Saturday 10 January 2009 at 7.

30pm

Freiburg Baroque Orchestra

Ren Jacobs conductor

Haydn The Creation

Freiburg Baroque Orchestra

RIAS Chamber Choir
Ren Jacobs conductor
Julia Kleiter soprano Gabriel, Eve
Maximilian Schmitt tenor Uriel
Thomas Quasthoff bass-baritone Raphael, Adam

There will be one interval of 20 minutes between Parts 2 and 3.

Barbican Hall
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City of London
Corporation.

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Thomas Quasthoff
Die Stimme
Celebrating the remarkable voice of
German baritone Thomas Quasthoff
Wed 11 Mar 7.30pm
Thomas Quasthoff performs Bach Cantatas
and arias by Handel accompanied by the
Berliner Barocksolisten.
Sun 5 Apr 6pm
Bachs St Matthew Passion with the Gewandhaus
Orchestra Leipzig conducted by Riccardo Chailly.

Thu 29 Oct 7.30pm

Dorothea Rschmann, Angelika Kirchschlager,
Ian Bostridge and Thomas Quasthoff present an
evening of music by Schumann.
For more information and to book tickets
visit www.barbican.org.uk/diestimme
or call the Box Office on 0845 120 7557

The Barbican Centre is

provided by the City of London
Corporation as part of its
contribution to the cultural life
of London and the nation

Thomas Quasthoff Kasskara / DG

Tue 22 Sep 7pm

The London Symphony Orchestra and Chorus
performs Berliozs La Damnation de Faust with soloists
including Thomas Quasthoff and Bernarda Fink.
Conducted by Valery Gergiev.

Notes

Franz Joseph Haydn (17321809)

The Creation (Die Schpfung), HobXXI/2 (17968)

It was Haydns first visit to London that set in motion the

train of events that would lead to his most famous and
enduring masterpiece. At the 1791 Handel Festival in
Westminster Abbey he was overwhelmed by Messiah
and Israel in Egypt, in monster performances involving a
cast of hundreds. He reportedly wept during the
Hallelujah Chorus, proclaiming that Handel is master
of us all (sentiments later echoed by Beethoven).
According to one of his early biographers, Giuseppe
Carpani, Haydn confessed that he was struck as if he
had been put back to the beginning of his studies and
had known nothing up to that moment. He meditated on
every note and drew from those most learned scores the
essence of true musical grandeur.

But while Linley may well have passed the libretto on to

Salomon, he was no poet, and would in any case hardly
have been old enough to have had dealings with
Handel.
Haydn immediately saw the librettos potential for
musical setting. After returning to Vienna in August 1795
he showed it to the Imperial Court Librarian and Handel
enthusiast Baron Gottfried van Swieten who, in his own
words, resolved to clothe the English poem in German
garb. Although he endeavoured to follow the English
syllable for syllable where possible, Swieten often
judged it necessary that much should be abridged or
even omitted, on the one hand, and on the other, that
much should be given greater emphasis, and much
placed in the shade. After completing his German text,
he produced a parallel English version that, for all its
intermittent absurdities (the Barons English was less
perfect than he liked to think), retains a fair amount of
Milton and the St James Bible. The libretto was ready
towards the end of 1796, by which time Haydn had
already begun to sketch the Representation of Chaos.
Never one to hold back, Swieten annotated the
manuscript he prepared for Haydn with suggestions for
musical setting, some of which were adopted, others
rejected. He was, though, adamant that the words Let
there be Light / And there was Light should be sung only
once, thereby claiming a small share in one of musics
most elementally thrilling moments.

In London Haydn was fired with the idea of composing

an oratorio of his own on a similarly exalted biblical
theme. For the time being, though, his main energies
were channelled into the great series of symphonies for
the impresario Johann Peter Salomon. But during his
second London visit of 17945, Salomon handed him an
English libretto on the creation of the universe, based on
the accounts in Genesis and Miltons Paradise Lost.
Perhaps Salomon hoped that the oratorio would be the
bait with which to secure Haydn for a third English visit.
The (lost) librettos origins have prompted much
speculation. One contemporary commentator claimed it
was intended for Handel, while Haydn later told his
friend and biographer Georg Griesinger that the author
was an Englishman by the name of Lidley. No plausible
With its evocation of a benevolent, rationally ordered
candidate of that name has ever been identified; and it
universe and its essentially optimistic view of humanity,
was long assumed that the author was in fact the
The Creation was perfectly in accord with the temper of
composer/impresario Thomas Linley the Elder (173395).

Notes

the Enlightenment (the Fall is referred to only en passant

in the tenor recitative before the final chorus and, more
obliquely, in the shrouded bass solo at the centre of the
trio On thee each living soul awaits). Its theological
content, minimising conflict, guilt and retribution, also
chimed in with Haydns own reverent Catholic faith not
of the gloomy, always suffering sort, but rather cheerful
and reconciled, as Griesinger put it.
Haydn spent most of 1797 working on The Creation,
completing the score by the end of the year. The first
performance, before an invited, predominantly
aristocratic, audience, took place at the Schwarzenberg
Palace in Vienna on 30 April 1798. The reception was
ecstatic. One guest reported that in the moment when
Light broke forth for the first time, one would have said
that light-rays darted from the composers blazing eyes.
The enchantment of the electrified Viennese was so
profound that the performance could not continue for
several minutes.
After further, semi-private, performances at the Palais
Schwarzenberg in May 1798, the official public
premiere, on a grand scale (reports suggest some 120
instrumentalists and an all-male choir of around 60), was
given in the Imperial Burgtheater on 19 March 1799.
Receipts broke all records for Viennese theatres. One
eyewitness, Johan Berwald (cousin of the Swedish
composer Franz), reported that the whole performance
went off wonderfully. Between the sections of the work,

tumultuous applause; during each section, however, it

was as still as the grave. When it was over there were
calls, Father Haydn to the front!. Finally the old man
came forward and was greeted with a tumultuous
applaudissement and with cries, Long live Father
Haydn, long live music!
Charity performances of The Creation quickly became a
regular feature of the Viennese musical scene. Writing of
a performance in aid of wounded soldiers, Griesinger
remarked that this music seems to have been made to
help collect money for good works. The London
premiere took place at Covent Garden on 28 March
1800. Haydn himself sanctioned translations into French
and Italian. And within a few years his joyous celebration
of the universe, an idyllic vision that contrasted
poignantly with the horrors of the Napoleonic wars, was
being acclaimed throughout Europe.

A key factor in the librettos appeal for Haydn was surely

the simplicity and strength of its structure. In the first two
parts the six days of creation are announced in secco
(dry) recitative by one of the three archangels, Raphael
(baritone/bass), Uriel (tenor) and Gabriel (soprano);
after each act of creation the archangels expatiate on
its wonders in accompanied recitative and aria; and
each day after the first (which ends with the delightful,
faux-naf chorus heralding the new created world)
culminates in a hymn of praise by the heavenly hosts.

Notes

Part 3, depicting the first morning in Eden, Adam and

Eves praise of all creation and their mutual love, falls
into two sections, each likewise reaching a climax in a
jubilant chorus.
The arias and accompanied recitatives gave Haydn
glorious opportunities to indulge in his love of
instrumental tone-painting, using techniques honed in his
operas, and fired by the example of Handels Israel in
Egypt. In the superb D minor bass aria, Rolling in
foaming billows, tone-painting permeates the whole
texture, beginning with the powerful evocation of the
turbulent ocean. The jagged second subject (as usual in
The Creation, the aria adapts elements of sonata form to
the requirements of the text) portrays the rocks and
mountains; and a modulating development, with
beautiful contrapuntal writing for oboes and bassoon
against pictorial violin flourishes, introduces the serpent
error of the rivers. The final section functions as a
recapitulation. Here Haydn tenderly depicts the limpid
brook with a turn to D major and a new lyrical melody
that turns out to be a variation of the D minor opening.
Another inspired bass moment is Raphaels description
of the great whales in Part 2 (And God created great
whales). Haydn originally set this as dry recitative, before
recasting Gods words as an arioso with a mysterious,
shadowy accompaniment for divided violas and cellos.
In the new Romantic aesthetic that abhorred nave
imitation, the more obvious pictorialisms in The Creation

came under fire even during Haydns lifetime. To us they

are among the oratorios most endearing features. In
Gabriels delectable avian aria in Part 2 (On mighty
pens uplifted), soprano and woodwind (including the
clarinet, that beautiful latecomer to Haydns orchestral
palette) evoke each of the birds in turn: eagle, lark, dove
(with trilling coloratura) and, finally, the nightingales
sweet notes. Even more graphic is the famous zoological
extravaganza in Part 2 (Straight opening her fertile
womb), where Haydn has a field day illustrating the lion
(with a gleeful, dissonant roar for trombones and
contrabassoon), the flexible tiger, the noble steed, then,
with a poetic shift from D flat to a remote A major, the
cattle and sheep. After the buzzing insects he describes
the worms sinuous trace in a comically solemn Adagio.
Grandeur and Haydns trademark humour also rub
shoulders in the following bass aria, Now heavn in
fullest glory shone, where the heavy beasts arrive
courtesy of rude belches on the contrabassoon.
Wholly serious in tone is Uriels C major aria In native
worth, well described by the musicologist Donald Tovey
as not only the quintessence of Haydn but the perfection
of bel canto. The majestic, masculine opening section,
portraying the first man, reaches a climax with an
emphatic cadence in the dominant, G major; then, just as
Haydn appears to be repeating the same procedure, he
deflects magically to the distant key of A flat major one
of the most poetic tonal surprises in all Haydn.
Corresponding to biblical (and 18th-century) notions of

Notes

femininity, the second section fashions softer contours

a summary of the whole oratorio where, in a kind of
from Adams proud theme, with limpid woodwind writing celestial Cooks Tour, Adam and Eve enjoin each element
and a gorgeous lyrical obbligato for solo cello.
of creation in turn to praise God.
The most celebrated single number in The Creation is the
introductory Representation of Chaos, a harmonically
audacious and miraculously scored evocation of the
primal void. Here vague thematic fragments grope and
twist through tonal nebulae, constantly evading the
resolutions the ear expects. Towards the end Haydn even
anticipates Wagners famously shocking Tristan chord.
The whole movement is the epitome of what the 18thcentury Irish political philosopher and aesthetician
Edmund Burke termed the sublime in music, calculated
to evoke, wonder, awe, even terror. Hardly less sublime
are the first sunrise (In splendour bright is rising now), as
elementally moving as the choral explosion on Light,
and the wonderfully veiled, mysterious moonrise.
In the celebratory choruses above all Awake the harp
and the monumental closing chorus of Part 2, Achieved
is the glorious work Haydn deploys his contrapuntal
mastery with a freedom and brilliance of effect that
reflect Handels example. In several numbers, though, he
integrates soloists and chorus, a technique rarely
encountered in Handel: in, say, the famous chorus that
ends Part 1, The heavens are telling, with its sensational
chromatic climax, all the more overwhelming because of
the preceding emphasis on C major; in the trio and
chorus No. 19 (The Lord is great), where soprano and
tenor spin coloratura cascades around the choral lines;
or in the magnificent Hymn in Part 3 (By thee with bliss),
6

Until quite recently critics tended to frown on Adam and

Eves love duet, Graceful consort!, as too demotic for
such exalted surroundings. But as the great Haydn
scholar-populariser H. C. Robbins Landon has argued, its
contredanse rhythms, tootling woodwind and Viennese
Singspiel associations shades here of a slightly more
musically sophisticated Papageno and Papagena
accord perfectly with the subject matter: whereas in the
Hymn Adam and Eve aligned themselves with the angels,
here they appear as everyman and everywoman, in all
their joyous, innocent sensuality.
Replying to a letter expressing admiration for The
Creation, Haydn wrote that Often, when I was struggling
with all kinds of obstacles a secret voice whispered to
me: There are so few happy and contented people in
this world; sorrow and grief follow them everywhere;
perhaps your labour will become a source from which
the careworn will for a while derive peace and
refreshment. These words are typical of a devout,
humble yet by no means nave man, one acutely
conscious of his own worth. Haydns hopes were
richly fulfilled in his lifetime. In our own sceptical and
precarious age we can still delight, perhaps with a
touch of nostalgia, in Haydns unsullied optimism,
expressed in some of the most lovable and life-affirming
music ever composed.
Programme note Richard Wigmore

Text and translation

Die Schpfung

The Creation

Part 1
Overture: The representation of Chaos
THE FIRST DAY
Recitative Raphael
Im Anfange schuf Gott Himmel und Erde;
und die Erde war ohne Form und leer.
Und Finsternis war auf der Flche der Tiefe.

Chorus
Und der Geist Gottes schwebte auf der Flche der
Wasser.
Und Gott sprach:
Es werde Licht!
Und es ward Licht.
Recitative Uriel
Und Gott sah das Licht, dass es gut war;
und Gott schied das Licht von der Finsternis.

In the beginning God created the heaven and the earth;

and the earth was without form and void.
And darkness was upon the face of the deep.

And the Spirit of God moved upon the face of the waters.
And God said:
Let there be Light,
and there was Light.

And God saw the Light, that it was good;

and God divided the Light from the darkness.
(Genesis I: 14)

Aria Uriel
Nun schwanden vor dem heiligen Strahle
des schwarzen Dunkels gruliche Schatten;
der erste Tag entstand.
Verwirrung weicht und Ordnung keimt empor.
Erstarrt entflieht
der Hllengeister Schar
in des Abgrunds Tiefen hinab,
zur ewigen Nacht.

Now vanish before the holy beams

the gloomy dismal shades of dark;
the first of days appears.
Disorder yields to order fair the place.
Affrighted fled hells spirits,
black in throngs;
down they sink in the deep of abyss,
to endless night.

Chorus
Verzweiflung, Wut und Schrecken
begleiten ihren Sturz.
Und eine neue Welt
entspringt auf Gottes Wort.

Despairing cursing rage

attends their rapid fall.
A new created world
springs up at Gods command.

Please turn page quietly

7

Text and translation

THE SECOND DAY
Recitative Raphael
Und Gott machte das Firmament
und teilte die Wasser,
die unter dem Firmament waren,
von den Wassern,
die ber dem Firmament waren,
und es ward so.

And God made the firmament,

and divided the waters,
which were under the firmament,
from the waters,
which were above the firmament,
and it was so.

Da tobten brausend
heftige Strme.
Wie Spreu vor dem Winde,
so flogen die Wolken.
Die Luft durchschnitten feurige Blitze,
und schrecklich rollten die Donner umher.
Der Flut entstieg auf sein Geheiss
der allerquickende Regen,
der allverheerende Schauer,
der leichte, flockige Schnee.

Outrageous storms
now dreadful arose;
as chaff by the winds
are impelled the clouds.
By heavens fire the sky is enflamed
and awful rolled the thunders on high.
Now from the floods in steams ascend
reviving showers of rain,
the dreary wasteful hail,
the light and flaky snow.

Solo Gabriel
Mit Staunen sieht das Wunderwerk
der Himmelsbrger frohe Schar,
und laut ertnt aus ihren Kehlen
der Schpfers Lob,
das Lob des zweiten Tags.

The marvllous work beholds amazd

the glorious hierarchy of heavn
and to th ethereal vaults resound
the praise of God,
and of the second day.

Chorus
Und laut ertnt aus ihren Kehlen, etc.

THE THIRD DAY

Recitative Raphael
Und Gott sprach:
Es sammle sich das Wasser unter dem Himmel
zusammen an einem Platz,
und es erscheine das trockne Land.
Und es ward so.
Und Gott nannte das trockne Land Erde,
und die Sammlung der Wasser nannte er Meer;
und Gott sah, dass es gut war.

And to th ethereal vaults resound, etc.

(Genesis I: 7)

And God said:

Let the waters under the heaven
be gathered together unto one place,
and let the dry land appear;
and it was so.
And God called the dry land earth,
and the gathering of waters called he seas;
and God saw that it was good.
(Genesis I: 910)

Text and translation

Aria Raphael
Rollend in schumenden Wellen
bewegt sich ungestm das Meer.
Hgel und Felsen erscheinen;
der Berge Gipfel steigt empor.
Die Flche, weit gedehnt, durchluft
der breite Strom in mancher Krmme.
Leise rauschend gleitet fort
im stillen Tal der helle Bach.
Recitative Gabriel
Und Gott sprach:
Es bringe die Erde Gras hervor, Kruter, die
Samen geben,
und Obstbume, die Frchte bringen ihrer Art gemss,
die ihren Samen in sich selbst haben auf der Erde!
Und es ward so.

Rolling in foaming billows

uplifted roars the boistrous sea.
Mountains and rocks now emerge
their tops into the clouds ascend.
Through th open plains outstretching wide
in serpent error rivers flow.
Softly purling glides on
through silent vales the limpid brook

And God said:

Let the earth bring forth grass, the herb yielding seed
and the fruit tree yielding fruit after his kind,
whose seed is in itself upon the earth;
and it was so.
(Genesis I: 11)

Aria Gabriel
Nun beut die Flur
das frische Frn
dem Auge zur Ergtzung dar;
den anmutsvollen Blick
drhht der Blumen sanfter Schmuck.
Hier duften Kruter Balsam aus,
hier sprosst den Wunden Heil.
Die Zweige krmmt der goldnen Frchte Last;
hier wlbt der Hain zum khlen Schirme sich;
den steilen Berg bekrnt ein dichter Wald.

With verdure clad

the fields appear
delightful to the ravishd sense;
by flowers sweet and gay
enhanced is the charming sight.
Here vent their fumes the fragrant herbs;
here shoots the healing plant.
By load of fruits th expanded boughs are pressd;
to shady vaults are bent the tufty groves;
the mountains brow is crownd with closed wood.

Recitative Uriel
Und die himmlischen Heerscharen
verkndigten den dritten Tag,
Gott preisend und sprechend:

And the heavenly host

proclaimed the third day,
praising God and saying:

Chorus
Stimmt an die Saiten, ergreift die Leier!
Lasst euren Lobgesang erschallen!
Frohlocket dem Herrn, dem mchtigen Gott!
Denn er hat Himmel und Erde
bekleidet in herrlicher Pracht.

Awake the harp, the lyre awake!

In shout and joy your voices raise!
In triumph sing the mighty Lord!
For he the heavens and earth
has clothed in stately dress.

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9

Text and translation

THE FOURTH DAY
Recitative Uriel
Und Gott sprach:
Es sein Lichter an der Feste des Himmels,
um den Tag von der Nacht zu scheiden,
und Licht auf der Erde zu geben;
und es sein diese fr Zeichen und fr Zeiten
und fr Tage und fr Jahre!
Er machte die Sterne gleichfalls.

And God said:

Let there be lights in the firmament of heaven
to divide the day from the night,
and to give light upon the earth;
and let them be for signs and for seasons,
and for days, and for years.
He made the stars also.
(Genesis I: 1416)

Recitative Uriel
In vollem Glanze steigen jetzt
die Sonne strahlend auf;
ein wonnevoller Brutigam,
ein Riese stolz und froh,
zu rennen seine Bahn.
Mit leisem Gang und sanftem Schimmer
schleicht der Mond
die stille Nacht hindurch.
Den ausgedehnten Himmelsraum
ziert ohne Zahl
der hellen Sterne Gold,
und die Shnes Gottes
verkndigten den vierten Tag
mit himmlischem Gesang,
seine Macht ausrufend also:

In splendour bright is rising now

the sun and darts his rays;
an arnrous, joyful, happy spouse,
a giant proud and glad
to run his measurd course.
With softer beams and milder light
steps on the silver moon
thro silent night.
The space immense of th azure sky
innumrous host
of radiant orbs adorns,
and the sons of God
announced the fourth day
in song divine,
proclaiming thus his power:

Chorus and Trio

Chorus
Die Himmel erzhlen
die Ehre Gottes;
und seiner Hnde Werk
zeigt an das Firmament.

The heavens are telling

the glory of God;
the wonder of his works
displays the firmament.

Gabriel, Uriel, Raphael

Dem kommenden Tage
sagt es der Tag;
die Nacht, die verschwand,
der folgenden Nacht.

To day that is coming

speaks it the day;
the night that is gone
to following night.

10

Text and translation

Chorus
Die Himmel erzhlen, etc.

The heavens are telling, etc.

Gabriel, Uriel, Raphael

In alle Welt
ergeht das Wort,
jedem Ohre kilngend,
keiner Zunge fremd.

In all the lands

resounds the word,
never unperceived,
ever understood.

Chorus
Die Himmel erzhlen, etc.

The heavens are telling, etc.

Part 2
THE FIFTH DAY
Recitative Gabriel
Und Gott sprach:
Es bringe das Wasser
in der Flle hervor webende Geschpfe,
die Leben haben, und Vgel,
die ber der Erde fligen mgen
in dem offenen Firmamente des Himmels.

Aria Gabriel
Auf straken Fittichen
schwinget sich der Adler stolz
und teilet die Luft im schnellesten Fluge
zur Sonne hin.
Den Morgen frsst
der Lerche frohes Lied,
und Liebe girrt
das zarte Taubenpaar.
Aus jedem Busch und Hain erschallt
der Nachtigallen ssse Kehle.
Noch drckte Gram nicht ihre Brust,
noch war zur Klage nicht gestimmt
ihr reizender Gesang.
Recitative Raphael
Und Gott schuf grosse Walfische
und ein jedes lebende Geschpf, das sich beweget,
und Gott segnete sie, sprechend:

And God said:

Let the waters bring forth
abundantly the moving creature
that hath life, and fowl,
that may fly above the earth
in the open firmament of heaven.
(Genesis 1:20)

On mighty pens uplifted

soars the eagle aloft,
and cleaves the sky in swiftest flight
to the blazing sun.
His welcome bids to morn
the merry lark,
and cooing calls
the tender dove his mate.
From evry bush and grove resound
the nightingales delightful notes.
No grief affected yet her breast,
nor to a mournful tale were tund
her soft, enchanting lays.

And God created great whales,

and evry living creature that moveth,
and God blessed them, saying:
(Genesis I 212)
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11

Text and translation

Seid fruchtbar alle, mehret euch!
Bewohner der Luft, vermehret euch
und singt auf jedem Aste!
Mehret euch, ihr Flutenbewohner,
und fllet jede Tiefe!
Seid fruchtbar, wachset, mehret euch!
Erfreut euch in eurem Gott!

Be fruitful all, and multiply!

Ye winged tribes, be multiplied,
and sing on evry tree!
Multiply, ye finny tribes,
and fill each watry deep!
Be fruitful, grow and multiply!
And in your God and Lord rejoice!

Recitative Raphael
Und die Engel rhrten
ihr unsterblichen Harfen
und sangen die Wunder des fnften Tags.

And the angels struck

their immortal harps,
and the wonders of the fifth day sang.

Trio
Gabriel
In holder Anmut stehn,
mit jungem Grn geschmckt,
die wogichten Hgel da.
Aus ihren Adern quillt
in fliessendem Kristall
der khlende Bach hervor.

Most beautiful appear,

with verdure young adornd,
the gently sloping hills.
Their narrow, sinuous veins
distil in crystal drops
the fountain fresh and bright.

Uriel
In frohen Kreisen schwebt,
sich wigend in der Luft,
der munteren Vgel Schar.
Den bunten Federglanz
erhht im Wechselflug
das goldene Sonnenlicht.

In lofty circles plays

and hovers through the sky
the cheerful host of birds.
And in the flying whirl,
the glittring plumes are dyed,
as rainbows, by the sun.

Raphael
Das helle Nass durchblitzt
Der Fisch und windet sich
in stetem Gewhl umher.
Vom tiefsten Meeresgrund
wlzt sich Leviathan
auf schumender Well empor.

See flashing through the wet

in thronged swarms the fry
on thousand ways around.
Upheaved from the deep,
th immense Leviathan
sports on the foaming wave.

Gabriel, Uriel, Raphael

Wie viel sind deine Werk, o Gott!
Wer fasset ihre Zahl?

How many are thy works, O God!

Who may their numbers tell?

Trio and Chorus

Der Herr ist gros in seiner Macht,
und ewig bleibt sein Ruhm.

The Lord is great, and great his might;

His glory lasts for ever and for evermore.

12

Text and translation

THE SIXTH DAY
Recitative Raphael
Und Gott sprach:
Es bringe die Erde hervor
lebende Geschpfe nach ihrer Art,
Vieh und kriechendes Gewrm,
und Tiere der Erde
nach ihren Gattungen!

Recitative Raphael
Gleich ffnet sich der Erde Schoss,
und sie gebiert auf Gottes Wort
Geschpfe jeder Art,
in vollem Wuchs und ohne Zahl.
Vor Freude brllend
steht der Lwe da.
Hier schiesst,
der gelenkige Tiger empor.
Das zackig Haupt
erhebt der schnelle Hirsch.
Mit fliegender Mhne springt und wiehre
voll Mut und Kraft das edle Ross.
Auf grnen Matten weidet
schon das Rind,
in Herden abgeteilt.
Die Triften deckt, als wie gest,
das wollenreiche,
sanfte Schaf.
Wie Staub verbreitet sich
in Schwarm und Wirbel
das Heer der Insekten.
In langen Zgen kriecht
am Boden das Gewrm.
Aria Raphael
Nun scheint in vollem Glanze der Himmel,
nun prangt in ihrem Schmucke die Erde.
Die Luft erfllt das weiche Gefieder,
die Wasser schwellt der Fische Gewimmel,
den Boden drckt der Tiere Last.
Doch war noch alles nicht vollbracht.
Dem Ganzen fehlte das Geschpf,
das Gottes Werke dankbar sehn,
des Herren Gte preisen soll.

And God said:

Let the earth bring forth
the living creature after his kind;
cattle and creeping thing,
and beasts of the earth
after their kind.
(Genesis 1:24)

Straight opening her fertile womb,

the earth obeyd the word,
and teemd creatures numberless,
in perfect forms and fully grown.
Cheerful roaring stands
the tawny lion.
In sudden leaps
the flexible tiger appears.
The nimble stag
bears up his branching head.
With flying mane and fiery look,
impatient neighs the sprightly steed.
The cattle in herds already seek
their food on fields
and meadows green.
And oer the ground, as plants,
are spread the fleecy,
meek and bleating flock.
Unnumberd as the sands
in whirls arose
the host of insects.
In long dimensions creeps
with sinuous trace the worm.

Now heavn in fullest glory shone;

earth smiles in all her rich attire.
The room of air with fowl is filld;
the water swelld by shoals of fish;
by heavy beasts the ground is trod.
But all the work was not complete.
There wanted yet that wondrous being
that grateful should Gods powr admire,
with heart and voice his goodness praise.
Please turn page quietly
13

Text and translation

Recitative Uriel
Und Gott schuf den Menschen nach seinem Ebenbilde,
nach dem Ebenbilde Gottes schuf er ihn.
Mann und Weib erschuf er sie.
Den Atem des Lebens hauchte er in sein Angesicht,
und der Mensch wurde zur lebendigen Seele.

And God created man in his own image.

In the image of God created he him.
Male and female created he them.
He breathed into his nostrils the breath of life,
and man became a living soul.
(Genesis 1:27; 2: 7)

Aria Uriel
Mit Wrd und Hoheit angetan,
mit Schnheit, Strk und Mut begabt,
gen Himmel aufgerichtet, steht der Mensch,
ein Mann und Knig der Natur.
Der breitgewlbt erhabne Stirn
verkndt der Weisheit tiefen Sinn,
und aus dem hellen Blicke strahlt der Geist,
des Schpfers Hauch und Ebenbild.
An seinen Busen schmieget sich,
fr ihn, aus ihm geformt,
die Gattin hold und anmutsvoll.
In froher Unschuld lchelt sie,
des Frhlings reizend Bild,
ihm Liebe, Glck und Wonne zu.

In native worth and honour clad,

with beauty, courage, strength adornd,
to heavn erect and tall, he stands a man,
the Lord and King of nature all.
The large and arched front sublime
of wisdom deep declares the seat,
and in his eyes with brightness shines the soul,
the breath and image of his God.
With fondness leans upon his breast
the partner for him formd,
a woman fair and graceful spouse.
Her softly smiling virgin looks,
of flowry spring the mirror,
bespeak him love, and joy, and bliss.

Recitative Raphael
Und Gott sah jedes Ding,
war er gemacht hatte,
und es war sehr gut;
und der himmlische Chor feierte das Ende
des sechsten Tages mit lautem Gesang.

And God saw evrything,

that he had made;
and behold, it was very good;
and the heavenly choir in song divine
thus closed the sixth day.

Chorus and Trio

Chorus
Vollendet ist das grosse Werk;
der Schpfer sieshts und freuet sich.
Auch unsre Freud erschalle laut.
Des Herren Lob sei unser Lied!

Achieved is the glorious work;

the Lord beholds it and is pleasd.
In lofty strains let us rejoice!
Our song let be the praise of God!

Gabriel, Uriel
Zu dir, o Herr, blickt alles auf;
um Speise fleht dich alles an.
Du ffnest deine Hand;
gesttigt werden sie.

On thee each living soul awaits;

from thee, O Lord, they beg their meat.
Thou openest thy hand,
and sated all are they.

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Text and translation

Raphael
Du wendest ab dei Angesicht;
da bebet alles und erstarrt.
Du nimmst den Odem weg;
in Staub zerfallen sie.

But as to them thy face is hid,

with sudden terror they are struck.
Thou takst their breath away;
they vanish into dust.

Gabriel, Uriel, Raphael

Den Odem hauchst du wieder aus,
und neues Leben sprosst hervor.
Verjngst ist die Gestalt
der Erd an Reiz und Kraft.

Thou lettst thy breath go forth again,

and life with vigour fresh returns.
Revived earth unfolds new force
and new delights.

Chorus
Vollendet ist das grosse Werk.
Des Herren Lob sei unser Lied!
Alles lobe seinen Namen,
denn er allein ist hoch erhaben.
Alleluia.

Achieved is the glorious work.

Our song let be the praise of God!
Glory to his name for ever;
he sole on high exalted reigns.
Alleluia.

INTERVAL 20 minutes

Part 3
ADAM AND EVE IN EDEN
Introduction (Morning) and Recitative Uriel
Aus Rosenwolken bricht,
geweckt durch sssen Klang,
der Morgen jung und schn.
Vomm himmlischen Gewlbe
strmt reine Harmonie
zur Erde hinab.
Seht das beglckte Paar,
wie Hand in Hand es geht!
Aus ihren Blicken strahlt
des heissen Danks Gefhl.
Bald singt in lautem Ton
ihr Mund des Schpfers Lob.
Lasst unsre Stimme dann
sich mengen in ihr Lied!

In rosy mantle appears,

by tunes sweet awakd,
the morning young and fair.
From the celestial vaults
pure harmony descends
on ravished earth.
Behold the blissful pair,
where hand in hand they go!
Their flaming looks express
what feels the grateful heart.
A louder praise of God
their lips shall utter soon.
Then let our voices ring,
united with their song!

Please turn page quietly

15

Text and translation

Duet Adam, Eve
Von deiner Gt, o Herr und Gott,
ist Erd und Himmel voll.
Die Welt, so gross, so wunderbar,
ist deiner Hnde Werk.

By thee with bliss, O bounteous Lord,

the heavn and earth are stord.
This world, so great, so wonderful,
thy mighty hand has framd.

Chorus
Gesegnet sei des Herren Macht!
Sein Lob eerschall in Ewigkeit!

For ever blessed be his powr!

His name be ever magnifyd!

Adam
Du Sterne hellster, o wie schn
verkndest du den Tag!
Wie schmckst du ihn, o Sonne, du,
des Weltalls Seel und Aug!

Of stars the fairest, O how sweet

thy smile at dawning morn!
How brightenst thou, O sun, the day,
thou eye and soul of all!

Chorus
Macht kund auf eurer weiten Bahn
des Herren Macht und seinen Ruhm!

Proclaim in your extended course

th almighty powr and praise of God!

Eve
Und du, der Nchte Zierd und Trost,
und all das strahlend Heer,
verbreitet berall, verbreitet sein Lob
in eurem Chorgesang!

And thou that rules the silent night,

and all ye starry host,
spread wide and evrywhere his praise
in choral songs about!

Adam
Ihr Elemente, deren Kraft
stets neue Formen zeugt,
ihr Dnst und Nebel, die der Wind
versammelt und vertreibt:

Ye strong and cumbrous elements,

who ceaseless changes make,
ye dusky mists and dewy steams,
who rise and fall through th air:

Eve, Adam, Chorus

Lobsinget alle Gott dem Herrn!
Gross wie sein Nam ist seine Macht!

Resound the praise of God our Lord!

Great his name, and great his might.

Eve
Sanft rauschend lobt, o Quellen, ihr!
Den Wipfel neigt, ihr Bum!
Ihr Pflanzen, dftet, Blumen, haucht
ihm euren Wohlgeruch!

Ye purling fountains tune his praise,

and wave your tops ye pines!
Ye plants exhale, ye flowers breathe
at him your balmy scent!

Adam
Ihr, deren Pfad die Hhn erklimmt,
und ihr, die niedrig kriecht,
ihr deren Flug die Luft durchschneidt,

Ye that on mountains stately tread,

and ye, that lowly creep,
ye birds that sing at heavens gate,

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Text and translation

und ihr, im tiefen Nass,

and ye, that swim the stream,

Eve, Adam, Chorus

ihr Tiere, preiset alle Gott!
Ihn lobe, was nur Odem hat!

Ye living souls extol the Lord!

Him celebrate, him magnify!

Eve, Adam
Ihr dunklen Hain, ihr Berg und Tal,
ihr Zeugen unsres Danks,
ertnen sollt ihr frh und spt
von unsrem Lobgesang.

Ye values, hills, and shady woods,

our rapturd notes ye heard;
from morn to evn you shall repeat
our grateful hymns of praise.

Chorus
Heil dir, o Gott!
O Schpfer, Heil!
Aus deinem Wort entstand die Welt.
Dich beten Erd und Himmel an;
wir preisen dich in Ewigkeit.

Hail, bounteous Lord!

Almighty, hail!
Thy word calld forth this wondrous frame.
Thy powr adore the heavn and earth:
we praise thee now and evermore.

Recitative Adam, Eve

Adam
Nun ist die erste Pflicht erfllt;
dem Schpfer haben wir gedankt.
Nun folge mir,
Gefhrtin meines Lebens!
Ich leite dich, und jeder Schritt
weckt neue Freud
in unsrer Brust,
zeigt Wunder berall.
Erkennen sollst du dann,
welch unaussprechlich Glck
der Herr uns zugedacht,
ihn preisen immerdar,
ihm weihen Herz und Sinn.
Komm, folge mir!
Ich leite dich!

Our duty we performed now,

in offring up to God our thanks.
Now follow me,
dear partner of my life!
Thy guide Ill be, and evry step
pours new delights
into our breast,
shows wonders evrywhere.
Then mayst thou feel and know
the high degree of bliss
the Lord allotted us,
and with devoted heart
his bounty celebrate.
Come follow me!
Thy guide Ill be!

Eve
O du, fr den ich ward!
Mein Schirm, mein Schild, mein All!
Dein Will ist mir Gesetz.
So hats der Herr bestimmt,
und dir gehorchen bringt mir Freude,
Glck und Ruhm.

O thou, for whom I am!

My help, my shield, my all!
Thy will is law to me.
So God, our Lord, ordains,
and from obedience grows
my pride and happiness.
Please turn page quietly
17

Text and translation

Duet Adam, Eve
Adam
Holde Gattin! Dir zur Seite
fliessen sanft die Stunden hin.
Jeder Augenblick ist Wonne,
keine Sorge trbet sie.

Graceful consort! At thy side

softly fly the golden hours.
Evry moment brings new rapture,
evry care is put to rest.

Eve
Teurer Gatte! Dir zur Seite
schwimmt in Freuden mir das Herz.
Dir gewidmet ist mein Leben;
deine Liebe sei mein Lohn.

Spouse adored! At thy side

purest joys oerflow the heart.
Life and all I am is thine;
my reward thy love shall be.

Adam
Der tauende Morgen,
o wie ermuntert er!

The dew dropping morn,

O how she quickens all!

Eve
Die Khle des Abends,
o wie erquicket sie!

The coolness of evn,

O how she all restores!

Adam
Wie labend ist
der runden Frchte Saft!

How grateful is
of fruit the savour sweet!

Eve
Wie reizend ist
der Blumen ssser Duft!

How pleasing is
of fragrant bloom the smell!

Adam, Eve
Doch ohne dich, was wre mir
der Morgentau,
der Abendhauch,
der Frchte Saft,
der Blumen Duft!
Mit dir erhht sich hede Freude,
mit dir geniess ich doppelt sie,
mit dir ist Seligkeit das Leben,
dir sei es ganz geweiht.

But without thee, what is to me

the morning dew,
the breath of evn,
the savry fruit,
the fragrant bloom?
With thee is evry joy enhanced,
with thee delight is ever new;
with thee is life incessant bliss;
thine it whole shall be.

18

Text and translation

Final Scene
Recitative Uriel
O glcklich Paar, und glcklich immerfort,
wenn falscher Wahn euch nicht verfhrt,
noch mehr zu wnschen, als ihr habt,
und mehr zu wissen, als ihr sollt!

O happy pair, and always happy yet,

if not misled by false conceit,
ye strive at more as granted is,
and more to know as know ye should!

Chorus and Soloists

Singt dem Herren, alle Stimmen!
Dank ihm alle seine Werke!
Lasst zu Ehren seines Namens
Lob in Wettgewang erschallen!
Des Herren Ruhm,
er bleibt in Ewigkeit.
Amen.

Sing the Lord, ye voices all!

Utter thanks, ye all his works!
Celebrate his powr and glory!
Let his name resound on high!
The Lord is great;
his praise shall last for aye.
Amen.

Baron Gottfried van Swieten (17331803)

Anonymous English text compiled from biblical sources and

from Paradise Lost by John Milton (160874)

19

About the performers

Ren Jacobs began his career as

a choirboy in his native city of
Ghent. He continued his musical
training in Brussels and at The
Hague. He met the Kuijken
brothers, Alfred Deller and
Gustav Leonhardt, who
encouraged him to become a
countertenor, which led to recitals
all over the world.
In 1977 he founded Concerto Vocale. His work as a
conductor subsequently saw him leading performances
of operas by Monteverdi, Cesti, Cavalli, Gluck and
Handel in leading venues in Europe and Japan. Most of
these have been recorded and won prestigious awards.
Since 1997 he has been artistic director of the Innsbruck
Festival, while in his capacity as principal guest conductor
and artistic adviser for Baroque repertoire at the Berlin
Staatsoper he has conducted Telemanns Orpheus,
Grauns Cleopatra e Cesare, Gassmanns Opera seria,
Handels Semele and Rinaldo, Keisers Croesus,
Alessandro Scarlattis Griselda and Haydns Il mondo
della luna. He has also appeared at La Monnaie in
Brussels, conducting operas by Monteverdi, Handel and
Mozart.

Julia Kleiter soprano

Werner Kmetitsch

Ren Jacobs conductor

German soprano Julia Kleiter

made her operatic debut in 2004,
as Pamina (The Magic Flute) with
Opra-Bastille in Paris. She has
since worked with leading
conductors including Claudio
Abbado, Semyon Bychkov,
Nikolaus Harnoncourt, Thomas
Hengelbrock, Marc Minkowski,
Franz Welser-Mst and Riccardo
Muti, in repertoire which includes works by J. C. Bach,
Beethoven, Gluck, Handel, Mozart, Mussorgsky and
Richard Strauss.

This seasons highlights include a duo recital with

Christoph Prgardien at the Schubertiade in
Schwarzenberg, a song recital in Salzburg, a new
production of Fidelio in Paris and Der Freischtz at the
Baden-Baden Festival and in Dortmund, a tour of
Haydns The Creation, concerts marking Mendelssohns
anniversary in Amsterdam and Sophie (Der
Rosenkavalier) and Susanna (The Marriage of Figaro) in
Dresden. Later this year she will also sing in The
Marriage of Figaro at the Salzburg Festival, conducted
by Daniel Harding, and in a new production of Haydns
Il mondo della luna under Nikolaus Harnoncourt at
Theater an der Wien. She makes her debuts with the
For several years Ren Jacobs was a professor at the
New York Philharmonic and at the Metropolitan Opera,
Schola Cantorum Basiliensis an institution with which he New York, in 2010.
still maintains a close relationship training many singers
who today enjoy prominent careers.
In concert she has performed in Stockholm, Munich,
Stuttgart, Los Angeles, Ferrara, Berlin, Paris, Toulouse,
Ren Jacobss many awards include best operatic
Naples and at the Salzburg Festival and on tour in Japan
production of 1998 for Monteverdi LOrfeo from the
and South Korea. She has also given song recitals at the
Syndicat Professionnel de la Critique Dramatique et
Lucerne Festival and the Vienna Musikverein.
Musicale, Diapasons Musical Personality of the Year for
Cos fan tutte and Alessandro Scarlattis Il primo
Julia Kleiters recordings include Richard Strausss
omicidio, a Cannes Classical Award for Handels
Daphne, Mozarts Requiem and The Magic Flute and
Rinaldo, Gramophone Record of the Year for The
DVDs of La finta giardiniera, Lucio Silla and Arabella.
Marriage of Figaro and Haydns Die Jahreszeiten (which
also won a Diapason dOr of the year), Opernwelts
award of Rediscovery of the year for his production of
Cavallis Eliogabalo, plus a Grammy Award for Figaro.
20

About the performers

Thomas Quasthoff bass-baritone

The young German tenor

Maximilian Schmitt discovered
his love for music early on, as a
choirboy with the Regensburger
Domspatzen. He subsequently
studied at Berlin University of the
Arts and in 20056 was a
member of the Young Ensemble
at the Bavarian State Opera,
Munich, as well as gaining
experience via masterclasses with Ann Murray and
Robert Dean Smith.

The German bass-baritone

Thomas Quasthoff is acclaimed
as one of the most remarkable
singers of his generation. A
frequent guest of both the Berlin
and the Vienna Philharmonic
orchestras he appears regularly
with the worlds leading
ensembles under such renowned
conductors as Claudio Abbado,
Daniel Barenboim, Bernard Haitink, Mariss Jansons, Kurt
Masur, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling,
Christian Thielemann and Franz Welser-Mst.

While still in the Young Ensemble, he made his debut at

the Salzburg Landestheater as Tamino in The Magic
Flute and has also performed roles in Roberto Devereux
and Il turco in Italia in Munich. At the beginning of this
season he began a two-year contract with Mannheim
State Theatre, where he will perform in operas by Mozart
and Wagner.
In concert he has worked with conductors such as Marcus
Creed, Leopold Hager, Daniel Harding, Thomas
Hengelbrock, Andrew Manze, Trevor Pinnock and Ulf
Schirmer.

Jim Rakete

Maximilian Schmitt tenor

He made his opera debut in 2003, as Don Fernando

(Fidelio) under Sir Simon Rattle at the Salzburg Easter
Festival. This was followed by his debut at the Vienna
Staatsoper in the role of Amfortas (Parsifal) under
Donald Runnicles, a role he reprised under Rattle in
2005.
Recent highlights include appearances with the Vienna
and Berlin Philharmonic orchestras, the Berliner
Barocksolisten, Boston Symphony Orchestra, a residency
at the Wigmore Hall, recitals in Berlin, Boston and at the
Salzburg and Schubertiade (Schwarzenberg) festivals.

Recent highlights include performances of Bachs Mass in

His discography ranges from Bach to jazz and includes
B minor and St Matthew Passion and the title-role in a
concert performance of Webers Oberon with the
Lieder by Brahms, Liszt, Mahler and Schubert, German
Stuttgart Philharmonic Orchestra.
opera arias and a CD for children. Among his many
accolades are Grammy and Gramophone awards and
This year he tours with Helmuth Rilling and the
ECHO prizes.
Bachakademie and, with the Leipzig Gewandhaus
Orchestra under Riccardo Chailly, performs the St
From 1996, he was a professor in the vocal department
Matthew Passion, which he will also be recording.
of the Music Academy in Detmold, before accepting a
new position at the Hanns Eisler Music University in Berlin
in 2004.
In 2005 Thomas Quasthoff received the Order of Merit
from the President of the German Republic. The
following year he was awarded the European Culture
Price for Music at the Dresden Frauenkirche.

21

About the performers

RIAS Chamber Choir

Freiburg Baroque Orchestra

This season marks the 60th anniversary of the RIAS

Chamber Choir, which became the first professional
chamber choir to devote itself to historically informed
performance practice. As well as being renowned in the
field of early music, it also has a strong profile in music of
the 19th, 20th and 21st centuries.

Even after 20 years, Baroque music continues to hold a

special place for the FBO. While the Freiburgers have
meanwhile earned a reputation as interpreters of
Classical, Romantic and even contemporary music, the
Baroque in the orchestras name is still more than merely
a description of an epoch: it stands for the musicians
practical performance perspective as well as for their
pleasure in musicianship and cultivated, virtuoso
ensemble playing.

It was founded in 1948 as a full-time professional chorus

and under its directors Herbert Ristenpart, Herbert
Froitzheim and Gnther Arndt it achieved international
acclaim. It was the regular partner of Ferenc Fricsay and
Herbert von Karajan. In addition to important German
first performances it has given the world premieres of
works by Schoenberg, Orff, Blacher, Krenek, Penderecki,
Zimmermann, Henze and Reimann.
It was under the directorship of Uwe Gronostay
(197286) that the choir began to hone its nowcharacteristic transparency of sound. This work was
continued by Marcus Creed (19872001), and the choir
formed lasting partnerships with period instruments such
as Concerto Kln, the Freiburg Baroque Orchestra,
Akademie fr Alte Musik and Orchestre des Champslyses, working regularly with conductors including
Frans Brggen, Thomas Hengelbrock and Sir Roger
Norrington. The choirs close collaboration with tonights
conductor, Ren Jacobs, began in 1992 and has yielded
award-winning recordings and acclaimed concerts and
tours. Philippe Herreweghe made his debut with the
choir in 1996 and now frequently works with it,
principally in music of the Romantic era.
In recent years the choir has toured extensively,
transforming it from a radio choir to a self-reliant
concert ensemble. Under Daniel Reuss (20036) it has
increasingly focused on modern classics, including
benchmark recordings of works by Stravinsky,
Martin and Poulenc. Hans-Christoph Rademann took
over leadership of the RIAS Chamber Choir at the
beginning of last season, with the aim of exploiting
the choirs diversity, and its unconventionally large range
of repertoire.

22

It is through this combination of qualities that the

Freiburg Baroque Orchestra has triumphed in the
worlds finest concert halls. From a Baroque perspective,
the music of the 18th and 19th centuries may be relatively
modern, but what the orchestra brings to music of all
eras is a sense of immediacy, as if the ink on the
manuscript paper were not yet dry. As James R.
Oestreich wrote in the New York Times in March 2007:
The Freiburg Baroque Orchestra, familiar from opera
recordings and other notable projects, may
be the liveliest ensemble now on the international early
music scene.
The Freiburg Baroque Orchestra enjoys regular
collaborations with such distinguished artists as Andreas
Staier, Thomas Quasthoff, Cecilia Bartoli and Ren
Jacobs. It has also made many award-winning
recordings, and was designated Orchestra of the Year
2007 by the magazine Opernwelt.
The FBO makes around 100 appearances each year in a
variety of guises, ranging from chamber ensemble to
opera orchestra, working with both guest conductors
and under the artistic direction of its two concertmasters,
Gottfried von der Goltz and Petra Mllejans. The FBO is
a self-administrated ensemble with its own subscription
concerts in Freiburgs Konzerthaus, Stuttgarts
Liederhalle and Berlins Philharmonie, as well as regular
worldwide tours.

Choir and Orchestra lists

RIAS Chamber Choir
Soprano
Ulrike Barth
Madalena de Faria
Kristin Foss
Katharina Hohlfeld
Christina Kaiser
Susanne Moldenhauer
Sabine NrmbergerGembaczka
Stephanie Petitlaurent
Judith Schmidt
Hannelore Starke
Ins Villanueva

Alto
Andrea Effmert
Karola Hausburg
Waltraud Heinrich
Regina Jakobi
Brbel Kaiser
Franziska Markowitsch
Hildegard Wiedemann
Marie-Luise Wilke

Tenor
Volker Arndt
Joachim Buhrmann
Wolfgang Ebling
Friedemann Hecht
Friedemann Krner
Christian Mcke
Birger Radde
Kai Roterberg

Bass
Janusz Gregorowicz
Ingolf Horenburg
Werner Matusch
Paul Mayr
Rudolf Preckwinkel
Simon Robinson
Johannes Schendel
Klaus Thiem

Bassoon
Javier Zafra
Eyal Streett

Piano
Sebastian Wienand

Contrabassoon
Eckhard Lenzing

General Manager
Hans-Georg Kaiser

Horn
Teunis van der Zwart
Bart Aerbeydt

Tour Manager
Stefan Lippert

Trumpet
Friedemann Immer
Jaroslav Roucek

Intermusica Tour
Management

Freiburg Baroque Orchestra

Violin I
Petra Mllejans
Brian Dean
Martina Graulich
Peter Barczi
Eva Borhi
Karin Dean
Julita Forck
Violin II
Annelies van der Vegt
Gerd-Uwe Klein
Regine Schrder
Christoph Hesse
Lotta Suvanto
Hongxia Cui
Viola
Annette Schmidt
Christian Goosses
Hugo Bollschweiler
Claudia Hofert

Cello
Stefan Mhleisen
Ute Petersilge
Hristo Kouzmanov
Double Bass
Andy Ackerman
Tom Devaere
Uli Wolff
Flute
Susanne Kaiser
Daniela Lieb
Anne Parisot
Oboe
Susanne Regel
Saskia Fikentscher
Clarinet
Tindaro Capuano
Nicola Boud

Trombone
Keal Couper
Falko Munkwitz
Werner Engelhard
Timpani
Peppie Wiersma

Programme produced by Harriet Smith; printed by Sharp Print Limited;

advertising by Cabbell (tel. 020 8971 8450)
Please make sure that all digital watch alarms and mobile phones are switched
off during the performance. In accordance with the requirements of the licensing
authority, sitting or standing in any gangway is not permitted. Smoking is not
permitted anywhere on the Barbican premises. No eating or drinking is allowed
in the auditorium. No cameras, tape recorders or any other recording equipment
may be taken into the hall.

Managing Director
Stephen Lumsden
Manager, Tours &
Projects
Ben Larpent
Project Coordinator,
Tours & Projects
Julia Larigo
Barbican Centre
Silk Street, London EC2Y 8DS
Administration 020 7638 4141
Box Office 020 7638 8891
Great Performers Last-Minute Concert
Information Hotline 0845 120 7505
www.barbican.org.uk

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