London Philharmonic Orchestra 2 Dec 2016 concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme lpo.org.uk

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

JTI FRIDAY SERIES Southbank Centre’s Royal Festival Hall Friday 2 December 2016 | 7.30pm

Weber Overture, Euryanthe (9’) Bruch Violin Concerto No. 1 in G minor, Op. 26 (23’) Interval (20’) Beethoven Symphony No. 3 in E flat major, Op. 55 (Eroica) (47’)

Andrés Orozco-Estrada conductor Hilary Hahn violin

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

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Andrés Orozco-Estrada 7 Hilary Hahn 8 Programme notes 11 Recommended recordings Next concerts 12 2016 FUNharmonics Appeal 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall.

LPO news

2016 FUNharmonics Appeal We’ve just launched our 2016 Annual Appeal, which this year is supporting our series of FUNharmonics family concerts. Comprising hour-long fun, interactive concerts designed especially for children, plus pre-concert ‘have a go’ sessions and hands-on craft workshops themed around the concert repertoire, FUNharmonics offer an amazing way for children and their families to experience orchestral music. We’re asking you to help us make these experiences accessible to as many people as possible. Give to the appeal and fund the elements that make up a FUNharmonics day, supporting us in keeping the pricing of these concerts affordable for all. See page 12 for more details or visit lpo.org.uk/appeal

If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk

Searching for an unusual present this year for a classical music lover? The London Philharmonic Orchestra has a fantastic range of gifts on offer. How about...

We look forward to seeing you again soon.

• A luxury package comprising two top-price tickets to

Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

2 | London Philharmonic Orchestra

Christmas gifts from the LPO

an LPO concert of the recipient’s choice, plus a bestselling LPO Tchaikovsky Symphonies CD • A year’s membership of our Friends or Contemporaries scheme • An annual CD subscription with a brand new release delivered directly to the recipient each month • LPO gift vouchers (available for any amount from £1) that are valid for a year and can be used to buy LPO concert tickets or CDs Browse the full selection at lpo.org.uk/gifts or call the LPO Ticket Office on 020 7840 4242.

Carols at Waterloo Entertaining commuters with carols at Waterloo Station in the run-up to Christmas has become a favourite annual tradition for the Orchestra. Yesterday evening (1 December) members of the LPO and singers from the London Philharmonic Choir brought some festive cheer to the station concourse during the evening rush hour, collecting for Save the Children. Thanks to everyone who supported us – watch this space for an update on the total raised!

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Liana Gourdjia Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by the Candide Trust

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 Yang Zhang Second Violins Andrew Storey Principal Helena Smart Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazzetti Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Harry Kerr

Violas Jon Thorne Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Emmanuella Reiter Laura Vallejo Isabel Pereira Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Laura Donoghue Santiago Carvalho† Chair co-supported by Molly & David Borthwick

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

Double Basses Kevin Rundell* Principal Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Thomas Walley Lowri Morgan

Flutes Juliette Bausor Principal Sue Thomas* Sub-Principal

Trumpets Paul Beniston* Principal Anne McAneney*

Chair co-supported by Victoria Robey OBE

Oboes Ian Hardwick* Principal Alice Munday Clarinets Thomas Watmough Principal Paul Richards Bassoons Gareth Newman Simon Estell* Horns David Pyatt* Principal Chair supported by Simon Robey

John Ryan* Principal

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone Lyndon Meredith Principal Timpani Marney O’Sullivan Guest Principal

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Chair supported by Laurence Watt

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport • Dr Barry Grimaldi • Eric Tomsett

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Everything about this performance ... was perfect ... one of the best pieces of orchestral playing I have heard in quite a long time. Seen and Heard international, February 2015

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

4 | London Philharmonic Orchestra

years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: last season included visits to Mexico,

Pieter Schoeman leader

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

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/c/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur.

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

London Philharmonic Orchestra | 5

Andrés Orozco-Estrada Principal Guest Conductor

In appointing Andrés Orozco-Estrada, the LPO has made an excellent choice.

Douglas Cooksey, Classical Source, 25 November 2015

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 in spring 2014 that he would take up the position of Principal Guest Conductor from September 2015. Born in Colombia and trained in Vienna, Andrés OrozcoEstrada 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 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 he has developed a highly successful musical partnership with the Tonkünstler Orchestra, one of the most important institutions of traditional Austrian musical culture. From 2009–15 Andrés was Music Director of the Tonkünstler Orchestra, and from 2009–13 Principal Conductor of the Basque National Orchestra. Andrés Orozco-Estrada has worked with leading orchestras worldwide including the Vienna Philharmonic, Munich Philharmonic, Leipzig Gewandhaus, Mahler Chamber Orchestra, City of Birmingham Symphony Orchestra, the Santa Cecilia Orchestra in Rome, Norddeutscher Rundfunk in Hamburg (NDR) and the Orchestre National de France. Following his debut with the Vienna Philharmonic

6 | London Philharmonic Orchestra

Orchestra in autumn 2010, Andrés was hailed ‘a brilliant stand-in’ (Wiener Zeitung) for Esa-Pekka Salonen and celebrated as an ‘eminent talent’ (Die Presse). In November 2012 he stepped in, once again at short notice, to replace Riccardo Muti with the Vienna Philharmonic at the Musikverein, proving a ‘stand-in worth his weight in gold’ (Kurier) and ‘an inspired master of communication’ (Der Standard). In 2014 Andrés made his conducting debut at Glyndebourne Festival Opera with the London Philharmonic Orchestra in Don Giovanni, after which he was immediately re-invited to conduct La traviata in summer 2017. In April 2017 he will make his debut with the Berlin Philharmonic Orchestra. Born in 1977 in Medellín, Colombia, Andrés OrozcoEstrada 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. The emphasis of his artistic work lies in the Romantic repertoire and Viennese classics. At the same time, Andrés shows a keen interest in contemporary music and regularly performs premieres of music by Austrian composers as well as compositions of Spanish and South American origin. Andrés currently lives in Vienna.

Hilary Hahn violin

Her playing was at once impetuous and authoritative, brilliant and beautiful.

New York Times, November 2014

Three-time Grammy Award-winning violinist Hilary Hahn is renowned for her virtuosity, expansive interpretations and creative programming. Her distinct stylistic choices honour the traditional violin literature while delving into the unexpected. Since last season, in recital tours across Europe, the US and Japan, she has been premiering six new partitas for solo violin by Antón García Abril. In 27 Pieces: the Hilary Hahn Encores is Hahn’s multi-year commissioning project, which she began in 2011, aiming to revitalise the duo encore genre.

Hilary has released 16 albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an award-winning recording for children and various compilations. Spanning a wide range of repertoire including Bach, Stravinsky, Elgar, Beethoven, Vaughan Williams, Mozart, Schoenberg, Paganini, Spohr, Barber, Bernstein, Ives, Jennifer Higdon and Tchaikovsky, her recordings have received every critical prize in the international press and have met with equal popular success. All have debuted in the top ten of the Billboard classical chart.

The 2016/17 season will see Hilary in residence with both the Seattle Symphony and the Orchestre National de Lyon. As well as her performances with those orchestras and her recitals in Seattle and Lyon, Hahn will create outreach activities customised to each city. Other activities this season include European concerto tours with the Czech Philharmonic, Orchestre Philharmonique de Radio France and Orchestre National de Lyon; appearances with the Cincinnati, Detroit, Indianapolis, and National symphony orchestras, Frankfurt Radio and Swedish Radio symphony orchestras, and the Spanish National Orchestra; and recital tours with pianist Robert Levin throughout Europe and North America.

Hilary is an avid writer, having posted journal entries for two decades on her website and published articles in mainstream media. On her YouTube channel she interviews colleagues about their experiences in music, and her violin case comments on life as a travelling companion on Twitter and Instagram at @violincase. Hahn was featured in the Oscarnominated soundtrack to The Village and has participated in a number of non-classical productions, collaborating on two records by the alt-rock band …And You Will Know Us By The Trail of Dead, on the album Grand Forks by Tom Brosseau, and on tour with folk-rock singer/songwriter Josh Ritter.

Hilary’s 2015/16 artist residency at Vienna’s Konzerthaus featured performances of Mozart with the Camerata Salzburg, Dvořák with the Vienna Symphony and Vieuxtemps with the Vienna Philharmonic, plus a solo recital. As part of her residency Hahn piloted free – and sometimes surprise – concerts for parents with infants, a knitting circle and a community dance workshop as the live music for their end-of-year performance.

hilaryhahn.com facebook.com/hilaryhahn youtube.com/hilaryhahnvideos @violincase @violincase

London Philharmonic Orchestra | 7

Programme notes

Speedread Weber’s operas are not seen that often these days, yet they played a major part in helping set emerging German-language music-drama along the path that led to Wagner, while their overtures – Euryanthe among them – are works of enduring brilliance and freshness. Max Bruch’s much-loved First Violin Concerto is German Romanticism of a more relaxed kind: exquisitely moulded, richly melodic, and perfectly happy with that. But 19th-century music

Carl Maria von Weber

as a whole might never have taken the course it did were it not for Beethoven’s ‘Heroic’ Symphony of 1803. Whoever the hero was – Napoleon maybe, or perhaps the composer himself – the radical masterpiece he inspired, with its powerful sense of extra-musical meaning, was to transform the symphonic genre from abstract instrumental piece to abstract instrumental piece with a message.

Overture, Euryanthe (1823)

1786–1826

Weber’s ‘grand heroic-romantic opera’ Euryanthe was commissioned in 1821 by the Kärntnertortheater in Vienna, who were hoping to emulate the success of his previous opera, Der Freischütz. For Weber it was a chance to go to the next stage towards his dream of ‘the type of opera all Germans want: a self-contained work of art in which all elements … disappear and re-emerge to create a new world’. In the case of Euryanthe – a setting of an old French chivalric romance telling the story of the spiteful and unjust querying of the fidelity of Euryanthe, wife of Adolar, Count of Nevers – the main development was the replacement of spoken dialogue with continuous music. Sadly, however, the ponderous versifying of his chosen librettist, the literary dilettante Helmina von Chezy, undermined the sophistication of Weber’s music and forever hampered the work’s success.

8 | London Philharmonic Orchestra

The brilliant overture was the last part of the opera to be completed before the premiere in October 1823, but true to Weber’s ambitions it manages to present ideas from the ensuing drama. Following the breezy opening, the firm first theme is Adolar’s declaration of faith in Euryanthe from Act 1, while the more lyrical second theme is his song of love for her from Act 2. More disquieting feelings are stirred, however, in the ethereal central section, which quotes music from a scene in which Euryanthe recalls a message revealed to her by her sister’s ghost.

Max Bruch 1838–1920

The massive imbalance in popularity between Max Bruch’s First Violin Concerto and the rest of his notinconsiderable output has lasted from his time right up to ours. Even he complained that it overshadowed all but of a handful of his other works, which included three operas, three symphonies, two further violin concertos and a fair amount of chamber music, choral music and songs. Not that he wasn’t a widely respected figure in the musical world, as a succession of conducting posts in Koblenz, Sondershausen, Liverpool and Breslau (now Wrocław), an Honorary Doctorate at Cambridge and a Professorship at the Berlin Academy (where he briefly taught Respighi and Vaughan Williams, among others) all attest. Yet the affection in which the First Violin Concerto is held is well deserved, for it is an impeccably wrought masterpiece of warming melody and wholly lovable Romantic richness. In 1906 the great Hungarian violinist Joseph Joachim, looking back on his long career, offered a concise comparison of what he considered to be ‘Germany’s four violin concertos’, describing the Beethoven as ‘the most uncompromising’, the Brahms as ‘vying with it for seriousness’, and the Mendelssohn as the ‘most inward, the heart’s jewel’. Bruch’s (which undoubtedly owes a debt to the Mendelssohn) he called simply ‘the most seductive’, a judgment with which probably few would disagree. Yet when Bruch began writing it in 1864, at the age of 26, he found it hard going. ‘I do not feel sure of my feet on this terrain’, he wrote in a letter, and four years later he was still at work on it, despite the fact that in the meantime it had been premiered, in Koblenz in 1866 with Otto von Königslow as soloist. The final version was premiered in Bremen in January 1868, by which time it had received the benefit of numerous

Violin Concerto No. 1 in G minor, Op. 26 (1866) Hilary Hahn violin 1 Prelude: Allegro moderato 2 Adagio 3 Finale: Allegro energico

improving suggestions from its new soloist, Joachim himself. Indeed the final result has such an ease in both its formal unfolding and its writing for the violin that we are left to wonder what all the struggle can have been about. The Concerto opens in improvisatory vein, as a sombre drum-roll and a melancholy woodwind motif introduce some pensive flourishes from the violin. They eventually lead to the exposition of two main themes – one gritty with a loping accompaniment, the other sunny and smooth – both of which are announced by the soloist. An impassioned orchestral development follows, before the opening gestures return to conduct us directly into the second movement. Here, at the emotional core of the work, a string of gorgeous melodies unwinds, firstly in the hands of the violin, and later with the orchestra in tender accord, soaring to a brief but ardent climax before drifting slowly and lightly back to earth. The Finale brings a total change of mood, as a mounting tremor of orchestral anticipation propels us excitedly into a theme with an exuberant gipsy flavour. As usual the theme is introduced by the violin, but it is the orchestra that later delivers the movement’s biggest tune, which is then played back to it by the violin digging deep into its bottom string. As in the first two movements, the formal structure here is simple but perfectly judged, with no loss of momentum and nothing overplayed. And if Bruch’s Concerto echoes Mendelssohn’s at times, it is not difficult to suppose that a few years later Brahms, who so liked to embrace the gipsy style himself, was hearing this finale in his head when he came to write his own violin concerto for the same Hungarian soloist.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 9

Programme notes continued

Ludwig van Beethoven 1770–1827

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 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; 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. 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.

10 | London Philharmonic Orchestra

Symphony No. 3 in E flat major, Op. 55 (Eroica) (1804) 1 2 3 4

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

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

Next concerts at Southbank Centre’s Royal Festival Hall WEDNESDAY 7 December 2016 7.30pm Glinka Spanish Overtures Prokofiev Cello Concerto Dargomyzhsky Baba-Yaga (Fantasy-Scherzo) Tchaikovsky Symphony No. 2 (Little Russian) Vladimir Jurowski conductor Steven Isserlis cello Concert generously supported by Victoria Robey OBE

WEDNESDAY 14 December 2016 7.30pm Recommended recordings

Glinka Waltz Fantasy Chopin Piano Concerto No. 1 Rachmaninoff Symphony No. 1

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

Vladimir Jurowski conductor Jan Lisiecki piano

Weber: Overture, Euryanthe The Hanover Band | Roy Goodman (Nimbus)

Friday 13 january 2017 7.30pm

Bruch: Violin Concerto No. 1 Kyung Wha Chung | London Philharmonic Orchestra | Klaus Tennstedt (EMI) or Jascha Heifetz | New Symphony Orchestra of London | Sir Malcolm Sargent (RCA) Beethoven: Symphony No. 3 (Eroica) Klaus Tennstedt | London Philharmonic Orchestra (EMI/ Warner)

Brahms Violin Concerto Brahms Symphony No. 1 Manfred Honeck conductor Ray Chen violin

saturday 21 january 2017 7.30pm Beethoven Fidelio Vladimir Jurowski conductor Daniel Slater director London Voices For a full list of soloists visit lpo.org.uk Concert generously supported by Victoria Robey OBE and members of our Fidelio Supporter Syndicate

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

HELP US CREATE MOMENTS OF WONDER 2016 FUNharmonics Appeal

At the London Philharmonic Orchestra we are more than our concert performances; we are greater than the musicians you see. We strive to create wonder in all that we do; sharing our vision with everyone, everywhere, regardless of age, background or income. FUNharmonics days offer an amazing way for children and their families to experience orchestral music and the LPO. Help us make these experiences accessible to as many people as possible. Give to the appeal and fund the elements that make up a FUNharmonics day – your support will help us cover the costs of offering these experiences: — £5 will pay for a pack of clarinet reeds for ‘have a go’ clarinet sessions — £10 will pay for one large creative pack for a pre-concert art workshop and will include fabrics, papers and other materials for making and decorating props — £20 will hire one woodwind instrument for a ‘have a go’ session — £25 will subsidise five tickets for a FUNharmonics Family concert, allowing us to keep ticket prices affordable — £50 will enable us to hire a harp for ‘have a go’ sessions — £70 will hire four brass instruments for ‘have a go’ sessions — £100 will pay for the production of 400 activity sheets

‘... WONDERFUL AND INSPIRING ... IT WORKS ON EVERY LEVEL. THREE CHEERS FOR THE LPO!’ ‘MY FAMILY AND I LOVE EVERY MINUTE OF IT. THE WHOLE EXPERIENCE IS ONE THAT NO CHILD SHOULD MISS OUT ON (OR GROWNUP EITHER).’ Audience members

— £250 will pay for the hire of half of the music the Orchestra needs for a concert — £500 will pay for the hire of all the music the Orchestra needs for a concert

If overfunded on the above any surplus will go towards other costs associated with FUNharmonics, including paying the incredibly talented LPO musicians.

12 | London Philharmonic Orchestra

lpo.org.uk/appeal Donate by phone: 020 7840 4225

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

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

London Philharmonic Orchestra | 13

Thank you

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

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

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

14 | London Philharmonic Orchestra

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

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

Mr James A Reece Mr Olivier Rosenfeld Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

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

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

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

London Philharmonic Orchestra | 15

Administration

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager