London Philharmonic Orchestra 26 Sep 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 Wednesday 26 September 2018 | 7.30pm

Stravinsky Symphony in Three Movements (20’) Thomas Adès In Seven Days* (30’) Interval (20’)

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 Thomas Adès 7 Kirill Gerstein 8 Programme notes 12 Recommended recordings New on the LPO Label 13 Backstage: Hugh Kluger 14 Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

Lutosławski Symphony No. 3** (28’) Thomas Adès conductor Kirill Gerstein piano

* Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

** Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme.

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 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.

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Orchestra news

elcome to our first concert of the new 2018/19 LPO season at Southbank Centre’s Royal Festival Hall. There’s always a special dynamic when a composer conducts – as if their music is being created afresh. Tonight’s conductor Thomas Adès has one of his own pieces at the centre: the ‘concerto for piano’ that he created in 2008. The brilliant Kirill Gerstein helps him bring it to life tonight, throwing new light on two definitive 20th-century classics – Lutosławski’s grand, glittering Third Symphony and Stravinsky running off the leash amidst the glamour of 1940s Los Angeles. Tonight’s performance of his Symphony in Three Movements also kicks off the second half of our year-long series Changing Faces: Stravinsky’s Journey, delving into the composer’s pioneering and provocative works from the 1940s onwards. In 2019 – continuing our annual themed series – we celebrate the music of Britain in our festival Isle of Noises. Not only will we explore a range of British music from Purcell to the present day, but we’ll also highlight key works by composers with interesting British connections, including music by Handel and Haydn. Also this season, to complement our annual summer seasons at Glyndebourne Festival Opera, we are delighted to bring a variety of opera to Royal Festival Hall: in November Vladimir Jurowski conducts Stravinsky’s The Rake’s Progress, and in January 2019 he brings us the second instalment of our Ring Cycle – Die Walküre. And of course, as always this season we are joined by many stellar guest artists including Mitsuko Uchida, Edward Gardner, Thomas Adès, Janine Jansen, Benjamin Grosvenor, Alondra de la Parra, Mark Padmore, Colin Currie and Stuart Skelton. We hope you enjoy tonight’s concert and can join us again soon – turn to page 10 to see our next concerts, or browse the complete season listings at lpo.org.uk

Out now The Autumn 2018 edition of Tune In, our free twice-yearly 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

On stage tonight

First Violins Kevin Lin Leader Tristan Gurney Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Yang Zhang Tina Gruenberg Rebecca Shorrock Amanda Smith Evin Blomberg Georgina Leo Nilufar Alimaksumova Morane Cohen-Lamberger 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 Helena Nicholls Sioni Williams Robin Wilson Sheila Law Alison Strange Violas David Quiggle Principal Richard Waters Robert Duncan Susanne Martens Benedetto Pollani Laura Vallejo

Naomi Holt Stanislav Popov Daniel Cornford Luca Casciato Isabel Pereira Julia Kornig Cellos Pei-Jee Ng Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Tom Roff Helen Rathbone George Hoult Sibylle Hentschel Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Thomas Walley Laurence Lovelle Lowri Morgan Charlotte Kerbegian Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Alto Flute Sue Thomas* Piccolos Stewart McIlwham* Principal Sue Thomas*

Oboes Ian Hardwick* Principal Alice Munday Chair supported by Friends of the Orchestra

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

David Whitehouse

Jane Marshall Cor Anglais Jane Marshall

Bass Trombones Lyndon Meredith Principal Paul Lambert

Clarinets Benjamin Mellefont Guest Principal Thomas Watmough Paul Richards*

Tuba Lee Tsarmaklis* Principal

E flat Clarinet Thomas Watmough Principal

Percussion Andrew Barclay* Principal

Bass Clarinet Paul Richards* Principal

Henry Baldwin Co-Principal Feargus Brennan Tom Lee James Larter

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Christopher Hart Guest Principal Anne McAneney*

Timpani Simon Carrington* Principal

Chair supported by Andrew Davenport

Harps Rachel Masters Principal Lucy Haslar Piano John Alley John Cuthbert Celeste Ian Tindale * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

Tony Cross

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

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 2018 we explore

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the life and music of Stravinsky in 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 Britishinspired 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.

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 100 releases available on CD and to download. Recent additions include Shostakovich’s Symphony No. 7 conducted by the late Kurt Masur, and a disc of orchestral works by Richard Strauss 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. 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

Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He 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 Pittsburgh Symphony and 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’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. 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.

instagram.com/londonphilharmonicorchestra

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Thomas Adès CBE conductor

One of the most accomplished and complete musicians of his generation

The New York Times, November 2007

Composer, conductor and pianist Thomas Adès was born in London in 1971. His compositions include three operas: The Exterminating Angel (premiered at the 2016 Salzburg Festival), Powder Her Face (Cheltenham Festival and Almeida Theatre, 1995) and The Tempest (Royal Opera, Covent Garden, 2004). His orchestral works include Asyla (City of Birmingham Symphony Orchestra, 1997), Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami, 2011), the violin concerto Concentric Paths (Berliner Festspiele and BBC Proms, 2005) and Totentanz for mezzo-soprano, baritone and orchestra (BBC Proms, 2013). Thomas Adès was recently appointed Artistic Partner by the Boston Symphony Orchestra during 2019; he will conduct the orchestra in Boston and at Tanglewood, perform chamber music with the orchestra players, and lead the summer Festival of Contemporary Music. As a conductor Thomas appears regularly with the Los Angeles and New York Philharmonics, the Boston Symphony Orchestra, the Royal Concertgebouw Orchestra, the Melbourne and Sydney symphony orchestras, the BBC Symphony Orchestra and the City of Birmingham Symphony Orchestra. His most recent appearance with the London Philharmonic Orchestra was in April 2018, when he conducted the UK premiere of his own Powder Her Face Suite alongside Stravinsky’s Perséphone and the London premiere of Gerald Barry’s Organ Concerto with soloist Thomas Trotter. In opera, Thomas has conducted Stravinsky’s The Rake’s Progress at the Royal Opera House, Covent Garden and the Zürich Opera; The Tempest at the Metropolitan Opera, New York; and in 2015 he made his debut at the Vienna State Opera with the Vienna Philharmonic

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conducting The Tempest. Last season he conducted Totentanz with the Boston Symphony, Los Angeles Philharmonic and RTÉ National Symphony orchestras, and Gerald Barry’s new opera Alice’s Adventures Under Ground in Los Angeles (world premiere) and in London (European premiere), as well as performances of Adès’s most recent opera The Exterminating Angel at the Royal Opera House (a co-production with the Salzburg Festival, the Metropolitan Opera, New York, and the Royal Danish Opera). His recent piano engagements include solo recitals at Carnegie Hall (Stern Auditorium) in New York and Wigmore Hall in London, and concerto appearances with the New York Philharmonic. In recital, he has appeared throughout Europe and the USA with tenor Ian Bostridge in a tour of Schubert’s Winterreise. Thomas Adès’s many awards include the Grawemeyer Award for Asyla (1999); Royal Philharmonic Society Large-Scale Composition awards for Asyla, The Tempest and Tevot; the Ernst von Siemens Composers’ Prize for Arcadiana; and the British Composer Award for The Four Quarters. His CD recording of The Tempest from the Royal Opera House (EMI) won the Contemporary category of the 2010 Gramophone Awards; his DVD of the production from the Metropolitan Opera was awarded the Diapason d’Or de l’année (2013), Best Opera Recording (2014 Grammy Awards) and Music DVD Recording of the Year (2014 ECHO Klassik Awards); and The Exterminating Angel won World Premiere of the Year at the 2017 International Opera Awards. In 2015 Thomas was awarded the prestigious Léonie Sonning Music Prize and most recently was made a CBE in the 2018 Queen’s Birthday Honours.

Kirill Gerstein piano

This is the kind of serious, intelligent and virtuosic music-making that keeps classical music alive.

The Observer, March 2018

This season Kirill Gerstein will give the world premiere of Thomas Adès’s new Piano Concerto with the Boston Symphony Orchestra conducted by the composer, with performances in Boston and at New York’s Carnegie Hall. Gerstein and Adès will also give the European premiere with the Leipzig Gewandhaus Orchestra. As well as tonight’s performance of In Seven Days with the London Philharmonic Orchestra, they will also perform the work in Los Angeles with the LA Philharmonic, and in recitals in New York and Boston. Elsewhere this season, Gerstein appears with the Czech Philharmonic and Semyon Bychkov on tour in the USA, and makes a return to the London Symphony Orchestra under Mark Elder. He will perform in China with the Shanghai and Guangzhou symphony orchestras, and with the Rotterdam Philharmonic, the Orchestre Philharmonique de Radio France, the NDR Elbphilharmonie Orchestra, the Dresden Staatskapelle, the Danish National Symphony Orchestra, the Helsinki Philharmonic, the Cincinnati Symphony, The Cleveland Orchestra and the São Paolo Symphony Orchestra. He gives recitals in London, Stuttgart, Lisbon, Singapore, Melbourne and Copenhagen, as well as chamber performances with the Hagen Quartet, Veronika Eberle and Clemens Hagen in Lucerne, and with actor Bruno Ganz in recitals in Germany and Austria. Next month Gerstein’s recording of Scriabin’s Prometheus: The Poem of Fire, with the Oslo Philharmonic and Vasily Petrenko, will be released on LAWO Classics. Future releases this season include Busoni’s Piano Concerto on Myrios Classics in spring 2019 and Tchaikovsky’s Piano Concertos Nos. 1–3 in summer 2019: part of Semyon Bychkov’s Tchaikovsky Project recorded for Decca with the Czech

Philharmonic. Recent recordings for Myrios Classics include ‘The Gershwin Moment’, released earlier this year; Liszt’s Transcendental Études, chosen by The New Yorker as one of 2016’s notable recordings; and Tchaikovsky’s First Piano Concerto in the composer’s own final version from 1879. He also released ‘Imaginary Pictures’, coupling Mussorgsky’s Pictures at an Exhibition with Schumann’s Carnaval; two discs with Tabea Zimmerman of sonatas for viola and piano by Brahms, Schubert, Franck, Clarke and Vieuxtemps; and a recital disc of works by Schumann, Liszt and Knussen. Kirill Gerstein grew up in the former Soviet Union studying both classical and jazz piano, and at the age of 14 moved to the USA, where he was the youngest student to attend Boston’s Berklee College of Music. He subsequently shifted his focus to the classical repertoire and studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid, and Ferenc Rados in Budapest. Gerstein won the first of a series of prestigious accolades in 2001: First Prize at the 10th Arthur Rubinstein Competition. In 2002, he won a Gilmore Young Artist Award, and in 2010 both an Avery Fisher Career Grant and the Gilmore Artist Award, which provided the funds for him to commission new works from Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen and Brad Mehldau. A committed teacher, Gerstein taught at the Stuttgart Musik Hochschule from 2007–17, and from autumn 2018 will teach as part of Kronberg Academy’s newly announced Sir András Schiff Performance Programme for Young Artists.

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Programme notes

Speedread The sound of the piano drives its way through all three works on tonight’s programme. Its percussive striking in Stravinsky’s Symphony in Three Movements of 1942–5 may well recall the composer’s feral scores for Diaghilev’s Ballets Russes, though here, in a work written during World War II, it echoes much darker events. Spiritual balm is offered in the Symphony’s middle movement, but the spectre of destruction is again apparent at its close. Out of chaos comes the act of creation, described in the seven movements of Thomas Adès’s 2008 piano concerto In Seven Days.

Igor Stravinsky 1882–1971

He may have been one of the world’s most famous composers, but Stravinsky struggled financially during the 1930s and early 1940s. Exiled from Europe and living in Los Angeles, alongside émigrés such as Rachmaninoff, Christopher Isherwood, Alma Mahler and Thomas Mann, Stravinsky faced the consequences of his dwindling royalties from Europe. US orchestras and audiences were not as open to what they perceived as his ‘difficult’ music, prompting the composer to adapt and embrace local means. He even flirted with Hollywood, though none of his film scores, apart from Disney’s 1940 bowdlerisation of The Rite of Spring in Fantasia, came to fruition. He also wrote an elephants’ ballet for the Ringling Brothers’ circus, as well as music for Broadway revues. So just as US troops were entering World War II, Stravinsky was seemingly at his most frivolous. Yet in April 1942, just a few months after the attack on Pearl Harbor, the composer began sketching a new symphonic work. Stravinsky later spoke to Robert Craft

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Awed, awesome and recalling the ancient but told with the modern, it is a work that teems with musical life. And the same rich brand of polyphony is evident in every bar of Lutosławski’s Third Symphony. Written during the early 1980s, it demonstrates the late Polish composer’s enduring fascination with aleatoric textures, as he had gleaned from the music of John Cage. As the instruments in Lutosławski’s orchestra, including celeste and piano, bubble and bristle with rhythmic independence, they dazzle as both individuals and ensemble.

Piano Symphony Concerto in No. Three 3 in Movements D minor, Op. 30 Simon 1 Overture: Trpčeski piano Allegro 2 Andante – Interlude: L’istesso tempo 1 3 Allegro Con moto ma non tanto 2 Intermezzo: Adagio – 3 Finale: Alla breve

of it taking the form of a concerto for orchestra, much like the one Bartók would write in New York in 1943, but the structure was not set at the outset. What was clear was the unique soundworld of this new work, quite unlike the music Stravinsky was writing for the circus and Broadway. With a piano prominent in the texture, the initial composition, eventually forming the first part of the Symphony in Three Movements, harked back to the savagery of the composer’s ballet scores for Diaghilev, albeit with a more brittle edge. Indeed, in a statement made for the premiere of the complete Symphony in New York in January 1946, Stravinsky said its music was reflective of ‘this arduous time of sharp and shifting events, of despair and hope, of continual torments, of tension, and at last cessation and relief’. Having completed the first movement, Stravinsky put the Symphony aside, instead pondering a score for a Hollywood adaptation of The Song of Bernadette, based on the novel by Alma Mahler’s husband Franz

Werfel. Both book and film told the story of Bernadette Soubirous, who experienced 18 visions of Mary, the Mother of God, in Lourdes in southwest France during the mid-19th century. Although no contract for the film had been signed, Stravinsky began work on the ‘Apparition of the Virgin’, though this was soon to become the second movement of his embryonic orchestral work and, in the end, it was Alfred Newman, composer of the famous 20th Century Fox fanfare, who wrote the soundtrack for The Song of Bernadette, winning an Oscar.

PLAYER’S PERSPECTIVE ‘Sometimes playing the harp can feel very singular within an orchestra, such as coming in with the fugal solo entry in the last movement of the Symphony in Three Movements. This work has a challenging harp part which I always enjoy performing, because Stravinsky’s soundworld and unusual orchestration is so interesting.

Stravinsky’s surviving ‘Apparition’, full of Gallic charm, calms the mood after the fretful confrontations of the first movement. A purling harp replaces the driving piano, but there are tensions here too, not least in the middle section. This completed, the work then sat dormant again until 1945, when Stravinsky finally wrote its brusque, charging last movement. The composition was finished the day after the bombing of Hiroshima, hence the colossal thud at the end of this wartime work.

Thomas Adès born 1971

1 Chaos – Light – Dark – 2 Separation of the waters into sea and sky 3 Land – Grass – Trees – 4 Stars, Sun, Moon – 5 Creatures of sea and sky 6 Creatures of the land 7 Contemplation

Commissioned by Southbank Centre and the Los Angeles Philharmonic. World premiere 28 April 2008 at Southbank Centre’s Royal Festival Hall, London, conducted by the composer with Nicolas Hodges (piano), London Sinfonietta and Tal Rosner (video artist).

Rachel Masters, Principal Harp

In Seven Days, for piano and orchestra Kirill Gerstein piano Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.

As first presented in 2008, In Seven Days was a collaboration not only between piano and orchestra but also between music and video art, the latter created by Adès’s marital partner at the time, Tal Rosner. The music is beautifully adapted to its ally, and at the same time discovers rich possibilities for itself, in how it proceeds in segments, suggesting scans of a visual field, to build a continuity. Such a form allows the composer to treat the subject of Creation by focussing on creation – on how tiny particles of sound can combine, and recombine, and jostle against one another, to produce a half-hour span. In Seven Days is a fractal composition, a work in which certain simple elements – as simple as the rising scale step that kicks the whole thing off – are repeated again and again in London Philharmonic Orchestra | 9

Programme notes continued

contexts that are in a constant state of change thanks to the composer’s virtuoso control of rhythm and, especially, harmony, his twisted tonality emerging, totally fresh, from decades of popular music as well as from the classical tradition.

Composing against a visual counterpoint, Adès does not attempt to evoke the objects of Creation so much as the processes, and the energies. Often the result of a creative act is not one thing but two. On the first day, for instance, God creates heaven and earth, and light and darkness. Accordingly, Adès works with musical oppositions – of orchestra and piano, of course, but also of different groups within the orchestra, or of extremities of pitch, or rival harmonic forces. His music for this first day is led off as a perpetuum mobile by the strings, whose larger cycles bring in other orchestral families. These, having been installed, set out on their own courses, the woodwinds spiralling down, the brass moving towards a chorale that heralds the piano.

Racing at double speed, the soloist soon moves into a melodious complexity that engages the orchestra and winds down into the bass, from which a rise leads into the second day. Tuned percussion enter here, in what develops from note repetitions into an infinite simultaneity of ascending and descending lines, perhaps suggesting Escher’s perpetual staircases. The plant life of the third day burgeons as growing variation (but then, everything here is growing variation), from the extreme bass to a majestic climax. Divine astronomy in the fourth day is figured as glittering starscapes and the beneficent harmony, perhaps, of the sun. Days five (aquatic life) and six (terrestrial) are represented by a fugue in two sections – one without the piano, the other with the piano to the fore – telling us that everything is gentle, calming benediction. But then, at the end of the following contemplation, the whole process seems about to start over again. Creation is neverending. Programme note © Paul Griffiths

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

Thomas Adès on the LPO Label James MacMillan The Confession of Isobel Gowdie Thomas Adès Chamber Symphony Jennifer Higdon Percussion Concerto Marin Alsop conductor Colin Currie percussion £9.99 | LPO-0035

‘These live LPO recordings are the best possible advert for new classical music.’ Financial Times CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

10 | London Philharmonic Orchestra

Witold Lutosławski

Symphony No. 3

1913–94

Lutosławski began his symphonic project in 1941. His kaleidoscopic First Symphony was, like Stravinsky’s Symphony in Three Movements, created against the backdrop of war. It drew on various influences, not least Stravinsky, as well as Prokofiev, Bartók and Debussy. When performed in Warsaw in 1948, it should have announced Lutosławski as the foremost composer in Poland, yet the Soviet authorities denounced the work as ‘formalist’, much as they were doing with many Russian composers at the time.

“types” of composition’. Although Lutosławski never imitated Cage’s wholly free approach, he did embark on a series of works, including the Second Symphony of 1965, characterised by what he called ‘aleatory counterpoint’, in which an element of chance allows the players rhythmic freedom, thereby creating even richer textures. Although another large gap would follow before Lutosławski began his Third Symphony, in the early 1980s, that type of aleatoric music remained intrinsic to his output.

It would be another 20 years before Lutosławski returned to the genre and much had changed in the meantime. The composer had been particularly struck by his experience of John Cage’s Concert for Piano and Orchestra. First performed in New York in 1958, the Concert comprises 63 pages, ‘to be played, in whole or in part, in any sequence, involving 84

He had been approached to write a new symphony by the Chicago Symphony Orchestra in 1972. The original plan was for a work with an enormous toccata at its heart. But the union of a concerto for orchestra and a symphony proved hard to reconcile and various sketches were abandoned, picked up again in 1977 and abandoned once more. In 1981, however, Lutosławski struck gold, completing the central toccata the following year and then sending the whole score to Chicago in 1983. After 11 years, the orchestra was rather surprised by the delivery, but jumped at the chance of giving the premiere of Lutosławski’s first symphony for nearly two decades.

PLAYER’S PERSPECTIVE ‘Lutosławski’s Symphony No. 3 is a fantastically exciting work and I can’t wait to play it under the fully charged baton of Thomas Adès. I’m always blown away by Tom’s varied style, as well as his sense of fun. If his concert with the LPO last April (when we played his Powder Her Face Suite) is anything to go by, we’re in for a thrilling season opener!’. Helena Smart, Second Violin

If elements of other composer’s work had been evident in the two earlier symphonies, Lutosławski’s Third, quickly becoming one of his most popular works, was unique. The composer described it in the following direct terms: The work consists of two movements, preceded by a short introduction and followed by an epilogue and a coda. It is played without a break. The first movement comprises three episodes, of which the first is the fastest, the second slower and the third is the slowest. The basic tempo remains the same and the differences of speed are realised by the

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Programme notes continued

lengthening of the rhythmical units. Each episode is followed by a short, slow intermezzo. It is based on a group of toccata-like themes contrasting with a rather singing one: a series of differentiated tuttis leads to a climax of the whole work. Then comes the last movement, based on a slow singing theme and a sequence of short dramatic recitatives played by the string group. A short and very fast coda ends the piece. Despite such a simply defined scheme, the effect of Lutosławski’s Third is dazzling. Often, the music builds to enormous climaxes, not least during the toccata, followed by an almost existential sense of desolation in the long third section. But it is the work’s dazzlement that continues to dominate, returning decisively at the close, as the music spirals into the ether before tumbling back down to earth.

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Stravinsky: Symphony in Three Movements Columbia Symphony Orchestra | Igor Stravinsky (Sony) Adès: In Seven Days London Sinfonietta | Thomas Adès (Signum Classics) Lutosławski: Symphony No. 3 Berlin Philharmonic | Witold Lutosławski (Philips)

Stravinksky and Lutosławski programme notes © Gavin Plumley

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Alexander Lazarev conductor Vadim Repin violin Simon Callow narrator

Yannick Nézet-Séguin conductor Alexandre Tharaud piano James O’Donnell organ Kate Royal soprano London Philharmonic Choir

orchestral excerpts

Vladimir Jurowski conductor

CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

12 | London Philharmonic Orchestra

Backstage

In our occasional series of interviews with the LPO’s musicians, we get to know Double Bassist Hugh Kluger.

A native of Sydney, Australia, Hugh joined the LPO in March 2018 as Sub-Principal Double Bass. We talked to him about his first impressions of the LPO, and life in London both on- and off-stage.

How did your career as a double bassist begin, and what have been the defining moments so far? When I was four, I went to the Sydney Symphony’s Baby Proms and sat on stage at the feet of the principal double bassist. After that I apparently wanted to play double bass, probably because it was big and loud! My parents eventually bought a half-sized bass, and my dad and I were playing jazz very soon after. Growing up, I mostly played jazz and rock and roll with my school mates. I found the energy created while improvising or playing a composition for the first time infectious; an excitement only eclipsed by a full symphony orchestra playing in a great hall with great musicians. I remember playing Pictures at an Exhibition at my first music camp, and thinking it was incredible to be part of making such a big sound. I also remember one of my first professional concerts, playing Beethoven’s Seventh, and thinking that the amazing build-up of the slow movement was a good reason to be playing in symphony orchestras. Why did you decide to relocate from Australia to London? To join one of the best orchestras in the world! I started playing with the Sydney Symphony Orchestra when I was 19, and over the next few years played everywhere I could in Australia and New Zealand. I loved going to different cities, meeting new people, and trying new bars and restaurants. Eventually I started working my way from the north of the UK down to London, and found the speed with which the LPO worked thrilling. London is so international, busy, and constantly changing. I went to plays, gigs, galleries, bars, parties ... I knew that I could never be bored in such an exciting city.

What were your expectations of the LPO before you joined? I thought the intense schedule might create tired and jaded musicians. On the contrary, I found a group who thrive on the challenge of creating an exciting, nuanced performance. There are so many colleagues who inspire me; who are so energetic and care so much about giving the audience a great experience. I always know that when the LPO plays, it is going to be world-class. There aren’t many orchestras in the world that can do three programmes in one week, and keep creating such incredible performances. What have been the highlights of your first few months with the Orchestra? I’ve always loved Germanic orchestral and operatic music, so it was no surprise that performing Das Rheingold with Vladimir Jurowski in January was an incredible experience. I’ve been lucky enough to play eight Ring cycles already, but to finally experience one out of the opera pit, on stage with a symphony orchestra, brought out colours and sounds I’d never heard in it before. Another highlight was playing Tchaikovsky’s Sixth Symphony in the amazing acoustic of Tokyo’s Suntory Hall. You could hear every individual player, as well as a perfectly blended orchestral sound. As a bassist, it’s a real joy to be able to hear yourself properly! How do you relax when you’re not working? When I’m not at work I love going to rock and metal gigs around the city, searching for that special moment that you walk into a bar and find your next favourite band. I’ve always played guitar in rock bands, and if I get a free moment I’ll definitely see if I can get one going in London. I also love having a BBQ in my backyard with my friends when the weather holds out (I know, not so likely!) Meet our members: lpo.org.uk/players

A longer version of this interview originally appeared in the Autumn 2018 edition of Tune In, the Orchestra’s twice-yearly magazine. Read it online at issuu.com/londonphilharmonic, or call 020 7840 4200 to request a copy in the post.

London Philharmonic Orchestra | 13

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

saturday 29 September 2018 7.30pm

saturday 6 october 2018 7.30pm

Wednesday 10 october 2018 7.30pm

Mozart Piano Concerto No. 27, K595 Mahler Das Lied von der Erde

Beethoven The Creatures of Prometheus Stravinsky Orpheus

Sibelius Pohjola’s Daughter Dvořák Piano Concerto Bartók Concerto for Orchestra

Vladimir Jurowski conductor

Karina Canellakis conductor Pierre-Laurent Aimard piano

Vladimir Jurowski conductor Mitsuko Uchida piano Sarah Connolly mezzo-soprano Stuart Skelton tenor

Concert generously supported by Dior Concert generously supported by Victoria Robey OBE and Dior

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

14 | London Philharmonic Orchestra

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 | 17

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 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 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 Mr Roger Greenwood Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

18 | London Philharmonic Orchestra

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 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

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 | 19

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