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Cambridge Philharmonic Society

Sunday 25 October 2009 � West Road Concert Hall, Cambridge

Adams Short Ride in a Fast Machine

Harmonium

Beethoven Symphony No. 3 �Eroica�

Timothy Redmond

Conductor

Steve Bingham

Leader

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Programme

ADAMS Short Ride in a Fast Machine

Harmonium

Interval

BEETHOVEN Symphony No. 3 �Eroica�

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Short Ride in a Fast Machine John Adams Harmonium (1947-) John Adams would no doubt be pleased to be sharing a concert programme with Beethoven, one of his favourite composers. Perhaps Adams is almost the Beethoven of the 21st century � a revolutionary in some ways, confident in his own views and musical direction, yet consolidating, bringing together and adding his own shape to existing musical styles.

Adams is often spoken about in the same breath as his fellow Americans, Terry Riley, Steve Reich and Philip Glass, all about ten years his senior. He was certainly influenced by so-called �minimalist� composers in the late 1970s and early 1980s.

As a student at Harvard, Adams had become disillusioned with �the austere, pseudo-scientific, rationalised way of life that was represented by the serial technique� (interview with John Walters in 1997). Newly-composed avant-garde music of the time was often very dry, generally atonal, following in the footsteps of serialist composers such as Webern and Schoenberg and caring very little for the needs of the listener.

Drawn towards the �wild, unbuttoned, spontaneous world of rock with its violent and unpredictable and sensual spirit� (interview with John Walters, 1997), Adams experimented for a while in the early 1970s with sound and electronic production. When he finally started using some of the techniques of minimalism, he felt liberated � tonality was no longer a rude word and Adams found his individual style and a way of expressing his distinctive spontaneity and sensuality.

John Adams� music bears his own stamp, and although he uses minimalist techniques, such as the repetition of phrases and patterns, his music is perhaps warmer and more human than the term �minimalist� might imply. There is always energy, development and direction in Adams� works, giving a sense of space, of expansion. He uses pulsating crescendos, cross rhythms, frequent changes of metre and a huge dynamic range to create texture and interest; he is a true architect of sound.

Short Ride in a Fast Machine (1986) Fanfare for Orchestra

Adams� popular Short Ride in a Fast Machine is exhilarating − from the very first entry of wooden blocks and brass to the final standstill screech. It is fiendishly difficult to play, with its repeated notes and pulsating rhythm, but it is intensely musical and perfectly encapsulates Adams� laconic �You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn�t?� Audiences always thrill to this bravura work of dazzling excitement, safe in the knowledge that it is not THEM in the passenger seat!

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Harmonium (1980-81)

Harmonium, a piece for chorus and orchestra, was written in 1980-81 as a commission to celebrate the inaugural season of the Davies Symphony Hall in San Francisco. Adams was in his early thirties and had already written Shaker Loops (1978), one of his most famous works, but it was Harmonium which helped to establish him fully on the contemporary music scene.

The piece was originally named after a collection of poems by the American poet, Wallace Stevens, but Adams discarded the idea of using Stevens� poetry and settled on using the text of three poems � one by John Donne and two by Emily Dickinson.

The three poems give an over-arching structure to the work, and through their thematic progression they provide the onward momentum and the �unity of form and meaning� (John Adams, 1984) which was needed for the music.

Negative Love, by John Donne is a self-congratulatory meditation about perfect love. Donne hints at a spiritual or divine love which is so far removed from anything carnal or even cerebral that it can only be expressed in negatives, it being unlike anything we can know or describe.

Because I could not stop for Death, by Emily Dickinson, is a calm, elegiac but haunting poem in which Death and Immortality are personified and share a carriage with the speaker. There is regret at the passing of time, with landscape images from the carriage representing phases of the speaker�s life, ending in the grave � the �swelling of the ground�; but equally the poem includes the Christian hope of eternity and immortality.

Wild Nights, also by Emily Dickinson, shows another side to this reclusive, Christian poet. Here there is raw passion, an ecstatic wildness, a letting go in the speaker�s desire to be with her beloved. In Adams own words (1984):

�Wild Nights embraces both of the former themes [love and the arrest of time] with a poetic intensity that is at once violent and sexual and full of the longing and forgetfulness which is at the core of all Dickinson�s work.�

The sexually-charged metaphors in Wild Nights allow for a union of opposites: the sea is wild yet soothing; love can offer passion and also reassurance (�a heart in port�); knowledge and forgetfulness can exist side by side.

Harmonium begins with a single note, a D above middle C, and a single word, �No�; although it is hard to tell that this sound, being provided as pulsating, chugging crotchets by some of the voices, and as a long continuous note by others, is a word at all. Other notes are offered: an F, an E, then a G; the word �No� eventually becomes �Ne� and then �Never�, the words being repetitive and layered.

These throbbing ripples of sound gradually build through a process of accretion to form a mass of shimmering intensity. Adams uses this technique again and again throughout

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the piece. The narrative eventually takes over with all voice parts singing the first few lines of text together. The music builds through a crescendo and an accelerando to a climactic fortissimo, before dropping back in force and energy. There are further climaxes to come; Adams uses the repetition of key phrases (e.g. �If that be simply perfectest�), often with the voices singing in counterpoint, to build up an agitated, restless tension leading to these moments of culmination. After the final climax in power and loudness (at �Let him teach me that nothing�) this first section returns to a calmer, pianissimo passage at the end.

The second movement is slow and plaintive, the voices beginning in unison and accompanied by what sounds like a death knell in the orchestra. This section is calmer, with less emotion and the narrative slowly giving us a series of images in the life of the speaker. There is a swelling to a choral climax at the word �roof� but the choir eventually peters out almost to nothing, finishing, somewhat resignedly, on the word �eternity�.

The orchestra now takes over, gradually accelerating as if time is speeding up, and getting louder, more forceful and more intense. We are thrown headlong into the third and final section, Wild Nights, which begins in an orgiastic frenzy. The wildness is here in full strength with all voices singing fortissimo in the top register where possible. The orchestra provides a chugging pulse in much of this section but plenty of animation too as well as a suggestion of drunkenness where the trombones play �glissandi�.

Adams uses the now familiar techniques of a steady pulse, much repetition, acceleration, layering of sound and a surging crescendo to reach a screeching climax half-way through this final section of Harmonium. Then he brings us back to a much calmer atmosphere, with a slower tempo, a quiet, hypnotising rhythm and a gradual fading away of first the choir and then the orchestra. As John Adams himself wrote in 1984:

�her [Dickinson�s] Eden is the sea, the universal archetype of the Unconscious, an immense, nocturnal ocean of feeling where the slow, creaking funeral carriage of the earlier poem now yields to the gentle, unimpeded �rowing� of the final image.�

So, does John Adams deliver what he promises in the title Harmonium? The poetical works he has chosen seem to have inspired him to find a way of unifying not only the themes within the poems but of unifying the three poems into one complete whole. John Donne and Emily Dickinson try to combine and reconcile the divine and the worldly, preacher and poet, realism and sensuality, serenity and wildness. Adams joins all these elements musically, offering quiet, meditative passages which then grow and swell into intensely emotional moments, showing that he is able to reconcile elements of both Minimalism and Romanticism. This is profoundly moving, tonal and expressive music, requiring much energy and concentration from the choir and orchestra. The minimalist devices employed are never static or mechanistic but are always used to give the piece direction and meaning, making this work one complete, harmonious whole.

Susan Earnshaw

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TEXTS FOR HARMONIUM Negative Love or The Nothing I never stoop�d so low, as they Which on an eye, cheek, lip can prey. Seldom to them, which soar no higher Than virtue or the mind to admire. For sense, and understanding may Know what gives fuel to their fire: My love, though silly, is more brave, For may I miss, when�er I crave, If I know yet, what I would have.

If that be simply perfectest Which can by no way be express�d But Negatives, my love is so. To All, which all love, I say no. If any who deciphers best, What we know not, our selves, can know, Let him teach me that nothing; this As yet my ease and comfort is, Though I speed not, I cannot miss.

John Donne (1572-1631)

Because I could not stop for Death, Because I could not stop for Death, He kindly stopped for me; The carriage held but just ourselves And Immortality. We slowly drove, he knew no haste, And I put away My labor, and my leisure too, For his civility. We passed the school where children played At wrestling in a ring;

We passed the fields of gazing grain, We passed the setting sun. We paused before a house that seemed A swelling of the ground: The roof was scarcely visible, The cornice but a mound. Since then �tis centuries; but each Feels shorter than the day I first surmised the horses� heads Were toward eternity.

Emily Dickinson (1830-1886)

Wild Nights Wild Nights�Wild Nights! Were I with thee Wild Nights should be Our Luxury! Futile�the winds� To a Heart in port�

Done with the Compass� Done with the Chart! Rowing in Eden� Ah, the sea! Might I but moor�Tonight� In thee!

Emily Dickinson (1830-1886)

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Symphony No. 3 in E flat major (�Eroica�) Ludwig Van Beethoven (1770-1827)

1st Movement - Allegro con brio 2nd Movement - Marcia funebre - Adagio assai 3rd Movement - Scherzo - Allegro vivace 4th Movement - Finale - Allegro molto

��� but what humiliation when someone stood by me and heard a flute in the distance, and I heard nothing, or when someone heard the herd-boy singing, and I again heard nothing. Such occurrences brought me nigh to despair, a little more and I had put an end to my own life � only it, my art, held me back. O it seemed to me impossible to quit the world until I had produced all I felt it in me to produce��

From the Heiligenstadt Testament, 1802 The New Way

Ludwig van Beethoven was born in Bonn in December 1770, the son of a singer and music teacher of Flemish stock. He had a precocious talent as a keyboard player and also began composing in his early teens, and in 1787 he travelled to Vienna, apparently hoping to study under Mozart. That trip had to be cut short because of his mother�s illness, but in 1792 he finally moved to the Austrian capital to study composition under Joseph Haydn.

Beethoven's close friend and benefactor, Count Ferdinand von Waldstein, wrote to him at the time, saying that �through uninterrupted diligence you will receive Mozart's spirit through Haydn's hands�, and in those early years he was indeed seen as the natural successor to the two classical masters. But after completing his first two symphonies in the classical style, there was a radical change of direction. As he said to a friend in October 1802, �I am not satisfied with the work I have done so far. From now on I intend to take a new way.�

Beethoven had just returned from spending the summer of that year at Heiligenstadt, a small town outside Vienna, where he had gone on the advice of his doctor in the hope of arresting his already worsening hearing problems. It was a turning point. While there, despairing at his failing hearing and at the way he felt he was misunderstood, he wrote a Will, now known as the Heiligenstadt Testament: in it he poured out his frustrations, saying that only his art prevented him from ending it all, and resolving that he must now create what he felt was in him before it was too late.

So after spending the winter of 1802/03 in Vienna, he returned to the countryside, this time to the village of Döbling, near Heiligenstadt, in order to complete the work that was to be called the Sinfonia Eroica - the Heroic Symphony.

It was indeed revolutionary. Haydn, who attended the first rehearsal in June 1804, was heard to remark that �Everything is different from today�, and although he was no doubt referring partly to the many musical and structural innovations in the Eroica, the main innovation was the new idea that man�s own struggles could be expressed and worked through in music. It was a vision that was to usher in the great romantic age in music that was to dominate the rest of the 19th century.

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The Eroica and Napoleon

Beethoven originally dedicated the Eroica to Napoleon, also calling the new work the Buonaparte Symphony. However on hearing that Napoleon had declared himself Emperor, he famously tore up the title page, exclaiming �So he is no more than a common mortal! Now, he too will tread under foot all the rights of man!� He also retitled the symphony 'Sinfonia eroica, composta per festeggiare il sovvenire d'un grand'uomo (�Heroic symphony, composed to celebrate the memory of a great man�), as if to consign Napoleon�s heroism to history, and rededicated the work to the Austrian Prince Lobkowitz, who had offered to pay handsomely for six months� use of the work.

The removal of the dedication to Napoleon would also have served a more practical purpose. There had been talk of a move to Paris, where a new work dedicated to Napoleon would have doubtless earned Beethoven both fame and money. But in Vienna a dedication to Napoleon would have been seen as unpatriotic at a time when Austria itself was under threat, and, besides, Beethoven needed the patronage of Lobkowitz both for the money it promised, and for the facility to rehearse and perform the new work.

It is also not at all clear whether the Eroica is actually 'about' Napoleon. Some have seen the first and second movements as depicting Napoleon's rise and then fall from grace, with the third and fourth linked instead to classical Greek ideals of heroism. But this seems to deny the unity of the Eroica, and the fact that the fourth movement is based on a theme Beethoven wrote for the ballet The Creatures of Prometheus may also be more significant than the mere fact that this is a Greek hero of classical legend.

There is, for example, a close parallel between the movement sequence in the Eroica and the dance sequence in Prometheus, and this has led to the idea that the main inspiration for the Eroica was in fact the Prometheus story, or at least the musical version of it. And moreover the triumphant last movement of the Eroica ties in with the idea of transcendence and victory that is also a feature of the ballet. So while we will never know for sure what was in Beethoven�s mind, all this suggests that the Eroica is best seen not as a portrait of one individual, but as an account of man�s struggles, of life and death, and ultimately of transcendence and final triumph.

The Four Movements

1st Movement - Allegro con brio

The first movement begins, not with the traditional slow introduction, but with two loud sforzando chords as if to call us to attention. They set the tone for this extraordinary movement, with its uncompromising, restless energy, the themes being interspersed with fierce proclamations and raking chords.

The opening theme is taken from Mozart�s early opera Bastien und Bastienne, as if Beethoven was paying due homage to his classical forbears. But no sooner is it introduced than we are into the forward march of the long development section. This eventually introduces a second theme, but this scarcely breaks the flow as the music continues, with the themes being woven through the fabric of the music. Then eventually the music quietens as the development seems to have run its course.

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As we wait for the main theme to reappear, there is one of Beethoven�s leading us astray moments as one of the horns seems to come in too early. At the first rehearsal this led Beethoven's student, Ferdinand Ries, to berate the horn player for miscounting, only to provoke the composer�s wrath as he assured Ries that the horn had come in exactly as instructed.

And so the music resumes its forward momentum until we finally reach a long coda before the movement closes with a flourish.

2nd Movement - Marcia funebre - Adagio assai

The sheer length of the first movement was itself an innovation, but there are no concessions as Beethoven continues with another long, expansive movement. It takes the form of a slow funeral march, complete with military sounding brass and timpani, suggesting that the hero of the opening movement has come to the end of his earthly journey.

There is a brief respite in the middle section, set in the major key and led by the woodwind, before the main theme returns. This is then overtaken by a long, insistent, fugato section which continues until, eventually, the funeral music resumes, this time more resigned. Towards the end this then seems gradually to fragment as the movement is brought to a conclusion.

3rd Movement - Scherzo - Allegro vivace

The much shorter, vigorous scherzo comes as something of a relief. The strings start with a pattering figure with the woodwind adding the tune, eventually to be joined by the full orchestra, reworking the tune and adding its syncopated commentary. Then in the trio there is another innovation as three horns sound a hunting theme, echoed by the orchestra. The trio is repeated, and then the scherzo duly returns. This is further explored before there is a short coda beginning with quiet drum beats, recalling the militaristic style of the opening two movements, as the movement ends.

4th Movement - Finale - Allegro molto

The fourth movement is a set of variations on a theme taken from Beethoven�s music for the ballet The Creatures of Prometheus. It opens with a series of scales and chords which appear to be a prelude to the theme. But instead we hear a spare, pizzicato bass line, echoed by the woodwind, punctuated by startlingly loud chords, and then further variations on the same figure. Only then does the oboe introduce us to the true main theme, after which the music unfolds, the variations following on one after the other in a sequence of breathtaking inventiveness: there is a fugue, a flute solo, a dance tune, another fugue, all with a stirring insistence that seems to say that this is indeed triumph over adversity.

Towards the end we hear a beautiful slow variation, reminiscent of the second movement: and then onward, with the brass proclaiming the theme, until eventually the opening scales and chords reappear, this time leading to a victorious close.

Chris Fisher

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TIMOTHY REDMOND Conductor

Timothy Redmond has been principal conductor of the Cambridge Philharmonic since 2006. He conducts concerts with many of the UK's leading orchestras, including the London Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, the Ulster and BBC Philharmonic Orchestras, Northern Sinfonia and the Orchestra of Opera North.

His 2009/10 season includes the world premiere of Peter Ash and Donald Sturrock�s The Golden Ticket

with Opera Theatre St Louis, concerts in Finland with the Oulu Symphony Orchestra and Slovenia with the Maribor Symphony Orchestra as well as regular appearances in this country with the Royal Philharmonic Orchestra and Manchester Camerata. He returns to the Royal Opera House, Covent Garden for the revival of Thomas Adès' Powder Her Face and releases three new recordings with the Philharmonia, RPO and Northern Sinfonia.

Recently he made his debut at St Petersburg's Mariinsky Theatre, conducting the Russian premiere of Powder Her Face, and was immediately invited back to conduct at Gergiev�s Stars of the White Nights festival. Other recent operatic engagements include Kurt Weill's Der Silbersee in Wexford, Richard Ayres' The Cricket Recovers in Bregenz and the world premiere of Raymond Yiu�s The Original Chinese Conjuror for Almeida Opera and the Aldeburgh Festival. He has also conducted opera for Opera North, English Touring Opera, Tenerife Opera, Glyndebourne, Strasbourg and in New York.

In 2010/11 he returns to Wexford for the European premiere of The Golden Ticket.

STEVE BINGHAM Orchestra Leader

Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, where he won prizes for orchestral leading and string quartet playing. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire. The Quartet has recorded numerous CDs and has worked for radio and television both in the UK and as far afield as Australia. The Quartet has worked

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with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell. Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St John�s, Smith Square and the Royal Albert Hall. Steve is also Artistic Director of Ely Sinfonia. In recent years Steve has developed his interest in improvisation, electronics and World music, collaborating with several notable musicians including guitarist Jason Carter and players such as Sanju Vishnu Sahai (tabla), Baluji Shivastrav (sitar) and Abdullah Ibrahim (piano). Steve�s debut solo CD Duplicity was released in November 2005, and has been played on several radio stations including BBC Radio 3 and Classic FM. The Independent gave it a 4-star review. Steve released his second solo CD, Ascension, in November 2008. You can find out more about Steve on his web site at www.stevebingham.co.uk.

LEO TOMITA Chorus Master

Leo Tomita joins the Cambridge Philharmonic this season as Chorus Master. He was Organ Scholar at Corpus Christi College, Cambridge, where in addition to conducting and running the choir and playing the organ for services, he conducted the college orchestra. He is now a counter-tenor Lay Clerk at St John�s College, Cambridge, where he sings in the choir in their daily services including their weekly webcast services, Radio 3 broadcasts, concerts and tours. Leo is Assistant Conductor of the Cambridge University Chamber Choir and has been Assistant Conductor for several operas including the Yorke Trust�s production of Rameau�s Castor et Pollux. Future projects include the Cambridge Festival�s production of Britten�s Noye�s Fludde in November.

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ORCHESTRA First Violins Steve Bingham (leader) Kate Clow (co leader) Naomi Hilton Jeanette Langford Viktoria Stelzhammer Gerry Wimpenny John Richards Pat Welch Graham Bush Sian Gauci Nichola Roe Sarah Ridley Maydo Pitt Second Violins Emma Lawrence Jenny Barna Vincent Bourret Leila Coupe Rebecca Forster Anne McAleer Edna Murphy Katrin Ottersbach Sean Rock Clare Simmonds Ariane Stoop Violas Ruth Donnelly Liz Andrews Janet O�Boyle Dominicde Cogan Alex Cook Jeremy Harmer Robert Heap Jo Holland Emma McCaughan Robyn Sorensen

Cellos Vivian Williams Sarah Bendall Angela Bennett Helen Davies Melissa Fu Clare Gilmour Katherine Mitchell Amy Shipley Alex Sicola Double Bass Sarah Sharrock Stephen Beaumont Elspeth Cape Kate Merrington Susan Sparrow Flute Cynthia Lalli Flute/Piccolo Alison Townend Sally Landymore Julian Landymore Oboe Jenny Sewell Rachel Dunlop Oboe/Cor Anglais Gareth Stainer Clarinet Sarah Whitworth Frances Reardon Jocelyn Howell Clarinet/Bass Clarinet Graham Dolby

Bassoon Neil Greenham Jenny Warburton Simon Bond

Bassoon/Contra Bassoon Phil Evans

Horn Carole Lewis Paul Ryder Martin Childs Stephen Orriss

Trumpet Andrew Powlson Richard Hull Paul Garner Alex McLean

Trombone Sarah Minchin Denise Hayles Jon Healey

Tuba Christopher Lawrence

Timpani Dave Ellis

Percussion Derek Scurll Zoe-Laura Bridel Louise Morgan Katherine Ring

Harp Rhian Hanson

Piano & Synthesizer John Paul Gandy Alice Farnham

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CHORUS First Soprano Jeanine Billinghurst Erica Bowler Vickie Hughes Rebecca Wood Jan Moore Ruth Peggington Amanda Price Anne Sales Pat Satori Paddy Smith Philippa Storer Ruth Pegington Alison Vinnicombe Second Soprano Eleanor Bell Pippa Bell Alison Cairns Susannah Challans Joanne Clark Hannah Curtis Jennifer Day Lorna Davey Susan Earnshaw Molly Garfoot Christine Halstead Maggie Hook Caroline Jestaz Diana Lindsey Ursula Lyons Liz Popescu Ann Read Sheila Rushton Caroline Sivasundaram Pip Smith

First Alto Nicola Bown Margaret Cook Caroline Courtney Hayley Hind Leonie Isaacson Jan Littlewood Janet Mills Heidi Mulvey Katja Munro Sarah Page Alice Parr Caroline Shepherd Sarah Upjohn Helen Wheatley Patricia Wyman Second Alto Jane Bower Elisabeth Crowe Alison Deary Tabitha Driver Jane Fenton Jane Fleming Hilary Jackson Rachel Morris Sue Purseglove Gill Rogers Amanda Van de Poel

Tenor Aidan Baker Steve Clarke Geoff Forster David Griffiths Ian MacMillan Jim Potter David Reed Martin Scutt Margaret Thwaites Graham Wickens Bass Richard Birkett Neil Caplan Chris Coffin Brian Dawson Dan Ellis Chris Fisher Patrick Hall Simon Merrington Martin Pennell Harrison Sherwood Mike Warren Herve Van de Poel David Watson David White

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Cambridge Philharmonic Society 2009 � 2010 Season Programme

15 November 2009 All Saints Church, Newmarket Come and Sing Messiah � Part of the Cambridge Music Festival �

with soprano Frederique Klooster, mezzo-soprano Katie Bray, tenor Stuart Haycock and baritone Laurence Meikle

19 December 2009 West Road Concert Hall, Cambridge Puccini La Bohème with soloists Linda Richardson, Tinuke

Olafimihan, Bonaventura Bottone, Mark Holland, Nicholas Garrett and Stephen Richardson

31 January 2010 Corn Exchange, Cambridge Children's Concert - includes Roald Dahl's Three Little Pigs (as set

to music by Paul Patterson), J Williams Harry Potter (excerpts), R Lane music from Merlin, Adams Short Ride in a Fast Machine

21 March 2010 West Road Concert Hall, Cambridge Bach Mass in B Minor, with sopranos Ruth Jenkins and Katie

Bray, Mezzo-Soprano Natalia Brzezinska, tenor Stuart Haycock and baritone Marcus Farnsworth

9 May 2010 West Road Concert Hall, Cambridge Brahms Violin Concerto, with soloist Ruth Palmer, Elgar

Symphony No.1 and a new work by Tom Curran 10 July 2010 Ely Cathedral Verdi I Vespri Siciliani (Sicilian Vespers): Overture, Te Deum and

Stabat Mater, Vaughan Williams Fantasia on a Theme of Thomas Tallis and Dona Nobis Pacem; with soprano Joan Rodgers and baritone Roderick Williams

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