London Philharmonic Orchestra 24 Mar 2018 concert programme by London Philharmonic Orchestra

CONCERt programme

Changing Faces:

Stravinskyâ&#x20AC;&#x2122;s journey

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

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

Southbank Centre’s Royal Festival Hall Saturday 24 March 2018 | 7.30pm

Stravinsky Symphony of Psalms (22’) Stravinsky Violin Concerto in D (22’) Interval (20’) Stravinsky Credo; Ave Maria; Pater Noster* (15’) Bernstein Chichester Psalms (18’) Andrés Orozco-Estrada conductor *Neville Creed conductor Patricia Kopatchinskaja violin William Davies treble London Philharmonic Choir Artistic Director: Neville Creed The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Changing Faces: Stravinsky’s Journey 8 Andrés Orozco-Estrada 9 Patricia Kopatchinskaja 10 Neville Creed William Davies 11 London Philharmonic Choir 12 Programme notes and texts 19 Recommended recordings 20 Next concerts 22 New on the LPO Label 23 2018/19 season: on sale now 24 LPO 2017/18 Annual Appeal 25 Sound Futures donors 26 Supporters 28 LPO administration

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Join Andrés Orozco-Estrada as he explores tonight’s Stravinsky works, answers your questions and reveals his top five picks.

Welcome

Orchestra news

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, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Honest Burger, Côte Brasserie, Skylon 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 3879 9555, or email customer@southbankcentre.co.uk

LPO 2018/19 season: on sale now The LPO 2018/19 season is now on sale – turn to page 23 to find out more. You can browse and book online at lpo.org.uk/newseason or call us on 020 7840 4200 to request a season brochure by post.

Virgin Sport British 10k: join Team LPO! On Sunday 15 July 2018, Team LPO will be taking to the streets of London once again as part of the Virgin Sport British 10k. This year we will be running in aid of our Annual Appeal, celebrating 30 years of our Education and Community Programme and the creation of musical experiences for all. Following the success of our previous teams, who have raised over £27,000, we are looking for runners to take up the mantle for this year’s event. If you are interested in running on behalf of the LPO or would like more information, please contact Ellie Franklin at ellie.franklin@lpo.org.uk or on 020 7840 4225.

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. 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.

New on the LPO Label: Shostakovich Symphony No. 7 (‘Leningrad’) This month’s CD release on our LPO Label is Shostakovich’s Symphony No. 7 conducted by Kurt Masur, recorded live in concert at Royal Festival Hall in 2003 (LPO-0103). The CD is priced at £9.99 and, along with 100+ other titles on the label, is available to buy from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Our recordings are also available to download or stream via iTunes, Amazon, Spotify and others.

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

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On Sunday 22 April at 7.30pm, the Leonore Piano Trio will give a special fundraising concert at Wigmore Hall in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians who are unable to work through illness or injury. The programme will include Schubert’s Piano Trio No. 1 in B flat and works by Haydn and Parry. Tickets are priced from £15–£25 and can be booked via wigmore-hall.org.uk.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Vesselin Gellev Sub-Leader JiJi Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Tina Gruenberg Grace Lee Rebecca Shorrock Amanda Smith Georgina Leo Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Kate Birchall Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Sheila Law Alison Strange John Dickinson Kalliopi Mitropoulou Ioana Forna Alberto Vidal

Violas David Quiggle Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Martin Fenn Martin Wray Richard Cookson Julia Kornig Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Helen Rathbone Sibylle Hentschel David Bucknall Iain Ward Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Laurence Lovelle Damián Rubido González Lowri Morgan Charlotte Kerbegian Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Jane Spiers Lindsey Ellis David Cuthbert Stewart McIlwham*

Piccolo Stewart McIlwham* Principal

Piccolo Trumpet Paul Beniston* Trombones Mark Templeton* Principal

Oboes Ian Hardwick* Principal Alice Munday Alex Hilton Lydia Griffiths

Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Clarinets Giovanni Punzi Guest Principal Paul Richards* E flat Clarinet Thomas Watmough Principal Bassoons Jonathan Davies Principal Gareth Newman Emma Harding Contrabassoon Simon Estell* Principal Horns David Pyatt* Principal Chair supported by Sir Simon Robey

John Ryan* Principal Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney*

Tuba Patrick Harrild Guest Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Jeremy Cornes Oliver Yates James Bower Feargus Brennan Chris Terian Louise Goodwin Harps Rachel Masters Principal Emma Ramsdale Pianos Catherine Edwards Clíodna Shanahan * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

David Hilton Catherine Knight Ryan Linham

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust • Friends of the Orchestra

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London Philharmonic Orchestra

The LPO musicians really surpassed themselves in playing of élan, subtlety and virtuosity. Matthew Rye, Bachtrack, 24 September 2017 (Enescu’s Oedipe at Royal Festival Hall) 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. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre

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ran throughout 2017, exploring what it means to be human in the 21st century. In 2018, we explore the life and music of Stravinsky in our series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. 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: tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France, and plans for 2018/19 include a major tour of China and Asia, as well as Belgium, France, Germany, The Netherlands, Spain, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media 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

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski, Mozart and Rachmaninoff piano concertos performed by Aldo Ciccolini under Yannick Nézet-Séguin, and Shostakovich’s Symphony No. 7 under Kurt Masur.

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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Changing Faces: Stravinsky’s journey

Richard Bratby introduces our festival, which runs throughout 2018 On 24 November 1944, a new musical called Seven Lively Arts opened at the Forrest Theatre, Philadelphia. The composer was Cole Porter, the producer was Billy Rose, and their aim was to make entertainment out of the greatest talents in contemporary art. Benny Goodman and Dolores Gray starred; Salvador Dali created artwork for the foyer. And right in the middle – setting the stamp of greatness on the show’s highbrow aspirations – was a new ballet by Igor Stravinsky. Rose had offered Stravinsky $5000 (the equivalent of over half a million today) for 15 minutes of music. But even so, he felt something wasn’t quite right. Luckily he had the top Broadway arranger Robert Russell Bennett on call. After the first night, he telegraphed Stravinsky: YOUR MUSIC GREAT SUCCESS. COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORISE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION. Without missing a beat, Stravinsky telegraphed straight back: SATISFIED WITH GREAT SUCCESS. It’s a great story: and like the best Stravinsky stories, it’s also true. This is where Stravinsky was in the middle of the 20th century – a celebrity, a wit; a man who moved with total assurance between the biggest names in contemporary culture. You didn’t have to know anything about classical music to know that Stravinsky was the world’s greatest living composer: that his Russian name and long, angular face stood for the most modern kind of genius. ‘I’ve interviewed the great Stravinsky’, sang the heroine of Rodgers and Hart’s Pal Joey in 1940, and the orchestra responded with a dissonant shriek. A month earlier, Walt Disney had released Fantasia, in which cartoon dinosaurs cavorted to Stravinsky’s most notorious hit, The Rite of Spring. It played to millions. Why wouldn’t an ambitious Broadway producer want to get Stravinsky on board? And why wouldn’t a major orchestra want to celebrate his music? On one level, the question is redundant. Stravinsky’s great scores for the Ballets Russes – The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913) – are as central to modern concert life as Beethoven or Mahler. But as contemporaries sensed, there was more to Stravinsky than an explosion of innovation and colour just before the Great War. How did 6 | London Philharmonic Orchestra

Igor Stravinsky’s star on the Hollywood Walk of Fame. He was inducted in 1960 for his work in radio. a singer’s son from the Russia of Tsar Alexander III end up as the toast of jazz-age Paris? How did a highbrow European modernist find himself courted by Hollywood’s top studio bosses? And how did the most famous classical composer on earth suddenly – in the last two decades of his career – become more controversial than he’d ever been? From his birth into a Russia that had been unchanged for millennia, to his funeral in Venice in 1971, watched by the world’s TV cameras, Stravinsky’s changing faces reflected more than just music. Stravinsky’s journey is the story of Western culture in the 20th century. So if it sounds like the LPO has been here before – well, in a sense it has. ‘For me, this Stravinsky journey is the second edition of The Rest Is Noise’, says Vladimir Jurowski, referring to the year-long exploration of 20th-century music and art through which he led the Orchestra in 2013. Changing Faces: Stravinsky’s Journey revisits that story and refines the focus. ‘In The Rest Is Noise we couldn’t concentrate upon any one composer’, Jurowski explains. ‘But here we’ve chosen to go through the years with one particular composer who reflected an entire century. Sometimes it’s chronological; sometimes it’s stylistic. His works are accompanied by the works of the people who he knew personally, who surrounded him, who preceded or succeeded him.’ That’s a vital point. Stravinsky had a gift for putting himself wherever the cultural action was: whether in

music, visual art, literature, cinema, politics or even fashion. In the first years of the century, there was no artistic force more thrilling than Serge Diaghilev’s Ballets Russes. But Stravinsky went on to party with Cole Porter in Venice, to sleep with Coco Chanel in Paris, and on one famous occasion in May 1922, to have dinner with James Joyce, Marcel Proust and Pablo Picasso. (It didn’t go well: Joyce fell asleep on the table and Proust got on Stravinsky’s nerves). Mussolini courted him – happily with little success. After he moved to the USA in 1939 he socialised with Fred Astaire, Alfred Hitchcock, Greta Garbo and Man Ray, while fellow exiles ranging from Rachmaninoff to Gone With the Wind composer Max Steiner ate pirozhki and drank champagne at Stravinsky’s Hollywood home. His creative partnerships embraced Benny Goodman, George Balanchine, Jean Cocteau, WH Auden, TS Eliot and Modoc – a dancing elephant in Barnum & Bailey’s circus. So Changing Faces: Stravinsky’s Journey places his music in context alongside music that Stravinsky influenced and (perhaps less obviously) that influenced him. ‘We’re trying to follow Stravinsky’s life, and with him, to follow the development of music in the 20th century – because effectively he went through almost every style change’, says Jurowski. So the journey begins not with the three great Diaghilev ballets (though they certainly feature) but in the sumptuous world of Imperial Russia’s so-called ‘Silver Age’, placing Stravinsky’s youthful music next to that of his teacher Rimsky-Korsakov and the fairytale music of Anatoly Liadov who, by fumbling his commission for The Firebird, accidentally gave Stravinsky the biggest break of his career. There’s also a chance to hear the music of Alexander Glazunov – who Stravinsky later derided, but whose influence can be heard in every note of the 24-year-old Igor’s delightful Symphony in E flat. And the journey continues, through revolutions both artistic and political. In the wake of the First World War, Stravinsky led the way in creating something bold, new, and yet strangely familiar from the wreckage of a civilisation. ‘His style kept evolving and changing’, says Jurowski. ‘At first it was Italian baroque music that interested him, but later Bach – and again, later there were all sorts of other things.’ ‘Neo-classicism’, it’s been called, but no label can fully cover the wit of Stravinsky’s reinvention of Pergolesi in Pulcinella, his playful not-quite-mockery of German romantics like Weber and Schubert, and the timeless clarity of the classical

language he created on his own terms in works like Apollon musagète and the Symphony in C. ‘He used to call himself an inventor of music rather than a composer, and I don’t think he was deluding himself’, says Jurowski. ‘What I find fascinating is that whatever style he explores, he always makes it sound as if he alone, Igor Stravinsky, has invented this style. He has this chameleon-like ability – and at the same time this incredibly strong individual voice.’ That ability to make the musical world turn around him would stand Stravinsky in good stead in the later years of his career, and as well as his 1951 opera The Rake’s Progress, later LPO concerts in 2018 will examine his decision (as seismic in its time as Bob Dylan going electric) to embrace the 12-tone system. It’s one reason why contemporary composers find him so compelling: the series features Stravinsky-influenced premieres by Gerald Barry and Anders Hillborg, while Thomas Adès conducts Perséphone. But there are also glimpses of the sometimes unpredictable man behind the mask of genius. His love for Tchaikovsky and the lost Russia he embodied; his fondness for poker (translated into the brilliantly deadpan ballet Jeu de cartes), and his profound religious faith, expressed in the Symphony of Psalms – ‘composed for the glory of God’. His biographer Robert Craft – a prim progressive – was ‘astonished’ by the respect that Stravinsky showed to exiled Russian royalty. But Stravinsky never followed the modernist script. He wrote it. And that force of personality – that electrifying creativity – overflowed into everything he touched. Vladimir Jurowski remembers handling the manuscript of The Rite of Spring in the Paul Sacher Archive in Basel. ‘What struck me was the incredible artistic quality of the score, as draughtsmanship. If you look at it not as a musician but simply the way you would look at a piece of art, it looks like an incredible cubist or Futurist design.’ Genius will out, and Stravinsky himself gives the best rationale for following his journey from beginning to end, in a world whose face is changing faster than ever. ‘I live neither in the past nor the future. I am in the present. I can know only what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.’ Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. lpo.org.uk/stravinsky

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Andrés Orozco-Estrada Principal Guest Conductor

Orozco-Estrada steered a gripping journey ... In phenomenal form, the London Philharmonic matched him beat for beat, every section excelling, every principal deserving individual credit, playing together and off each other with an impeccability of exchange, ensemble, chording and dynamic finesse. Breathtaking! © Martin Sigmund

Classical Source, 29 October 2017 (Shostakovich’s ‘Leningrad’ Symphony with the LPO at Royal Festival Hall)

Andrés Orozco-Estrada first worked with the London Philharmonic Orchestra in November 2013, conducting a major tour of Germany. His impressive energy and musicianship, and the immediate rapport that formed between him and the players, combined with such success that it led quickly to the announcement that he would take up the position of Principal Guest Conductor from September 2015. Born in Medellín, Colombia and trained in Vienna, Andrés is one of the most sought-after conductors of his generation. In 2014 he became Music Director of the Houston Symphony and Chief Conductor of the Frankfurt Radio Symphony Orchestra. Andrés Orozco-Estrada first came to international attention in 2004 when he took over a concert with the Tonkünstler Orchestra Niederösterreich at the Vienna Musikverein, and was celebrated by the Viennese press as a ‘wonder from Vienna’. Numerous engagements with many international orchestras followed, and since then, Orozco-Estrada has developed a highly successful musical partnership with the Tonkünstler Orchestra, serving as Music Director from 2009–15. Andrés Orozco-Estrada now appears with many of the world’s leading orchestras including the Vienna Philharmonic, the Munich Philharmonic, the Leipzig Gewandhaus Orchestra, the Mahler Chamber Orchestra, the Santa Cecilia Orchestra in Rome and the Orchestre National de France.

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Recent successful debuts have included The Philadelphia Orchestra, The Cleveland Orchestra, the Chicago Symphony Orchestra, the Royal Concertgebouw Orchestra, and the Rotterdam Philharmonic, Oslo Philharmonic and Israel Philharmonic orchestras. In 2014 he made his debut at Glyndebourne Festival Opera conducting Don Giovanni with the London Philharmonic Orchestra. In 2015 he made his debut at the Salzburg Festival followed by a re-invitation for 2016 with Il templario. In April 2017 he made his debut with the Berlin Philharmonic Orchestra. Recent CDs released on Pentatone are generating a great deal of attention and include Stravinsky’s The Rite of Spring and Richard Strauss’s Ein Heldenleben and Macbeth, both with the Frankfurt Radio Symphony Orchestra. Andrés has also recorded Dvořák’s Symphonies Nos. 6–9 with the Houston Symphony. Andrés Orozco-Estrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997 he moved to Vienna, where he studied at the renowned Vienna Music Academy and completed his degree with distinction by conducting the Vienna Radio Symphony Orchestra at the Musikverein. He currently lives in Vienna.

Patricia Kopatchinskaja violin

The Moldova-born Kopatchinskaja is famous for digging into the strings of her instrument like an old-time prospector desperate for gold. She always finds it too, especially in a repertoire where her Middle European folk roots are a real asset.

Geoff Brown, The Times, February 2018

Violinist Patricia Kopatchinskaja’s versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks. She last appeared with the London Philharmonic Orchestra in November 2017, when she performed Schumann’s Violin Concerto at Royal Festival Hall followed by a tour of Belgium, Austria and Germany. Patricia’s 2017/18 season commenced with the world premiere of her new project Dies Irae at the Lucerne Festival, where she was ‘artiste étoile’. Following the success of Bye Bye Beethoven with the Mahler Chamber Orchestra in 2016, Dies Irae is her second staged programme which draws on music from Gregorian Chant to contemporary music. The project is conceptualised using the theme from the Latin Requiem Mass and features music by composers such as Scelsi, Biber and Ustwolskaja. It will be premiered in North America as part of her position as Music Director at the Ojai Festival this June. Patricia will also revive Bye Bye Beethoven for performances in Berkeley and at the Aldeburgh Festival this summer. Ligeti’s Violin Concerto is again a feature of Patricia Kopatchinskaja’s season, and highlights include performances with the Mahler Chamber Orchestra at the Enescu Festival in Bucharest under Rafael Payare, and concerts with the Orchestra Sinfonica Nazionale della RAI. Last season’s highlights included the role of Artist in Residence at major European venues and festivals including the Berlin Konzerthaus, the Lucerne Festival and London’s Wigmore Hall, as well as performances with Sir Simon Rattle and the Berlin Philharmonic, and

with Vladimir Jurowski and the London Philharmonic Orchestra in London and New York. Chamber music is immensely important to Patricia and she performs regularly with artists such as Markus Hinterhäuser, Polina Leschenko, Anthony Romaniuk and Jay Campbell. She is an Artistic Partner with The Saint Paul Chamber Orchestra in the USA and performs with the ensemble regularly, both in Saint Paul and internationally. Patricia Kopatchinskaja was awarded the prestigious Swiss Grand Award for Music by the Switzerland Federal Office of Culture in September 2017, and has already added to her success this season with a Grammy award in the Best Chamber Music/Small Ensemble Performance category for her recording of Death and the Maiden, performed with the Saint Paul Chamber Orchestra and released on Alpha Classics. A prolific recording artist, the last few seasons have also seen a number of major releases including an album of Kancheli’s music with Gidon Kremer and the Kremerata Baltica, a disc of duos entitled Take Two, a recording of Schumann’s Violin Concerto and Fantaisie with the WDR Sinfonieorchester Köln under Heinz Holliger, and Tchaikovsky’s Violin Concerto with Teodor Currentzis and Musica Aeterna. Patricia’s disc featuring concertos by Bartók, Ligeti and Peter Eötvös won Gramophone’s Recording of the Year Award in 2013, an ECHO Klassik Award and a 2014 Grammy nomination. Her most recent album, Deux, released in January 2018, was recorded with recital partner Polina Leschenko. Together the duo explore and reimagine the sonatas of Ravel, Poulenc, Bartók and Dohnányi.

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Neville Creed

William Davies

conductor (a cappella Stravinsky works) Artistic Director, London Philharmonic Choir

treble (Chichester Psalms)

Neville Creed has held the position of Chorus Director of the London Philharmonic Choir since 1994, and in 2002 he was appointed Artistic Director. His work involves preparing the Choir for the choral concerts given by the London Philharmonic Orchestra conducted by many distinguished conductors including Principal Conductor Vladimir Jurowski. He has also conducted the Choir and Orchestra in performances at home and abroad including the LPO Chamber Orchestra in Britten’s War Requiem in Moscow, Vienna and London. Previous appointments have included Conductor of the Guildford Philharmonic Choir and Chorus Director of the Bournemouth Symphony Chorus, which won two major awards under his direction – the Gramophone Choral Recording of the Year for a CD of Delius’s music conducted by Richard Hickox, and a Grammy Award for its recording of Walton’s Belshazzar’s Feast with Andrew Litton. He has also recorded David Fanshawe’s African Sanctus and Richard Blackford’s Voices of Exile. He has won prizes in the international choral conducting competition held in Trento, Italy, and the Leeds Competition for orchestral conducting. Concerts have been given with the Bournemouth Symphony Orchestra, Guildford Philharmonic Orchestra, New London Orchestra, Freiburg Bach Orchestra, Ulster Orchestra, BBC Concert Orchestra and Royal Philharmonic Orchestra, as well as the London Philharmonic Orchestra. He has toured Britain conducting the London Concert Orchestra and Manchester Concert Orchestra in a Last Night of the Proms programme. He has worked with many other choirs and ensembles including the BBC Singers, BBC Symphony Chorus and Philharmonia Chorus. He studied music at Cambridge and conducting at the Guildhall School of Music. Teaching roles have included Director of Choral Music at Tiffin School in Kingston upon Thames and Director of Cultural Activities at St Edward’s Oxford.

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William Davies, aged 14, is a senior member of Trinity Boys Choir and a Music Scholar at Trinity School, Croydon. He has sung the role of Peaseblossom in Britten’s A Midsummer Night’s Dream for Glyndebourne and the Aix-en-Provence Festival in Beijing, and recently performed to critical acclaim Yniold in Debussy’s Pelléas et Mélisande for Garsington Opera. With the choir he has toured China, Japan, Germany, Holland, Poland and Italy, and he appears as a soloist on the choir’s recording of Ludford’s Missa Dominica. In November 2017 William appeared at Royal Festival Hall as the soloist in a pre-concert performance of Kancheli’s Midday Prayers with an ensemble made up of LPO players and members of the LPO Foyle Future Firsts, conducted by Vladimir Jurowski. William plays the piano, clarinet and saxophone, and studies singing with Katharine Fuge.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947 as the chorus for the London Philharmonic Orchestra, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs. For the last seven decades the Choir has performed under leading conductors, consistently meeting with critical acclaim and recording regularly for television and radio. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; Haydn’s The Creation with Sir Roger Norrington; and Mozart’s Requiem under Nathalie Stutzmann. The Choir was delighted to celebrate its 70th anniversary in April 2017 with a highly acclaimed performance of Tallis’s Spem in alium and Mahler’s Symphony No. 8 under Vladimir Jurowski. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. The Choir was delighted to travel to the Théâtre des Champs-Elysées, Paris, in December 2017 to perform Bach’s Christmas Oratorio with the London Philharmonic Orchestra. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. Join us: lpc.org.uk facebook.com/LondonPhilharmonicChoir twitter.com/lpchoir

Sopranos Annette Argent Chris Banks Tessa Bartley Hilary Bates Victoria Betts Sarah Bindon Catherine Boxall Hannah Boyce Laura Buntine Cordelia Burch Charlotte Cantrell Ella Cape-Davenhill Paula Chessell Millie Church Emily Clarke Emma Craven Orlen Crawford Jenni Cresswell Antonia Davison Sarah Deane-Cutler Victoria Denard Jessica Dixon Lucy Doig Kathryn Flood Rachel Gibbon Lydia Grant Rosie Grigalis Jane Hanson Rebecca Harries Sally Harrison Carolyn Hayman Liz Lawrence Clare Lovett Ilona Lynch Janey Maxwell Katie Milton Mariana Nina Amy Ogier Kathryn O’Leary Eloise Pedersen Tanya Ravljen Steph Rawlins Danielle ReeceGreenhalgh Rebecca Sheppard Marit Shuman Sarah Skinner Victoria Smith Charlotte Stacey Tania Stanier Katie Stuffelbeam Rachel Topham Sarah Van Staveren Rochelle Williams Lorna Wills

Altos Christine Allison Susannah Bellingham Sally Brien Andrei Caracoti Noel Chow Liz Cole Sara de la Serna Andrea Easey Kathryn Gilfoy Jane Goddard Rachel Halstead Bethea Hanson-Jones Jessica Harvey Marissa Landy Andrea Lane Ethel Livermore Lisa MacDonald Gill Main Miroslava Mala Laetitia Malan Ian Maxwell Malvina Maysuradze Caroline Morris Sophie Morrison Rachel Murray John Nolan Josie Perry Sheila Rowland Carolyn Saunders Rima Sereikiene Madeleine Shields Annette Strzedulla Susi Underwood Jenny Watson Emma Windle

Basses Peter Blamire Lorenzo Carulli Geoffrey Clare Phillip Dangerfield Marcus Daniels Thomas Fayle Halldor Fosså Ian Frost Christopher Gadd Paul Gittens Christopher Harvey Peter Haselden Nicholas HennellFoley Mark Hillier Stephen Hines David Hodgson Yaron Hollander Borja Ibarz Gabardos David Kent John Luff Christopher Mackay Jonathan Miles John G Morris John D Morris Robert Northcott William Parsons Stephen Peacock Johannes Pieters Jonathan Riley Edwin Smith Alexander Thomas Trevor Watson Hin-Yan Wong John Wood

Tenors Geir Andreassen Chris Beynon Tim Clark James Clarke Fred Fisher Alan Glover Peter Goves Josh Haley Iain Handyside David Hoare Stephen Hodges Sam Holmes Patrick Hughes Stuart Irvine Patrick McClurg Tony Masters Luke Phillips Javier Ruiz Morote Owen Toller Claudio Tonini Martin Yates

instagram.com/lpchoir

London Philharmonic Orchestra | 11

Programme notes and texts

Psalms, canticles, concerto The London Philharmonic Orchestra’s Changing Faces series, tracing Igor Stravinsky’s journey through his long career, has tonight reached the beginning of the 1930s. The evening opens with Stravinsky’s typically personal response to a commission from the Boston Symphony Orchestra for its 50th anniversary season in 1930: not an orchestral showpiece, but the Symphony of Psalms, which sets three Latin psalms for chorus and an ensemble dominated by wind instruments to music that is predominantly reverent and austere. This is followed by the Violin Concerto that Stravinsky composed in 1931 for his friend Samuel Dushkin: a work hardly in the Romantic tradition of the virtuoso violin concerto, but again, utterly characteristic of its composer.

Igor Stravinsky 1882–1971

This work bears the famous dedication, originally in French, ‘This Symphony composed to the glory of GOD is dedicated to the Boston Symphony Orchestra on the occasion of its 50th anniversary.’ As one of an international selection of composers commissioned to celebrate the anniversary, which fell in the 1930/31 season, Stravinsky might have been expected to provide a brilliant orchestral showpiece. Instead, he chose to write a work reflecting his own devout Christian belief, a setting of Latin texts taken from the Book of Psalms. The scoring is for four-part chorus and a uniquely pungent orchestra of four flutes and piccolo, four oboes and cor anglais, three bassoons and contrabassoon, four horns, five trumpets, three trombones, tuba, timpani and bass drum, harp, two pianos, cellos and basses – thus without Romantically expressive clarinets, violins and violas. In the event, the performance by the Boston 12 | London Philharmonic Orchestra

After the interval we hear Stravinsky’s three canticles for unaccompanied choir, first written in Church Slavonic for the composer’s Russian Orthodox church, but later adapted to familiar Latin texts. The evening ends with the Chichester Psalms of 1965 by Leonard Bernstein, who was born 100 years ago this August. This is another three-movement setting of psalm texts, this time in Hebrew, for chorus and another unusual orchestra, lacking woodwind and horns. With its melodies drawn from abandoned sketches for Broadway musicals, it replaces Stravinsky’s austerity with a typically extrovert warmth and exuberance.

Symphony of Psalms London Philharmonic Choir Part 1 Psalm 39: 12–13 – Part 2 Psalm 40: 1–3 – Part 3 (Psalm 150)

Symphony with its conductor Serge Koussevitzky in December 1930 was preceded by a world premiere six days earlier in Brussels, conducted by Ernest Ansermet. The three movements of the Symphony are performed without a break. In the programme of the Brussels premiere (though nowhere else after that), they were identified as ‘Prelude’, ‘Double Fugue’ and ‘Symphonic Allegro’. The first movement is an introductory prayer, which Stravinsky said he had composed ‘in a state of religious and musical ebullience’. The second begins with a fugue for high woodwind, fragments of which continue under a second fugue, for the chorus; elements of the instrumental and vocal fugues are then alternated and combined. The last movement, a setting of the whole of Psalm 150, has a solemn, ritualistic introduction. This leads to a propulsive Allegro,

punctuated by a rhythmic chordal figure initially to the words ‘Laudate Dominum’ (Stravinsky’s first idea for the whole Symphony), and including exuberant orchestral outbursts of triplets, among them a steepling idea for

horns and pianos which the composer said was inspired ‘by a vision of Elijah’s chariot climbing the Heavens’. The introduction is recalled briefly in the middle of the Allegro, and again at the end of the slow, exalted coda.

Part 1 Exaudi orationem meam, Domine, et deprecationem meam: auribus percipe lacrimas meas. Ne sileas, quoniam advena ego sum apud te: et peregrinus, sicut omnes patres mei. Remitte mihi, ut refrigerer prius quam abeam: et amplius non ero.

Hear my prayer, O Lord, and give ear unto my cry; hold not Thy peace at my tears. For I am a stranger with Thee, and a sojourner, as all my fathers were. O spare me a little that I may recover my strength: before I go hence and be no more. Psalm 39: 12–13 (King James Version)

Part 2 Expectans expectavi Dominum: et intendit mihi. Et exaudivit preces meas; et eduxit me de lacu miseriae, et de luto fæcis. Et statuit super petram pedes meos: et direxit gressus meos. Et immisit in os meum canticum novum: carmen Deo nostro. Videbunt multi, videbunt et timebunt: et sperabunt in Domino.

I waited patiently for the Lord; and He inclined unto me, and heard my cry. He brought me up also out of an horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings. And He hath put a new song in my mouth, even praise unto our God. Many shall see it, and fear, and shall trust in the Lord. Psalm 40: 1–3 (King James Version)

Part 3 Alleluia. Laudate Dominum in sanctis Ejus. Laudate Eum in firmamento virtutis Ejus. Laudate Eum in virtutibus Ejus. Laudate Eum secundum multitudinem magnitudinis Ejus. Laudate Dominum in sanctis Ejus. Laudate Eum in sono tubae. Laudate Eum in timpano et choro. Laudate Eum in chordis et organo. Laudate Eum in cymbalis benesonantibus. Laudate Eum in cymbalis jubilationibus. Laudate Dominum. Laudate Eum, omnis spiritus laudet Dominum, omnis spiritus laudet Eum. Alleluia. Laudate, laudate, laudate Dominum.

Alleluia. Praise God in his sanctuary: Praise Him in the firmament of His power. Praise Him for His mighty acts: Praise Him according to His excellent greatness. Praise God in his sanctuary. Praise Him with the sound of the trumpet. Praise Him with the timbrel and dance. Praise Him with stringed instruments and organs. Praise Him upon the loud cymbals. Praise Him upon the high sounding cymbals. Let everything that hath breath praise the Lord. Alleluia. Praise the Lord. Psalm 150 (King James Version)

London Philharmonic Orchestra | 13

Programme notes and texts continued

Igor Stravinsky

Violin Concerto in D Patricia Kopatchinskaja violin 1 Toccata 2 Aria I 3 Aria II 4 Capriccio

Stravinsky was a pianist and, unlike many composers, had no specialist knowledge of the violin. This did not prevent him writing a brilliantly effective violin part in his Soldier’s Tale of 1918 (indeed, the piece demanded one, since its story centres on a fiddle with magical powers). All the same, he was hesitant about the idea of writing a concerto for the instrument when it was first put to him at the beginning of 1931. But he was reassured by Paul Hindemith, who was himself a virtuoso string player (a violist) as well as a composer, that his lack of knowledge would be a positive advantage in avoiding ‘a routine technique’; and he was further encouraged by the offer of assistance from the work’s intended soloist, the American violinist Samuel Dushkin. Stravinsky’s collaboration with Dushkin proved a friendly one – they were later to form a recital partnership – and the Concerto was completed in a few months during the spring and summer of 1931, in Nice and the Val d’Isère. Stravinsky was the conductor and Dushkin the soloist at the first performance, with the Berlin Radio Orchestra, in October the same year.

The work is scored for an unusually large orchestra, as violin concertos go, with triple woodwind and a full complement of brass; but the string sections are restricted in numbers, and all the instruments are used with great discretion – there are literally no tutti passages – so that the soloist always stands out in high relief. There are four movements rather than the norm for a concerto of three: a rhythmic Toccata, far removed from the conventional big first Allegro; a pair of Arias, the first in D minor and gliding along quite rapidly, the second a slow movement in F sharp minor; and finally a whirlwind Capriccio, a patchwork of episodes with at one point more than a hint of the fiddle of The Soldier’s Tale. All four movements begin with the same widespread three-note chord, which is itself a good example of Stravinsky’s avoidance of ‘routine technique’: when he first asked Dushkin about it, the violinist thought it would be impossible to play – until he tried it.

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

14 | London Philharmonic Orchestra

Igor Stravinsky

Credo Ave Maria Pater Noster London Philharmonic Choir Neville Creed conductor

Stravinsky was brought up in the Russian Orthodox church, and in 1926, while he was living in France, he returned to it. That year, he composed a setting of the Lordâ&#x20AC;&#x2122;s Prayer in Church Slavonic, suitable for use in the Orthodox rite in its scoring for four-part unaccompanied chorus and its emphasis on the clear presentation of the text. This was followed by a setting of the Creed in 1932, and a prayer to the Virgin Mary in 1934. In 1949, Stravinsky made new versions of all three

canticles with Latin texts, making only minor alterations to the first two to fit the new words, but transposing and extending the Ave Maria. The Credo is chanted in harmony (like an Anglican psalm, but without the repetition); the Pater Noster is similarly set chordally, almost entirely with a syllable to each note; the Ave Maria is more melismatic (with syllables spread over several notes), although like the other canticles it has no expressive or even dynamic (loud and soft) markings.

Credo Credo in unum Deum, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum. Et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri, per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de caelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus et sepultus est. Et resurrexit tertia die, secundum scripturas. Et ascendit in caelum: sedet ad dexteram Patris. Et iterum venturus est cum gloria iudicare vivos et mortuos: cuius regni non erit finis.

I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and invisible. And in one Lord Jesus Christ, the only begotten Son of God. Begotten of his Father before all generations, God from God, light from light, true God from true God, begotten, not made, being of one being with the Father, by whom all things were made. Who for us men, and for our salvation came down from heaven. And was made incarnate by the Holy Ghost of the Virgin Mary and was made man. He was crucified also for us under Pontius Pilate: he died and was buried. And on the third day he rose again in accordance with the scriptures. And he ascended into heaven: he sits at the right hand of the Father. And he shall come again with glory to judge both the living and the dead: his kingdom shall have no end. Continued overleaf London Philharmonic Orchestra | 15

Programme notes and texts continued

Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: qui locutus est per prophetas. Et unam sanctam catholicam et apostolicam ecclesiam, confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

And in the Holy Spirit, Lord and giver of life, who proceeds from the Father and the Son. Who with the Father and the Son is worshipped and glorified: who spoke through the prophets. And in one holy, catholic and apostolic church, I acknowledge one baptism for the forgiveness of sins. And I look for the resurrection of the dead, and the life of the time to come. Amen.

Ave Maria Ave Maria, gratia plena. Dominus tecum, benedicta tu in mulieribus, et benedictus fructus ventris tui Iesus. Sancta Maria, mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostri. Amen.

Hail Mary, full of grace, the Lord is with you. Blessed are you among women and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners, now and at the hour of our death. Amen.

Pater Noster Pater noster qui es in coelis, sanctificetur nomen tuum: adveniat regnum tuum: fiat voluntas tua, sicut in coelo et in terra. Panem nostrum quotidianum da nobis hodie, et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostri: et ne nos inducas in tentationem, sed libera nos a malo.

Leonore Piano Trio at Wigmore Hall: LPO Benevolent Fund charity concert Sunday 22 April 2018 | 7.30pm | Wigmore Hall A special fundraising concert by the Leonore Trio in aid of Marie Curie and the LPO Benevolent Fund, which provides crucial financial support to LPO musicians who are unable to work through illness or injury. Haydn Piano Trio in E flat major, HXV:29 Parry Piano Trio No. 1 in E minor Schubert Piano Trio in B flat major, D898 Tickets ÂŁ15â&#x20AC;&#x201C;ÂŁ25: book via wigmore-hall.org.uk

16 | London Philharmonic Orchestra

Our Father, which art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done, in earth as it is in heaven. Give us this day our daily bread, and forgive our sins as we forgive them that sin against us. Lead us not into temptation, but deliver us from evil.

Leonard Bernstein 1918–90

Chichester Psalms London Philharmonic Choir William Davies treble 1 2 3

(Psalm 108: 2, Psalm 100): Maestoso ma energico – Allegro molto (Psalm 23, Psalm 2: 1–4): Andante con moto, ma tranquillo – Allegro feroce – (Psalm 131, Psalm 133: 1): Prelude: Sostenuto molto – Peacefully flowing – Lento possibile

The text and translation are over the page. Leonard Bernstein composed the Chichester Psalms in April and May 1965, during a sabbatical season from his regular duties as music director of the New York Philharmonic. Although the composer was given permission to present the first performance in New York, the piece was written for the Southern Cathedrals Festival in Chichester Cathedral that July, to be sung by the combined choirs of Chichester, Winchester and Salisbury. Bernstein expressed a preference for an all-male choir, but allowed (and conducted) performances by mixed voices – though he stipulated that the solo alto part should always be sung by a boy or a countertenor. The orchestral scoring consists of strings, a brass section of three trumpets and three trombones, two harps, timpani and percussion. In commissioning the work, the Dean of Chichester, Walter Hussey, told Bernstein that ‘I think many of us would be very delighted if there was a hint of West Side Story about the music.’ In fact, Bernstein based the middle section of the second Psalm on a chorus dropped from West Side Story before its 1957 Broadway premiere, and in all three movements he used material he had sketched in 1964 for a planned but abandoned musical, The Skin of Our Teeth. These origins explain the outgoing tunefulness which has made the work one of Bernstein’s most popular concert pieces.

Bernstein chose to set texts from the Book of Psalms, in the original Hebrew of his Jewish upbringing. As he explained to Hussey, ‘each movement contains one complete psalm plus one or more verses from another complementary psalm by way of contrast or amplification’. The first movement has a striking chordal introduction on a verse from Psalm 108, leading into a setting of the whole of Psalm 100 in a dancing 7/4 time; the introductory chords recur at the end of the movement. In the second movement, a calm setting of the first part of Psalm 23, sung by the solo alto and the upper voices, is interrupted threateningly by the tenors and basses with verses from Psalm 2 – after which the two elements continue together, in uneasy coexistence. The last, and longest, movement begins with an orchestral Prelude harking back to the introductory chords and, briefly, to the Psalm 23 melody; the main part of the movement sets Psalm 131 in a gently rocking 10/4 time. The opening chords return once more in a very slow choral coda to a verse from Psalm 133, with the orchestra rejoining for the final ‘Amen’. Programme notes © Anthony Burton

London Philharmonic Orchestra | 17

Programme notes and texts continued

1 Urah, hanevel, v’chinor! A-irah shahar!

Awake, psaltery and harp: I will rouse the dawn!

Hariu l’Adonai kol haarets. Iv’du et Adonai b’simcha. Bo-u l’fanav bir’nanah. D’u ki Adonai Hu Elohim. Hu asanu, v’lo anahnu. Amo v’tson mar’ito. Bo-u sh’arav b’todah, Hatseirotav bit’hilah, Hodu lo, bar’chu sh’mo. Ki tov Adonai, l’olam has’do, V’ad dor vador emunato.

Make a joyful noise unto the Lord, all ye lands. Serve the Lord with gladness. Come before His presence with singing. Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves. We are His people, and the sheep of His pasture. Enter into His gates with thanksgiving, and into His courts with praise. Be thankful unto Him, and bless His name. For the Lord Is good, His mercy is everlasting, and His truth endureth to all generations. Psalm 108: 2; Psalm 100

2 Adonai ro-i, lo ehsar. Bin’ot deshe yarbitseini, Al mei m’nuhot y’nahaleini, Naf’shi y’shovev, Yan’heini b’ma’aglei tsedek, L’ma’an sh’mo. Gam ki eilech B’gei tsalmavet, Lo ira ra, Ki Atah imadi. Shiv’t’cha umishan’techa Hemah y’nahamuni.

The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures: He leadeth me beside the still waters. He restoreth my soul: He leadeth me in the paths of righteousness, for His name’s sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil; for Thou art with me; Thy rod and Thy staff they comfort me. Psalm 23: 1–4

Lamah rag’shu goyim Ul’umim yeh’gu rik? Yit’yats’vu malchei erets, V’roznim nos’du yahad Al Adonai v’al m’shiho. N’natkah et mos’roteimo, V’nashlichah mimenu avoteimo. Yoshev bashamayim Yis’hak, Adonai Yil’ag lamo!

Why do the nations rage, And the people imagine a vain thing? The kings of the earth set themselves, and the rulers take counsel together, against the Lord and against His anointed, saying, Let us break their bands asunder, and cast away their cords from us. He that sitteth in the heavens shall laugh, and the Lord shall have them in derision! Psalm 2: 1–4

18 | London Philharmonic Orchestra

Ta’aroch l’fanai shulchan Neged tsor’rai Dishanta vashemen roshi Cosi r’vayah. Ach tov vahesed Yird’funi kol y’mei hayai, V’shav’ti b’veit Adonai L’orech yamim.

Thou preparest a table before me in the presence of mine enemies: Thou anointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life, and I will dwell in the house of the Lord forever. Psalm 23: 5–6

3 Adonai, Adonai, Lo gavah libi, V’lo ramu einai, V’lo hilachti Big’dolot uv’niflaot Mimeni. Im lo shiviti V’domam’ti, Naf’shi k’gamul alei imo, Kagamul alai naf’shi. Yahel Yis’rael el Adonai Me’atah v’ad olam.

Lord, Lord, my heart is not haughty, nor mine eyes lofty: neither do I exercise myself in great matters, or in things too high for me. Surely I have behaved and quieted myself, as a child that is weaned of his mother: my soul is even as a weaned child. Let Israel hope in the Lord, from henceforth and for ever. Psalm 131

Hineh mah tov, Umah nayim, Shevet ahim Gam yahad.

Behold, how good and how pleasant it is for brethren to dwell together in unity. Psalm 133: 1

Recommended recordings of tonight’s works Stravinsky: Symphony of Psalms Karel Ančerl | Czech Philharmonic Orchestra & Chorus (Supraphon) Stravinsky: Violin Concerto in D Patricia Kopatchinskaja | London Philharmonic Orchestra Vladimir Jurowski (Naïve) Bernstein: Chichester Psalms Leonard Bernstein | Israel Philharmonic Orchestra Christa Ludwig (Deutsche Grammophon) London Philharmonic Orchestra | 19

be m ov e d

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 11 april 2018 7.30pm

friday 13 april 2018 7.30pm

wednesday 18 april 2018 7.30pm

Thomas Adès Suite from Powder Her Face* (UK premiere) Gerald Barry Organ Concerto† (London premiere) Stravinsky Perséphone

Stravinsky Jeu de cartes Bryce Dessner Concerto for Two Pianos (world premiere)* Rachmaninoff Symphony No. 3†

Stravinsky Symphony in C Stravinsky Tango Debussy Fantaisie Shostakovich Symphony No. 6

John Storgårds conductor Katia Labèque piano Marielle Labèque piano

Vladimir Jurowski conductor Leif Ove Andsnes piano

Thomas Adès conductor Thomas Trotter organ Toby Spence tenor London Philharmonic Choir Trinity Boys Choir

* Commissioned by the London Philharmonic Orchestra, Borusan Culture Arts Centre & Orquestra Nacionales de España. † In co-operation with the Serge Rachmaninoff Foundation.

Concert generously supported by Victoria Robey OBE. * Commissoned by the London Philharmonic Orchestra with the generous support of The Boltini Trust, Berliner Philharmoniker, Philadelphia Orchestra, Saint Louis Symphony Orchestra, Carnegie Hall and Danish National Symphony Orchestra. † Commissioned by City of Birmingham Symphony Orchestra, Southbank Centre, London, and Raidió Teilifís Éireann.

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

20 | London Philharmonic Orchestra

FunhArmonics FAmily concerT

peT ush A r k sundAy 10 June 2018

souThBAnk cenTre’s royAl FesTivAl hAll concerT 12.00pm – 1.00pm AcTiviTies 10.00Am – 11.45Am london philhArmonic orchesTrA michAel seAl conducTor rAchel leAch presenTer

TickeTs child £6–£10 /AdulT £12–£20

• • •

Free FUNharmonics activities throughout the morning from 10.00am: Have a go at an orchestral instrument under expert instruction (children ages 6+; concert ticket holders only) Join our art workshops in The Clore Ballroom at Royal Festival Hall Grab an activity sheet and find out more about the LPO and its music

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New CD release on the LPO Label Kurt Masur conducts Shostakovich’s Symphony No. 7 (‘Leningrad’) Shostakovich Symphony No. 7 (‘Leningrad’) Kurt Masur conductor London Philharmonic Orchestra LPO-0103 | £9.99 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 13 December 2003.

‘Masur and his outstanding players received rapturous applause from a packed RFH ... We are fortunate indeed that this concert was recorded.’ Musicweb International, December 2003

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22 | London Philharmonic Orchestra

GeT

closer

2018/19 concerT season

aT souThbank cenTre’s royal FesTival hall

on sale now hiGhliGhTs include chanGinG Faces: sTravinsky’s Journey we continue our yearlong series, delving into the composer’s works from the 1940s onwards.

opera in concerT wagner’s Die Walküre and stravinsky’s The Rake’s Progress under vladimir Jurowski, and puccini’s first opera, Le Villi.

isle oF noises Throughout 2019 this year-long festival celebrates the music of britain, from purcell, through elgar, bax and walton, to the present day.

beeThoven piano concerTos The flamboyant young spanish pianist Javier perianes joins us for two evenings to perform beethoven’s complete piano concertos.

book now aT lpo.orG.uk or call 020 7840 4242 season discounTs oF up To 30% available

2017/18 annual appeal

Sharing the Wonder 30 years of music for all

For 30 years we have taken ourselves off the concert platform and out into the world around us, driven by the desire to share the power and wonder of orchestral music with everyone. We strive to create stories and experiences that others will call their own. From planting the seed in those who have never heard orchestral music to reawakening others to joys they may have forgotten. We work to awaken passions, develop talent and nurture ability. Help us celebrate this 30th year of the London Philharmonic Orchestra’s Education and Community Programme by giving to our Appeal. Your gift will support us as we invest in the creation of future experiences. Together we can unlock discoveries not only in musical abilities, but also in confidence, creativity and self-belief; helping create stories of change and journeys of progression.

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lpo.org.uk/appeal

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno De Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

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

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Thank you

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust In memory of Miss Ann Marguerite Collins Alexander & Elena Djaparidze Mr & Mrs Philip Kan Mr & Mrs Makharinsky Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Dr James Huang Zheng (of Kingdom Music Education Group) Associates Steven M. Berzin Gabor Beyer Kay Bryan William & Alex de Winton HH Prince George-Constantin von Sachsen-Weimar Eisenach Virginia Gabbertas Hsiu Ling Lu Oleg & Natalya Pukhov George Ramishvili Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre Gilly de Varennes de Bueil Hamish & Sophie Forsyth

Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Geoff & Meg Mann Tom & Phillis Sharpe Eric Tomsett The Viney Family Laurence Watt Guy & Utti Whittaker Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Mr Roger Greenwood Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Rose & Dudley Leigh Mrs Elizabeth Meshkvicheva The Metherell Family Mikhail Noskov & Vasilina Bindley Jacopo Pessina Brian & Elizabeth Taylor Bronze Patrons Anonymous donors Dr Christopher Aldren Mrs Margot Astrachan Mrs A Beare Richard & Jo Brass Peter & Adrienne Breen Mr Jeremy Bull Mr Alan C Butler Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann

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Ignor & Lyuba Galkin Mr Daniel Goldstein Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mr Christopher Stewart Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman David & Patricia Buck Dr Anthony Buckland Desmond & Ruth Cecil Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett

Mr Peter Cullum CBE Mr Timonthy Fancourt QC Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Raphaël Kanzas Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Mr Christopher Querée Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Mr John D Barnard Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger

Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney DBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE Peter and Katie Gray The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Gabor Beyer (Hungary) Kay Bryan (Australia)

HH Prince George-Constantin von Sachsen-Weimar Eisenach (Germany) Marie-Laure Favre Gilly de Varennes de Bueil (France) Joyce Kan (China/Hong Kong) Hsiu Ling Lu (China/Shanghai) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Dr James Huang Zheng (of Kingdom Music Education Group) (China/ Shenzhen) We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: William A. Kerr Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray Stephanie Yoshida Antony Phillipson Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Corporate Donors Arcadis Bonhams Christian Dior Couture Faraday Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP

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

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

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Administration

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

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

Public Relations Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager