Barbican Centre [program]

              Barbican Centre
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IONIJDN ~ 1\Ql'~
Raymond Gubbay in association with London Artists Ltd presents
21 November 1986
Philharmonia Orchestra
Leader: Peter Thomas
Beethoven
Overture 'Egmont' Op 84
Triple Concerto inC, Op 56
Interval - 20 minutes
Symphony No 3 in E flat, Op 55 'Eroica'
Nicholas Cleobury conductor
Beaux Arts Trio
Raymond Gubbay Limited
125 Tottenham Court Road, London W1 P9HN
Telephone: 01 -387 4206 Telex: 298119
Managing Director Raymond Gubbay
Executive Director Robert Jolley
70p
Ludwig van Beethoven
( 1770-1827)
Overture: 'Egmont', Op 84
Some twenty-five years separate the writing
of Egmont and Beethoven's composition of
incidental music for it. The play belongs to
the mid-1780's, the period of Goethe's Sturm
und Orang and his fiery political
enthusiasms; Beethoven's music was
composed for a production at the Vienna
Hoftheater in 1810, when it was said to have
been 'badly played by the orchestra and
accorded scant attention by the audience'.
When Beethoven met Goethe in 1812, it was
in a spirit of admiration; though his respect
stopped a good way short of the veneration
which Goethe had come to regard as his
due.
Walking together in the park, they found their
way cleared for them by a bowing public:
Goethe apologised - 'it is annoying , but I
can't help getting these compliments' - to
which Beethoven replied with a smile, 'Think
nothing of it, Your Excellency, perhaps the
compliments are meant for me'. Goethe's
diary records a somewhat limited admiration
for Beethoven personally. Musically, Goethe
was far too much of a conservative by this
period to have much sympathy for
Beethoven (he was later to dislike Schubert's
Erlkonig, until persuaded by Wilhelmine
Schri:ider-Devrient's performance), though
he liked Beethoven's piano playing. He did
not then know the Egmont music, though
when he heard what was probably an
adaptation of the play he was surprisingly full
of respect : 'Beethoven has followed my
intentions with admirable genius'. A
performance of the work with the music is
nowadays an almost unheard of event, and
this regrettably buries in oblivion some fine ·
music. However, the popular overture
splendidly prepares the way for the drama,
one of Egmont's revolt against the Spanish
tyranny in the Netherlands and his final
capture and execution; and Beethoven
clearly agreed with Goethe in regarding
Egmont as damonisch - a man of
superhuman gifts.
© John Warrack
Triple Concerto inC, Op 56
Allegro
Largo
Rondo alia Polacca
Eighteenth-century composers were not
backward in their experiment\) with different
combinations of solo instruments in the
concerto, but examples including one or
more instruments and a keyboard soloist are
rare indeed. The obvious example that
immediately springs to mind is Bach's fifth
Brandenburg Concerto, with its solo group of
harpsichord, violin and flute (and his fine
concerto in A minor, S. 1044, for the same
solo instruments), but apart from these there
is scarcely anything. An early Haydn
concerto for violin and harpsichord,
attractive though it is, is little more than a
lightweight, and Mozart's projected concerto
in D for piano and violin, K. 315f, exists only
as a tantalisingly brief torso.
What prompted Beethoven to write a work for
the ambitious combination of solo piano trio
and orchestra we do not know. Tovey
commented sagely: 'The indiscretion of
Beethoven's Triple Concerto consists in
combining a problem that makes for dryness
of matter with a problem that makes for
exceptional length', but although nobody
claims nowadays that the work is a
masterpiece of the calibre of either the last
two piano concertos or the Violin Concerto,
its influence on the latter works is recognised
as being of fundamental importance, and it
has at last come to be appreciated as the
truly remarkable work it is. Sketches for the
concerto appear as early as 1803, and
Beethoven even offered it to the publishers
Breitkopf & Hartel in October that year,
although it can hardly have been completed
by that time, since further, more advanced
sketches are to found in the 'Fidelia
sketchbooks' of 1804. The composer again
tried to interest the Leipzig publishers in a
Concertante for piano, violin and cello later
that year, but without success: the work was
not printed until1807- in Vienna. Although it
was ultimately dedicated to Prince
Lobkowitz, Schindler tells us that Beethoven
wrote the concerto for his younger patron
and pupil Archduke Rudolph (and therefore
made the piano part relatively easy),
intending the solo violin part to be taken by
Karl August Seidler and the cello by Anton
Kraft. The first performance took place at an
Augarten concert in Vienna in May 1808 (the
soloists on this occasion are not known},
when it appears to have had little success.
The thematic material of the first movement is
more impersonal and less varied than that of
either of the remaining movements: this was
certainly a deliberate move to avoid
unnecessary complication of the actual
substance of such an immense musical
structure - a restraint that was not called for
in the simpler and freer design of the slow
movement and finale. But the initial
appearance of the principal theme, very
softly and low down on the unaccompanied
orchestral basses, is truly magical. An
orchestral crescendo builds up to the
expected full statement of the theme, with
much pomp and circumstance. The second
subject follows immediately after this. It
shares the marching rhythm that is so
characteristic of the main theme, but has a
more feminine air, as befits its function , and
is announced in two sections by the first
violins. Of the three soloists it is the cellist
who has the honour to introduce all the most
significant themes in all three movements. In
the first instance he makes the first solo entry
with the first subject, lightly accompanied by
the upper strings; is joined by the violin and
finally by the piano. A third march theme then
appears unexpectedly in a four-bar
orchestral tutti, to be continued and
elaborated by the solo trio. Though
postponed, the second subject does at
length emerge in the solo group (in A major!},
but it quickly tails off in a long and brilliant
display passage. The conventional grand
tutti thereupon closes the exposition.
But the second subject is not to be lightly
dismissed. Once again in A major, it
prepares the way for the development
section proper, in an eloquent solo passage
headed, as usual, by the cello. A plunge into
B flat sets the development going in earnest,
with exchanges on the first subject's most
characteristic phrase by the woodwinds and
showers of triplet arpeggios from the two
opposing factions of the solo group - strings
and piano. The recapitulation is prepared by
a long and effective crescendo. Thereafter
the sequence of events is more normal, with
the trio taking up the second subject in its
rightful place. The place of a cadenza is
taken by a finely-wrought passage for the
three soloists, based, initially, on the second
subject, but principally inspired by the
martial rhythm that is so characteristic of the
whole movement.
There is nothing about the opening of the
Largo in A flat to suggest that it is to be
anything less than a fully worked out slow
movement. Its solemn theme is first given to
muted strings, but the solo cello takes over
the fourth bar, and concludes the melody an
octave higher. The theme is then repeated
by pairs of wind instruments in dialogue with
the solo violin and cello, against an octave
piano accompaniment. The music then takes
a more dramatic turn, with flourishes in all
three solo parts, as though in preparation for
a contrasting middle section. What actually
follows , however, is the finale- a rondo in the
style of a polonaise, a dance-form that
Beethoven only used on two other
occasions. Once more it is the cellist who
opens the proceedings, with an elegant,
shapely theme above a running
accompaniment. The momentary shift from
C toE major when the violinist takes over
hall-way through throws a sudden shaft of
light on what is, in any case, the most
memorable theme in the whole concerto. The
second subject, which provides the material
for the first episode, is distinguished by its
skipping rhythm. The episode itself is
predominantly a vehicle for virtuoso display
on the part of the solo trio. The second, main
episode is far more substantial. The cello
introduces a new ascending theme in A
minor, which lays considerable emphasis on
the stamping rhythm so characteristic of the
polonaise. This new idea is quickly
expanded by piano and violin against a
persistent rhythmic commentary from the
orchestra. Effective contrast is provided by
the appearance of another cello tune some
way further on- a theme of almost elegiac
poise and nobility. A rumbling trill in the
depths of the piano and flourish of triplet
arpeggios herald the recapitulation of the
rondo theme, first softly on the cello and
immediately afterwards in the full blaze of the
orchestra. Between this point and the end of
the movement there are three features of
particular interest. The first is the unexpected
reappearance of the noble theme from the
second episode just before the movement
breaks into a 2/4 Allegro; the second is the
inclusion of what is in fact a brief written-out
cadenza (although it is accompanied by the
orchestra); and the third is the effective way
in which the original3/4 metre of the
polonaise is resumed for the closing pages.
MENAHEM PRESSLER
will make his
LONDON CONCERTO DEBUT
on Friday 22 May 1987 at 7.45pm
QUEEN ELIZABETH HALL
BEETHOVEN- PIANO CONCERTO No. 3
<::/ '''l~I~N
< ()1~(~1-II~S'l,IL\
OF LONDON
Conductor: ]acek Kasprzyk
.,
A CAPITAL RADIO CONCERT .,
+)
• I
Symphony No 3 in E flat, Op 55
'Eroica'
Allegro con brio
Marcia funebre: Adagio assai
Scherzo: Allegro vivace
Allegro mol to
According to Anton Schindler, the idea of
composing a symphony in honour of
Napoleon was suggested to Beethoven as
early as 1798, by General Bernadotte, the
French Ambassador to Vienna. Whether this
is true or not, Beethoven did not act on the
suggestion for another four years, for the
earliest sketches of the Eroica appear to date
from 1802, and he did not begin work on the
symphony in earnest until the summer of
1803, when he was staying at Baden, near
Vienna. He played the finale through to a
friend when he returned to the capital in the
autumn, and the following spring , according
to his pupil Anton Ries, a manuscript score
was displayed on his desk bearing the single
word 'Buonaparte' at the head of the title­page
and the signature 'Luigi van
Beethoven' at the foot. Another manuscript
score (not autograph) has survived , whose
title-page states clearly that the symphony
was 'written about Buonaparte'. Whether
there is any truth whatever in Ries's colourful
account of how, on hearing the news that his
hero had agreed to accept the title of
Emperor (on 18 May 1804), Beethoven tore
the original title-page in half, apostrophising
Napoleon as 'an ordinary mortal after all ' and
'a tyrant' we do not know either, though we do
know that the published score, which was
issued in October 1806 by the Kunst- und
lndustrie- Comptoir, bore no name, but was
entitled simply Sinfonia Eroica , 'composed in
memory of a great man'. When news was
brought to Beethoven of Napoleon's death in
1821 , he said 'I have already composed the
music for that catastrophe'. By this he
presumably meant the Funeral March which
forms the second movement, though he may
well have referred to the whole symphony, for
in spite of the derogatory remarks of later
musicians who have felt that the scherzo and
finale were unsuitable for a work with such a
superscription, the symphony is every inch
the 'heroic' work that the composer declared
it to be (and perhaps it is not mere
coincidence that the last movement is based
on a theme from an earlier work also with a
heroic subject - the ballet music to
Prometheus) . The Eroica is not only a
milestone in Beethoven's development; it
occupies a unique position in the history of
the symphony, for no symphony before it had
been conceived on such a monumental
scale. Indeed , when Beethoven was
criticised for making the work too long , he
added a line to the first violin part saying that
as the symphony was longer than usual it
should be placed near the beginning of a
programme, lest 'its proper effect should be
lost on an audience already fatigued by the
preceding items'. The first performance was
given on 7 April1805 in the Theater an der
Wien.
The first movement, extending to very nearly
700 bars, is the grandest part of this truly
heroic work. Although apparently rich in
thematic ideas, the fundamental melodic
element is of extreme simplicity- a four-bar
theme based on the common chord of E flat,
played by the cellos immediately after two
mighty chords on the full orchestra. This is
the theme which permeates the movement
from start to finish . Other significant elements
are two of the 'transitional' subjects- a wisp
of falling melody which is exchanged
between oboe, clarinet, flute and first violins
immediately after the first tutti, and a series of
rocketing string figures which follow a dozen
bars later. The true second subject, a
sustained dialogue between woodwinds and
strings, beautiful though it is plays no
structural part in the course of the movement.
The huge and powerful development section
is built to a large extent on the first three
motifs mentioned above, and is particularly
remarkable for the fact that it includes an
episode in E minor for woodwinds and
strings based on a completely new theme,
and for the pianissimo horn entry with the
main theme four bars before the
recapitulation, which nearly cost young Ries
a box on the ear for telling Beethoven that
'the damned horn had come in too soon'. The
movement ends with a coda almost as
gigantic as the development, in which the
latter's 'episode' appears once more.
The second movement, a monumental
funeral march, is in ternary form . The main
theme is in two parts, the first of them (in
C minor) distinguished by sharply dotted
rhythms, and the second (beginning in E flat
major) with a broad, majestic sweep. Both
are played by the strings, and then repeated
~ *
THE RESTAURANT
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ON A HIGH NOTE.
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by the full orchestra. Two episodes occupy
the middle section; the first in a clear C major.
with woodwind solos. and the second a
solemn double fugue in F minor, which
begins after a momentary resumption of the
C minor march theme.
The scherzo (the first of comparable energy
in a Beethoven symphony) is notable for its
muttering , staccato rhythms. its flashing
outbursts and its bold strokes of
syncopation; the Trio makes a special
feature of the three 'obligate' (sic) horns
which Beethoven signalled out to the
publisher, Breitkopf, as a new and signi ficant
addition to his orchestra.
The finale, after a tempestuous introductory
flourish . takes the form of a series of
variations on a theme which he had already
used on three occasions - as a dance. in the
Prometheus ballet music (1801 ). and in the
piano Variations in E fl at, Op 35 (1802). The
eight-bar sections with repeats (though the
pauses characteristic of the tune remain a
conspicuous feature of the music), and
include excursions into march rhythm and
fuga to (and one astonishing virtuoso flute
solo), and reach their culmination in a
spacious and extended slow variation (Poco
andante) which is notable for its elaborate
wind wri ting and for its majestic beauty.
variations soon outgrow the conventional © Robin Golding
I
1
J
I
1
J
Nicholas Cleobury
Nicholas Cleobury is now established as one
of Britain's leading and most versatile
conductors. As well as his main orchestral
and operatic conducting, he has experience
as a choir conductor, a specialist knowledge
of Baroque and a passionate commitment to
contemporary music. He appears regularly
in the main London concert halls and at the
Proms and has made a large number of
Radio and TV recordings and broadcasts
both here and abroad.
He works regularly with almost all the BBC,
London and regional orchestras and has
appeared at almost all the leading British
festivals . His fast growing foreign reputation
has taken him to Belgium, Finland, France,
Germany, Holland, Ireland, Italy, Rumania
and Sweden.
Nicholas Cleobury is the Principal Opera
Conductor at the Royal Academy of Music
and has conducted for the English and
Welsh National Operas, Opera North,
Flanders Opera, Glyndebourne, Wexford,
Opera 80, Park Lane Opera and the Chelsea
Opera Group. His productions have
included Poppea, Figaro, Magic Flute,
Zaide, La Finta Semplice, Fidelia, Barber of
Seville, La Traviata, Manon, Eugene Onegin,
La Rondine, Manon Lescaut, Gianni
Schicchi and Suor Angelica, Tales of
Hoffmann, Orpheus in the Underworld, Der
Friedens tag, A Village Romeo and Juliet, The
Cunning Little Vixen, Gloriana, Albert
Herring, The Knot Garden and the British
premiere of Kurt Weill's Street Scene.
He is a brilliant exponent of new music and is
in constant demand for 20th Century music,
past and present. He has his own highly
acclaimed ensemble 'Aquarius' and has a
particularly close relationship with Sir
Michael Tippett, Peter Maxwell Davies and
Paul Patterson. He was Artistic Director of the
Tippett Festival at the RAM in 1985 and
appeared in three concerts at the Orkney
Festival.
• RAYMOND GUBBAY
presents at the
BARBICAN CENTRE
Saturday 22 November at 8.00 pm
Music from Spain
Falla Ritual Fire Dance
Bizet Suite from 'Carmen'
Rodrigo Concierto de Aranjuez
Falla Three Dances from
'The Three Cornered Hat'
Chabrler Espana
Ravel Bolero
London Philharmonic Orchestra
Jan Latham-Koenig conductor
Eduardo Fernandez guitar
Saturday 29 November at 8.00 pm
Opera Gala Night
Programme includes:
Rossini Overture William Tell
Verdi
Chorus of the Hebrew Slaves
from Nabucco; Anvil Chorus from
II T rovatore, Sempre Iibera and Prelude to
Act Ill of La Traviata,
Grand March from Aida
Wagner Overture to the Mastersingers
Gounod Jewel song and Soldiers'
Chorus from Faust
Mascagnl
Intermezzo from Cavalieri a Rusticana
Puccini
One Fine Day and Humming Chorus from
Madam Butterfly;
I am Called Mimi from La Boheme
Borodln
Polovtsian Dances from Prince Igor
and arias from Rigoletto, Manon and others
London Concert Orchestra
David Coleman conductor
Valerie Masterson soprano
London Choral Society
Fanfare Trumpeters from the Band 1\
otthe Welsh Guards I "')
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If you would like free regular details about
Raymond Gubbay concerts please telephone
01-387 4206 or write to Raymond Gubbay Ltd,
FREEPOST 20, London W1 E 4YZ
The Beaux Arts Trio
on record
BEETHOVEN
The complete Plano Trios
7LP 6725 035 SMC 7655 035
BEETHOVEN
Plano Trtos:
Op. 70 No. 1 'Ghost·
Op. 97 'Arcllduke'
c ompact Disc 412 891·2 PH
BEETHOVEN
Plano Trios:
Op. 70 No.1 'CIN>St'
Op. 11
Op. 121a 'Kakadu'
LP 412 395·1 PC MC 412 395·4 PC
BEETHOVEN
Concerto fOr Plano. VIOlin
and Cello 'Triple conc.no·
London Philharmonic Orchestra
Bernard Haltlnk
robe released on compact Disc early
next year
PHILIPS
BRAHMS
The Complete Plano Trios
2LP 6770 007 2MC 7650 007
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Plano Trio Op. 90 •oumky'
LP 6503 063 MC 7303 063
HAYDN
The complete Plano Trios
14LP 6768 077
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Record of the Year
HAYDN
The Last Eight Plano Trios
2LP 6768 361
MOZART
The Complete Plano Trios
2LP6768032 2MC 7650 017
Photo Bart MUlder
RAVEL
Plano Trio In A minor
CHAUSSON
Plano Trio Inc minor, Op. 5
compact Disc 411141·2 PH
Digital
SCHUBERT
The complete Plano Trios
2LP 6747 431
SCHUBERT
Plano Trio In I flat. 0 . 898
Adagio In E flat,
D. 897 'Nottumo·
LP 6503 069 MC 7303 069
SCHUBERT
1be complete Plano Trios
2 compact Discs 412 620·2 PH2
2LP412 620·1 PH2 2MC 412 620·4 PH2
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SHOSTAKOVICH
Plano Trio No. 2 op. 67
IVES
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LP 412 402·1 PC MC 412 402·4 PC
Beaux Arts Trio
Since their first public performance in 1985
at the Berkshire Music Festival in the United
States, the Beaux Arts Trio of New York have
carved out an international reputation as one
of the very greatest chamber music
ensembles in the world . Their records for
Philips are at the top of every classical best­selling
list and have won both the Grand Prix
du Disque and the Deutscher
Schallplattenpreis. Charles Munch said that
the Beaux Arts were 'worthy successors to
the great Trio of Thibaud, Casals and Cortot'
and Toscanini compared their playing to that
of the pre-war trio performances of
Rubinstein, Heifetz and Feuermann. This
high praise has been echoed again at the
Trio's many performances in North America,
Europe and the Middle East.
Menahem Pressler, the pianist, was taken to
Israel from Germany by his parents when
Hitler came to power. He had started his
musical studies in Magdeburg and so took
up his professional career in his adopted
country. He became internationally known
when he won the Claude Debussy Prize at
the age of 17. That also earned him five
appearances with the Philadelphia
Orchestra, which in turn brought him an
unprecedented three year contract for
appearances each season with that world­famous
Orchestra. He has appeared as
soloist with leading orchestras and
conductors all over the world and now makes
his home in Bloomington, Indiana, where he
is a professor at the University of Indiana.
Bernard Greenhouse, the Trio's cel list, was
a fellowship student at Juilliard but went to
Europe for an audition with Pablo Casals,
which turned into two years of study with the
great master. After completing his studies,
Greenhouse established a fine reputation in
recitals and concerts throughout most of the
great music centres of Europe and the
United States. He is a renowned teacher and
is on the faculties of the Manhattan School of
Music, New York State University and the
University of Hartford. He plays the famous
'Paganini ' Stradivarius cello which is dated
1707.
Isidore Cohen, violin, was born in New York
and studied at Juilliard under Ivan Galamian.
He was leader of the Little Orchestra Society
of New York and has been leader with many
other orchestral ensembles including the
Casals Festival in Puerto Rico and the Mozart
Festival in New York's Lincoln Centre. His
extensive chamber music background
includes guest appearances with the
Budapest Quartet and in the important
American series 'Music from Marlboro'.
Philharmonia Orchestra
The Phil harmonia Orchestra gave its first
concert at London's King sway Hall under
Sir Thomas Beecham in October 1945. In
founding the Philharmonia, Walter Legge
achieved his great ambition to form a world
class orchestra in London. In very little time,
the Philharmonia had become widely
recognised as one of the world's truly great
orchestras, and was able to attract such
legendary conductors as Furtwangler,
Toscanini, Cantelli, Richard Strauss and
principally, Herbert von Karajan. Wilhelm
Pitz came from Bayreuth to be the first
Chorus Master of the Philharmonia Chorus,
which was founded in 1957.
Otto Klemperer, who succeeded Karajan,
was appointed Principal Conductor for Life in
1959 and under his direction an epic era was
forged . Walter Legge's withdrawal in 1964
gave rise to the threatened disbandment of
the Orchestra but the players immediately
formed themselves into a self-governing co­operative
under the name New Philharmonia
Orchestra, with Klemperer as Honorary
President of both the Orchestra and the
Chorus. Lorin Maazel became Associate
Principal Conductor in 1970 and, in the year
following Klemperer's retirement from the
concert platform in 1972, Riccardo Muti was
appointed Principal Conductor.
In September 1977 the Orchestra reverted to
its original name, Philharmonia, and in the
first season with its regained title re­established
its former close association with
Carlo Maria Giulini. Riccardo Muti became
the first Music Director of the Orchestra in
August 1979 and in the following year His
Royal Highness The Prince of Wales became
the Orchestra's first Patron. In February 1983
Giuseppe Sinopoli gave his first concert with
the Orchestra and was immediately offered
the post of Principal Conductor, which he
accepted with effect from January 1984.
Esa-Pekka Salon en took up his position as
Principal Guest Conductor in January 1985
and Owain Arwel Hughes becomes
Associate Conductor with effect from the
beginning of 1987.
The Philharmonia continues to be the world's
most recorded orchestra and also one of the
most widely travelled. In addition to the
regular London concert series at the Royal
Festival Hall and concerts throughout the
United Kingdom the Orchestra is scheduled
to visit America, Austria, Belgium, France,
Germany, Italy, Japan, Korea, Spain and
Switzerland.
Philharmonia Orchestra
Patron: HRH The Prince of Wales KG, KT, PC, GCB
President: Vincent Meyer
Principal Conductor: Giuseppe Sinopoli
Principal Guest Conductor: Esa-Pekka Salonen
Leader: Peter Thomas
First Violins
Peter Thomas
Lyn Fletcher
Sylvain Vasseur
JohnGralak
lain King
David Thomas
Anne Parkin
Bogdan Offen berg
Martin Jones
Justin Jones
Linda Speck
David Ellis
Anders Fog-Nielsen
Elizabeth Edwards
Second Violins
Martin Hughes
Brian Moyes
Andrew Wickens
Timothy Colman
Julian Milone
Robert McFall
Simon Horsman
Kathleen Sturdy
Jane Price
Gillian Bailey
Olwen Castle
I an Brignall
Violas
Robert Leighton
Michael Lloyd
Michael Turner
Graham Griffiths
Trevor Snoad
Susan Salter
Albert Cayzer
Margaret Hunt
Myrna Edwards
Georgina Payne
Cellos
George lves
David K Jones
Robert Irvine
Corinne-Ann Frost
Jocelyn Gale
Ann Barber
Mark Stephenson
Avis Perthen
Basses
Gerald Drucker
Maurice Neal
lanHall
David H Jones
Neil Tarlton
Rodney Stewart
Flutes
Kenneth Smith
Sarah Newbold
Piccolo
Sarah Newbold
Oboes
John Anderson
David Presly
Clarinets
Michael Pearce
Michael Harris
Bassoons
Meyrick Alexander
Michael Cole
Horns
Richard Watkins
Peter Blake
Simon Rayner
James Rattigan
Trumpets
John Wallace
William Stokes
Timpani
Andrew Smith
Philharmonia Orchestra
76 Great Portland Street,
London W1 N SAL
Tel: 01-580 9961
Telex: 264038 Philia
Chairman:
Martin Jones
Managing Director:
Christopher Bishop
Administrator:
Beatrix Musker
Concerts Manager:
Alison Dearn
Press & Publicity Consultant:
Robert Leslie
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AparffroH1 our usual excelle~tf
book>. 9/aliOP.fl.fY oHd 50UV'€V~ir5
we 11ate a special raHqe of ideal
Chrisi'H1a~ pre$eW'~ -ltahfed
posfers, qiff book>.diarie5,
Hofebooks, wrappinq pape~j
decorative flus, caleudar5,
PRE BENT
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BARB/CAN
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L~vels
4-andl
and free ba 1/ooH~ for
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WELCOME BACK TO THE
NEW WATERSIDE CAFE
NEW DESIGN
NEW DECOR
NEW SEATING
NEW SERVICE
Open from Monday 29 September
Daily from 10 am 6
(12 noon Sunda~~iJ.e
~" ~
Barbican Centre
Silk Street, Barbican,
London, EC2Y 80S
The Barbican Centre is owned , funded
and managed by the Corporation of the
City of London.
Director: Henry Wrong CBE
Administration: 01-638 4141
Box Office
01-628 8795 - 01-638 8891
The Barbican Centre is part of the
Barbican Estate which is also a major
residential community. Our neighbours
would be most appreciative if you could
keep unnecessary noise and
disturbance to a minimum when you
leave the building fo llowing this
performance.
First aid facilities at the Barbican Centre
are provided by the British Red Cross
Society, whose members give their
services voluntarily.
Please note that Barbican Station is
closed all day Sundays. Moorgate
Station (Circle, Metropolitan, Northern
Lines) is open every day.
Would you please try to restrain
coughing until the normal breaks in the
performance. A more modern
distraction than the cough is the
chiming digital watch , and both
audience and performers would
appreciate these being turned off or
suppressed .
The taking of photographs is not
permitted. Members of the public are
reminded that no tape recorder, other
type of recording apparatus, food or
drink may be brought into the
auditorium. It is illegal to record any
performance, or part thereof, unless
prior arrangements have been made
with the Director and the concert
promoter concerned.
In accordance with the requirements of
the licensing authori ty, persons shall
not be permitted to stand or sit in any of
the gangways intersecting the seating
or in any of the other gangways. If
standing shall be permitted in the
gangways at the sides and rear of the
seating it shall be limited to the numbers
exhibited in those positions.
No smoking in the auditorium
1'viovity booki111q fov co~t~c.evts a~t~d films
Call at 111e.13ox Offic:e for
1i1sfa11f 111e141ber.s/1ip
Pay by cveditcavd • ::::!: ~ ~
Q~ly f4·00 fov 12 WIO~t~ly ~ailiVIC15
Printed by Howard Jones Printers Limited. London. 34880