London Philharmonic Orchestra concert programme 29 Nov 2013 by London Philharmonic Orchestra

Concert programme 2013/14 season Part of Southbank Centreâ&#x20AC;&#x2122;s

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Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

JTI Friday Series Southbank Centre’s Royal Festival Hall Friday 29 November 2013 | 7.30pm

The Genius of Film Music 1980–2000 Dirk Brossé conductor

John Williams Star Wars: Symphonic Suite (12’) Vangelis Chariots of Fire: Main Theme (3’) Hamlisch Sophie’s Choice: Love Theme (4’) Ennio Morricone The Mission: Gabriel’s Theme (4’) Luis Enríquez Bacalov Il Postino: Main Theme (4’) Angelo Badalamenti Twin Peaks Suite (7’) E Bernstein The Age of Innocence Suite (8’) Danny Elfman The Nightmare Before Christmas Suite (10’) Interval John Powell/Harry Gregson-Williams Final Escape from Chicken Run (5’) Nicola Piovani La Vita è bella Suite (9’) Goldsmith Mulan Suite (7’) Don Davis The Matrix Reloaded Suite (7’) Hans Zimmer Gladiator Suite (8’)

* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Programme £3 Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader 6 Dirk Brossé 7 Programme notes 10 Next concerts 11 LPO Virtual Christmas Gifts 12 2013/14 Annual Appeal 13 Orchestra news 14 Catalyst: Double Your Donation 15 Supporters 16 LPO administration The timings shown are not precise and are given only as a guide.

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 and Feng Sushi, 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.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

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On stage tonight

First Violins Vesselin Gellev Leader Chair supported by John & Angela Kessler

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Martin Höhmann Yang Zhang Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Sarah Streatfeild Robert Pool Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Amanda Smith Second Violins Winona Fifield Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Ashley Stevens Caroline Simon Dean Williamson Alison Strange Stephen Stewart Sheila Law Elizabeth Baldey Stephen Rowlinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Laura Vallejo Emmanuella Reiter Susanne Martens Daniel Cornford Naomi Holt Martin Fenn Sarah Malcolm Cellos Josephine Knight Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Flutes Katie Bedford Guest Principal Sue Thomas Chair supported by the Sharp Family

Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Lucie Sprague Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Douglas Mitchell Bass Clarinet Paul Richards Principal Bassoons Ben Hudson Guest Principal Gareth Newman* Contrabassoon Simon Estell Principal Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Alex Edmondson Trumpets Paul Beniston* Principal Anne McAneney*

Trombones Mark Templeton* Principal David Whitehouse Andrew Connington Bass Trombone Lyndon Meredith Principal Tuba Sasha Koushk-Jalali Guest Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Sacha Johnson Keith Millar Jeremy Cornes Harp Rachel Masters* Principal Chair supported by Friends of the Orchestra

Piano Catherine Edwards

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Chair supported by Geoff & Meg Mann

Nicholas Betts Co-Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Victoria Graham Fuller Simon Robey

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London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

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 orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, 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, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson 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 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights

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include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Mahler’s Das Lied von der Erde with Yannick Nézet-Séguin, Sarah Connolly and Toby Spence; and a disc of new works by the Orchestra’s Composer in Residence, Julian Anderson. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app 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

first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

Vesselin Gellev was born in Bulgaria and has been a featured soloist with the Spoleto Festival Orchestra, New Haven Symphony Orchestra, Juilliard Orchestra and London Philharmonic Orchestra, among others. As violinist of the Antares Quartet, he won First Prize at the 2002 Concert Artists Guild competition in New York. As Concertmaster of Kristjan Järvi’s Absolute Ensemble, a Grammy-nominated, genre-blending ‘classical band’, he has recorded several CDs; appeared in venues such as the Sydney Opera House, the Amsterdam Concertgebouw and the Vienna Konzerthaus; and collaborated with many world-renowned artists as diverse as Paquito D’Rivera, Goran Bregovic, L. Subramaniam and the late Joe Zawinul. He has also performed as Guest Leader with orchestras including the BBC National Orchestra of Wales, Royal Philharmonic Orchestra, Royal Scottish National Orchestra, Mahler Chamber Orchestra, and Orchestra of the Accademia Nazionale di Santa Cecilia in Rome. In 2012 he was invited to join the World Orchestra for Peace, founded by Sir Georg Solti. Vesselin received his Bachelor’s and Master’s degrees from The Juilliard School in New York and, prior to joining the LPO as Sub-Leader in 2007, held the position of Concertmaster with the New Haven Symphony Orchestra and the Spoleto Festival Orchestra in Italy. He has led the LPO in numerous concerts and several recordings for the Orchestra’s own record label, most recently on the Official Thames Diamond Jubilee Pageant CD in 2012. An avid chamber musician, Vesselin also performs regularly in the LPO’s Chamber Contrasts series at Wigmore Hall. Vesselin’s chair in the London Philharmonic Orchestra is supported by John and Angela Kessler.

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Dirk Brossé

conductor

Dirk Brossé, born in Ghent, Belgium, is a multi-faceted composer and a respected conductor on the international music scene. He is Music Director of The Chamber Orchestra of Philadelphia, Music Director of Filmfestival Gent, and Music Director and Principal Conductor of the ‘Star Wars: In Concert’ world tour. Recent achievements include an Emmy Award nomination for his score to the HBO/BBC television series Parade’s End, and receiving the honour of Knight of the Order of the Crown in Belgium. Dirk began his music studies at the Music Conservatories of Ghent and Brussels. He subsequently specialised in conducting, which he studied in Maastricht, Vienna and Cologne. Alongside his many guest professorships, he is currently Professor of Composition and Conducting at the Royal Conservatory of Music in Ghent. Dirk has conducted all the leading Belgian orchestras including the Brussels Philharmonic, Royal Flemish Philharmonic, Orchestra of the Flemish Opera and National Orchestra of Belgium. Elsewhere he has conducted the London Philharmonic Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, Ulster Orchestra, Orchestre de la Suisse Romande, Philharmonic Orchestra of Shanghai, Vancouver Opera, KBS Symphony Orchestra of South Korea, Orchestre de l’Opéra de Lyon, World Symphony Orchestra (Japan), Philadelphia Chamber Orchestra, St Petersburg Camerata, Hong Kong Philharmonic Orchestra, Rotterdam Philharmonic Orchestra and National Orchestras of Venezuela and Ecuador. Dirk is also a versatile and prolific composer. He has written some 200 works including concertos, oratorios, lieder, chamber music and symphonic works, which have been performed all over the world and recorded in more than 40 countries. His most important works are La Soledad de América Latina, composed in collaboration with Gabriel García Márquez; Artesia, a ‘universal symphony’ for orchestra and ethnic instruments; the 6 | London Philharmonic Orchestra

ethno-classical symphony The Birth of Music; the oratorio Juanelo; the lieder cycles Landuyt Cycle and La Vida es un Sueño; the War Concerto for clarinet and orchestra; and the violin concertos Black, White and In Between, Sophia and Echoes of Silent Voices. In 2010, at the request of the Hong Kong Chinese Orchestra, he wrote The Hallow-e’en Dances, a work for traditional Chinese instruments. Besides this, Dirk has composed numerous scores for the theatre and the cinema. His best-known soundtracks are Koko Flanel, Licht, Stijn Coninx’s de Kavijaks and Daens (Academy Award Nominee 1993), Marian Handwerker’s Marie, Martin Koolhoven’s Knetter, and Jaques Feyder’s 1925 silent film Visages d’Enfants. He wrote the scores for the musicals Sacco & Vanzetti, The Prince of Africa, Tintin – The Temple of the Sun (based on Hergé’s world-famous cartoon character Tintin), Rembrandt, the Musical and Musical Daens, each time in close collaboration with Frank Van Laecke. In 2007 Dirk made his debut at London’s Royal Albert Hall, conducting the London Symphony Orchestra in ‘A Night of Music from the Movies’, featuring the music of Patrick Doyle. Dirk has made more than 60 CD recordings and has conducted at world-famous concert halls such as the Concertgebouw in Amsterdam; the Royal Festival Hall, Barbican Centre and Royal Albert Hall in London; La Monnaie in Brussels; the Victoria Hall in Geneva; the Seoul Arts Center; the Tokyo Forum; and the Shanghai Concert Hall. He has collaborated with artists such as José van Dam, Philip Webb, Barbara Hendricks, Claron McFadden, Julia Migenes, Derek Lee Ragin, Sabine Meyer, Julian Lloyd Webber, Daniel Blumenthal, Salvatore Accardo and, on a broader musical platform, with John Williams, Toots Thielemans, Hans Zimmer, Elmer Bernstein, Emma Thompson, Kenneth Branagh, Randy Crawford, Lisa Gerrard, Mel Brooks, Maurane, Sinead O’ Connor, Viktor Lazlo, Maurice Jarre and Youssou N’Dour. Dirk was awarded the title ‘Cultural Ambassador of Flanders’. He has received numerous prizes including the Flemish Government’s ‘Gouden Erepenning’ award for merit and the prestigious Achiel Van Acker Award. He is an Advisory Board Member of the independent thinktank ‘Itinera Institute’. Dirk most recently completed the score to Roland Joffé’s feature film Singularity.

Programme notes

The power of the orchestral score unleashed

The Big Guns

‘The function of a score is to enlarge the scope of a film. I try for emotional penetration – not for complementing the action.’ Jerry Goldsmith

John Williams (born 1932) was critical in saving the great orchestral score from certain demise. In the same way that Bernard Herrmann created terror out of screaming violins in Psycho, Williams had sent fear into swimmers everywhere with his score for Jaws. Two years later, the full-throttle high-speed explosion onto our screens of Star Wars (1977) confirmed him as that rare thing – a household-name composer.

New innovations offer endless possibilities and the brushing off of the old ways. In the 1970s it looked like electronic music had kiboshed the orchestral film score, not least because of the savings – who needs 120 musicians when one man and his box of studio tricks would do? ‘If I were starting now, I’d have no career in films’, bemoaned Bernard Herrmann in 1970. Even so, a quick glance through the Academy Award best film score nominations of 1980–2000 reveal that the orchestral film score was alive and pretty much battering all in its wake. The lists are dominated by one man: John Williams. The octogenarian is still at the forefront of his profession – since 2000 he has been nominated an astonishing 11 times. In fact, the talent of most of this evening’s featured composers is underlined by their staying power. Most went on to score for blockbusters beyond 2000. That’s not to say that new technology doesn’t have its place. It’s opened doors for gifted composers who may not have had the classical training, but without whom the world of film music would be much poorer. The breathtaking scores of Danny Elfman belie the fact that he never studied composition, but got by on trial, error and a terrific talent. By the end of the 20th century it became the norm for film scores to be a hybrid of orchestral and electronic, arguably still the case today. The might of the orchestra could not be beaten and session musicians around the world can breathe a sigh of relief. This evening’s fare covers the whole gamut of those decades of musical turmoil, from the synthesizercomposed Chariots of Fire and Twin Peaks of Vangelis and Badalamenti, to the granddaddies of the full luscious orchestral sound like Williams, Bernstein and Goldsmith. Some names are more recognisable than others but what binds their music together is the undisputable power to manipulate our emotions, from drama, high tension, the excitement of battle scenes, tragedy, comedy and intimate love scenes: all life is here in their music.

Star Wars is seen as ‘The One’ that brought symphonic scoring back to the forefront. Its director, George Lucas, had wanted to use existing orchestral music for his sci-fi epic but couldn’t get the rights. Instead, Williams’s brilliant score draws on the music of Holst’s Planets suite to fit the film’s classic, epic themes. Its popularity continues today, recently winning a BBC poll as best film soundtrack ever. Elmer Bernstein (1922–2004) was another fabulous symphonist, great melodist and rich orchestrator. His best-known scores are to adventure films like The Great Escape and The Magnificent Seven but, despite this, Bernstein much preferred working on ‘the more delicate films that deal intimately with people's lives, like ... The Age of Innocence’. The Edith Wharton novel adaptation of 1993 witnesses an illicit love affair that causes scandal in high society New York at the turn of the 20th century. The score is full of yearning and conflict. Director Martin Scorsese explains Bernstein’s gift: ‘Elmer's score had to adapt to the style and pace of the language ... We had no lengthy discussions about this, but [the score] flowed over the narration like a clear-running brook.’ When British composers John Powell (born 1963) and Harry Gregson-Williams (born 1961) were asked to write for Wallace and Gromit creator Nick Park’s first full-length animation, Chicken Run (2000), they must have rubbed their hands with glee! Here was a plasticine pastiche on the classic film The Great Escape and Elmer Bernstein’s memorable score. Fun lay ahead! ‘Final Escape’ is a veritable smorgasbord parody of great adventure film music. Pounding brass, scurrying strings – it’s Bernstein with a dash of swashbuckling Korngold for good measure. It ends with a fabulous march tune with oom-pah tuba and piccolo and flute, a witty take on The Great Escape’s opening number. London Philharmonic Orchestra | 7

Programme notes continued

Electric Dreams While John Williams was honing the score of his next big hit, Raiders of the Lost Ark, with full orchestral oomph, Greek composer Vangelis (born 1943) was experimenting with a completely different route for Chariots of Fire (1981). What might have been warranted for the ‘triumph over adversity’ true story of the British athletes Eric Liddell and Harold Abrahams at the 1924 Olympics was music from that period – a jazz soundtrack, for example. Vangelis’s unforgettable title music goes completely against that idea, yet its pulse and heroic melody fits perfectly the film’s themes. Ten years later, David Lynch’s surreal peek under the cover of small-town decency, Twin Peaks (1990/01), became a cult television hit. The director approached his friend Angelo Badalamenti (born 1937) to write the score. It seems extraordinary that the slow and evocative theme music was written in just 20 minutes. Badalamenti explained how it was done in the recent The Music that Made the Movies series on BBC Four: literally, he improvised on his keyboards while Lynch explained the emotions he was after.

The Melodists ‘I’ve noticed that despite all the sophistication of our times, the greatest device remains the simple straightforward melody. Using it in a sparse and simple way is still the best way.’ Jerry Goldsmith Of course, all the composers come under this category, but in 1986, Marvin Hamlisch (1944–2012) said of film music trends: ‘The last ten years ... have been antisentimental ... finally the people went “Give me a break. I want sentiment.”’ His music to Alan J. Paluka’s heart-rending Sophie’s Choice (1982) was an early capture of the zeitgeist. The pivotal moment comes when Polish woman Sophie is faced with a chilling choice: which of her two children will be sent to the gas chamber. The decision to lose her daughter haunts her the rest of her life. Hamlisch’s ‘Love Theme’ is simplistically beautiful but ratchets up the emotional turmoil of the scene.

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Jerry Goldsmith’s (1929–2004) quote may come as a surprise to those who know his avant-garde scores for Planet of the Apes (1968) and The Omen (1976). He experimented with electronic music in the 1970s and 80s, but by the 90s was merging synthesized sound with traditional orchestral music. Goldsmith the melodist can be in no doubt, and the score to Mulan (1998) is a testimony to his talent for creating beautiful themes. The tale of a young Chinese girl who becomes a warrior, Goldsmith’s bold soundtrack uses ethnic instruments and the pentatonic five-note scale of traditional Chinese music to create the soundworld. Powerful percussion and brass provide the battle backdrop and Mulan’s theme is an elegant, simple rise and fall tune, first heard in the wind. Listen out too for the sweeping love theme.

The Italian Mafia Ennio Morricone’s (born 1928) sense of the theatre and drama attracted him to director Sergio Leone, resulting in the extraordinary scores for the ‘Dollars’ trilogy – the vast cinema landscape of 1960s spaghetti westerns. Twenty years later came The Mission (1986), for which the London Philharmonic Orchestra recorded the original soundtrack. The film is as much about the power of music as the missionary’s story: Morricone cleverly used ethnic instrumentation and liturgical music for what was to become his own favourite score. ‘Gabriel’s Oboe’ has become a popular staple on the concert platform. The Argentinian/Italian composer Luis Enríquez Bacalov (born 1933) also has a background in scoring for spaghetti westerns, and his 1968 song ‘Django’ was used as the title song for Django Unchained, directed by Quentin Tarantino. The beautiful soundtrack to Il Postino (1994) is far removed from those early movies. Harmonica and accordion add to the nostalgic feel of the music in this sweet romantic comedy. Nicola Piovani (born 1946) has been writing predominantly for Italian cinema for over 40 years. His work has even been mistaken for that of Morricone composing under a pseudonym. Piovani, understandably, didn’t mind the association, but was glad to announce that he was real ‘flesh and blood’ when he won the Oscar in 1998 for La Vita è bella (Life is Sweet).

The Next Generation Danny Elfman (1953) puts his hugely successful collaboration with Tim Burton down to the fact that they are ‘a couple of very odd guys’. His style fits brilliantly with Burton’s wild, gothic and witty imagination. The Nightmare Before Christmas (1993), the bizarre but funny stop-animation film of Halloween Town’s Jack Skellington’s desire to adopt the ways of Christmas Town, is no exception. The suite features ‘Sally’s Song’, a plaintive sigh of unrequited love and the flashy ‘What’s This?’, Jack’s wide-eyed discovery of Christmas Town (sung on the original score in manic fashion by Elfman himself). The music by Don Davis (born 1957) to The Matrix trilogy (1999–2003) is an out-of-this-world combination of the electronic and the orchestral. It stood out from the crowd for its move away from strong melody and its references to minimalism, a form developed in the 1970s by composers including Steve Reich. Its predominant features are repetition, a relentless pulse and static harmony – listen to the hard-working scurrying strings, military side drums and ominous brass blast of the opening. It has a suitably futuristic feel.

but a good programmer’. A great classical music lover, he says the music to Gladiator (2000) was inspired by Holst’s The Planets and by Wagner. Unfortunately, Gladiator’s ‘Battle Scene’ is so similar to Holst’s ‘Mars’ that some call it plagiarism – including Holst’s music publishers, who sued Zimmer. However, The ‘Elysium’ theme is all Zimmer and no one can deny its ethereal quality. Programme notes by Sarah Breeden © 2013 ‘Suite from Disney’s Mulan’ Score by Jerry Goldsmith Songs by Matthew Wilder and David Zippel Orchestrated by Alexander Courage 1998 Wonderland Music Co., Inc. (BMI) ‘Tim Burton’s The Nightmare Before Christmas Orchestral Suite’ Music by Danny Elfman Arranged by Mark McKenzie 1993 Buena Vista Music Company (BMI)

A hugely successful film composer, Hans Zimmer (born 1957) has come a long way since his early days in the 1980s when he was earning a living by composing such ‘classics’ as the theme tune to quiz show Going for Gold! Interestingly, he runs a synthesizer-packed studio with a team of composers – shades of the old Hollywood studio system. He freely admits he’s ‘not a great player

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert, creating a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce John Williams’s score to Star Wars: lpo.org.uk/explore/videos.html

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Next LPO concerts at Royal Festival Hall

Saturday 7 December 2013 | 7.30pm

Wednesday 15 January 2014 | 7.30pm

Julian Anderson The Stations of the Sun James MacMillan Veni, Veni, Emmanuel Mark-Anthony Turnage Evening Songs Thomas Adès Asyla

James MacMillan Viola Concerto (world premiere) Mahler Symphony No. 6

Vladimir Jurowski conductor Evelyn Glennie percussion Free pre-concert performance 6.00–6.45pm | Royal Festival Hall The LPO Foyle Future Firsts, under conductor Paul Hoskins, perform British music from the 1990s including Martin Butler’s Jazz Machines, described as ‘jazz that machines might play, on the sly, when we’re not listening’.

Saturday 14 December 2013 | 7.30pm John Adams El Niño (Nativity Oratorio) Vladimir Jurowski conductor Susan Gritton soprano Kelley O’Connor mezzo-soprano Matthew Rose bass Daniel Bubeck countertenor Brian Cummings countertenor Steven Rickards countertenor London Philharmonic Choir The Coloma St Cecilia Singers Trinity Boys Choir Mark Grey sound designer

Vladimir Jurowski conductor Lawrence Power viola Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall James MacMillan discusses his new Viola Concerto.

Friday 17 January 2014 | 7.30pm JTI Friday Series Brahms Piano Concerto No. 1 Beethoven Symphony No. 6 (Pastoral) Vladimir Jurowski conductor Yulianna Avdeeva piano

Wednesday 22 January 2014 | 7.30pm J S Bach Violin Concerto No. 1 in A minor, BWV 104 Hartmann Concerto funebre Beethoven Symphony No. 3 (Eroica) Vladimir Jurowski conductor Leonidas Kavakos violin Generously supported by the Sharp Family.

Free pre-concert performance 5.00–5.45pm | The Clore Ballroom at Royal Festival Hall The London Philharmonic Orchestra’s creative ensemble for 15–19 year-olds, The Band, performs its latest set – new music inspired by John Adams’s El Niño and its source texts.

Tickets £9–£39 (premium seats £65) unless stated London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

Transaction fees: £1.75 online, £2.75 telephone

Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

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Virtual Christmas Gifts from the London Philharmonic Orchestra Want to give a different present to your music-loving friends or family this Christmas? How about a stocking filler, or a gift for someone who has everything? Celebrate with the London Philharmonic Orchestra by giving one or more of our Virtual Gifts. Each gift comes with a bespoke Christmas card that we can send to you or directly to the recipient with your own personal greeting. Virtual Gifts start from just £10. You can choose to support one of the iconic moments of the Orchestra’s 2013/14 season, or alternatively your gift can go towards our exciting and enriching work in south London schools. Whatever you choose, your gift will have an impact long after the celebration itself.

Iconic moments: £10 Your opportunity to support a sensational musical moment from the London Philharmonic Orchestra in one of our forthcoming concerts. Choose from: • • • • • • • • •

Beethoven’s Symphony No. 6 (Pastoral) – The fourth movement, depicting a violent thunderstorm Grieg’s Piano Concerto in A minor – The soloist’s famous opening chords Rachmaninoff’s Piano Concerto No. 2 – The first movement’s opening theme, played by the string section Wagner’s Prelude to Tristan und Isolde – The opening ‘Tristan chord’ Tchaikovsky’s Romeo and Juliet (Fantasy Overture) – The iconic love theme Beethoven’s Symphony No. 9 (Choral) – The fourth movement’s ‘Ode to Joy’ with full choir Saint-Saëns’s Symphony No. 3 (Organ) – The final movement’s main climactic theme led by the organ Brahms’s Symphony No. 4 – The fourth movement’s beautiful 12th variation orchestrated for solo flute Tchaikovsky’s Symphony No. 6 (Pathétique) – The solo bassoon’s mournful opening theme

Adopt A Class: £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school and help them overcome their disabilities through music.

Roll Call: £40 Help us liven up an assembly in one of south London’s schools by sending in a group of LPO musicians.

Centre Stage: £50 Your gift will help us offer the opportunity for a south London school child to perform at the Royal Festival Hall. Visit lpo.org.uk/virtualgifts to hear soundclips of the iconic moments and buy your gift online, or call Katherine Hattersley on 020 7840 4212 to buy over the phone. We also have a range of LPO Friends or Contemporaries gift memberships available, as well as concert gift vouchers and CD subscriptions. Just visit lpo.org.uk/gifts to find out more. In order to guarantee delivery by Christmas please order by Thursday 19 December 2013. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No. 238045.

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London Philharmonic Orchestra Annual Appeal 2013/14

Tickets Please! Do you remember the first time you saw a symphony orchestra live on stage? Every year the London Philharmonic Orchestra’s schools’ concerts allow over 16,000 young people to see the Orchestra live. The LPO is the only orchestra in the UK to offer specific and tailored orchestral concerts for all ages – from primary school children aged five, through to 18-year-old A-level students. Six out of ten children attending the concerts will be experiencing an orchestra for the very first time.

Tickets for the concerts cost £9. We want to offer free tickets to 2,500 children from the most disadvantaged schools and we need your help to make this happen.

For a donation of just £9 you could buy a ticket for a child to attend one of our schools’ concerts. If you would like to donate more, you could buy tickets for three children (£27), a row of seats in the stalls (£108), or a whole class to attend (£270). Every donation of any size from our supportive audience will help us to fill our concert hall with new young audience members.

Please visit lpo.org.uk/ticketsplease, where you can select the seats you wish to buy, or call Katherine Hattersley on 020 7840 4212 to donate over the phone. Thank you for supporting Tickets Please!

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Orchestra news

Christmas gifts from the LPO

Win a signed copy of The Rest Is Noise

What to buy the person who has everything? How about a Christmas gift from the London Philharmonic Orchestra?

We’re offering you the chance to win a signed copy of Alex Ross’s The Rest Is Noise, the book that inspired 2013’s year-long festival of 20thcentury music at Southbank Centre. Just send us a short (20-40 word) review of an autumn 2013 LPO concert and we will select a winner at random to receive a copy of this seminal book, signed by the author himself.

Treat someone to a subscription to the London Philharmonic Orchestra’s CD releases and they will receive every new CD on the LPO Label (one each month), mailed before they’re available in the shops. Or how about one of our Virtual Gifts? Whether you’re helping us to stage world-class concerts or providing a London child with their first experience of live music, your gift will have an impact long after the celebration itself. Concert gift vouchers, and memberships of the London Philharmonic Orchestra Friends or Contemporaries are also available.

To enter, simply email admin@lpo.org.uk with The Rest Is Noise audience review in the subject line and include your full name, date of the concert attended and a short review of your concert experience. We look forward to hearing from you! Why not share your mini-review on Twitter too? Find us at @LPOrchestra

lpo.org.uk/gifts

New CD: Orchestral works by Julian Anderson This month’s release on the LPO Label is a disc of orchestral works by the Orchestra’s Composer in Residence, Julian Anderson (LPO-0074): Fantasias and The Crazed Moon conducted by Vladimir Jurowski, and the Sky Arts Award-winning premiere performance of The Discovery of Heaven conducted by Ryan Wigglesworth. Julian Anderson has been described by The Times as ‘a composer to cherish’ and by the Evening Standard as ‘one of the finest composers of his generation’. This is the first album of his works performed by the Orchestra. Priced £9.99, it is also available from lpo.org.uk/shop, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop and all good CD retailers. Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

NOISE and Student Pulse Are you a full-time student? If so, you’re eligible for £4 best available seats to selected LPO concerts, plus occasional free post-concert drinks. Our next NOISE Bar at Royal Festival Hall is on Saturday 7 December, when the London Philharmonic Orchestra and Choir perform John Adams’s ‘Nativity Oratorio’ El Niño conducted by Vladimir Jurowski. Student tickets (with valid ID) are just £4, and you can come along after the concert for a free beer courtesy of the Orchestra’s Principal Beer Sponsor, Heineken. The LPO is also a part of Student Pulse, a London-wide scheme bringing together all the top London orchestras and letting students know when student tickets are available for their concerts. Visit lpo.org.uk/noise to find out more.

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Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Manon Williams & John Antoniazzi Haitink Patrons Lady Jane Berrill Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker

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Pritchard Donors Anonymous Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust

John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

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 Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha

Per Jonsson Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust Palazzetto Bru Zane – Centre de musique romantique française PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Currie Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)