LPO programme: 13 Jan 2023 - Miloš plays Rodrigo (cond. Karen Kamensek)

Where music takes you

Concert programme

2022/23 concert season at the Southbank Centre

Miloš plays Rodrigo

Copland

El Salón México (11’)

David Bruce

The Peacock Pavane (world premiere) (10’)

Rodrigo Concierto de Aranjuez (22’)

Interval (20’)

Gabriela Ortiz Antrópolis (10’)

Falla

The Three-Cornered Hat: Suites 1 & 2 (23’)

Contents

2 Welcome LPO news

3 On stage tonight

4 London Philharmonic Orchestra

5 Leader: Pieter Schoeman

6 Karen Kamensek

7 Miloš Karadaglić

8 Programme notes

13 Recommended recordings

14 Next concerts

15 The Chevalier: March 2023

16 LPO 90th Birthday Appeal

17 Sound Futures donors

18 Thank you 20 LPO administration

guitar

The timings shown are not precise and are given only as a guide.

Concert presented by the London Philharmonic Orchestra

Karen Kamensek conductor

Miloš Karadaglić

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

Welcome LPO news

Welcome to the Southbank Centre

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.

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. Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, Topolski, 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:

Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

Readmission If you leave the auditorium during the concert, you will be readmitted at a suitable point at the discretion of our Visitor Assistants.

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. Mobiles and watches should be switched off before the performance begins.

Drinks

You are welcome to bring drinks from the venue’s bars and cafés into the Royal Festival Hall to enjoy during tonight’s concert. Please be considerate to fellow audience members by keeping noise during the concert to a minimum, and please take your glasses with you for recycling afterwards. Thank you.

Support our 90th Birthday Appeal

This season marks the LPO’s 90th anniversary, and as we mark this milestone and celebrate memories of the last 90 years (see more on page 16), we are asking for your help to keep the next 90 years – and beyond –exciting, dynamic and inclusive. Please consider donating to our Birthday Appeal, as we continue to make history in the present by offering life-enriching musical experiences for everyone.

As you may have seen from recent press and media coverage, the vibrant arts community of which we are part has been hit hard by the funding cuts from Arts Council England. The LPO is no exception to this and so we find ourselves even more reliant on our supporters and your generosity to help carry us forward towards an exciting future. Please make a donation of whatever size you can. Your gift to the LPO will enable us to keep writing the wonderfully rich and inspiring story of the LPO for the next 90 years and more.

Donate online at lpo.org.uk/celebrate90 or call our Individual Giving Team on 020 7840 4212 or 020 7840 4225 to make a donation by credit or debit card. Thank you.

FUNharmonics Family Concert: The Colour Monster – Sunday 29 January

Our FUNharmonics family concerts at the Royal Festival Hall are the perfect way to introduce the joy of classical music to the whole family. Each hour-long concert is presented in a fun and engaging way, with plenty of audience participation guaranteed to get everyone joining in! Your concert ticket includes free musical activities in the foyer spaces at the Royal Festival Hall, so the whole family can make a day of your visit.

Our next FUNharmonics concert, ‘The Colour Monster’, is on Sunday 29 January at 12 noon. Join the LPO, conductor Rebecca Tong and presenter Lucy Hollins to help untangle the Colour Monster’s messy emotions through the wonder of orchestral music. Inspired by the gorgeous book by Anna Llenas, published by Templar Books, this interactive concert will explore music that is sad, happy, angry, calm and more. A joyful first concert experience recommended for children aged five and above.

lpo.org.uk/funharmonics

First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe

Alfredo Reyes Logounova

Catherine Craig Elizaveta Tyun

Katalin Varnagy

Chair supported by Sonja Drexler Martin Höhmann

Nilufar Alimaksumova

Alice Apreda Howell Alice Hall

Yang Zhang Chair supported by Eric Tomsett

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan Helena Smart

Joseph Maher

Ashley Stevens

Claudia Tarrant-Matthews Georgina Leo Alison Strange Sheila Law

Nynke Hijlkema Charlie MacClure

Violas

Jonathan Barritt Guest Principal Martin Wray Katharine Leek Benedetto Pollani

Laura Vallejo

Kate De Campos

Raquel López Bolívar

Jill Valentine Michelle Bruil Daniel Cornford

Cellos

Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Francis Bucknall Susanna Riddell

On stage tonight

Tom Roff

Helen Thomas David Lale

George Hoult

Double Basses

Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston

Tom Walley

Chair supported by William & Alex de Winton Laura Murphy

Flutes

Juliette Bausor Principal Frederico Paixão Stewart McIlwham*

Piccolo

Stewart McIlwham* Principal

Oboes

Ian Hardwick* Principal Alice Munday

Cor Anglais

Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough James Maltby

E-flat Clarinet

Thomas Watmough Principal Chair supported by Roger Greenwood

Bass Clarinet

Paul Richards* Principal

Bassoons

Jonathan Davies Principal Chair supported by Sir Simon Robey Dominic Tyler

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal Martin Hobbs Duncan Fuller Gareth Mollison Oliver Johnson

Trumpets

Paul Beniston* Principal Jack Wilson Guest Principal Anne McAneney* David Hilton

Trombones

David Whitehouse Principal Andrew Connington

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Olly Yates Keith Millar Karen Hutt Joe Richards

Harp

Rachel Masters Principal

Piano & Celeste Philip Moore

* Holds a professorial appointment in London

The LPO also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley Caroline, Jamie & Zander Sharp

Welcome to Claudia Tarrant-Matthews, who joined the Second Violin section in December. Originally from New Zealand, Claudia was a participant on the Orchestra’s Foyle Future Firsts programme in 2020/21, and completed her postgraduate studies at the Royal Academy of Music in 2022. She is also a keen chamber musician, performing regularly with her Calathea Quartet. It’s great to welcome her to the LPO!

London Philharmonic Orchestra

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.

Our home is here at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.

Sharing the wonder

We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.

Our conductors

Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence.

Soundtrack to key moments

Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings

We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under Edward Gardner, captured in his first concert as

© Benjamin Ealovega

Pieter Schoeman Leader

LPO Principal Conductor in September 2021; and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.

Next generations

We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.

2022/23 and beyond

We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer.

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, Jean-Guihen Queyras, Yannick Nézet-Séguin, Martin Helmchen and Julia Fischer.

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.

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras; the Rotterdam and BBC Philharmonic orchestras; and the Leipzig Gewandhaus Orchestra.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

lpo.org.uk

© Benjamin Ealovega

Karen Kamensek conductor

Born in Chicago, Karen Kamensek is equally at home on the opera and concert stages. Her broad range of interests extend from classical to modern, including many world premieres, film music and crossover projects featuring jazz and world music.

A specialist in contemporary music, Karen regularly works with the American composer Philip Glass, whose chamber opera Orphée she conducted in New York and Germany, as well as the world premiere of Les Enfants terribles at the Spoleto Festival. A further Glass premiere under Kamensek’s baton was the first ever live performance of Passages in 2017, in collaboration with Anoushka Shankar – this also marked her BBC Proms debut, where she returned in summer 2022. In recent years Karen has also made Glass’s opera Akhnaten a core part of her repertoire, and she was honoured with a Grammy Award for her recorded performance of the work at the Metropolitan Opera in 2019.

During the 2022/23 season Karen Kamensek returns to English National Opera for Akhnaten, Welsh National Opera for Bernstein’s Candide and Norwegian National Opera for Wonderful Town; and makes her debut at the Minnesota Opera with Don Giovanni. As well as tonight’s debut with the London Philharmonic Orchestra, her symphonic engagements this season include concerts with the Brussels Philharmonic, Calgary Philharmonic, Vancouver Symphony and Pacific Symphony orchestras, and with the Tiroler Sinfonieorchester and at the RBB Ultraschall Festival in Berlin.

Highlights of Karen’s 2021/22 season included a return to the Metropolitan Opera for a revival of Akhnaten and Rigoletto, her debut at the Lyric Opera of Chicago with

Die Zauberflöte, the world premiere of Glass’s Ballet Alice at Opera National du Rhin, Così fan tutte at Arizona Opera, and concerts with the Orchestre Chambre de Paris and Charlotte Symphony.

As a sought-after opera conductor, Karen Kamensek is a regular guest at major opera houses around the world including the Metropolitan Opera, Deutsche Oper Berlin, Oper Frankfurt, Gothenburg Opera, Royal Swedish Opera, Bergen Opera, English National Opera, Israeli Opera, New York City Opera, Opera Australia (Melbourne), Royal Danish Opera, San Diego Opera, San Francisco Opera and Vienna Volksoper. Special highlights have included Britten’s Death in Venice, Debussy’s Pelléas et Mélisande, Floyd’s Susannah, Lehár’s The Merry Widow, Leoncavallo’s I Pagliacci, Mascagni’s Cavalleria rusticana, Mussorgsky’s Boris Godunov, Puccini’s Tosca, Verdi’s Otello and Wagner’s Lohengrin.

On the concert podium she has conducted orchestras including the Oslo Philharmonic, Stockholm Philharmonic, Bergen Philharmonic, Royal Northern Sinfonia, Tonkünstler Niederösterreich, Dortmund Philharmonic, Orchestre National Bordeaux, Orchestre Philharmonique de Marseille, Orchestre National de Montpellier, Orchestre National de Lille, Norwegian Radio Orchestra, Norrköping Symphony Orchestra, Malaysian Philharmonic Orchestra, Orchestre de Chambre de Lausanne, Orchestre Chambre de Paris, MDR Symphony Orchestra, Leipzig Symphony Orchestra, Vienna Radio Symphony Orchestra, Hamburg Philharmonic Orchestra, Freiburg Philharmonic Orchestra, Halle Philharmonic State Orchestra, San Antonio Symphony, Basel Symphony Orchestra, Slovenian Philharmonic Orchestra Ljubljana, Malmö Symphony, Helsingborg Symphony, Orchestra Sinfonica di Milano Giuseppe Verdi and Hungarian National Philharmonic.

Karen Kamensek was First Kapellmeister at the Vienna Volksoper from 2000–02 and Music Director at the Theater Freiburg from 2003–06, after which she took up the position of interim Chief Conductor at the Slovenian National Theatre in the 2007/08 season. From 2008 she served as deputy Music Director at the Hamburg State Opera, before becoming Music Director and Chief Conductor of the Hanover State Opera in 2011. She led the opera in Hanover until 2016, during which time she conducted numerous new productions including Shostakovich’s Lady Macbeth of Mtsensk, Wagner’s Die Meistersinger von Nürnberg, Puccini’s Il trittico, Detlev Glanert’s Caligula and Janáček’s Jenůfa

© Todd Rosenberg

Miloš Karadaglić guitar

Miloš is one of the world’s most celebrated classical guitarists. His career began its meteoric rise in 2011 with the release of his international best-selling Deutsche Grammophon debut album, ‘Mediterraneo’. Since then he has earned legions of fans, awards and acclaim around the world through his extensive tours, six chart-topping recordings, and television appearances.

Now exclusive to Sony Classical, Miloš is committed to expanding the classical guitar repertoire through the commissioning of new works. His latest release, ‘The Moon and the Forest’, features two world premiere concertos by Howard Shore and Joby Talbot. His next solo album is due for release later in 2023 and will explore the theme of the Baroque and its guitar repertoire treasures. Over the past decade, the instrument’s popularity has exploded thanks to Miloš’s pioneering approach: aspiring guitarists can even learn from him through Schott’s ‘Play Guitar with Miloš’ series. In 2016, BBC Music Magazine included him in its list of ‘Six of the Best Classical Guitarists of the Past Century’.

Miloš has appeared as a soloist with some of the world’s greatest orchestras: in 2014 he performed with the London Philharmonic Orchestra on tour throughout the UK, and in the same year released the album Aranjuez on Deutsche Grammophon, recorded with the LPO and Yannick Nézet-Séguin and featuring the Concierto de Aranjuez alongside other works by Rodrigo and de Falla. He has also appeared with the LA Philharmonic, Atlanta Symphony, Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, Orquesta Nacional de España, Accademia Nazionale di Santa Cecilia in Rome and NHK Symphony in Tokyo. His sold-out solo recital in the round at the Royal Albert Hall in 2012 was lauded by

critics and caused a worldwide sensation. He returned to the Hall post-pandemic in June 2022 to a full capacity audience.

Other recent and forthcoming highlights include the Verbier and Schleswig-Holstein festivals; recitals in London, New York and Washington DC; concertos with the Atlanta and Detroit symphony orchestras, the Orchestre Métropolitain in Montreal, the Hallé and in Graz; as well as tours in Australia, Europe and the US. This year he will also make his concerto debut in Paris with the Orchestre Philharmonique de Radio France, playing Howard Shore’s concerto The Forest.

A passionate advocate for music education, Miloš is an active patron of numerous charities supporting young musicians in the UK and abroad. Born in Montenegro in 1983, he moved to London to study at the Royal Academy of Music at the age of 17. He continues to live and work in London, while keeping close ties to his homeland. He performs on a 2017 Greg Smallman guitar.

© Lars Borges/Mercury Classics

Programme notes Aaron Copland

1900–90

El Salón México 1934

In 1932, America’s most high-profile composer received an invitation from his Mexican equivalent. Carlos Chávez lured Aaron Copland south with the prospect of a dedicated concert at Mexico’s National Conservatory of Music. Copland and his partner Victor Kraft were keen to see Mexico after the revolution that ended in 1920 and staying in the country for four months. The best thing about Mexico, Copland wrote in a letter to a friend, was ‘the people.’ But Copland also became particularly keen on a certain place. That place was the multi-room nightclub El Sálon México, where dance music of various styles would be heard, and where bouncers would frisk visitors for ‘artillery’ at the door. The venue in Mexico City became one of Copland’s favourite hangouts.

Back in the USA, and over a period of some years, Copland wrote an orchestral work in celebration of the sálon, and taking its name. It was completed in the summer of 1934 in Minnesota and first performed by the Orquestra Sinfónica de Mexico, conducted by Chávez, in 1937. Copland was understandably concerned about the work’s reception - not only the notion of a ‘gringo’ writing a piece about Mexican culture, but also his borrowing of Mexican folk tunes in an attempt to conjure up the spirit of the place. In fact, those folk tunes – among them ‘El Palo Verde’ and ‘El Mosco’ – are absorbed and reproduced by Copland, sounding almost as his own.

We can sense the outline of the former tune in the work’s abrupt opening and in the trumpet solo that follows. There are echoes of ‘El Mosco’, meanwhile, in the weaving tune played by bass clarinet and bassoon over a patterned accompaniment provided by timpani, piano and double basses. That sets the mould for a collage of material and atmospheres in which Copland affectionately recalls his time in Mexico.

‘In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people — the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people — their humanity, their dignity and unique charm.’

– Aaron Copland

Programme notes

David Bruce born 1970

The Peacock Pavane world premiere

Miloš Karadaglić guitar

The pavane is a slow stately dance, common in Europe since the Renaissance. There is some suggestion that the Spanish word pavón – meaning peacock – is the origin of the dance’s name, but peacocks also have many different symbolic meanings: they can be seen as a symbol of beauty, self-expression, royalty, luck, or new life (some see them as the earthly incarnation of the mythical phoenix). With its spectacular tailfeathers full of eyes, the peacock is also a symbol of watchfulness and patience.

I like to think of The Peacock Pavane as a kind of ‘dance from afar’. It was written at the height of the Covid pandemic amidst a time of watchfulness, patience and stoicism. I think the piece is mainly about waiting. It doesn’t really go anywhere. Time continues, but it treads the same steps over and over.

During the pandemic, many of us spent weeks and months away from loved ones, longing for that moment when we’d finally be able to reunite. That feeling was heightened for me in September 2020 when my daughter – my eldest child – left home to start her studies. During the previous six months of lockdown, we had all spent a lot of time together as a family and I had enjoyed more than ever the time spent with her, going for walks and chatting about the future. Then suddenly she was off, peacock-like, to start a new life, and what was left behind was tender feelings of absence and longing.

David Bruce © 2022

Composer profile: David Bruce

Born in Stamford, Connecticut, David Bruce grew up in the UK and is now regularly performed on both sides of the Atlantic. He has written orchestral pieces for the BBC Proms (Sidechaining, 2018) and for the San Diego Symphony, for whom he wrote three pieces as Associate Composer in 2013/14, including Night Parade for the orchestra’s Carnegie Hall debut in 2013; and the violin concerto Fragile Light for Gil Shaham in 2014. His fourth Carnegie Hall commission, That Time with You (2013) for mezzosoprano Kelley O’Connor, followed Steampunk (2011), Gumboots (2008) and Piosenki (2006). In 2012/13 David was Composer-in-Residence with the Royal Opera House, who co-commissioned with Glyndebourne the opera Nothing, which returns with a new production to Norwegian Opera in autumn 2023. Bruce’s chamber opera The Firework Maker’s Daughter (after the Philip Pullman story) toured the UK and New York in 2013 and was shortlisted for the British Composer Awards and the 2014 Olivier Awards. Future plans include a new violin concerto for Daniel Hope and the Zurich Chamber Orchestra for the soloist’s 50th birthday. Alongside his composing career, David runs the sheet music website 8notes.com and has a hugely popular YouTube channel (‘David Bruce Composer’), where he talks about music and composing to over 250,000 subscribers.

Programme notes

Joaqúin Rodrigo 1902–99

Concierto de Aranjuez 1940

Miloš Karadaglić guitar

1 Allegro con spirit 2 Adagio 3 Allegro gentile

Many thousands profess no deep relationship with classical music, yet remain on intimate terms with a guitar concerto written in Madrid in 1940, the Concierto de Aranjuez. Its composer Joaqúin Rodrigo, blind from the age of three, was of the generation after Falla, whose music from The Three-Cornered Hat we hear later this evening. Like his senior, Rodrigo also studied in France before returning to Spain, where he would eventually occupy the Manuel de Falla Chair on the University of Madrid’s music faculty. Again, Rodrigo sought to recreate a distinctly Spanish ambience in his works, ‘where folklore is a picturesque element’ (musicologist Tomás Marco’s phrase). That, with the help of Rodrigo’s gift for melody and some charismatic guitarists, has given the Concierto de Aranjuez special status.

Or perhaps that status was sealed the moment the Concerto had its first performance on 9 November 1940, courtesy of the guitarist Regino Sainz and the Orquestra Filarmónica de Barcelona conducted by César Mendoza Lasalle. At the time, Spain was in the grip of a bloody civil war and in need of solace and inspiration.

Rodrigo’s Concerto delivered both. Its composer was immediately recognised by his country and went on to write ten more guitar concertos – and copious other works – that betrayed little interest in contemporary European trends but continued to reflect Spain’s artistic, poetic and literary traditions.

This Concerto was conceived as a picture of court life at Aranjuez, a royal palace and garden between Madrid and Toledo, around the turn of the 19th century (as reflected in a series of paintings by Francisco Goya). Rodrigo wrote that his first movement is ‘animated throughout … with singular strong and bright rhythms’, apparent not least in its vibrant march.

In the hauntingly beautiful Adagio, the soloist engages in tender dialogue with orchestral soloists, particularly the mellow cor anglais. The composer’s wife commented that the movement evoked ‘the happy days of our honeymoon, when we would walk through the parks of Aranjuez.’ The final movement returns to the spirited rhythms of the opening, recalling the flavour of a rococo-style court dance in its combination of twoand three-beat bars.

Interval – 20 minutes

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

Programme notes

Gabriela Ortiz born 1964 Antrópolis 2019

The word ‘antro’ has its origin in the Latin ‘antrum’, meaning ‘grotto’ or ‘cavern’. In Mexico, until the 1990s, the term referred to bars or entertainment places of dubious reputation. But nowadays, and especially among younger people, this word refers to any bar or nightclub. One time, while talking with flautist Alejandro Escuer, we imagined the title of a future work, one that would synthesise the music of Mexico’s legendary dance halls and bars: Antrópolis, a neologism, a precise invented name for a piece that narrates the sound of the city through its dance halls and nightclubs.

In 2017, conductor Carlos Miguel Prieto commissioned me to write a short work – brilliant and rather light-hulled – to be premiered at the close of a concert celebrating the 80th birthday of American composer Philip Glass, performed by the Louisiana Philharmonic Orchestra at Carnegie Hall in New York. Given the parameters of the commission, I retrieved the title we had imagined, and thus Antrópolis came to life. It is a piece in which I wanted to pay a very personal tribute to some of those ‘antros’ or emblematic dance halls of Mexico City that left a special sonorous imprint in my memory. These cabarets or dance halls that represent the nostalgia for rumberas and live dance orchestras, such as ‘El Bombay’, where it is said that Che Guevara would twirl; or the ‘Salón Colonia’, which seems to have come out of dreams taken from a film of the Golden Age of Mexican cinema. Who doesn’t remember the fun ballroom ‘Los Infiernos’, a perfect place for those who after a long day at work would leave their cubicles to go dancing, drink, and listen to music. Finally, the memory of the bar ‘Tutti Frutti’ leaves an impression, where I first met the punk couple who own the ‘antro’, and where you could listen to experimental music from the 1980s.

Antrópolis is the sonorous reflection of a city through its ‘antros’, including the accumulation of experiences that we bring, and that form an essential part of our history in this very complex but fascinating Mexico City. Gabriela Ortiz, 2019

Composer profile: Gabriela Ortiz

Latin Grammynominated Gabriela Ortiz is one of the foremost composers in Mexico today, and one of the most vibrant musicians emerging on the international scene. Her musical language achieves an extraordinary and expressive synthesis of tradition and the avantgarde, combining high art, folk music and jazz in novel, frequently refined and always personal ways. Her compositions are credited for being both entertaining and immediate as well as profound and sophisticated, achieving a balance between highly organised structure and improvisatory spontaneity. Although based in Mexico, her music is commissioned and performed all over the world.

Ortiz has written music for dance, theatre and film, and collaborated with poets, playwrights and historians. She has composed three operas, in all of which interdisciplinary collaboration has been a vital experience. These operas are framed by political contexts of great complexity, such as the drug war in Only the Truth, illegal migration in Ana and her Shadow, and the violation of university autonomy during the student movement of 1968 in Firefly

World premieres in 2022 included Clara for orchestra, commissioned by the New York Philharmonic; Altar de Cuerda for violin and orchestra, commissioned by the Los Angeles Philharmonic and dedicated to María Dueñas; and Tzam for orchestra commissioned by the Cincinnati Symphony Orchestra.

Programme notes

Manuel de Falla 1876–1946 The Three-Cornered Hat, Suites 1 & 2 1919 1 Introduction – Afternoon

Dance of the Miller’s Wife (Fandango)

The Magistrate

The Grapes

Dance of the Miller (Farruca)

Final Dance (Jota)

Manuel de Falla captured the essence of Spain in concert music more successfully than any other composer. He was born in Cádiz and trained in Madrid. After seven years in Paris dreaming of his beloved Andalucía, Falla returned to Spain.

Falla had a natural flair for the theatrical. In 1917, his association with the dramatist Gregorio Martínez Sierra led him to write music for a short mime play based on the novel El sombrero de tres picos (‘The ThreeCornered Hat’) by Pedro Antonio de Alarcón, itself based on a well-known Spanish folk tale. The production, with Falla’s score, was titled El Corregidor y la molinera (‘The Magistrate and the Miller’).

The impresario Serge Diaghilev saw the play and liked it. He persuaded Falla to expand and re-write his incidental music to form a complete ballet. The resulting dance piece, reclaiming Alarcón’s original title, was first performed at the Alhambra Theatre in London in 1919. It was a hit. That might have had something to do with Pablo Picasso’s striking cubist sets and Léonide Massine’s vivid choreography. But Falla’s music proved just as intoxicating with its bright colours, crisp rhythms and harmonic panache. The composer’s musical style is rooted in Spanish folk songs and dances, but comes

Programme notes

seasoned with hints of French impressionism and European modernism.

Falla distilled two suites of orchestral excerpts from the score (which in its full version includes soprano and chorus). The first suite focuses on the ballet’s first act, introducing the farcical story of a bumbling magistrate’s attempts to seduce a miller’s wife and ending up humiliated. An abrupt fanfare takes us unequivocally to Spain, before patterning strings and sultry winds suggest a hot, lazy afternoon. Listen out for the bassoon, characterizing the pompous magistrate. The miller has his wife tease the magistrate by dancing a seductive Fandango. The bassoon then brings the magistrate back into the picture, before he is flirted with more coquettishly by the miller’s wife, who deigns to offers him some of her grapes.

The second suite consists of three dances. The first depicts gathering of the miller’s neighbours to mark the eve of a religious festival and their dancing of a Seguidilla – a quick but genteel triple-time dance native to central Spain. The following miller’s dance is a sultry, trenchant, flamenco-inspired Farruca – a dance specifically for a man, in which the miller here celebrates his successful tricking of the magistrate. To finish, we hear a Jota, a dance with six beats to the bar and obligatory castanets which originated in Aragon. Falla uses it here to revisit the ballet’s main melodies and deliver a suitably thrilling culmination.

Copland, Rodrigo & Falla programme notes © Andrew Mellor

Recommended recordings of tonight’s works

by Laurie Watt

Copland: El Salón México

BBC Philharmonic | John Wilson (Chandos) or Detroit Symphony Orchestra | Leonard Slatkin (Naxos)

Rodrigo: Concierto de Aranjuez Miloš Karadaglić | London Philharmonic Orchestra Yannick Nézet-Séguin (Deutsche Grammophon)

De Falla: The Three-Cornered Hat Mahler Chamber Orchestra | Pablo Heras-Casado (Harmonia Mundi) or Raquel Lojendio | BBC Philharmonic | Juanjo Mena (Chandos)

Tune In: new issue out now

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Next LPO concerts at the Southbank Centre’s Royal Festival Hall

RACHMANINOFF’S FIRST

Wednesday 18 January 2023 | 7.30pm

Brett Dean Amphitheatre

Kinan Azmeh Clarinet Concerto (UK premiere)

Rachmaninoff Symphony No. 1

Enrique Mazzola conductor Kinan Azmeh clarinet

Generously supported by Cockayne – Grants for the Arts and The London Community Foundation

10.00pm | Purcell Sessions post-concert performance Purcell Room at Queen Elizabeth Hall Syrian clarinettist/composer Kinan Azmeh performs his own music alongside musicians from the LPO. Tickets £20, or £10 when also booking for the main 7.30pm concert

TAN DUN’S BUDDHA PASSION

Sunday 22 January 2023 | 7.30pm

Tan Dun Buddha Passion (UK premiere)

Tan Dun conductor Sen Guo soprano/ indigenous female singer Huiling Zhu mezzo-soprano Kang Wang tenor Shenyang bass-baritone Batubagen indigenous male singer/Dunhuang xiqin Yining Chen pipa/dancer London Philharmonic Choir London Chinese Philharmonic Choir

THREE BRITONS

Wednesday 25 January 2023 | 7.30pm

Coleridge-Taylor Solemn Prelude (London premiere)

Tippett Piano Concerto

Elgar Symphony No. 1

Edward Gardner conductor Steven Osborne piano

LPO.ORG.UK

Enrique Mazzola © Eric Garault

In

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In

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1987, with a commitment to sharing orchestral music with as wide and diverse an audience as possible, we established our Education and Community programme.

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Orchestra celebrates its 90th birthday.

first ever LP O concert

in July 1953: The opening Ruslan&Ludmilla overture thrilled me! A fan for life.”

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saw us record the national anthems for the London 2012 Olympic Games!

2021, thrilled to be reunited with live audiences, we gave London’s first performance of Tippett’s The Midsummer Marriage in 17 years.

We were the first orchestra to perform at Glyndebourne Festival Opera in 1964.

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

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and all others who wish to remain anonymous.

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

Kara Boyle

Jon Carter

Jay Goffman

Alexandra Jupin

Natalie Pray

Damien Vanderwilt

Marc Wasserman

Elizabeth Winter

Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors

Natasha Tsukanova Co-Chair

Martin Höhmann Co-Chair

Mrs Irina Andreeva

Steven M. Berzin

Shashank Bhagat

Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet

Irina Gofman

Countess Dominique Loredan

Olivia Ma

George Ramishvili

Sophie Schÿler-Thierry

Jay Stein

London Philharmonic Orchestra Administration

Board of Directors

Dr Catherine C. Høgel Chair

Lord Hall of Birkenhead CBE Vice-Chair

Martin Höhmann* President

Mark Vines* Vice-President

Kate Birchall*

David Buckley

David Burke

Bruno De Kegel

Deborah Dolce

Elena Dubinets

Tanya Joseph Hugh Kluger*

Katherine Leek*

Al MacCuish

Minn Majoe*

Tania Mazzetti*

Jamie Njoku-Goodwin

Andrew Tusa

Neil Westreich

Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)

*Player-Director

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