London Philharmonic Orchestra 6 Oct 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

february â&#x20AC;&#x201C; december 2018 royal festival hall

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 6 October 2018 | 7.30pm

Beethoven The Creatures of Prometheus, Op. 43 (63’) Interval (20’) Stravinsky Orpheus: ballet in three scenes (31’)

Vladimir Jurowski conductor Theater Trikster

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Beethoven and Stravinsky were both musical pioneers during their lifetimes. Music writer Philip Clark and Tim Rutherford-Johnson, author of Music After The Fall, compare and contrast these two hugely influential personalities.

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Theater Trikster 8 Programme notes 11 Recommended recordings 12 Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

Orchestra news

New on the LPO Label: Tchaikovsky Symphonies and film music This month sees two new releases on the LPO Label. Last year we released a Complete Tchaikovsky Symphonies box set conducted by Vladimir Jurowski, and now a disc of Symphonies Nos. 2 and 3, taken from the box set, is available as a separate disc priced £9.99 (LPO-0109). Jurowski’s Tchaikovsky has been praised for its nuance, musical empathy and intelligent phrasing, and these live concert recordings are sure to delight all Tchaikovsky-lovers. Our second release this month is The Genius of Film Music: Hollywood Blockbusters 1980s–2000s. Conducted by Dirk Brossé, this is the second compilation of film music on the LPO Label and features some of the best-loved film scores of the late 20th century including Star Wars, The Mission, Indiana Jones and Gladiator, as well as plenty of lesser-known gems for film music fans. The double CD is priced £10.99 (LPO-0110). All LPO Label CDs are available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream online via Spotify, Apple Music and others.

RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES AND WATCHES should be switched off before the performance begins.

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Out now The Autumn 2018 edition of Tune In, our free twice-yearly magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Philippe Honoré Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Second Violins Tristan Gurney Guest Principal Tania Mazzetti Co-Principal

Cellos Kristina Blaumane Principal

Basset Horn Paul Richards*

Chair supported by Bianca & Stuart Roden

Bassoons Jonathan Davies Principal Gareth Newman

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Double Basses Sebastian Pennar Principal George Peniston Tom Walley Laurence Lovelle Charlotte Kerbegian Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Victoria Robey OBE

Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Fiona Higham

Piccolo Stewart McIlwham* Principal

Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams

Oboes Ian Hardwick* Principal Alice Munday

Violas David Quiggle Principal Richard Waters Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt

Cor Anglais Sue Böhling* Principal

Chair supported by Friends of the Orchestra

Chair supported by Dr Barry Grimaldi

Clarinets Benjamin Mellefont Guest Principal Thomas Watmough

Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Adam Howcroft Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

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

Bass Trombone Lyndon Meredith Principal Timpani Simon Carrington* Principal

Last month we welcomed Tom Walley as a member of the Double Bass section – Tom is already a familiar face to many, having played as a regular extra with the Orchestra over many years. In addition to his position in the LPO, Tom is a busy session musician and bass guitarist. He is also a keen traveller and adventurer and a motorcycle enthusiast. Our members: lpo.org.uk/players

Harp Rachel Masters Principal Assistant Conductor Chloé van Soeterstède * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport

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Eric Tomsett

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge. Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 we explore

4 | London Philharmonic Orchestra

the life and music of Stravinsky in our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. In 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and Britishinspired music from Purcell to the present day. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

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

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

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

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

London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor & Artistic Advisor

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

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

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

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

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

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

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

Theater Trikster

Theater Trikster was founded in 2010 by husband-andwife directors Viacheslav Ignatov and Maria Litvinova. The ensemble has since appeared at a wide variety of venues worldwide and collaborated with many major theatres. Their work ranges from travelling performances for a single performer, to large-scale works with chorus and orchestra such as Britten’s opera Noah’s Ark, which they presented at the Natalya Sats Children’s Musical Theatre in Moscow complete with video installation, dolls, stilts and animation. In 2016 they performed Peter Pospelov’s enchanting opera Journey to the Land of Jambles, based on Edward Lear, at the Perm Opera. In it, the singers – wearing outlandish costumes – were also puppeteers, leading the children in an interactive journey around the theatre. Theater Trikster has been nominated several times for the Theatre Union of Russia’s Golden Mask Award, and twice was the winner, for Epic about the Lilac in 2010 and Journey to the Land of Jambles in 2016.

Marking 100 years since the end of World War One Saturday 10 November 2018 7.30pm Southbank Centre’s Royal Festival Hall

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

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

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

Directors Viacheslav Ignatov Maria Litvinova Actors Tetiana Karhaieva Konstantin Matulevskii Viacheslav Ignatov Danil Arikov Costumes Olga and Elena Bekritskie Puppets Natalia Mishina trikst.com

The eternal flame London Philharmonic Orchestra | 7

Programme notes

Speedread Tonight’s programme consists of two ballet scores inspired by classical mythology. Beethoven’s The Creatures of Prometheus of 1800/01 is based on the story of Prometheus, who stole fire from the gods. But in this version he uses the heavenly fire to bring to life statues he has created of male and female figures. Finding them unresponsive, he takes them off to Mount Parnassus to be educated in human thought and feeling by a divine assembly including the Muses. The score is over an hour long; but it sustains interest with a continuous flow of musical ideas and a rich array of colouring, including Beethoven’s only use of a harp.

Ludwig van Beethoven

This is complemented by Stravinsky’s Orpheus of 1947 – which forms part of the LPO’s continuing series Changing Faces: Stravinsky’s Journey. The work is a retelling of the myth of the half-divine musician Orpheus and his unsuccessful attempt to reclaim his wife Eurydice from the underworld. The orchestra is of moderate size, again featuring a harp, and the score is notable for its restraint. The climax, Eurydice’s second death during the couple’s return to earth, is marked only by a tiny surge in the strings and a moment of silence.

Die Geschöpfe des Prometheus (The Creatures of Prometheus), Op. 43

1770–1827

Overtura: Adagio – Allegro molto e con brio – (Introduzione) La Tempesta: Allegro non troppo – Act I 1 Poco Adagio – Allegro con brio – Poco Adagio – Allegro con brio 2 Adagio – Allegro con brio – 3 Allegro vivace

‘The subject was essentially … the civilising influence of art; and however quaint it may seem to some today, it was bound to have a powerful appeal to Beethoven, who strongly believed in the ability of art to uplift and ennoble mankind.’ Barry Cooper on Prometheus, in his ‘Master Musicians’ biography of Beethoven

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Act II 4 Maestoso – Andante 5 Adagio – Andante quasi Allegretto 6 Un poco Adagio – Allegro – 7 Grave – 8 Allegro con brio – Presto 9 Adagio – Adagio – Allegro molto 10 Pastorale: Allegro 11 Coro di Gioja: Andante – 12 Solo di Gioja: Maestoso – Adagio – Allegro – mosso 13 Terzettino-Grotteschi: Allegro – Comodo – Coda 14 Solo della Signora Cassentini: Andante – Adagio – Allegro – Allegretto 15 Coro (e) Solo di Viganò: Andantino – Adagio – Allegro 16 Finale: Allegretto – Allegro molto – Presto

The Creatures of Prometheus is a significant work in two respects. It is Beethoven’s longest work without voices, lasting over an hour, although it is virtually unknown apart from its short Overture and one tune in the Finale. And it is one of only two extended ballet scores by major composers to have survived from the Classical period (the other being Gluck’s Don Juan). Beethoven wrote it in 1800/01, interrupting work on his Second Symphony to do so, for a ballet devised by the celebrated Italian ballet-master Salvatore Viganò, to be presented before the Empress Maria Theresia. After its first performance, at the Burgtheater in Vienna in March 1801, the piece swiftly became popular, receiving another 22 performances before the end of the following year. Viganò called Prometheus a ‘heroic-allegorical’ work, and gave it an unusually serious scenario, based on a mid-18th-century French version of the story. As in Greek mythology (and in Aeschylus’s tragedy Prometheus Bound), Prometheus is a Titan, a demi-god, who steals fire from the gods by capturing the sparks from their chariot wheels – an act of treachery for which he is subsequently punished. But here he uses the fire to bring to life two clay statues that he has made. Finding them lacking in reason or emotion, he leads them to Parnassus, where they are instructed by Apollo, the Muses, Bacchus (here a god of war as well as wine) and Pan, and in the words of the original playbill ‘they are made susceptible to all the passions of human life through the power of harmony’. This playbill, some indications in the score, and a description of the work in a biography of Viganò together provide a guide to the scenario of the ballet. The Overture, a familiar item on concert programmes, consists of a solemn introduction and a main quick section full of flickering fire. It leads into an Introduction depicting a storm, under cover of which Prometheus escapes with his stolen flame. The short Act I consists of three numbers in which the statues are brought to life, but reveal their lack of human thoughts and feelings. The music depicts their stiff, puppet-like movements, as well as Prometheus’s joy in his creation, frustration at the outcome and resolve to remedy it.

Act II is set on Mount Parnassus, where Prometheus takes his creatures to be endowed with human reason and emotion. In the first number of the Act, they are greeted by Apollo and the nine Muses, the three Graces, the gods Bacchus and Pan and the legendary poets and singers Orpheus, Amphion and Arion. In the extended No. 5, music is played to them: the flute associated with the Muse Euterpe leads a woodwind trio, the harp (Beethoven’s only use of the instrument) represents Amphion’s lyre, and the solo cello takes on the role of Apollo. The Graces dance light-footedly for the creatures. They begin to respond by showing gratitude and love towards Prometheus. No. 8, begun by the timpani, introduces the god Bacchus, who leads the creatures in a military march. No. 9 features Melpomene, the Muse of tragedy, who – in an operatic recitative for the oboe – berates Prometheus for giving his creatures humanity and therefore mortality, and who then proceeds to stab him fatally. But in a pastoral dance led by Thalia, the muse of Comedy, and the nature god Pan, he is brought back to life. The rest of the Act is a celebratory divertissement. Its first two numbers featured Ferdinando Gioja, who took the role of Bacchus; the short introduction and the main dance accordingly include warlike trumpets and timpani in their orchestration. No. 13 is a dance of grotesque characters. No. 14 was a solo for Maria Cassentini, who danced Prometheus’s female creation: it is an operatic number in four sections, with solo parts for oboe and basset horn (Beethoven’s only use of the tenor clarinet so loved by Mozart). No. 15 was a solo for the choreographer Viganò, who played the male creature; it is another extended showpiece, in operatic style. The Finale is a rondo, with a main theme that Beethoven was subsequently to use as the basis first for a set of piano variations and then for the variations forming the finale of his ‘Eroica’ Symphony. The coda is in two progressively faster sections, the first beginning with a little fugato on a theme derived from the Overture.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 9

Programme notes continued

Igor Stravinsky

Orpheus: ballet in three scenes

1882–1971

First Scene 1 Lento sostenuto – 2 Air de Danse: Andante con moto – 3 L’Ange de la Mort et sa Danse: L’istesso e – 4 Interlude: q = q – Second Scene 5 Pas des Furies: Agitato – Sempre alla breve ma meno mosso – 6(a) Air de Danse (Orphée): Grave – Un poco meno mosso – 7 Interlude: L’istesso tempo – 6(b) Air de Danse (conclusion): L’istesso tempo – 8 Pas d’Action: Andantino leggiadro – Poco più mosso – 9 Pas de Deux: Andante sostenuto – 10 Interlude: Moderato assai – 11 Pas d’Action: Vivace – Third Scene 12 Apothéose d’Orphée: Lento sostenuto

Stravinsky composed Orpheus between October 1946 and September 1947 for the Ballet Society of New York (later New York City Ballet), which presented it in April 1948. The idea had been proposed by the Georgianborn choreographer George Balanchine, and the two men worked out the scenario together. It was based on the ancient Greek myth of the musician demi-god whose divine art enables him to bring his wife Eurydice back from the land of the dead, but whose human impatience in disobeying the instruction not to look at her brings about her second death. Elements of the scenario are borrowed from the operatic treatments of the myth by Monteverdi and Gluck. And Stravinsky’s score echoes Gluck’s in its Classical elegance and restraint. It is written for an orchestra of moderate dimensions, but with a prominent part for harp, symbolising Orpheus’s lyre.

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The ballet is played without a break, but is divided into three scenes. At the start of the first, in the words of the scenario printed in the score, ‘Orpheus weeps for Eurydice. He stands motionless, with his back to the audience. … Some friends pass bringing presents and offering him sympathy.’ The harp is to the fore, in descending scale patterns against slow-moving strings; the wind enter with the sympathetic friends. Orpheus dances a resolute solo ‘Air de Danse’, in operatic A–B–A form, with a prominent solo violin in the outer sections. The ‘Dance of the Angel of Death’, with baleful horns, introduces the guide who will lead Orpheus into the underworld; at the end, to the sound of trombone and trumpet over tremolando strings, ‘the Angel leads Orpheus to Hades’. In an ‘Interlude’ of angular counterpoint, they ‘reappear in the gloom of Tartarus’.

The second scene is set in Tartarus, or Hell, which is ruled over by Hades (here a person, not a place). It begins with a ‘Dance of the Furies’, in which ‘their agitation and their threats’ are expressed by restless strings. Orpheus pleads his cause in a second ‘Air de Danse’, this time in the form of a recitative, with harp, and aria, with solo oboes; the middle section of the aria is replaced by a brief ‘Interlude’ of dialogue between woodwind and strings in which ‘the tormented souls in Tartarus stretch out their fettered arms towards Orpheus, and implore him to continue his song of consolation’. In the following ‘Pas d’Action’, ‘Hades, moved by the song of Orpheus, grows calm. The Furies surround him [Orpheus], bind his eyes, and return Eurydice to him.’ Then in a ‘Pas de Deux’, its outer sections for strings alone, Orpheus leads Eurydice out of Tartarus, until ‘Orpheus tears the bandage from his eyes. Eurydice falls dead’ – a climactic moment marked only by a single bar of string crescendo and a two-beat silence. An ‘Interlude’, with minatory brass, precedes a ‘Pas d’Action’ in which the Bacchantes, frenzied female followers of the god Bacchus or Dionysus, ‘attack Orpheus, seize him and tear him to pieces’.

In the short final scene, ‘Orpheus’s Apotheosis’, Orpheus’s father the sun-god Apollo appears. ‘He wrests the lyre from Orpheus and raises his song heavenwards.’ The descending harp scales of the opening return, now accompanying three-part counterpoint on horns and trumpet; but then the scales turn upwards, and the harp emerges briefly as a soloist. As Stravinsky commented to a friend, ‘Orpheus is dead, the song is gone, but the accompaniment goes on.’ Programme notes © Anthony Burton

Recommended recordings of tonight’s works Beethoven: The Creatures of Prometheus Scottish Chamber Orchestra | Charles Mackerras (Hyperion) Stravinsky: Orpheus London Philharmonic Orchestra | Vladimir Jurowksi (LPO Label LPO-0091: see below)

Jurowski conducts Orpheus on the LPO Label Igor Stravinsky: Petrushka: burlesque in four scenes (1911 version) Symphonies of Wind Instruments (original 1920 version) Orpheus: ballet in three scenes Vladimir Jurowski conductor £9.99 | LPO-0091

‘Chamber-like clarity and a crisp sense of the work’s architecture ... this is an excellent achievement on the LPO’s label.’ Andrew McGregor, BBC Radio 3 Record Review, September 2016 CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Apple Music, Amazon, Spotify and others.

London Philharmonic Orchestra | 11

GET

closer

next lpo concerts

AT Southbank Centre’s Royal Festival Hall

Wednesday 10 october 2018 7.30pm

saturday 13 october 2018 7.30pm

friday 19 october 2018 7.30pm

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

Poulenc Stabat Mater Orff Carmina Burana

Glinka Overture, Ruslan and Ludmilla Rachmaninoff Piano Concerto No. 2 Tchaikovsky Symphony No. 5

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

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

Alondra de la Parra conductor Benjamin Grosvenor piano Concert generously supported by Dior

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

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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 Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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Thank you

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

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

Robert Markwick & Kasia Robinski Melanie Ryan Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt Silver Patrons Dr Christopher Aldren Peter Blanc Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Will & Kate Hobhouse Matt Isaacs & Penny Jerram John & Angela Kessler The Metherell Family Simon Millward Mikhail Noskov & Vasilina Bindley Susan Wallendahl Guy & Utti Whittaker Bronze Patrons Anonymous donors Michael Allen Andrew Barclay Mr Geoffrey Bateman Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel Mr John L G Deacon David Ellen Ignor & Lyuba Galkin Mrs Irina Gofman David Goldberg Mr Daniel Goldstein David & Jane Gosman Mr Roger Greenwood Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Catherine Hogel & Ben Mardle J Douglas Home Mr James R. D. Korner Rose & Dudley Leigh

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Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Jacopo Pessina Mr Roger Phillimore Mr Michael Posen Tatiana Pyatigorskaya Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr Christopher Stewart Mr & Mrs John C Tucker Andrew & Rosemary Tusa Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Christopher Williams Ed & Catherine Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Margot Astrachan Mr Philip Bathard-Smith Mr Edwin Bisset Dr Anthony Buckland Mr & Mrs Stewart Cohen Sir Alan Collins KCVO David & Liz Conway Mr Alistair Corbett Mrs Alina Davey Guy Davies Henry Davis MBE Mr Richard Fernyhough Patrice & Federica Feron Ms Kerry Gardner Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Ms Katerina Kashenceva Vadim & Natalia Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Christopher Little

Paul & Brigitta Lock Mr Peter Mace Mr John Meloy Andrew T Mills Dr Karen Morton Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Natalie Pray Mr Christopher Querée Martin & Cheryl Southgate Ms Nadia Stasyuk Matthew Stephenson & Roman Aristarkhov Louise Walton Howard & Sheelagh Watson Des & Maggie Whitelock Liz Winter Bill Yoe Supporters Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Christopher Fraser OBE Will Gold Mr Peter Gray Mrs Maureen HooftGraafland The Jackman Family Mr David MacFarlane Mr Frederic Marguerre Mr Mark Mishon Mr Stephen Olton Mr David Peters Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw

Ms Elizabeth Shaw Ms Natalie Spraggon & Mr David Thomson Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen)

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Xenia Hanusiak Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Christian Dior Couture Faraday Fenchurch Advisory Partners IMG Pictet Bank Steppes Travel White & Case LLP

Corporate Members Gold freuds Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners Fever-Tree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK

John Horniman’s Children’s Trust The Idlewild Trust Embassy of the State of Israel to the United Kingdom Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Lord & Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute Newcomen Collett Foundation The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Thistle Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager