2021/22 concert season at the Southbank Centre’s Royal Festival Hall
Concert programme
Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall Wednesday 13 April 2022 | 7.30pm
Julia Fischer plays Elgar Elgar Violin Concerto in B minor, Op. 61 (45’) Interval (20’) Enescu Symphony No. 2 in A major, Op. 17 (53’)
Contents 2 4 5 6 7 8 9 12 13 14 16
Welcome LPO 2022/23 season London Philharmonic Orchestra Leader: Pieter Schoeman Vladimir Jurowski Julia Fischer On stage tonight Programme notes Recommended recordings Sound Futures donors Thank you LPO administration
Vladimir Jurowski conductor Julia Fischer violin
Free pre-concert performance: LPO Junior Artists 6.00pm | Royal Festival Hall | All welcome The LPO Junior Artists Programme supports exceptionally talented teenage instrumentalists from backgrounds currently under-represented in the UK professional orchestral sector. This concert, conducted by Gabriella Teychenné, showcases the talent and achievement of current and past LPO Junior Artists, performing alongside LPO musicians. Applications for LPO Junior Artists 2022/23 are now open. Visit lpo.org.uk/juniorartists for more information.
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
This concert is being recorded by BBC Radio 3 for broadcast on Wednesday 27 April 2022 at 7.30pm. It will subsequently be available for 30 days on BBC Sounds: bbc.co.uk/sounds/brand/ b03q8r97
London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Welcome to the Southbank Centre
LPO 2022/23 season
We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.
Our new concert season: On sale now
Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.
Our new season of Royal Festival Hall concerts, from September 2022–May 2023, is now on sale. Entitled ‘A place to call home’, the season’s recurring themes are belonging and displacement. What is the concept of home to people who have experienced exile, homelessness or despair as a result of wars, political instability or racism – conditions that have forced countless refugees to to flee their native countries? For an artist, a sense of home can be central to finding an individual voice – to the stories they tell, and the language in which they tell them. We will survey music by composers such as the Austrians Erich Korngold and Paul Hindemith, the Hungarian Béla Bartók, the Cuban Tania León, the Ukrainian Victoria Vita Polevá and the Syrian Kinan Azmeh.
Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca. If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment:
Celebrating the Orchestra’s 90th season, we will perform some now-indispensable music written especially for the LPO, including Vaughan Williams’s Serenade to Music and Tippett’s A Child of Our Time. A focus on British composers sees performances of both symphonies by Elgar, music by Tippett and Thomas Adès, as well as four major works by Vaughan Williams in celebration of his 150th anniversary.
Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance. Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.
The Orchestra’s commitment to everything new and creative includes world premieres of Mark Simpson’s Piano Concerto and Composer-in- Residence Brett Dean’s In spe contra spem, as well as the UK premiere of Heiner Goebbels’s immersive spectacle A House of Call. We have also commissioned new works from a diverse range of composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.
Mobiles and watches should be switched off before the performance begins.
We are joined in these explorations by our Principal Conductor Edward Gardner, Principal Guest Conductor Karina Canellakis and Conductor Emeritus Vladimir Jurowski, plus, as always, world-renowned guest artists including Víkingur Ólafsson, Danielle de Niese, Miloš Karadaglić, Beatrice Rana, Randall Goosby, Gil Shaham, Leif Ove Andsnes and many others. We welcome you to join us at the Royal Festival Hall for a season of adventure! Browse the full season and book online at lpo.org.uk/2223season or via the LPO Ticket Office on 020 7840 4242.
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2022/23 concert season at the Southbank Centre’s Royal Festival Hall
A place to call home Where music takes you
On sale now Book online lpo.org.uk Ticket Office 020 7840 4242
London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
© Mark Allan
London Philharmonic Orchestra
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 concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.
the Orchestra takes up its annual residency at Glyndebourne Festival Opera, 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. The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.
The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.
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 Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Pieter Schoeman
The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its 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. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.
© Benjamin Ealovega
Leader
Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. 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 London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.
September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.
Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.
lpo.org.uk
Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Vladimir Jurowski conductor Conductor Emeritus, London Philharmonic Orchestra
© Drew Kelley
A committed operatic conductor, Vladimir’s recent highlights include semi-staged performances of Wagner’s Das Rheingold, Die Walküre and Siegfried with the London Philharmonic Orchestra at the Royal Festival Hall; Strauss’s Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Wozzeck, Der Rosenkavalier and Prokofiev’s The Fiery Angel at the Bavarian State Opera; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival 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. He has conducted Parsifal at Welsh National Opera, War and Peace at the Opera National de Paris, Eugene Onegin at the Teatro alla Scala Milan, Ruslan and Ludmila at the Bolshoi Theatre, and Tchaikovsky’s Iolanta and Penderecki’s Der Teufel von Loudon at the Semperoper Dresden, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera.
Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in September 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. At the BBC Proms concert with the LPO on 12 August 2021 – his final official concert as Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music.
In the 2021/22 season Jurowski returns to the Staatskapelle Dresden; conducts new productions of Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; and showcases a wealth of symphonic repertoire from Mozart, Liszt, Enescu and Elgar to Suk, Britten, Marko Nikodijevic and Elena Firsova, with particular focuses on Stravinsky, Prokofiev and Bruckner with the Berlin Radio Symphony Orchestra, and Shostakovich and Mahler with the Bavarian State Orchestra.
In September 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. 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).
The LPO has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2, 4 & 8; works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and, most recently, Vladimir Martynov’s Utopia. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.
Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras.
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Julia Fischer violin LPO Artist-in-Residence Spring 2022
During the 2020/21 season Julia Fischer appeared in concert with the Elbphilharmonie Hamburg and Alan Gilbert, the Svetlanov Symphony Orchestra and Vladimir Jurowski and the Bamberg Symphony under Jakub Hrůša, and premiered a new piece by Pascal Zavaro with the Orchestre national de France under Cristian Măcelaru. In 2011 Julia Fischer founded her own Quartet with Alexander Sitkovetsky, Nils Mönkemeyer and Benjamin Nyffenegger, and continues to tour extensively in this formation. Her concert at the Alte Oper Frankfurt in 2010 marked her debut as a pianist: she performed Grieg’s Piano Concerto in the second half of the concert, having played Saint-Saëns’s Violin Concerto No. 3 in the first half. The performance is available on a Decca-released DVD. Teaching is another integral part of Julia’s musical life, as she continues to nurture and guide young talent including performances alongside her students. She regularly gives masterclasses at Musikferien at Lake Starnberg (Starnberger See). In 2019 she founded a children’s orchestra, the Kindersinfoniker, teaming up with conductor Johannes X. Schachtner and pianist Henri Bonamy in her hometown of Munich.
One of the world’s leading violinists, Julia Fischer is a versatile musician also known for her extraordinary abilities as a concert pianist, chamber musician and violin teacher. Born in Munich to German-Slovakian parents, she received her first violin lessons at the age of three and her first piano lessons shortly after from her mother, Viera Fischer. At the age of nine she started studying with renowned violin professor Ana Chumachenco, later becoming her successor. Winning First Prize at the Yehudi Menuhin International Competition in 1995 was one of the milestones in her early career and she has since performed with top orchestras worldwide.
Over the course of her artistic career Julia Fischer has released numerous critically acclaimed and awarded CD and DVD recordings, first under the Pentatone label and later under Decca. Breaking new ground in the classical music market, in 2017 she launched her own music platform, the JF CLUB, which offers exclusive audio and video footage and previews of her new recordings as well as personal insights into music and her work. Franck’s Sonata in A major, Szymanowski’s Sonata in D minor and Beethoven’s String Trio in C minor are all available exclusively on JF CLUB. In August 2021 Julia Fischer released a limited vinyl recording of Ysaÿe’s Sonatas as an exclusive JF CLUB edition in collaboration with Hänssler Classic.
In March 2019 Julia embarked on a major tour of China, Taiwan and South Korea with the London Philharmonic Orchestra under Vladimir Jurowski, and in September 2019 performed Britten’s Violin Concerto with the Orchestra, again under Jurowski, at the Royal Festival Hall and Saffron Hall. This spring she is Artist-in-Residence with the Orchestra, performing Mozart’s Concertos with Thomas Søndergård, as well as play-directing a Mozart programme and joining LPO Principal players in a chamber music concert.
Julia Fischer holds numerous awards including the Federal Cross of Merit, a Gramophone Award and the German Culture Prize. She plays a violin by Giovanni Battista Guadagnini (1742) as well as an instrument made by Phillipp Augustin (2018).
This season Julia also embarks on an extensive tour with the Academy of St Martin in the Fields, an ensemble with whom she has enjoyed a long-standing relationship. Other tours include with the Royal Philharmonic and Vasily Petrenko, and the Berlin Radio Symphony Orchestra with Vladimir Jurowski. Julia also collaborates with the Lucerne Symphony under its new Chief Conductor Thomas Sanderling, and the Bavarian Radio Symphony Orchestra under Michael Tilson Thomas. She embarks on a recital tour of major European venues with pianist Yulianna Avdeeva, as well as with her own Julia Fischer Quartet.
juliafischer.com/club
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
On stage tonight First Violins
Pieter Schoeman* Leader
Chair supported by Neil Westreich
Kate Oswin
Chair supported by Friends of the Orchestra
Lasma Taimina
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Alice Apreda Howell Minn Majoe Nilufar Alimaksumova Yang Zhang
Chair supported by Eric Tomsett
Ricky Gore Katalin Varnagy
Chair supported by Sonja Drexler
Morane Cohen-Lamberger Catherine Craig Gavin Davies Thomas Eisner John Dickinson Amanda Smith Ronald Long Maria Fiore Mazzarini Sophie Phillips
Second Violins
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Ashley Stevens Kate Birchall Nancy Elan Erzsébet Rácz Fiona Higham
Chair supported by David & Yi Buckley
Claudia Tarrant-Matthews Sheila Law Jessica Coleman Sioni Williams Anna Croad Joseph Maher Charlie MacClure Nicole Stokes Emma Martin
Violas
Flutes
David Quiggle Principal Richard Waters Co-Principal
Fiona Kelly Guest Principal Hannah Grayson Stewart McIlwham*
Chair supported by Caroline, Jamie & Zander Sharp
Ting-Ru Lai Katharine Leek Benedetto Pollani Laura Vallejo Michelle Bruil Joseph Fisher Stanislav Popov Daniel Cornford Mark Gibbs Julia Doukakis Raquel López Bolívar Mabon Llŷr Rhyd
Piccolo
Cellos
Clarinets
Stewart McIlwham* Principal
Oboes
Chair supported by Victoria Robey OBE
Percussion
Andrew Barclay* Principal
Chair supported by Gill & Garf Collins
Karen Hutt Feargus Brennan Laura Bradford
Sue Blair Guest Principal
Chair supported by Roger Greenwood
Catherine Edwards
Piano
Jonathan Davies Principal
Celeste
Gareth Newman Luke Whitehead
Harmonium
Contrabassoon Luke Whitehead
Horns
John Ryan* Principal Mark Vines Co-Principal Martin Hobbs Oliver Johnson Gareth Mollison
Trumpets
Paul Beniston* Principal Chris Evans Guest Principal Anne McAneney* Kaitlin Wild
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Timpani
E-flat Clarinet
Chair supported by Sir Simon Robey
Laura Murphy Sam Rice Charlotte Kerbegian David Johnson Andy Marshall Ben Havinden-Williams
Tuba
Harp
Bassoons
Chair supported by William & Alex de Winton
Lyndon Meredith Principal
Paul Richards* Principal Thomas Watmough Principal
Sebastian Pennar Principal Hugh Kluger George Peniston Tom Walley
Bass Trombone
Simon Carrington* Principal
Bass Clarinet
Double Basses
David Whitehouse
Cor Anglais
Benjamin Mellefont Principal Thomas Watmough Paul Richards*
Francis Bucknall Gregory Walmsley David Lale Susanna Riddell Tom Roff Sibylle Hentschel Iain Ward Auriol Evans Tamaki Sugimoto Jane Lindsay
Chair supported by William & Alex de Winton
Lee Tsarmaklis* Principal
Chair supported by Dr Barry Grimaldi
Chair supported by The Candide Trust
Mark Templeton* Principal
Ian Hardwick* Principal Alice Munday Sue Böhling* Principal
Pei-Jee Ng Principal
Trombones
Clíodna Shanahan Richard Gowers
Assistant Conductor Gabriella Teychenné
* Holds a professorial appointment in London The LPO also acknowledges the following chair supporters whose players are not present at this concert: Chris Aldren Bianca & Stuart Roden
London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Programme notes Edward Elgar 1857–1934
Violin Concerto in B minor, Op. 61 1910 Julia Fischer violin 1 Allegro 2 Andante 3 Allegro molto On 10 November 1910 Elgar conducted the premiere of his Violin Concerto in London’s Queen’s Hall. The soloist, and dedicatee of the Concerto, was the great Austrian virtuoso Fritz Kreisler (1875–1962). Dora Penny (the subject of ‘Variation X’ from the Enigma Variations) recalled the occasion: ‘The place was simply packed. Kreisler came on looking white as a sheet – even for a player of his great experience it must have been a nervous moment – but he played superbly. E.E. was also, obviously, very strung up, but all went well and the ovation at the end was tremendous.’ Kreisler was unequivocal in his enthusiasm for the Concerto: ‘You have written an immortal work’, he told Elgar after spending some of the autumn of 1910 in the composer’s company.
family were staying near Rome. Back at their home in Hereford, Lady (Alice) Elgar noted that her husband ‘was possessed with his music for the Violin Concerto’. Although he learnt the violin and for some time taught the instrument, Elgar was wise enough to seek advice about fingering and structure from W H (Billy) Reed, the leader of the London Symphony Orchestra. Kreisler, who attended the 1910 Gloucester Three Choirs Festival, met with Elgar and they went through the Concerto together before an invited audience. Reed, who was present, described the event as ‘a wonderful artistic experience’. Another witness wrote: ‘Kreisler stood, splendidly dignified as always, fiddle in hand. At one moment Kreisler would edge Elgar off the piano stool while he himself took the composer’s place, and, with a deprecatory remark: “Na, na, Edward”, and in an appeal to us the audience, would attempt to show the composer his idea of the right and proper manner in which the music should go. Of course Elgar would lift him from the piano stool laughingly and say: “Na, na Fritz, this is how I want it played”.’
Elgar had begun a violin concerto in the 1890s, but destroyed the sketches. It was after meeting Kreisler at the Leeds Festival in 1904 that he gave serious consideration to composing a concerto, and the following year Kreisler began to exert pressure through an interview in the Hereford Times: ‘If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar … I say this to please no one; it is my own conviction … I wish Elgar would write something for the violin. He could do so, and it would be certainly something effective’. However, The Kingdom (1906) and the First Symphony (1908) would come before Elgar settled down to the serious business of composing the Violin Concerto in the spring of 1909, while the Elgar
One of the inspirations behind the Concerto was Mrs Alice Stuart-Wortley, daughter of the painter Sir John Everett Millais. A close relationship had developed between the Elgars and the Stuart-Wortleys, and Elgar had nicknamed Alice ‘Windflower’ after the white anemone nemerosa, a flower that meant much to them. Elgar would refer in correspondence with this
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Programme notes ‘other’ Alice to the themes in the Concerto as ‘Windflower’. At the head of the score, Elgar quotes, in Spanish, from the novel Gil Blas by the 17th-century French novelist Alain-René Lesage, the following: ‘Aqui está encerrada el alma de . . . . .’ (Herein is enshrined the soul of . . . . .’). The five dots, as Elgar made clear, stood for a woman’s name. The substantial opening tutti states the main themes of the movement before a single horn heralds the entrance of the violin, which emerges from the orchestral texture playing the second part of the first subject. Soloist and orchestra explore the material before the beguiling second subject follows, surely a statement of Elgar’s feelings for his ‘Windflower’. Elgar then develops the material, his mastery complete, as the soloist rhapsodises on the various themes. As the movement moves to the recapitulation, the intensity increases, the dialogue between the violin and orchestra becoming more complex before the final bars. In contrast, the Andante opens quietly in the key of B flat, the opening theme given to the orchestra. The violin introduces a new theme and, as the movement develops, the soloist is ‘enshrined’ in music of subtle nobility. It is also a world of great intimacy, the listener seeming to intrude, before the movement ends with soloist and orchestra communing together in a hushed reverie. Elgar once said of the ending of the Andante: ‘This is where two souls merge and melt into one another.’ In the third movement, the violin leaps away in rising passages before the orchestra states the principal theme (Vivace). Elgar moves from the virtuosic to the lyrical almost from bar to bar, but a change to Allegro (marked ‘nobilmente’) settles the music before arriving at the key of B major and a theme from the Andante. Then the soloist embarks on the most original part of the Concerto, the accompanied cadenza and its pizzicato tremolando. Elgar asks the stringed instruments of the orchestra ‘to be “thrummed” with the soft part of three or four fingers across the strings.’ Material from previous movements is considered by the violin and orchestra before a coda leads to the Concerto’s triumphant ending.
Yehudi Menuhin and Elgar on the steps of Abbey Road Studios before the 16-year-old violinist began recording the Concerto on 14 July 1932.
Programme note © Andrew Neill
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Programme notes George Enescu 1881–1955
Symphony No. 2 in A major, Op. 17 1912–14
1 Vivace, ma non troppo 2 Andante giusto 3 Un poco lento, marziale – Allegro vivace, marziale Schoenberg’s Gurrelieder or a tone-poem by Richard Strauss. In addition to one or more harps, a glockenspiel, celeste and piano, the percussion section is extensive: timpani, triangle, snare and bass drums, cymbals, castanets, tam-tam and tambourine, several of which are only used in the last movement. The score is littered with indications of mood that underline the expressive qualities desired: such as mormorando (‘murmuring’), lusingando (‘flattering’), bisbigliando (‘whispering’) and con grazia (‘gracefully’).
George Enescu, Romania’s greatest composer, reluctantly fitted his writing around the demands of a multifaceted career as one of the 20th century’s finest concert violinists, as an assured conductor, piano accompanist and a sought-after violin teacher, whose pupils included Yehudi Menuhin and Ida Haendel. Prior to starting this Symphony in 1912, Enescu had written four ‘school’ symphonies that were influenced by Brahms and Wagner whilst a student at the Paris Conservatoire. His first mature symphony was completed in 1905. The premiere of that work was conducted in Paris by Édouard Colonne, to whom the Second Symphony is dedicated. Enescu laboured on it for two years and completed it weeks before the Second World War began. It was the only work he completed during this time.
In 1915, Enescu conducted the Symphony in Bucharest, which was the only time it was performed in his lifetime. Critics at the time seemed to share Enescu’s opinion of his Symphony, with some referring to it as ‘impressionistic’, ‘futuristic’, ‘strange’ and even ‘foreignsounding’. It is unlikely that these opinions referred to the Symphony’s structure, as it is cast in three relatively conventional movements, with the last consisting of two distinct but connected sections. Rather, those early criticisms are more likely to have been concerned with the complexity of Enescu’s musical language, particularly within the Symphony’s last movement. Any plans to revise the Symphony were put on hold. In 1917, the Romanian government sent a consignment of national treasures to Russia for safe-keeping during the First World War. This included a crate of Enescu’s manuscripts which included the Symphony’s manuscript. The crate was presumed lost, until 1924, when it was returned to Enescu via the conductor Bruno Walter. Conductor Iosif Conta, who led the Symphony’s revival in 1961, said: ‘Technically, it’s a very complicated, difficult work.’
Enescu told the French music critic Bernard Gavoty in 1952: ‘Twice in my life I have been without a piano. Not having an instrument, I composed almost the whole of the Second Symphony at my desk. I imposed an enormous effort on myself and swore that I would go back to it, as it is far from finished, since the work does not fully satisfy me.’ Bearing these comments in mind, whilst listening to the work, one must surely be left in awe of the quality of Enescu’s inner ear for instrumental sonorities. Furthermore, Enescu may have misjudged the quality of this Symphony. Scored for a large orchestra, Enescu stipulates string, woodwind and brass forces that are appropriate to a soundscape of late Romantic grandeur. Think of
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Programme notes The opening movement is written in sonata form. There are noticeable influences upon the Romantic nature and scope of the writing, most strongly from Richard Strauss’s Ein Heldenleben (‘A Hero’s Life’). However, Enescu’s writing has a greater sense of urgency in the first theme. This is stated by the strings, reinforced by the repeated woodwind chords, emphatic brass and even solo violin lines. From this is derived much of the chromatic and polyphonic intricacy that unfolds throughout the movement. The second theme, graceful in its articulation, is initially heard against a grounding pedal note. Through a series of elaborations, the music searches in vain for the unbridled positivity that the first theme had so blatantly exhibited.
handle transitions and frequent juxtapositions of timbre, to balance and mix instruments in order to prevent the movement from descending into an episodic patchwork of jewel-laden effects. In the movement’s lengthy coda, Enescu gathers several themes together in order to deliver the triumphant resolution that had remained absent from the Symphony’s opening movement. After his Second Symphony, Enescu would go on to write a Third Symphony for full orchestra – the seeds of which can be detected in the Second Symphony’s closing pages – and a Chamber Symphony for 12 instruments. Two further symphonies were left incomplete, though these have both been subsequently completed by Pascal Bentoiu, whose own eight symphonies and other compositions await recognition outside Romania.
The middle movement is simultaneously opulent in its scoring and tender in its initial outlook. Constructed largely from new thematic material, we hear the movement’s first theme initially as a clarinet solo. The theme’s sinuous quality is extended across the movement, contrasted with a disjointed second theme and veiled references to material from the preceding movement. The movement’s closing pages provide the first hint towards the sombre soundscape which follows.
Programme note © Evan Dickerson
Recommended recordings of tonight’s works
The last movement is the Symphony’s most complex in terms of its structure and multi-layered scoring. This has led the composer Pascal Bentoiu to sensibly maintain that this Symphony marks a significant stage in the development of Enescu’s symphonic writing. Here, Enescu first employed the heterophonic technique, which is the simultaneous overlaying of several different and contrasting instrumental motifs. This technique would be increasingly utilised in later works, particularly his only opera, Oedipe.
by Laurie Watt Elgar: Violin Concerto Nicola Benedetti | London Philharmonic Orchestra Vladimir Jurowski (Decca) or Ida Haendel | City of Birmingham Symphony Orchestra | Simon Rattle (Testament) Enescu: Symphony No 2 Tampere Philharmonic Orchestra | Hannu Lintu (Ondine)
The movement begins with a slow introduction, which is written as a march of foreboding, even menacing, character. This march, derived from transformations of material heard at the start of the opening movement, underlines Enescu’s desire to impose a cyclical design upon the Symphony as a whole. This cyclical design continues within the main part of the movement, which is written as a vivacious march. The clarinet theme from the preceding movement is recalled, varied and augmented at will. Nothing, however, is arbitrary given Enescu’s increasing reliance upon heterophony as a means of building his musical argument. This adds texture and sustains interest throughout the movement. Key challenges for the conductor are to judiciously
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
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
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
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.
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London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
Thank you
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Board of the American Friends of the LPO 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 Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)
London Philharmonic Orchestra • 13 April 2022 • Julia Fischer plays Elgar
London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director
Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE 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
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Sophie Harvey Digital and Residencies Marketing Manager
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Nick Jackman Campaigns and Projects Director
Freddie Jackson Assistant Stage Manager
Ruth Haines (née Knight) Press and PR Manager
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Priya Radhakrishnan Georgia Wiltshire Development Assistants
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Anna Quillin Trusts and Foundations Manager
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London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd