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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence MARK-ANTHONY TURNAGE Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER
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SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL JTI FRIDAY SERIES Friday 25 September 2009 | 7.30 pm Saturday 26 September 2009 | 7.30 pm VLADIMIR JUROWSKI conductor ADRIANA KUCEROVA soprano CHRISTIANNE STOTIJN mezzo soprano LONDON PHILHARMONIC CHOIR 26 September only KURTÁG Stele (16’) 25 and 26 September MAHLER Symphony 2 in C minor (Resurrection)
(77’)
Please note that there will be no interval during these performances. There will be a short pause after the first movement of the Mahler. Please remain in your seats and save any applause until the end of the concert.
26 September only Barlines – FREE Post-Concert Event Central Bar, Level 2 Foyer, Royal Festival Hall You are invited to an informal discussion with Vladimir Jurowski following the evening’s performance. †
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supported by Macquarie Group
CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
PROGRAMME £3 CONTENTS 2 List of Players 3 Orchestra History 4 Leader / Southbank Centre 5 Vladimir Jurowski 6 Adriana Kucerova / Christianne Stotijn 7 London Philharmonic Choir 8 Programme notes 13 Supporters 14 Philharmonic News 15 Administration 16 Future Concerts
The London Philharmonic Orchestra gratefully acknowledges the financial support of Arts Council England and Southbank Centre. The timings shown are not precise and are given only as a guide.
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LONDON PHILHARMONIC ORCHESTRA
FIRST VIOLINS Pieter Schoeman Leader Vesselin Gellev Sub-Leader Jeongmin Kim Katalin Varnagy Catherine Craig Thomas Eisner Martin Hรถhmann Chair supported by Richard Karl Goeltz Tina Gruenberg Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Peter Nall Alain Petitclerc Galina Tanney Anna Reszniak SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Dean Williamson Sioni Williams Heather Badke Alison Strange Stephen Stewart Mila Mustakova Toby Tramaseur Elizabeth Baldey VIOLAS Alexander Zemtsov* Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Daniel Cornford Naomi Holt Claudio Cavalletti Miranda Davis Martin Fenn Karin Norlen
CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Rosie Banks Pavlos Carvalho DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Roger Linley Kenneth Knussen David Johnson Helen Rowlands Anita Langridge Jeremy Gordon Tom Walley Lucy Hare
CLARINETS Robert Hill* Principal Emily Sutcliffe Tom Watmough Paul Richards
OFFSTAGE TRUMPETS Nicholas Betts Principal Tom Rainer Miles Maguire Heidi Sutcliffe
E FLAT CLARINETS Nicholas Carpenter Principal Tom Watmough
TROMBONES Mark Templeton* Principal David Whitehouse Richard Watkin
BASS CLARINET Paul Richards Principal CONTRA BASS CLARINET Andrew Mason BASSOONS John Price Principal Gareth Newman* Christopher Cooper Simon Estell CONTRA BASSOON Simon Estell Principal
FLUTES Mattia Petrilli Guest Principal Joanna Shaw Stewart McIlwham* Francis Nolan Katie Bicknell PICCOLOS Stewart McIlwham* Principal Francis Nolan ALTO FLUTE Stewart McIlwham* BASS FLUTE Anna Noakes OBOES Ian Hardwick Principal Angela Tennick Sue Bohling Owen Dennis CORS ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds Owen Dennis
HORNS Richard Bissill* Principal John Ryan Principal Martin Hobbs Adrian Uren Gareth Mollison Neil Shewan Anthony Chidell Max Garrard OFFSTAGE HORNS Jeffrey Bryant Stephen Stirling Hugh Seenan Max Garrard WAGNER TUBAS John Ryan Principal Martin Hobbs Neil Shewan Gareth Mollison TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann Nicholas Betts Co-Principal Daniel Newell Philip Cobb David Hilton Jo Sharp Simon Sturgeon-Clegg
BASS TROMBONES Lyndon Meredith Principal Patrick Jackman TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal William Lockhart PERCUSSION Rachel Gledhill Principal Andrew Barclay* Co-Principal Keith Millar Jeremy Cornes Ignacio Molins Glyn Matthews William Lockhart OFFSTAGE PERCUSSION Glyn Matthews Antoine Bedewi Edward Cervenka HARPS Rachel Masters* Principal Helen Sharp KEYBOARDS Catherine Edwards Elizabeth Burley Bernard Robertson CIMBALOM Edward Cervenka
* Holds a professorial appointment in London +
Chevalier of the Brazilian Order of Rio Branco
ASSISTANT CONDUCTOR Ralf Sochaczewsky
Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David and Victoria Graham Fuller
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John and Angela Kessler
Mrs Steven Ward
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LONDON PHILHARMONIC ORCHESTRA
Seventy-seven years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin its new Principal Guest Conductor from September 2008.
often headlining at major festivals. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA.
The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2009/10 include Between Two Worlds – an exploration of the music and times of Alfred Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and dedicated to the 20th Anniversary of the Fall of the Berlin Wall; and new works by Rautavaara, Górecki, Philip Glass, Ravi Shankar and the Orchestra’s Composer in Residence, Mark-Anthony Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.
The Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of Shostakovich’s monumental Tenth Symphony under Bernard Haitink; a disc of contemporary works by composers Thomas Adès, James MacMillan and Jennifer Higdon conducted by Marin Alsop; Rachmaninoff’s Symphony 3 along with Bax’s Tintagel conducted by Osmo Vänskä; a CD of early Britten works conducted by Vladimir Jurowski; and Mahler’s Symphony 6 under the baton of Klaus Tennstedt. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.
In addition to its London season, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. 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. Touring continues to form a significant part of the Orchestra’s schedule, with regular appearances in North America, Europe and the Far East,
Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works extensively with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.
The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series and join us on Facebook.
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PIETER SCHOEMAN
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WELCOME TO SOUTHBANK CENTRE
LEADER
In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. In 2008 he was appointed Leader.
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.
Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Edouard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.
Eating, drinking and shopping? Southbank Centre shops and restaurants include: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.
Pieter Schoeman has performed as a soloist and recitalist throughout the world in such famous halls as the Concertgebouw in Amsterdam, Moscow's Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London's prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, he has performed Arvo Pärt's Double Concerto and Benjamin Britten's Double Concerto, which was recorded for the Orchestra’s own record label. Most recently he also played concertos with the Wiener Concertverein and Orchestre Philharmonique de Nice. In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. During his tenure there he performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon, Baltimore and the London Philharmonic Orchestra. A frequent guest of the BBC Symphony Orchestra in London, Pieter Schoeman returned in October 2006 to lead that orchestra on a three week tour of Seoul, Beijing, Shanghai, Singapore and Kuala Lumpur. Pieter Schoeman has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, the BBC and for American film and television. He led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.
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If you wish to get in touch with us following your visit please contact Kenelm Robert our Head of Customer Relations, at Southbank Centre, Belvedere Road, London, SE1 8XX, by phone on 0871 663 2502 or by email at 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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VLADIMIR JUROWSKI
Roman Gontcharov
CONDUCTOR
Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies at High Schools of Music in Dresden and in Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival, where he conducted RimskyKorsakov’s May Night. The same year saw his brilliant debut at the Royal Opera House Covent Garden in Nabucco. In 1996 Jurowski joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001. Since 1997 Vladimir Jurowski has been a guest at some of the world's leading musical institutions including the Royal Opera House Covent Garden, Teatro La Fenice Venice, Opéra Bastille Paris, Théâtre royal de la monnaie Brussels, Maggio Musicale Festival Florence, Rossini Opera Festival Pesaro, Edinburgh Festival, Semperoper Dresden and Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera New York with Rigoletto. In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra's Principal Conductor in September 2007. He also holds the title of Principal Artist of the Orchestra of the Age of Enlightenment, and from 2005 to 2009 served as Principal Guest Conductor of the Russian National Orchestra with whom he will continue to work in the years ahead.
Vladimir Jurowski has made highly successful debuts with a number of the world's leading orchestras including the Berlin Philharmonic, Rotterdam Philharmonic, Royal Concertgebouw, Gewandhaus Leipzig, Chamber Orchestra of Europe and Dresden Staatskapelle, and in the USA with the Los Angeles Philharmonic, Pittsburgh Symphony and Philadelphia Orchestras. Highlights of the 2009/10 season and beyond include his debuts with the Bavarian Radio Symphony, Chicago Symphony and Cleveland Orchestras, and return visits to the Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchester Zurich, Accademia di Santa Cecilia, Dresden Staatskapelle and Philadelphia Orchestra. His operatic work has included performances of Jenufa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at the Welsh National Opera, War and Peace at the Opera National de Paris, Eugene Onegin at La Scala Milan, and Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde and Peter Eötvös’ Love and Other Demons at Glyndebourne Opera. Future engagements include new productions of Don Giovanni and Die Meistersinger and a revival of The Rake’s Progress at Glyndebourne, and Iolanta at the Dresden Semperoper. Jurowski’s discography includes the first ever recording of Giya Kancheli’s Exile for ECM (1994), Meyerbeer’s L’etoile du Nord for Naxos-Marco Polo (1996), Werther for BMG (1999), and live recordings of works by Rachmaninoff, Turnage, Tchaikovsky, Britten and Shostakovich on the London Philharmonic Orchestra’s own label, as well as Prokofiev’s Betrothal in a Monastery on Glyndebourne Opera’s own label. He also records for PentaTone with the Russian National Orchestra, releases to date having included Stravinsky's Divertimento from Le Baiser de la fée, Tchaikovsky's Suite No. 3 and Shostakovich’s Symphonies Nos 1 and 6, Prokofiev’s Symphony No. 5, and Tchaikovsky’s Incidental Music from Hamlet. Glyndebourne have released DVD recordings of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus and Rachmaninoff’s The Miserly Knight, and other recent DVD releases include Hänsel und Gretel from the Metropolitan Opera New York, and his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler (released by Medici Arts). London Philharmonic Orchestra | 5
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ADRIANA KUCEROVA CHRISTIANNE STOTIJN SOPRANO
MEZZO SOPRANO
Adriana Kucerova studied at the School of Music in Bratislava, at the Conservatoire supérieur de musique et danse in Lyon and at the University of Music and Drama in Bratislava. Since 2004 she has been a member of the Slovakian National Theatre in Bratislava, where she has sung parts such as Morgana in Alcina, First Niece in Peter Grimes and First Elf in Rusalka.
Christianne Stotijn studied in Metz, London and Amsterdam, and has worked with celebrated conductors and leading orchestras all over the world. She has appeared at several festivals including the Delft Chamber Music Festival, Gergiev Festival, La Roque d'Antheron, Aix-en-Provence Festival and the BBC Proms. She is also an impassioned song recitalist, working with Joseph Breinl, Julius Drake and David Selig.
In 2006, at the Salzburg Festival she took the role of Serpetta in La finta giardiniera, at La Scala Milan she made her debut in Dido and Aeneas, and at Munich State Opera she very successfully sang the role of Sophie in Werther for the first time. In 2007 she took part in concerts in Salzburg, Munich, Genova and Dresden, and made her debut as Adina in L’elisir d’amore with Glyndebourne Touring Opera. The following year she made her debut at Opéra Bastille Paris in Parsifal, her debut at the Glyndebourne Festival in the role of Gretel in Hänsel und Gretel, and her debut in the role of Anne Truelove in a new production of The Rake’s Progress, conducted by Nikolaus Harnoncourt at the Theater an der Wien in Vienna. Earlier this year she took part in concert performances of Fidelio conducted by Daniel Barenboim in Seville, at the Salzburg Festival and at the BBC Proms, and sang in L’elisir d’amore at the Glyndebourne Festival. Future plans include the role of Mercedes in a new production of Carmen conducted by Barenboim at the opening of the 2009/10 season at La Scala Milan, her US debut as Norina in Don Pasquale at Dallas Opera, concert performances of Gianni Schicchi in Rome, The Cunning Little Vixen at Opéra Bastille Paris and her first Susanna in Le nozze di Figaro in Florence. In the 2011/12 season she will sing Le nozze di Figaro at Houston Grand Opera and Falstaff in Toulouse.
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In 2003 she made her operatic debut with the Nationale Reisopera where she sang Carilda in Handel's Arianna in Creta. Since then she has sung the roles of Pauline in Tchaikovsky’s The Queen of Spades in Paris; Isabella in L'Italiana in Algeri and Ottavia in L’incoronazione di Poppea in Aix-en-Provence; Arianna in Lamento d’Arianna at the Netherlands Opera; and Cornelia in Giulio Cesare at the Monnaie in Brussels. Future operatic roles include the title role in the new production of Tamerlano at the Royal Opera House Covent Garden and Brangane in Tristan und Isolde at the Monnaie. Following her successful debut with the Concertgebouw Orchestra in 2005, Bernard Haitink reinvited her to sing with him. Their collaborations have included Das Lied von der Erde with the London Symphony Orchestra and Ruckert Lieder with the Chicago Symphony Orchestra. She recently premièred Spaces of Blank written for her by Michel van de Aa, and commissioned by the Concertgebouw Orchestra. Christianne Stotijn records exclusively for Onyx Classics having already recorded a CD of songs by Schubert, Berg and Wolf with Joseph Breinl and Mahler songs with Julius Drake. In 2006, she recorded Frank Martin’s Die Weise von Liebe und Tod des Cornets Christoph Rilke for MDG, which was awarded the Echo Klassik Award 2008.
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LONDON PHILHARMONIC CHOIR PATRON: HRH Princess Alexandra PRESIDENT: Sir Roger Norrington ARTISTIC DIRECTOR: Neville Creed
ACCOMPANIST: Iain Farrington CHAIRMAN: Mary Moore CHOIR MANAGER: Tessa Bartley
Colin Smith 1965 - 2009 The Choir would like to dedicate its performance this evening to the memory of Colin Smith who left us far too early in April this year. Colin was a valued member of the bass section for several years and will be sadly missed by all his friends in the Choir. His wife Victoria, another LPC singer, and baby daughter Leonora, who arrived in June, are in our thoughts. Sopranos Catherine Allum, Lasma Anspoka, Annette Argent, Hilary Bandy, Tessa Bartley, Paula Chessell, Alana Clark, Shelia Cox, Melanie Dargatz, Boon Kim Fam, Sophie Fetocacis, Alison Flood, Sally Harrison, Emily Harrup, Carolyn Hayman, Karen Jason, Jocelyn Kelty, Jenni Kilvert, Ilona Kratochvilova, Frances Lake, Charlotte Lawrence, Katherine Lee, Clare Lovett, Felicity Mowat, Sarah C Royle, Christine Rush, Leanne Singh-Levett, Victoria Smith, Tania Stanier, Susan Thomas, Isobel Timms, Jenny Torniainen, Alicia Van der Merwe, Laura Westcott, Fran Wheare Altos Joanna Arnold, Julie Barton, Caroline Bray, Lara Carim, Noel Chow, Janik Dale, Margaret Driver, Moira Duckworth, Fiona Duffy, Andrea Easey, Lynn Eaton, Carmel Edmonds, Pauline Finney, Regina Frank, Clare Galton, Kathryn Gilfoy, Suzanne Healey, Lucy Hewes, Erica Howard, Kasia Hunt, Marjana Jovanovic Morrison, Edith Judd, Andrea Lane, Laetitia Malan, Ruth Mariner, Anna Mignot, Liz Moloney, Mary Moore, Elisabeth Nichol, Angela Pasco, Helene Richards, Sheila Rowland, Jenny Ryall, Stephanie Saffrey, Carolyn Saunders, Christina Stern,
Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain's finest choirs and consistently meets with great critical acclaim. It has been involved in over 80 recordings and has performed under leading international conductors throughout its history. The Choir enjoys a close relationship with the London Philharmonic Orchestra, joining it regularly for performances in the UK and abroad. It also works with many other leading orchestras and has enjoyed sharing the stage with Daleks, dinosaurs and various other creatures in last year's Doctor Who and this year's Evolution! Proms. The Choir often travels overseas and, over the last few years, has made several visits to Europe, including concerts in Rome, Lucerne and Cologne. It has travelled as far afield as Kuala Lumpur and Perth, Australia, and, in February 2008, visited Hong Kong, where it gave two concerts at the Hong Kong Arts Festival: a performance of Stravinsky’s Symphony of Psalms and Rachmaninoff’s The Bells with the Hong Kong Philharmonic Orchestra under Edo de Waart, and a programme of British choral
Mariken Van Dolen, Jenny Watson, Suzanne Weaver, Erika Weingarth Tenors David Aldred, Geir Andreassen, Chris Beynon, Conway Boezak, John Boyne, Keith Chaundy, Brian Coulstock, Kevin Darnell, Jack Dixon, Aloysius Fekete, Iain Handyside, Rob Home, Patrick Hughes, Andrew Mackie, Philip Padfield, Rhydian Peters, Stephen Pritchard, Kevin Rainey, Paul Thirer, Alex Thomas Basses Ken Atkinson, John Bandy, Jonathon Bird, Stephen Bonney, Derek Bryanton, Gordon Buky-Webster, Geoffrey Clare, David Clark, Marcus Daniels, Martin Dehnel, Richard Ford, Ian Frost, Paul Gittens, Nigel Grieve, Mark Hillier, Stephen Hines, Rylan Holey, Hugh Hudson, Martin Hudson, Aidan Jones, John Luff, Chris McCun, Anthony McDonald, John D Morris, John G Morris, Ashley Morrison, William Parsons, Johan Pieters, Chris Short, Daniel Snowman, Peter Sollich, Peter Taylor, Greg Thomas, Edwin Tomlins, Dawid Viljoen, James Wilson, Hin-Yan Wong
music conducted by the Choir’s Artistic Director, Neville Creed. Over the New Year, the Choir travelled to Budapest with the London Philharmonic Orchestra to perform Haydn's Die Schöpfung. Following performances of Beethoven's Missa solemnis and Symphony 9, Dvo˘rák’s Requiem, Brahms’s Ein deutsches Requiem and Holst's The Planets, the Choir concluded its 2008/09 season by joining the Hertfordshire County Youth Orchestra for a concert of Schoenberg’s Gurrelieder under Peter Stark. This season the Choir looks forward to working again with Kurt Masur for Mendelssohn’s Elijah and with Yannick Nézet-Séguin for a programme of French music. In 2007, the Choir celebrated its 60th anniversary and published a book – Hallelujah: An Informal History of the London Philharmonic Choir. The book is available from retail outlets here in the Southbank Centre and can be ordered through the Choir's website. For more information about the Choir, including details about how to join, please visit www.lpc.org.uk.
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PROGRAMME NOTES
SPEEDREAD Asked what prompted his huge 80-minute Second Symphony, Mahler replied that he needed to express himself musically ‘at the point where the dark feelings hold sway’. Anger, fear and longing vie for expression in the first of its five movements, a funeral march in which Mahler ponders questions about life and death and comes, it seems, to a despairing conclusion. The second movement is a kind of minuet recalling youth and lost innocence. Disgust at life’s trivialities characterises the following scherzo. A solo mezzo soprano voice enters at this point, expressing in the words of a folk poem a simple confidence in eternal life. The tumultuous finale that follows is filled at first with horror, but there are
György KURTÁG
hopeful signs in the air and the answer to the Symphony’s questions comes at last with the hushed tones of a choir assuring us that we shall rise again. A mighty declaration of Christian faith, ‘I shall die so as to live’, grows from this, and the bells ring out in triumph at the end. EM In Saturday’s concert, the funeral march which opens Mahler’s Symphony is preceded by another elegy, Stele (the title means an inscribed memorial column) by the senior Hungarian composer György Kurtág. A slow introduction of intense concentration leads to a central movement of fierce protest followed by uneasy calm, and the work ends in the manner of a solemn procession. AGB
STELE, OP. 33 (26 September 2009 only) Larghissimo – Adagio – | Lamentoso, disperato, con moto – | Molto sostenuto
Born 1926 The Hungarian composer György Kurtág is a highly individual and greatly admired senior figure in European music. His early works were in a nationalist style; but following a year of study in Paris in 1957/58 he withdrew most of these and began afresh, writing works with the intense compression and fastidious detail – though not the strict twelve-note method – of Webern. For many years most of his pieces were song cycles or other collections of miniatures for soloists or small ensembles. But from the late 1980s he began to write works with a larger span and for larger forces, albeit split into antiphonal groupings. And his two-year appointment in 1993–95 as composer in residence to the Berlin Philharmonic Orchestra resulted in Stele, his first mature work for full symphony orchestra – in fact an orchestra of Mahlerian proportions, including a quartet of Wagner tubas (doubling fifth to eighth horns), and a large array of keyboards and pitched percussion. It was completed in October 1994, and first performed in Berlin two months later under the baton of Claudio Abbado. In August 2000 Kurtág slightly extended the ending.
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The title of Stele is a Greek word for an inscribed upright slab or pillar, usually a gravestone – an indication of the work’s generally elegiac mood. There are three short movements, played without a break. The slow introduction begins with a hard-edged octave G which is immediately melted by microtonal inflections. These waverings open out into melodic movement within a range of a few semitones, or even simply alternating between two adjacent notes, in groups of quiet woodwind and muted strings. Wagner tubas and horns add a fragment of chorale marked ‘homage to Bruckner’. The ‘doleful, desperate’ central movement extends the chromatic circlings of the opening into more continuous lines in the strings and woodwind, accompanied now by fierce attacks led by trumpets and percussion, and later by wildly sliding trombones. When a crescendo cuts off suddenly, a group led by flutes recalls the first movement, in a calm repeated passage which continues at its own speed when the more aggressive music resumes. A more sustained crescendo, gathering in the whole orchestra, leads to the work’s biggest climax, followed this time by exchanges of chromatic chorales
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PROGRAMME NOTES
between different sections, eventually dying away. The last movement is an expansion of a piano piece written in late 1993 in memory of András Mihály, cellist, conductor, composer, administrator, and for many years a colleague of Kurtág on the teaching staff of the Budapest Academy. At the outset, quietly rebounding chords on successive downbeats give the feeling of a solemn funeral procession; two-note melodic phrases
Gustav MAHLER
emerge from the harmonic background. The reiterations cease for an episode of further chordal exchanges between sections, gradually moving forward in tempo; but their regular tread returns, more spaced out than at first, for the calm closing section. Anthony Burton © 2009
SYMPHONY 2 IN C MINOR (RESURRECTION) Allegro maestoso | Andante moderato | Scherzo: In ruhig fliessender Bewegung – | Urlicht: Sehr feierlich, aber schlicht – | Finale: Im tempo des Scherzos, wild herausfahrend – Langsam – Allegro energico – Langsam
1860-1911 Mahler was Jewish by birth, but he was not reared in a religious faith and he struggled to achieve one. He knew much personal suffering and was acutely conscious of the often trivial character of earthly life. Yet he feared death, for the serene assurance of a convinced Christian was beyond his grasp, and his spiritual conflicts emerged in much of the music he composed. Asked to describe the programme behind this symphony, he replied: ‘My need to express myself musically begins at the point where the dark feelings hold sway, at the door which leads into the “other world” – the world in which things are no longer separated by space and time’. The Second Symphony was composed between 1887 and 1894. Mahler completed the first version of the first movement in 1888, named it Totenfeier (Funeral Rites) and later said that in it he was bearing the hero of his First Symphony to the grave. His career as a conductor delayed further work on the symphony, and in 1891 he was appointed First Conductor at the Hamburg Opera. When Mahler played a piano reduction of Totenfeier to Hans von Bülow, who directed that city’s concerts, the veteran conductor was mystified and scornful. Mahler was badly shaken. Ironically, it was at von Bülow’s funeral three years later that he heard a setting of Friedrich Klopstock’s Resurrection Ode and recognised the verses as what he needed for the choral finale of his symphony.
As a link between scherzo and finale Mahler inserted another vocal movement, taking for text the poem Urlicht (Primordial Light) from Des Knaben Wunderhorn (The Youth’s Magic Horn), the folk poetry collection from which he had already made a number of songs and which he was to use again in his Third and Fourth Symphonies. Beethoven in his Ninth Symphony had created the precedent for using voices to particularise a symphony’s message. In adding a movement to the normal four Mahler was following the Symphonie fantastique of Berlioz. That work also offered a precedent for grotesque passages and for using popular dance and march rhythms. He carried Berlioz’s innovations to new lengths, however, for he believed that a symphony should embrace the whole world. To convey the ideas that demanded expression in the Second Symphony entailed a time-scale of around 80 minutes and an outsize orchestra, including extra woodwind, brass and percussion and, in the finale, an organ and offstage band, together with soprano and mezzo soprano soloists and a large choir. But as with Berlioz before him Mahler’s use of these large forces is often remarkably restrained. The three purely orchestral movements were first performed on 4 March 1895 in Berlin, and the complete symphony was heard there on 13 December. Shortly
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afterwards Mahler reluctantly set down a ‘superficial indication’ of what he had in mind in composing the symphony, and five years later for a Dresden performance he amplified his remarks. Quotations from them in the following notes are from the English edition of Alma Mahler’s book, Gustav Mahler: Memories and Letters (John Murray).
a hopeful chorale for horns. This theme, which will figure in the finale, is permitted a short triumph in E flat, but the funeral march supervenes and its violent C minor climax seemingly extinguishes hope. A shortened recapitulation leads to a coda of resignation and finally – a C major triad for trumpets turning bitterly to C minor – despair.
According to the composer, then, the first movement asks: ‘What is life and what is death? Have we any continuing existence? Is it all an empty dream, or has this life of ours and our death a meaning?’ If we are to go on living, he adds, we must answer these questions. Now obviously music cannot really ask questions, and Mahler knew it. But distrustful though he was of trying to explain his music, he gave helpful clues. This movement is a big C minor sonata structure with conflicting elements, and even without Mahler’s guidance it would be evident that anger, hope, fear and longing are vying for expression. The music is dominated by the funeral march that grows out of the initial onslaught from cellos and double basses. This is an angry protest against death’s dominion. After a climax it yields briefly to an idyllic rising theme in E, which foreshadows in its opening bars the finale’s faith theme. The march resumes, admits what sounds like a short funeral oration to the unnamed hero, and then bears the exposition to its close with a mournful passage for horns and woodwind over a quietly tramping bass.
Mahler conceived the next three movements as intermezzi and described the Andante moderato as ‘a blissful moment in the hero’s life and a mournful memory of youth and lost innocence’. Its principal theme in A flat is a long thread of melody in minuet rhythm. After a restless trio section in the minor key the minuet returns with a counter-melody on cellos. The trio music reappears and recalls the fierceness of the first movement, but a second reprise of the minuet restores peace. In the scherzo ‘the world and life become a witch’s brew’, resulting in ‘disgust of existence in every form’. The main C minor theme comes from Mahler’s ironical Wunderhorn song about St Anthony of Padua’s futile sermon to the fishes; they listened with pleasure, then swam off to behave the same as before. Here the moto perpetuo theme represents the futile ‘dance of life’ and is made more sardonic by squeals from an E flat clarinet and other woodwind. The trio section alludes to life’s trivialities by a country dance and a sentimental trumpet tune. The scherzo repeat leads to what Mahler called ‘a cry of disgust’, a piercing chord of B flat minor over C. A peaceful C major vision follows, anticipating the finale, but the scherzo music has the last word.
The development begins with further consideration of the idyllic second subject, followed eventually by a sorrowful theme in E minor on cor anglais and bass clarinet. After more development of the two main subjects this is heard again on trumpet and trombone and followed by another new theme, the Dies Irae (Day of Wrath) from the Mass for the Dead transformed into
Without a break the mezzo soprano soloist enters with ‘the morning voice of ingenuous belief’, expressing in a solemn but simple D flat setting of the folk poem the conviction that God will light our way to eternal life.
Urlicht
Primordial Light
O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ich im Himmel sein!
O red rose! Mankind lies in greatest need! Mankind lies in greatest pain! Far rather would I be in Heaven!
Da kam ich auf einen breiten Weg; da kam ein Engelein und wollt’mich abweisen.
I came upon a broad pathway; a little angel came and wanted to turn me aside.
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Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, wird leuchten mir bis in das ewig selig Leben!
Ah no! I would not be turned aside! I am from God and would return to God! Dear God will give me a little light, will light me to the eternal blessed life!
The ‘cry of disgust’ from the scherzo breaks in upon the close of Urlicht to launch the gigantic finale. ‘We are confronted once more by terrifying questions’, says Mahler, ‘the Last Judgement is at hand.’ The first part of the movement is for orchestra alone and draws largely upon themes from the earlier movements (except the second) or developments of them. After the initial tumult a rising horn theme is heard in the distance, eventually to become the declaration ‘I shall die so as to live’. Then from afar there sounds a horn call that Mahler described as the ‘voice in the wilderness’. After a quiet recall of triplets from the symphony’s introduction the Dies Irae chorale returns (woodwind over plucked strings), followed at once by a new but related horn theme, the first outlining of the Resurrection chorale. An agonised flute and cor anglais motive, later to be associated with ‘O believe’, rises to a hysterical climax. Again comes the Dies Irae, solemnly on deep brass, and again the Resurrection chorale follows. Joyful fanfares sound, yet once again the music fades. A tremendous percussion crescendo launches a tumultuous F minor march based on the Dies Irae and counterpointed by the Resurrection theme on trumpets: ‘The dead arise and
stream on in endless procession.’ Desperate supplications ensue; cellos and violins plead for salvation with the ‘O believe’ motive while menacing fanfares overwhelm all.
Auferstehung
Resurrection
Chorus and Soprano Aufersteh’n, ja aufersteh’n wirst du, mein Staub, nach kurzer Ruh! Unsterblich Leben wird der dich rief dir geben.
Rise again, yes you will rise again, my dust, after a short rest! Immortal life He who called you will grant you.
Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht und sammelt Garben uns ein, die starben!
To bloom again you are sown! The Lord of the Harvest goes and gathers like sheaves each of us who died!
Mezzo Soprano O glaube, mein Herz, o glaube, es geht dir nichts verloren! Dein ist, was du gesehnt, dein was du geliebt, was du gestritten!
O believe, my heart, o believe, nothing is lost to you! Yours is what you longed for, yours what you loved, what you fought over!
Suddenly the tumult yields to the rising theme of faith. The horn call from the wilderness sounds again, a call to Divine Judgement seconded by a far trumpet and four nearer ones – the Last Trump. Birdsong is heard, ‘a last tremulous echo of earthly life’. Out of the silence steal choral voices, singing in hushed tones Klopstock’s first lines: ‘Rise again, yes you will rise again’. The solo soprano voice soars out of the choral texture in the last line of each stanza. Here is the answer to the first movement’s questions, and Mahler emphasises it with added solo stanzas of his own: ‘O believe, you were not born in vain’. The music gathers strength as it moves towards E flat, in which key (the major relative of the work’s opening C minor) the proclamation of Christian faith crowns the symphony. Bells ring out. In Mahler’s words: ‘An overwhelming love lightens our being. We know, and are.’
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Soprano O glaube, du warst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!
O believe, you were not born in vain! Have not in vain lived, suffered!
Chorus and Mezzo Soprano Was entstanden ist das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!
What has come into being must pass away! What passed away, rise again! Stop trembling! Prepare yourself to live!
Soprano, Mezzo Soprano and Chorus O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen!
O pain! You that pierce all things! From you I have been wrested! O death! You all-conqueror! Now you have been conquered!
Mit Flügeln, die ich mir errungen in heissem Liebesstreben, werd’ ich entschweben zum Licht, zu dem kein Aug’ gedrungen!
With wings, which I gained for myself in love’s hot strife, I shall soar away to the light, whither no eye has penetrated!
Sterben werd’ ich, um zu leben!
I shall die so as to live!
Aufersteh’n, ja aufersteh’n wirst du, mein Herz, in einem Nu! Was du geschlagen zu Gott wird es dich tragen!
Rise again, yes you will rise again, my heart, in an instant! What you have beaten will bear you to God!
Note and English translations © Eric Mason
The London Philharmonic Orchestra’s Principal Friends On the opening nights of its 2009/10 concert season the London Philharmonic Orchestra acknowledges the generous support of its Principal Friends, whose valuable contributions help us continue our world class concerts and diverse education and community programme. Our grateful thanks to: Mr Ralph Aldwinckle Mr Clifford Brown Mr Michael Ching Ms Alison C Clarke Mr Geoffrey A Collens Miss Tessa Cowie Mr Andrew Hatcher
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Mrs G Hegglin-Petris Mr R A Ingham Mr John Montgomery Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr James A Reece Mr B C Secrett
Mr & Mrs Ivor & Denise Spiro Mr & Mrs John & Susi Underwood Mr and Mrs R and J A Wallhouse Mr E Weighman Mr C D Yates and others who wish to remain anonymous
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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 Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon
Guy & Utti Whittaker
Mr Daniel Goldstein Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland
Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans
Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry
Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Eric Tomsett
Mr P Hopper Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE
The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Gold Deloitte & Touche Silver British American Business Man Group plc Bronze Appleyard & Trew llp Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd
The United Grand Lodge of England Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust
The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Sergei Rachmaninoff Foundation Stansfield Trust The Underwood Trust and others who wish to remain anonymous.
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PHILHARMONIC NEWS
the quickest routes between the main concert halls of Europe and America. In a famous marathon with the Orchestra’s truck driver, Ken Graham, Ken fulfilled a lifelong ambition by driving across America during the Orchestra’s 2007 American tour. Together in their Cadillac they covered the 2,770 miles in 48 hours and 55 minutes with only one speeding fine between them but they did vow to take more time and see something of the country next time!
Benjamin Ealovega
Along with his playing duties in the double bass section, Ken was the honorary administrator of the Orchestra’s Benevolent Fund for 27 years. Players pay in a small amount to the Fund every fortnight and, should they be unable to play because of temporary illness or injury, they can call on support from this Fund. Ken did a brilliant job, keeping meticulous records and offering wonderful support to members who were in need of help. He guided the fund through times when reserves were exhausted, fund raising as necessary to bring it to where it is today, a very healthy, successful and vital support to members. Farewell to Ken Goode At the end of this year’s Glyndebourne season the Orchestra bade a fond farewell to Kenneth Goode who retired after 46 years in the double bass section. Born in Thorpe Bay, Essex, Ken attended the local grammar school and played in local dance bands where his interest in music was kindled. Progressing via the London Schools Orchestra to the Royal College of Music, he studied double bass and organ, then spent two years with the BBC Scottish Symphony Orchestra before the London Philharmonic Orchestra beckoned. A man of many talents, Ken takes a keen interest in all sorts of things. He is an enthusiastic solver of puzzles and crosswords and a formidable chess opponent but cricket has always been one of his great loves. Despite never having played, his knowledge of the game is extensive and, at any moment, he can quote scores worldwide. This expertise came in useful during Glyndebourne seasons when he was seconded as an honorary umpire at matches between the Orchestra and local teams. Also an avid motorist, Ken preferred to drive between concert venues in this country and on tour and knows
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In recognition of his long playing career and unstinting voluntary work for the Benevolent Fund, the Orchestra has decided to bestow on Ken the rare accolade of Honorary Life Membership of the Orchestra. We know that his knowledge, positive outlook and good humour will be missed by us all and would like to pass on to him our very best wishes for a long and happy retirement. The London Philharmonic Orchestra and Mahler Listen to September’s podcast to hear Vladimir Jurowski speaking about Mahler’s Second Symphony and Kurtág’s Stele and the new CD release of Tchaikovsky’s Symphonies 1 and 6. You can listen online or subscribe via itunes to download each edition to your mp3 player. Visit www.lpo.org.uk/podcasts For details of the London Philharmonic Orchestra’s Mahler recordings on its own CD label visit www.lpo.org.uk/archive/recordings.html
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ADMINISTRATION
BOARD OF DIRECTORS
GENERAL ADMINISTRATION
Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †
Timothy Walker AM † Chief Executive and Artistic Director Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke Finance Director David Greenslade Finance and IT Manager
EDUCATION AND COMMUNITY PROGRAMME
ARCHIVES Edmund Pirouet Consultant
Matthew Todd Education and Community Director
Philip Stuart Discographer
Anne Newman Education Officer
Gillian Pole Recordings Archive
Isobel Timms Community Officer
INTERN
Alec Haylor Education and Community Assistant
Christina Hickman Marketing
Richard Mallett Education and Community Producer
LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242
*Non-Executive Directors
Joshua Foong Finance Officer
THE LONDON PHILHARMONIC TRUST
CONCERT MANAGEMENT
Emma O’Connell Development Director
Ruth Sansom Artistic Administrator
Georgina Cervin Charitable Giving Manager
Graham Wood Concerts, Recordings and Glyndebourne Manager
Phoebe Rouse Corporate Relations Manager
Pehr Gyllenhammar Chairman Desmond Cecil CMG Sir George Christie CH Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Dr John Viney Timothy Walker AM † Laurence Watt Simon Yates AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Deloitte & Touche Auditors Dr Louise Miller Honorary Doctor
Alison Jones Concerts Co-ordinator Hattie Garrard Tours and Engagements Manager Camilla Begg Concerts and Tours Assistant Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian Michael Pattison Stage Manager Hannah Tucker Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)
DEVELOPMENT
Sarah Tattersall Corporate Relations and Events Manager Anna Gover Charitable Giving Officer Melissa Van Emden Corporate Relations and Events Officer MARKETING Kath Trout Marketing Director
www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities. The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Kurtág courtesy of Boosey & Hawkes and of Mahler courtesy of the Royal College of Music, London. Photograph on the front cover by Roman Gontcharov. Programmes printed by Cantate.
Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Heather Barstow Marketing Co-ordinator Valerie Barber Press Consultant (Tel: 020 7586 8560) †Supported by Macquarie Group
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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL
Saturday 17 October 2009 | 7.00pm Please note start time.
Mendelssohn Elijah Neeme Järvi and Yevgeny Sudbin
Kurt Masur conductor Melanie Diener soprano Renata Pokupic mezzo soprano Topi Lehtipuu tenor John Relyea bass London Philharmonic Choir
Wednesday 28 October 2009 | 7.30pm
This concert is dedicated to the 20th Anniversary of the Fall of the Berlin Wall and is proudly supported by Pritchard Englefield and the German Embassy London.
Kurt Masur and Melanie Diener
Scriabin Rêverie Scriabin Piano Concerto Wagner (arr. de Vlieger) The Ring, an Orchestral Adventure Neeme Järvi conductor Yevgeny Sudbin piano 6.15pm | Royal Festival Hall FREE Pre-Concert Event Musicologist John Deathridge introduces the elements of Wagner’s Ring Cycle that appear in this evening’s performance.
Wednesday 21 October 2009 | 7.30pm Liszt (orch. Adams) The Black Gondola Beethoven Piano Concerto 3 Mendelssohn Symphony 3 (Scottish)
Alexander Vedernikov and Piers Lane
Trevor Pinnock conductor Maria João Pires piano
JTI Friday Series | Friday 30 October 2009 | 7.30pm Prokofiev Classical Symphony Rachmaninoff Piano Concerto 2 Tchaikovsky Symphony 4 Trevor Pinnock and Maria João Pires
Saturday 24 October 2009 | 7.30pm Rautavaara Incantations (world première) Bruckner Symphony 8 Yannick Nézet-Séguin conductor Colin Currie percussion 6.15pm | Royal Festival Hall FREE Pre-Concert Event Colin Currie demonstrates sections of Rautavaara’s Incantations.
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Alexander Vedernikov conductor Piers Lane piano
TO BOOK Tickets £9-£38 / Premium seats £55 London Philharmonic Orchestra Ticket Office | 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0871 663 2530 | www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members