London Philharmonic Orchestra 31 October 2015 concert programme by London Philharmonic Orchestra

Concert programme 2015/16 London Season lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman† Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 31 October 2015 | 7.30pm

Bruckner Symphony No. 5 in B flat major (79’) Stanisław Skrowaczewski conductor

Please note there is no interval during this performance.

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Bruckner on the LPO label 7 Stanisław Skrowaczewski 8 Programme notes 11 Future LPO concerts at RFH 12 NOISE student scheme 13 Conducting Mahler 14 Sound Futures donors 15 Supporters 16 LPO administration

The timing shown is not precise and is given only as a guide.

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2017. During this period, our resident orchestras are performing in venues including St Johns Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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London Philharmonic Orchestra 2015/16 season Welcome to this evening's concert with the London Philharmonic Orchestra conducted by the Bruckner specialist, Stanisław Skrowaczewski. He was so overcome hearing Bruckner's Seventh Symphony by chance as a child he was thought to be ill! Tonight, however, we hear Bruckner's Symphony No. 5. When he began work on it in February 1875, Bruckner was troubled by problems both professional and personal, and, sadly, was destined to never hear it performed. We are sure he would have approved of tonight's version. 'Implacable Doom' We are now well into our 2015/16 season and the Orchestra with its Principal Conductor and Artistic Advisor, Vladimir Jurowski, have received some wonderful reviews for the first three concerts. 'Jurowski does implacable doom very well,' wrote Ivan Hewett in The Telegraph, referring to a performance on 26 September, adding 'and I’ve rarely heard the storm that begins Tchaikovsky’s Francesca da Rimini seem so relentless and unstoppable'. Of the first concert of the season The Telegraph's John Allison felt that 'by the end of the vituosically demanding, 90-minute score, the orchestra had worked hard enough for one evening, and indeed its playing throughout remained wonderfully alive and fresh, full of muscular punch'. Colin Anderson of Classical Source went home after the 3 October concert (Knussen, Sibelius and Scriabin) a happy critic: 'the performance was superb, played magnificently and conducted with sympathy and surety'. All reviews of concerts can be found on the website – be sure to see if you agree with the critics' verdict of tonight's performance! lpo.org.uk/explore/reviews/

LPO podcasts Every month you can enjoy a new LPO podcast. October's is an edited version of the pre-concert talk given by composer and conductor Krzysztof Penderecki and the horn soloist Radovan Vlatković in which they discussed Penderecki’s Horn Concerto ‘Winterreise’ performed at Royal Festival Hall on 14 October. lpo.org.uk/podcasts/podcast-oct15.html

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Galina Tanney Caroline Frenkel Miranda Allen Minn Majoe Kay Chappell John Dickinson Jamie Hutchinson Anna Croad Second Violins Victoria Sayles Guest Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Tania Mazzetti Dean Williamson Harry Kerr Sheila Law Stephen Stewart Alberto Vidal

Violas Przemyslaw Pujanek Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Naomi Holt Daniel Cornford Martin Fenn Sarah Malcolm Rebecca Carrington Cellos Steffan Morris Guest Principal Francis Bucknall Laura Donoghue Santiago Carvalhoâ&#x20AC; David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by The Viney Family

Sue Sutherley Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal George Peniston Laurence Lovelle Lowri Morgan Kenneth Knussen Charlotte Kerbegian Ben Wolstenholme Helen Rowlands

Flutes Sue Thomas* Principal

Trombones David Whitehouse Principal Matthew Lewis

Chair supported by Victoria Robey OBE

Stewart McIlwham*

Bass Trombone Lyndon Meredith Principal

Chair supported by Friends of the Orchestra

Tuba Lee Tsarmaklis* Principal

Oboes Ian Hardwick* Principal Alice Munday

Timpani Simon Carrington* Principal

Clarinets Robert Hill* Principal Paul Richards Bassoons Gareth Newman Principal Laura Vincent Horns David Pyatt* Principal Chair supported by Simon Robey

* Holds a professorial appointment in London â&#x20AC; Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Matthew Williams Tom Rainer

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Eric Tomsett; The Jeniffer and Jonathan Harris Charitable Trust; Bianca and Stuart Roden; Laurence Watt; William & Alex de Winton; Andrew Davenport; Jon Claydon; anonymous donor

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London Philharmonic Orchestra

Vladimir Jurowski produced one of those utterly compelling performances where the London Philharmonic Orchestra seemed to be playing as if their lives depended on it. Bachtrack, September 2015 (4 Stars) Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups. 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives over 30 concerts each season. Throughout 2014/15 the Orchestra gave a series of concerts entitled Rachmaninoff: Inside Out, a festival exploring the composer’s major orchestral

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masterpieces. 2015/16 is a strong year for singers, with performances by Toby Spence and Anne Sofie von Otter amongst others; Sibelius enjoys 150th anniversary celebrations; distinguished visiting conductors include Stanisław Skrowaczewski, Jukka-Pekka Saraste and Vasily Petrenko, with Robin Ticciati returning after his debut in 2015; and in 2016 the LPO joins many of London’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400 years since his death. The Orchestra continues its commitment to new music with premieres of commissions including Magnus Lindberg’s Second Violin Concerto, and works by Alexander Raskatov and Marc-André Dalbavie. 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

Pieter Schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

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 80 releases available on CD and to download. Recent additions include Vaughan Williams’s Symphonies Nos. 4 and 6, Bruckner’s Symphony No. 3 conducted by Stanisław Skrowaczewski and Messiaen’s Des Canyons Aux Étoiles. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2015/16 season include visits to Mexico City as part of the UK Mexico Year of Culture, Spain, Germany, Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s premiere at La Scala, Milan.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. 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 performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra 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. 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.

youtube.com/londonphilharmonic7

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Bruckner on the LPO label with Stanisław Skrowaczewski Symphony No. 3 LPO-0084 | £9.99 Skrowaczewski paced it to perfection and the orchestra gave him all that glorious brilliance of sound of which it is capable … a very great interpretation perfectly achieved. Bachtrack, March 2015

Symphony No. 7 LPO-0071 | £9.99

with Klaus Tennstedt Symphony No. 4 'Romantic' (Haas edition) A BBC Recording LPO-0014 | £9.99

Symphony No. 7

Symphony No. 8

A BBC Recording

LPO-0030 | £9.99

LPO-0032 | £9.99

with Christoph Eschenbach Symphony No. 6 LPO-0049 | £9.99

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

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Stanisław Skrowaczewski conductor

Stanisław Skrowaczewski is one of the most respected conductors of our time. Now in his ninth decade, he continues to amaze with his vitality on the podium … he has lost none of his spirit.

Gavin Dixon, Classical CD Review, April 2015, recording of Bruckner Symphony No. 3 with the London Philharmonic Orchestra

Stanisław Skrowaczewski commands a rare position within the international musical scene, being both a renowned conductor and a highly-regarded composer. He has conducted all the top orchestras during his long and distinguished career, and now, at the age of 92, Skrowaczewski is the oldest working major conductor. Born in 1923 in Lwów, Poland, Skrowaczewski began piano and violin studies aged four, composed his first symphonic work at seven, gave his first public piano recital at 11, and two years later played and conducted Beethoven’s Third Piano Concerto. His home was bombed during the War and he sustained a hand injury effectively ending his keyboard career, after which he concentrated on composing and conducting. He spent the immediate post-war years in Paris, studying with Nadia Boulanger and in 1948 he conducted the Paris premiere of Shostakovich’s Fifth Symphony with L’Orchestre Philharmonique de Radio France. From 1984 to 1991 Skrowaczewski was Principal Conductor of The Hallé and in 2007 he was appointed Principal Conductor of the Yomiuri Nippon Symphony Orchestra for three highly successful seasons and with whom he now holds the title of Honorary Conductor Laureate. Engagements continue to take Skrowaczewski across North and South America, Europe and Japan. Highlights of recent seasons include concerts with the Bruckner Orchester Linz with whom he conducted a historical performance of Bruckner Symphony No. 8 in St Florian Cathedral in July 2015 and a memorable return to the Cleveland Orchestra in August 2015. This season he looks forward to returning to the Berlin Radio Symphony and Oregon Symphony orchestras, amongst others. Still an active composer, his Concerto for Orchestra (1985) and Passacaglia Immaginaria (1995) were

both nominated for the Pulitzer Prize. Recordings of Skrowaczewski’s music are found on Oehms Classics, Reference Recordings, Albany Records and Innova. The recipient of numerous accolades, Skrowaczewski was recently awarded the Knight’s Cross of Polonia Restituta, one of Poland’s highest decorations. His interpretations of Bruckner have earned him the Bruckner Society of America’s Kilenyi Medal of Honor and the Gold Medal of the Mahler-Bruckner Society. Of particular note within his extensive discography are Skrowaczewski’s complete recordings of Bruckner’s and Beethoven’s symphonies with the Saarbrücken Radio Symphony Orchestra (now Deutsche Radio Philharmonie) for Arte Nova Classics (now Oehms Classics), which received enormous critical acclaim. The Bruckner set won the 2002 Cannes Classical Award in the ‘Orchestral 18/19 Century’ category and was also included in BBC Music Magazine’s ‘Top Ten Discs of the Decade’. Published in 2011, Seeking the Infinite: The Musical Life of Stanisław Skrowaczewski by Frederick Harris Jr is a comprehensive account of Skrowaczewski’s life and work. Currently, two documentary films about Skrowaczewski are in progress in Poland and the United States. When I was seven, something extraordinary happened ... I heard orchestral music coming from an open window. It had a cataclysmic effect on me – I was paralysed, struck dumb, I almost lost consciousness. It was music of a power and beauty I had never experienced ... doctors were called: nothing could be done and the next day I was still in shock. I had heard Bruckner's Seventh Symphony. Stanisław Skrowaczewski, taken from an interview with Helen Wallace for BBC Music Magazine, October 2015

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Programme notes

Speedread Anton Bruckner’s Fifth Symphony is one of the grandest of his so-called ‘cathedrals in sound’. The opening is like the beginning of a great church choral work, while the ending has the magnificent inevitability of the conclusion of a great Bach fugue. But Bruckner himself referred to the Fifth as his ‘fantastic’ symphony, and spooky or teasingly subversive elements also have a way of creeping in unannounced. Despite its seemingly monumental tone, the first movement plays games with our expectations: is the main tempo fast, or is the much slower, ocean-liner-like pace set in the introduction the ‘real’ tempo? Just when we think we know where we are in Bruckner’s cathedral, the music plays tricks like one of M C Escher’s wicked, perspective-defying

Anton Bruckner 1824–96

Anton Bruckner moved to Vienna in October 1868 at the age of 44. There must have been times during the next decade when he wondered if he hadn’t made a colossal mistake. In his previous home, in the Upper Austrian capital, Linz, his church compositions and organ improvisations had been applauded and he had become something of a local celebrity. One critic, after hearing a performance of the Mass in D minor had predicted the symphony was to be Bruckner’s true medium – a remark that the fervently Roman Catholic Bruckner read as a sign from Heaven. But it was also understood that Linz

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architectural prints. Something similar happens in the dance-haunted Scherzo, while the finale’s grand Beethoven-Bach-like ambitions are initially undercut by mocking humour. At the same time, the frustration and loneliness Bruckner experienced when writing the Fifth Symphony can be felt in the beautiful yet finally enigmatic Adagio. It’s a lot to take in for the first-time listener, yet stick with Bruckner and the sense of triumphant homecoming, of faith vindicated, in the magnificent ending is all the more moving. Despite mockery and neglect, Bruckner never lost faith in his symphonic vocation, and in the end, his patience was rewarded. The Fifth Symphony is one of his most stirring testimonies to the sustaining power of that vision.

Symphony No. 5 in B flat major 1 2 3 4

Adagio – Allegro Adagio: Sehr langsam [very slow] Scherzo: Molto vivace (Schnell [fast]) – Trio: Im gleichen Tempo [at the same tempo] Adagio – Allegro moderato

was too small, too provincial for a talent like Bruckner. He must go to Vienna, the city of Mozart, Haydn, Beethoven and Schubert. There, surely, he would find the encouragement, the inspiration, and the discerning appreciation he needed. It all turned out very differently. Despite energetic championship by the conductor Johann Herbeck, Bruckner soon found musical Vienna either indifferent or contemptuous. He had difficulty even scraping a living – his salary as teacher at the Vienna Conservatory

and organist at the Imperial Chapel was barely adequate. A moment of solid encouragement came in 1873, when Bruckner’s idol Wagner saw the score of the Third Symphony, praised it extravagantly, and magnanimously accepted the dedication. But the Symphony’s lavish inscription to Wagner probably did Bruckner more harm than good. It certainly intensified anti-Bruckner feelings in the more reactionary corners of the Viennese press – notably the influential, acerbic critic Eduard Hanslick. Hanslick’s review of the Third Symphony’s disastrous premiere in 1877 must be one of the most humiliating public attacks ever endured by a composer of genius. Surprisingly, this depressing decade was also one of Bruckner’s most musically productive periods. During the years 1871–6 he wrote four monumental symphonies (Nos. 2 to 5), which show steadily increasing mastery and originality in his handling of large musical forms. Like the great cathedrals in which Bruckner worshipped and (as organist) played, these symphonies are based largely on the same architectural ground-plan, but in character they are quite different. In any case, the Fifth Symphony has important features which are not shared with Symphonies 2 to 4. The opening movement – unusually for Bruckner – begins with a slow introduction. At first, slow is very much the word. Above a quiet pizzicato walking bass, violins and violas move in simple, gravely eloquent polyphony, like a choir intoning a solemn motet. This comes to a pause – then, silence. What follows is stupendous but mystifying: an upward-thrusting figure for full orchestra in a remote key; more silence ... then a radiant brass chorale. These last two gestures are repeated, at different pitches. Then again, silence. A crescendo, faster, seems to herald the start of the main movement; but at its height the chorale phrase returns, massively, on full orchestra. A hush (violins, tremolando), and now the Allegro begins with a lively, supple theme on violas and cellos. This Allegro seems much faster, but as the movement unfolds, one may sense that the background pulse is still slow – like the steady progress of a huge ship. When the Symphony’s hushed opening music returns later on there is a feeling that its slow tread has been going on quietly somewhere, uninterrupted. There are other such moments later in the first movement: the slow ‘background' pulse seems to break through the active ‘surface’ of the Allegro, assuring the listener

that there other processes at work than those which are immediately present to the ear – ‘more things in heaven and earth’, one might say. Perhaps in this we can sense something of Bruckner’s enduring faith in a mysterious underlying Divine purpose, sometimes hidden, but revealed in the end. It was this faith that helped him endure ridicule and neglect in Vienna, and ultimately it was vindicated. The second movement, a real slow movement this time, has similar moments of revelation. But here the emotional contrast is more extreme. The desolate oboe tune at the opening, with its skeletal pizzicato string accompaniment, could well be a reflection of Bruckner’s depression in those grimly unrewarding 1870s: ‘My life has lost all its joy and enthusiasm’, he wrote to a friend, ‘and all for nothing’. But the music also allows visions of consolation, especially in the glorious, singing second theme, introduced by warm massed strings. Nevertheless, the final climax is strangely unfulfilled – no radiant brass hymns decorated with cascading strings (as so often in a Bruckner Adagio), but grinding dissonances, subsiding into a short, desolate coda. After this the Scherzo follows Bruckner’s archetypal balanced Scherzo-Trio-Scherzo plan. Many of his familiar stylistic elements are here too: rapid, pounding dance figures, slower, more flavoursome Ländler (a kind of ‘country cousin’ to the sophisticated Viennese Waltz). But here the atmosphere is distinctly spooky and the contrast between the rapid opening idea (itself a speeded-up version of the Adagio theme) and the slower dance tune that keeps interposing itself can be disconcerting, as though the Scherzo can’t make up its mind which is its ‘main’ tempo. Bruckner himself once referred to this symphony as his ‘Fantastic’. Was he thinking particularly of this movement? The central Trio has more of the daylight about it, though even here a strange, slightly impish humour repeatedly creeps in at unexpected moments. It’s sometimes said that Bruckner lacked a sense of humour – at least in his music. That claim is rendered absurd by the introduction to the final movement. Here, like Beethoven in his Ninth Symphony, Bruckner brings back memories of themes from earlier movements before starting out on his grand finale. Bruckner, however, dismisses these themes, not (like Beethoven) with a powerful orchestral recitative, but with a

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Programme notes continued

deliberately cheeky figure for solo clarinet – it’s as though Bruckner were affectionately teasing himself for daring to tread in Beethoven’s giant footsteps. Then cellos and basses seize on the clarinet’s mocking figure and turn it into a striking fugue subject. This is soon moving along nicely – but again, as so often in Bruckner, this turns out to be a foretaste rather than the real thing. The promised monumental fugue is to come later, after second and third themes, both extensively worked out, and after a magnificent chorale for brass with hushed responses from strings. It is only then that Bruckner begins to flex his contrapuntal muscles, in a superb double fugue, based on both the cello-bass motif and the opening phrase of the chorale. Chorales are recurring features of Bruckner’s symphonic style. But it is worth remembering that the chorale is a Protestant, specifically a Lutheran form: chorales were not normally used in 19th-century Austrian Catholic worship. To hear one sung by a congregation, Bruckner had to sneak into the Lutheran church in Linz where a friend was organist (with his hat pulled down over his eyes in case anybody recognized him!). Perhaps Bruckner was also deliberately invoking aspects of his Germanic musical heritage: the chorales and fugues of Bach, the use of the chorale Ein feste Burg (‘A safe stronghold’) in Mendelssohn’s Reformation Symphony, firmly placing himself in the Great German Tradition. Whatever his thinking, the eventual outcome is one of the most magnificently affirmative endings in the romantic symphonic literature. After a long, exciting crescendo, the chorale thunders in on full brass through surging strings. Finally fanfare-like echoes of the first movement’s Allegro theme set the seal: the huge ship has reached harbour to a triumphant reception. Programme note © Stephen Johnson

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More Bruckner with the LPO at Royal Festival Hall Wednesday 27 January 2016 | 7.30pm Schnittke Pianissimo Shostakovich Cello Concerto No. 2 Bruckner Symphony No. 3 Vladimir Jurowski conductor Natalia Gutman cello Tickets £9–£39 (premium seats £65) Booking details see right

at Royal Festival Hall Wednesday 4 November | 7.30pm Beethoven Piano Concerto No. 3 Mahler Symphony No. 5 Jukka-Pekka Saraste conductor Paul Lewis piano

Friday 6 November | 7.30pm JTI FRIDAY SERIES

Castro Intermezzo de Atzimba Gounod Cavatina: 'L'amour! L'amour!… Ah! Lève-toi soleil!' (Roméo et Juliette) Federico Ibarra Sinfonía No. 2 Various Mexican songs Bernstein Symphonic Dances from West Side Story Revueltas Sensemayá Arturo Márquez Danzón No. 2 Jaime Martín conductor Arturo Chacón-Cruz tenor

Sunday 8 November | 12.00pm PIRATES! FUNharmonics family concert Tickets: Children £5–£9 | Adults £10–£18

Wednesday 11 November | 7.30pm Fauré Suite, Pelléas et Mélisande Magnus Lindberg Violin Concerto No. 1 Ravel Valses nobles et sentimentales Debussy La mer Robin Ticciati conductor Christian Tetzlaff violin

Wednesday 25 November | 7.30pm Dvořák Cello Concerto Mahler Symphony No. 1 Andrés Orozco-Estrada conductor Johannes Moser cello

Friday 27 November | 7.30pm JTI FRIDAY SERIES

Liadov From the Apocalypse Prokofiev Piano Concerto No. 2 Sibelius Symphony No. 1 Susanna Mälkki conductor Beatrice Rana piano

Tickets £9–£39 (premium seats £65) London Philharmonic Orchestra Ticket Office: 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk Transaction fees: £1.75 online, £2.75 telephone.

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MAKING A Student & Under 26 NOISE Scheme at Southbank Centre’s Royal Festival Hall ‘@LPOrchestra

‘Listening to the @LPOrchestra is one of the best things to do in life’

it on!’

bring

‘@LPOrchestra I don’t know much about classical music but I do know when I am listening to something amazing’

‘London concert-goers are lucky to have concerts as creative as this’ Financial Times Autumn heralds fresh-faced students returning to or starting at universities across the country. The LPO’s NOISE scheme entitles students and under 26 year-olds to £4 and £8 seats to selected concerts in London and all four concerts in the Brighton season. As part of the scheme, we recruit student representatives at universities and colleges across London and Brighton to help publicise NOISE. This month we attended Freshers’ Fairs at Brighton University and Sussex University to get as many students signed up as possible, whilst successfully recruiting a student representative from Brighton University.

Alongside NOISE the LPO jointly runs Student Pulse, an app providing discounted ticket and loyalty scheme for classical music concerts across London, with eight of London’s best orchestras and venues. Throughout September we attended Freshers’ Fairs across London to promote the app and were delighted with the number of students we helped to recruit at London School of Economics and the University of London. We’re now busy preparing for the next NOISE concerts in November and we look forward to seeing some of you there!

Students receive best available seats for just £4 plus FREE post-concert drinks courtesy of Heineken at selected concerts throughout the year. Sign up online and find out more at www.lpo.org.uk/noise

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Conducting Mahler with the LPO at Royal Festival Hall

Jukke-Pekka Saraste © Felix Broede; Andrés Orozco-Estrada © Werner Kmetitsch

Jukka-Pekka Saraste

LPO Principal Guest Conductor Andrés Orozco-Estrada

Wednesday 4 November 2015 7.30pm

Wednesday 25 November 2015 7.30pm

Beethoven Piano Concerto No. 3 Mahler Symphony No. 5 Jukka-Pekka Saraste conductor Paul Lewis piano

Dvořák Cello Concerto Mahler Symphony No. 1 Andrés Orozco-Estrada conductor Johannes Moser cello

‘I love the strictness of its form – its compact quality,’ says Jukka-Pekka Saraste of the Fifth Symphony. ‘It’s just so symphonic. He puts this enormous statement at the beginning, this trumpet fanfare with Beethoven-like rhythmic motifs, and then how it develops – from this incredible anxiety to a positive and joyful finale – is like a classical symphony extended to the 20th century. The finale is like Beethoven Nine, it’s so uplifting. It’s almost like a paradox that it’s so positive.’

As Andrés Orozco-Estrada points out, Mahler knew at first-hand what a conductor needed from a score – and he provided it in spades. ‘My present to myself at Christmas 1997 was a score of Mahler’s First, and I was amazed by the German instructions he’d written all over the music’ he recalls. ‘There were just so many words - not only musical terms, but even how to conduct: saying where you need to beat in 8 or in 4, which melody or counter-melody to bring out. I started translating them all, but it was only a pocket score, so before long I’d covered the entire thing in Post-It® notes! I thought, this is a composer and a conductor in one.’

Concert Tickets £9–£39 (premium seats £65) | lpo.org.uk Quotes taken from Mahler the Teacher by Richard Bratby printed in the recently published Autumn/Winter 2015 edition of Tune In, our free magazine. Copies are available at the Information Desk in the foyer or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: lpo.org.uk/explore/news/

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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 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 Robert Markwick & Kasia Robinski The Rind Foundation 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 Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland And all other donors who wish to remain anonymous

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Mrs Philip Kan* Simon Robey Victoria Robey OBE Bianca & Stuart Roden Laurence Watt Anonymous Jon Claydon Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller The Jeniffer and Jonathan Harris Charitable Trust Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds* Eric Tomsett The Viney Family John & Manon Antoniazzi Jane Attias John & Angela Kessler Guy & Utti Whittaker * BrightSparks Patrons: instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams David & Yi Yao Buckley Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mr Geoffrey Bateman Mrs A Beare Ms Molly Borthwick David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Bruno de Kegel Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Wim and Jackie Hautekiet-Clare Tony & Susan Hayes Michael & Christine Henry

Malcolm Herring J. Douglas Home Ivan Hurry Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Mr Brian Marsh Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Mr Michael Posen Alexey & Anastasia Reznikovich Mr Konstantin Sorokin Martin and Cheryl Southgate Mr Peter Tausig Simon and Charlotte Warshaw Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture Berenberg Carter-Ruck We are AD Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Lazard Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc

Trusts and Foundations Angus Allnatt Charitable Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust The Candide Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Idlewild Trust Kirby Laing Foundation The Leche Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust

The Ann and Frederick O’Brien Charitable Trust Office for Cultural and Scientific Affairs of the Embassy of Spain in London The Austin and Hope Pilkington Trust The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust 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 Manon Antoniazzi Roger Barron Richard Brass Desmond Cecil CMG Jonathan Harris CBE FRICS Amanda Hill Dr Catherine C. Høgel Rachel Masters* George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Laurence Watt Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Rehmet Kassim-Lakha Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Julian Simmonds Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director (maternity leave)

Alison Atkinson Digital Projects Director

Amy Sugarman PA to the Chief Executive / Administrative Assistant

Clare Lovett Education Director (maternity cover)

Finance

Talia Lash Education and Community Project Manager

Albion Media (Tel: 020 3077 4930)

Lucy Duffy Education and Community Project Manager

Philip Stuart Discographer

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager Dayse Guilherme Finance Officer

Richard Mallett Education and Community Producer

Concert Management

Development

Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Catherine Faulkner Development Events Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator

Kathryn Hageman Individual Giving Manager Laura Luckhurst Corporate Relations Manager Anna Quillin Trusts and Foundations Manager Rebecca Fogg Development Co-ordinator

Jo Cotter Tours Co-ordinator

Helen Yang Development Assistant

Orchestra Personnel

Kirstin Peltonen Development Associate

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager

Marketing Kath Trout Marketing Director Libby Northcote-Green Marketing Manager

Damian Davis Transport Manager

Rachel Williams Publications Manager (maternity leave)

Madeleine Ridout Assistant Orchestra Personnel Manager

Sarah Breeden Publications Manager (maternity cover)

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Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Anna O’Connor Marketing Co-ordinator Natasha Berg Marketing Intern

Matthew Freeman Recordings Consultant Public Relations