London Philharmonic Orchestra 28 Oct 2017 Brighton concert programme by London Philharmonic Orchestra

b e m ov e d IN BRIGHTON

2017/18 Season at Brighton Dome Concert Hall Concert programme

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

Brighton Dome Concert Hall Saturday 28 October 2017 | 7.30pm Beethoven Coriolan Overture (8’) Beethoven Piano Concerto No. 5 (Emperor) (38’) Interval (20’) Beethoven Symphony No. 3 (Eroica) (47’) Eugene Tzigane conductor Inon Barnatan piano* * Generously supported by the Embassy of the State of Israel to the United Kingdom.

The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.

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

Contents 2 Welcome Orchestra news 3 On stage tonight 4 About the Orchestra 5 Leader: Vesselin Gellev 6 Eugene Tzigane 7 Inon Barnatan 8 Programme notes 11 Beethoven on the LPO Label 12 Next concerts 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Brighton Dome Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue. INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation. The concert at Brighton Dome on 28 October 2017 is presented by the London Philharmonic Orchestra in association with Brighton Dome.

Orchestra news

hank you for joining us here at Brighton Dome for the first concert in the London Philharmonic Orchestra's 2017/18 Brighton season. We hope you enjoy this evening's performance. We look forward to returning to Brighton Dome for three more concerts over the season, and hope you will be able to join us: see page 12 for details. Find out more about all our performances at lpo.org.uk

LPO Japan tour The Orchestra recently returned from a whirlwind nine-day tour of Japan with our Principal Conductor Vladimir Jurowski and the extraordinary piano virtuoso Nobuyuki Tsujii. In our first visit to the country for 15 years we gave eight concerts in Fukuoka, Osaka, Nagoya, Niigata, Tokyo, Hamamatsu and Kawasaki, before returning to London on 15 October. The Japan tour was generously supported by JTI. A second major Far East tour follows on 27 December, when the Orchestra will travel to China to perform in Guangzhou, Shenzhen, Shanghai and Beijing over the New Year period. In between we’ll squeeze in a European tour in mid-November with conductor Alain Altinoglu and violinist Patricia Kopatchinskaja, taking in Antwerp, Vienna, Freiburg, Friedrichshafen, Stuttgart and Munich, and make a festive trip to Paris to perform Bach’s Christmas Oratorio at the Théâtre des ChampsElysées.

Two new CD box sets on the LPO Label Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England. Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org | brightonfestival.org

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This season we celebrate Vladimir Jurowski’s 10th anniversary as the LPO's Principal Conductor, and we recently released two major box sets to mark this milestone. Our September 2017 release was a seven-disc set of Tchaikovsky’s complete symphonies conducted by Jurowski. The set includes previously unreleased recordings of Nos. 2 and 3, plus Francesca da Rimini and the Serenade for Strings (LPO-0101). October 2017 saw the release of another seven-disc box set: a special collection of previously unreleased recordings by Jurowski and the LPO, comprising both familiar and rare repertoire spanning the symphonic, choral and contemporary genres (LPO-1010). For more information visit lpo.org.uk/recordings or call the LPO Ticket Office on 020 7840 4242.

On stage tonight

First Violins Vesselin Gellev Leader JiJi Lee Katalin Varnagy Chair supported by Sonja Drexler

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

Yang Zhang Tina Gruenberg Rebecca Shorrock Eunsley Park Joseph Devalle Alice Cooper Hall Jacqueline Roche Second Violins Tania Mazzetti Principal Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Harry Kerr John Dickinson Nicole Stokes Cathy Fox Gavin Davies

Violas David Quiggle Principal Robert Duncan Laura Vallejo Isabel Pereira Alistair Scahill Martin Fenn Stanislav Popov Richard Cookson Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

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

Susanna Riddell Tom Roff Double Basses Sebastian Pennar Principal George Peniston Damián Rubido González Lowri Morgan Jakub Cywinski Laura Murphy

Flutes Stewart McIlwham* Principal Rocco Smith

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Oboes Jennifer Brittlebank Guest Principal Sarah Harper

Timpani Nigel Thomas Guest Principal * Holds a professorial appointment in London

Clarinets Peter Sparks Guest Principal Massimo Di Trolio

† Chevalier of the Brazilian Order of Rio Branco

Bassoons Jonathan Davies Principal Angharad Thomas

Meet our members: lpo.org.uk/players

Horns Mark Vines Principal Chair supported by Laurence Watt

Martin Hobbs Duncan Fuller Jonathan Quaintrell-Evans

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust Andrew Davenport William & Alex de Winton Friends of the Orchestra Dr Barry Grimaldi Sir Simon Robey Victoria Robey OBE Neil Westreich

London Philharmonic Orchestra | 3

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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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new 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: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Vesselin Gellev

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download. Recent additions include Beethoven’s Symphonies Nos. 1 and 4 conducted by Kurt Masur; Dvořák’s Symphonies 6 & 7 conducted by Yannick Nézet-Séguin; and Beethoven’s Symphony No. 3 and Fidelio Overture conducted by Vladimir Jurowski. 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.

leader

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He has also performed as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra and Accademia Nazionale di Santa Cecilia. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

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Eugene Tzigane conductor

A poised orchestral leader with an incisive beat and fluently elegant movements. Under his direction, even the fiercest moments were carried through with skilful command. © Lisa-Marie Mazzucco

Berliner Morgenpost

Hailed by the Berliner Morgenpost as ‘a poised orchestral leader’, the young conductor Eugene Tzigane is often praised for his elegant conducting style, natural musical authority and ‘almost fanatical precision’ (Neue Volksblatt). His reputation as a versatile force on the podium is witnessed by the high level of return engagements throughout Europe, North America and the Far East. Eugene Tzigane achieved early recognition when he won Second Prize at the 2008 Solti Competition, leading to invitations from the Deutsches Symphonie-Orchester Berlin, the Frankfurt Radio Symphony Orchestra and the Nordwestdeutsche (NWD) Philharmonie. He was immediately appointed Principal Conductor of the NWD Philharmonie, a position he held until 2014. Eugene Tzigane enjoys ongoing relationships with many ensembles worldwide including the Norwegian Radio, Tampere Philharmonic, Lahti Symphony and Helsingborg Symphony orchestras. Other recent European engagements have taken him to the Netherlands Philharmonic Orchestra, the Staatsphilharmonie Rheinland-Pfalz, the Copenhagen Philharmonic, the Tapiola Sinfonietta, the Norrköping Symphony Orchestra, the RTÉ National Symphony Orchestra of Ireland, the BBC Scottish Symphony Orchestra and the Basel Symphony Orchestra. Since his US debut with the Indianapolis Symphony in 2011, Eugene Tzigane has conducted the symphony orchestras of Oregon, New Jersey, Fort Worth, North Carolina and Columbus, and the Rochester Philharmonic. At his Chicago debut, conducting the Grant Park Festival Orchestra, he was praised by the Chicago Tribune for bringing ‘freshness and energy’.

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Eugene conducts regularly in Japan, including with the Yomiuri Nippon and Tokyo Metropolitan symphony orchestras, and has also conducted the Adelaide Symphony and West Australian Symphony orchestras. With a natural flair for working with singers, Eugene made his Bayerische Staatsoper debut in 2009 conducting a new production of Così fan tutte, and more recently took the helm of The Magic Flute at Hamburgische Staatsoper, Die Fledermaus at Frankfurt Oper and Carmen at Royal Swedish Opera. He returns to Stockholm in spring 2018 to conduct nine performances of Giordano’s Fedora. Tonight’s concert is Eugene Tzigane’s debut with the London Philharmonic Orchestra. Other highlights this season include return visits to the Norwegian Radio Orchestra and the Umeå, Gävle and Helsingborg symphony orchestras, and concerts with the Orquesta Sinfónica de Galicia, the Orchestre national d’Île-deFrance and the Swedish Chamber Orchestra. Eugene Tzigane began his conducting studies at The Juilliard School with James DePreist, where he earned the Bruno Walter Memorial Scholarship. He completed his studies under Jorma Panula at the Royal College of Music in Stockholm, where he was awarded the Franz Berwald Memorial Scholarship and attended masterclasses with Daniel Harding, Michael Tilson Thomas and Jukka-Pekka Saraste. His other accolades include First Prize at the 2007 Fitelberg Competition and Second Prize at the 2007 Matacic Competition. eugenetzigane.com

Inon Barnatan piano

One of the most admired pianists of his generation.

The New York Times

The 2016/17 season saw American-Israeli pianist Inon Barnatan complete his third and final year as the New York Philharmonic’s inaugural Artist-inAssociation, and give debut performances with the Leipzig Gewandhausorchester (under Alan Gilbert), the Chicago Symphony (Jesús López-Cobos), the Baltimore Symphony (Vasily Petrenko), the Seattle Symphony (Ludovic Merlot), and the BBC Symphony Orchestra (with Kazushi Ono at the BBC Proms). Inon made his debut with the London Philharmonic Orchestra last night at Southbank Centre’s Royal Festival Hall, with the same work he performs this evening: Beethoven’s ‘Emperor’ Concerto. Other highlights this season include his debut with the Helsinki Philharmonic Orchestra, and returns to the Cincinnati Symphony, the Minnesota Orchestra and the Los Angeles Philharmonic at the Hollywood Bowl. Inon will also return to London’s Wigmore Hall and New York’s Carnegie Hall for recitals; embark on a major tour of South East Asia; and continue his longstanding duo collaboration with cellist Alisa Weilerstein.

A passionate advocate for contemporary music, Inon Barnatan has premiered works by Matthias Pintscher, Sebastian Currier and Avner Dorman; music by Thomas Adès and Ronald Stevenson featured alongside Ravel and Debussy on his critically acclaimed album Darknesse Visible, which made The New York Times ‘Best of 2012’ list. Inon is currently recording the complete Beethoven piano concertos with the Academy of St Martin in the Fields, whom he recently led as soloist/director on tour throughout the US. Born in Tel Aviv in 1979, Inon Barnatan went on to study at London’s Royal Academy of Music. He is a recipient of both the Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, and currently lives in New York. inonbarnatan.com facebook.com/inonbarnatanpiano @IBarnatan

Since giving his first concerto performance at the age of 11, Inon Barnatan has performed with The Cleveland and Philadelphia orchestras, the San Francisco Symphony, the Deutsches Symphonie-Orchester Berlin and the Royal Stockholm Symphony Orchestra, building strong relationships with conductors such as Gustavo Dudamel, James Gaffigan, Manfred Honeck, Susanna Mälkki, Thomas Søndergård, Michael Tilson Thomas and Jaap van Zweden.

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Programme notes

Speedread Tonight’s concert presents Beethoven in outright heroic vein. More tone-poem than curtain-raiser, his overture to the play Coriolan vividly projects the dilemma of the Roman general who must choose either ruthless victory and credibility as a leader or humanity and the preservation of his own mother’s life. His Fifth Piano Concerto was his last, marking both the end of his own career as a concert pianist and the achievement of a new level of extrovert grandeur for the form, yet if the extrovert gestures

Ludwig van Beethoven

of the outer movements are its most immediately striking moments, the hushed, awe-inspiring serenity of the central slow movement is no less memorable. And whoever the subject of the ‘Heroic’ Third Symphony was – Napoleon perhaps, or the composer himself, or maybe a purely imaginary figure – the radical masterpiece he inspired, with its powerful extra-musical message of a mighty human spirit felled and then reborn, was to change the symphonic genre for ever.

Coriolan Overture, Op. 62

1770–1827

Until towards the end of the 18th century, overtures were usually little more than musical announcements that an opera or a play was about to begin, a way of silencing the audience. Rarely was their content affected much by the events of the ensuing drama, and it was only with Gluck’s ‘reform operas’ of the 1770s that overtures began to attempt on a more regular basis to encapsulate what was to follow. So influential was the change, however, that by the early 1800s Beethoven’s most dynamic overtures – those to the plays Coriolan, Egmont and The Ruins of Athens, to the ballet The Creatures of Prometheus and the opera Fidelio – soon acquired a concert life of their own. In effect, they had become the earliest examples of one of the 19th century’s favourite forms, the symphonic poem. The overture that Beethoven provided for Coriolan, a five-year-old tragedy by his friend Heinrich von Collin, was actually performed a couple of times as a concert piece in the month which preceded its appearance at a revival of the play in April 1807. Collin’s drama had its origins in Shakespeare’s Coriolanus and, though differing 8 | London Philharmonic Orchestra

from it in several respects, presented the same dilemma of the Roman general who has rebelled and is now leading an attack on Rome itself. On the point of victory he lays down his arms so that his mother, Volumnia, can be spared – a moment of military weakness which eventually drives him to suicide. Beethoven’s Overture focuses on the conflict between the arrogant soldier – shown in the truculent opening chords and urgent string motif – and the pleadings of his mother as represented by the tender second theme, rising step by step as her beseeching intensifies. In Shakespeare, Coriolanus was killed by his own followers for his disloyalty, but Beethoven’s concern, like Collin’s, was for the effect of the hero’s failings on his own mind, as shown at the end. Here, Volumnia’s theme makes its third and last appearance, not rising this time but switching with greater urgency to the minor, with the result that Coriolanus capitulates in a broken version of the opening. As the once-proud chords lose their way and the string motif shrivels to nothing, the general’s fall is quiet and ignominious.

Ludwig van Beethoven

Piano Concerto No. 5 in E flat major, Op. 73 (Emperor) Inon Barnatan piano 1 Allegro 2 Adagio un poco mosso – 3 Rondo: Allegro

One has to wonder whether the organisers of the concert at which Beethoven’s Fifth Piano Concerto received its Viennese premiere in February 1812 – the actual premiere having taken place in Leipzig the previous November – provided the ideal audience. A contemporary report of the combined concert and art exhibition mounted by the Society of Noble Ladies for Charity tells us that ‘the pictures offer a glorious treat; a new pianoforte concerto by Beethoven failed’. And it is true that, while it was later to become as familiar a piano concerto as any, in its early years the ‘Emperor’ struggled for popularity. Perhaps its leonine strength and symphonic sweep were simply too much for everyone, not just the Noble Ladies. Cast in the same key as the ‘heroic’ Third Symphony, it breathes much the same majestically confident air, though in a manner one could describe as more macho. Composed in the first few months of 1809, with war brewing between Austria and France, this is Beethoven in what must have seemed overbearingly optimistic mood. The Concerto is certainly not reticent about declaring itself. The first movement opens with extravagant flourishes from the piano punctuated by stoic orchestral chords, leading us with unerring sense of direction towards the sturdy first theme. This marchlike tune presents two important thematic referencepoints in the shape of a melodic turn and a tiny figure of just two notes (a long and a short) which Beethoven refers to constantly in the course of the movement. The latter ushers in the chromatic scale with which the piano re-enters, and the same sequence of events later serves to introduce the central development section. Here the turn dominates, dreamily passed around the woodwind, but the two-note figure emerges ever more strongly, eventually firing off a stormy tirade of piano octaves. The air quickly clears, however, and

reappearances of the turn lead back to a recapitulation of the opening material. Towards the end of the movement Beethoven makes his most radical formal move. In the early 19th century it was still customary at this point in a concerto for the soloist to improvise a solo passage (or cadenza), but in this work Beethoven for the first time includes one which is not only fully written out, but involves the orchestra as well. It was an innovation that many subsequent composers, glad of the extra control it allowed them, would adopt. The second and third movements together take less time to play than the first. The Adagio opens with a serene, hymn-like tune from the strings, which the piano answers with a theme of its own before itself taking up the opening one in ornamented form. This in turn leads to an orchestral reprise of the same theme, now with greater participation from the winds and with piano decoration. At the end, the music dissolves, then eerily drops down a semitone as the piano toys idly with some quiet, thickly scored chords. In a flash, these are then transformed and revealed to be the main theme of the bouncy Rondo finale, which has followed without a break. Physical joins between movements were a trend in Beethoven’s music at this time, but so too were thematic ones. At one point in this finale, with the main theme firmly established, the strings gently put forward the ‘experimental’ version from the end of the slow movement, as if mocking the piano’s earlier tentativeness. The movement approaches its close, however, with piano and timpani in stealthy cahoots before, with a final flurry, the end is upon us. The Concerto’s nickname was not chosen by Beethoven, and, given the composer’s angry reaction to Napoleon’s self-appointment as Emperor in 1804, it may seem more than usually inappropriate. Yet there London Philharmonic Orchestra | 9

Programme notes continued

is an appositeness to it if we take the music’s grandly heroic stance as a picture of what, perhaps, an emperor ought to be. Beethoven once remarked that if he had understood the arts of war as well as he had those of music, he could have defeated Napoleon. Who, listening to this Concerto, could doubt that?

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

Ludwig van Beethoven

Symphony No. 3 in E flat major, Op. 55 (Eroica)

Only a year separates the completion of Beethoven’s Second Symphony from that of his Third, yet in that time the composer made an enormous leap forward that left his contemporaries gasping in his wake. It was not just that the ‘Eroica’ (‘Heroic’) expanded the physical size of the symphony to hitherto unknown dimensions; it also imbued the genre with a new and gigantic message, turning it into an artistic and philosophical statement that transcended any of its previously accepted functions. For here Beethoven used the symphony to express nothing less than his abiding faith in mankind’s capacity for greatness.

the second a tragic funeral march; the third a joyous renewal of life; and the last a confident and triumphant affirmation of the power of Man. It was with this realisation of the extra-musical autobiographical potential of the symphony that Beethoven was to set the ideological tone for the next hundred years of symphonic writing.

The figure with whom he most associated greatness when he wrote the work in 1803 was Napoleon. At that time Napoleon seemed to embody the republican ideals of many of Europe’s intellectuals, but when he crowned himself Emperor in 1804 Beethoven angrily deleted his name from the title-page of the score, where he had been cited as dedicatee. Yet heroism – personal and idealistic – did not lose its significance for the composer. His own claim to artistic heroic status could hardly be doubted after his emergence from the near-suicidal despair of 1802 with creativity unimpaired, and the spiritual rebirth this represented is outlined in the four movements of the ‘Eroica’: the first a titanic struggle;

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1 2 3 4

Allegro con brio Marcia funebre: Adagio assai Scherzo and Trio: Allegro vivace Finale: Allegro molto

As in the Second Symphony, Beethoven’s expansion of the genre’s dimensions here makes use of the conventional building blocks, but in the ‘Eroica’ the familiar is made to sound impressively different. The opening chords are almost startlingly terse, while in its smooth spaciousness the main theme is like no main theme ever written before. The central development section is a long and brutal battle, but leads to a return to the main theme that is hushed and mysterious. After all this, the movement’s long, gently developmental coda is nothing less than a structural necessity. The second movement – the funeral march – makes large-scale use of what is basically a simple design. Three immensely slow, grief-stricken outer sections frame a vainly hopeful major-key ‘trio’, a solemn double fugue and a cataclysmic orchestral upheaval. There is another long coda, at the end of which, in one of the

Symphony’s most radical gestures, the music literally disintegrates, seemingly incapable of consolation. But all is not lost. The Scherzo now steals in almost imperceptibly on the woodwind and strings, to be joined eventually by the full orchestra. The Trio does not do much to calm the celebrations, though it is less frantic, and the repeat of the first section is no mere formal nicety but a winding-up of the euphoria, with the orchestra at one point almost falling over itself with glee. The Finale is one movement in which Beethoven did create a new formal design – a unique combination of variation form, passacaglia and rondo. After a noisy orchestral opening, the movement’s early progress from stark bass-line to dance-like tune is borrowed from an earlier set of piano variations on a theme from Beethoven’s music for the ballet The Creatures

of Prometheus. The theme itself does not appear until the third variation, where it is played by the oboe, but by then the music has already begun to acquire an unstoppable feel. Eventually a slower variation brings the movement a dignity more befitting the work’s heroic subject, before a return of the orchestral introduction sweeps the music into a joyful coda. The story of the Prometheus ballet had concerned a figure who creates two beings with the aid of fire stolen from the gods and then instructs them in human arts and passions. As a representation of the creative artist’s role as educator and civilising influence, it could hardly have failed to appeal to Beethoven; by making such direct reference to it, how better could he have concluded this masterly symphonic self-portrait? Programme notes © Lindsay Kemp

Tonight's works on the LPO Label ‘A Coriolan Overture that is weighty and dramatic, dynamic and detailed, emotionally burdened, with much lyrical consolation, and a wonderful sense of theatre when the music’s denouement is reached’ Classical Source, October 2015

Beethoven Overture, Fidelio Symphony No. 3 (Eroica)

Beethoven Coriolan Overture Symphony No. 5

Vladimir Jurowski conductor London Philharmonic Orchestra

Klaus Tennstedt conductor London Philharmonic Orchestra

LPO-0096 | £9.99

LPO-0089 | £6.99

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

London Philharmonic Orchestra | 11

be m ov e d i n B R I G H T ON

Next LPO concerts at Brighton Dome Concert Hall

The Four Seasons Saturday 25 November 2017 7.30pm

Petrenko & Scheherazade Saturday 24 February 2018 7.30pm

Discover Hollywood Saturday 14 April 2018 7.30pm

Witness the imagination and charm of Vivaldi’s evergreen Four Seasons on a journey into one of music’s most beautiful minds.

Vasily Petrenko conducts Rimsky-Korsakov’s Scheherazade alongside music by Tchaikovsky and Berlioz.

Discover Rachmaninoff’s Hollywood in the chrome-plated dazzle of his gorgeous Third Symphony.

Book now at brightondome.org or call 01273 709709 Season discounts of up to 20% available

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

Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Welser-Möst Circle Mr Frederick Brittenden William & Alex de Winton David & Yi Yao Buckley John Ireland Charitable Trust Mr Clive Butler The Tsukanov Family Foundation Gill & Garf Collins Neil Westreich Mr John H Cook Tennstedt Circle Mr Alistair Corbett Valentina & Dmitry Aksenov Bruno De Kegel Richard Buxton Georgy Djaparidze The Candide Trust David Ellen Michael & Elena Kroupeev Christopher Fraser OBE & Lisa Fraser Kirby Laing Foundation David & Victoria Graham Fuller Mr & Mrs Makharinsky Goldman Sachs International Alexey & Anastasia Reznikovich Mr Gavin Graham Sir Simon Robey Moya Greene Bianca & Stuart Roden Mrs Dorothy Hambleton Simon & Vero Turner Tony & Susie Hayes The late Mr K Twyman Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO ManageRose & Dudley Leigh ment Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss SuDuncan Matthews QC zanne 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 Sir Bernard Rix The Maurice Marks Charitable Trust David Ross & Line Forestier (Canada) Mr Paris Natar Carolina & Martin Schwab The Rothschild Foundation

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 Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

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Thank you

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

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff & Meg Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker

Silver Patrons Michael Allen Mrs Irina Gofman David Goldberg Mr Gavin Graham Pehr G Gyllenhammar Catherine Høgel & Ben Mardle Matt Isaacs & Penny Jerram Mrs Elizabeth Meshkvicheva The Metherell Family 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 Richard Buxton John Childress & Christiane Wuillaimie Mr Geoffrey A Collens Mr John H Cook Bruno De Kegel Georgy Djaparidze David Ellen Ulrike & Benno Engelmann Ignor & Lyuba Galkin Mr Daniel Goldstein Mr Roger Greenwood Mrs Dorothy Hambleton Martin & Katherine Hattrell Wim & Jackie Hautekiet-Clare Michael & Christine Henry J Douglas Home Mr Glenn Hurstfield Rose & Dudley Leigh Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Peter MacDonald Eggers Isabelle & Adrian Mee Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble

14 | London Philharmonic Orchestra

Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein 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 Roger & Clare Barron Mr Geoffrey Bateman Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza 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 Martin & Cheryl Southgate Matthew Stephenson & Roman Aristarkhov Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE 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 Christopher Queree 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 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 Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Arcadis Christian Dior Couture Fenchurch Advisory Partners Giberg Goldman Sachs Pictet Bank White & Case LLP Corporate Members Gold Sunshine Silver After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust The Boltini Trust 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 Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation 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 The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation

UK Friends of the FelixMendelssohn-BartholdyFoundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 15

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

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education and Community Director

Albion Media (Tel: 020 3077 4930)

David Burke General Manager and Finance Director

Talia Lash Education and Community Project Manager