LPO concert programme: 19 Mar 2022 - Bryn Terfel sings Brahms (Edward Gardner, conductor) by London Philharmonic Orchestra

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 19 March 2022 | 7.30pm

Bryn Terfel sings Brahms Mendelssohn Overture: A Midsummer Night’s Dream (11’) Brahms Four Serious Songs, Op. 121 (16’) Interval (20’) Schoenberg Pelleas und Melisande, Op. 5 (44’)

Contents 2 3 4 5 6 7 8 9 12 15 16 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Bryn Terfel Edward Gardner on tonight’s programme Programme notes Song texts and translations Recommended recordings Next concerts Sound Futures donors Thank you LPO administration

Edward Gardner conductor

Supported by Aud Jebsen

Bryn Terfel bass-baritone Concert generously supported by Victoria Robey OBE.

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 30 March 2022 at 7.30pm. It will subsequently be available for 30 days via the Radio 3 website and the BBC Sounds app.

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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A few points to note for your comfort and enjoyment:

be from a background that is currently underrepresented in professional UK orchestras play an orchestral instrument at Grade 8 standard or above be aged 15–19 on 1 September 2022 be thinking of studying music beyond school

The deadline for applications is 5pm on Friday 22 April 2022. Visit lpo.org.uk/juniorartists to find out more.

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

You can hear our talented 2021/22 LPO Junior Artists perform alongside LPO players and Foyle Future First musicians at a free pre-concert event on the Royal Festival Hall stage at 6.00pm on Wednesday 13 April. Conducted by Gabriella Teychenné, the programme includes music by Delius, Bartók, Bizet, and a new commission by Geoffrey King.

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.

New on the LPO Label: Jessye Norman sings Strauss

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The latest release on our LPO Label is an album of works by Richard Strauss featuring the late Jessye Norman. Conducted by Klaus Tennstedt at the Royal Festival Hall in 1986, this live recording captured the extraordinary soprano in the prime of her career. It features five of Strauss’s songs and the Dance of the Seven Veils and Closing Scene from Salome, as well as the orchestral suite Le bourgeois Gentilhomme. The album is available now to stream or download, or to purchase on CD from all good retailers.

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Minn Majoe Lasma Taimina

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

Nilufar Alimaksumova Martin Höhmann

Chair supported by Chris Aldren

Ronald Long Thomas Eisner Alice Hall Catherine Craig Joseph Devalle Yang Zhang

Chair supported by Eric Tomsett

Katalin Varnagy

Chair supported by Sonja Drexler

Gabriela Opacka Ricky Gore

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Joseph Maher Marie-Anne Mairesse Nynke Hijlkema Ashley Stevens Erzsébet Rácz Fiona Higham Chair supported by David & Yi Buckley

Sarah Thornett Kate Birchall Sioni Williams Nancy Elan Kate Cole Jessica Coleman Jamie Hutchinson

Violas

Piccolos

David Quiggle Principal Richard Waters Co-Principal

Stewart McIlwham* Principal

Clare Childs

Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Laura Vallejo Benedetto Pollani Katharine Leek Joseph Fisher Mark Gibbs Stanislav Popov Martin Wray Pamela Ferriman Martin Fenn

Oboes

Cellos

Clarinets

Trombones

Cor Anglais

David Whitehouse Tom Berry Richard Ward

Chair supported by Dr Barry Grimaldi

Jennifer Brittlebank

Chair supported by Bianca & Stuart Roden

Benjamin Mellefont Principal Thomas Watmough Elliot Gresty James Maltby

Chair supported by The Candide Trust

Bass Clarinets

Leonardo Sesenna Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Helen Thomas Sibylle Hentschel David Bucknall Iain Ward Rosie Banks

Paul Richards* Principal James Maltby

E-flat Clarinet

Gareth Newman Emma Harding

Hugh Kluger George Peniston Tom Walley

Contrabassoon

Simon Estell* Principal

Horns

John Ryan* Principal James Pillai Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Oliver Johnson Jonathan Lipton

Flutes

Fiona Kelly Guest Principal Imogen Royce Clare Childs Stewart McIlwham*

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Bassoons

Chair supported by Sir Simon Robey

Charlotte Kerbegian Simon Oliver Cathy Colwell

Bass Trombone

Keith Millar Feargus Brennan Karen Hutt

Kevin Rundell* Principal Sebastian Pennar

Chair supported by William & Alex de Winton

Andrew Barclay* Principal

Jonathan Davies Principal

Co-Principal

Mark Templeton* Principal

Thomas Watmough Principal Chair supported by Roger Greenwood

Double Basses

Paul Beniston* Principal Robin Totterdell Tom Nielsen Tony Cross

Ian Hardwick* Principal Alice Munday Jennifer Brittlebank

Sue Böhling* Principal

Kristina Blaumane Principal

Trumpets

Chair supported by Gill & Garf Collins

Harps

Rachel Masters Principal Emma Ramsdale Tomos Xerri Alis Huws

Assistant Conductor James Ham

* Holds a professorial appointment in London

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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.

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.

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Edward Gardner Principal Conductor, London Philharmonic Orchestra

Berlin, Royal Stockholm Philharmonic and Wiener Symphoniker; while returns included engagements with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms. Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. The 2021/22 season will see Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since 2015. From February 2022 he also became Artistic Advisor at the Norwegian Opera & Ballet, and will take up the position of Music Director in August 2024. During the 2021/22 season Edward conducts the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres. In September 2021 he and the LPO appeared at the Enescu Festival in Bucharest, and in November they embarked on an extensive tour of Germany with pianist Jan Lisiecki. Following tonight’s concert, he next returns to the LPO on 30 March for a concert featuring four UK premieres, and on 2 April for Brahms’s German Requiem with the London Philharmonic Choir: see page 16.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014. Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic’s 2021/22 season with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra will perform in Barcelona and Paris this season.

Edward Gardner’s position at the LPO is supported by Aud Jebsen.

In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Bryn Terfel bass-baritone

House and the Metropolitan Opera, New York; his debut in the role of Reb Tevye in Fiddler on the Roof for Grange Park Opera; Sweeney Todd for English National Opera; and hosting a four-day festival, Brynfest, as part of the Southbank Centre’s Festival of the World. Equally at home on the concert platform, his highlights range from the opening ceremony of the Wales Millennium Centre, the BBC Last Night of the Proms and the Royal Variety Show to a Gala Concert with Andrea Bocelli in Central Park, New York and curating a special Christmas concert and live international stream for the Metropolitan Opera’s ‘Met Stars Live in Concert’ series from Brecon Cathedral, Wales. Recent performances include a series of concerts with the Orchestre National de Bretagne in Rennes and Paris, celebrating 250 years since Beethoven’s birth with orchestral arrangements of Beethoven’s Celtic Songs. He has given recitals all around the world, and for nine years he hosted his own festival in Faenol, North Wales.

Welsh bass-baritone Sir Bryn Terfel has established an extraordinary career, performing regularly on the prestigious concert and opera house stages of the world.

Sir Bryn is a Grammy, Classical Brit and Gramophone Award winner, with a discography encompassing operas of Mozart, Wagner and Strauss, and more than 15 solo discs including Lieder, American musical theatre, Welsh songs and sacred repertoire.

After winning the Song Prize at the 1989 BBC Cardiff Singer of the World, Sir Bryn made his professional operatic debut in 1990 as Guglielmo in Così fan tutte with Welsh National Opera. He made his international operatic debut in 1991 as Speaker in Die Zauberflöte at the Théâtre de la Monnaie, Brussels, and made his American debut in the same year as Figaro with Santa Fe Opera. Other roles performed during his career include Méphistophélès in Faust; both the title role and Leporello in Don Giovanni; Jochanaan in Salome; the title role in Gianni Schicchi; Nick Shadow in The Rake’s Progress; Wolfram in Tannhäuser; Balstrode in Peter Grimes; and Four Villains in Les contes d’Hoffmann.

Bryn Terfel was made a Commander of the British Empire (CBE) for his services to Opera in 2003, was awarded the Queen’s Medal for Music in 2006, and received a knighthood for his service to music in 2017. Earlier this year, he was honoured with the title of Austrian Kammersänger for his services to the Vienna Staatsoper. He was the last recipient of the Shakespeare Prize by the Alfred Toepfer Foundation, and in 2015 he was given the Freedom of the City of London.

Recent performances include Balstrode for the Vienna Staatsoper and the Royal Opera House, Covent Garden; Holländer in Der fliegende Holländer for the Vienna Staatsoper and for his house debut at ABAO Bilbao Opera; Falstaff for Bayerische Staatsoper, Münich and Grange Park Opera; Scarpia in Tosca for Bucharest National Opera; Don Pizarro in Fidelio at the Schloßberg, Graz; Don Pasquale at the Royal Opera House; Sweeney Todd for Zürich Opera; and Boris Godunov for Deutsche Oper Berlin and the Royal Opera House. Other operatic highlights to date include his role debut as Hans Sachs in the critically acclaimed production of Die Meistersinger von Nürnberg for Welsh National Opera; Wotan in the Ring Cycle at the Royal Opera

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes Edward Gardner on tonight’s programme A welcome from our Principal Conductor

‘Schoenberg’s Pelleas und Melisande is a brilliant outpouring of late Romanticism. We identify Schoenberg more with his later tonality-challenging style than we do with the earlier works written in the saturated soundworld at the end of an era. I find the mix of exquisitely painted detail and surging fateful narrative wondrous. Strauss (who recommended the subject of Pelleas to Schoenberg) boasted of his own abilities of painting anything in his music: for me, Schoenberg is his equal – in Pelleas und Melisande we have Melisande’s cascading hair in four harps, the toxic smell beneath the castle, a “piece within the piece” where we hear and visualise Pelleas and Melisande’s love and infatuation for each other growing, and in contrast the brutality of Pelleas’s quick death. The score is crammed with detail and complexity, but the musical language and emotion speaks directly.

What a joy it is to welcome back Bryn Terfel to the Orchestra; this orchestration of Brahms’s Four Serious Songs brings out all the depth and fervour in the songs, and will form a perfect fit with Bryn’s unique storytelling.

Mendelssohn is, for me, the catalyst for the blossoming of Romanticism in music. The music of Wagner, and later, Schoenberg, couldn’t exist without the earlier composer’s brilliance and fantasy. The Overture to A Midsummer Night’s Dream creates another world with utter joy and virtuosity. Expect a lot more Mendelssohn over the next years!’

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes Felix Mendelssohn 1809–47

Overture: A Midsummer Night’s Dream 1826

Of all musical prodigies, Mendelssohn can justifiably be considered the most astonishing. Even Schumann’s description of him as ‘the Mozart of the 19th century’ probably does him poor justice. For while Mozart composed few works before his late teens that are heard and admired today in their own right, Mendelssohn’s gifts, nurtured by enlightened teaching and enriched by parallel talents for poetry and painting, led him in just six years from his first known composition – a piano piece written when he was eleven – to two masterpieces: the String Octet, composed when he was 16; and the Overture to A Midsummer Night’s Dream, produced the following year.

By the mid-1820s the Mendelssohn family house in Berlin had become one of the city’s most important cultural and intellectual salons, with leading philosophers, writers, musicians and scientists among its visitors. It was in these surroundings that the young Felix acquired a taste for Shakespeare in the influential German translations of August Wilhelm von Schlegel; and it was here that the Midsummer Night’s Dream Overture was first performed on 6 August 1826. Like all of Mendelssohn’s works, it is composed with supreme skill and polish, but its greatness lies in the success with which it conjures Shakespeare’s magic world. Right from the start we are in the fairy realm as four atmospheric wind chords lead to a feather-light dance for strings. Later on, there is a Romantic theme for the lost lovers and a boisterous representation of the braying of the weaver Bottom, transformed into an ass. Mendelssohn does not really attempt to follow the story of the play with these themes, but after the fairies have been to the fore in the work’s central portion, there is a broken, almost tragic version of the lovers’ theme which seems to be healed by the reappearance of the opening chords. And as the Overture closes in a mood of enchanted calm, it is hard not to call to mind the play’s closing moments when, tramping humans having gone to bed, the night is once more the place for fairy sports.

Felix Mendelssohn

Photograph courtesy of the Royal College of Music, London

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes Johannes Brahms 1833–97, orch. Karl Michael Komma (1913–2012)

Four Serious Songs, Op. 121 1896 Bryn Terfel bass-baritone 1 Denn es gehet dem Menschen For that which befalleth the sons of men 2 Ich wandte mich So I returned 3 O Tod, wie bitter bist du O death 4 Wenn ich mit Menschen und mit Engelszungen redete Though I speak with the tongues of men The texts and translations begin on page 12. As Brahms approached 60 and began to suffer the deaths of many of his closest friends, his thoughts seem to have turned towards his own mortality. In 1890 he decided to retire from composing and start sorting his musical and household affairs, but he was soon stirred back into action by the clarinet-playing of Richard Mühlfeld, for whom he proceeded to write some of his finest chamber music. At the same time he also produced his sublime final sets of piano pieces. Much of this music has a strongly affecting elegiac and autumnal feel, but there is no mistaking the dramatic darkening of tone in what came next. In March 1896 his dearest friend Clara Schumann – one of the greatest pianists of the age, widow of the composer Robert Schumann, and a massive musical and emotional presence in Brahms’s life – had a stroke, dying two months later, and it was during her illness that Brahms wrote the immensely powerful Vier ernste Gesänge (Four Serious Songs) for voice and piano. He completed them on 7 May, his own 63rd birthday. By the following May, he would be dead himself.

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes Although the songs set texts from the Bible, Brahms deliberately chose the word ‘serious’ over ‘sacred’ to describe them. These philosophical meditations on life, the transition to death and the supremacy of love easily shake free of Christian dogma, and while the Lutheran preoccupation with the afterlife as a release from the pains of earthly life is present – as it had been 30 years earlier in the German Requiem – God is not mentioned at all. The songs are surely in part a memorial to Clara, but in a letter to her daughter Brahms wrote that ‘some such words as these have long been in my mind’.

march with the angry, swirling music of mortal dust swept up by the wind. A major-key glint briefly hints at solace, but the song ends in the oblivion of two stark chords. There is indignation too, in the second song, though its bleak message – that it is better never to have lived – is mainly conveyed through melodic motifs which, weighed down by heaviness, repeatedly fall to earth. The third song is a dialogue with death that carries itself movingly from bitterness (minor-key falling motifs again) to acceptance (major-key rising figures). And St Paul’s famous words on the power of love bring a change of mood in the final song: opening in an air of celebration by turns defiant and thoughtful, it majestically broadens and deepens to depart in a gleam of love and light.

The atmosphere of the Requiem is present in the first song, which alternates a solemnly swaying funeral

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

Edward Gardner conducts Brahms’s German Requiem with the London Philharmonic Orchestra & Choir

Saturday 2 April 2022 Royal Festival Hall L Boulanger Psalm 129 Messiaen Le tombeau resplendissant Brahms A German Requiem Edward Gardner conductor Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

Book online lpo.org.uk | Ticket Office 020 7840 4242

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Brahms: Four Serious Songs Texts & translations 1

Denn es gehet dem Menschen

For that which befalleth the sons of men

Denn es gehet dem Menschen wie dem Vieh; wie dies stirbt, so stirbt er auch; und haben alle einerlei Odem; und der Mensch hat nichts mehr denn das Vieh: denn es ist alles eitel.

For that which befalleth the sons of men befalleth beasts; as the one dieth, so dieth the other; yea, they have all one breath; so that a man hath no pre-eminence above a beast; for all is vanity.

Es fährt alles an einen Ort; es ist alles von Staub gemacht, und wird wieder zu Staub. Wer weiß, ob der Geist des Menschen aufwärts fahre, und der Odem des Viehes unterwärts unter die Erde fahre?

All go unto one place; all are of dust, and all turn to dust again.

Darum sahe ich, daß nichts bessers ist, denn daß der Mensch fröhlich sei in seiner Arbeit, denn das ist sein Teil. Denn wer will ihn dahin bringen, daß er sehe, was nach ihm geschehen wird?

Wherefore I perceive that there is nothing better, than that a man should rejoice in his own works, for that is his portion. For who shall bring him to see what shall happen after him?

2 Ich wandte mich

So I returned

Ich wandte mich und sahe an alle, die Unrecht leiden unter der Sonne; Und siehe, da waren Tränen derer, Die Unrecht litten und hatten keinen Tröster, Und die ihnen Unrecht täten, waren zu mächtig, Daß sie keinen Tröster haben konnten. Da lobte ich die Toten, die schon gestorben waren Mehr als die Lebendigen, die noch das Leben hatten; Und der noch nicht ist, ist besser, als alle beide, Und des Bösen nicht inne wird, das unter der Sonne geschieht.

So I returned, and considered all the oppressions that are done under the sun; and behold the tears of such as were oppressed,and they had no comforter; and on the side of their oppressors there was power; but they had no comforter. Wherefore I praised the dead which are already dead more than the living which are yet alive. Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun.

Who knoweth the spirit of man goeth upward and the spirit of the beast that goeth downward to the earth?

Continued overleaf

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Brahms: Four Serious Songs Texts & translations 3 O Tod, wie bitter bist du

O death

O Tod, wie bitter bist du, Wenn an dich gedenket ein Mensch, Der gute Tage und genug hat Und ohne Sorge lebet; Und dem es wohl geht in allen Dingen Und noch wohl essen mag! O Tod, wie wohl tust du dem Dürftigen, Der da schwach und alt ist,

O death, how bitter is the remembrance of thee to a man that liveth at rest in his possessions, unto the man that hath nothing to vex him, and that hath prosperity in all things; yea, unto him that is yet able to receive meat! O death, acceptable is thy sentence unto the needy and unto him whose strength faileth, that is now in the last age, and is vexed with all things, and to him that despaireth, and hath lost patience!

Der in allen Sorgen steckt, Und nichts Bessers zu hoffen, Noch zu erwarten hat!

4 Wenn ich mit Menschen und mit Engelszungen redete

Though I speak with the tongues of men

Wenn ich mit Menschen und mit Engelzungen redete, und hätte der Liebe nicht, so wär ich ein tönend Erz, oder eine klingende Schelle. Und wenn ich weissagen könnte und wüßte alle Geheimnisse und alle Erkenntnis, und hätte allen Glauben, also, daß ich Berge versetzte, und hätte der Liebe nicht, so wäre ich nichts. Und wenn ich alle meine Habe den Armen gäbe, und ließe meinen Leib brennen und hätte der Liebe nicht, so wäre mir’s nichts nütze. Wir sehen jetzt durch einen Spiegel in einem dunklen Wort, dann aber von Angesicht zu Angesichte. Jetzt erkenne ich’s stückweise; dann aber werde ichs erkennen, gleichwie ich erkannt bin. Nun aber bleibet Glaube, Hoffnung, Liebe, diese drei; aber die Liebe ist die größeste unter ihnen.

Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass or a tinkling cymbal. And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. And though I bestow all my goods to feed the poor, and though I give my body to be burned, it profiteth me nothing ... For now we see through glass, darkly;

Original texts: liturgical, translated by Martin Luther (1483–1546)

English translations © Richard Stokes, author of The Book of Lieder, published by Faber, provided courtesy of Oxford Lieder (oxfordlieder.co.uk)

but then face to face: now I know in part, but then shall I know even as also I am known. And now abideth faith, hope, charity, these three; but the greatest of these is charity.

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes Arnold Schoenberg 1874–1951

Pelleas und Melisande, Op. 5 1902–03

Although Schoenberg is known for the tightly-formed, uncompromisingly atonal compositions that resulted from his development of the ‘serial’ or ‘twelve-tone’ method, his early works were clear and obvious examples of the heady late-Romantic brew of rich imagination, tonal exploration and lush orchestral sound. Verklärte Nacht for string ensemble (1899), the huge choral-and-orchestral song-cycle Gurrelieder (1901) and the tone-poem Pelleas und Melisande (1902–03) all fit comfortably into the Austro-German, post-Wagnerian soundworld that was filling the orchestral canvases of Mahler’s symphonies and the tone-poems of Richard Strauss. And, like them, they were tonal, with Pelleas und Melisande ending securely in D minor. But as Alex Ross says in his history of 20th-century music The Rest Is Noise, ‘not all is well in the Romantic paradise. Unexplained dissonances arise to the surface; chromatic lines intersect in a contrapuntal tangle; chords of longing fail to resolve’. In other words, Schoenberg was already pushing conventional harmonic function towards its limits.

spiritual essence rather than through conventional realism. It would be wrong to suggest that Schoenberg’s response to it spoke this Symbolist language in the same way as Debussy’s opera did; writing for an American radio broadcast in 1949 he mused that, had he written a Pelleas opera, ‘the wonderful aura of that drama might not have been caught to quite the same extent, but I would certainly have brought the characters to life more lyrically.’ His objective, he said, had been ‘to mirror every detail of [the play], with only a few omissions and slight changes of the order of the scenes’, and indeed his music does react to the events of the story as they succeed each other, and to the relationships as they intertwine, achieving this in true Wagnerian fashion through the adroit manipulation of individual melodic themes (or leitmotifs) associated with the characters in their various states of mind. And if, compared to the descriptive and onomatopoeic detail of a Strauss tonepoem, it might seem hazily episodic, in that he was being true to Maeterlinck. Pelleas und Melisande is in a single movement lasting 40 minutes, its four conjoined sections reflecting the four-movement cycle of a sonata or symphony. It opens in a forest, where we encounter the young Mélisande, apparently lost; we hear the kernel of her theme in the first three notes, followed almost immediately by a ‘Fate’ theme (a rising interval followed by two narrower descending ones on bass clarinet). Prince Golaud appears, shattering the mood amid an orchestral flurry. He is hunting, and his theme has a heroic tone to it, though it will take more sinister turns later on. He takes Mélisande home to his castle and marries her, but soon we hear a striding, romantic theme for Pelleas, Golaud’s half-brother, and the section ends with some beautiful music revealing the awakening of Mélisande’s love for Pelleas as their two themes interweave.

Like a good Romantic, he also regularly took literature as a starting-point: Verklärte Nacht followed the outline of an erotic poem by Richard Dehmel, and before that there had been sketches for works based on Falke, Lenau and the Grimm brothers. Pelleas und Melisande was inspired by a play by Maurice Maeterlinck, an idea for an opera apparently given to him in 1902 by Strauss but which Schoenberg chose to treat instead as a tonepoem. Apparently both men were unaware that around that time in Paris, Debussy was premiering his outstanding opera on the same subject. Maeterlinck had risen to prominence in the early 1890s with a series of plays – including Pelléas et Mélisande, first produced in Paris in 1893 – that embraced the Symbolist style, seeking to present drama through language and metaphor, and reaching for truth in its

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

Programme notes The next section is the equivalent of a symphonic scherzo, and encompasses three more active episodes: a playful flute waltz as Mélisande loses her wedding ring in a fountain; Pelleas wrapping himself in Mélisande’s hair as she unwinds it from her tower (spread chords on harp, and sinuous downward music for winds and muted strings); and Golaud conducting Pelleas down to the depths of the castle to warn him off, to the eerie sounds of flutter-tonguing flutes and trombone glissandi. A ‘slow movement’ follows, beginning with some warmly romantic music for the lovers, but eventually leading to the death of Pelleas at Golaud’s hands (brutal percussion thuds, Golaud’s theme on trombones, Pelleas’s on horns). In the final section we witness Mélisande’s grieving, death and threnody, all expressed in a rich tapestry of remembrances of the work’s main themes. At the end, only Golaud’s sorrowful theme remains.

Recommended recordings of tonight’s works by Laurie Watt Mendelssohn: Overture: A Midsummer Night’s Dream City of Birmingham Symphony Orchestra Edward Gardner (Chandos) Brahms: Four Serious Songs Kathleen Ferrier | Vienna Philharmonic Orchestra Bruno Walter (Regis) Schoenberg: Pelleas und Melisande Bergen Philharmonic Orchestra | Edward Gardner (Chandos)

Programme notes © Lindsay Kemp

R ADIO 3 IN CONCERT Enjoy the best concerts from across the UK LISTEN ON

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

A German Requiem

Friday 25 March 2022

Saturday 2 April 2022

Howard Shore The Lord of the Rings: The Fellowship of the Ring for Symphony Orchestra and Chorus Danny Elfman Percussion Concerto (world premiere) Danny Elfman Batman Suite Danny Elfman Alice in Wonderland Suite

L Boulanger Psalm 129 Messiaen Le tombeau resplendissant Brahms A German Requiem

Ludwig Wicki conductor Colin Currie percussion Grace Davidson soprano London Philharmonic Choir

Visions and Utterances Wednesday 30 March 2022 Four UK premieres: Missy Mazzoli River Rouge Transfiguration Rebecca Saunders to an utterance, for piano and orchestra Mason Bates Liquid Interface George Walker Sinfonia No. 5 (Visions) Edward Gardner conductor Nicolas Hodges piano With the support of Part of the Southbank Centre’s SoundState festival

Edward Gardner conductor Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

Mitsuko Uchida plays Beethoven Saturday 9 April 2022 Helmut Lachenmann Marche fatale (UK premiere) Beethoven Piano Concerto No. 4 Bruckner Symphony No. 6 Vladimir Jurowski conductor Mitsuko Uchida piano

Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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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London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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 • 19 March 2022 • Bryn Terfel sings Brahms

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:

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London Philharmonic Orchestra • 19 March 2022 • Bryn Terfel sings Brahms

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

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