London Philharmonic Orchestra 11 March 2015 programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Winner of the RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Leader PIETER SCHOEMAN supported by Neil Westreich Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 11 March 2015 | 7.30pm Elgar Introduction and Allegro for Strings, Op. 47 (13’) Ireland Piano Concerto in E flat major (25’) Interval Walton Symphony No. 1 (43’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Vesselin Gellev 6 Andrew Manze 7 Piers Lane 8 Programme notes 14 Supporters 15 Sound Futures donors 16 LPO administration The timings shown are not precise and are given only as a guide.

Andrew Manze conductor Piers Lane piano Concert generously supported by The John Ireland Charitable Trust

Free pre-concert event 6.00pm–6.45pm | Royal Festival Hall Andrew Manze directs the LPO’s Foyle Future Firsts in more English music – a series of jewel-like arrangements, realisations and re-creations of Henry Purcell’s music by 21st-century masters: George Benjamin, Oliver Knussen, Peter Maxwell Davies and Andrew Manze himself. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

This concert is being broadcast live by the BBC on Radio 3 Live In Concert – live concerts every day of the week. Listen online in HD Sound for 30 days at bbc.co.uk/radio3

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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London Philharmonic Orchestra 2014/15 season Latest LPO release At the end of last month, Christoph Eschenbach, conducted a performance of Beethoven and Mendelssohn with the LPO. He takes charge on the latest LPO CD, a recording of Messiaen’s Des canyons aux étoiles (From the Canyons to the Stars), which evokes the beauty of a magnificent landscape, and features the rarely heard xylorimba. The two-disc set (LPO-0083) is priced £10.99 and available via the LPO website (as a download or CD) or through the LPO Ticket Office (020 7840 4242): lpo.org.uk/shop LPO at Glyndebourne recording up for award We are delighted to hear that the 2011 Glyndebourne CD recording of Die Meistersinger von Nürnberg with the London Philharmonic Orchestra conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski has been shortlisted in the category of Best Opera for the BBC Music Magazine Awards 2015. The winner in each category is determined by public vote via the link: classical-music.com/awards A little bird told us ... The Orchestra has recently returned from a tour with conductor Marin Alsop. An avid ‘tweeter’, we followed Marin’s musical adventures via the wonders of social media. She also wrote a blog which makes for interesting reading – where else would you find out that Martin Hobbs (horn) and Stewart McIlwham (piccolo) cycled halfway between Groningen and Utrecht, and planned to cycle between Utrecht and Eindhoven? Must be all that lung capacity. You can find out if they made it on Marin’s blog: bit.ly/1Av7lN5

On stage tonight

First Violins Vesselin Gellev Leader Ilyoung Chae Chair supported by an anonymous donor Ji-Hyun Lee Chair supported by Eric Tomsett Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Sharp Helena Smart Nilufar Alimaksumova Second Violins Charlotte Potgieter Guest Principal Jeongmin Kim Sub-Principal Kate Birchall Chair supported by David & Victoria Graham Fuller Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Ashley Stevens Dean Williamson

Sioni Williams Harry Kerr Mila Mustakova Sheila Law

Flutes Juliette Bausor Guest Principal Stewart McIlwham*

Violas Jon Thorne Guest Principal Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Isabel Pereira Daniel Cornford Martin Fenn Miriam Eisele Fay Sweet

Piccolo Stewart McIlwham* Principal

Cellos Hetty Snell Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff

Horns David Pyatt* Principal Chair supported by Simon Robey John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston William Cole Lowri Morgan Charlotte Kerbegian Antonia Bakewell Richard Dalling

Oboes Ian Hardwick* Principal Alice Munday Clarinets Robert Hill* Principal Thomas Watmough Bassoons Gareth Newman Principal Simon Estell

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann Nicholas Betts Co-Principal

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra Timpani Simon Carrington* Principal James Bower Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Neil Westreich; Sonja Drexler; Victoria Robey OBE

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London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London. The Financial Times, 14 April 2014 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Vesselin has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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Andrew Manze conductor

Andrew Manze has developed into one of the most gifted present-day occupants of the podium.

Guy Rickards, Gramophone, September 2014 Recording of Larrson Orchestral Works, Vol. 1

Andrew Manze’s extensive and scholarly knowledge of the repertoire together with his skill as a communicator and boundless energy has marked him out amongst his peers. In September 2014 he became the Principal Conductor of the NDR Radio Philharmonic Orchestra in Hannover and he regularly performs as a guest conductor with a number of leading international orchestras including the Munich Philharmonic, Leipzig Gewandhaus, Gothenburg Symphony, Oslo Philharmonic, City of Birmingham Symphony, Hallé, Royal Liverpool Philharmonic, Mahler Chamber Orchestra and the Scottish and Swedish Chamber orchestras. He was Principal Conductor and Artistic Director of the Helsingborg Symphony Orchestra, Sweden (from 2006–14) with which he made a number of recordings including Beethoven’s Symphony No. 3 ‘Eroica’ (Harmonia Mundi) and a cycle of Brahms symphonies (CPO). He was Associate Guest Conductor of the BBC Scottish Symphony Orchestra from 2010–14, and Principal Guest Conductor of the Norwegian Radio Symphony Orchestra from 2008–11. Orchestral debuts this season and beyond include the Los Angeles Philharmonic and Frankfurt Radio Symphony orchestras, and Orquestra Sinfônica do Estado de São Paulo. Alongside his regular guesting, Manze returns to the Leipzig Gewandhausorchester, WDR Sinfonieorchester Köln, Tonkünstler and Danish National Symphony orchestras, and makes his fourth consecutive appearance at the Mostly Mozart Fesival, New York, this summer. After reading Classics at Cambridge University, Andrew Manze studied the violin and rapidly became a leading specialist in the world of historical performance practice.

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He became Associate Director of The Academy of Ancient Music in 1996 and then Artistic Director of The English Concert from 2003 until 2007. As a violinist Manze has released an astonishing variety of CDs, many of them award-winning. He is a fellow of the Royal Academy of Music and a Visiting Professor at the Oslo Academy, and has contributed to new editions of sonatas and concertos by Mozart and Bach published by Bärenreiter and Breitkopf and Härtel. He also teaches, edits and writes about music, as well as broadcasting regularly on radio and television. Andrew Manze received the prestigious Rolf Schock Prize in Stockholm in 2011. Previous winners include Ligeti, Kagel, Gidon Kremer and Anne Sofie von Otter. This evening’s performance marks Andrew Manze’s debut with the London Philharmonic Orchestra. Andrew Manze conducts Vaughan Williams A Pastoral Symphony at the 2014 BBC Proms bit.ly/1vK23pr

Piers Lane piano

The recital was notable for Piers Lane’s sustained interpretative probing as much as for the pianist’s technical assurance and attention to musical detail.

Claire Seymour, Seen and Heard International, January 2015

London-based Australian pianist Piers Lane is in great demand as soloist and collaborative artist. Recent highlights include concerto performances of Busoni and Bridge at Carnegie Hall, premieres of Carl Vine’s Second Piano Concerto, written for him, with the Sydney Symphony and the London Philharmonic orchestras, and sold-out solo recitals at Wigmore Hall.

Piers Lane continues his longstanding partnership with violinist Tasmin Little, clarinettist Michael Collins and the Goldner String Quartet. He has performed with Anne Sofie von Otter and Bengt Forsberg, pianists Marc-André Hamelin and Kathryn Stott, and string quartets: the Australian, Doric, Kodály, Medici, New Budapest, New Zealand, Prazak and RTE Vanbrugh.

Five-times soloist at the BBC Proms, Piers Lane’s concerto repertoire exceeds 90 works and has led to engagements with many of the world’s great orchestras including the American, Bournemouth and Gothenburg Symphony orchestras, Orchestre National de France, City of London Sinfonia, and Warsaw Philharmonic. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Andrew Litton, Jerzy Maksymiuk, Vassily Sinaisky and Yan Pascal Tortelier.

Many composers have written for Piers Lane and he has premiered works by Brett Dean, Dave Heath, Colin Matthews, Richard Mills, Carl Vine, Benjamin Wallfisch and Malcolm Williamson, among others. He has made many first recordings, including Elgar’s Impromptu, Ireland’s Ballerina and Williamson’s Piano Concerto No. 4.

He frequently performs at prestigious festivals such as Aldeburgh, Prague Spring and the Chopin festival in Warsaw. He is Artistic Director of the Australian Festival of Chamber Music and also directed the annual Myra Hess Day at the National Gallery in London from its inception in 2006 until 2013. From this sprang Admission: One Shilling, a collaboration with actress Patricia Routledge, devised by Nigel Hess for theatre, exploring Dame Myra’s work during the Second World War; it has been performed over 70 times, throughout the UK and most recently in Australia and Belgium.

Piers Lane has written and presented over 100 programmes for BBC Radio 3, including the popular 54-part series, The Piano. He was recently presented with the first medal from the Laza Kostic fund for promoting Serbian culture during difficult political times in the late 90s. In the Queen’s Diamond Jubilee Birthday Honours, he was made an Officer in the Order of Australia (AO) for distinguished services to the arts as pianist, mentor and organiser. pierslane.com

Piers Lane’s discography of over 50 CDs includes much admired recordings of rare Romantic piano concertos, the complete Preludes and Etudes by Scriabin, and transcriptions of Bach and Strauss. Last season, Hyperion released his most recent solo recording, Piers Lane goes to Town.

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Programme notes

Speedread Tonight’s programme presents works from the early 20th century by three English composers of successive generations (all of them first performed in the Queen’s Hall, which was destroyed in the Second World War and replaced by the Royal Festival Hall). Edward Elgar, trained as a violinist, showed his flair for writing for strings in his sonorous Introduction and Allegro of 1904–5. The pianist-composer John Ireland combined his characteristic mood of

Edward Elgar

rhapsodic keyboard musing with a subtle thematic sub-structure in his 1930 Piano Concerto. William Walton, no performer but a master of the craft of orchestration, established himself as a major figure with his First Symphony, begun in 1932–3 with a purposeful first movement, a ‘malicious’ scherzo and a ‘melancholy’ slow movement, and completed in 1935 with a brilliant finale.

Introduction and Allegro for Strings, Op. 47

1857–1934

Courtesy of The Elgar Birthplace Museum

Elgar studied the violin from an early age, had hopes at one stage of making a career as a soloist, and earned much of his living for several years as an orchestral musician in the West Midlands. So he always wrote for the strings of the orchestra with special understanding; and he composed two substantial pieces for strings alone. The Serenade of 1892 was a breakthrough work, first tried out with a ladies’ orchestra in Worcestershire, but accepted for publication by the august firm of Breitkopf and Härtel in Leipzig. On the other hand, the Introduction and Allegro was written when he was at the height of his fame. It was begun in the year of his knighthood, 1904, in response to a request from the recently formed London Symphony Orchestra for a new piece to be included in an all-Elgar concert. Elgar himself conducted the first performance in March 1905.

Elgar outside his house Craeg Lea, in Malvern Wells

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The scoring contrasts the main string orchestra with a solo quartet of section leaders – used sometimes as a concertino group (similar to Handel’s string concertos),

sometimes as individual soloists, and sometimes to add subtle touches of colouring to the texture. The broad Introduction anticipates the melodic material of the Allegro, which is in traditional sonata form, but with the usual central development section replaced by a brilliant fugue. One of the work’s principal melodies, first heard near the beginning on solo viola and brought

John Ireland 1879–1962

John Ireland was born in Bowdon, south of Manchester, and studied the piano and composition at the Royal College of Music in London where he later taught for many years, his pupils including Benjamin Britten. He was trained, by Stanford, in the tradition of Brahms, but was open to the influence of several 20th-century composers, including Debussy, Ravel and Prokofiev. His list of works is dominated by songs and piano pieces (many of which were inspired by places that he loved); but he also wrote effectively for orchestra. Ireland wrote his Piano Concerto in 1930 for his piano pupil and protégée Helen Perkin. She gave the first performance, at the age of 21, in a Promenade Concert conducted by Sir Henry Wood in October 1930. Although conceived for her small hands, the solo part is brilliantly virtuosic in places, with some figuration echoing the jazz-tinged ‘novelty numbers’ of between-the-wars popular piano music – as well as containing a great deal in a vein of poetic introspection. The Concerto is in three thematically linked movements (though Ireland numbered the second and third, which are played without a break, as a single unit). The first movement begins with a smooth string melody in octaves, of which the first four notes – a falling fourth

back in triumph towards the end of the Allegro, is based on an idea that Elgar had sketched in 1901 on a holiday in Wales; he was reminded of it by a song he heard in the distance in the Wye Valley, on the Welsh border. And the whole work, he once wrote, ‘is really a tribute to that sweet borderland where I have made my home’.

Piano Concerto in E flat major Piers Lane piano 1 In tempo moderato 2 Lento espressivo – 3 Allegro – Allegretto giocoso

followed by a rising fourth a step higher – constitute the unifying motto theme of the movement and, to some extent, the whole work. This motto makes its presence felt in the following lyrical dialogue between the piano and the strings, dominates the accelerating transition to the lively second-subject group, and returns in full force as the starting-point of a broad orchestral melody. After a short central section in which the piano plays continuously, the motto returns as part of a fleeting reprise of the first-subject group, makes a brief appearance during the extended reprise of the second-subject group, and returns at the very end of the movement. The slow movement begins with an expressive string melody, incorporating a phrase which hints at the perky rhythms of the first movement’s second subject. The piano answers with a rhapsodic solo in changing metres, which is continued by the strings, with telling details in the horns. The expressive melody of the opening returns on flute and piano; a little later, the first movement’s motto and the second-subject phrase are run together to form a counter-melody to pearly piano figuration. The timpani – making their first appearance in the work – intervene to lead an London Philharmonic Orchestra | 9

acceleration to the finale. This is a rondo on an ebullient tune introduced by the piano in sparkling high octaves. The two contrasting episodes are both at a slower tempo: the first opening out from the piano’s first phrase in the first movement; the second, beginning with a rapturous duet for piano and solo violin, derived from ideas in the second movement. The motto makes a final appearance before the last quick section, in which the metre shifts from 2/4 to 3/4, and the entry of the rondo theme, now transformed into a waltz, is delayed until nearly the end.

Courtesy of The John Ireland Charity Trust

Programme notes continued

John Ireland in his studio, 14a Gunter Grove, London

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

William Walton

Symphony No. 1

1902–83

1. Allegro assai 2. Presto con malizia 3. Andante con malinconia 4. Maestoso – Allegro, brioso ed ardentemente – Vivacissimo – Maestoso

During his 20s William Walton burst on to the British musical scene with his avant-garde ‘entertainment’ Façade, consolidated his position in the mainstream with the Portsmouth Point Overture, the Sinfonia Concertante for piano and the Viola Concerto, and breathed new life into the traditional form of the oratorio with Belshazzar’s Feast. His obvious next step was a symphony, not least as a challenge to his seniors Vaughan Williams and Bax; he was duly invited to write one by Sir Hamilton Harty, then conductor of the Hallé Orchestra in Manchester. He drafted three movements and began a fourth during 1932 and 1933, but then became stuck. Harty was by now conductor of the London Symphony Orchestra, and anxious to schedule

the premiere with the LSO. Walton orchestrated the first three movements, but remained unable to complete the finale, and in the end allowed the work to be performed without it in December 1934. The following year, refreshed by the ending of a stormy love affair and the start of a calmer new relationship, he resumed work on the finale, this time successfully. The first performance of the complete Symphony, with Harty this time conducting the BBC Symphony Orchestra, took place in November 1935. It was a triumph, immediately gaining the work an honoured place in British music which it has never since lost (and which so far has not been shared by Walton’s Second Symphony of a quarter-century later).

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This is the work of a true Master – unlike any other English symphony, this is in the real line of symphonic tradition. It is simply colossal, grand, original, and moving to the emotions to the most extreme degree… It has established you as the most vital and original genius in Europe. No one but a bloody fool could possibly fail to see this… John Ireland writing to Walton after hearing the first recording of the Symphony

The ‘very fast’ opening movement, in B flat minor, conveys a sense of breadth and power that belies the relatively modest size of the orchestra (which includes no more than double woodwind, and at this stage no percussion other than timpani). The breadth stems from slow-moving harmonies over Sibelius-like long-held bass notes and timpani rolls; the power from urgently repeated ostinato figures, blazing dissonances and sonorous scoring. The first section of the movement presents a series of subtly interrelated themes in an atmosphere of sustained tension and excitement, relaxing only slightly for the broad second subject; it ends with a climax of battering repeated notes. The central development begins by returning to the opening idea at a subdued dynamic level, and gradually builds up intensity again towards a harmonically more stable reprise of the opening section.

The two middle movements reflect two contrasting and complementary aspects of Walton’s musical personality. The ‘malicious’ scherzo, in E minor, is in a very fast one-in-a-bar 3/4 time, disrupted by occasional bars of 5/4; various rhythmic figures and scraps of melody are rotated, but there is no contrasting trio section and no slackening of the movement’s biting intensity. The ‘melancholy’ Andante, in C sharp minor, is based on two melodies of characteristically bittersweet lyricism, which are developed organically in contrapuntal textures; the closing section rises to a fervently declamatory climax, before falling away to a quiet ending. The B flat major finale (which adds a second timpanist and two percussionists to the orchestra) has a more sectional structure than its predecessors. It begins with a ‘majestic’ introduction, in the boldly rhetorical manner familiar from Walton’s later marches and film scores. Then come two large paragraphs at a ‘fast, animated and ardent’ tempo, the first crackling with energy, the second an extended, incisive fugue with a smoother central episode. The material of these paragraphs is transformed and developed, still largely in fugal texture, in a new section in ‘very lively’ triple time. To round off the Symphony, the tempo of the introduction is restored for a grandiloquent coda. Programme notes © Anthony Burton

More Piano Concertos with the LPO at Royal Festival Hall Saturday 21 March 2015 | 7.30pm

Wednesday 15 April 2015 | 7.30pm

Prokofiev Chout (excerpts) Magnus Lindberg Piano Concerto No. 2 (UK premiere) Stravinsky Petrushka (1911 version)

Beethoven Piano Concerto No. 4 Bruckner Symphony No. 4 (Romantic) (Nowak Edition)

Vladimir Jurowski conductor | Yefim Bronfman piano

Robin Ticciati conductor Menahem Pressler piano

Wednesday 25 March 2015 | 7.30pm

Tickets £9–£39 (premium seats £65)

Mozart Symphony No. 36 (Linz) Rachmaninoff Piano Concerto No. 1 (final version) Dvořák Symphony No. 8

London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Ilyich Rivas conductor | Dmitry Mayboroda piano

Transaction fees: £1.75 online, £2.75 telephone.

Part of Rachmaninoff: Inside Out

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Discover classical music in

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Radio 3 Live In Concert Listen to the best live performances from across the UK, every evening at 7.30pm. bbc.co.uk/radio3 12 | London Philharmonic Orchestra

Available on the LPO Label: Vaughan Williams Symphonies Nos. 4 & 8 Symphony No. 4 Ryan Wigglesworth conductor Symphony No. 8 Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0082

‘First-rate playing from the London Philharmonic Orchestra with a fine, warm bloom to the sound.’ Financial Times (Symphony No. 4)

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

The Elgar Birthplace Museum Exploring the life and music of England’s great composer

Recommended recordings of tonight’s works Elgar: Introduction and Allegro London Philharmonic Orchestra | Sir Adrian Boult [EMI 5665402] Ireland: Piano Concerto Piers Lane | Ulster Orchestra | David Lloyd-Jones [Hyperion CDA67296] Eileen Joyce | London Philharmonic Orchestra | Sir Adrian Boult [LPO-0041]

Set in the beautiful countryside of Worcestershire is the museum dedicated to the life and times of England’s great composer, Sir Edward Elgar. Open every day 11am - 5pm

Walton: Symphony No. 1 London Philharmonic Orchestra | Sir Charles Mackerras [Classics for Pleasure 75569]

Lower Broadheath, Worcester tel. 01905 33224 birthplace@elgarmuseum.org

1 Free Entry to the Museum with this programme when accompanied by a full paying adult

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Laurence Watt Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry

Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

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Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust

Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant. By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre. We thank those who are helping us to realise the vision. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Richard Buxton Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Mr James R D Korner Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Gill & Garf Collins Mr John H Cook Bruno de Kegel Mr Gavin Graham Moya Greene Tony and Susie Hayes

Mr Derek B Gray Mr Roger Greenwood Rebecca Halford Harrison Mr J Douglas Home Honeymead Arts Trust Mrs Dawn Hooper Rehmet Kassim-Lakha Mr Geoffrey Kirkham Peter Leaver Drs Frank & Gek Lim Peter Mace Mr David Macfarlane Geoff & Meg Mann Marsh Christian Trust Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Gail Mutrux Paris Natar Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Pritchard Donors Sarah & John Priestland Ralph and Elizabeth Aldwinckle Mr Christopher Queree Michael and Linda Blackstone Mr Peter Russell Conrad Blakey OBE Mr Alan Sainer Dr Anthony Buckland Tim Slorick Business Events Sydney Lady Valerie Solti Lady June Chichester Timothy Walker AM John Childress & Christiane Wuillamie Laurence Watt Lindka Cierach Mr R Watts Paul Collins Des & Maggie Whitelock Mr Alistair Corbett Christopher Williams David Dennis Peter Wilson Smith Mr David Edgecombe Victoria Yanakova David Ellen Mr Anthony Yolland Mr Timothy Fancourt QC And all other donors who wish to Karima & David G remain anonymous Mr Daniel Goldstein Catherine Høgel & Ben Mardle Mrs Philip Kan Rose and Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury The Reed Foundation Sir Bernard Rix David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer