Fri 16 Mar 2018 at 8.30 pmSat 17 Mar 2018 at 8.30 pm Malaysian Philharmonic OrchestraDavid Giménez, conductorJuan Manuel Cañizares, guitar PROGRAMME

FALLA Suite from El amor brujo 24 mins

RODRIGO Concierto de Aranjuez 21 mins

INTERVAL 20 mins

GRANADOS Intermezzo from Goyescas 4 mins

BIZET Suite No. 2 from Carmen 19 mins

RIMSKY-KORSAKOV Capriccio espagnol, Op.34 15 mins

All details are correct at time of printing. Dewan Filharmonik PETRONAS reserves the right to vary without notice the artists and/or repertoire as necessary. Copyright © 2018 by Dewan Filharmonik PETRONAS (Co. No. 462692-X). All rights reserved. No part of this programme may be reproduced in any form without the written permission of the copyright owners.

Guitar RecitalThu 15 Mar 2018 at 8.30 pmJuan Manuel Cañizares

PROGRAMMECAÑIZARES Añorando el PresenteGUAJIRA Mar CaribeGRANADOS AndaluzaSCARLATTI Sonata K.11CAÑIZARES Interlude for K.32

SCARLATTI Sonata K.32CAÑIZARES Interlude for K.34SCARLATTI Sonata K.34CAÑIZARES ImagenCAÑIZARES El Abismo

Alberto Marín, second guitar The recital will last approximately 60 minutes

DAVID GIMéNEZ conductor

Born in Barcelona, David Giménez studied piano and composition at the Conservatori del Liceu in his hometown, and conducting at Vienna’s Hochschule für Musik und darstellende Kunst with Karl Österreicher and London’s Royal Academy of Music with Sir Colin Davis.

Since making his debut with the Hannover NDR Orchestra in 1994, he has led orchestras in the Royal Albert Hall, Berlin Philharmonie, Salle Pleyel, Vienna Konzerthaus, Tokyo’s Suntory Hall, and New York’s Carnegie Hall and Avery Fisher Hall. He has conducted orchestras such

as the Vienna Philharmonic, London Symphony, the Philharmonia, Münchner Philharmoniker, Orchestre de Paris and Filarmonica della Scala, and appeared with soloists such as Yo-Yo Ma and Antonio Meneses. He is currently Principal Guest Conductor of the Bucarest Philharmonic Orchestra and Laureate Conductor of the Orquestra Simfònica del Vallès in Barcelona.

Opera is an important part of his schedule, performing wide operatic repertoire at Teatro alla Scala, Vienna Staatsoper, Royal Opera House Covent Garden, Zurich Opera, Berlin Deutsche Oper, Théâtre du Champs Elysées, Washington Opera, Barcelona’s Gran Teatre del Liceu, Madrid’s Teatro Real and Sydney Opera House.

With an exceptional understanding of voice, he collaborates regularly with singers such as José Carreras, Plácido Domingo, Anna Netrebko, Kiri Te Kanawa, Roberto Alagna, Angela Gheorghiu, Bryn Terfel, Erwin Schrott and Diana Damrau. He has regularly been on the jury of the Reina Sofia competition for composition in Madrid.

Recent appearances include with the Munich Symphony, Brucknerhaus Linz Symphony, Vienna Volksoper Orchestra, Czech National Symphony, Seoul and Tokyo Philharmonics, China National Opera House Orchestra and Spanish orchestras.

In the operatic field, he recently opened the season of the Barcelona Opera House (Gran Teatre del Liceu) with tribute concerts to Verdi and was chosen to be the musical director for the new opera El Juez composed by Kolonovits. He also made a debut at the new Mariinsky Theatre in St. Petersburg and Theater an der Wien with this opera.

In the current season, he will appear with the Royal Philharmonic, Radio Symphonie Orchester Wien, Aalborg Symphony, Sofia and Bucharest Philharmonics, Moscow City State Symphony – Russian Philharmonic, Shenzhen Symphony, and also worldwide concerts for the José Carreras Farewell Tour.

Giménez’s recordings include works for Decca, BMG Classics, Koch - Schwann, Erato and Discmedi.

JUAN MANUEL CAÑIZARESguitar

Guitarist and composer Juan Manuel Cañizares is one of the most important and influential flamenco artists worldwide but he is equally comfortable with classical repertory and his own compositions. Cañizares’ career spans over four decades. He is the only flamenco guitarist to be invited to perform with the Berlin Philharmonic under the direction of Sir Simon Rattle in Madrid’s Teatro Real. He has collaborated with orchestras worldwide including the Staatskapelle Dresden, NHK Symphony Orchestra, City of Birmingham Symphony Orchestra, Orquesta y Coro Nacionales de España and Orquesta Simfὸnica de Barcelona i Nacional de Catalunya. Cañizares has won many prestigious awards. For ten years, he was a close collaborator of Paco de Lucía. He also worked with many leading artists such as Enrique Morente, Camarón de la Isla, Serrat, Alejandro Sanz, Mauricio Sotelo, Leo Brouwer, John Paul Jones and Peter Gabriel. As a composer, he has written for the Spanish National Ballet Company and film soundtracks including La Lola se va a los Puertos and La Jota. He has participated in over 100 albums, including 14 as main artist. Besides his career as an interpreter, Cañizares spends his time exploring flamenco. Since 2003, he has been teaching flamenco guitar at the prestigious Escola Superior de Música de Catalunya (ESMUC). He also gives masterclasses in Spain and abroad. Recent and upcoming highlights include Mauricio Sotelo’s opera El Público at Teatro Real in Madrid, and performances in Palau de Música de Catalana, Auditorium di Milano, Festival de Granada, Festival de Radio France et Montpellier and La Folle Journée.

PROGRAMME NOTESThe allure of Spain, with its passionate spirit, flamboyant rhythms, dazzling local colour and exotic aura, captivated any number of composers in the late nineteenth and early twentieth centuries. Composers not only from Spain, but from other lands as well, especially France and Russia, turned out masterpieces reflecting their enchantment with the sights, sounds and flavours of the Iberian peninsula. Tonight’s concert offers music by three Spaniards, a Frenchman and a Russian.

MANUEL DE FALLA (1876-1946)Suite from El amor brujo (1915/1916)

Introducción y Escena (Introduction and Scene) En la Cueva ̶ La Noche (In the Gypsies’ Grotto ̶ Night) El Aparecido (The Apparition) Danza del Terror (Dance of Terror) El Circulo Mágico: Romance del Pescador (The Magic Circle: The Fisherman’s Tale) A Media noche: Les Sortilegios (Midnight: The Sorcerers) Danza ritual del Fuego (Ritual Fire Dance) Escena (Scene) Pantomima (Pantomime) Danza del Juego del Amor (Dance of the Game of Love) Final: Las Campanas del Amanecer (Finale: The Waking Chimes)

Manuel de Falla was born of a Valencian father and a Catalan mother in the southern Spanish city of Cádiz, so it is hardly surprising to find that he fell under the influence of Andalusian folk songs and gypsy music. El amor brujo is one of the happy results of this influence.

In its first form, it was a kind of “opera-ballet,” inspired and commissioned by the great flamenco gypsy dancer and singer Pastora Imperio. The Madrid production of 1915 was not a success, so the following year de Falla thoroughly revised the work, reducing its two scenes to one, omitting some of the vocal and recitative passages,

rearranging the order, and enlarging the orchestra. It is in this form that we usually hear El amor brujo on the concert stage today.

The story is based on an Andalusian gypsy tale. Amor is unequivocally “love”, but the word brujo is more difficult to translate ̶ it conjures up images of sorcery and bewitchment, with overtones of evil and super-natural implications. The score’s most famous number, the Ritual Fire Dance, is one of the means by which an exorcism is effected. In the final moments of El amor brujo, bells celebrate the power of Christian virtue over the evil magic powers that jealous love can engender.

JOAQUÍN RODRIGO (1901-1999)Concierto de Aranjuez (1939) I. Allegro con spirito II. Adagio III. Allegro gentile

Joaquín Rodrigo was one of the most respected, famous and important forces in the musical history of Spain. He spent the 1930s travelling through Switzerland, Germany and Austria, and living mostly in Paris where he continued studies

at the Sorbonne. In 1939, following the end of the Spanish Civil War, he returned permanently to his homeland and took up residency in Madrid. That same year he wrote his first major composition, the one that was to become his most famous as well, the Concierto de Aranjuez. It has become the most popular concerto ever written for the guitar instrument; it has also been choreographed, arranged for jazz and popular ensembles, used in commercials, and recorded nearly two hundred times. The title derives from a beautiful, ancient palace of Renaissance kings (notably Philip II) in the town of Aranjuez, located in the Tagus Valley between Madrid and Toledo.

The first movement follows traditional sonata form procedures, though the expected orchestral opening tutti is replaced with the solo guitar in rasguedo-like (strumming) chords. The central slow movement is infused with a lyrically reflective quality of haunting beauty. The poignant, melancholic tones of the English horn heighten this effect, sometimes considered to be suggestive of Moorish improvisation. The final movement is built from a single, folk-like theme first heard in the guitar, and features a rhythmic pattern combining groups of two and three beats.

ENRIQUE GRANADOS (1867-1916)Intermezzo from Goyescas (1916)

Enrique Granados was one of the first important Spanish nationalist composers. The work by which he is best remembered today, Goyescas, was originally a suite of piano pieces inspired by the paintings and tapestries of the famed Spanish artist Francisco de Goya; it was later re-worked into an opera. Concertgoers familiar with Granados’ piano Goyescas will search there in vain for the music of the opera-derived Intermezzo we hear tonight. Due to wartime conditions, the premiere of the short opera was held in New York in January 1916 at the Metropolitan Opera (paired with Pagliacci) rather than in Paris, where it was originally scheduled. During rehearsals, the management suggested the need for a purely instrumental interlude, which Granados quickly wrote and incorporated into the opera. Its sensuous melody, unequivocally Spanish flavor, orchestral mastery and aristocratic elegance combine to make the Intermezzo Granados’ single most popular piece today, enjoyable in numerous transcriptions for solo instruments as well as in its orchestral form.

GEORGES BIZET (1838-1875)Suite No. 2 from Carmen (1875) I. Marche des contrebandiers II. Habanera III. Nocturne IV. Chanson du toréador V. La Garde montante VI. Danse bohemienne

Spanish temperament, local colour, brilliant orchestration, vivid sensuality, a taut story, clearly motivated action, memorable tunes, and believable characters all contribute

to making Carmen perhaps the most popular and universally beloved opera ever written. Premiered in Paris on 3 March 1875, Carmen drew initial hostile response due to its realistic portrayal of unbridled human passions, its steamy title character, and a tragic ending for what was supposed to be an opéra-comique.

The suite we hear tonight opens with the “Marche des contrebandiers”, the smugglers’ march at the beginning of Act III. Near their hideout in the mountains, they make their slow, purposeful way through the mountain pass. The “Habanera” is a song and dance form of Cuban origin. Though sung by the title character as her entrance aria in Act I, the number stands equally well on its own as a purely orchestral piece. The “Nocturne” is actually an aria sung by Micaela in Act III (the melody is carried by the violin in the suite), where she prays for the safety of the man she loves. Next comes the proud song of the handsome toreador (bull fighter) Escamillo. “La Garde montante” depicts the antics of some ragamuffins as they observe the changing of the guard. The “Danse bohemienne” (gypsy dance) takes place at Lillas Pastia’s inn at the beginning of Act II. Amidst the company of smugglers and gypsies, Carmen sings a fiery song while dancers whirl about ever more brilliantly and the orchestra works itself into a frenzy.

NICOLAI RIMSKY-KORSAKOV (1844-1908)Capriccio espagnol, Op.34 (1887)

I. Alborada: Vivo e strepitoso II. Variations: Andante con moto III. Alborada: Vivo e strepitoso IV. Scene and Gypsy Song: Allegro V. Fandango of the Asturias: Animate

Rimsky-Korsakov, for all his world travel as a professional sailor, spent a mere three days in Spain as a youth. Yet his Capriccio espagnol so ebulliently captures the flavour of the land that a rumor circulated that he had taken out a three-year lease on a gypsy cave in Granada.

The composition had its genesis in a virtuoso fantasy on Spanish themes for violin and orchestra, sketched in 1886. But later Rimsky-Korsakov, realizing that in such a form the orchestra could never fulfill its potential for riotous colour, recast the work for orchestra alone.

There are five short, connected movements. The work opens with an “Alborada”, which is supposed to be a gentle, romantic song sung under a lady’s window in the morning, but Rimsky-Korsakov either didn’t know or didn’t care, for this alborada is loud, garish, and far more rousing than any alborada has a right to be! The second movement is more subdued, beginning with a genial theme played by a horn quartet, which is followed by five variations. The third movement returns to the dazzling opening alborada with some changes in the orchestration. The fourth movement begins with a parade of cadenzas: for brass ensemble, for solo violin, for flute, for clarinet, and for harp and triangle. The “Gypsy Song” follows, which moves with ever greater animation into the fifth movement, the “Gypsy Dance”, a zesty, vivacious fandango (a Spanish dance in triple meter with accompaniment for guitar and castanets). Rimsky-Korsakov evokes the guitar’s strumming effects with the entire string section, and the castanets are likewise much in evidence.

Note: Sectional string players are rotated within their sections. The listed names are correct at the time of publishing and are subject to change. *Extra musician.

Dewan Filharmonik PeTronaS

ChieF eXeCUTiVe oFFiCerNor Raina Yeong Abdullah

BUSineSS DeVeloPmenTWan Yuzaini Wan Yahya At Ziafrizani Chek PaNurartikah IlyasKartini Ratna Sari Ahmat AdamAishah Sarah Ismail Affendee

markeTinG Yazmin Lim AbdullahHisham Abdul JalilMunshi Ariff Abu HassanFarah Diyana IsmailNoor Sarul Intan SalimMuhammad Shahrir AizatAhmad Kusolehin Adha Kamaruddin

CUSTomer relaTionShiPmanaGemenTYayuk Yulinawati RilaJalwati Mohd Noor

mUSiC TalenT DeVeloPmenT &manaGemenTSoraya Mansor

PlanninG, FinanCe & iTMohd Hakimi Mohd RosliNorhisham Abd RahmanSiti Nur Ilyani Ahmad FadzillahNurfharah Farhana Hashimi

ProCUremenT & ConTraCTLogiswary RamanNorhaszilawati Zainudin

hUman reSoUrCe manaGemenT & aDminiSTraTionSharhida SaadMuknoazlida MukhadzimNor Afidah NordinNik Nurul Nadia Nik Abdullah

TeChniCal oPeraTionSFiroz KhanMohd Zamir Mohd IsaShahrul Rizal Mohd AliDayan Erwan MaharalZolkarnain Sarman

malaySian PhilharmoniCorCheSTra

ChieF eXeCUTiVe oFFiCerNor Raina Yeong Abdullah

General manaGerKhor Chin YangSoraya Mansor

General manaGer'S oFFiCeTimmy Ong

arTiSTiC aDminiSTraTion/ orCheSTra manaGemenT/ malaySian PhilharmoniC yoUThorCheSTraAhmad Muriz Che RoseSharon Francis LihanFadilah Kamal FrancisShireen Jasin MokhtarKatherine Tan Jia Yiing

mUSiC liBraryOng Li-HueyWong Seong SeongMuhamad Zaid Azzim Mohd Diah

eDUCaTion & oUTreaChShafrin SabriShireen Jasin Mokhtar

MALAYSIAN PHILHARMONIC ORCHESTRA

RESIDENT CONDUCTORNaohisa Furusawa

FIRST VIOLINCo-ConcertmasterPeter DanišPrincipalMing GohCo-PrincipalZhenzhen Liang

Runa BaagöeMaho DanišMiroslav DanišEvgeny KaplanMartijn NoomenSherwin ThiaMarcel AndriesiiTan Ka MingPetia AtanasovaIkuko Takahashi*Marco Roosink

SECOND VIOLINSection PrincipalTimothy PetersAssistant PrincipalLuisa Hyams

Catalina AlvarezChia-Nan HungAnastasia KiselevaStefan KocsisLing YunzhiIonut MazareanuYanbo ZhaoAi JinRobert Kopelman

VIOLACo-PrincipalGábor Mokány

Ong Lin KernSun YuanThian Ai WenFan RanEmil Csonka*Atelier Javier Lopez*Ida Margit Kovács*Yeo Jan Wea*Kazuyo Nozawa

CELLOCo-PrincipalCsaba KörösAssistant PrincipalSteven RetallickSub-PrincipalMátyás Major

Gerald DavisJulie DessureaultLaurentiu GhermanElizabeth Tan SuyinSejla Simon

DOUBLE BASSSection PrincipalWolfgang Steike

Raffael BietenhaderJun-Hee ChaeNaohisa FurusawaJohn KennedyFoo Yin HongAndreas Dehner

FLUTESection Principal*Johanna GruskinCo-PrincipalYukako YamamotoSub-PrincipalRachel Jenkyns

PICCOLOPrincipalSonia Croucher

OBOESection PrincipalSimon EmesSub-PrincipalNiels DittmannCo-Principal*Elisa Metus

CLARINETSection PrincipalGonzalo EstebanCo-PrincipalDavid Dias da SilvaSub-PrincipalMatthew Larsen

BASS CLARINETPrincipalChris Bosco

BASSOONSection PrincipalAlexandar LenkovCo-Principal*Ignacio PerezSub-PrincipalDenis Plangger

CONTRABASSOONPrincipalVladimir Stoyanov

HORNSection PrincipalGrzegorz CurylaCo-PrincipalJames SchumacherSub-PrincipalsLaurence Davies*Timothy SkellyAssistant PrincipalSim Chee Ghee

TRUMPETCo-PrincipalWilliam TheisSub-PrincipalJeffrey Missal

TROMBONESection Principal*Ricardo MollaCo-PrincipalFernando Borja

BASS TROMBONEPrincipal*William Baker

TIMPANISection PrincipalMatthew Thomas

PERCUSSIONSection PrincipalMatthew PrendergastSub-PrincipalsJoshua Vonderheide*Matthew Kantorski*Tan Su Yin

HARPPrincipalTan Keng Hong

PIANOAkiko Daniš

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Coriolan OverturePiano Concerto No. 2Don Giovanni OvertureSymphony No. 38 ‘Prague’

Malaysian Philharmonic OrchestraBenjamin Northey, conductor

Loo Bang Hean, piano

FRI 30 MAR 2018 8:30PMSAT 31 MAR 2018 8:30PM

DEWAN FILHARMONIK PETRONAS – 462692-XMALAYSIAN PHILHARMONIC ORCHESTRA – 463127-H

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