London Philharmonic Orchestra 13 Jan 2017 concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme 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 Friday 13 January 2017 | 7.30pm

Brahms Violin Concerto in D major, Op. 77 (36’) Interval (20’) Brahms Symphony No. 1 in C minor, Op. 68 (45’)

Manfred Honeck conductor Ray Chen violin

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

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Manfred Honeck 7 Ray Chen 8 Programme notes 9 New on the LPO Label: Beethoven 11 Recommended recordings Next concerts 12 Alan Cumberland 1945–2016 Brahms on the LPO Label 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 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: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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LPO news

appy New Year! Welcome to the first London Philharmonic Orchestra concert of 2017 at Southbank Centre’s Royal Festival Hall. This year, in partnership with Southbank Centre, we embark on Belief and Beyond Belief, a year-long, multi-artform festival exploring the music, art, culture, science, philosophy, rituals and traditions that have informed belief, religion and spirituality. All of this year’s LPO concerts from 21 January onwards will form part of the festival, alongside a range of talks, performances and workshops programmed by Southbank Centre. The concerts up until May are already on sale, and the September–December concerts will be announced when our 2017/18 season is launched on 26 January (see below). For more details visit lpo.org.uk/belief

2017/18 season launch The 2017/18 LPO season will be launched on Thursday 26 January 2017, when details of all our concerts and events will be available on our website. Booking opens on Wednesday 8 February online and via the LPO Box Office. To take advantage of priority booking (from Tuesday 31 January), become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships

Out now The Spring 2017 edition of Tune In, our free twice-yearly magazine. Copies are available at the LPO Information Desk in the foyer this evening, 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

Vesselin Gellev Sub-Leader Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Molly Cockburn Eunsley Park Galina Tanney Second Violins Andrew Storey Principal Tania Mazzetti Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Rebecca Dinning Sheila Law Marie Schreer

Violas Przemysław Pujanek Guest Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Stanislav Popov Naomi Holt Isabel Pereira Daniel Cornford Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal William Cole George Peniston Laurence Lovelle Thomas Walley Charlotte Kerbegian

Flutes Sue Thomas* Principal

Trumpets Paul Beniston* Principal Anne McAneney*

Chair supported by Victoria Robey OBE

Chair supported by Geoff & Meg Mann

Stewart McIlwham* Oboes Ian Hardwick* Principal Alice Munday

Trombones Mark Templeton* Principal

Clarinets Thomas Watmough Principal Paul Richards

David Whitehouse

Bassoons Jonathan Davies Principal Gareth Newman

Timpani Simon Carrington* Principal

Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Stephen Nicholls Gareth Mollison Duncan Fuller

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal

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

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Andrew Davenport • Friends of the Orchestra • Dr Barry Grimaldi • Bianca & Stuart Roden • Laurence Watt

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London Philharmonic Orchestra

Everything about this performance ... was perfect ... one of the best pieces of orchestral playing I have heard in quite a long time. Seen and Heard international, February 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 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 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 around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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: last season included visits to Mexico,

Pieter Schoeman leader

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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 has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular 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

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 a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur (see page 9).

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Manfred Honeck conductor

Going through a musical score with Mr Honeck is like visiting a tourist attraction with an expert local guide. He constantly points out things that have been long forgotten or interprets them in a way that seems utterly appropriate.

Pittsburgh Post-Gazette

Renowned for his distinctive interpretations, Manfred Honeck has served as Music Director of the Pittsburgh Symphony Orchestra since the 2008/09 season. He and the Orchestra are consistently recognised for their performances and are celebrated both in Pittsburgh and abroad. To great acclaim, they regularly perform in major music capitals and at festivals, among them the BBC Proms, Musikfest Berlin, Lucerne, Rheingau, Beethovenfest Bonn, Grafenegg, New York’s Carnegie Hall and the Musikverein in Vienna. This successful collaboration has also been extensively documented on recordings. The SACDs released by Reference Records – most recently Suites from Strauss’s Elektra and Der Rosenkavalier – have received numerous rave reviews, as well as two Grammy Award nominations. Born in Austria, Manfred Honeck received his musical training at the Academy of Music in Vienna. Many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have given his conducting a distinctive stamp. He began his conducting career as assistant to Claudio Abbado and was subsequently engaged by the Zurich Opera House, where he was bestowed the prestigious European Conductor’s Award in 1993. Other early posts include Leipzig, where he was one of three main conductors of the MDR Symphony Orchestra, and Oslo, where he was appointed Principal Guest Conductor of the Oslo Philharmonic Orchestra. He went on to become Music Director of the Swedish Radio Symphony Orchestra in Stockholm and Principal Guest Conductor of the Czech Philharmonic Orchestra.

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From 2007–11 Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he conducted premieres of operas by Berlioz, Mozart, Verdi, Strauss, Poulenc and Wagner. Operatic guest appearances include the Semperoper Dresden, Royal Opera of Copenhagen and Salzburg Festival. As a guest conductor Manfred Honeck has worked with the world’s leading orchestras including the Berlin Philharmonic, Vienna Philharmonic, Bavarian Radio Symphony Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris and Accademia di Santa Cecilia in Rome. Orchestras he has conducted in the USA include the New York Philharmonic, Los Angeles Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, The Philadelphia Orchestra and The Cleveland Orchestra. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than 20 years. Manfred Honeck has received honorary doctorates from several North American universities. Most recently, he was awarded the honorary title of Professor by the Austrian Federal President.

Ray Chen violin

From the first notes there was no doubt of being in the presence of something special.

The Strad

Winner of the Queen Elisabeth (2009) and Yehudi Menuhin Competitions (2008), Ray Chen is among the most compelling young violinists today. ‘Ray has proven himself to be a very pure musician with great qualities such as a beautiful youthful tone, vitality and lightness. He has all the skills of a truly musical interpreter’, said the great Maxim Vengerov. Ray has released three critically acclaimed albums on Sony: Virtuoso (a recital programme of works by Bach, Tartini, Franck and Wieniawski) and the Mendelssohn and Tchaikovsky concertos with the Swedish Radio Symphony Orchestra and Daniel Harding. Following the success of these recordings, Ray was profiled by The Strad and Gramophone magazines as ‘one to watch’. Virtuoso was also distinguished with a prestigious ECHO Klassik award. His third recording, an all-Mozart album with Christoph Eschenbach and the Schleswig-Holstein Festival Orchestra, was released in January 2014. Ray has appeared with leading orchestras worldwide including the London Philharmonic Orchestra, National Symphony Orchestra and Orchestre National de France, with whom he joined Daniele Gatti for the 2015 Bastille Day concert in Paris, which was televised to an audience of over 800,000. Other recent highlights include his 2016 debut at the BBC Proms, where he appeared with the BBC Symphony Orchestra at London’s Royal Albert Hall. In 2012 Ray became the youngest ever soloist to perform in the televised Nobel Prize Concert for the Nobel Laureates and the Swedish Royal Family. His Carnegie Hall debut with the Royal Stockholm Philharmonic Orchestra and Sakari Oramo, as well as his sold-out Musikverein concert with the Gewandhaus Orchestra and Riccardo Chailly, were met with standing ovations. From 2012–15 Ray was a featured artist in the Junge Wilde series at the Konzerthaus Dortmund.

Followed by over 2 million people on SoundCloud, Ray Chen looks to expand the classical music audience by increasing its appeal to the younger generation via social media platforms. In particular, his series of quirky, self-made online videos has proven an effective tool in broadening the reach of classical music through humour and education. He is the first ever classical musician to be invited to write a regular blog about his life as a touring soloist for the Italian publishing house RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). In his unstinting efforts to break down barriers between classical music, fashion and pop culture, Ray is supported by Giorgio Armani and was recently featured in Vogue magazine. Born in Taiwan and raised in Australia, at the age of 15 Ray was accepted into the Curtis Institute of Music in Philadelphia, where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 ‘Joachim’ Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist Joseph Joachim (1831–1907). raychenviolin.com facebook.com/raychenviolinist @raychenviolin instagram.com/raychenviolin

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Programme notes

Speedread Brahms was a tirelessly hardworking composer. He spent days, weeks and years crafting every musical phrase. At the age of 29 he embarked on what would become his First Symphony, a significant endeavour for any composer. It took 14 years for Brahms to complete the work. Throughout that time, he was made all too aware of comparisons, spoken and unspoken, with the music of his predecessors, not least when the conductor Hans von Bülow described the Symphony as ‘Beethoven’s Tenth’ after its premiere in 1876. But instead of repeating tradition, Brahms was manifestly forging a new path

Johannes Brahms 1833–97

The Wörthersee, the largest lake in the Austrian state of Carinthia, has a happy musical history. Connected to Vienna via the vertiginous Semmering railway pass, this idyllic corner of Austria became a popular summer destination for those escaping the imperial capital. Composers who were drawn to the region include Mahler, who wrote four of his symphonies and several songs on the lake’s southern shore, while Alban Berg visited during the 1930s, writing both his Violin Concerto and parts of Lulu in the market town of Schiefling. Both musicians were following in Brahms’s footsteps, as he had spent three happy summers on the Wörthersee during the late 1870s. Resident in Pörtschach, on the north shore, Brahms composed both his Second Symphony and his Violin Concerto in these serene surroundings. Having completed the D major Symphony during the summer of 1877, Brahms returned to Pörtschach the following spring, when he started work on the Violin 8 | London Philharmonic Orchestra

and quickly embarked on his Second Symphony, as if to prove the point. It was to be a much less arduous task and Brahms finished the composition during a summer sojourn in the Austrian countryside in 1877. But when he returned to the same lakeside village the following May, he found himself struggling with the Violin Concerto for his esteemed colleague and confidant Joseph Joachim. Like the First Symphony, the Concerto often wears its struggles on its sleeve, though both works end with a sense of victory that is all the more glorious for the hard graft required.

Violin Concerto in D major, Op. 77 (1878) Ray Chen violin 1 Allegro non troppo 2 Adagio 3 Allegro giocoso, ma non troppo vivace

Concerto (also in D major). While the Second Symphony had been a relatively easy task, writing a concerto for an instrument that Brahms did not personally play proved much more complicated. Throughout the summer months, he therefore had to consult his old friend and colleague, the violinist Joseph Joachim, who had, with Clara Schumann, been a great support (and occasional fault-finder) for a number of Brahms’s early works. Joachim’s instinctive knowledge of the instrument proved invaluable and despite his many criticisms, he clearly loved Brahms’s new Concerto and encouraged him to complete the work in time for a premiere in Leipzig on New Year’s Day in 1879. It was not to be an easy first performance, however, as Brahms continued to tinker with the score right up to the last minute. And unlike the rapturous response to both the First and Second symphonies at their respective premieres, the reception to this new Concerto was somewhat muted. Further revisions, however, managed to secure a justly

warm reception in Vienna a fortnight later, since when Brahms’s Violin Concerto has been a cherished staple of the repertoire. Like its symphonic predecessor, the Violin Concerto is an unpredictable beast. It may breathe the warm summer air of Pörtschach, but it is not immune to a sudden cold snap or the threat of a storm. The bucolic opening, whose sinuous melody echoes the beginning of the Finale to the Second Symphony, is somewhat inscrutable, yielding various melodic fragments, but frequently turning towards the minor mode before these can come to fruition. While there are reflective themes aplenty in the exposition of this sonata-form movement, there is also some furious double-stopping from the soloist, which disrupts the prevailingly pastoral mood. The woodwind and horns try to rekindle those feelings, but it is only with the second subject and, particularly, at the end of the exposition, that the soloist and the Concerto as a whole really start to sing. In truth, the Allegro remains conflicted throughout, not least in the development section, yet a ray of light permeates its recapitulation, with a clarinet raptly spinning circles around the soloist’s lines. It is to another woodwind instrument, the oboe, that Brahms gives the melodic honours at the beginning of the second movement. This somewhat unexpected

course of action led the Spanish violinist Pablo de Sarasate to quip that he did not wish to ‘stand on the rostrum, violin in hand and listen to the oboe playing the only tune in the Adagio’. Its inclusion, however, reflects the fundamentally symphonic nature of Brahms’s Concerto and looks ahead to the cello solo that opens the slow movement of the Second Piano Concerto – the Scherzo for that 1881 work was, incidentally, based on one of the Violin Concerto’s original middle movements, which were eventually discarded in favour of this melancholy Adagio. After the oboe’s liquid introduction, the solo violin enters with another heartfelt theme, playing in dialogue with a sighing horn, as the mood intensifies. When the first section returns, it is the soloist who leads. After the emotional and musical weight of the first two movements, the finale provides a dose of fireworks. The movement takes the form of a rondo, with its central dance theme echoing the spirit of Brahms’s famous Ungarische Tänze, completed in 1869. The violin’s richly scored, multi-stopped contributions likewise owe some debt of gratitude to Bruch’s celebrated Violin Concerto No. 1 (1866). Within the context of Brahms’s showcase for the instrument, however, this joyous finale manages to shrug off the conflicts and doubts of the first two movements, and the unclouded joy of its rushing coda is therefore all the more vivid.

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

New on the LPO Label: Beethoven Symphonies Nos. 1 & 4 Symphony No. 1 in C major Symphony No. 4 in B flat major Kurt Masur conductor London Philharmonic Orchestra £9.99 | LPO-0093 | Recorded live on 24 & 27 November 2004

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

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Programme notes continued

Johannes Brahms 1833–97

When Beethoven died in 1827, the poet and playwright Franz Grillparzer asked the mourners at his funeral, ‘Who shall stand beside him?’ That demand echoed down the century, not least for anyone who dared to write a symphony. The shadow of Beethoven’s nine totemic examples loomed large. Some composers, like Berlioz and Mendelssohn, ploughed a more programmatic furrow, while the young Brahms appeared to prevaricate, notwithstanding his two youthful serenades and the symphonic First Piano Concerto (with its nods to Beethoven’s Ninth). Having completed that D minor Concerto in 1859, Brahms began what would become the opening movement of his First Symphony in 1862. He chose C minor as its home key, a bold choice given its Beethovenian connotations (not least with the composer’s heroic Fifth Symphony). Brahms’s preliminary courage then failed and it was not until the summer of 1876 that he finally completed the work. What was revealed to the world in Karlsruhe that November was remarkable. Conductor and pianist Hans von Bülow described the piece as ‘Beethoven’s Tenth’, but more importantly, it was Brahms’s First, and an audacious and original one at that. Vanquishing demons, it paved the way for an entirely new world of symphonism, whose multifaceted textures and rich subjectivity would capture the imagination of a succeeding generation of composers, particularly in Vienna, not least Mahler and Schoenberg. The first movement begins with a throbbing introduction in C minor, as resolute as it is imposing. More spectral music emerges from the woodwind, accompanied by pizzicato strings, in which former harmonic and metrical stabilities evaporate. There is tension (as well as tenacity) here, which is unleashed in a combative exposition, with its surging theme

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Symphony No. 1 in C minor, Op. 68 (1862–76) 1 2 3 4

Un poco sostenuto – Allegro Andante sostenuto Un poco allegretto e grazioso Adagio – Allegro non troppo, ma con brio

characterised by a rising legato figure and a staccato fall. A more peaceable passage follows, before Brahms moves into a mysterious development section. The allusion to a Johann Crüger chorale, known to English churchgoers as ‘Hail to the Lord’s Anointed’, gives only short-lived comfort, as the recapitulation proves just as antagonistic as the exposition. Finally, the music of the introduction returns, now underpinned by the characteristic four-note ‘fate’ rhythm of Beethoven’s Fifth Symphony. The move to E major for the Andante marks a decided change in mood. Although something of the subverting chromaticism of the first movement remains, it now triggers a heartfelt aria, told by a solo oboe and clarinet. Urgent sounds begin to stir, prompting a modulation to the minor, though jeopardy is brief and, more often than not, a seraphic temper persists. Bar a few chromatic excursions and breaks in rhythmic flow, the bubblingly bucolic Allegretto likewise gives little indication of lasting unrest. The reappearance of C minor at the start of the finale, however, reawakens old anxieties. Its opening motifs have clear kinship with those of the introduction to the first movement, as does the presence of the timpani, rumbling beneath. There is a cautious (and then rather hasty) pizzicato passage and another orchestral growl, in the midst of which we perceive a hopeful rising fourth, eventually becoming the springboard to the movement’s principal theme. But first it has to shed its minor-key clothing. Another chromatic skirmish ensues, before an entirely new light is thrown on the proceedings. Over a haze of muted strings, we hear an heroic – almost Wagnerian – horn solo, inspired by music Brahms had heard in the Swiss Alps during the summer of 1868. This, at last, placates the Symphony’s impetuosity, as Brahms reveals the noble

Next concerts at Southbank Centre’s Royal Festival Hall saturday 21 january 2017 7.30pm Beethoven Fidelio

(yet somehow subjective) theme that will come to crown his First Symphony. Starting low in the strings, not unlike Beethoven’s ‘Ode to Joy’, this melody both acknowledges previously pugnacious chromaticism and strides boldly ahead, filling everything with its optimism. Finally, the melody slips its moorings and Brahms launches into a thrillingly liberated coda in C major. Programme notes © Gavin Plumley

Vladimir Jurowski conductor Anja Kampe Leonore Michael König Florestan London Voices For a full list of soloists visit lpo.org.uk Concert generously supported by Victoria Robey OBE and members of our Fidelio Supporter Syndicate.

WEDNESDAY 25 january 2017 7.30pm Giya Kancheli Mourned by the Wind (Liturgy for solo viola and orchestra)* Martinů Memorial to Lidice Vaughan Williams Symphony No. 9 Vladimir Jurowski conductor Isabelle van Keulen viola†

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

* Generously supported by donors to our Kancheli Appeal. † Please note a change of artist from previously advertised.

Free pre-concert event 6.00–6.45pm • Royal Festival Hall

Brahms: Violin Concerto Gil Shaham | Berlin Philharmonic | Claudio Abbado (Deutche Grammophon)

Vladimir Jurowski conducts the LPO’s Foyle Future Firsts in a chamber performance of Mahler’s Symphony No. 4.

Brahms: Symphony No. 1 London Philharmonic Orchestra | Klaus Tennstedt (LPO Label LPO-0068: see overleaf) or London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0043: see overleaf)

saturday 28 january 2017 7.30pm Rebel Les élémens (Simphonie nouvelle) Milhaud La Création du monde John Adams Harmonielehre Vladimir Jurowski conductor

Book now lpo.org.uk 020 7840 4242 London Philharmonic Orchestra | 11

Alan Cumberland 1945–2016

The London Philharmonic Orchestra is sad to report the passing on 4 December 2016 of Alan Cumberland, LPO Principal Timpanist from 1968–87. Alan worked with all of the world's great conductors during his time with the Orchestra, notably Sir Adrian Boult, Carlo Maria Giulini, Bernard Haitink, Daniel Barenboim, Zubin Mehta and Klaus Tennstedt, and his wonderful musicianship and distinctive sound can be heard on many recordings from that era. Alan had unique gifts as a player and as a teacher: he was Professor of Timpani at the Royal College of Music in London from 1970. On relocating to Australia in 1987 he became Principal of the Music School at the Queensland Conservatorium of Music and conducted all the orchestras there and in and around Brisbane as well as being Senior Lecturer in Timpani. In 1998 he moved to Hong Kong where he was Head of Wind, Brass and Percussion as well as Resident Conductor at the Hong Kong Academy of Performing Arts, conducting many concerts and opera productions there as well as continuing to teach timpani.

The number of Alan’s students now in orchestral jobs around the world bears testimony to his qualities as a teacher. In London alone these include John Chimes (recently retired Principal Timpanist of the BBC Symphony Orchestra); Andrew Smith (recently retired Principal Timpanist of the Philharmonia Orchestra); LPO players Andrew Barclay and Simon Carrington as well as former LPO timpanist Russell Jordan (now at the Royal Opera House); and the London Symphony Orchestra's Nigel Thomas (formerly in the LPO), Neil Percy and Antoine Bedewi, and LPO regular guest Jeremy Cornes. Alan was on the Board of Directors of the LPO for nine years, alongside his great friend and colleague Keith Millar, present-day stalwart of the Orchestra's percussion section. Aside from Alan’s playing and teaching careers, he was a colourful character with a devastatingly well-observed sense of humour, the nature of which bred many stories that are still being retold to this day, all over the world. Alan was a true lover of music who inspired the same in his students and colleagues. He was a man of great warmth and an icon within the profession who will be missed immeasurably by all those privileged to have known him. Rest in peace Alan, from your friends and LPO colleagues, Keith, Simon and Andy.

Brahms Symphonies on the LPO Label

Symphonies Nos. 1 & 2

Symphonies Nos. 3 & 4

Symphonies Nos. 1 & 3

Vladimir Jurowski conductor

Klaus Tennstedt conductor

LPO-0043 | £10.99 (2CD)

LPO-0075 | £9.99 (1CD)

LPO-0068 | £10.99 (2CD)

CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets, and the Royal Festival Hall shop. Download or stream online via iTunes, Amazon, Spotify and others.

12 | London Philharmonic Orchestra

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International 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 Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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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 Victoria Robey OBE Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich Associates Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Nino Kuparadze Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood

14 | London Philharmonic Orchestra

Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Dr Karen Morton

Mr & Mrs Andrew Neill Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Mr Derek B. Gray Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mrs Nino Kuparadze Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree

Mr James A Reece Mr Olivier Rosenfeld Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Victoria Robey OBE Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Bruno de Kegel William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Martin Höhmann 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 Laurence Watt Elizabeth Winter

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager