London Philharmonic Orchestra 29 Sep 2018 concert programme by London Philharmonic Orchestra

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2018/19 Concert 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 Saturday 29 September 2018 | 7.30pm

Mozart Piano Concerto No. 27 in B flat, K595 (31’) Interval (20’) Mahler Das Lied von der Erde (59’)

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

Concert generously supported by Victoria Robey OBE and Dior

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Mitsuko Uchida 8 Sarah Connolly Stuart Skelton 9 Programme notes 13 Texts & translations 17 Recommended recordings 18 Next concerts 21 Sound Futures donors 22 Supporters 24 LPO administration

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

The Nutracker at the Royal Albert Hall The Orchestra has long been renowned for its prowess in the opera pit at Glyndebourne, but this Christmas we’ll be branching out into ballet. The LPO has been invited to accompany Tchaikovsky’s festive favourite The Nutcracker with Birmingham Royal Ballet at the Royal Albert Hall from 28–31 December. For more information and booking visit royalalberthall.com or call the Royal Albert Hall Box Office on 020 7589 8212.

New on the LPO Label: Prokofiev Recently released on the LPO Label was a disc of works by Prokofiev (LPO-0107). Conducted by Alexander Lazarev, it comprises the Violin Concerto No. 1 with soloist Vadim Repin, the Third Symphony, the 'symphonic poem' Rêves ('Dreams') and the farcical ballet Chout ('The Buffoon'), narrated by Simon Callow and recorded live in concert at Royal Festival Hall in 1997. The double CD is priced at £10.99 and, along with the 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream online via Spotify, Apple Music and others.

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 Pieter Schoeman* Leader Chair supported by Neil Westreich

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

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

Robert Pool Yang Zhang Tina Gruenberg Rebecca Shorrock Amanda Smith Evin Blomberg Georgina Leo Morane Cohen-Lamberger Second Violins Tristan Gurney Guest Principal Tania Mazzetti Co-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 Kalliopi Mitropoulou Kate Cole Sioni Williams Robin Wilson Sheila Law Alison Strange

Violas David Quiggle Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Isabel Pereira Luca Casciato Martin Fenn Richard Cookson

Trumpets Paul Beniston* Principal Christopher Hart Guest Principal Anne McAneney*

Piccolos Stewart McIlwham* Principal Emilia Zakrzewska Oboes Ian Hardwick* Principal Alice Munday

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal

Chair supported by Friends of the Orchestra

Chair supported by William & Alex de Winton

Sue Böhling*

David Whitehouse

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Sibylle Hentschel Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Thomas Walley Laurence Lovelle Lowri Morgan Charlotte Kerbegian Nickie Dixon Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Stewart McIlwham* Emilia Zakrzewska

Clarinets Benjamin Mellefont Guest Principal Emma Burgess Thomas Watmough Paul Richards* E flat Clarinet Thomas Watmough Principal Bass Clarinet Paul Richards* Principal Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Ollie Johnson

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar Feargus Brennan Harps Rachel Masters Principal Lucy Haslar Celeste John Alley Mandolins Daniel Thomas Tom Ellis Assistant Conductor Thomas Blunt

* Holds a professorial appointment in London Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Sir Simon Robey • Eric Tomsett

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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 2017/18 season closing concert 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.

Pieter Schoeman leader

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

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Shostakovich’s Symphony No. 7 conducted by the late Kurt Masur, and a disc of orchestral works by Richard Strauss conducted by Vladimir Jurowski.

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

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Vladimir Jurowski Principal Conductor & Artistic Advisor

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

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

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

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

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

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

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

Mitsuko Uchida piano

Her playing, exquisite yet searching, is always fascinating to re-encounter.

Paul Driver, Sunday Times, December 2017

Legendary pianist Mitsuko Uchida brings a deep insight into the music she plays, through her own quest for truth and beauty. Renowned for her interpretations of Mozart, Schubert, Schumann and Beethoven, she has also illuminated the music of Berg, Schoenberg, Webern and Boulez for a new generation of listeners. In 2017/18 Mitsuko Uchida embarked on a two-year Schubert Sonata series, featuring 12 of the composer’s major works which she toured throughout Europe and North America. Venues included Southbank Centre’s Royal Festival Hall, Carnegie Hall, the Berlin Philharmonie and the Vienna Musikverein. She also appeared with the Berlin Philharmonic and Simon Rattle, the Chicago Symphony and Esa-Pekka Salonen and the Los Angeles Philharmonic and Gustavo Dudamel, in addition to directing The Cleveland Orchestra in Mozart concertos. The 2016/17 season marked the start of a three-year collaboration with Southbank Centre. Since 2016 Mitsuko Uchida has also been an Artistic Partner of the Mahler Chamber Orchestra, directing Mozart concertos from the keyboard in tours of major European venues and Japan. With a strong commitment to chamber music, Mitsuko Uchida collaborates closely with the world’s finest musicians. She recently partnered Jörg Widmann for a series of concerts at Wigmore Hall, the Elbphilharmonie and Carnegie Hall, and has collaborated with Magdalena Kožená, Dorothea Röschmann and the Ebène Quartet. Mitsuko Uchida’s loyal relationships with the finest orchestras and concert halls has resulted in numerous residencies. She has been Artist in Residence at The Cleveland Orchestra, the Berlin Philharmonic,

the Vienna Konzerthaus, the Salzburg Mozartwoche and the Lucerne Festival. Carnegie Hall dedicated to her a ‘Perspectives’ series entitled Mitsuko Uchida: Vienna Revisited, and the Concertgebouw a ‘Carte Blanche’ series. Mitsuko Uchida records exclusively for Decca. Her extensive discography includes the complete Mozart and Schubert piano sonatas, as well as the complete Mozart piano concertos with Jeffrey Tate and the English Chamber Orchestra. Between 2011 and 2016 Uchida recorded a five-CD series of Mozart piano concertos with The Cleveland Orchestra live in concert and directing from the piano. The first release won a Grammy Award in 2011. In 2017 she won a second Grammy with soprano Dorothea Röschmann for their Schumann and Berg album. Her recording of the Schoenberg Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including the Gramophone Award for Best Concerto. Committed to aiding the development of young musicians, Mitsuko Uchida is a trustee of the BorlettiBuitoni Trust and Director of the Marlboro Music Festival. In 2009 she was made a Dame Commander of the Order of the British Empire. In May 2012 she was awarded the Royal Philharmonic Society’s Gold Medal and in 2014 received an Honorary Degree from the University of Cambridge. A guest of honour at the Salzburg Mozartwoche in 2015, Mitsuko Uchida was awarded the Golden Mozart Medal. In October 2015 she received the Premium Imperiale Award from the Japan Arts Association. mitsukouchida.com

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Stuart Skelton

mezzo-soprano

tenor

Born in County Durham, Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made a DBE in the 2017 Birthday Honours, having previously been made a CBE in the 2010 New Year’s Honours. In 2011 she was honoured by the Incorporated Society of Musicians and presented with the Distinguished Musician Award. She is the recipient of the Royal Philharmonic Society’s 2012 Singer Award. Highlights of the 2018/19 season include Fricka (Das Rheingold and Die Walküre) at Covent Garden and in Das Rheingold at the Teatro Réal in Madrid. On the concert platform, her engagements include Mahler’s Symphony No. 8 (Wiener Symphoniker/Philippe Jordan) and Des Knaben Wunderhorn (Orchestre national de Paris/Jukka-Pekka Saraste) and Tippett’s A Child of our Time (Orchestre de Paris/Thomas Adès). Dame Sarah also curates a Residency at Wigmore Hall in the 2018/19 season. The future sees her return to the Metropolitan Opera, the Opéra national de Paris, the Teatro Réal in Madrid and English National Opera. Dame Sarah’s recent concert engagements include appearances at the Lucerne, Salzburg, Tanglewood and Three Choirs festivals and at the BBC Proms where, in 2009, she was a memorable guest soloist at The Last Night. Other notable engagements have included The Dream of Gerontius (Boston Symphony Orchestra/ Sir Colin Davis & Mozarteumorchester Salzburg/Ivor Bolton); Mahler’s Symphony No. 3 at the BBC Proms (LSO/Bernard Haitink); A Child of our Time and Brangäne (Berlin Philharmonic/Sir Simon Rattle); Mahler’s Symphony No. 2 (Leipzig Gewandhausorchester/ Riccardo Chailly, Boston Symphony Orchestra/Christoph von Dohnányi & Philadelphia Orchestra/Yannick NézetSéguin); Das Lied von der Erde (Concertgebouworkest/ Daniel Harding & Rotterdam Philharmonic Orchestra/ Yannick Nézet-Séguin; Des Knaben Wunderhorn (L’Orchestre des Champs-Elysées/Philippe Herreweghe); and La mort de Cléopâtre (Hallé/Sir Mark Elder, CBSO/ Edward Gardner & BBC Symphony Orchestra/Sir Andrew Davis).

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Sarah Connolly

Stuart Skelton is one of the finest heldentenors on stage today, critically acclaimed for his outstanding musicianship, tonal beauty and intensely dramatic portrayals. Stuart last appeared with the London Philharmonic Orchestra in 2013 in the title role of Peter Grimes in two semi-staged performances at Royal Festival Hall and Symphony Hall Birmingham. He returns to Royal Festival Hall on 27 January 2019 as Siegmund in Die Walküre, the second instalment of Vladimir Jurowski’s Ring Cycle with the Orchestra. This autumn Stuart sings the role of Siegmund in his much-anticipated debut at the Royal Opera House, Covent Garden under Antonio Pappano, at the Metropolitan Opera under Philippe Jordan, at Budapest’s Palace of Arts under Ádám Fischer, and with the Symphonieorchester des Bayerischen Rundfunks under Simon Rattle. This season sees Stuart Skelton’s first North American performances of Otello, with the Metropolitan Opera and Gustavo Dudamel, and he returns to the Festspielhaus Baden-Baden as Verdi’s Moor in a new production by Robert Wilson. Performances on the concert stage include Peter Grimes with David Robertson conducting the Sydney Symphony, Tristan und Isolde with Asher Fisch and the West Australia Symphony Orchestra, and Janáček’s Glagolitic Mass with Edward Gardner conducting the Hallé Orchestra. Stuart recently released a solo album, ‘Shining Knight’, presenting Wagner, Griffes, and Barber accompanied by Asher Fisch and the West Australian Symphony Orchestra. His discography also includes Janáček’s Glagolitic Mass and Schoenberg’s Gurre-Lieder with Edward Gardner and the Bergen Philharmonic Orchestra; Elgar’s The Dream of Gerontius with Andrew Davis and the BBC Symphony Orchestra; Mahler’s Das Lied von der Erde with Simon Rattle and the Symphonieorchester des Bayerischen Rundfunks, as well as with Michael Tilson Thomas and the San Francisco Symphony; and Beethoven’s Ninth Symphony with Charles Mackerras and the Scottish Chamber Orchestra.

Programme notes

Speedread When Mozart conceived his K595 Piano Concerto in 1788, the 32-year-old composer was not to know that it would be the last he would produce before his untimely death three years later. Yet it is a work of melancholy beauty, seeming to take a step back from overt public display to express something gently personal and channel a restrained sadness, perhaps even nostalgia.

Wolfgang Amadeus Mozart 1756–91

The special position this concerto holds in the affections of Mozart-lovers of course owes much to its high quality and distinct personality, but also to the notion that, written in the composer’s last year (he entered it in his thematic catalogue of works on 5 January 1791), it expresses the resignation and weariness of spirit that had overtaken him after two years of dwindling success and reduced productivity. And it cannot be denied that such an interpretation would suit this gentle work, in which the ebullient virtuosity and extrovert gestures which had characterised the great piano concertos of the mid-1780s are rejected in favour of an altogether more personal species of utterance, as if Mozart had tired of the rat-race of public display. Modern-day research into the composer’s manuscript paper and its watermarks has forced a modification of this view of the work, however, for it now appears that it was drafted in incomplete score as early as 1788. Perhaps Mozart shelved it when the prospect of a performance vanished, just as his return to it at

Mahler aimed to ‘give God the slip’ (his wife’s words) by allotting his ‘Ninth’ Symphony a name: ‘The Song of the Earth’. But although he went on to write a ‘real’ Ninth and even start a Tenth, he died before any of them could be performed. Das Lied von der Erde’s subject of implacable death might seem almost unbearably poignant, therefore, were it not for the work’s final radiant statement of belief in the eternally renewing beauty of nature.

Piano Concerto No. 27 in B flat, K595 Mitsuko Uchida piano 1 Allegro 2 Larghetto 3 Allegro

the start of 1791 could well have been in response to the need for a work to play at a benefit concert for the clarinettist Joseph Bär on 4 March. But this is not to diminish K595. If its wistful lyricism can no longer be slotted quite so romantically into the chronological details of its composer’s life – if it is no longer the ‘work of farewell’ that one influential 20thcentury Mozart scholar dubbed it – then its purely musical value as a composition of noble and restrained beauty remains for all to hear. Like the 40th Symphony, it opens with a bar of accompaniment before the first theme appears, a dreamily curling violin melody which sets the mood for the rest of the movement. As the opening orchestral section progresses, a feeling of longing persists, reinforced by the music’s frequent turns to the minor, and the atmosphere hardly changes at the entry of the soloist, where, instead of the usual operatic opposition of themes, we find the piano coming in with an uncontroversial restatement of the first

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Programme notes continued

theme; thereafter it is content to contribute only one agonised new theme of its own, and after the central development section has rumbled through a multitude of keys without letting its surface smoothness slip, the movement closes in the same quiet vein in which it had started. The resigned and unargumentative mood of this first movement carries over into the second, a Larghetto in ABA form. As in the Allegro, soloist and orchestra are here very much in thematic and spiritual accord, with the other instruments providing unquestioning support for the piano’s quiet complaints, offering sympathy and occasional outbursts of consolatory warmth. At the end, it is hard to disagree with the observation of another of the last century’s Mozart

commentators that ‘flute and first violins seem, gracefully but firmly, to be leading the piano off the stage’. The final rondo brings something, at least, of the brilliance of Mozart’s earlier concertos, but if its playful demeanour suggests that the composer has turned his back on the sadnesses of the preceding movements, a continued flirtation with the minor mode and an insistent preoccupation with the least ‘stable’ part of the principal returning theme are enough to remind us of less complacent emotions. The resulting faintly nostalgic feel makes a fitting close to a work in which, perhaps, we can after all hear Mozart recalling happier days.

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

Mitsuko Uchida

Experience the definitive: two nights of exemplary Schubert piano sonatas. Tue 4 & Fri 7 Dec, Royal Festival Hall

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Gustav Mahler

Das Lied von der Erde (The Song of the Earth) Sarah Connolly mezzo-soprano Stuart Skelton tenor

1860–1911

1 2 3 4 5 6

Das Trinklied vom Jammer der Erde (Drinking Song of Earth’s Misery) Der Einsame im Herbst (Autumn Loneliness) Von der Jugend (Youth) Von der Schönheit (Beauty) Der Trunkene im Frühling (The Drunkard in Spring) Der Abschied (Farewell)

The song texts and translations begin on page 13.

The story that Mahler avoided calling Das Lied von der Erde his Ninth Symphony because he wished to cheat death, which had claimed Beethoven and Bruckner at the same stage in their careers, is a much-repeated one, and though its origins may be questionable it has the merit of plausibility. In the summer of 1907, a year after completing his gigantic, life-affirming Eighth Symphony, Mahler was staying with his family at their summer lakeside retreat at Maiernigg when he suffered the double blow of the death from scarlet fever of his elder daughter and the discovery of his own life-threatening heart condition. It was the beginning of a black period for him; ever aware of death, he was now forced even more into making an accommodation with it. Small wonder if portents of mortality gained extra strength. The summers were when Mahler did most of his composing – winters were devoted to a punishing conducting schedule – but the traumas of 1907 rendered the year creatively fruitless. That is unless we accept his widow Alma’s assertion that it was at the end of that summer that a friend gave him a copy of Die chinesische Flöte (‘The Chinese Flute’), a small book of assorted Chinese poems, many of them ancient, gathered together in German translations by Hans Bethge. The collection may have had its faults as an academic exercise – Bethge’s ‘translations’ were

in fact secondhand adaptations of other men’s work, and many of his attributions are incorrect – but it certainly touched something in Mahler. Chinoiserie was much in vogue in European art at this time, but Mahler must have been drawn, too, to the poems’ highly concentrated reflections on natural beauty, the transience of human existence and the inevitable acceptance of death. When in 1908 he took up residence in a new summer home at Tolbach in the Dolomite Mountains (after a winter season which had seen his final performances as musical director at the Vienna State Opera and his first conducting engagements at the Metropolitan Opera in New York), he had already made a selection and was ready to turn them into an orchestral song-cycle. According to Alma, ‘he worked at white-heat all the summer … The scope of the composition grew as he worked. He linked up the separate poems and composed interludes, and so found himself drawn more and more to his true musical form – the symphony.’ The symphonic credentials of Das Lied are indeed strong. Its unique layout of six movements for solo voice and orchestra, with the last almost as long as the first five put together, seems not so unusual in the context of a symphonic canon which had already included much vocal music and a number of pragmatic

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Programme notes continued

formal designs, for instance in the Second, Third and Eighth symphonies. And while compared to those Das Lied is more like a song-cycle – the form that had dominated the earlier part of Mahler’s career – it is surely symphonic in its scope, its long-range thematic coherence and its sense of the voice as an ‘extra instrument’ in an overall orchestral texture rather than as a tune-carrier in need of accompaniment. The orchestra for Das Lied is a rich mix, and leaps into action with immediate and full effect in the first movement, ‘Das Trinklied vom Jammer der Erde’ (‘Drinking Song of Earth’s Misery’). The solo part is high here, the orchestration thick, and the atmosphere is an almost hysterical one of forced cheerfulness, as if the tenor were drowning in awful awareness of the spoiling hand of death. The glimpse of the grave surmounted by a howling ape is terrifying, the movement’s bleak last chord like an unforgiving blow to the back of the head. The slow second movement brings a dramatic change in texture, and indeed recurrences of the noisy orchestral sounds of the first movement will be rare from now on, as extreme delicacy and precision take over. ‘Der Einsame im Herbst’ (‘Autumn Loneliness’) is sparingly scored, its winding solo winds and icy muted strings matching the cold intimacy of the poem’s imagery. The only outburst of warmth, at the words ‘Sun of love, will you never shine again?’, is snuffed out like the ‘little lamp’, the hope of one more spring answered by emptiness. The next three movements are shorter, a trio of scherzos to put thoughts of death temporarily aside. ‘Von der Jugend’ (‘Youth’) is all charm in its depiction of people drinking, talking and laughing in a porcelain pavilion, and its gentle musical orientalisms are carried forward into the fourth movement, ‘Von der Schönheit’ (‘Beauty’), where maidens quietly picking flowers are disturbed by a passing group of horsemen who stir up their emotions (and with it, briefly, the orchestral sound-level) before disappearing to leave in their wake a nameless sense of longing. Finally, ‘Der Trunkene im Frühling’ (‘The Drunkard in Spring’) closes the sequence with a carefree, even boisterous reiteration of the opening movement’s advice to lose yourself in drink. Spring may come, it says, but who cares?

12 | London Philharmonic Orchestra

Which brings us to the long final movement, ‘Der Abschied’ (‘Farewell’). At first it seems to be offering a similar picture to that of the second movement: the heightened senses of a person preparing for death. The vocal line is static, the music weighed down, haunted by intimations of a funeral march which eventually rears itself to full height in a vast and seemingly implacable orchestral development section. The mood of resignation resumes at the singer’s return, but this is not how it will end. As we ‘await the hour’, there suddenly comes realisation: natural beauty will continue; the earth is ever renewing. As the voice soars in ecstatic release, the sense of resolution is total; all is said, and this great work fades away to the serene and gentle pulse of one repeating word – ‘ewig’. Programme notes © Lindsay Kemp

PLAYER’S PERSPECTIVE

‘We’re so lucky to have Mitsuko Uchida playing Mozart’s K595 Piano Concerto with us, and as I’m not playing in this piece I’ll have the luxury of sitting back and listening to the poetry. There’s a good link that runs through this concert’s programme, as legend has it that Mahler’s last word was ‘Mozart’. In Das Lied von der Erde his writing for the winds is so poignant and well-written that it’s always a pleasure to play – but at the same time, it can be heart-wrenching.’ Sue Böhling, Principal Cor Anglais

Texts and translations Das Lied von der Erde

1 Das Trinklied vom Jammer der Erde (Li-Tai-Po)

Drinking Song of Earth’s Misery

Schon winkt der Wein im gold’nen Pokale, Doch trinkt noch nicht, erst sing’ ich euch ein Lied! Das Lied vom Kummer soll auflachend in die Seele euch klingen. Wenn der Kummer naht, liegen wüst die Gärten der Seele, Welkt hin und stirbt die Freude, der Gesang. Dunkel ist das Leben, ist der Tod. Herr dieses Hauses! Dein Keller birgt die Fülle des goldenen Weins! Hier, diese Laute nenn’ ich mein! Die Laute schlagen und die Gläser leeren, Das sind die Dinge, die zusammen passen. Ein voller Becher Weins zur rechten Zeit Ist mehr wert als alle Reiche dieser Erde! Dunkel ist das Leben, ist der Tod! Das Firmament blaut ewig und die Erde Wird lange fest steh’n und aufblüh’n im Lenz.

Wine is already sparkling in the golden goblet But do not drink yet; first I will sing you a song! The song of care shall sound laughing in your soul.

Du aber, Mensch, wie lang lebst denn du? Nicht hundert Jahre darfst du dich ergötzen

But thou, O man, how long wilt thou live? Not one hundred years may’st thou enjoy thyself

An all dem morschen Tande dieser Erde! Seht dort hinab! Im Mondschein auf den Gräbern Hockt eine wild-gespenstische Gestalt – Ein Aff’ ist’s! Hört ihr, wie sein Heulen Hinausgellt in den süßen Duft des Lebens! Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Leert eure gold’nen Becher zu Grund! Dunkel ist das Leben, ist der Tod!

With all the rotting trifles of this earth! Look down there! In the moonlight on the graves There crouches a wild and ghostly form – It is an ape! Listen, how its howling Rings out amidst the sweet scent of life! Now take up the wine! Now, friends, it is time! Drain your golden cups to the depths! Dark is life; dark is death!

2 Der Einsame im Herbst (Tchang-Tsi)

Autumn Loneliness

Herbstnebel wallen bläulich überm See; Vom Reif bezogen stehen alle Gräser; Man meint, ein Künstler habe Staub von Jade Über die feinen Blüten ausgestreut.

The autumn mists drift blue over the lake; The blades of grass stand covered with frost; One would think an artist had strewn jade-dust Over the delicate blossoms.

Der süße Duft der Blumen ist verflogen; Ein kalter Wind beugt ihre Stengel nieder. Bald werden die verwelkten, gold’nen Blätter Der Lotosblüten auf dem Wasser zieh’n.

The flowers’ sweet scent is gone; An icy wind bends down their stems. Soon the withered golden leaves Of the lotus-flowers will be drifting on the water.

When care draws near, the gardens of the soul lie waste, Joy and singing fade away and die. Dark is life; dark is death. Lord of this house! Your cellar holds abundance of golden wine! I call this lute here my own! To strike the lute and to drain the glasses, Those are the things which go together. A brimming cup of wine at the right time Is worth more than all the riches of this earth! Dark is life; dark is death! The heavens are ever blue and the earth Will long stand fast and blossom forth in spring.

Continued overleaf London Philharmonic Orchestra | 13

Texts and translations continued

Mein Herz ist müde. Meine kleine Lampe Erlosch mit Knistern, es gemahnt mich an den Schlaf. Ich komm’ zu dir, traute Ruhestätte! Ja, gib mir Ruh’, ich hab’ Erquickung not!

My heart is weary. My little lamp Has gone out with a sputter, it urges me to go to sleep. I come to you, beloved place of rest, Yes, give me rest; I need refreshment!

Ich weine viel in meinen Einsamkeiten. Der Herbst in meinem Herzen währt zu lange. Sonne der Liebe, willst du nie mehr scheinen, Um meine bittern Tränen mild aufzutrocknen?

Long do I weep in my loneliness. The autumn in my heart endures too long. Sun of love, will you never shine again Tenderly to dry my bitter tears?

3 Von der Jugend (Li-Tai-Po)

Youth

Mitten in dem kleinen Teiche Steht ein Pavillon aus grünem Und aus weißem Porzellan. Wie der Rücken eines Tigers Wölbt die Brücke sich aus Jade Zu dem Pavillon hinüber.

In the middle of the little pool Stands a pavilion of green And white porcelain. Like a tiger’s back, The jade bridge arches itself Over to the pavilion.

In dem Häuschen sitzen Freunde, Schön gekleidet, trinken, plaudern, Manche schreiben Verse nieder.

In the little house friends are sitting Prettily dressed, drinking and chattering; Some are writing down verses.

Ihre seidnen Ärmel gleiten Rückwärts, ihre seidnen Mützen Hocken lustig tief im Nacken.

Their silk sleeves fall Backwards; their silk caps fall Roguishly over their necks.

Auf des kleinen Teiches stiller Wasserfläche zeigt sich alles Wunderlich im Spiegelbilde.

On the still surface of the little pool Everything is reflected Wonderfully as in a mirror.

Alles auf dem Kopfe stehend In dem Pavillon aus grünem Und aus weißem Porzellan.

Everything is standing on its head In the pavilion of green And white porcelain.

Wie ein Halbmond steht die Brücke, Umgekehrt der Bogen. Freunde, Schön gekleidet, trinken, plaudern.

The bridge stands like a half-moon With its arch upside-down. Friends Prettily dressed are drinking and chattering.

4 Von der Schönheit (Li-Tai-Po)

Beauty

Junge Mädchen pflücken Blumen, Pflücken Lotosblumen an dem Uferrande. Zwischen Büschen und Blättern sitzen sie, Sammeln Blüten in den Schoß und rufen Sich einander Neckereien zu. Gold’ne Sonne webt um die Gestalten

Young girls are picking flowers, Lotus-flowers by the river-bank. They are sitting among the bushes and the leaves, Gathering blossoms in their laps and calling Teasingly to one another. The golden sun shines over their forms

14 | London Philharmonic Orchestra

Spiegelt sie im blanken Wasser wider, Sonne spiegelt ihre schlanken Glieder, Ihre süßen Augen wider. Und der Zephir hebt mit Schmeichelkosen das Gewebe Ihrer Ärmel auf, führt den Zauber Ihrer Wohlgerüche durch die Luft. O sieh, was tummeln sich für schöne Knaben Dort an dem Uferrand auf mut’gen Rossen? Weithin glänzend wie die Sonnenstrahlen; Schon zwischen dem Geäst der grünen Weiden Trabt das jungfrische Volk einher! Das Roß des einen wiehert fröhlich auf Und scheut und saust dahin, Über Blumen, Gräser, wanken hin die Hufe, Sie zerstampfen jäh im Sturm die hingesunk’nen Blüten. Hei! Wie flattern im Taumel seine Mähnen, Dampfen heiß die Nüstern! Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Und die schönste von den Jungfrau’n sendet Lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer großen Augen, In dem Dunkel ihres heißen Blicks Schwingt klagend noch die Erregung ihres Herzens nach.

And reflects them in the clear water; The sun reflects their slender limbs, And their sweet eyes. And the breeze lifts their embroidered sleeves Caressingly, and carries the magic of their perfume Through the air. Oh see, what fair youths are those There by the river-bank on their brave steeds? Flashing in the distance like sunbeams, The gay young men are trotting by, Among the branches of the green willows! The steed of one of them neighs merrily, Hesitates and plunges on. His hooves pass over flowers and grass; Stormily they trample down the fallen blossoms. How his mane tosses in frenzy! Hot steam blows from his nostrils. The golden sun shines over the forms And reflects them in the clear water. And the fairest of the maidens casts Looks of longing after him. Her proud bearing is only pretence. In the flashing of her large eyes In the darkness of her warm glances, Her anxious heart cries after him.

5 Der Trunkene im Frühling (Li-Tai-Po)

The Drunkard in Spring

Wenn nur ein Traum das Leben ist, Warum denn Müh’ und Plag’? Ich trinke, bis ich nicht mehr kann, Den ganzen, lieben Tag!

If life is but a dream, Why are there toil and misery? I drink till I can drink no more The whole, long, merry day!

Und wenn ich nicht mehr trinken kann, Weil Kehl’ und Seele voll, So tauml’ ich bis zu meiner Tür Und schlafe wundervoll!

And when I can drink no more, For body and mind are sated, I stagger to my door And sleep wonderfully.

Was hör ich beim Erwachen? Horch! Ein Vogel singt im Baum. Ich frag’ ihn, ob schon Frühling sei, Mir ist als wie im Traum.

And what do I hear when I awake? Hark! A bird is singing in the tree. I ask him if it is already spring; It seems to me like a dream.

Der Vogel zwitschert: Ja! Der Lenz Ist da, ist kommen über Nacht! Aus tiefstem Schauen lauscht’ ich auf, Der Vogel singt und lacht!

The bird twitters: Yes! Spring Is here; it came overnight! With deep attention I listened for it; The bird sings and laughs! Continued overleaf London Philharmonic Orchestra | 15

Texts and translations continued

Ich fülle mir den Becher neu Und leer’ ihn bis zum Grund Und singe, bis der Mond erglänzt Am schwarzen Firmament!

I fill my glass anew And drain it to the bottom, And sing until the moon shines out In the dark heavens.

Und wenn ich nicht mehr singen kann, So schlaf’ ich wieder ein. Was geht mich denn der Frühling an? Laßt mich betrunken sein!

And when I can sing no more, I fall asleep again. What have I to do with spring? Let me remain a drunkard!

6 Der Abschied (Mong-Kao-Yen and Wang-Wei)

Farewell

Die Sonne scheidet hinter dem Gebirge. In alle Täler steigt der Abend nieder Mit seinen Schatten, die voll Kühlung sind. O sieh! Wie eine Silberbarke schwebt Der Mond am blauen Himmelssee herauf. Ich spüre eines feinen Windes Weh’n Hinter den dunklen Fichten! Der Bach singt voller Wohllaut durch das Dunkel.

The sun sinks behind the mountains. Evening falls in the valleys With its shadows, full of cooling freshness. See, how the moon above floats like a silver ship On the blue sea of the heavens. I feel a gentle wind blowing Behind the dark pines! The brook sings loud and melodious through the darkness. The flowers grow pale in the twilight. The earth breathes deeply in rest and sleep. All longing now has turned to dreaming. The tired people go homewards To find forgotten happiness in sleep And to learn youth anew! The birds crouch silent on the branches. The world falls asleep! There is a cool breeze in the shadow of the pines. I stand here waiting for my friend; I wait for him to take a last farewell. I long, my friend, to enjoy the beauty Of the evening at your side. Where are you? You have left me alone so long! I wander up and down with my lute On paths rich with soft grass. O beauty! O world, drunk for ever with love and life! He dismounted and I gave him the parting cup. I asked him where He was going, and also why it must be. He spoke, and his tones were veiled; O my friend, Fortune was not kind to me in this world! Where am I going? I shall wander in the mountains, I am seeking rest for my lonely heart. I shall wander to my native land, to my home. I shall never roam abroad.

Die Blumen blassen im Dämmerschein. Die Erde atmet voll von Ruh’ und Schlaf. Alle Sehnsucht will nun träumen. Die müden Menschen geh’n heimwärts, Um im Schlaf vergeßnes Glück Und Jugend neu zu lernen! Die Vögel hocken still in ihren Zweigen. Die Welt schläft ein! Es wehet kühl im Schatten meiner Fichten. Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl. Ich sehne mich, o Freund, an deiner Seite Die Schönheit dieses Abends zu genießen. Wo bleibst du? Du läßt mich lang allein! Ich wandle auf und nieder mit meiner Laute Auf Wegen, die von weichem Grase schwellen. O Schönheit! O ewigen Liebens-Lebenstrunk’ne Welt! Er stieg vom Pferd und reichte ihm den Trunk Des Abschieds dar. Er fragte ihn, wohin Er führe und auch warum es müßte sein. Er sprach, und seine Stimme war umflort: Du, mein Freund, Mir war auf dieser Welt das Glück nicht hold! Wohin ich geh’? Ich geh’, ich wand’re in die Berge. Ich suche Ruhe für mein einsam Herz. Ich wandle nach der Heimat! Meiner Stätte. Ich werde niemals in die Ferne schweifen. 16 | London Philharmonic Orchestra

Still ist mein Herz und harret seiner Stunde! Die liebe Erde allüberall blüht auf im Lenz und grünt Aufs neu! Allüberall und ewig blauen licht die Fernen! Ewig... ewig... © Copyright 1989 by Universal Edition A.G., Wien. Text by Hans Bethge from ‘Die Chinesischen Flöte’ © with permission by Yin Yang Media Verlages.

PLAYER’S PERSPECTIVE ‘One of my highlights this autumn will be Das Lied von der Erde, a work that was composed after ‘the most painful period’ in Mahler’s life (this appeals to my melancholic Welsh soul!). The last movement has one of the most glorious moments in the orchestral flute repertoire, with two solo duos between the first flute and the mezzo-soprano.’

Still is my heart; it is awaiting its hour! Everywhere the lovely earth blossoms forth in spring and grows green Anew! Everywhere, for ever, horizons are blue and bright! For ever and ever ... English translation reprinted by kind permission of Decca Music Group Limited.

Recommended recordings of tonight’s works Mozart: Piano Concerto No. 27 in B flat, K595 Sir Clifford Curzon| English Chamber Orchestra Benjamin Britten (Decca) Mahler: Das Lied von der Erde Sarah Connolly | Toby Spence London Philharmonic Orchestra | Yannick Nézet-Séguin (LPO Label LPO-0073, see below) or Kathleen Ferrier | Julius Patzak | Vienna Philharmonic Orchestra | Bruno Walter (Decca)

Sue Thomas, flute

Das Lied von der Erde on the LPO Label Yannick Nézet-Séguin conductor Sarah Connolly mezzo-soprano | Toby Spence tenor Recorded live at Southbank Centre’s Royal Festival Hall on 19 February 2011 £9.99 | LPO-0073

‘Glorious playing from the LPO ... a very special disc indeed’ Classical Music Magazine 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.

London Philharmonic Orchestra | 17

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saturday 6 october 2018 7.30pm

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saturday 13 october 2018 7.30pm

Beethoven The Creatures of Prometheus Stravinsky Orpheus

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

Poulenc Stabat Mater Orff Carmina Burana

Vladimir Jurowski conductor

Karina Canellakis conductor Pierre-Laurent Aimard piano Concert generously supported by Dior

Jérémie Rhorer conductor Louise Alder soprano Toby Spence tenor Simon Keenlyside baritone London Philharmonic Choir Tiffin Boys’ Choir

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

18 | London Philharmonic Orchestra

Beethoven Piano Concerto Cycle Juanjo Mena conductor Javier Perianes piano 22 & 23 February 2019 7.30pm Southbank Centre’s Royal Festival Hall

‘He had taken our senses hostage: some impressions will last a lifetime, and this surely is one of them.’ Platea Magazine on Javier Perianes

London Philharmonic Orchestra | 19

Marking 100 years since the end of World War One

The eternal flame

Saturday 10 November 2018 7.30pm Southbank Centre’s Royal Festival Hall

Debussy Berceuse héroïque Magnus Lindberg Triumph to Exist (world premiere)* Stravinsky Requiem Canticles Janáček The Eternal Gospel

Vladimir Jurowski conductor Andrea Dankova | Angharad Lyddon | Maxim Mikhailov London Philharmonic Orchestra & Choir

* Triumph to Exist is co-commissioned by the London Philharmonic Orchestra and 14-18 NOW: WW1 Centenary Art Commissions (with support from the National Lottery through Arts Council England and the Heritage Lottery Fund, and from the Department for Digital, Culture, Media and Sport), the Gulbenkian Orchestra and the Orchestra National de Lille.

PART OF 14–18 NOW THE UK’S ARTS PROGRAMME FOR THE FIRST WORLD WAR CENTENARY

£9.99 | LPO-0108

£10.99 | LPO-0107

£10.99 | LPO-0106

Recent releases on the LPO Label

r strauss

prokofiev

poulenc

Eine Alpensinfonie Die Frau ohne Schatten

Violin Concerto No. 1 Symphony No. 3 | Chout | Rêves

Piano Concerto Organ Concerto | Stabat Mater

Dance of the Seven Veils

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.

20 | 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 | 21

Thank you

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

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

22 | 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.

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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