,I’m singing my song.

Good-day, my crimson-crested son!Come down, dear son, from your perch,and make your confession!I’ve travelled from far-off deserts,I haven’t drunk or eaten …

Oh, go away, Renard!

I have suffered greatly;I’ve come, dearest son,to hear your confession.

Oh, my dear Brother Renard,I don’t go in for fasting and praying.Come back some other time.

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Igor Stravinsky: Renard

The Fox O moye chado, petel! Sidish tï na visotsem dreve, Da mïslish mïsli nedobrïya,Proklatïya.Vi derzhite zhyon po mnogu; Kto derzhit desyat zhyon, Innïy derzhit tselïkh dvatsat zhyon, Pribïvayet sovremenem do soroka! Gde soidyotes, tut i deryotes O svoikh zhyonakh, Kak o nalozhnitsakh. Snidi, miloye chado, na zemlyu i pokaisya, Da ne vogrekhakh umreshi.

The CockPonesla menya lisa! Ponesla petukha! Po krutïm berezhkam, Po vïsokim goram, V chuzhiya zemli, V dalekiya stranï, Za tri devyat zemel,V tridtsyatoye tsarstvo, V tridesyatoye gosudarstvo; Kot da baran, Khochet sest menya lisa! Kot da baran,Khochet sest petukha! Kot da baran, Otïmite menya!

The Cat and the Goat appear

The Cat, The GoatEkh tï, kumushka-golobushka! Ne kuplennoye u tebya, Deshevoye; Uzh ne podelish-li myatsa? Al ne vedayesh Yermak Zatreshchal natoshchak. I tebe tovo ne minovat!

Kak lisa ozornichala, Krasnaya ozornichala I sebya velichala. U nei bïla da, u ney bïla da, U ney bïla da zubki lovki da,

Oh, my dearest son!You are perched up very high,but your mind is fullof low, wicked thoughts.You lot all have too many wives;some of you have ten,and some have as many as twenty,or even forty at a time!Whenever you get togetheryou fight over your wivesas though they were your mistresses.Come down, my son, and confessso that you don’t die in a state of sin.

The Fox has grabbed me!He’s dragging the poor Cock!Over the high hills,over the steepest mountains,into unknown parts,into distant lands,into far countries,into farther kingdoms,into the farthest empires.Dear Cat, dear Goat,the Fox wants to eat me!Dear Cat, dear Goat,he wants to eat the poor old Cock!Dear Cat, dear Goat,get me out of here!

Hey, you greedy old thing!What you’ve got in your mouthcan’t have cost a lot!Wouldn’t you like to share it with us?It wouldn’t do you any good,if you gobble it up all at once.So cough up, or you’ll be sorry!

So the Fox started making trouble,Renard started making troubleand boasting about it.And he had, and he had,a wicked set of teeth,

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A drumroll … the Cock prepares to jump a ‘salto mortale’. He jumps. The Fox seizes him and paradesround the stage holding him under his arm. The Cock struggles desperately.

The Fox lets the Cock go and runs away. The Cock, the Cat and the Goat dance.

Usyo shkvatïvala golovki. Skhodil kïchetok so dvora, So dvora … Svodil kïchetok za sobo, Za soboy … Kurochek ryabushechek. Otkul vzyalasya lisitsa, Otkul vzyalasya krasnaya Khvost podzhalaKichetku chelom otdala: ‘Chavo shlyaeshsya, Shatayeshsya?Zdes lisa podzhidayet myastsa.’ ‘Ne yesh menya, lisinka, Ne yesh menya, krasnaya! Ne budet li s tebya Kurochek ryabushechek?’ ‘Ne khochu myastsa innavo, Khochu pyetushinavo!’ O, o, o, o, o … Vzyala lisa kicheta za boki, Ponesla yevo dalyoko Za pen, za kolodu, Za beluyu berezu … Kichet klichet da kichet klichet … Kuri kicheta ne slishut.

The CockSizhu na dubu, Sizhu, dom steregu, Pesnyu poyu.

The FoxKukuareku petushok, Zolotoy grebeshok, Chyosanna golovushka, Shyolkova borodushka, Viglyani v okoshko.

The CockNe glyazhu v okoshko.

The FoxDam tebe goroshku.

The Cock Ne nado mne goroshku.Petukh kashku kushayet, Lisu ne slushayet.

sharp and ready for use.There’s the Cock coming out,coming out …And with him he’s got,he’s got …His darling speckled hens.Suddenly the Fox pops up,up pops Renard,waves his tail aroundand bows to the Cock:‘Why are you running around,running about like that?It’s time for the Fox’s dinner!’‘Don’t eat me, Fox,don’t eat me, Renard!Wouldn’t you rather eatmy darling speckled hens?’‘I don’t want anything else,it’s you I want to eat, Cock!’O, o, o, o, o …The Fox has got his claws into the Cock,he’s dragging him far awayover the log-pile, beyond the trough,right behind the birch trees …Cock-a-doodle-doodle-doo …And even his hens can’t hear him.

I’m on my perch,I’m guarding the house,I’m singing my song.

Master Cock,golden-crested,proudly-combed,silken-bearded,just poke your head out of the window.

No, I won’t look out of the window.

I’ll give you some peas.

I don’t want any peas.Cocks only like grain,and they don’t listen to foxes.

16

The Cat and the Goat leave. The Cock resumes his perch and settles down comfortably.

The Fox appears, this time without his monk’s costume.

The Fox Petushok, petushok! U menya to khoromï bolshiye, V kazhdom uglu pshenichki Po merochke: yesh, yesh!

The Cock Sit, nekhochu!

The Fox Kukuareku, petushok, Zolotoy grebeshok, Shyolkova borodushka! Viglyani v okoshko, Dam tebe lepyoshku.

The CockNe nado mne lepyoshki! Petukh ne tak to glup, Ne glodat tebe moy khlup.

The Fox Okh, tï petya, petushok,Spushchaysya ka tï na nizyashche, S nizyashchavo na zemleshcheye, Ya tvoyu dushu na nebesa vznesu!

A drumroll … the Cock prepares to jump …

Tenor 1 shoutedNe oskoromsya Lisïnka!

The Cock jumps.

Tenor 2 shoutedKomu skoromno, a nam zdorove!

The CockPonesla menya lisa,Ponesla petukha. Po krutim berezhkam, Po visokim goram, V chuzhiya zemli, V dalekiya strani, Za tridevyat zemel, V tridtsatoye tsarstvo, V tridesyatoye gosudarstvo! Kot da baran, Khochet syest menya lisa! Kot da baran,

Little Cock, little Cock!I’ve got a great big housewith piles of grain in every corner –you can eat your fill!

I’m not hungry!

Cock-a-doodle-doo, Master Cock,golden-crested,silken-bearded!Look out of the window!I’ve got some cake for you.

I don’t want your cake!Cocks aren’t that stupid –You won’t catch me that way.

Oh, little Cock, little Cock,just come down a tiny bit more,just a tiny little bit nearer the ground,and I’ll take your soul up to heaven!

Don’t break your fast, Renard!

We love it when it’s forbidden!

The Fox has grabbed me!He’s dragging the poor Cock away!Over the high hills,over the steepest mountains,into unknown parts,into distant lands,into far-off countries,into farther-off kingdoms,into the farthest-off empires!Dear Cat, dear Goat,the Fox wants to eat me!Dear Cat, dear Goat,

17

The Fox seizes the Cock and parades round the stage holding him under his arm. The Cock struggles desperately.

Khochet syest petukha! Kot da baran, Otimite menya!

The CockOkh, tï lisïnka, lisitsa, Neporochnaya sestritsa! Kak u nashevo u batyushki, Maslitsem blinki polivayut tebya V gosti podzhidayut. Tam to ne po nashemu, Pirogi s kasheyu. Pomyani, Gospodi, Sidora, Makara, Tretyavo Zakhara, Tryokh Matryon, Da Luku s Petrom, Dyeda Miroyeda, Babku Belmatku, Tyushu da Katyoshu, Babushku Matryushu …

The Cat, The GoatTyuk, tyuk, guseltsï, Baranovï strunochki … Tyuk, tyuk … Kak struna to zagula, Tyuk, tyuk … Da zagula, a drugaya prigovarivala. Tyuk, tyuk, guseltsi, Baranovi strunochki … Tyuk, tyuk … Uzh kak doma li lisa, Uzh kak doma li lisa, Uzh kak doma li lisa, Uzh kak doma li lisa Ivanovna. Tyuk, tyuk, Vo svoyom zolotom gnezde, Da so svoimi malïmi detushkami? Tyuk, tyuk, guseltsï, Baranovï strunochki … Tyuk, tyuk … Pervaya to doch Chuchelka, A vtoraya to Podchuchelka, Tretya to Podaipirozhok, A chetvyortaya Zazhmikulachek. Tyuk, tyuk, guseltsï, Baranovï strunochki … Tyuk, tyuk …

he wants to eat the poor old Cock!Dear Cat, dear Goat,get me out of here!

Oh, Brother Renard,you’re so kind and sweet!Come home to daddy’s,you’ll have a wonderful welcome,you’ll be an honoured guest.It’s not like here,there are good things to eat.Remember, O Lord,your pious servants,the holy saints,and all my brothers and sisters,and uncles and aunties,and nephews and nieces,and mummy and daddy,and of course grandad,and dear old granny …

Plink, plonk, little gusli,little sheep-gut strings …Plink, plonk …strumming a cheerful song,plink, plonk …a cheerful song to keep you company.Plink, plonk, little gusli,little sheep-gut strings …Plink, plonk …Is the Fox at home,is the Fox at home,is the Fox at home,is Renard the Fox at home?Plink, plonk,in his golden den,with his pretty little cubs?Plink, plonk, little gusli,little sheep-gut strings …Plink, plonk …And the first daughter looks a real fright,and the second looks a worse fright,and the third’s called Give-us-a pie,and the fourth one’s Stick-out-a-paw.Plink, plonk, little gusli,little sheep-gut strings …Plink, plonk …

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The Fox carries the Cock to the side of the stage and begins to pluck him. The Cock wails.

The Cock faints. The Cat and the Goat appear. They sing a pleasant song to the Fox, accompanyingthemselves on the gusli.

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Kak struna to zagula, Tyuk, tyuk … Da zagula a drugaya prigovarivala. Uzh, kak doma li, Da uzh, kak doma li, Da uzh, kak doma li lisa, Uzh kak doma li lisa Ivanovna.

The Fox shows the tip of his nose.

The Fox Kto tam pesni poyot? Da uzh kto tam lisku zovyot?

The Cat, The Goat Idut zveri na pyatakh, Nesut kosu na plechakh, Khochut lisinku posechi Po samya plechi.

They produce a large scythe.

The Fox terrifiedAkh! vi moi glazyonki, glazyonki, I chto vi moi milïye, delali? – Mï smotreli, smotreli, Chtob zveri lisku ne syeli.Akh! vi moi nozhunki, nozhunki, I, chto vi, moi milïya, delali? – Mi bezhali, bezhali, Chtob zveri lisku ne porvali.A tï, moi khvost glyacha ros? – Ya po pnyam, po kustam, Po kolodam zatseplyal Chtob lisu zveri khvatili,Da zakamshili.

Enraged, the Fox lashes his tail, crying out:

Akh, tï kanalya, pust zhe tebya zveri yedyat!

A! A! A! A! A! A! A!

The Fox dies. The Cock, the Cat and the Goat dance.

strumming a cheerful song,plink, plonk …a cheerful song to keep you company.Is the Fox at home,is the Fox at home,is the Fox at home,is Renard the Fox at home?

Who’s that singing out there?What do they want of me?

We’ve caught up with you now,we’ve brought along this big scythe,and we’re going to slice you upinto little pieces.

Oh, my eyes, my precious eyes,what have you been doing for me?– We’ve been watching, watching,to see the animals don’t get you.Oh, my legs, my precious legs,what have you been doing for me?– We’ve been running, running,to make sure the animals don’t catch you.And you, my tail, my lovely brush?– In the brambles, in the bushes,in the branches I got stuck,so the animals could catch you,and finish you off.

Ah, you wretch! You deserve to be eaten!

A! A! A! A! A! A! A!

The animals catch the Fox by his tail, drag him out of his house, and strangle him.

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Lisïnka, lisitsa! Glyacha dolgo ne zhila? Ya boyalas tipuna,A tipun to ne sudya, A sudya to ladïga.Ladïgïni detiKhotyat uleteti,Khotyat uleteti,Za Ivanov gorod. Oni po gramotke pïshut, Da na lisitsu pishut Lisïnka, lisitsa, Podi po voditsu. Ne doroge volki. Gorokh molotili Liskinï rebyata Liske to skazili, Lisïnka to s pechi Oblomala plechi. Syom, syom, syom, Peresyom, peresyom, Na lopatke ispechyon. Muzhik pesnyu spel, Syom, syom, syom, peresyom,Na kapustnik sel. Syom, syom, syom, peresyom, Peresyom, peresyom, peresyom. Sel tri koroba blinov, Tri kostra pirogov, Zaulok rogulek, Zakhod kalachey, Makinnitsu s suloyu, Ovin kiselya, Po varenku shchey. Gospodi pomiluy, Na konike Danilo Na lavke Flor Na pechi prigovor. V pechi kalachi, Kak ogon goryachi Pro boyar pechenï.Nayekhali boyareDa sobak na vezli, Sobaki to vzdurili Da lisku ukusili …

Spoken

Vot, vam skazka!A mne krinka masla.

March to which the players leave

Renard the Fox, Renard the Fox,couldn’t you live any longer?I came out in spots,I went to the judge,but he’s a blockhead.Blockhead’s childrenwant to fly away,want to fly away,away beyond the town.They can read and write,and they can smell the fox.Renard the Fox, Renard the Fox,go and fetch the water.There are wolves on the road,they’re shelling peas.Renard’s cubscome along to tell him,their mother’s fallen off the stoveand broken her neck.Boom, boom, boom,taraboom, taraboom,it’s cooked on a griddle.The peasant sings his song …Boom, boom, boom, taraboom,and sits down to eat his fill.Boom, boom, boom, taraboom,taraboom, taraboom, taraboom.He ate three basketfuls of pancakes,three cartloads of pies,a streetful of fritters,a barnful of pastries,a barrelful of vodka,a pondful of jam,a lakeful of soup.Lord save us all,Danilo’s lying on the bed.Flor’s at the workbench,the answer’s in the oven.There’s fresh bread in the oven,it’s piping hot,we’ve baked it for our gentlemen.The gentlemen have come to usand brought dogs with them,and the dogs went wildand savaged the fox …

So there’s your story,now give us our reward!

Text by the composer; reproduced and translated by permission of J. & W Chester/Edition Wilhelm HansenLondon Ltd. Translation © Andrew Huth

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Barbara Hannigansoprano

A frequent guest of the Berliner Philharmoniker,Barbara Hannigan has also performed with a hostof other leading orchestras and ensemblesworldwide, and under such conductors as Sir SimonRattle, Pierre Boulez, Esa-Pekka Salonen, AlanGilbert, Jukka-Pekka Saraste and John Storgaards.

Her operatic repertory includes her recent andhighly celebrated debut as Berg’s Lulu at LaMonnaie and the world premiere of GeorgeBenjamin’s Written on Skin at the Aix-en-ProvenceFestival, soon opening in March at London’sCovent Garden. Ligeti’s Mysteries of the Macabre, a tour de force for soprano and orchestra, hasbecome a signature work, which she has sung – and sometimes also conducted – at New York’sLincoln Center, the Berlin Philharmonie, Théâtredu Châtelet, Salzburger Festspiele and the ViennaKonzerthaus. She has given the world premieres ofover 80 works. Last season saw her perform anacclaimed European tour of Boulez’s Pli selonpli conducted by the composer. Her recording ofDutilleux’s Correspondances, a beloved work in herrepertoire, has just been released by DeutscheGrammophon, conducted by Esa-Pekka Salonen.She made her conducting debut in February 2011at the Châtelet in Paris, with recent and upcomingconducting engagements including Walton’s Façadewith Sir Simon Rattle and members of the BerlinPhilharmonic, programmes with the GulbenkianOrchestra, the WDR Orchestra of Cologne andPrague Philharmonic. 

Born and brought up in Canada, Barbara Hanniganreceived her Bachelor and Master of Music degreesfrom the University of Toronto, studying withMary Morrison. She continued her studies at theRoyal Conservatory of The Hague with MeinardKraak and privately with Neil Semer.

Daniel Normantenor

Daniel Norman was a choral scholar at New CollegeOxford. He went on to study in the US, Canada andat the Royal Academy of Music. In his first year outof college he made his debuts at the Royal FestivalHall with David Atherton and at the Barbican withRichard Hickox.

Concert performances have included Wozzeck withDaniel Harding and the Mahler Chamber Orchestra,Tippett A Child of Our Time with the CBSO and withthe Northern Sinfonia and Sam Kaplan in Weill’sStreet Scene at the BBC Proms.

Opera credits include his Covent Garden debut as Borsa Rigoletto, Goro Tanzmeister in concertperformances of Ariadne auf Naxos with Sir SimonRattle and the LSO, and the Electrician in theChannel 4 film of Adès’s Powder Her Face(Almeida/Aldeburgh), as well as in its Vienna andBoston premieres. He sung, to critical acclaim, thefirst official staging of all five Britten Canticles inWestminster Abbey with Streetwise Opera. Recordings include four volumes of the HyperionSchubert Edition with Graham Johnson and theGrammy nominated Beethoven 9th Symphony(Vänsä/Minnesota Orchestra). Daniel has alsoreleased his debut solo CD: Britten Winter Wordsand Who Are These Children? with ChristopherGould (BIS).

Engagements in 2012/2013 include OrlandoGough’s Imago for Glyndebourne and the title rolein staged performances of Handel Joshua for OperaNorth. Subsequent engagements include Mime DasRheingold for Oviedo Opera and Red Whiskers BillyBudd for Glyndebourne in New York.

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Edgaras Montvidastenor

Lithuanian tenor Edgaras Montvidas was educatedin Vilnius at the Lithuanian Music Academy. From2001–2003 he was a member of the Royal OperaHouse, Covent Garden Young Artists Programme,where he sang Arminio in Verdi I Masnadieri. From2004–2006 he was a member of the ensemble ofFrankfurt Opera where his roles included TaminoDie Zauberflöte.

Plans this season and beyond include Prunier inPuccini La Rondine for The Royal Opera, CoventGarden; Lensky Eugene Onegin and Belmonte inMozart Die Entführung aus dem Serail forGlyndebourne Festival Opera and Lensky for theBayerische Staatsoper, Munich and Grande Théâtre de Genève, Geneva.

Other recent opera appearances have includedNemorino L’elisir d’amore for English NationalOpera and Scottish Opera, Belmonte forBayerischeStaatsoper, Hamburg Opera andNetherlands Opera and Arbace in MozartIdomeneo for Netherlands Opera.

Edgaras is also active on the concert platform,recently singing Fisherman Le Rossignol with theBerlin Philharmonic Orchestra and Pierre Boulezand has sung with the BBC Symphony, ScottishChamber, Russian National and NetherlandsPhilharmonic Orchestras, in repertoire includingBerlioz Te Deum and Mozart Requiem. He has madea number of appearances at the BBC Promsincluding as the Young Lover in Puccini Il Tabarrowith the BBC Philharmonic Orchestra.

In 2009, Edgaras was awarded the Theatre AwardThe Gold Cross of the Stage in Lithuania for hisperformances as Werther.

Roderick Williamsbass

Roderick Williams enjoys relationships with all themajor UK opera houses and is particularly associated with the baritone roles of Mozart. He has also sungworld premieres of operas by, among others, DavidSawer, Sally Beamish and Alexander Knaifel.

Roderick Williams has sung concert repertoire withall the BBC orchestras, and many other ensemblesincluding the Royal Scottish National Orchestra, thePhilharmonia, London Sinfonietta, ManchesterCamerata, Royal Liverpool Philharmonic Orchestra,the Hallé, Britten Sinfonia, Bournemouth Symphony,Scottish Chamber Orchestra, Deutsches Symphonie-Orchester Berlin, Russian National Orchestra,Academy of Ancient Music, The Sixteen and BachCollegium Japan. His many festival appearancesinclude the BBC Proms, Edinburgh, Cheltenham,Aldeburgh and Melbourne.

Roderick is an accomplished recital artist who can beheard at venues and festivals including the WigmoreHall, the Perth Concert Hall, Howard Assembly Room,the Musikverein, Vienna and on Radio 3, where hehas participated on Iain Burnside’s Voices programme.

His numerous recordings include Vaughan Williams,Berkeley and Britten operas for Chandos, Verdi’s DonCarlos (conducted by Bernard Haitink) for Philips,and an extensive repertoire of English song withpianist Iain Burnside for Naxos. Roderick Williams isalso a composer and has had works premiered at theWigmore and Barbican Halls, the Purcell Room andlive on national radio.

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John Molloybass

John Molloy comes from Birr in Ireland, andstudied at the DIT Conservatory of Music &Drama, Dublin and the Royal Northern College ofMusic, where he received the PPRNCM Diploma.Recent engagements include Arthur The Lighthousewith Nationale Reisopera, Le Commandeur deBeaupré Le Cour De Célimène at Wexford andMasetto Don Giovanni with English National Opera.This season he will perform Luca The Bear forOpera Northern Ireland.

John has worked with many opera companies inIreland and the UK including Opera North, OperaIreland and D’Oyly Carte Opera Company. He hasalso performed at The Farmleigh Proms and the SirMalcolm Sergeant Festival in London. His operaticroles include Sarastro The Magic Flute, Snug AMidsummer Night’s Dream, Colline La Bohemeand Tiger Brown The Threepenny Opera.

Recent concert appearances include the Australianpremiere of Van Gogh – The Opera with CrashEnsemble at the Canberra International Festival ofMusic and Haydn’s Creation in The Hague withContinuo Rotterdam. John has also appeared withThe National Symphony Orchestra of Ireland, RTEConcert Orchestra, London Gala Orchestra and TheGoldberg Ensemble.

Oratorio repertoire includes the Requiems of Verdi,Mozart, Bruckner, Duruflé and Schumann, Haydn’sCreation and Nelson Mass, Vaughan Williams’ TheFirst Nowell and Elgar’s Dream of Gerontius.

Reinbert de Leeuwpiano

Born in Amsterdam, Reinbert de Leeuw has awideranging career as a conductor, composerand pianist.

Since 1974, Reinbert has been conductor and musicdirector of the Schoenberg Ensemble. He was guestArtistic Director of the Aldeburgh Festival (1992) and was Artistic Director of the Tanglewood Festivalof Contemporary Music (1994–98).

Reinbert is a regular guest in most Europeancountries and the United States, where he alsolectures at the Juilliard School of Music in New York.He was Artistic Advisor for the contemporary musicseries of the Sydney Symphony Orchestra from2000–04.

His recordings as a pianist have won many prizes,including the Dutch Edison, the Premio della criticadiscografica Italiana, the Grand Prix of the HungarianLiszt Society and the Diapason d’Or.

He has also made some 30 recordings as a conductor,covering a wide range of repertoire by composersincluding Messiaen, Stravinsky, Janáček and Reich.In 1994 Reinbert de Leeuw was made HonoraryDoctor at the University of Utrecht and is Professorat the University of Leiden. 

Reinbert has been co-founder and from 2001-2010,Artistic Director of the Summer Academy, theinternational orchestra and ensemble academy of theNetherlands’ National Youth Orchestra. His 2006performance of Messiaen’s Des Canyons aux Etoileswith the Summer Academy Orchestra received the‘Angel’ award for the best performance during thatyear’s Edinburgh Festival.

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London Sinfonietta making new musicThe London Sinfonietta is one of the world’sleading contemporary music ensembles with areputation built on the virtuosity of itsperformances and its ambitious programming. It iscommitted to placing new music at the heart ofcontemporary culture and continually pushingboundaries, regularly undertaking projects withchoreographers, video artists, film-makers,electronica artists, jazz and folk musicians. Theensemble is Resident Orchestra at SouthbankCentre with its headquarters at Kings Place.

Famed for its commitment to the creation of newmusic, the London Sinfonietta has commissionedover 250 works since its foundation in 1968, andpremiered many hundreds more. World and UKpremieres during 2012/13 include, among others,Steve Reich’s Radio Rewrite (a London Sinfonietta co-commission), David Fennessy’s 13 Factories, (UKpremiere) Pelle Gudmundsen-Holmgreen’s Run(world-premiere) and a new work by Luke Bedford(London Sinfonietta commission).

Michael Coxflute/piccolosupported by Michael and Patricia McLaren-Turner

Gareth Hulseoboe/cor anglais

Timothy Linesclarinet/Eb

John Orford bassoon

Michael Thompsonhornsupported by BelindaMatthews

Carys Evanshorn

Paul Archibaldtrumpet

Jonathan Mortonviolin

Joan Athertonviolin

Paul Silverthorne violasupported by Nick and Claire Prettejohn

Tim Gillcellosupported by Sir StephenOliver

Markus van Horn bass

David Hockings percussion

Oliver Lowepercussion

Chris Bradleycimbalom

Today’s Players

Harriet Walterpresenter

Harriet has worked extensively intheatre, television, film and radio.She began 2013 by playing the role of Brutus in an all-femaleproduction of Julius Caesar at the

Donmar Warehouse. Harriet is an Associate Artist atthe RSC where her roles have included Cleopatra inAntony and Cleopatra, Beatrice in Much Ado AboutNothing and Lady Macbeth, all directed by GregoryDoran. Harriet won the Evening Standard Award andreceived a Tony nomination for her role as Elizabeth in Phyllida Lloyd’s production of Mary Stuart.

Harriet is best known on TV as Harriet Vane in the Lord Peter Wimsey series, and as D.I. Natalie Chandler in Law and Order: UK.

Harriet most recently appeared in the Academy Award-nominated A Royal Affair. Her film creditsinclude Young Victoria, Atonement, Babel, Bright YoungThings, Sense and Sensibility and Milou et Mai. Harriethas also published three books, Other People’s Shoes,Macbeth for ‘Actors on Shakespeare’ and Facing It:reflections on images of older women. Harriet wasawarded a CBE in 2000 and a DBE in 2011.

TimberlakeWertenbakerscript writer

Timberlake Wertenbaker grew up in the Basque country. She wasArts Council writer in residence in1983 with Shared Experience and

Resident Writer at The Royal Court Theatre in 1985.She was also the Royden B Davis visiting professor ofdrama at Georgetown University, from 2005–2006.Awards include an Olivier Award for Our Country’sGood, and a Critics’ Circle and Writers’ Guild Awardfor Three Birds Alighting on a Field.

Timberlake has written plays including Antigone(Southwark Playhouse), The Line (Arcola Theatre),Galileo’s Daughter (Theatre Royal, Bath), CredibleWitness, The Break of the Day, Three Birds Alighting on a Field, Our Country’s Good, The Grace of MaryTraverse (Royal Court Theatre), Ash Girl (BirminghamRep), After Darwin (Hampstead Theatre) and The Loveof the Nightingale (RSC).

Her translations include Elektra, Phedre, Hippolytus,Hecuba, Wild Orchids, Filumena and Mephisto.

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The London Sinfonietta Academy is central tothe London Sinfonietta’s commitment to workingwith young musicians. A week-long summer courseenables 30 students and three conductors fromacross the UK to learn skills specific to performingnew music from the ensemble’s Principal players.The London Sinfonietta Academy 2013 will beconducted by world-renowned composer, conductorand performer George Benjamin. A publicperformance will mark the culmination of thisyear’s London Sinfonietta Academy on Saturday 13 July. Keep an eye on our website and socialmedia channels to find out how to reserve tickets.

The Writing the Future scheme continues to paircomposers with London Sinfonietta Principal players

to develop new chamber compositions which will beperformed throughout the season. Projects for thecomposers also include creative cross artformcollaborations with students at the Central SaintMartins College of Arts and Design.

The ground-breaking Blue Touch Paper programmecontinues into another round of developing inventivecross artform work. During the forthcoming year,composer Edward Jessen will be working withdirector Joseph Alford, composer Luke Carver Gosswill be working with Jacob Polley, and composer DanStern will be working with set designer AurelianKoch. These works will receive their previewperformance on Tuesday 14 May at VillageUnderground, London.

Get close to the London Sinfonietta andcontemporary classical music with activities that giveyou the opportunity to create, curate and performwith a world-class ensemble.

As part of the Steve Reich: Radio Rewrite tour inMarch 2013, the London Sinfonietta will present aRepeating Patterns Schools Concert, produced by,and for, young people. The concert will includeReich’s Electric Counterpoint which features in theGCSE curriculum and will be accompanied by

specially-devised learning resources.

The KX Collective, a dynamic group of young peoplefrom Kings Cross and surrounding areas, continue tocreate and perform new music, collaborate withprofessional musicians, produce events and find outabout music being made today. For further details ofthis opportunity, please contacttogether@londonsinfonietta.org.uk

Facebook, Twitter and Wordpress are your channelsfor the most up-to-date, exclusive and behind thescenes information on the London Sinfonietta.From exclusive offers to composer interviews, musicstreams and competitions, these are your places fora behind-the-scenes view into the workings of theLondon Sinfonietta.

The London Sinfonietta Label and releases on NMCRecordings and Signum Records present a recordingscatalogue of the finest new music performed by theLondon Sinfonietta. The latest release, New MusicShow, features Martin Suckling’s Candlebird, plusmusic composed on the Writing the Future scheme,by composers including Edmund Finnis, ShivaFeshareki and Duncan MacLeod.

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The creation of new music lies at the very heart ofthe London Sinfonietta and we need your support tomake new music happen.

The greatest discoveries rely on the commitment,generosity and vision of a passionate group ofsupporters. Our imagination is unlimited, butour funds are not. In addition to a variety of trustsand foundations to which we are very grateful, the London Sinfonietta Pioneers also play a crucialrole in providing invaluable support for brand newcommissions, world premiere performances, andground-breaking new projects.

In return, London Sinfonietta Pioneers enjoyexclusive access to the ensemble, includingopportunities to attend rehearsals, take part in ourlistening group, attend selected receptionssurrounding premieres, a twice-yearly newsletter,and acknowledgement on our website and in concert programmes.

Membership starts from just £35 a year. Pick up aPioneers leaflet from our information desk in thefoyer, or visit londonsinfonietta.org.uk/pioneersto find out more.

London Sinfonietta is immensely grateful to the following trusts

and foundations for their support:

Arts Council England; The Aaron Copland Fund for Music; The Angus Allnatt Charitable Trust; The BoltiniTrust; The British Council; The Britten Pears Foundation; The Derek Butler Trust; The City of LondonCorporation’s City Bridge Trust; Columbia Foundation Fund of the London Community Foundation; The D’Oyly Carte Charitable Trust; The John Ellerman Foundation; Esmée Fairbairn Foundation; FentonArts Trust; The Holst Foundation; Jerwood Charitable Foundation; The Stanley Thomas JohnsonFoundation; The Leche Trust; The Leverhulme Trust; The Marple Charitable Trust; Musicians BenevolentFund; PRS for Music Foundation; RVW Trust; The Harold Hyam Wingate Foundation; Youth Music.

In September 2011, Steve Reich watched JonnyGreenwood perform Electric Counterpoint in Poland.Keen to learn more about Greenwood’s own music,he investigated the songs of Radiohead, and withthem has discovered a compositional stimulus whichis ‘something different, something new’. RadioRewrite, inspired by this discovery, is the latestwork from Steve Reich and his first composition forlarger ensemble in some years.

This is your chance to put your name to a piece ofmusic history, by helping us raise £3,000 towardsproducing this work. In return for your gift, we’d loveto say thank you with a selection of exclusive RadioRewrite rewards, including the opportunity topurchase a ticket to the sold-out world premièreperformance at Southbank Centre’s Royal FestivalHall on Tuesday 5 March 2013 and meet thecomposer himself.

For more information about the new commission and how you can help make new music happen, visit londonsinfonietta.org.uk

Steve Reich: Radio Rewrite – support the new work

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Honorary PatronsJohn BirdSir Harrison BirtwistleAlfred Brendel KBESir George Christie CH

Lead Pioneers

Sir Richard ArnoldTrevor CookSusan Grollet in memory

of Mark GrolletLeo and Regina HepnerPenny JonasAnthony MackintoshBelinda MatthewsRobert & Nicola McFarlandMichael & Patricia

McLaren-TurnerSir Stephen Oliver QCNick & Claire Prettejohn

Richard Thomas & Caroline CowiePaul & Sybella Zisman

Creative Pioneers

Ian BakerAndrew BurkeRobert ClarkJeremy & Yvonne ClarkeRachel ColdicuttSusan CostelloAnton CoxDennis DavisDeborah GoldenPatrick HallNicolas HodgsonAndrew HuntMaurice & Jean JacobsFrank & Linda JeffsAlana Lowe-PetraskeJane McAusland

Stephen MorrisJulie NichollsSimon OsbornePatricia O’SullivanGeoff PeaceRuth RattenburyDennis StevensonIain StewartAnne StoddartSally TaylorBarry TennisonDavid and Jenni Wake WalkerEstela WelldonJohn WheatleyJane WilliamsStephen WilliamsonMichelle Wright

Plus those generous Pioneers who prefer to remain anonymous

Board of Directors

Paul ZismanChairman

Andrew BurkeRachel ColdicuttIan DeardenDavid HockingsPenny Jonas Alana Lowe-PetraskeBelinda MatthewsPhilip MeadenSir Stephen Oliver QCMatthew PikePaul SilverthorneSally Taylor

Administration

AdministrationAndrew Burke Chief Executive

Sarah TennantHead of Concert Production

Natalie Marchant Concerts & Touring Administrator

Tina SpeedParticipation and LearningManager

Claire BartonDevelopment Manager

Amy ForshawSenior Marketing Officer

Claire LamponMarketing & DevelopmentAssistant

Elizabeth Davies Head of Administration andFinance

Esther Mulholland Administrative Assistant

Sarah TuppenProjects Intern (Surrey University ProfessionalTraining Placement)

Freelance andConsultant Staff

Claire Stevens Recording Projects Manager

Julie NichollsConsultant Accountant

Michelle Wright for Cause4Fundraising Consultant

soundukPublic Relations

Richard BakerArtistic Advisor

John FulljamesArtistic Advisor (Blue Touch Paper programme)

London Sinfonietta is grateful toits accountants: Martin GreeneRavden LLP and its auditors MGR Audit Limited for theirongoing support.

London Sinfonietta

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Steve Reich: Radio Rewrite Tour

Tuesday 5 MarchSouthbank Centre’s Royal Festival Hall

Wednesday 6 MarchBirmingham Town HallTel No: 0121 780 4949

Thursday 7 MarchBrighton DomeTel No: 01273 709 709

Saturday 9 MarchGlasgow Royal Concert HallTel No: 0141 353 8000

After the world premièreperformance in London, theLondon Sinfonietta and Steve Reichbring Radio Rewrite to Brighton,Birmingham and Glasgow; a majornew work inspired by the music ofRadiohead. “The greatest livingcomposer of our time” (New YorkTimes), will also be performing inhis seminal piece Clapping Music.

Radio Rewrite is a co-commission by the London Sinfonietta and New York’s Alarm Will Sound.

Steve Reich: Variations for

Vibes, Pianos and Strings

Sunday 10 MarchGlasgow Royal Concert HallFeaturing: London Sinfonietta and NYOS Futures

In Portrait: Luke Bedford

Wednesday 22 May, 7:45pm Southbank Centre’s Royal Festival Hall

Luke Bedford has fast become one ofthe most important composers of hisgeneration, in part on the evidence ofpast work for the London Sinfonietta.This new ensemble composition is amajor 25-minute work, which will beperformed for a second time after theinterval to give the rare instantsecond chance for an audience to getto know this brand-new composition.The programme also includes anensemble arrangement of the 2011double-soloist and string ensemblecomposition Wonderful No-HeadedNightingale, and music by GérardGrisey, whose music holds afascination for Bedford.

Luke Bedford’s new work iscommisioned by the LondonSinfonietta with the generoussupport of Michael and Patricia McLaren-Turner.

Tickets from £15(£6.50 U26, £4.50 students)

Phone 0844 875 0073Online southbankcentre.co.uk

Mauricio Kagel: The Pieces of the Compass Rose

Saturday 1 June, 7:30pmSouthbank Centre’s Queen Elizabeth Hall

“e sound references are neverused anecdotally; every one ofthem is integrated by Kagel’sextraordinary harmonicimagination into a world in which nothing is what it seems,and in which every new vistacontains a genuine surprise.”Andrew Clements

Discover Mauricio Kagel’s The Piecesof the Compass Rose, a musicaltravelogue taking you from the northeast of Brazil, to the Gulf of Finlandand the South American Andes usinginstruments from piano andharmonium to a full range ofpercussion. An Argentinian composerwhose cultural and musical outlookembraced a life lived crossingcontinents, The Pieces of the CompassRose is Kagel’s response to the diversesoundworlds evoked by geography,language and ethics.

Tickets from £9(£6.50 U26, £4.50 students)

Phone 0844 875 0073Online southbankcentre.co.uk

Upcoming London Sinfonietta concertsPh

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