London Philharmonic Orchestra 5 March 2016 concert programme by London Philharmonic Orchestra

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

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 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 5 March 2016 | 7.30pm

Tchaikovsky Symphony No. 3 in D, Op. 29 (44’) Interval (20’) Zemlinsky Six Maeterlinck Songs, Op. 13 (16’) Szymanowski Stabat Mater, Op. 53* (23’)

Vladimir Jurowski conductor Elżbieta Szmytka soprano Anne Sofie von Otter mezzo soprano Andrzej Dobber baritone London Philharmonic Choir

* Organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme, to commemorate the 1050th anniversary of the Baptism of Poland.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO 2016/17 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Elżbieta Szmytka Anne Sofie von Otter 8 Andrzej Dobber 9 London Philharmonic Choir 10 Programme notes and texts 21 Next concerts 22 Sound Futures donors 23 Supporters 24 LPO administration The timings shown are not precise and are given only as a guide.

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall Musicians from the LPO’s Foyle Future Firsts Development Programme present chamber music inspired by Shakespearean works and themes.

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 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment:

LPO 2016/17 season

New season now on sale! Next season's LPO concerts at Royal Festival Hall are now open for booking. After the huge success of The Rest Is Noise festival in 2013, we are excited to be collaborating once again with Southbank Centre on another large-scale multi-artform festival. Belief and Beyond Belief will interest atheists, agnostics and those of all faiths. We have devoted our 2017 concerts to the festival, beginning with Beethoven's profound statement on the human condition, Fidelio. LPO Principal Conductor and Artistic Advisor Vladimir Jurowski takes a major role throughout as we explore belief as revealed in works ranging from Haydn's The Creation to John Adams's Harmonielehre. Other season highlights include:

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PHOTOGRAPHY is not allowed in the auditorium.

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LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

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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.

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MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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Anne-Sophie Mutter playing Beethoven's Violin Concerto under Robin Ticciati The return of Osmo Vänskä to conduct a Sibelius symphony cycle alongside major British works by Britten, Elgar, Walton and Vaughan Williams Vladimir Jurowski's continuation of his Mahler and Bruckner symphony cycles Mahler's epic Symphony No. 8 (Symphony of a Thousand), preceded by Tallis's 40-part motet Spem in Alium Nicola Benedetti performing both Szymanowski violin concertos under Jurowski A seven-concert choral focus showcasing the London Philharmonic Choir and guests Landmark contemporary works by Steve Reich and Gavin Bryars The world premiere of American jazz composer Wayne Shorter's Clarinet Concerto, performed by Julian Bliss The LPO takes centre stage in Southbank Centre’s Film Scores Live festival, performing music from 2001: A Space Odyssey, Brief Encounter and Psycho with live film Cabaret diva Meow Meow with members of the cross-genre band Pink Martini

Browse the new season brochure online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a copy in the post.

2 | London Philharmonic Orchestra

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Martin Höhmann Chair supported by The Jeniffer and Jonathan Harris Charitable Trust

Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Galina Tanney Caroline Frenkel Second Violins Andrew Storey Principal Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Sioni Williams Harry Kerr Sheila Law Alison Strange Georgina Leo Stephen Stewart

Violas Przemysław Pujanek Guest Principal Cyrille Mercier Co-Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Martin Fenn Sarah Malcolm Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Chair supported by The Viney Family

Sue Sutherley Susanna Riddell George Hoult Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Lowri Morgan Charlotte Kerbegian Ben Wolstenholme Laura Murphy Flutes Katie Bedford Guest Principal Sue Thomas* Chair supported by Victoria Robey OBE

Clare Childs

Bass Trombone Lyndon Meredith Principal

Piccolos Stewart McIlwham* Principal Chair supported by Friends of the Orchestra

Tuba Lee Tsarmaklis* Principal

Clare Childs

Timpani Simon Carrington* Principal

Oboes Stéphane Rancourt Guest Principal Alice Munday

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Cor Anglais Sue Böhling* Principal

Henry Baldwin Co-Principal

Chair supported by Dr Barry Grimaldi

Chair supported by Jon Claydon

Keith Millar Karen Hutt

Clarinets Robert Hill* Principal Thomas Watmough

Harp Rachel Masters* Principal

Bass Clarinet Paul Richards Principal

Piano/Celeste/Organ Clíodna Shanahan

Bassoons Gareth Newman Principal Simon Estell

Harmonium Bernard Robertson

Contrabassoon Simon Estell Principal

Assistant Conductor Karina Canellakis

Horns David Pyatt* Principal

* Holds a professorial appointment in London

Chair supported by Simon Robey

† Chevalier of the Brazilian Order of Rio Branco

John Ryan* Principal Chair supported by Laurence Watt

Meet our members: lpo.org.uk/players

Martin Hobbs Alex Wide Gareth Mollison

Chair supporters

Trumpets Paul Beniston* Principal Anne McAneney*

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert:

Chair supported by Geoff & Meg Mann

David Hilton Trombones David Whitehouse Principal Matthew Lewis

William & Alex de Winton

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Jurowski and the LPO can stand alongside the top international orchestras with pride. Richard Fairman, Financial Times, September 2015 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

4 | London Philharmonic Orchestra

orchestral masterpieces. 2015/16 is a strong season 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, JukkaPekka 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 Alexander Raskatov’s Green Mass. 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

Pieter Schoeman leader

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, the Canary Islands, Belgium, a return to the Concertgebouw, Amsterdam and the Orchestra’s premiere at La Scala, Milan.

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 across social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7 instagram.com/londonphilharmonicorchestra

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Rachmaninoff's Symphony No. 3 and 10 Songs under Vladimir Jurowski, and a second volume of works by the Orchestra's former Composer in Residence, Julian Anderson.

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

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Vladimir Jurowski conductor

Jurowski seems to have reached the magic state when he can summon a packed house to hear anything he conducts with the LPO, however unfamiliar

Geoff Brown, The Arts Desk, February 2015

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. Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In October 2015 he was appointed the next Chief Conductor and Artistic Director of the Rundfunk-sinfonieorchester Berlin, a position he will take up in September 2017, and also accepted the honorary position of Artistic Director of the Enescu International Festival in Bucharest, also from 2017. 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). He is a regular guest with many leading orchestras in both Europe and North America, including the Berlin Philharmonic, New York Philharmonic and Rundfunk Sinfonieorchester Berlin; the Royal Concertgebouw Orchestra; The Philadelphia Orchestra; The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the Tonhalle-Orchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe.

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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; Moses und Aron at Komische and 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. The Glyndebourne production of Wagner's Die Meistersinger von Nürnberg, led by Vladimir Jurowski with the London Philharmonic Orchestra and Glyndebourne Chorus won the 2015 BBC Music Magazine Opera Award. During the performance we are all 'in the same boat', so since conductors are meant to be silent during the concert, a friendly encouraging look in the right moment is very helpful, almost as helpful as good conducting technique (the latter being rather obligatory). Vladimir Jurowski on engaging players during a performance

In 2007 Vladimir was a guest on BBC Radio 4's flagship programme Desert Island Discs. Discover his eight records of choice here: bbc.co.uk/programmes/b007w97r

Anne Sofie von Otter

soprano

mezzo soprano

Polish soprano Elżbieta Szmytka studied with Helena Łazarska and made her debut as Susanna in Mozart's The Marriage of Figaro at the Kraków Opera. She has subsequently been invited to perform at many important theatres including the Grand Théâtre de Genève, Théâtre des Champs-Élysées, Vienna State Opera, Théâtre de la Monnaie in Brussels, Teatro Colón in Buenos Aires and festivals such as Salzburg, Aix-enProvence and Glyndebourne.

Grammy Award-winning mezzo soprano Anne Sofie von Otter is one of today's most recorded artists, with an unrivalled discography built across a career spanning more than three decades at the very top of the profession. A lengthy and exclusive relationship with Deutsche Grammophon produced a wealth of acclaimed recordings, as well as a collaboration with pop legend Elvis Costello on For the Stars. Her most recent recording, Douce France, received a Grammy Award in 2015 for Best Classical Solo Vocal Album.

As well as many Mozart roles, her repertoire also includes Gilda in Rigoletto, Violetta in La traviata (which she has performed to great acclaim at the Berlin State Opera, in Brussels and in Düsseldorf), Sophie in Der Rosenkavalier, Rosalinde in Die Fledermaus, Mélisande in Pelléas et Mélisande, Antonia in Les contes d'Hoffmann, Aljeja in Aus einem Totenhaus, Mimi in La bohème, Roxana in Szymanowski's Król Roger (at the Mariinsky Theatre in St Petersburg and the Edinburgh Festival) and Infanta in Zemlinsky's Der Zwerg, as well as the title roles in Alcina, L’incoronazione di Poppea, Luisa Miller, Medea (with Nationale Reisopera Enschede and in Bern) and Johann Simon Mayr's Medea in Corinto at the Theater St Gallen (also recorded on CD). Elżbieta Szmytka has worked with Claudio Abbado, Pierre Boulez, Sylvain Cambreling, John Eliot Gardiner, Nikolaus Harnoncourt, Sir Neville Marriner, Sir Antonio Pappano, John Pritchard, Sir Simon Rattle and Sir Georg Solti. She took part in Philips' recordings of the complete Mozart arias, as well as Così fan tutte with Sir Neville Marriner, Die lustige Witwe with Franz Welser-Möst, Szymanowski's Król Roger and Szymanowski's Stabat Mater with Sir Simon Rattle, and recordings of Chopin's complete songs.

Elżbieta Szmytka

A busy concert schedule takes Anne Sofie to all corners of the globe, where she appears with the world’s leading conductors and orchestras. In addition, an everevolving repertoire has played a key role in sustaining her international reputation as an operatic force. The current season includes concerts with the National Symphony Orchestra under Christoph Eschenbach and the Swedish Radio Symphony Orchestra under Marc Minkowski, and she performs new and specially commissioned arrangements of Sibelius songs with the Finnish Radio Symphony Orchestra under Hannu Lintu on the 150th anniversary of the composer's birth. On the opera stage she makes her role debut as Jenny in Keith Warner’s new production of Die Dreigroschenoper at Theater an Der Wien, and creates the role of Leonora in the world premiere of Thomas Adès’s The Exterminating Angel at the Salzburg Festival. Future plans include the principal role in Autumn Sonata: a new opera by Finnish composer Sebastian Fagerlund to be premiered in September 2017, with a libretto based on the eponymous film by Ingmar Bergman.

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Andrzej Dobber baritone

Polish-born baritone Andrzej Dobber is one of the leading Verdi baritones of his generation and has appeared at most of the world’s most prestigious theatres, including the Metropolitan Opera, Teatro alla Scala Milan, Opera Bastille, Teatro Comunale Firenze, Netherlands Opera, Semperoper Dresden, Staatsoper Berlin, Bayerische Staatsoper, Vienna State Opera, Hamburg State Opera, Gran Teatro del Liceu, and at Glyndebourne Festival Opera. In the 2015/2016 season Andrzej Dobber makes his debut at Houston Grand Opera as Scarpia in Tosca. He also performs the title role of Rigoletto in Warsaw and Giorgio Germont in La traviata in Hamburg. He appears this season at the Semperoper in Dresden as Scarpia, and in the title role of Macbeth. He also adds the title role of Der fliegende Holländer to his repertoire in Warsaw. Recent engagements have included the title role in Simon Boccanegra in Vienna, Munich, Lyon and at La Scala, Milan; his debuts as Doge Foscari in I due Foscari, Jochanaan in Salome, Jack Rance in La fanciulla del West and the title role of Prince Igor at the Staatsoper Hamburg. He also sang Rigoletto in Zurich and Geneva; Amonasro in Aida at the Zurich Opera, the Metropolitan Opera and the Arena di Verona; and Shaklovity in a new production of Mussorgsky's Khovanshchina in Vienna.

Zemlinsky's 'Six Maeterlinck Songs' on the LPO Label

'A blistering performance' Presto News, June 2014

Zemlinsky Six Maeterlinck Songs Petra Lang mezzo soprano Zemlinsky A Florentine Tragedy Heike Wessels mezzo soprano Sergey Skorokhodov tenor Albert Dohmen baritone Vladimir Jurowski conductor London Philharmonic Orchestra LPO-0078 | £9.99 | Released July 2014 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.

Subscription Packages Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO Label for a whole year, mailed before the CDs are available in the shops. Available online at lpo.org.uk/recordings-and-gifts or the LPO Ticket Office (020 7840 4242)

One year CD subscription (10 CDs): £79.99 Half year CD subscription (5 CDs): £44.99

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

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain's finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for more than 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. The Choir had a busy last season performing Mahler's Symphony No. 2 under Andrés Orozco-Estrada; Rachmaninoff's The Bells with Vasily Petrenko; and three performances with Vladimir Jurowski including works by Verdi, Stravinsky, Rachmaninoff, Enescu and Ravel. Last autumn the Choir performed Taneyev’s St John of Damascus and looks forward to revisiting Brahms’s A German Requiem with the Orchestra and Christoph Eschenbach on 9 April. The Choir appears regularly at the BBC Proms at the Royal Albert Hall, where performances have included the UK premieres of Mark-Anthony Turnage's A Relic of Memory and Goldie's Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has

Sopranos Jane Awdry, Tessa Bartley, Hilary Bates, Catherine Boxall, Hannah Boyce, Laura Buntine, Carole Cameron, Paula Chessell, Alana Clark, Olivia Clark, Emily Clarke, Eve Commander, Emma Craven, Antonia Davison, Sarah Deane-Cutler, Victoria Denard, Jessica Dixon, Jessica Eucker, Rachel Gibbon, Jane Goddard, Anna Greco, Emma Hancox, Jane Hanson, Sally Harrison, Carolyn Hayman, Kamila Karimjee, Mai Kikkawa, Jenni Kilvert, Colette Kirk, Olivia Knibbs, Rei Kozaki, Suzannah Lipmann, Martha MacBean, Natasha Maslava, Janey Maxwell, Meg McClure Tynan, Katie Milton, Harriet Murray, Carmel Oliver, Varuni Paranavitane, Linda Park, Lydia Pearson, Marie Power, Danielle Reece-Greenhalgh, Rebecca Schendel, Maxine Shearer, Rebecca Sheppard, Victoria Smith, Charlotte Stacey, Frances Stafford, Katie Stuffelbeam, Vikki Sutcliffe, Jenny Torniainen, Sarah van Staveren, Jessica Watson, Susan Watts Altos Christine Allison, Deirdre Ashton, Phye Bell, Susannah Bellingham, Sally Brien, Andrei Caracoti, Noel Chow, Liz Cole, Emily Dankworth, Carmel Edmonds, Pauline Finney, Kathryn Gilfoy, Henrietta Hammonds, Emily Hill, Kristi Jagodin, Charlotte Kingston, Marissa Landy, Andrea Lane, Sang-Im Lee,

given performances of Verdi's Requiem, Liszt's A Faust Symphony, Beethoven's Missa Solemnis, Elgar's The Apostles, Howells's Hymnus Paradisi and Walton's Henry V, the latter under the baton of Sir Neville Marriner. Last year, the Choir performed Sancta Civitas by Vaughan Williams with the Hallé Orchestra and Choir under the London Philharmonic Choir's President, Sir Mark Elder, as well as Orff's Carmina Burana alongside the BBC Symphony Orchestra and Chorus. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. Members of the choir performed Weill's The Threepenny Opera in Paris, with a repeat performance in London. In 2012 and 2014, it appeared at the Touquet International Music Masters Festival in France, performing Beethoven's Symphony No. 9 and Mozart's Requiem. The Choir is looking forward to performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23 with the LPO in Brussels next weekend. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk.

Lisa MacDonald, Marj McDaid, Kristen Mooy, Sophie Morrison, Annabeth Murphy-Thomas, Monika Okreglicka-Mazur, Miranda Ommanney, Carolyn Saunders, Rima Sereikiene, Muriel Swijghuisen Reigersberg, Susi Underwood, Snezhana Valcheva, Emma Windle, Philippa Winstanley Tenors Scott Addison, David Aldred, Geir Andreassen, Julien Ardouin, Chris Beynon, James Clarke, Tom Dalglish, Fred Fisher, Robert Geary, Peter Goves, Josh Haley, Iain Handyside, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Luke Phillips, Jaka Škapin, Claudio Tonini, Jeremy Wong, Tony Wren, Martin Yates Basses Martyn Atkins, Samuel Barrett, Peter Blamire, Gordon Buky-Webster, Adam Bunzl, Filipe Caetano, Geoff Clare, Phillip Dangerfield, Marcus Daniels, Ian Frost, Christopher Gadd, Paul Gittens, Christopher Harvey, Nicholas Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Yaron Hollander, Martin Hudson, Ashley Jacobs, Anthony McDonald, John D Morris, John G Morris, Luke Murphy, Will Parsons, Johan Pieters, John Salmon, Ed Smith, Philip Tait, Alex Thomas, James Torniainen, Trevor Watson, John Wood

London Philharmonic Orchestra | 9

Programme notes

Speedread Musical nicknames don’t always make a lot of sense. Tchaikovsky’s Third Symphony is sometimes known as the ‘Polish’, apparently because it ends with a ‘polonaise’, a rousing, glamorous Polish dance. But the music often seems more connected with the magical ballet Swan Lake, which Tchaikovsky was composing around the same time. There’s no doubting the profoundly Polish spirituality of Szymanowski’s Stabat Mater, however, in which the composer’s own shock and grief at the loss of his

Pyotr Ilyich Tchaikovsky 1840–93

In August 1875 Tchaikovsky wrote to the composer Sergey Taneyev that he had ‘written a symphony. It is in D major and consists of five movements’. This seemingly bald statement actually identifies two important features that set Tchaikovsky’s Third Symphony apart from its fellows. Generally speaking, Tchaikovsky preferred the darker minor mode for his big symphonic utterances; and even in this, the brightest of his symphonies, he feels the need to temper that brightness by setting the middle three movements, plus the first movement’s slow introduction, in minor keys. And the five-movement structure is equally unique: the ‘extra’ movement is the Alla tedesca – a lilting symphonic waltz, whose declared ‘German’ (tedesca) style makes nonsense of the Symphony’s still-frequently used nickname, ‘Polish’. That name has nothing to do with Tchaikovsky: it seems to have been invented by the conductor August Manns for one of his popular Crystal Palace concerts. True, the Finale is largely based on the rhythm of the ‘polonaise’ or ‘polacca’ – a dance strongly associated with Poland at

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very young niece mingled with his experience of the touching devotion he saw in Polish country churches. Between these come six songs by Szymanowski’s Viennese contemporary Alexander Zemlinsky, also dealing exquisitely with love and loss. Both works remind us of a strange human paradox: however agonising grief may be for the sufferer, it has given rise to some of the most consolingly beautiful music ever composed.

Symphony No. 3 in D, Op. 29 1 2 3 4 5

Introduction e Allegro Alla tedesca – Allegro moderato e semplice Andante elegiaco Scherzo – Allegro vivo Finale – Allegro con fuoco

the time, and much favoured by Tchaikovsky. Otherwise it is hard to identify anything specific to that nation in the Third Symphony. A possibly more relevant fact is that Tchaikovsky conceived the Symphony around the time he was working on his ballet Swan Lake. The balletic character of the Alla tedesca is clear from the start, and while the central Andante elegiaco is more funereal in character, the mysterious string tremolos near the end of the movement strongly recall Tchaikovsky’s dramatic use of the same device in Swan Lake. And the airborne Scherzo that follows is far less remarkable for its ‘symphonic’ development of motifs than for its brilliant use of orchestral colour. Particularly striking are the washes of string sound at the heart of the movement Tchaikovsky creates by having the players move their bows rapidly forwards and backwards across their strings. This too is reminiscent of some of the magical orchestral effects in the ballet score.

Surrounding these three gentle but flavoursome movements are two bracing, extrovert Allegros. The first movement’s confident, distinctly Russian-inflected main theme is all the more outstanding on its first appearance for the way it seems to cast off the gloom of the slower introduction – as though Tchaikovsky, having led us to expect something sombre, suddenly breaks out into a cheery ‘fooled you!’ The first movement’s exhilarating momentum is sustained magnificently, with the final build-up particularly well engineered.

On the whole critics have been less kind to the Finale; and it is true that there is something slightly academic about the fugue at the centre of the movement (led off by clarinets and second violins). But the themes are catchy enough, and the conclusion is suitably roofraising without outstaying its welcome. The mature mastery of the Fourth, Fifth and Sixth symphonies is only just around the corner.

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

Alexander von Zemlinsky

Six Maeterlinck Songs, Op. 13 Anne Sofie von Otter mezzo soprano

1871–1942

1 Die drei Schwestern (The Three Sisters) 2 Die Mädchen mit den verbunden Augenen (The Maidens with Bound Eyes) 3 Lied der Jungfrau (The Song of the Virgin) 4 Als ihr Geliebter schied (When her lover went away) 5 Und kehrt er einst heim (And should he return one day) 6 Sie kam zum Schloss gegangen (She came towards the castle) The texts begin overleaf. ‘My God, how beautiful it all is!’ That was the composer and conductor Anton Webern’s reaction to the fifth of these songs, Und kehrt er einst heim, in a letter to the composer; ‘the passage, “Say, for fear lest he weep, that I smiled.” Indescribable.’ Did Webern realise that he’d touched a tender nerve – probably the very place where this sensitive, secretive composer felt most vulnerable? At the turn into the 20th century, Zemlinsky had had an intense, but not quite consummated, affair with the talented and powerfully alluring Alma Schindler,

daughter of one of Vienna’s most celebrated painters, Emil Schindler. But then Alma got to know the more charismatic, and at that time much more successful, Gustav Mahler, and after some initial vacillation, she chose to become the latter’s wife. Zemlinsky’s feelings of grief and unfulfilled longing never really left him, and these themes return again and again in his vocal and stage works. The desperately poignant ending of his great Lyric Symphony (1923) deals with two lovers parting for the last time. And in these Six Maeterlinck Songs, all written in 1910, emotional betrayal and loss feature increasingly. Even the hymn-like Lied der Jungfrau has an expressively telling moment at the phrase, ‘Verirrt sich die Liebe’ (‘If love goes astray’); and the personal element becomes increasingly clear in the last three songs. The date of composition also has intensely personal significance. During the summer of 1910, Mahler made a terrible discovery: his beloved Alma was having an affair with a younger man, the architect Walter Gropius, and was thinking of leaving him. The shock almost certainly hastened Mahler’s

London Philharmonic Orchestra | 11

Programme notes continued

final decline – he died the following year. In Zemlinsky’s Und kehrt er einst heim a woman leaves her husband, but not before instructing her maid on how to break the news to him. When Alma re-established contact with Zemlinsky in 1913, telling him how much she’d enjoyed the songs, Zemlinsky told her to ‘take a good look’ at this song. But if he felt any Schadenfreude towards Mahler, his once-successful rival, the music reveals none of it. Instead we have only exquisite tenderness, mingled with sadness at the husband’s irretrievable loss. In the previous song, No. 4, Als ihr Geliebter schied, it is the woman who is betrayed, finally

throwing herself to her death from a tower window. But Zemlinsky’s own experience surfaces fully in Sie kam zum Schloss gegangen. The old king watches powerlessly as his much younger wife leaves him, in the arms of a mysterious lover. The use of the feminine pronoun ‘sie’ to describe the lover suggests a woman, but this is a direct translation of the much more ambiguous ‘elle’ in Maeterlinck’s French original – could it be death, ‘la mort’, that terrifies the knights and silences the women? Whatever the case, the king’s repeated anguished question, ‘Wohin gehst du?’ (‘Where are you going?’), is left unanswered.

Recommended recordings of tonight’s works

Mini film guides to this season’s works

Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

For our 2015/16 season we’ve produced a series of short films introducing the music we’re performing. Watch on our YouTube channel at youtube.com/londonphilharmonic7

Tchaikovsky: Symphony No. 3 London Philharmonic Orchestra | Mstislav Rostropovich [Warner] or Oslo Philharmonic Orchestra | Mariss Jansons [Chandos] Zemlinsky: Six Maeterlinck Songs London Philharmonic Orchestra | Vladimir Jurowski | Petra Lang [LPO label LPO-0078: see page 8] Decca's recording of the work with Jard van Nes and the Royal Concertgebouw Orchestra under Riccardo Chailly is also available as a digital download on 0289 444 8712.

Szymanowski: Stabat Mater City of Birmingham Symphony Orchestra & Chorus | Simon Rattle [Warner]

12 | London Philharmonic Orchestra

Six Maeterlinck Songs texts

1. Die drei Schwestern

The Three Sisters

Die drei Schwestern wollten sterben, Setzten auf die güldnen Kronen, Gingen sich den Tod zu holen.

The three sisters were fain to die, put on their crowns of gold, went in search of death,

Wähnten ihn im Walde wohnen. „Wald, so gib uns, dass wir sterben, Sollst drei güldne Kronen ererben.“

thought to find him in the forest. ‘Forest, shouldst thou grant us death, thou shalt inherit three golden crowns.’

Da begann der Wald zu lachen, Und mit einem Dutzend Küssen Liess er sie die Zukunft wissen.

At that the forest began to laugh and with a dozen kisses let them know the future.

Die drei Schwestern wollten sterben, Wähnten Tod im Meer zu finden, Pilgerten drei Jahre lang.

The three sisters were fain to die, thought to find death at sea, journeyed three long years.

„Meer, so gib uns, dass wir sterben, Sollst drei güldne Kronen ererben.“ Da begann das Meer zu weinen,

‘Sea, shouldst thou grant us death, thou shalt inherit three golden crowns.’ At that the sea began to weep,

Liess mit dreimal hundert Küssen Die Vergangenheit sie wissen.

and with three times one hundred kisses let them know the past.

Die drei Schwestern wollten sterben, Lenkten nach der Stadt die Schritte, Lag auf einer Insel Mitte.

The three sisters were fain to die, turned their steps towards the city lying mid an island.

„Stadt, so gib uns, dass wir sterben, Sollst drei güldne Kronen ererben.“

‘City, shouldst thou grant us death, thou shalt inherit three golden crowns.’

Und die Stadt tat auf die Tore Und mit heißen Liebesküssen Liess die Gegenwart sie wissen.

And the city opened its gates and with passionate kisses of love let them know the present.

2. Die Mädchen mit den verbundenen Augen

The Maidens with Bound Eyes

Die Mädchen mit den verbundenen Augen (Tut ab die goldenen Binden!) Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.

The maidens with bound eyes (take off the golden blindfolds!) the maidens with bound eyes wished to meet their destiny.

Haben zur Mittagsstunde (Lasst an die goldenen Binden!) Haben zur Mittagsstunde Das Schloss geöffnet im Wiesengrunde,

At stroke of noon (leave on the golden blindfolds!) at stroke of noon they opened the castle on the grassy plain,

Haben das Leben gegrüsst, (Zieht fester die goldenen Binden!) Haben das Leben gegrüsst, Ohne hinaus zu finden.

they greeted life, (make tighter the golden blindfolds!) they greeted life, yet did not find their way out.

Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.

The maidens with bound eyes wished to meet their destiny. London Philharmonic Orchestra | 13

Six Maeterlinck Songs texts continued

3. Lied der Jungfrau

Song of the Virgin

Allen weinenden Seelen, Aller nahenden Schuld Öffn’ ich im Sternenkranze Meine Hände voll Huld.

To all weeping souls, all sinners who approach, haloed by stars I open my arms, full of grace.

Alle Schuld wird zunichte Vor der Liebe Gebet, Keine Seele kann sterben, Die weinend gefleht.

All sin will perish before love’s prayer, no soul can die which, weeping, repents.

Verirrt sich die Liebe Auf irdischer Flur, So weisen die Tränen Zu mir ihre Spur.

If love goes astray on earthly plains, then tears will show me whither it has gone.

4. Als ihr Geliebter schied

When her lover went away

Als ihr Geliebter schied (Ich hörte die Türe gehn) Als ihr Geliebter schied, Da hab ich sie weinen gesehn.

When her lover went away (I heard the door close) when her lover went away I saw her weeping.

Doch als er wieder kam (Ich hörte des Lichtes Schein) Doch als er wieder kam, War ein anderer daheim.

Yet when he returned (I heard the light of the lamp) yet when he returned another was at home.

Und ich sah den Tod (Mich streifte sein Hauch) Und ich sah den Tod, Der erwartet ihn auch.

And I saw death (his breath touched me lightly) and I saw death awaiting him also.

5. Und kehrt er einst heim

And should he return one day

Und kehrt er einst heim, Was sag ich ihm dann? – Sag, ich hätte geharrt, Bis das Leben verrann.

And should he return one day, what am I to tell him? – Tell him, I waited till my life ebbed away.

Wenn er weiter fragt Und erkennt mich nicht gleich? – Sprich als Schwester zu ihm; Er leidet vielleicht.

If he asks further without knowing me straight? – Speak to him as a sister; perhaps he is suffering.

Wenn er fragt, wo du seist, Was geb ich ihm an? – Mein Goldring gib Und sieh ihn stumm an ...

If he asks where you are, how should I answer? – Give him my golden ring and say not a word ...

14 | London Philharmonic Orchestra

Will er wissen, warum So verlassen das Haus? – Zeig die offne Tür, Sag, das Licht ging aus.

Should he want to know why the house is so desolate? – Show him the open door, say the light was blown out.

Wenn er weiter fragt Nach der letzten Stund’? – Sag, aus Furcht, dass er weint, Lächelte mein Mund.

If he asks further, about your last moment? – Say, for fear lest he weep, that I smiled.

6. Sie kam zum Schloss gegangen

She came towards the castle

Sie kam zum Schloss gegangen, Die Sonne erhob sich kaum. Sie kam zum Schloss gegangen, Die Ritter blickten mit Bangen Und es schwiegen die Frauen.

She came towards the castle – the sun was hardly risen – she came towards the castle, the knights watched uneasily and the women grew silent.

Sie blieb vor der Pforte stehen, Die Sonne erhob sich kaum. Sie blieb vor der Pforte stehen, Man hörte die Königin gehen Und der König fragte sie:

She stopped before the gate – the sun was hardly risen – she stopped before the gate, the queen’s footsteps were heard and the king asked her:

Wohin gehst du? Wohin gehst du? Gib acht in dem Dämmerschein! Wohin gehst du? Wohin gehst du? Harrt drunten jemand dein? Sie sagte nicht ja noch nein.

Where are you going? Where are you going? – Take heed, it is not yet quite light! – Where are you going? Where are you going? Does someone await you down there? She answered neither yes nor no.

Sie stieg zur Fremden hernieder Gib acht in dem Dämmerschein. Sie stieg zu der Fremden hernieder, Sie schloss sie in ihre Arme ein. Die beiden sagten nicht ein Wort Und gingen eilends fort.

She climbed down to the stranger – take heed, it is not yet quite light – she climbed down to the stranger, she embraced her tightly. Neither spoke a word and they hurried away.

Poems by Maurice Maeterlinck (1862–1949).

Translations by Mari Pračkauskas

London Philharmonic Orchestra | 15

RUSSIA AND THE ARTS THE AGE OF TOLSTOY AND TCHAIKOVSKY

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Programme notes continued

Karol Szymanowski 1882-1937

Stabat Mater, Op. 53 Elżbieta Szmytka soprano Anne Sofie von Otter mezzo soprano Andrzej Dobber baritone London Philharmonic Choir

Stała Matka bolejąca (Stabat mater dolorosa) for soprano, SA choir and orchestra

I któż widział tak cierpiącą (Quis est homo qui non fleret) for baritone, SATB choir and orchestra

O Matko Źródło Wszechmiłości (O, Eia, Mater, fons amoris) for soprano, mezzo soprano, SA choir and orchestra

Spraw niech płaczę z Tobą razem (Fac me tecum pie flere) for soprano, mezzo soprano, SATB choir and orchestra

Panno słodka racz mozołem (Virgo virginum praeclara) for baritone, SATB choir and orchestra

Chrystus niech mi będzie grodem (Christe, cum sit hinc exire) for soprano, mezzo soprano, baritone, SATB choir and orchestra

The texts and translations begin overleaf. The Polish composer Karol Szymanowski was no orthodox believer. As a homosexual he would have viewed some of the Church’s teachings with caution, to say the least, though that wasn’t necessarily a barrier to belief. It certainly wasn’t for his French contemporary Francis Poulenc, devoutly Catholic and (more-or-less) openly gay. Szymanowski did have a mystical streak, but it found expression in settings of, for example, the medieval Sufi poet Jalal ad-Din Rumi, in which devotion to God is sometimes expressed in strikingly homoerotic terms. On one occasion, visiting a church in Sicily, Szymanowski noted the expression of exquisite agony on an image of the crucified Christ and noted, ‘Christ and Eros are one’ – an interesting viewpoint, but not one guaranteed to go down well in the Vatican. But as Szymanowski’s artistic thinking grew more nationalist in his later years, he found himself

increasingly moved by the simple devotion of the ordinary Polish people. In 1924, he received a commission from a wealthy Parisian patron, the Princesse de Polignac, for a work for solo voices, chorus and orchestra. Before long he was thinking in terms of ‘some kind of “Peasants’ Requiem” – something pleasant and ecclesiastical, something naively devotional; a sort of prayer for souls’. Then came events that focussed his mind still further. His young niece Alusia Bartoszewicz died suddenly in 1925, while out playing in a local park. Suddenly the ‘requiem’ idea acquired a new focus in Szymanowski’s mind. Soon afterwards, in one of those eerie coincidences that often coalesce around the composition of a major work, a rich Warsaw industrialist approached Szymanowski for a work in memory of his wife, who had also just died. Szymanowski found himself thinking, not of a conventional requiem, but of the medieval Latin poem Stabat Mater (‘A mother

London Philharmonic Orchestra | 17

Programme notes continued

stood, weeping’), which tells of the pain of Mary, Mother of God, as she watches her son die on the cross. It is a remarkably direct poem, avoiding any kind of medieval theological cleverness, dwelling much more on the human situation. On one level it met Szymanowski’s demand for something ‘naively devotional’; on another it cried out for impassioned honesty. Szymanowski set the text both in Latin and in Polish. This was a shrewd practical move (most European choirs would find the Latin a lot easier to master), but he insisted that it should always be sung in Polish when heard in his native country, and today that tends to be the standard practice everywhere. In any case the wonderfully vivid flavour of the Polish version, translated by Jozef Janowski, is much better suited to the expressive style and instrumental colouring of Szymanowski’s music. The pungent, sensuous directness of Janowski’s verses probably helped focus Szymanowski’s mind musically. The writing in the Stabat Mater can be as exquisite as in any of his luscious earlier masterpieces,

but there is a new simplicity, almost austerity in some passages. The work divides into six separate movements, each complete in itself – in fact the wonderful hushed fourth movement is sometimes sung separately in church services. Yet there is also an underlying sense of flow, perhaps depicting the process of grief itself: registering pain, accepting loss and finally yearning for transcendence. The fifth movement presents an image of triumphant resolution – all will be well when we are called to stand before the throne of God. But then comes the final movement, in which the three soloists, chorus and orchestra unite for the first time in music that somehow combines loss, acceptance and remembered love. The soprano line in particular rises and falls between hope and tender, achingly sad memory. At the Stabat Mater’s first performance in 1929, this solo was sung by Szymanowski’s sister, Stanisława KorwinSzymanowska, mother of little Alusia – with what feelings, one can only guess. Programme notes © Stephen Johnson

1 Stala Matka boleją, Kolo krzyża łzy lejąca, Gdy na krzyżu wisiał Syn. A jaj duszę potyraną Rozpłakaną, poszarpaną Miecz przeszywał ludzkich win. O, jak smutna, jak podcięta Była Matka Boża święta, Cicha w załamaniu rąk! O, jak drżala I truchlała, I bolała,gdy patrzała Na synowskich tyle mąk.

Mother, bowed with dreadful grief You must watch with slowly falling tears Your Son dying on the Cross! Through Your heart, pierced with sorrow, That cruel sword must be driven As it was foretold, oh Holy One! Oh! How sad and afflicted Was that Blessed Lady, Mother of the Only Begotten! She who saw with grief And contemplated the unending Anguish of Her Son!

2 I któż, widząc tak cierpiącą, Łzą nie zaćmi się gorącą, Nie drgnie, taki czując nóż? I kto serca nie ubroczy, Widząc, jak do krzyża oczy Wzbiła, z bólu drętwa już. Za ludzkiego rodu winy Jak katowan był jedyny, Męki każdy niołsa dział.

Could anyone withhold their own tears Thus beholding Christ’s dear mother In woe unlike any other woe! Who would not feel grief For that kneeling Holy Mother – Suffering as no-one else has? For every nation’s sins He suffered persecution, A prey to scourgers, as she saw:

18 | London Philharmonic Orchestra

Stabat Mater texts

I widziała, jak rodzony Jej umierał opuszczony, Zanim Bogu duszę dał.

Saw her Jesus taken most foully, Forsaken by all, languishing, When he gave up his spirit.

3 Matko, źródło wszechmiłości, Daj mi uczuć moc żałości, Niechaj z Tobą dźwignę ból. Chrystusowe ukochanie Niech w mym sercu ogniem stanie, Krzyża dzieje we mnie wtul. Matko, Matko, miłosiernie Wejrzyj. Syna Twego ciernie W serce moje wraź jak w cel. Rodzonego, męczonego, Syna Twego oriarnego Kaźń owocną ze mną dziel.

Tender Mother, sweet fountain of love, Quickly soften my hard heart, Make me share Your pain: Kindle in me such burning zeal, Let such rich love flow to Jesus That I may be favoured. Holy Mother, I implore You, Crucify this heart before you – It is truly guilty! Hatred, mockery and scorn, Accusation, blindness, thirst, Give all these to me.

4 Spraw, niech płaczę z Tobą razem, Krzyża zamknę się obrazem Aż po mój ostatni dech. Niechaj pod nim razem stoję, Dzielę Twoje krawe znoje. Twą boleścią zmywam grzech.

Under Your care, weeping, watching, Unsleeping beneath the Cross May I live and mourn for His sake: Kneeling with You close to Jesus, Feeling all Your pain with You, Oh! Grant me this, my prayer.

5 Panno słodka, racz, mozołem Niech me serce z Tobą społem Na golgocki idzie skłon. Niech śmierć przyjmę z katów ręki, Uczestnikiem będę męki, Razów krwawych zbiorę plon. Niechaj broczty ciało moje, Krzyżem niechaj się upoję, Niech z miłosnych żyję tchnień! W morzu ognia zapalony, Z Twojej ręki niech osłony Puklerz wezmę w sądu dzień!

Immaculate maid most excellent, Peerless, dwelling in the highest heaven, Make me truly mourn with You; May my sighs help me bear his death, Ever reviving in me The anguish he suffered on my behalf: Bearing the same scars as His, Enflamed by the Cross, Elated to ecstatic love: Inspired and affected thus, Virgin, let me be protected When I am called in my turn.

6 Chrystus niech mi będzie grodem, Krzyż niech będzie mym przewodem, Łaską pokrop, życie daj! Kiedy ciało me się skruszy, Oczyszczonej w ogniu duszy Glorię zgotuj, niebo, raj.

May His sacred Cross defend me, May he who died there be my friend So that He may pardon me! When my mortal body perishes, Grant to my soul All the joys of Paradise.

Used by kind permission of Naxos London Philharmonic Orchestra | 19

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Next concerts at Royal Festival Hall Wednesday 9 March | 7.30pm

Saturday 9 April | 7.30pm

Rachmaninoff Piano Concerto No. 3 Zemlinsky Die Seejungfrau (The Mermaid)

Schoenberg Verklärte Nacht* Brahms A German Requiem

Vladimir Jurowski conductor Marc-André Hamelin piano Broadcast live by BBC Radio 3

Friday 18 March | 7.30pm Rachmaninoff Piano Concerto No. 2 Brief Encounter (film with live orchestra) David Charles Abell conductor Jayson Gillham piano By arrangement with ITV Studios Global Entertainment & Park Circus Films

Christoph Eschenbach conductor Sarah Tynan soprano Matthias Goerne baritone London Philharmonic Choir * Please note a change to the programme from originally advertised

Friday 15 April | 7.30pm JTI friday series

De Falla The Three-cornered Hat (Suite No. 2) Rodrigo Fantasía para un gentilhombre* Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar * Please note a change to the programme from originally advertised

Wednesday 20 April | 7.30pm Dukas La Péri Saint-Saëns Piano Concerto No. 5 (Egyptian) Honegger Pacific 231 Debussy Images Vladimir Jurowski conductor Javier Perianes piano Broadcast live by BBC Radio 3

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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 Sims Education and Community Project Manager

Philip Stuart Discographer

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Cameron Doley 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 Barry Smith 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 Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna 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

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 Damian Davis Transport Manager Madeleine Ridout Assistant Orchestra Personnel Manager

24 | London Philharmonic Orchestra

Matthew Freeman Recordings Consultant Public Relations