London Philharmonic Orchestra 22 Nov 2017 concert programme by London Philharmonic Orchestra

b e m ov e d 2017/18 Season at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall Concert programme

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 Wednesday 22 November 2017 | 7.30pm

Bridge Summer (9’) Prokofiev Piano Concerto No. 3 in C major, Op. 26 (28’) Interval (20’)

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 6 Michail Jurowski 7 Beatrice Rana 8 Programme notes 11 Tchaikovsky on the LPO Label Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Tchaikovsky Symphony No. 1 in G minor (Winter Daydreams) (43’)

Michail Jurowski conductor Beatrice Rana piano

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

This performance is being broadcast live by BBC Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss 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.

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall

Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage.

lpo.org.uk/vj10

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. Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

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On stage tonight

First Violins Kevin Lin Leader Vesselin Gellev Sub-Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

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

Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Georgina Leo Helen Ayres Evin Blomberg Deborah Gruman Jacqueline Roche Second Violins Tania Mazzetti Principal Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Ashley Stevens Robin Wilson Sioni Williams Harry Kerr Sheila Law Alison Strange John Dickinson Judith Choi-Castro

Violas David Quiggle Principal Gregory Aronovich Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Stanislav Popov Daniel Cornford Isabel Pereira Martin Fenn Martin Wray Jennifer Coombes Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

Flutes Sue Thomas* Principal

Trombones Mark Templeton* Principal

Chair supported by Victoria Robey OBE

Chair supported by William & Alex de Winton

Lindsey Ellis Stewart McIlwham*

David Whitehouse Bass Trombone Lyndon Meredith Principal

Piccolo Stewart McIlwham* Principal

Tuba Lee Tsarmaklis* Principal

Oboes Ian Hardwick* Principal Alice Munday

Timpani Simon Carrington* Principal

Clarinets Thomas Watmough Principal James Maltby

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal

David Lale Elisabeth Wiklander Sue Sutherley Helen Rathbone George Hoult Sibylle Hentschel Jane Lindsay

Bassoons Jonathan Davies Principal Gareth Newman

Double Basses Sebastian Pennar Principal Francesco Platoni George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Samuel Rice Jakub Cywinski

Martin Hobbs Mark Vines Co-Principal

Horns David Pyatt* Principal Chair supported by Sir Simon Robey

Chair supported by Laurence Watt

Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal James Fountain Guest Principal Anne McAneney*

Chair supported by Friends of the Orchestra

Harp Rachel Masters Principal Celeste James Sherlock

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

Chair supported by Geoff & Meg Mann

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Dr Barry Grimaldi • Bianca & Stuart Roden • Neil Westreich

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, 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 this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre

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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Kevin Lin leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski. 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 through an energetic programme of activities for young people. In 2017/18 we celebrate 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 Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media.

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Houston Symphony and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster and Principal Second Violin at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin has collaborated with the Tokyo and Ebène Quartets, Edgar Meyer, MengChieh Liu, John Perry, Hal Robinson of The Philadelphia Orchestra and Andrew Bain of the Los Angeles Philharmonic. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.

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Michail Jurowski conductor

One of the season’s most rewarding and unforgettable concerts. Hilary Finch, The Times, 1 November 2013 (London Philharmonic Orchestra, Schnittke Symphony No. 1 at Royal Festival Hall)

Born in Moscow in 1945, Michail Jurowski is the son of the composer Vladimir Jurowski and grandson of the conductor David Block. His sons Vladimir and Dmitri are also internationally renowned conductors, Vladimir being the London Philharmonic Orchestra’s Principal Conductor and Artistic Advisor. Michail Jurowski grew up in the circle of internationally acclaimed artists of the former Soviet Union such as David Oistrakh, Mstislav Rostropovich, Leonid Kogan, Emil Gilels and Aram Khachaturian. Dmitri Shostakovich was a close family friend, and he and Michail not only spoke often but would also play four-hand piano pieces together. Such experiences had a huge influence on the young musician and it is no coincidence that today Michail Jurowski is one of the leading interpreters of Shostakovich’s music. Jurowski was educated at the Moscow Conservatoire, and during his studies he assisted Gennady Rozhdestvensky at the National Radio and Television Symphony Orchestra of Moscow. While still resident in Russia he conducted the Music Theatre of Stanislavski and Nemirovich-Danchenko in Moscow, and during his last years in the Soviet Union frequently conducted performances at the Bolshoi Theatre. From 1978 Michail Jurowski was a regular guest conductor at the Komische Oper Berlin, and in 1989 he left the USSR with his family after accepting a permanent post at the Dresden Semperoper. Other titled positions have included General Music Director and Chief Conductor of the Northwest German Philharmonic Orchestra; Chief Conductor of Leipzig Opera; Chief Conductor of the WDR Rundfunkorchester in Cologne; Principal Conductor of Deutsche Oper Berlin;

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Principal Guest Conductor of the Berlin Radio Symphony Orchestra; and Principal Guest Conductor of the Janáček Philharmonic and Tonkünstler orchestras. He is currently Principal Guest Conductor of Sinfonia Iuventus in Warsaw. Recent highlights have included appearances with the London, Warsaw and St Petersburg Philharmonic orchestras and the Moscow State Symphony Orchestra. Recent opera and ballet seasons saw Prokofiev‘s The Fiery Angel at the Bolshoi and at the Staatsoper Münich; The Queen of Spades and Eugene Onegin for Malmö Opera; a revival of Romeo and Juliet with Zürich Opera; and Cinderella and Swan Lake at La Scala, Milan. The 2017/18 season includes regular performances with Sinfonia Iuventus, including the world premiere performance and recording of Anton Rubinstein’s opera Moses. Guest appearances this season include debuts with the Daegu Symphony Orchestra (South Korea) and the newly formed Würth Philharmoniker, as well as the MDR Leipzig’s annual Christmas Day concert and returns to the Orchestra Sinfónica Siciliana, Norrköppings Symphony Orchestra, Belgrade Philharmonic, St Petersburg Philharmonia and Teatro del Maggio Musicale in Florence. Jurowski has recorded with the Berlin Radio Symphony Orchestra, the Deutsches Symphonie-Orchester Berlin and L’Orchestre de la Suisse Romande. His discography includes Shostakovich’s The Gamblers, Shostakovich’s entire vocal symphonic works, Rimsky-Korsakov’s opera Christmas Eve, and many others. He was most recently awarded the German Record Critics’ Prize for his CD of music by Shostakovich, Pärt and Weinberg, recorded live with the Staatskapelle Dresden at the International Shostakovich Festival in Gohrisch in 2016.

Beatrice Rana piano

She is a compelling storyteller: her playing has all the sustained force and perfectly weighted brilliance you could want, but has a glint in its eye, too.

The Guardian, December 2015

24-year-old Beatrice Rana has shaken the international classical music world and aroused admiration and interest from audiences, critics and conductors across the world. 2017 marks a milestone in her career with the release of Bach’s Goldberg Variations on the Warner Classics label, a recording that has been praised by reviewers worldwide. During 2016 and 2017 Beatrice toured with the Goldbergs, performing at venues including Paris’s Théâtre des Champs-Elysées, the Aix-en-Provence Festival, Wigmore Hall, Town Hall Birmingham, Tokyo’s Toppan Hall, Berlin’s Konzerthaus, San Francisco Performances, Porto’s Casa da Música and the Mecklenburg-Vorpommern Festival. Beatrice collaborates regularly with such esteemed conductors as Andrés Orozco-Estrada, Yannick Nézet-Séguin, Riccardo Chailly, Sir Antonio Pappano, Gianandrea Noseda, Mirga Gražinytė-Tyla, Leonard Slatkin and Zubin Mehta. She made her LPO debut in 2015 at Royal Festival Hall with Prokofiev’s Piano Concerto No. 2 under Susanna Mälkki. Other orchestral appearances have included the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, The Philadelphia Orchestra, the Los Angeles Philharmonic, the Detroit Symphony Orchestra, the NHK Symphony, the Orchestre national de France, the Tonkünstler Orchester, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the Filarmonica della Scala, the Helsinki Philharmonic and the Royal Flemish Philharmonic. This season Beatrice Rana gives recitals at Amsterdam’s Concertgebouw as part of the Piano Masters Series, and at Cologne’s Philharmonie, the Lucerne Piano Festival, Lisbon’s Gulbenkian Great Performers series and Toronto’s Koerner Hall. She tours with Sir Antonio

Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia. She also performs with Yuri Temirkanov and the St Petersburg Philharmonic, Emmanuel Krivine and the Orchestre national de France, Osmo Vänska and the Helsinki Philharmonic, and Sir Roger Norrington and the Camerata Salzburg. Earlier this year Beatrice made her debuts at the BBC Proms with Sir Andrew Davis and the BBC Symphony Orchestra, and at Lincoln Center’s Mostly Mozart Festival with Louis Langrée. In the 2018/19 season she will make debuts with the Royal Concertgebouw, Melbourne Symphony, Liverpool Philharmonic and Danish National Symphony orchestras, and will perform with The Philadelphia Orchestra and Yannick Nézet-Séguin at Philadelphia’s Kimmel Center and New York’s Carnegie Hall. In 2015 Beatrice released her first album as an exclusive Warner Classics artist, featuring Prokofiev’s Piano Concerto No. 2 and Tchaikovsky’s Piano Concerto No. 1 with Antonio Pappano and the Accademia Nazionale di Santa Cecilia. The CD received international acclaim, including Gramophone Editor’s Choice and BBC Music Magazine’s Newcomer of the Year Award. From 2015–17 Beatrice was a member of the prestigious BBC New Generation Artist Scheme, and in April 2016 the Borletti-Buitoni Trust awarded her a Fellowship. Born to a family of musicians, Beatrice Rana began her musical studies aged four and achieved her piano degree under the guidance of Benedetto Lupo at the Nino Rota Conservatory of Music in Monopoli, Italy, where she also studied composition with Marco della Sciucca. She is based in Rome.

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Programme notes

Speedread Sergei Prokofiev’s Third Piano Concerto and Frank Bridge’s Summer were written in times of carnage and colossal upheaval. In 1915 Bridge was struggling with ‘utter despair over the futility of World War One and the state of the world’. Soon he would give form to those feelings in powerful works of grief and protest, but first he needed peace and recuperation. Summer is an almost impossibly lush and beautiful evocation of the beauties of the English countryside. But there’s something poignant in it too – a sense, perhaps, that this can only be a dream. Moments of fantastical dreamlike beauty also haunt Prokofiev’s

Frank Bridge

Third Concerto, begun in 1916 and finished only after the Russian Revolution had forced him into exile. Alongside that, however, is something quite different: a brilliant, demonic power which finally, thrillingly, sweeps everything else off the stage. ‘Winter Daydreams’ was Tchaikovsky’s own subtitle for his First Symphony. Composing it was an epic struggle, but you’d never guess that from the music, in which we may hear Tchaikovsky’s own idealised memories of the Russian winter seen through the eyes of a child.

Summer

1879–1941

Frank Bridge was drawn to pacifism early in his career, but it was the outbreak of World War One in 1914 that brought his thoughts and feelings sharply into focus. Later he recalled being ‘in utter despair over the futility of World War One and the state of the world, and [walking] round Kensington in the early hours of the morning unable to get any rest or sleep.’ He was soon to register his horror at the course of the war in his poignant Lament for strings (1915), inscribed to the memory of a nine-year-old girl killed in the sinking of the ocean liner Lusitania. And after the war Bridge’s grief and rage would find still more powerful expression in the Piano Sonata (1921–24) and in the magnificent one-movement cello concerto Oration (1930).

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But music could also be a means of escape and recreation. The tone-poem Summer was written, like the Lament, in 1915, but it seems to come from another world. It evokes an idyllic summer’s day in an English country landscape of dreamlike beauty. At the same time the style shows how very un-insular Bridge’s musical thinking was. There are echoes of Debussy’s Gallic delicacy, and hints of Scriabin’s erotically charged mysticism. But the atmosphere Bridge creates is unique: wind, harp and celeste details emerge through an ever-shifting textural haze of intricate string writing like nothing else in English music. There is one great rapturous lyrical outpouring at the climax – a moment of, in William Blake’s words, ‘joy, even to tears’ – but peace is soon restored. War feels impossibly far away.

Sergei Prokofiev 1891–1953

Prokofiev wrote his Third Piano Concerto during the years 1916–21: five years in which the world he knew changed out of all recognition. At the beginning Russia was still home. But the old Tsarist regime was completely unprepared for the onset of the First World War and the assault against Germany was poorly managed. Appalling losses followed, stoking up the resentment that would lead to the revolutions of 1917 and the destruction of the old Russia. By the time Prokofiev had finished the Third Piano Concerto, Tsarism had been replaced by Bolshevism, and Prokofiev (no revolutionary sympathiser) found it advisable to stay abroad. At first he tried to make a living in the USA, and when that failed he tried Paris instead, with more success. And yet Prokofiev never felt fully at home in the West. For him, as for Stravinsky, Russian remained ‘the exiled language of my heart’. Although the unaccompanied clarinet tune that opens the Third Concerto doesn’t sound quite like any authentic folksong, many have found something characteristically Russian here. The theme seems ready to expand lyrically (strings and flute), but then it is swept away by a racing Allegro full of devilish rapid figuration for the soloist. In music like this we can gauge something of Prokofiev’s own brilliance as a pianist:

Piano Concerto No. 3 in C major, Op. 26 Beatrice Rana piano 1 Andante – Allegro 2 Tema con variazioni 3 Allegro, ma non troppo

commenting on Prokofiev’s playing not long after his arrival in America, one journalist dubbed him ‘the man with the steel fingers’. Nothing stays the same for long however: throughout this Concerto mood, textures and character keep changing, sometimes with startling rapidity, and Prokofiev the deft, wicked ironist is rarely far away. The first movement’s second theme (oboe and pizzicato violins) seems jaunty enough, but the clicking castanets add a slightly macabre touch, which is strongly underlined when the theme returns towards the end of the movement. Then in the second movement, Prokofiev seems to take grim pleasure in subjecting his innocent-sounding Andantino (woodwind) theme to all manner of extreme transformations, through the angular violence of the third variation, and the eerie stillness of the fourth to the violent obsessive climax of the fifth. A more good-natured grotesquerie seems to emerge in the finale, but before long we see the demonic side of the piano again. After a while the tempo drops and a luscious melody, introduced by cellos, is treated to some fabulous intricate decorative work by the piano – magical Prokofievian night music at its finest. But then the dancing, pounding main theme returns, and the Concerto ends in a whirl of steely sound.

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

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Programme notes continued

Pyotr Ilyich Tchaikovsky 1840–93

Tchaikovsky’s First Symphony is such an endearing, vital, seductively atmospheric work that one would imagine it must have been a joy to write. In fact the opposite is true: few, if any of his other works caused Tchaikovsky such protracted pain. He was 26 when he began it, having freshly graduated from the St Petersburg Conservatoire and walked straight into a job at the newly created Conservatoire in Moscow. At first things were looking encouraging. His first orchestral performance (an Overture in F major) had been a success, and his teacher, the pianist and composer Anton Rubinstein, had urged him to write a symphony. But then came a crushing review of another work, and Tchaikovsky’s confidence plummeted: ‘I spent the entire day wandering aimlessly about the town’, he told a friend, ‘repeating to myself “I am sterile, I am a nonentity, nothing will ever come of me, I have no talent”.’ He soldiered on with the new symphony, but his determination to keep working through the nights (inevitably resulting in insomnia) led to a frightening breakdown. In the end, work seems to have saved Tchaikovsky, and the Symphony was finished in piano score by the beginning of June 1867. But his troubles weren’t over yet. Rubinstein was highly critical of the completed score, and virtually ordered Tchaikovsky to revise it. Even that didn’t please, and only the Scherzo was performed – unsuccessfully. More alterations were made then, at last, in February 1868, the First Symphony had its first full performance in Moscow. This time it was a huge success; but Tchaikovsky’s self-doubt was not appeased, and it wasn’t until 1874 that he at last allowed the further-revised score to be published. Surprisingly, despite memories of this agonising slow birth, Tchaikovsky always maintained a special affection for his First Symphony. ‘For all its glaring deficiencies’,

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Symphony No. 1 in G minor (Winter Daydreams) 1 2 3 4

‘Reveries of a Winter Journey’: Allegro tranquillo ‘Land of Desolation, Land of Mists’: Adagio cantabile ma non tanto Scherzo: Allegro scherzando giocoso Finale: Andante lugubre—Allegro maestoso

he wrote in 1883, ‘I have a soft spot for it. Although it is immature in many respects it is essentially better and richer in content than many other more mature works.’ As so often, he was being harsh: the First Symphony may have its faults, but they are hardly ‘glaring’, and most of the time the freshness of the material fully compensates. The opening theme (flute and bassoon above shimmering violins) is a lovely inspiration, with an unmistakable Slavic accent. From the first there is a strong sense of forward-gliding momentum, like the easy movement of a sleigh across smooth snow. Tchaikovsky’s sharp, clear orchestration registers impressions of cold very effectively, while from time to time warm string harmonies manage to convey a sense of cosiness and security – this traveller is clearly well wrapped up and enjoying his ‘winter daydreams’. The slow movement is still more effective. An eloquent theme for muted strings leads to a long oboe tune, with answering birdcalls on flute, unmistakably Russian in so many of its melodic twists and turns. The rest of the movement is essentially a meditation (daydreams again) on phrases from this tune, with occasional reminiscences of the flute’s birdsong, all done with much more skill and imagination than Tchaikovsky’s later judgement would have us believe. The return of the opening string theme at the end is also deftly timed. Next comes an agile, lightly dancing Scherzo, with wonderful use of woodwind colours (a very mature Tchaikovskian touch). Hesitant cellos and basses suggest for a moment that the central trio section might be darker-hued, but what actually emerges is a warm, suave waltz theme on violins and cellos. Then, after a sombre slow introduction, the Finale soon sets off at a more determined pace in the major key, with trombones, tuba, cymbals and bass drum adding their weight to the orchestra for the first

time. The exuberance can sound a little forced (a rare indication of Tchaikovsky’s state of mind at the time he wrote it?). But after all his labours, Tchaikovsky is surely entitled to a bit of over-the-top celebration. Programme notes © Stephen Johnson

Recommended recordings of tonight’s works Bridge: Summer Royal Liverpool Philharmonic Orchestra | Sir Charles Groves (Warner) Prokofiev: Piano Concerto No. 3 in C major Nikolai Demidenko | London Philharmonic Orchestra | Alexander Lazarev (Hyperion) Tchaikovsky: Symphony No. 1 (Winter Daydreams) London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0039; see below)

Next concerts at Southbank Centre’s Royal Festival Hall friday 24 november 2017 7.30pm Vivaldi The Four Seasons* Kabalevsky Spring Glazunov The Seasons Marius Stravinsky conductor Pieter Schoeman director/violin*† † Pieter Schoeman’s chair in the Orchestra is generously supported by Neil Westreich.

WEDNESDAY 29 november 2017 7.30pm Respighi Autumn Poem Chausson Poème Marx An Autumn Symphony (UK premiere) Vladimir Jurowski conductor Julia Fischer violin

Tchaikovsky Symphony No. 1 Symphony No. 6 Vladimir Jurowski conductor London Philharmonic Orchestra

Saturday 16 december 2017 7.00pm please note start time J S Bach Christmas Oratorio

The Complete Symphonies (7CD box set)

Vladimir Jurowski conductor Maria Keohane soprano Anke Vondung mezzo-soprano Jeremy Ovenden tenor* Stephan Loges bass-baritone London Philharmonic Choir

Vladimir Jurowski conductor London Philharmonic Orchestra

* Please note a change to the artist from previously advertised.

LPO-0039 | £10.99 (2CDs)

New Tchaikovsky

LPO-0101 | £34.99 (7CDs) Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

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

London Philharmonic Orchestra | 11

Mitsuko Uchida

Boris Giltburg

Tue 28 Nov & Fri 1 Dec 2017

Wed 28 Feb 2018

Paul Lewis

Maurizio Pollini

Schubert

Tue 23 Jan 2018 Haydn Beethoven Brahms

Martin Helmchen

Wed 7 Feb 2018 Schumann Beethoven

southbankcentre.co.uk 020 3879 9555

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Liszt Rachmaninov

Tue 13 Mar 2018 Schumann Chopin

George Li

Tue 20 Mar 2018 Beethoven Chopin Rachmaninov Liszt

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 Queree 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 | 13

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 Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker

Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble

14 | London Philharmonic Orchestra

Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Roger & Clare Barron Mr Geoffrey Bateman Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar

Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov

Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes 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 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: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Arcadis Christian Dior Couture Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust The Boltini Trust 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 Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation 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 Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation

UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Al MacCuish Susanne Martens* George Peniston* Natasha Tsukanova Mark Vines* 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 Dr Catherine C. Høgel Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham 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

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education and Community Director

Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager