Guitar Recital Thu 15 Mar 2018 at 8.30 pm Juan Manuel Cañizares PROGRAMME

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2 Guitar Recital Thu 15 Mar 2018 at 8.30 pm Juan Manuel Cañizares PROGRAMME CAÑIZARES Añorando el Presente GUAJIRA Mar Caribe GRANADOS Andaluza SCARLATTI Sonata K.11 CAÑIZARES Interlude for K.32 SCARLATTI Sonata K.32 CAÑIZARES Interlude for K.34 SCARLATTI Sonata K.34 CAÑIZARES Imagen CAÑIZARES El Abismo Alberto Marín, second guitar The recital will last approximately 60 minutes Fri 16 Mar 2018 at 8.30 pm Sat 17 Mar 2018 at 8.30 pm Malaysian Philharmonic Orchestra David Giménez, conductor Juan Manuel Cañizares, guitar PROGRAMME FALLA RODRIGO Suite from El amor brujo 24 mins 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 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 X). All rights reserved. No part of this programme may be reproduced in any form without the written permission of the copyright owners.

3 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 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. Juan Manuel Cañizares guitar 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. 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.

4 PROGRAMME NOTES The 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 ( ) 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 ( ) 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 ( ) 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 operaderived 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.

5 GEORGES BIZET ( ) 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 ( ) 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 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.

6 Dewan Filharmonik PETRONAS MALAYSIAN PHILHARMONIC ORCHESTRA RESIDENT CONDUCTOR Naohisa Furusawa FIRST VIOLIN Co-Concertmaster Peter Daniš Ming Goh Zhenzhen Liang Runa Baagöe Maho Daniš Miroslav Daniš Evgeny Kaplan Martijn Noomen Sherwin Thia Marcel Andriesii Tan Ka Ming Petia Atanasova Ikuko Takahashi *Marco Roosink SECOND VIOLIN Timothy Peters Assistant Luisa Hyams Catalina Alvarez Chia-Nan Hung Anastasia Kiseleva Stefan Kocsis Ling Yunzhi Ionut Mazareanu Yanbo Zhao Ai Jin Robert Kopelman VIOLA Gábor Mokány Ong Lin Kern Sun Yuan Thian Ai Wen Fan Ran Emil Csonka *Atelier Javier Lopez *Ida Margit Kovács *Yeo Jan Wea *Kazuyo Nozawa CELLO Csaba Körös Assistant Steven Retallick Sub- Mátyás Major Gerald Davis Julie Dessureault Laurentiu Gherman Elizabeth Tan Suyin Sejla Simon DOUBLE BASS Wolfgang Steike Raffael Bietenhader Jun-Hee Chae Naohisa Furusawa John Kennedy Foo Yin Hong Andreas Dehner FLUTE *Johanna Gruskin Yukako Yamamoto Sub- Rachel Jenkyns PICCOLO Sonia Croucher OBOE Simon Emes Sub- Niels Dittmann *Elisa Metus CLARINET Gonzalo Esteban David Dias da Silva Sub- Matthew Larsen BASS CLARINET Chris Bosco BASSOON Alexandar Lenkov *Ignacio Perez Sub- Denis Plangger CONTRABASSOON Vladimir Stoyanov HORN Grzegorz Curyla James Schumacher Sub-s Laurence Davies *Timothy Skelly Assistant Sim Chee Ghee TRUMPET William Theis Sub- Jeffrey Missal TROMBONE *Ricardo Molla Fernando Borja BASS TROMBONE *William Baker TIMPANI Matthew Thomas PERCUSSION Matthew Prendergast Sub-s Joshua Vonderheide *Matthew Kantorski *Tan Su Yin HARP Tan Keng Hong PIANO Akiko Daniš CORPORATE SUITE CLUB MEMBERS CHIEF EXECUTIVE OFFICER Nor Raina Yeong Abdullah BUSINESS DEVELOPMENT Wan Yuzaini Wan Yahya At Ziafrizani Chek Pa Nurartikah Ilyas Kartini Ratna Sari Ahmat Adam Aishah Sarah Ismail Affendee MARKETING Yazmin Lim Abdullah Hisham Abdul Jalil Munshi Ariff Abu Hassan Farah Diyana Ismail Noor Sarul Intan Salim Muhammad Shahrir Aizat Ahmad Kusolehin Adha Kamaruddin CUSTOMER RELATIONSHIP MANAGEMENT Yayuk Yulinawati Rila Jalwati Mohd Noor Music TALENT DEVELOPMENT & MANAGEMENT Soraya Mansor PLANNING, FINANCE & IT Mohd Hakimi Mohd Rosli Norhisham Abd Rahman Siti Nur Ilyani Ahmad Fadzillah Nurfharah Farhana Hashimi PROCUREMENT & CONTRACT Logiswary Raman Norhaszilawati Zainudin HUMAN RESOURCE MANAGEMENT & ADMINISTRATION Sharhida Saad Muknoazlida Mukhadzim Nor Afidah Nordin Nik Nurul Nadia Nik Abdullah TECHNICAL OPERATIONS Firoz Khan Mohd Zamir Mohd Isa Shahrul Rizal Mohd Ali Dayan Erwan Maharal Zolkarnain Sarman Malaysian Philharmonic Orchestra CHIEF EXECUTIVE OFFICER Nor Raina Yeong Abdullah general Manager Khor Chin Yang Soraya Mansor general Manager's office Timmy Ong ARTISTIC ADMINISTRATION/ ORCHESTRA MANAGEMENT/ MALAYSIAN PHILHARMONIC YOUTH ORCHESTRA Ahmad Muriz Che Rose Sharon Francis Lihan Fadilah Kamal Francis Shireen Jasin Mokhtar Katherine Tan Jia Yiing FRI 30 MAR 2018 SAT 31 MAR 2018 BEETHOVEN BEETHOVEN MOZART MOZART 8:30PM 8:30PM Malaysian Philharmonic Orchestra Benjamin Northey, conductor Loo Bang Hean, piano Coriolan Overture Piano Concerto No. 2 Don Giovanni Overture Symphony No. 38 Prague MUSIC LIBRARY Ong Li-Huey Wong Seong Seong Muhamad Zaid Azzim Mohd Diah RM150 RM120 RM90 RM60 EDUCATION & OUTREACH Shafrin Sabri Shireen Jasin Mokhtar 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.

7 Box Office: Ground Floor, Tower 2, PETRONAS Twin Towers Kuala Lumpur City Centre Kuala Lumpur Telephone: Online Tickets & Info: mpo.com.my malaysianphilharmonicorchestra DEWAN FILHARMONIK PETRONAS X MALAYSIAN PHILHARMONIC ORCHESTRA H