London Philharmonic Orchestra 10 Nov 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 10 November 2018 | 7.30pm Debussy Berceuse héroïque (5’) Magnus Lindberg Triumf att finnas till… (world premiere)* (20’)

Interval (20’) Stravinsky Requiem Canticles (14’) Janáček The Eternal Gospel (19’) Vladimir Jurowski conductor Andrea Danková soprano Angharad Lyddon mezzo-soprano Vsevolod Grivnov tenor Maxim Mikhailov bass London Philharmonic Choir Artistic Director: Neville Creed * Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and

14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Introduction 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Tonight’s soloists 9 London Philharmonic Choir 10 Programme notes and texts 19 Recommended recordings 20 Next concerts 21 Sound Futures donors 22 Supporters 24 LPO administration

Free pre-concert performance 6.15–6.45pm | Royal Festival Hall Join Magnus Lindberg as he discusses his new work for the 100th anniversary of the end of the First World War, continuing the musical tradition of reflection and remembrance.

Welcome

Introduction from Jenny Waldman, Director, 14–18 NOW

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 a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski. 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 us on 020 3879 9555, 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 AND WATCHES should be switched off before the performance begins.

Out now The Autumn 2018 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

2 | London Philharmonic Orchestra

Triumph to Exist Written in 1916, Edith Södergran’s poem Triumf att finnas till… (‘Triumph to Exist...’) stands a world apart from our expectations of First World War poetry. Despite the date of its creation, the poem is positive, even inspirational: ‘I walk on sunshine/I stand on sunshine/ I know of nothing but sunshine’, runs one passionate passage. We are far from the trenches here. Triumph to Exist is one of seven wartime Södergran poems that Magnus Lindberg – like Södergran, a Swedish-speaking Finn – has chosen to set in this striking and brilliant new work. Lindberg says that he has long felt drawn to Södergran’s writing, which in these selections ranges from intimate to exultant. The empathy with which he has set her words suggests a deep connection between these two artists from different eras. Receiving its world premiere on the night before the centenary of Armistice, the ceasefire that signalled the end of the First World War, this work is a timely and fitting way to mark the end of the war and perhaps offers a window into the determination of those who lived through the devastation of war to celebrate life. Tonight’s concert is part of the final season of 14–18 NOW, the UK’s five-year arts programme for the First World War centenary. In 2018, our projects have included Anna Meredith and 59 Productions’ Five Telegrams, which opened the BBC Proms and the Edinburgh International Festival; Peter Jackson’s film They Shall Not Grow Old, which premiered at October’s BFI London Film Festival before being broadcast on the BBC; and Pages of the Sea, a nationwide project marking Armistice that has been created by Danny Boyle and takes place around the UK tomorrow. Triumph to Exist is co-commissioned by 14–18 NOW and the London Philharmonic Orchestra. I would like to thank the LPO, Vladimir Jurowski and all tonight’s performers; Boosey & Hawkes, Lindberg’s publishers; and, above all, Magnus Lindberg himself for creating this important new work. Jenny Waldman Director, 14–18 NOW November 2018

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Tina Gruenberg Grace Lee Rebecca Shorrock Lasma Taimina Nilufar Alimaksumova Essi Kiiski Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Csilla Pogány Sioni Williams Robin Wilson Harry Kerr Sheila Law Violas David Quiggle Principal Michael Casimir Katharine Leek

Susanne Martens Benedetto Pollani Naomi Holt Daniel Cornford Stanislav Popov Isabel Pereira Luca Casciato Martin Wray Richard Cookson Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Elisabeth Wiklander Helen Rathbone George Hoult Sibylle Hentschel Philip Taylor Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laurence Lovelle Emre Erşahin Charlotte Kerbegian Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Hannah Grayson Stewart McIlwham*

Alto Flute Sue Thomas*

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Oboes Ian Hardwick* Principal Alice Munday

David Whitehouse

Chair supported by Friends of the Orchestra

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling* Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Dr Barry Grimaldi

Timpani Simon Carrington* Principal Henry Baldwin

Clarinets Ishay Lantner Guest Principal Massimo Di Trolio

Percussion Andrew Barclay* Principal

Bass Clarinet Paul Richards* Principal

Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar

Bassoons Jonathan Davies Principal Gareth Newman Laura Vincent Simon Estell*

Harps Rachel Masters Principal Lucy Haslar Piano/Organ Catherine Edwards

Contrabassoon Simon Estell* Principal

Celeste John Alley

Horns John Ryan* Principal

Assistant Conductor Gabriella Teychenné

Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

* Holds a professorial appointment in London

Trumpets Paul Beniston* Principal Niall Keatley Guest Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Meet our members: lpo.org.uk/players

Piccolo Stewart McIlwham* Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Roger Greenwood  Sir Simon Robey

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the remainder of

4 | London Philharmonic Orchestra

2018 we continue our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day. 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 over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras. The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist 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 Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor & Artistic Advisor

Ten years of Vladimir Jurowski in London have brought a non-stop journey of discovery. As the London Philharmonic Orchestra celebrates his decade as music director, it can look back on a period of unrivalled adventure, taking audiences to places other orchestras never reach. Richard Fairman, Financial Times, 30 November 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007: last season we celebrated the tenth anniversary of this extraordinary partnership.

The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco.

His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO.

In 2021 Vladimir will take up the position of Music Director at the Bayerische Staatsoper in Munich. In 2017 he became Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

6 | London Philharmonic Orchestra

The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. Autumn 2017 saw the release of a sevendisc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary sevendisc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Angharad Lyddon

soprano

mezzo-soprano

Andrea Danková was born in Slovakia. She studied at the Žilina Conservatoire and the Academy of Music in Bratislava. She is the winner of several competitions and prizes including the Toti Dal Monte competition in Treviso, following which she was subsequently invited to sing Micaela in Carmen at the Teatro Comunale in Treviso under the baton of Peter Maag.

Mezzo-soprano Angharad Lyddon is a graduate of the Royal Academy of Music, London, where her roles for Royal Academy Opera included Lucretia in The Rape of Lucretia, Baba the Turk in The Rake’s Progress, Zita in Gianni Schicchi, Filipyevna in Eugene Onegin and Madame de la Haltière in Cendrillon.

Further engagements quickly followed, including reprising the role of Micaela at Teatro La Fenice; Mimì in La bohème at Opéra de Lyon; concert performances of Micaela with Kent Nagano and the Orchestre de L’Opera National de Lyon in Tokyo, Liù in Turandot and Amelia Grimaldi in Simon Boccanegra with Daniele Gatti at the Teatro Comunale di Bologna; her successful US debut as Micaela and Liù at San Francisco Opera under Marco Armiliato; and her UK debut as Micaela and Desdemona in concert performances with the London Symphony Orchestra under José Cura and Colin Davis. Recently Andrea has had huge success with the roles of Káťa Kabanová and Jenůfa, which she has performed at La Scala, Milan, the Teatro Real in Madrid and the Teatro Colón in Buenos Aires, as well as in Brussels, Turin, Bologna, Palermo and Stuttgart. Her repertoire also includes many Italian roles such as Amelia (Un ballo in maschera), Elisabetta (Don Carlos) and Tosca. Andrea’s concert repertoire includes Janáček’s Glagolitic Mass, which she has performed with the London Philharmonic Orchestra at Royal Festival Hall under Tomáš Netopil in 2015, with the London Symphony Orchestra under Colin Davis, with the Orchestra of Deutsche Oper Berlin under Jiří Kout, and at the Maggio Musicale Fiorentino in Florence. She has also sung Dvořák’s Te Deum with the LSO and Colin Davis in London and New York, Mahler’s Symphony No. 2 with the LSO and Myung-Whun Chung at the Barbican, Dvořak’s Stabat Mater at the Vienna Musikverein, and Rachmaninoff’s The Bells at the Maggio Musicale Fiorentino.

Andrea Danková

Spring 2018 saw Angharad understudy the role of Hermia in A Midsummer Night’s Dream for English National Opera. She made her professional debut for the company in 2015 as Kate in Pirates of Penzance and performed the role again in its 2017 revival. Other roles covered for ENO include Perdita in The Winter’s Tale and Schoolboy, Dresser and Waiter in Lulu. During the summer Angharad performed the role of Hansel in Iford Arts’ 2018 Education Outreach Project ‘Gingerbread’, based on Humperdinck’s Hansel and Gretel. Other roles include Suzuki in Madama Butterfly for Salon Opera, Julia Bertram in Jonathan Dove’s Mansfield Park for The Grange Festival, Cherubino in The Marriage of Figaro for Clonter Opera, and Olga in Eugene Onegin for Opra Cymru. She created the role of Panthea in Luke Styles’s opera Wakening Shadow whilst a Jerwood Young Artist at Glyndebourne in 2013. Angharad is a Samling Artist and her previous concert highlights include Stravinsky’s The Faun and the Shepherdess with the London Philharmonic Orchestra at Royal Festival Hall under Vladimir Jurowski (February 2018), Bach cantatas with John Eliot Gardiner, and Bach’s Christmas Oratorio in Kristiansand, Norway. Future engagements include Angharad’s return to ENO early next year in the role of Daughter of Akhnaten in the company’s revival of Phelim McDermott’s Olivier Award-winning production, Akhnaten. Next June Angharad will represent Wales in the 2019 BBC Cardiff Singer of the World Competition, following her success at the 2018 Welsh Singer Showcase at Cardiff’s St David’s Hall with the BBC National Orchestra of Wales, conducted by Gareth Jones. London Philharmonic Orchestra | 7

Maxim Mikhailov

tenor

bass

Vsevolod Grivnov completed his studies in singing and choral conducting at the Russian Music Academy Gnessin in Moscow. Shortly thereafter he became a soloist at the Bolshoi Theatre and embarked on his international career, which has since taken him to many renowned opera houses in Europe and America. He has appeared at the Royal Opera House, Covent Garden; La Scala, Milan; the Opéra Bastille, Paris; the Grand Théatre de Genève; the Teatro Real Madrid; the Deutsche Oper Berlin and Staatsoper Berlin, Los Angeles Opera and San Francisco Opera. Vsevolod Grivnov has sung under renowned conductors including Gennady Rozhdestvensky, Donald Runnicles, Michael Tilson Thomas, James Conlon, Kristjan Järvi, Yuri Temirkanov, and frequently under the three Jurowskis: Michail, Vladimir and Dmitri. His most recent appearance with the London Philharmonic Orchestra was in January 2018 as Loge in Wagner’s Das Rheingold, in a Golden Gala Evening performance at Royal Festival Hall celebrating Vladimir Jurowski’s 10th anniversary with the Orchestra. Vsevolod’s wide repertoire also includes Leicester in Donizetti’s Anna Bolena, Don Ottavio in Mozart’s Don Giovanni, various tenor heroes in Verdi’s operas (Riccardo/Un ballo in maschera, Rodolfo/Luisa Miller, Don Carlo, Radames/Aida and Alvaro/La forza del destino). He has sung Maurizio in Cilea’s Adriana Lecouvreur and Don José in Carmen, as well as almost all the tenor roles in the Russian repertoire. Vsevolod is also an active concert singer and has appeared worldwide in such works as Verdi’s Requiem, Rossini’s Stabat Mater and both Rachmaninoff’s and Tchaikovsky’s Romeo and Juliet, as well as Stravinsky’s Oedipus Rex and Les noces. Last May he sang the role of Loge in Odense, and earlier this month appeared as soloist in Mahler’s Symphony No. 8 in Tokyo. In April 2019 he will make his debut in Zemlinsky’s A Florentine Tragedy in Tokyo.

8 | London Philharmonic Orchestra

Vsevolod Grivnov

Maxim Mikhailov was born in Moscow and descends from a traditional operatic heritage. In 1987 he joined the Bolshoi Opera as a principal soloist, and soon after won the Glinka Vocal Competition. His international career began in 1993, when he won the International Belvedere Competition in Vienna. Over the years Maxim has performed at the world’s leading opera houses, including the Royal Opera House, Covent Garden; L’Opéra Bastille in Paris; La Monnaie, Brussels; La Scala, Milan; the Gran Teatre del Liceu, Barcelona; the Teatro San Carlo, Naples; the Teatro La Fenice, Venice; the Staatsoper Berlin; De Nederlandse Opera; Houston Grand Opera; and the Metropolitan Opera, New York, as well as at many festivals including Glyndebourne, the BBC Proms and the Salzburg Easter Festival. He last appeared with the London Philharmonic Orchestra and Vladimir Jurowski in September 2017 as the Watchman in Enescu’s Oedipe. He will return for Stravinsky’s Threni, again under Jurowski, on 8 December. As a stage director Maxim Mikhailov has worked at the Chuvash State Opera in Cheboksary, Russia; the Viennese Chamber Opera; and as assistant stage director at the St Margarethen Festival in Austria. He has worked with renowned conductors including Claudio Abbado, Sir Antonio Pappano, Thomas Sanderling, Hartmut Haenchen, Carlo Rizzi, Vladimir Jurowski, his father Michail Jurowski and his brother Dmitri Jurowski. Since 2011 Maxim Mikhailov has also appeared as director at the Northern Lights Musical Festival in Minnesota and the Novosibirsk Opera House. Recent projects include Rimsky-Korsakov’s The Golden Cockerel at the Amsterdam Concertgebouw; Boris Godunov at the Opéra de Paris; staging and production of Weill’s The Threepenny Opera in Novosibirsk, Russia; and recitals with the State Symphony Orchestra of Russia and the London Philharmonic Orchestra.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder Artistic Director Neville Creed | Accompanist Jonathan Beatty | Chairman Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Australia. The Choir has appeared twice at the Touquet International Music Masters Festival and was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir instagram.com/lpchoir Supported by

Sopranos Annette Argent Grace Bale Chris Banks Tessa Bartley Hilary Bates Agnes Bialecki Hannah Boyce Laura Buntine Carole Cameron Charlotte Cantrell Ella Cape-Davenhill Olivia Carter Emily Clarke Jenni Cresswell Victoria Denard Jessica Dixon Kathryn Flood Rachel Gibbon Sofia Gonzales-Morales Rosie Grigalis Nicola Hands Jane Hanson Sally Harrison Carolyn Hayman Loren Kell Ilona Lynch Joanna Markbreiter Janey Maxwell Meg McClure Katie Milton Harriet Murray Marie Power Rebecca Sheppard Katie Stuffelbeam Susan Thomas Rachel Topham Lena Touqan Elizabeth Townsend Susan Watts Lorna Wills Altos Andrei Caracoti Noel Chow Sara De La Serna Andrea Easey Carmel Edmonds Henrietta Fisher Kathryn Gilfoy Jane Goddard Rachel Halstead Bethea Hanson-Jones Katie Hickson Judy Jones Sasha Kaye Andrea Lane Ethel Livermore Lisa MacDonald Gill Main

Miroslava Mala Laetitia Malan Ian Maxwell Malvina Maysuradze Sophie Morrison Rachel Murray Karine Sá Ferreira Rima Sereikiene Lily Smith Elizabeth Steele Annette Strzedulla Susi Underwood Jenny Watson Emma Windle Tenors Geir Andreassen Christopher Beynon James Clarke Fred Fisher Robert Geary Stephen Hodges Patrick Hughes Luke Phillips Sergiu Plotnic Grigore Riciu Simon Schnorpfeil Owen Toller Claudio Tonini Basses Martyn Atkins Jonathon Bird Gordon Buky-Webster Xabier Casán Abia Julian Cassels-Brown Geoffrey Clare Phillip Dangerfield Marcus Daniels Christopher Gadd Paul Gittens Christopher Harvey Nicholas Hennell-Foley Mark Hillier Stephen Hines David Hodgson Borja Ibarz Gabardós David Kent John Luff Christopher Mackay Robert Northcott Stephen Peacock Charlie Pearch Johannes Pieters Yinong Qin Edwin Smith Alex Thomas Hin-Yan Wong John Wood

London Philharmonic Orchestra | 9

Programme notes

Rays of hope in a dark century Tonight’s programme begins and ends with music dating from 1914. Claude Debussy’s Berceuse héroïque (‘Heroic lullaby’) was written when the First World War was raging, as a tribute to the Belgian army’s resistance to the German invasion, and a memorial to those who had died in its ranks. Janáček’s cantata The Eternal Gospel sets out the prophecy of the mediaeval heretic Joachim of Fiore of a coming Golden Age of universal love for all creatures. It was completed before the outbreak of war, but first performed in 1917, when it must have offered an inspiring, if elusive, vision amidst the horrors of the time. Halfway between 1914 and now stands 1966: the year of Igor Stravinsky’s Requiem Canticles, a setting of segments of the Latin Mass for the dead

Claude Debussy

with instrumental interludes. The composer’s last substantial work, this takes its place in – but not quite at the end of – the LPO’s continuing series Changing Faces: Stravinsky’s Journey. Abstruse in technique, spare in texture and austere in expression, the piece is an utterly characteristic and movingly sincere restatement of Stravinsky’s Christian faith. And so to the present day, and the world premiere of Triumf att finnas till… (‘Triumph to Exist…’), a choral work by Magnus Lindberg, the LPO’s Composer in Residence from 2014–17. This is a setting of poems in Swedish by Lindberg’s Finnish compatriot Edith Södergran. The poems were written in 1916 when the First World War was at its height, yet for Lindberg they offer ‘a defiantly positive affirmation of the joy of existence’.

Berceuse héroïque for orchestra

1862–1918

Towards the end of 1914, with the First World War already under way, the London Daily Telegraph published an anthology called King Albert’s Book, in honour of the Belgian army, led by the country’s monarch, which was putting up brave resistance to the invading German forces. It included contributions by artists, philosophers, writers and several composers – among them Elgar, Ethel Smyth, Mascagni, Massenet, Saint-Saëns and Debussy. Debussy wrote a short piano piece, with the title ‘Heroic lullaby, to pay homage to H.M. King Albert I of Belgium and his soldiers’. Having despatched this to the editor of the anthology in November, he went on the following month to make

10 | London Philharmonic Orchestra

an orchestral version, slightly expanding the piece in the process. This version was first performed in Paris in October 1915. The piece is dark-coloured and elegiac, in slow march time, and shot through with quiet fanfares. At its mid-point, there is a quotation on lower wind and strings (sounding for a moment uncannily like a Mahler funeral march) from the Belgian national anthem, ‘La Brabançonne’.

Magnus Lindberg

Triumf att finnas till… (Triumph to Exist...) for chorus and orchestra (world premiere) London Philharmonic Choir

born 1958

1 Triumf att finnas till… (Triumph to Exist...) 2 Landskap i solnedgång (Landscape at sunset) 3 Vanvettets virvel (The whirl of madness) 4 Planeterna (The planets) 5 Revanche (Revanche) 6 Ljusfälten (Light-patches) 7 Framtidens tåg (The train of the future) Reprise of No. 1: ‘Triumf att finnas till…’ The texts and translations begin overleaf. Magnus Lindberg, whose 60th birthday fell in June 2018, is one of the leading figures in a generation of Finnish composers and performers that has made a considerable impact on the international scene. Born in Helsinki, he studied at the Sibelius Academy there with the eclectic Einojuhani Rautavaara and the modernist Paavo Heininen. He was a founder-member with other young composers – including Kaija Saariaho and Esa-Pekka Salonen – of the ‘Ears Open’ group, and in the 1980s he was the co-founder and pianist of the experimental ensemble Toimii! He attended the courses of Franco Donatoni in Siena and Helmut Lachenmann and Brian Ferneyhough at Darmstadt, and later studied with Vinko Globokar and Gérard Grisey in Paris. He has worked at the IRCAM research centre in Paris, and (like Saariaho) has developed techniques of computer-assisted composition. Lindberg’s early works systematically explored the interface between serialism and the natural harmonic series; but since the mid-1980s he has developed a freer technique founded on underlying harmonic progressions, and not eschewing references to music of the past. This technique has been thrillingly deployed in a series of pieces for large orchestra, joined more recently by a parallel series of solo concertos.

Only in 2008/09 did Lindberg add chorus to orchestra in Graffiti, which sets texts from the walls of ancient Pompeii. But this year, in response to a commission from a consortium of orchestras including the LPO (with 14–18 NOW), he has returned to the medium with Triumf att finnas till…, on poems by the Finnish writer Edith Södergran. He writes: I am particularly drawn to the work of Edith Södergran. She was the first Finnish modernist poet, and she was, like me, part of the Swedishspeaking community of Finland. Triumf att finnas till… was written by her in 1916, in the middle of the catastrophe and despair of the First World War. Despite the world events of the time, which are surely the unspoken background to this poem, its meditation on the transience of life is a defiantly positive affirmation of the joy of existence, the outpouring of one who refuses to submit to the hopelessness all around her. For me, it says something deeply essential about the tragedy of millions of young men who gave their lives in that useless slaughter. They were deprived of the simple human triumph to merely exist. Every syllable cries out to be set to music. Magnus Lindberg, August 2018

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 11

Triumf att finnas till… texts and translations

1 Triumf att finnas till…

Triumph to Exist...

Vad fruktar jag? Jag är en del utav oändligheten. Jag är en del av alltets stora kraft, en ensam värld inom miljoner världar, en första gradens stjärna lik som slocknar sist. Triumf att leva, triumf att andas, triumf att finnas till! Triumf att känna tiden iskall rinna genom sina ådror och höra nattens tysta flod och stå på berget under solen. Jag går på sol, jag står på sol, jag vet av ingenting annat än sol. Tid – förvandlerska, tid – förstörerska, tid – förtrollerska, kommer du med nya ränker, tusen lister för att bjuda mig en tillvaro som ett litet frö, som en ringlad orm, som en klippa mitt i havet? Tid – du mörderska – vik ifrån mig! Solen fyller upp mitt bröst med ljuvlig honung upp till randen och hon säger: en gång slockna alla stjärnor, men de lysa alltid utan skräck.

What do I fear? I am part of infinity. I am part of the great force of the All, a lonely world in millions of worlds, a first degree star that is extinguished last. Triumph to live, triumph to breathe, triumph to exist! Triumph to feel time run icy cold through your veins and hear the quiet river of the night and stand on the mountain under the sun. I stand on sun, I stand on sun, I know of nothing else than sun. Time – changeress, time – ruineress, time – enchantress, do you come with a new fraud, thousands of tricks, to offer me a life like a small seed, like a torpid snake, like a rock in the middle of the sea? Time – murderess – be gone from me! The sun fills my breast to the brim with delightful honey and she says: all stars go out eventually, but they still shine fearlessly.

2 Landskap i solnedgång

Landscape at sunset

Se i solnedgången simmande eldöar tåga imperialt över gräddgröna hav. Öar i brand! Öar som facklor! Öar i segertåg! Upp ur djupen blixtrar svart en skog dolskt, avundsjukt – hänryckt, radande sig, triumf till triumf… Arma strimmor skog i bleka töcken gripas, upphöjas – förena sig till majestät. Gloria! Seger! Knäböjen, lejonvidunder, i världens skumma hörn. Dagen går tronande till ända… Ljusets trådar klippa osynliga händer av.

Look at the sunset floating fire-islands move imperial over cream green seas. Islands on fire! Islands like torches! Islands on victory parade! Up from the depths a black forest sparkles sneaky, envious – joyous, tree by tree, triumph by triumph… Poor stripes of forest in pale veils of mist is grasped, is lifted – joins in majesty. Gloria! Victory! On your knees, you lion-wonder, in the dark corners of the world. The day comes enthroned to an end… The threads of light cut off invisible hands.

Triumf att leva, triumf att andas, triumf att finnas till!

Triumph to live, triumph to breathe, triumph to exist!

12 | London Philharmonic Orchestra

3 Vanvettets virvel

The whirl of madness

Akta din båt för övermänskliga strömdrag, vanvettets virvelstup – akta din båt för fallets jublande vågor, de slå sönder. Akta dig – här gäller icke mera du – liv och död äro ett för kraftens frenetiska fröjd, här finnes intet ”långsamt”, ”försiktigt”, ”försök”. Starkare händer fatta i flykten din åra. Där står du själv, en hjälte med omfött blod. Hänryckt i lugnet, ett fröjdebål på speglande is, som vore dödens bud icke skrivet för dig: saliga vågor föra din köl framåt.

Protect your boat against superhuman currents, the whirling abyss of madness – protect your boat against the cheering waves of the fall, they crush everything. Protect yourself – here you don’t count anymore – life and death is one against the frenetic happiness of the force, here exist no ‘slow’, ‘careful’, ‘attempt’. Stronger hands catch your paddle in movement. There you stand yourself, a hero with many-born blood. Joyous and calm, a bonfire of joy reflected on ice, as if the commandment of death wasn’t written for you: intoxicated waves move your keel.

4 Planeterna

The planets

Vilda jord som rullar framåt i brännande, skärande rymd, säll att luften smattrar mot din kind, säll att farten vänder om dig. Planeterna vilja ingenting annat än snabbheten uti sin färd. Världsalltets stränder blinka som frågor. Snabbare, raskare, obarmhärtigare, vältrande sig i underbara öden, rullar planeternas oräkneliga skara förbi mot ett ljust sken i väster – möjlighetens enda utstakade väg.

Wild earth rolling forwards in burning, cutting spaces,

5 Revanche

Revanche

Skall det icke lyckas mig att störta tornet uti verklighetens stad, vill jag sjunga stjärnorna från himlen såsom ännu ingen gjort. Jag skall sjunga att min längtan stannar, hon som ännu aldrig hållit rast, att hon skjuter lyran bort ifrån sig som om vore sångens uppgift löst.

If I don’t succeed in bringing down the tower in the town of reality, I will sing the stars from the sky like nobody has yet done. I will sing till my longing stops, the one that has never yet calmed, so that it pushes away the lyre as if the calling of the song had been brought to an end.

happy when the air whips your cheek, happy when speed revolves around you. The planets only want the speed of their orbit. The beaches of the All blink like question marks. Hastier, quicker, more and more merciless, basking in strange fates, the countless host of the planets toll past towards a gleam of light in the west – the only marked way of opportunity.

Please turn the page quietly London Philharmonic Orchestra | 13

Triumf att finnas till… texts and translations continued

6 Ljusfälten

Light-patches

Jag har krafter. Jag fruktar ingenting. Ljus är himlen för mig. Går världen under – jag går icke under. Mina ljusa horisonter stå över jordens stormande natt. Träden fram ur det gåtfulla ljusfält! Oböjlig väntar min kraft.

I have powers. I fear nothing. Light is heaven to me. If the world comes to an end – I shall not perish. My light horizons stand over the stormy night of the Earth. Step out of the mysterious light-patch! Unyielding my power waits.

Jag har krafter. Jag fruktar ingenting. Ljus är himlen för mig.

I have powers. I fear nothing. Light is heaven to me.

7 Framtidens tåg

The train of the future

Riven ner alla äreportar – äreportarna äro för låga. Plats för våra fantastiska tåg! Tung är framtiden – byggen bryggorna åt den gränslösa. Jättar, bären stenar från världens ändar! Demoner, hällen olja under kittlarna! Vidunder, mät ut måtten med din stjärt! Resen er i himlarna, heroiska gestalter, ödesdigra händer – begynnen edert verk. Bryten ett stycke ur himmelen. Glödgat. Vi skola rivas och slåss. Vi skola kämpa om framtidens manna. Resen er, härolder, underligt synliga redan ur fjärran, dagen behöver ert hanegäll.

Tear down all gates of honour – they’re too low. Make room for our amazing train! Heavy is the future – build bridges for endless time! Giants, carry rocks from the end of the world! Demons, pour oil on the kettles! Monster, calculate the width with your tail! Arise in the heavens, heroic figures, fate-heavy hands – begin your work! Break a piece off the sky. Glowing. We shall tear and fight. We shall fight over the manna of freedom. Arise, heralds, strangely visible in the distance, the day needs your rooster’s crowing.

Vad fruktar jag? Jag är en del utav oändligheten […]

What do I fear? I am part of infinity.

– reprise of No. 1: ‘Triumf att finnas till…’ Edith Södergran (1892–1923) All except No. 6 published in ‘Septemberlyran’ (The September Lyre), 1918. No. 6 published in ‘Framtidens skugga’ (The Shadow of the Future), 1920.

14 | London Philharmonic Orchestra

English translations © Katrine-Marie Burmeister (fjordscene.com)

Programme notes continued

Igor Stravinsky

Requiem Canticles for mezzo-soprano and bass soli, chorus and orchestra

1882–1971

Angharad Lyddon mezzo-soprano Maxim Mikhailov bass London Philharmonic Choir

Prelude Exaudi Dies irae – Tuba mirum Interlude Rex tremendae Lacrimosa Libera me Postlude The text and translation are overleaf.

Requiem Canticles was Stravinsky’s last completed original score apart from the little song The Owl and the Pussy-Cat. It was written between July 1965 and August 1966, in response to a commission to commemorate an American patron he had never met, Helen Buchanan Seeger. After originally planning a purely orchestral symphonic requiem, Stravinsky decided to combine voices and orchestra in a setting of sections of the Latin Requiem mass, interspersed with instrumental movements. The resulting work was first performed at Princeton, New Jersey in October 1966 under the direction of the composer’s musical assistant Robert Craft. Like most of the music of Stravinsky’s last years, Requiem Canticles is written in a highly personal version of Schoenberg’s twelve-note serial technique. However, its ritualistic structures, pungent harmonies and clear, sharp colours are entirely characteristic of Stravinsky throughout his career.

The outline of the work is symmetrical. A rhythmically insistent Prelude for the strings precedes ‘Exaudi’, a choral prayer on a sentence from the Introit of the Requiem, sparsely accompanied. Then come two movements on texts from the ‘Dies irae’: the opening pair of stanzas, with the first line sung and the remainder chanted in sotto voce rhythmic speech, over a vehement accompaniment; and the following stanza, declaimed by the solo bass with a twofold ‘last trumpet’. The central Interlude is a series of exchanges among flutes, bassoons, horns and timpani. There are two more extracts from the ‘Dies irae’: ‘Rex tremendae’, set in sustained choral textures accompanied by wide-spanning trombone and trumpet and chordal interjections; and the closing ‘Lacrimosa’ (with ‘Pie Jesu’), a lament for solo mezzo-soprano accompanied in the highest and lowest registers of the orchestra. The ‘Libera me’ is set in its entirety, simultaneously for a chanting quartet of soloists, with horns, and for the rest of the choir speaking quietly at a different speed. The Postlude is made up of bell-like chords, which hark back over Stravinsky’s career to the chiming ending of the 1923 choral ballet Les Noces.

London Philharmonic Orchestra | 15

Requiem Canticles text and translation

Prelude Exaudi Exaudi orationem meam, Ad te omnis caro veniet.

Hear my prayer: all flesh shall come to thee.

Dies irae Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus!

Upon that day, that day of wrath, the world shall be reduced to ashes: as David and the Sybil prophesied. What trembling there shall be when the judge appears to sift all thoroughly!

Tuba mirum Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum

The trumpet, sounding wondrous blasts through the tombs of every land, will gather all before the throne.

Interlude Rex tremendae Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

King of dreadful majesty, who freely savest the redeemed, save me, thou fount of mercy.

Lacrimosa Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus: Huic ergo parce Deus: Pie Jesu Domine, Dona eis requiem. Amen.

That day is one of weeping on which from the ashes shall arise the guilty man to be judged: so spare me, O God. Gentle Lord Jesus, grant them rest. Amen.

Libera me Libera me, Domine, de morte aeterna, in die illa tremenda; Quanto coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, Dum discussio venerit, atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, Dies magna et amara valde. Libera me. Postlude

16 | London Philharmonic Orchestra

Deliver me, O Lord, from eternal death on that fearful day when the heavens and the earth are shaken while thou dost judge the world by fire. I tremble, and am full of fear, for destruction shall come and wrath appear, when the heavens and the earth are shaken. That day, that day of wrath, calamity and sorrow, That great and very bitter day, deliver me.

Programme notes continued

Leoš Janáček

Věčné evangelium (The Eternal Gospel) cantata for soprano, tenor, mixed chorus and orchestra

1854–1928

Andrea Danková Angel | soprano Vsevolod Grivnov Joachim of Fiore | tenor London Philharmonic Choir

1 Con moto: Now what is written in the Revelation will come to pass! – 2 Andante: Who can see the angel flying through the clouds? – 3 Con moto: O hearken, you with sinking, wilted hearts! 4 Andante: All that the angel told me in the dark night The text and translation are overleaf. The most momentous turning-point of Leoš Janáček’s career came in 1916, with the Prague premiere of his opera Jenůfa: this helped to establish him as an operatic composer on the European scene, and provided the spark for the great surge of confident creativity in his last years. In the years preceding that breakthrough, around his 60th birthday in 1914, Janáček was little known outside his native Brno; but in 1912 he did achieve some success with a Prague revival of his 1897 cantata Amarus. Looking for a text for another cantata, he turned again to the poet he had set in that work, Jaroslav Vrchlický. Janáček chose Vrchlický’s ‘legend’ The Eternal Gospel, inspired by Joachim of Fiore. Joachim was a 12thcentury Cistercian monk in southern Italy who had a heretical vision of an angel prophesying a new Golden Age to come. In succession to the Kingdom of the Father, represented by the Old Testament, and the Kingdom of the Son, represented by the New Testament, there would be the Kingdom of the Spirit, a realm of love for all creatures, with St Francis as its figurehead. This vision must have appealed to Janáček, who was no conventional believer but a great lover of the natural world. His setting of the poem was begun in late 1913 and completed in the spring of 1914; it was revised following the first performance in Prague in February 1917. By that time, the grim progress of the First World War must have made Joachim’s vision seem a faint, distant dream.

In the cantata, the solo tenor represents Joachim, and the soprano the Angel, while the chorus provides narration, selective repetition and rejoicing. The solo parts are in Janáček’s terse, declamatory manner, familiar from his operas, while the orchestral accompaniment is based largely on a number of short recurring motifs. Some of the most significant of these are presented in the opening movement: the initial steeply rising figure, which the composer said represents ‘open arms longing to embrace the whole world’; the following plangent melody; and, at the end of the movement, a triumphant fanfare. Meanwhile, throughout the work, high solo violin melodies and flashes of lightning in the woodwind evoke the flight of the angel, giving the textures a distinctively airborne quality. The cantata is in four sections, the first three performed without a break. The first is an orchestral prelude, which also introduces Joachim; the second adds the chorus; the third introduces the Angel and his prophecy, and its later stages are permeated by the chorus’s cries of ‘Alleluia’. The final section is a reflective epilogue for Joachim, with an exultant choral conclusion. Programme notes © Anthony Burton

London Philharmonic Orchestra | 17

The Eternal Gospel text and translation

1 Tenor solo Nuž stane se, co v zjevení je psáno! Co nejdřív svitne lidstvu velké ráno. 2 Kdo vidí anděla, jak letí mračny? Půl hvězdami je kryt host nadoblačný. Chorus Zas anděl nad bezednou letí strží A věčné evangelium on drží, By ohlásil je přes hory i vodu V dav řečí všechněch pronárodů. Svět v marnosti a krve tone brodu A spí, a spí, a v neřestech se válí. Je těžká mitra papeží I králi vínek i učenci kniha. Tenor solo O půlnoci můj zrak se k nebi zdvíhá. Hle, knihy spona v oblacích se míhá. Zde blízko k nebi mám a tož vše vidím! Zde na skalnatém břehu v Kalabrii, Kde vlci v slujích s větry o závod vyjí, Zde blízko k nebi mám a tož vše vidím. Já se slovy apoštola řídím. Ted’ vidíme vše jako v zrcadle! Však novou mízou mládne listí zvadlé. Chorus Však novou mízou mládne listí zvadlé, vždy novou mízou mládne listí zvadlé. 3 Tenor solo Ó slyšte, jejichž srdce mdlé a zvadlé! Soprano solo Říš Ducha přijde jediná a třetí, Kdy bohatství a statky vše a zlato, Šperk, jmění, bude jenom bláto. Kdy chudý statkem boháč bude duchem, A svět se zjaří věčné vesny ruchem! Tenor solo On mluví ve větru, on mluví v hromu, Já vím, že pravdu dí, neb na Sodomu, Na Řím se dívám z jedné strany, Na Byzanc, na Gomorhu rozhněvaný

Now it shall come to pass, as foretold in Revelation. Mankind’s great dawn will soon arrive.

Who can see the angel flying through the clouds? The heavenly visitor is half-concealed by the stars. The angel flies once more over the infinite depths, carrying the eternal gospel in his arms. Over mountains and seas he brings it to the multitudes, proclaiming it in every language known to man. The world is mired in vanity and blood; it wallows in torpor and depravity. The pope’s mitre, the king’s garland and the scholar’s book weigh heavily. At midnight I raise my eyes to the heavens. Lo, the clasp of the book gleams in the clouds. Here I am close to heaven and all is revealed to me! Here, on the rocky shore of Calabria, where the wolves in their dens howl like the wind. Here I am close to heaven and so all is revealed to me! The words of the apostle are my guide. Now we see all things as in a mirror! The withered leaves are revived with new sap. The withered leaves are revived with new sap; now as ever, the withered leaves are revived with new sap.

Listen, O faint-hearted ones! The kingdom of the spirit will prevail in the end, when all the riches of this world – gold, jewels and estates – have turned to dust, when he who has nothing is rich in spirit, and the world will enjoy spring’s everlasting dominion!

Pak z druhé strany, jich vážím blud a vinu A nedivím se, proč leží svět v stínu!

His voice is in the wind, his voice is in the thunder. I know that he speaks the truth, when I see how things stand in Sodom and Rome; when I see, too, the ill-will there is in Byzantium and Gomorrah, I consider their heresies and trespasses, and I do not wonder that the earth is shrouded in shadow!

Soprano solo Říš Otce byla hvězd sladkých plání,

The kingdom of the father glowed with many stars,

18 | London Philharmonic Orchestra

Říš Syna bylo luny usmívání, Říš Ducha bude slunce nehynoucí. Chorus Aleluja! Soprano solo Ty říše přešly obě, třetí vstává, Již na východě dní se její sláva. Říš byla zákonů, bázně a strázně, Říš byla milosti, kázně a víry, Říš lásky přijde k vám, říš věčné lásky. Jen svatyně jste byli ve předsíni, Ted’ po růžích vejdete už sami. Aleluja! Ted’ v svatostánek vejdete už sami! Aleluja! Říš lásky, říš věčné lásky přijde k nám! Tenor solo Dřív byla bible, potom apoštolů Zvěst blahá rozlila se na svět září. Ted’ věčné evangelium plá v jase. Ted’ začne pravá volnost lidských duší, Jež každé pouto ve prach zkruší. Tu říše Ducha vidění mé tuší! Říš lásky přijde k nám, říš věčné lásky! Tenor solo Jí klestím cestu výmluvnosti jezem, František bude jejím veleknězem! Kristus jen se sklonil ku člověku, Však František se sklonil ku zvířeti A hmotu pojal lásky ve objetí. Aleluja! Tenor solo On proto středem říše třetí. Chorus Říš lásky přijde k nám, říš věčné lásky! Aleluja!

the kingdom of the son was lit up by a smiling moon, the kingdom of the spirit will be a sun that lives for ever. Alleluia! The first two kingdoms have passed away, the third has yet to arrive, but already it is dawning gloriously in the East. One kingdom was governed by strict respect for the law, the second kingdom was ruled by faith, order and compassion; now the kingdom of love is dawning, the eternal kingdom of love. You were but supplicants at the gate of the temple; now you enter the sanctuary on a carpet of roses. Alleluia! Now you may enter the tabernacle! Alleluia! The kingdom of eternal love is dawning! In the beginning there was the Bible, and the joyful tidings of the apostles spread their glow throughout the world. Now the eternal gospel shines brightly; now mankind will experience true freedom, as each shackle is cast aside. I can see the kingdom of spirits dawning! The kingdom of eternal love is dawning! I will show the way with a cascade of eloquence, and St Francis will be its high priest! Christ only listened to mankind, but St Francis listened to wild creatures, lovingly embracing them. Alleluia! For this reason he is at the heart of the third kingdom. The kingdom of eternal love is dawning! Alleluia!

4 Tenor solo To všecko děl mi anděl v noci tmavé, Když na růženci doříkal jsem ‘Ave’! Obrátil zrak s výšin Kalabrie V tmu světa, který v nepravostech hnije, Na jedné, římské vlčice jhem spjatý, Na druhé straně štván byzantskými katy. Já, z Fiore Jachim věštím věk ten zlatý. Chorus Říš lásky, říš věčné lásky přijde k nám!

Thus spake the angel at dead of night, When, saying my rosary, I arrived at the final ‘Ave’! I looked down from the hills of Calabria on the dark world below, mired in iniquity – a world yoked to the Roman wolf, but also tormented by the hangmen of Byzantium. I, Joachim of Fiore, prophesy a golden age. The kingdom of eternal love is dawning!

Jaroslav Vrchlický (1853–1912)

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

wednesday 14 november 2018 7.30pm

wednesday 21 november 2018 7.30pm

wednesday 28 november 2018 7.30pm

Oleg Caetani conductor Roberto Prosseda pedal piano

Mark Elder conductor Ermonela Jaho soprano Brian Mulligan baritone* Arsen Soghomonyan tenor* Opera Rara Chorus

Andrés Orozco-Estrada conductor Viktoria Mullova violin Matthew Barley cello

Messiaen Hymne Gounod Concerto for Pedal Piano* Berlioz Symphonie fantastique

* Supported by Palazetto Bru Zane – Centre de musique romantique française.

Bizet L’Arlésienne Suite No. 1 Verdi Ballet music from Macbeth Puccini Le Villi

In association with Opera Rara * Please note a change of artist from previously advertised.

Enescu Romanian Rhapsody No. 1* Pascal Dusapin At Swim-Two-Birds (UK premiere)** Martinů Symphony No. 4 Ravel La valse

*Generously supported by the Romanian Cultural Institute ** Commissioned by BBC Radio 4’s zaterdagmatinee series in The Concertgebouw Amsterdam, London Philharmonic Orchestra (with generous support from Diaphonique, a Franco-British contemporary music fund supported by the Institut Français, the Bureau export de la musique, the British Council and Ministère de la Culture et de la communication), Gewandhausorchester and Seattle Symphony Orchestra.

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 21

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Kay Bryan William & Alex de Winton George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess Richard Buxton In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe Countess Dominique Loredan Geoff & Meg Mann

Sally Groves & Dennis Marks Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker

Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland

Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

22 | London Philharmonic Orchestra

Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

London Philharmonic Orchestra | 23

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager