CAMBRIDGE UNIVERSITY ORCHESTRA

JAC VAN STEENconductor

CHUREN LI

piano

Saturday 15 February 2020, 8.00pmWest Road Concert Hall

CUMS Concerto Competition 2019 winner

www.cums.org.uk

CUMS is grateful for the support ofChrist’s College, Churchill College, CUMS Fund, CUMS Supporters’ Circle, Emmanuel College, Girton College, Gonville & Caius College, Jesus College, Lucy Cavendish College, Magdalene College, Murray Edwards College, Newnham College, Peterhouse College, Queens’ College, Robinson College, St Edmund’s College, St John’s College, Trinity College, Trinity Hall College, University of Cambridge Faculty of Music, University of Cambridge Societies Syndicate, West Road Concert Hall, Wolfson College

Cambridge University OrchestraSaturday 15 February 2020, 8.00pm

West Road Concert Hall

Dvořák Notturno for Strings Rachmaninov Piano Concerto No.2 Smetana Má vlast (Vysehrad, Vltava and Sárka)

Jac van Steen conductor Churen Li piano

CUMS Concerto Competition 2019 winner

MACMILLAN CANCER SUPPORT IN CAMBRIDGESHIRE

Macmillan’s cancer specialist nurses and doctors are the best-known fact about the Charity but there are so many other ways that the Charity can help cancer patients and their families.

A period away from work may follow a cancer diagnosis as the patient undergoes treatment. This can involve heavy financial losses and with dependants to support is a cause of much worry. Four out of five people living with cancer are £580 a month worse off due to their diagnosis.

Macmillan grants are one-off emergency payments to help with for instance, increased costs of heating bills, travel and parking costs for hospital appointments. These grants come on top of the help which trained Macmillan benefits officers can give to patients applying for government financial benefits to which they are entitled.

Another lesser known fact about Macmillan’s work is the care for patients following the end of their treatment. Many people suffer from diminished self-confidence, physical weakness following treatment and lack of motivation for returning to work. Macmillan run courses for building both physical and mental health as well as having information for employers who have cancer patients returning to work.

Both financial and emotional advice and support are part of the complete ‘package’ of care that Macmillan Cancer Support provides for cancer patients and their families. For further information please contact Macmillan on 0808 808 0088.

Macmillan is most grateful to CUMS for once again allowing the Charity to benefit from some of the proceeds of this concert.

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ESPROGRAMME NOTES

Antonín Dvořák (1841–1904)Notturno for Strings, Op.40Like his contemporary Robert Schumann, Antonin Dvořák was a composer renowned for subjecting his music to numerous revisions – and, in some cases, complete reworkings. His Notturno for Strings provides a perfect case study. The Notturno was first conceived in around 1870 as the central slow section of a single-movement String Quartet in E minor, Op. 9, entitled Andante religioso. Dvořák, however, decided not to publish the work, instead reassigning the opus number to another Quartet, in F minor. Five years later, he revived and condensed the Andante religioso, and it formed the slow movement of the String Quintet in G major, Op. 77 (with the double bass added). Initially, the Quintet had five movements; since Andante religioso was one of two slow movements, Dvořák decided this was rather excessive and he subsequently removed it. It was in 1883 that the movement was finally published as a single work for string orchestra under the title Notturno, Op. 40.

After its premiere in the Crystal Palace, London in 1884, a review noted that ‘a single melody pervades the whole design, and is treated with contrapuntal mastery’. Indeed, following a short introduction by the lower strings, the first violin begins its endless melody, supported by lines in the second violins and violas and a pedal F-sharp in the cellos. This pedal lasts for twenty-three bars – it lasts for nearly seventy in the original version – and, with the rising chromatic lines in the melody, it creates a certain sense of anticipation.

This duly gives way to a more animated section in which the first violins continue their melodic line and are supported by syncopated semiquavers in the second violin and viola and a two-bar repeated bass line. When the melodic line is repeated an octave higher, the second violins divide, with one half maintaining the syncopated accompaniment and the other half entering counterpoint with the first violins. The result is a swirling dance in the night, ebbing and flowing. This is followed by cascading scales shared between the first and second violins, returning us to the tranquillity of the first section. After more dialogue between the violins, the music concludes with a B major chord in the upper strings, sending us smoothly into the night.

Patrick Morris

Sergei Rachmaninov (1873–1943)Piano Concerto No.2 I. Moderato II. Adagio sostenuto III. Allegro scherzandoAfter the devastating premiere of his First Symphony in 1897, which Rachmaninov recounted as ‘the most agonizing hour of my life’, the composer entered a period of unprecedented despondence which persisted into the final years of the nineteenth century: ‘My confidence in myself had received a

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sudden blow. Agonizing hours spent in doubt and hard thinking had brought me to the conclusion that I ought to give up composing. I was obviously unfitted for it, and therefore it would be better if I made an end to it at once.’

While Rachmaninov continued to compose and perform during this period, he only overcame the damning reception of his First Symphony years later, with the composition and critical success of his second piano concerto, completed in 1901 and dedicated to the hypnotherapist ‘Monsieur N. Dahl’ who had helped the composer overcome his despair.

At first, we hear nothing but piano: tolling, solemn chords which evoke the ringing of Russian Orthodox bells. We can trace this sonic reference back to Mussorgsky’s 1873 opera Boris Godunov, perhaps the most famous Russian opera and that which helped to establish the constituent musical features of what is often referred to as ineffable musical Russianness.

From here ensues a triumphant journey through majestic melodies, emphatic climaxes and earnest lyricism, all inflected with the impassioned pianistic virtuosity characteristic of Rachmaninov’s compositions. These qualities all contributed to the work’s critical success and its enduring popularity.

In the wake of a scientific study which, attempting to quantify and compare the creativity and originality of 19 of the best-known composers, has located Rachmaninov at the pinnacle of musical innovation, we are invited to indulge in the richness and mastery of his compositional language. However problematic, the study may help us to liberate Rachmaninov from pervasive twentieth-century discourses which have consistently correlated composers’ popularity and success with low aesthetic quality. Bringing Rachmaninov’s compositional ingenuity and originality into the forefront of musical discussion and debate, the study invites us to focus on the depth and complexity of his works which was perhaps overshadowed by the epoch-defining radical experimentation of the Second Viennese School.

As the catalyst for the composer’s professional and emotional recovery, the second piano concerto continues to demonstrate its profound power to stimulate the senses and rouse powerful emotions. Whether or not we may legitimately scientifically quantify Rachmaninov’s creativity and innovation, we are always able to hear it.

Eirini Diamantouli

INTERVAL

Bedřich Smetana (1824–1884)Má vlast I. Vyšehrad II. Vltava III. ŠárkaEven though he was born and raised in Bohemia, Bedřich Smetana did not feel appreciated in his native country, and when he was in his early thirties, he took up a teaching and performing position in Göteborg, Sweden. His inner conflict is revealed in a letter written during a vacation back home in 1860:

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It is sad that I am forced to seek my living in foreign lands, far from my home, which I love so dearly and where I would so gladly live.

[…] Be happy, my homeland, which I love above all, my beautiful, my great, my only homeland. […] your soil is sacred to me.

In 1862, having moved back to Prague, Smetana was working towards the premiere of The Bartered Bride when he became angered by an offhand remark made by the Austrian conductor Johannes von Herbeck, who remarked that Czechs were incapable of composing large-scale works. Smetana’s response: Má vlast, a cycle of six symphonic poems for orchestra. Tonight’s performance features the first three poems of the cycle: Vyšehrad, Vltava and Šárka.

Vyšehrad, written not long after the onset of Smetana’s profound deafness, depicts an old fortress looking over the River Moldau (more commonly known as Vltava) or as it runs towards Prague. The movement starts with a declamatory theme, which is then passed between various sections of the orchestra, interwoven with harp flourishes and trumpet calls, culminating in an iteration by the whole orchestra. A quicker developmental section follows in which the strings take up the theme in a modified form, before another climax in which all the motivic material combines to convey the grand majesty of Vyšehrad. This is interrupted by a long descending sequence to depict the fall of the fortress, before returning to the opening section, reminding us of the fortress’ beauty.

Vltava portrays the river of the same name, which runs from its source in the Bohemian Forest into Prague. The movement opens with scalic figures in the flutes supported by the harp and pizzicato violins, imitating the river splashing over rocks and glistening in the sun. The stream then becomes a mighty river, depicted by the densely orchestrated main theme. The river first passes through a hunt, symbolised by the horn calls and the fanfares in the trumpet, a wedding party, followed by a return of the opening ripples. A new theme emerges, conjuring up a scene of water nymphs coming out to bathe in the moonlight. When morning breaks, the main theme returns; however, it is interrupted by a tumultuous passage, imitating the river crashing through the white water of St. John’s Rapids. Finally, the river reaches Prague and it is displayed in all its glory before disappearing into the distance.

Smetana turns to legend for Šárka, which tells the bloody tale of an Amazon maiden who, after being deceived by her lover, vows vengeance against all men. After being taken by the knight Ctirad and his men, Šárka sends them to sleep with a potion. When she sounds her hunting horn to summon her female comrades, they slay all the men as they lie sleeping. The movement features sharply contrasting themes: Šárka’s rage; the march of Ctirad and his men through the forest; a clarinet portrays Šárka’s seductive wiles; and the final section, marked frenetico, symbolises the bloody massacre.

Patrick Morris

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BIOGRAPHIES

Jac van SteenJac van Steen was born in The Netherlands and studied orchestra and choir conducting at the Brabant Conservatory of Music.

Since participating in the BBC Conductors Seminar in 1985, he enjoys a very busy career and conducts the best orchestras in Europe, which included holding the posts of Music Director and Chief Conductor of the National Ballet of The Netherlands, the orchestras of Bochum, Nürenberg, the Staatskapelle Weimar, The Opera and Philharmonic Orchestra of Dortmund, Musikkollegium Winterthur and Principal Guest conductor at the BBC National Orchestra of Wales. At present he is Principal Guest conductor of the Ulster Orchestra and the Prague Symphony Orchestra.

He made his debut with Opera North in 2013, as well as with the Volksoper in Vienna. In 2015 he has made a very successful debut at the Garsington Opera. He returned to Opera North for several productions and developed a yearly relationship with the Volksoper Vienna and bi-yearly appearances for Garsington Opera such as with Debussy’s Pelleas and Melisande in 2017 and Smetana’s The Bartered Bride in 2019. In the 2018-19 season he made his debut at the Oslo Opera with two Puccini productions. Jac van Steen visits the UK regularly with the British orchestras such as the Philharmonia Orchestra, the CBSO, Royal Philharmonic, Ulster Orchestra and made his debut in Tokyo with the New Japan Philharmonic and the Malaysian Philharmonic Orchestra. Jac van Steen participates in numerous recordings for the BBC, as well as live- broadcasts of his concerts. There are a substantial number of CD recordings of his work with various orchestras.

Besides his activities as conductor, he is dedicated to teaching and is Professor for Conducting at the Royal Conservatory of Music in The Hague. He also regularly works with the Royal Northern College of Music and Chetham School of Music (Manchester) as well as the Royal Academy and Royal College of Music (London). In May-June 2018 he lead the Jette Parker Young Artists showcase as organised by the Royal Opera House Covent Garden London.

© Simon van Boxtel

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Churen LiPraised for her “extraordinary skill” in the South China Morning Post (Hong Kong), and the “epitome of poise and polish” in The Straits Times (Singapore), twenty-three-year-old Singaporean pianist Churen Li continues to impress audiences with her musicality, poetry and charm. She was listed in 2018 on Singapore Tatler’s Generation-T List, a celebration of “50 of the brightest connectors, creative visionaries, influential innovators and disruptive talents in Singapore”.

In 2015, she performed as soloist in a tour of Macau and Hong Kong with the Yong Siew Toh Conservatory of Music Orchestra, at the invitation of Singapore’s High Consulate in Hong Kong as part of Singapore’s 50th jubilee celebrations of independence. Other concerto engagements include performances with the Singapore Symphony Orchestra, Klassische Budapest Philharmonic, Metropolitan Festival Orchestra Singapore, Mikhail Jora Philharmonic of Bacau and National University of Singapore Symphony Orchestra.

Churen has won top prizes at international and national competitions, including First Prize at the Cambridge University Music Society Concerto Competition and the International Young Talents Piano Competition of Barlassina (2014). She is also the recipient of prestigious grants, including the Tan Kah Kee Postgraduate Scholarship (2015), the FJ Benjamin-Singapore Symphony Orchestra Bursary (2013) and the National Arts Council Arts Scholarship (2011-15).

Churen is also passionate about new music, having experimented increasingly with combining musical genres, as well as reflecting on the relationship between musical and societal evolution. She was among the ten pianists selected in 2018 to participate and perform in the Darmstadt International Summer Course for New Music, and at the prestigious Roche Continents programme in Salzburg, an interdisciplinary programme of workshops and lectures in the arts and in science.

Churen attained her Bachelor’s Degree from the Yong Siew Toh Conservatory of Music (National University of Singapore), where she studied with Albert Tiu, and graduated aged 19 as the youngest of her cohort. She then continued with a Master’s Degree at the Yale School of Music, where she studied with Peter Frankl and Hung-Kuan Chen and she has recently completed a Master of Philosophy in Music at Cambridge University. She is currently Artist Faculty at the Yong Siew Toh Conservatory of Music.

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CAMBRIDGE UNIVERSITY ORCHESTRA

VIOLIN ITommaso Scimemi KChris Leighton CHUHenrietta

McFarlane EMYao-Chih Kuo JNAlistair Burton CLEsme-Hope Lewis PETNina Kumin CCElla de Csillery JNJemma Starling GBethany Thomas EMSian Ellis SEFrancis Newman EMGabriel Rumney CTH

VIOLIN IITom Hillman TSusanna Mackay TSusanna Alsey NLizzie Millar SEHannah Patterson JNLucas Huysmans RSooyong Park CTHGiselle Overy KSarah Tennyson HOTeen-Jui Chow TSameer

Aiyar-Majeed REmma Robinson*

VIOLARob Jones GRobert

Pearce-Higgins M

Kevin Gauthier DOWLouisa Clogston EMRomane Eymard*Daniel Jackson PEMGeorge Bird F

CELLOWill Harris CLSam Weinstein PEMSeb Ober CHRFrancis

Cardell-Oliver PEMButterfly Paterson*Joe Reynolds*Nick Ingles*Hannah Wilkie CAI

DOUBLE BASSJess Hoskins CLElla Collier KJames Kiln THAlan Bowman*

FLUTEFelix Blake SELloyd Hampton G

PICCOLO Anna Ryan MUR

OBOEHelena Mackie CLThomas Hammond R

CLARINETMaddy Morris GDuncan Fraser M

BASSOONFrancis Bushell RHannah Harding DOW

HORNSol Alberman KXavier

Stavrou-Long JEElla McCoshan THVicky McBride*

TRUMPETNick Smith HODaisy Corder PEM

TROMBONELawrence Schofield THCarl Ashworth RJames

de Salis Young CAI

TUBASilas Sanders T

TIMPANIMurray Chapman SE

PERCUSSIONTammas Slater KJamie Conway RWill Rose Q

HARPEleanor Medcalf QHannah Lewis PEM

* Guest players

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CAMBRIDGE UNIVERSITY MUSICAL SOCIETY

Cambridge University Musical Society (CUMS) is one of the oldest and most distinguished university music societies in the world. It offers a world-class musical education for members of the University and local residents, nurturing the great musicians of the future and providing performing opportunities for over 500 Cambridge musicians every year.

The Society has played a pivotal role in British musical life for over 170 years. It has educated Sir Andrew Davis, Sir Mark Elder, Sir John Eliot Gardiner, Edward Gardner, Christopher Hogwood and Robin Ticciati, has premièred works by Brahms, Holloway, Lutoslawski, Rutter, Saxton and Vaughan Williams, and has given generations of Cambridge musicians the experience of performing alongside visiting conductors and soloists including Britten, Dvořák, Kodaly, Menuhin and Tchaikovsky. Since the 1870s, CUMS has enjoyed the leadership of several of Britain’s finest musicians, including Sir Charles Villiers Stanford, Sir David Willcocks, Sir Philip Ledger, and, from 1983 to 2009, Stephen Cleobury.

In 2009, Stephen Cleobury assumed a new role as Principal Conductor of the CUMS Symphony Chorus, Sir Roger Norrington was appointed as Principal Guest Conductor and a series was launched to expose CUMS members to a succession of world-class visiting conductors.

In 2010, CUMS entered another new phase when it merged with the Cambridge University Chamber Orchestra and Cambridge University Music Club. In October 2010, the Society launched the Cambridge University Lunchtime Concerts – a new series of weekly chamber recitals at West Road Concert Hall showcasing our finest musical talent. In 2011 it welcomed the Cambridge University Chamber Choir, which is directed by Martin Ennis and David Lowe and Nicholas Mulroy. In 2014, the Cambridge University Jazz Orchestra and the Cambridge University New Music Ensemble joined CUMS as associate ensembles. Most recently, in 2017, CUMS Orchestras undertook a restructure, forming two ensembles (Cambridge University Orchestra and Cambridge University Sinfonia) as opposed to three, with the aim of creating a greater number of opportunities for students to play under some of the best professional conductors.

CUMS continues to provide opportunities for our finest student soloists and conductors by awarding conducting scholarships and concerto prizes, and it encourages new music by running a composition competition and premièring at least one new work each year. Recent highlights have included a recording of Haydn and Mozart Symphonies with Sir Roger Norrington, Mahler’s Symphony No. 3 with Paul Daniel, Brahm’s Symphony No. 1 with Sir Mark Elder, Verdi’s Requiem conducted by Jac van Steen, Stravinsky’s The Rite of Spring, conducted by Duncan Ward, and Britten’s War Requiem with Graham Ross and a host of operatic stars.

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/20 CUMS OFFICERS 2019/20

Cambridge University Musical Society is a registered charity, limited by guarantee (no.1149534) with a board of trustees chaired by Dame Fiona Reynolds. The Society also administers The CUMS Fund with its own board of Trustees. The day to day running of the ensembles is undertaken by the student presidents and their committees with professional support.

CUMS Student PresidentHelena Mackie

CUMS Student Vice PresidentWill Rose

Vice PresidentsRichard AndrewesNicholas CookSir John Meurig-Thomas

Principal Guest ConductorSir Roger Norrington CBE

Artistic AdvisorSian Edwards

Director, Cambridge University Symphony ChorusRichard Wilberforce

Director, Cambridge University Chamber ChoirMartin Ennis

Associate Directors, Cambridge University Chamber ChoirDavid LoweNicholas Mulroy

President, Cambridge University OrchestraHenrietta McFarlane

President, Cambridge University SinfoniaJoe Wardhaugh

President, Cambridge University Symphony ChorusLawrence Wragg

Student President, Cambridge University Symphony ChorusGianmarco Raddi

President, Cambridge University Wind OrchestraAlexandra Hunt

President, Cambridge University Lunchtime ConcertsMaxim Meshkvichev

President, Cambridge University Chamber ChoirRachel Hill

President, Cambridge University Percussion EnsembleRichard Moulange

CUMS Conducting ScholarTess Jackson

Assistant ConductorCarlos Rodríguez Otero

CUMS Composers in ResidenceApostolis KoutsogiannisBenjamin Graves

CUMS Instrument ManagersDave EllisPhilip HowieSam Kemp

Advisors to the ensemblesMaggie HeywoodChristopher LawrencePaul NicholsonMartin RichardsonJohn Willan

Programme DesignerDima Szamozvancev

Trustees of CUMSDame Fiona Reynolds (chairman)David ButcherSimon FaircloughJames FurberStephen JohnsJo WhiteheadNigel Yandell

Trustees of the CUMS FundChris FordNicholas ShawAlan FindlayPeter JohnstoneJenny Reavell

Vice ChairmanJo Whitehead

Executive DirectorChloë Davidson

CUMS Senior TreasurerChris Ford

CUMS TreasurerNicholas Shaw

Performance AssistantKatharine Ambrose

Cambridge University Symphony Chorus General ManagerPaul Fray

Development and Marketing AssistantEllie Hargreaves

Concerts AssistantPip Matthews

CUMS Librarian and Alumni SecretaryMaggie Heywood

Supporters’ Circle SecretaryChristine Skeen

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ESUPPORT USSince it was founded in 1843, CUMS has provided unique opportunities for successive generations of Cambridge musicians. It has immeasurably enriched the cultural life of the university and city, and, having launched many of the biggest careers in classical music, it has played a pivotal role in the musical world beyond.

Each year, 500 students — reading everything from Music and Maths to Medicine and Modern Languages — take part in up to 40 concerts, as conductors, instrumentalists, singers and composers. CUMS offers these students opportunities to work with world-class conductors and soloists, tackle ambitious repertoire and develop as musicians.

CUMS receives no core funding from the University, and income from ticket sales does not meet the full cost of delivering a world-class musical education. The Supporters’ Circle plays a vital role in helping to raise the £35,000 needed every year to sustain CUMS’ programme of ambitious projects, which includes orchestral coaching from members of the major London orchestras, and the opportunity to work with professional conductors and soloists.

All those who value Cambridge’s splendid musical heritage, and who want the University to provide opportunities for the finest young musicians of the twenty-first century, are invited to join the CUMS Supporters’ Circle. As well as helping us to fulfil our ambitions, members of the Supporters’ Circle enjoy exclusive benefits, including priority booking, drinks receptions and the opportunity to sit in on rehearsals.

For further details about the Supporters’ Circle, please visit www.cums.org.uk/support. Alternatively, please write to Christine Skeen: christineskeen@gmail.com.

In helping us reach our targets, you will become part of an extraordinary musical tradition. Thank you.

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E CUMS SUPPORTERS’ CIRCLE

The Britten Circle£10,000+Adrian and Jane FrostThe Vaughan Williams Circle£2500-£9,999 per annumMonica ChambersMr & Mrs GardinerThe Stanford Circle£1,000-£2,499 per annumSir Keith StuartPrincipal Benefactors£500-£999 per annumSimon FaircloughKathryn Puffettand one anonymous donorBenefactors£250-£499 per annumAngela and Rod Ashby-JohnsonChris CoffinStuart FfoulkesChris FordCatriona MillR. MoseyEric Nye and Carol FrostNeil PetersenPeter Shawdonand one anonymous donorDonors£100-£249 per annumRichard AndrewesJohn BarberFrank and Genevieve Benfield

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CUMS SUPPORTERS’ CIRCLE MEMBERSHIP FORM

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Personal detailsName and Address (if different from Sections 2 and 3) ........................................................................................................................................................................................................................................................................................................................................................

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SECTION 3: GIFT AID DECLARATIONCambridge University Musical Society (CUMS) is a registered charity (no. 1149534) and as such can claim Gift Aid on eligible donations.

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Please return your entire completed form and payment to Christine Skeen, Secretary, CUMS Supporters’ Circle, West Road Concert Hall, 11 West Road, Cambridge CB3 9DP.

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Cambridge University Musical SocietyWest Road Concert Hall

CambridgeCB3 9DP

www.cums.org.uk

Principal Guest Conductor Sir Roger Norrington CBE

Artistic Advisor Sian Edwards