Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall Wednesday 2 November 2022 | 7.30pm
Copland Appalachian Spring (Orchestral Suite) (24’)
Douglas J Cuomo a raft, the sky, the wild sea: concerto for improvising tenor saxophone and orchestra (European premiere) (30’)
Interval (20’)
Derrick Skye Prisms, Cycles, Leaps (UK premiere) (14’)
Bernstein Symphonic Dances from ‘West Side Story’ (23’)
Joshua Weilerstein conductor
Joe Lovano saxophone
The timings shown are not precise and are given only as a guide. Concert presented by the London Philharmonic Orchestra
Welcome LPO news
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New on the LPO Label
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Joe Lovano
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We’re delighted to be part of the UK premiere of The Chevalier, coming to London and Snape Maltings in March 2023. In this unique piece of concert theatre, four costumed actors are joined by Matthew Kofi Waldren, the exciting rising star violinist Braimah Kanneh-Mason, and the LPO and friends, to present Bill Barclay’s The Chevalier, which tells the fascinating life of Joseph Bologne – an 18th-century Black composer, virtuoso violinist and friend of Mozart and Marie Antoinette – more commonly known as the Chevalier de Saint-Georges. Alongside his incredible musical talents, The Chevalier was an acclaimed fencer, a general of Europe’s first Black regiment and an active campaigner for the abolishment of slavery. Almost forgotten in history, his story is bursting to be told.
The performances are at Snape Maltings, Suffolk, on Sunday 19 March and St Martin-in-the-Fields, London, on Tuesday 21 March 2023. Tickets are priced from £10: book for 19 March via stmartin-in-the-fields.org or for 21 March via brittenpearsarts.org
Out this Friday (4 November) on the LPO Label is James MacMillan’s Christmas Oratorio, recorded live at the work’s UK premiere in December 2021. Conducted by Mark Elder, it features the London Philharmonic Choir, soprano Lucy Crowe and baritone Roderick Williams.
Composed in 2019, the Christmas Oratorio embraces a Scots Gaelic lullaby, English poetry and Bible passages, all recounting the Nativity. MacMillan deftly weaves together these strands in his trademark expressive and immediate language, reflecting both his Scottish roots and his deeply-held Catholic faith. It will be available to stream or download via all major platforms, and on sale to buy as a double CD. Visit lpo.org.uk/recordings to find out more.
Alice Ivy-Pemberton
Guest Leader
Kate Oswin Minn Majoe
Nilufar Alimaksumova
Elizaveta Tyun
Catherine Craig Martin Höhmann
Yang Zhang Chair supported by Eric Tomsett
Katalin Varnagy Chair supported by Sonja Drexler Alice Apreda Howell Thomas Eisner
Thea Spiers Amanda Smith Chu-Yu Yang
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Co-Principal Helena Smart Nynke Hijlkema Joseph Maher Kate Birchall
Fiona Higham Chair supported by David & Yi Buckley
Claudia Tarrant-Matthews Sioni Williams Sarah Thornett Ashley Stevens Jessica Coleman
Sascha Bota Guest Principal Katharine Leek Benedetto Pollani Laura Vallejo Kate de Campos
Toby Warr Martin Wray Stanislav Popov Michelle Bruil Kim Becker
Guest Principal Sue Sutherley
Susanna Riddell
Tom Roff Helen Thomas David Bucknall George Hoult Iain Ward
Hugh Kluger Principal George Peniston
Laura Murphy Charlotte Kerbegian Colin Paris Elen Roberts
Juliette Bausor Principal Emilia Zakrzewska Katherine Bicknell
Katherine Bicknell
Ian Hardwick* Principal Alice Munday Sue Böhling*
Sue Böhling* Principal Chair supported by Dr Barry Grimaldi
Benjamin Mellefont Principal Thomas Watmough James Maltby Paul Richards
Paul Richards* Principal
Thomas Watmough
Principal Chair supported by Roger Greenwood
Martin Robertson
Jonathan Davies Principal Chair supported by Sir Simon Robey
Patrick Bolton Simon Estell*
John Ryan* Principal Mark Vines Principal Martin Hobbs Duncan Fuller Gareth Mollison
Paul Beniston* Principal Mike Lovatt
Guest Principal Tom Nielsen Guest Principal Anne McAneney*
Mark Templeton* Principal Chair supported by William & Alex de Winton David Whitehouse
Lyndon Meredith Principal
Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra
Simon Carrington* Principal Chair supported by Victoria Robey OBE
Andrew Barclay* Principal Chair supported by Garf & Gill Collins Ignacio Molins Keith Millar Karen Hutt
Feargus Brennan Laura Bradford Harp
Rachel Masters Principal Piano/Celeste Catherine Edwards
* Holds a professorial appointment in London
The LPO also acknowledges the following chair supporters whose players are not present at this concert:
The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Neil Westreich
Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. With every performance we aim to bring wonder to the modern world and cement our position as a leading orchestra for the 21st century.
Our home is here at the Southbank Centre’s Royal Festival Hall, where we’re at the beating heart of London’s cultural life. You’ll also find us at our resident venues in Brighton, Eastbourne and Saffron Walden, and on tour throughout the UK and internationally, performing to sell-out audiences worldwide. Each summer we’re resident at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside.
We’re always at the forefront of technology, finding new ways to share our music globally. You’ll find us online, on streaming platforms, on social media and through our broadcast partnership with Marquee TV. During the pandemic period we launched ‘LPOnline’: over 100 videos of performances, insights and introductions to playlists, which led to us being named runner-up in the Digital Classical Music Awards 2020. During 2022/23 we’ll be working once again with Marquee TV to broadcast selected live concerts, so you can share or relive the wonder from your own living room.
Our Principal Conductors have included some of the greatest historic names like Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2021 Edward Gardner became our 13th Principal Conductor, taking the Orchestra into its tenth decade. Vladimir Jurowski became Conductor Emeritus in recognition of his impact as Principal Conductor from 2007–21. Karina Canellakis is our current Principal Guest Conductor and Brett Dean our Composer-in-Residence.
Everyone will have heard the London Philharmonic Orchestra, whether it’s playing the world’s National Anthems at every medal ceremony of the London 2012 Olympics and Paralympics, our iconic recording with Pavarotti that made Nessun Dorma a global football anthem, or closing the flotilla at The Queen’s Thames Diamond Jubilee Pageant. And you’ll almost certainly have heard us on the soundtracks for major films including The Lord of the Rings
We also release live, studio and archive recordings on our own label, and are the world’s most-streamed orchestra, with over 15 million plays of our content each month. Recent releases include the first volume of a Stravinsky series with Vladimir Jurowski; Tippett’s complete opera The Midsummer Marriage under Edward Gardner, captured in his first concert as
LPO Principal Conductor in September 2021 (see right); and James MacMillan’s Christmas Oratorio, recorded at the work’s UK premiere performance in December 2021.
We’re committed to inspiring the next generation of musicians and music-lovers: there’s nothing we love more than seeing the joy of children and families enjoying their first musical moments, and we’re passionate about equipping schools and teachers through schools’ concerts, resources and training. Reflecting our values of collaboration and inclusivity, our OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with special educational needs and disabilities. Today’s young instrumentalists are the orchestral members of the future, so we’re committed to offering them opportunities to progress. Our LPO Junior Artists programme is leading the way in creating pathways into the profession for young artists from under-represented communities, and our LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers.
We believe in the relevance of our music, and that our programmes must reflect the narratives of modern times. This season we’re exploring themes of belonging and displacement in our series ‘A place to call home’, delving into music by composers including Austrians Erich Korngold and Paul Hindemith, Hungarian Béla Bartók, Cuban Tania León, Ukrainian Victoria Vita Polevá and Syrian Kinan Azmeh. As we celebrate our 90th anniversary we perform works premiered by the Orchestra during its illustrious history. This season also marks Vaughan Williams’s 150th anniversary and we’ll be celebrating with four of his works, as well as both symphonies by Elgar and music by Tippett and Thomas Adès. Our commitment to everything new and creative includes premieres by Brett Dean, Mark Simpson and Heiner Goebbels, as well as new commissions from composers from around the world including Agata Zubel, Elena Langer and Vijay Iyer. lpo.org.uk
New on the LPO Label
COMPLETE OPERA IN THREE ACTS
conducted by Edward Gardner with Robert Murray, Rachel Nicholls, Ashley Riches, Jennifer France, Toby Spence, Claire Barnett-Jones, Susan Bickley, Joshua Bloom, London Philharmonic Choir English National Opera Chorus
Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 25 September 2021
is Edward Gardner’s show, and he rises to Tippett’s challenge superbly.’ BBC Music Magazine
Available to download, stream, or as a 3-CD box set: scan here to find out more.
de Chambre de Lausanne, where he was Artistic Director from 2015–21.
© Sim Canetty-ClarkJoshua Weilerstein enjoys a flourishing guest conducting career across the globe and has forged close relationships with many of the world’s finest orchestras and soloists. He is praised for his expressive and dynamic presence on the podium and for his ‘intense, eloquently moving and spectacularly knifeedge’ performances (Classical Source). With a repertoire that spans from the Renaissance era to the music of today, he combines a deep love for canonical masterpieces alongside a passionate commitment to uncovering the works of under-represented composers such as Pavel Haas, William Grant Still, William Levi Dawson and Ethel Smyth, among others. He is also a tireless advocate for the music of today, championing the works of Caroline Shaw, Jörg Widmann, Derrick Skye, Christopher Rouse and more. In October 2022, Joshua was announced as the new Chief Conductor of Denmark’s Aalborg Symphony Orchestra from the 2023/24 season.
Joshua Weilerstein last appeared with the LPO in the 2020/21 season, when he conducted two streamed concerts at the Royal Festival Hall: a programme of Sibelius, Ravel, Schubert and Magnus Lindberg in October 2020, and works by Coleridge-Taylor, Prokofiev and Copland in May 2021.
Highlights of Joshua’s 2022/23 season include return engagements with the Royal Liverpool, Royal Stockholm Philharmonic, Aalborg Symphony, Swedish Chamber and Netherlands Philharmonic orchestras, the Orchestre National de Belgique and the Orchestre National de Lille; his debut with the Bavarian Radio Symphony and RTVE Symphony (Madrid); and, in North America, returns to the Indianapolis Symphony, Vancouver Symphony and Florida orchestras. He will also return to the Orchestre
In recent seasons Joshua’s guest engagements have included concerts with the Oslo Philharmonic, Danish National Symphony, Bergen Philharmonic, Finnish Radio Symphony, Orchestre Philharmonique de Radio France, Tonhalle Zurich, NDR Hannover and Deutsche Kammerphilharmonie orchestras, and, in the US, the San Francisco Symphony, Seattle Symphony, Philadelphia and New York Philharmonic orchestras. During his time as Artistic Director of the Orchestre de Chambre de Lausanne he was instrumental in expanding the orchestra’s repertoire, and together they released critically acclaimed recordings of music by Shostakovich, Stravinsky, Smyth and Ives, along with a complete Beethoven symphony cycle on DVD; they also toured throughout Europe with soloists such as Juan Diego Flórez, Christian Tetzlaff and Albrecht Mayer.
Born into a musical family, Joshua Weilerstein’s formative experience with classical music was as a violinist on tour to Panama and Guatemala with the Youth Philharmonic Orchestra of Boston, where the orchestra performed for thousands of young people who had never before heard a live orchestral concert. This experience sparked a desire in Joshua to pursue a career in classical music. While pursuing his Master’s degree in violin and conducting at the New England Conservatory, he won both the First Prize and the Audience Prize at the Malko Competition for Young Conductors in Copenhagen in 2009, and was subsequently appointed as Assistant Conductor of the New York Philharmonic from 2012–15. In 2021/22 he became the Music Director of Phoenix, a dynamic and ambitious orchestra in Boston devoted to the presentation of classical music concerts in accessible and unforgettable ways, and to the promotion of music by composers whose works have been unjustly overlooked.
In 2017, inspired by the brilliant musical evangelism practised by Leonard Bernstein, Joshua launched a classical music podcast called ‘Sticky Notes’. The show, for both music-lovers and newcomers alike, has become wildly successful, with more than 2 million downloads in 165 countries. In a recent episode, Joshua chats to composer Derrick Skye about tonight’s work, Prisms, Cycles, Leaps: see page 12.
In 2003, Mark-Anthony Turnage composed a concerto for saxophone and chamber orchestra for Joe called A Man Descending, which has been performed globally, and Maestro Michael Abene orchestrated an album of all-Lovano originals called ‘Symphonica’ for the WDR Symphony Orchestra and Big Band, which was released on Blue Note and received a Grammy nomination.
Grammy-winning saxophonist, composer and producer Joe Lovano is fearless in finding new modes of artistic expression. With a Grammy win for his 52nd Street Themes and 14 other nominations, he has won DownBeat Magazine’s critics and readers’ polls countless times as Tenor Saxophonist of the Year, Musician of the Year and Jazz Album of the Year. He has also received numerous awards from Jazz Times and the Jazz Journalists Association for Tenor Saxophone of the Year, Album of the Year and Musician of the Year.
Born in Cleveland, Ohio in 1952, Joe attended the famed Berklee College of Music in Boston, where years later he was awarded an Honorary Doctorate. Since 2001 he has held the Gary Burton Chair in Jazz Performance, and he is a founding faculty member since 2009 of the Global Jazz Institute at Berklee directed by Danilo Pérez. He is a guest lecturer at New York University’s Jazz Program, and at The Juilliard School and Manhattan School of Music, as well as a clinician at universities around the globe.
Between 1991 and 2016 Joe Lovano released an unprecedented 25 records as a leader for the historic Blue Note Records. ‘Joe Lovano Quartet: Classic! Live at Newport’, featuring Hank Jones, was recorded in 2005 and released in 2016 to critical acclaim. In 2019 Joe Lovano released his debut album as a bandleader on ECM Records, ‘Trio Tapestry’, with Marilyn Crispell and Carmen Castaldi. The next few years saw the release of three more ECM Records albums: ‘ROMA’, a collaboration with Enrico Rava; ‘Arctic Riff’, a special guest appearance with the Marcin Wasilewski Trio; and ‘Gardens of Expression’ from Lovano’s Trio Tapestry. Most recently, Joe released his third album with Sound Prints, a quintet he co-leads with trumpeter Dave Douglas.
Joe Lovano has performed and recorded with a long list of jazz greats including Woody Herman, Dr Lonnie Smith, Mel Lewis, Bob Brookmeyer, Paul Motian, Bill Frisell, Tony Bennett, Abbey Lincoln, Charlie Haden, John Scofield, Gunther Schuller, Elvin Jones, McCoy Tyner, Ed Blackwell, Herbie Hancock, Dave Holland, Hank Jones, Dave Liebman, Michael Brecker, Dave Douglas, Judi Silvano, Ravi Coltrane, Chucho Valdés, Ornette Coleman, Diana Krall, and many others. He has created an extensive body of work for his own ensembles including strings, woodwinds, his horn-rich Nonet, the Classic Quartet, Trio Tapestry, and more.
Joe Lovano continues to explore new horizons within the world of music as a soloist, bandleader and composer.
The work is in eight continuous sections: Copland provided his own descriptions for each, which are included in italics below.
Introduction of the characters, one by one, in a suffused light.
Sudden burst of unison strings in A major arpeggios starts the action. A sentiment both elated and religious gives the keynote to this scene.
Duo for the Bride and her Intended – scene of tenderness and passion.
The Revivalist and his flock. Folksy feeling – suggestions of square dances and country fiddlers.
Solo dance of the Bride – presentiment of motherhood. Extremes of joy and fear and wonder.
Transition scene to music reminiscent of the introduction.
Scenes of daily activity for the Bride and her Farmer husband. There are five variations on a Shaker theme. The theme, sung by a solo clarinet, was taken from a collection of Shaker melodies compiled by Edward D. Andrews, and published under the title ‘The Gift to Be Simple.’ The melody borrowed and used almost literally is called ‘Simple Gifts.’
The Bride takes her place among her neighbours. At the end the couple are left ‘quiet and strong in their new house.’ Muted strings intone a hushed prayerlike chorale passage. The close is reminiscent of the opening music.
Best-known as the early 20th century’s quintessential ‘American’ composer, Aaron Copland began his early career studying with the modernists in Paris, and only ever intended for his ‘American’ phase to be short-lived. During the Depression years, few composers considered writing music for the US elite, appealing instead to the common man to rally together and try to create a sense of community. Copland’s most famous work, Fanfare for the Common Man, boasts this agenda unashamedly. So, encouraged by teaching from Nadia Boulanger, who influenced the use of folklore in the likes of Stravinsky and Rimsky-Korsakov, Copland turned to his American heritage for inspiration. Initially, he explored using jazz and blues idioms as the source of his national style, but soon found that these works often proved too austere for many audiences. In turn, he began to use traditional American hymns, folksong and cowboy melodies in his future works, while nevertheless retaining the jazz-like flavours that mark out his unique style.
And although he did return to more modernist music in the later part of his career, it is for his characterful middle-period works that he is best-known, the greatest of which are the three ballets Billy the Kid (1938), Rodeo (1942) and Appalachian Spring (1944). Copland received the commission for Appalachian Spring from the Elisabeth Sprague Coolidge Foundation in 1943, on the understanding that the ballet would be performed by Martha Graham and her dance company the following year. At the time, the work had no title –Copland simply referred to it as ‘Ballet for Martha’ – but Graham had given him a rough outline of the action that should take place:
‘This has to do with living in a new town, some place where the first fence has just gone up. Spring was celebrated by a man and a woman building a house with joy and love and prayer; by a revivalist and his followers in their shouts of exaltation; by a pioneering woman with her dreams of the Promised Land.’
The ballet did not take the title Appalachian Spring until shortly before its premiere, when Graham discovered a line in a poem by the American writer Hart Crane, entitled The Dance, referring to an Appalachian Spring (in this case a river, rather than the season). Graham recalls: ‘I took some words from the poetry of Hart Crane and retitled it Appalachian Spring. When Aaron appeared in Washington for a rehearsal … he said to me, “Martha, what have you named the ballet?” And when I told him, he asked, “Does it have anything to do with the ballet?” “No,” I said. “I just like the title.”’
The title could hardly have been more fitting and for many years afterwards, members of the public would tell Copland how well he had captured the Appalachians within his music – something that never ceased to amuse him. While many of Copland’s most iconic ‘American’ works make explicit reference to existing folksongs, Appalachian Spring is one of the notable exceptions, instead distilling the style and colour of traditional American music into a work that is almost entirely comprised of original music. But there is one significant melody in the work that Copland imported from elsewhere – the Shaker song ‘Simple Gifts’, which forms the centrepiece of the ballet from which the rest of the material ebbs and flows. Its text is a fitting description of Copland’s own musical style (‘‘Tis a gift to be simple, ‘tis a gift to be free’), a delicate balance of simplicity, economy and lyricism that truly embraces the Shaker spirit.
Programme note © Jo KirkbrideCo-commissioned by the London Philharmonic Orchestra, Fort Worth Symphony Orchestra and Winston-Salem Symphony. World premiere: 14 October 2022, Bass Performance Hall, Fort Worth, Texas, USA. Joe Lovano/Fort Worth Symphony Orchestra, conducted by Robert Spano.
While composing this piece I was imagining an inner voyage, one that is sometimes calm and reassuring, sometimes startling and turbulent. You’re being taken somewhere, but you’re unsure where you’re going or how you’ll get there. This uncertainty about the big picture puts the focus on what’s happening right now, in this instant. And then in the next instant, and the next, and the next. This is all of us, each on our own metaphysical raft under the open sky, trying to cross the wild sea. But for millions of people throughout the world this is not a metaphor. For those who are forced to flee their homeland to seek safety and a better life, it’s a description of a harrowing physical reality.This piece also recognises these children, women and men, for whom the raft, the sky and the sea are indescribably dangerous, and for whom the journey is real.
Written for the world-renowned jazz saxophonist Joe Lovano, a raft, the sky, the wild sea draws on my background in both the jazz and classical worlds. Its musical language references the vocabularies of both contemporary classical music (building a largescale three-movement musical structure, Lutosławski-
influenced strategies of pitch organisation and harmonic language, etc.) and jazz (traditional ballad playing, modal improvisation, the blues, etc.). As in a traditional concerto, a dialogue is set up between soloist and orchestra, however in this case much of the soloist’s part is improvised. The score prescribes very clearly exactly when the saxophone plays, but during the improvised sections, what is played is largely left to the them. Rhythmic and harmonic guidelines are indicated, as well as the occasional description of mood or feel. Generally however, I am relying on the music of the orchestra itself to provide the inspiration for the improvising, knowing that each particular mood in the orchestra has the possibility of inspiring myriad improvised musical responses from the saxophone. This is a musical exploration through the unknown, with each performance unique, acknowledging that every journey we take is one of high stakes, but also infinite possibility.
To leave so much up to the soloist requires a deep musical compatibility and trust – a special relationship between composer and performer. Joe’s tremendous artistry and wide-open musical mind was a guiding light during the writing of this piece, allowing me to compose with freedom, and with the confidence that he would bring exceptional beauty, raw power, sensitivity and heightened emotion to his part.
An announcement will be made five minutes before the end of the interval.
Douglas J Cuomo, 2022
Douglas J Cuomo born 1958
a raft, the sky, the wild sea concerto for improvising tenor saxophone and orchestra 2022 (European premiere)
Joe Lovano saxophone
Douglas J Cuomo has composed for the concert, operatic and theatrical stage, a well as for television and film. His expressive musical language, with its arresting juxtapositions of sound and style, is a natural outgrowth of his wide-ranging background and training. A professional guitarist while still in his teens, he alternated years of college – studying jazz, world music and ethnomusicology at Wesleyan University in Connecticut and the University of Miami – with years on the road playing in jazz, pop and funk bands.
His chamber and orchestra works include Seven Limbs for the Aizuri String Quartet and guitarist Nels Cline; Black Diamond Express Train to Hell, a double concerto for cello and sampler, commissioned by the American Composers Orchestra and the Orchestra of the Swan, premiered at Carnegie Hall; Objects in Mirror for the Orchestra of the Swan; The Fate of His Ashes: A Requiem for Victims of Power for the chorus Seraphic Fire and organ; Only Breath, commissioned and performed by Maya Beiser; and Tree of Pearls, Torio and No Fear of Silence, a set of chamber works for shakuhachi flute and Western instruments; as well as pieces for Chanticleer, Christine Brewer, Young People’s Chorus of NYC, Ashley Bathgate and others. Upcoming works include La Cita, a suite of Spanish love poems for the Romero Guitar Quartet and Isabel Leonard, and evening-length pieces for cellist Jeffrey Ziegler and for Sandbox Percussion.
Cuomo’s operatic works include Savage Winter, produced by American Opera Projects, premiered at Pittsburgh Opera and at BAM’s Next Wave Festival (2018); Doubt, with libretto by John Patrick Shanley, commissioned by Minnesota Opera (2013) with a cast including Denyce Graves and Christine Brewer; and Arjuna’s Dilemma, produced by The Music-Theatre Group and premiered at the BAM Next Wave Festival (2008), which became the first opera performed in Nepal with 12 performances in Kathmandu in 2016.
Work for television and film includes themes for Sex and The City (HBO); NOW with Bill Moyers and Wide Angle (PBS); music for Homicide: Life On The Street (NBC) and others, over 20 documentary and feature films, and music for over a dozen Broadway plays.
Cuomo’s work has been supported through grants, awards and fellowships including Opera America’s Opera Fund Grant; Two National Endowment of the Arts awards for Artistic Excellence in the Creation and Development of New Work; the American Music Center’s Composer Assistance Grant; Resident Artist Fellow at The MacDowell Colony The Hermitage Foundation and Blue Mountain Artist Colony; a New York State Council for the Arts recording grant; an Argosy Foundation Grant; and the Mary Flagler Carey Charitable Trust for development. His theme for Sex and The City was chosen by TV Guide as one of the top 50 television themes of all time.
Douglas J Cuomo has lectured widely on music, collaboration and creativity at numerous universities including New York University, Wesleyan University, the Henry Mancini Institute at the University of Miami, University of California at San Diego, Hunter College and others, as well as at the Asia Society, the Rubin Museum and Guggenheim Museums, Opera America, the Carnegie Hall Choral Institute and the US Navy CNO Strategic Studies Group.
Cuomo co-leads the band Turquoise Lake with the Afghan singer Humayun Khan, and has performed as a guitarist at venues including the Kennedy Center, BAM, The Beacon Theatre, National Sawdust, Roulette, Birdland and the Knitting Factory. His compositions are published exclusively worldwide by Schott Music.
World premiere: 19 September 2015, Alex Theatre, Glendale, California, USA: Los Angeles Chamber Orchestra.
Prisms, Cycles, Leaps bridges the space between the music of the Balkans, the Volta Region of Ghana and North Indian Hindustani classical music. The time signature of the piece is in a foundational 3/2, but shifts its emphasis to 6/4, 12/8, and 7/8+5/8 in different sections by using polyrhythmic ostinatos that are found in Ghanaian religious drum ceremonies. The melodic lines of Prisms, Cycles, Leaps combine elements of Balkan music and Hindustani classical music. While the melodic lines use an ornamentation specific to Bulgarian women’s choir music (similar to accaciaturas found in Baroque music), the larger form of the melodic lines resembles the tihai rhythmic cadence and the long phrases found in improvised Hindustani classical music. Tihai is a thrice-repeated rhythmic phrase that is used to end a section or conclude a piece in Hindustani classical music. The title Prisms, Cycles, Leaps references a search for beauty in life and nature through multiple and varied yet cyclical experiences.
Derrick Skye, 2015
Scan to listen to conductor Joshua Weilerstein and Derrick Skye in conversation about Prisms, Cycles, Leaps on Joshua’s podcast ‘Sticky Notes’.
‘Music, for me, has always been a doorway into understanding other cultures and different ways of living.
Through learning music of other cultures, I believe that the opportunity for dialogue rather than conflict between strangers is opened, and we can become a society with less conflict due to cultural misunderstanding.’
– Derrick Skye
Derrick Skye is a composer, conductor, and musician based in the Los Angeles area who often integrates music practices from different cultural traditions around the world into his work. The Los Angeles Times has described his music as ‘something to savour’ and ‘enormous fun to listen to’. During his studies at the University of California, Los Angeles and the California Institute of the Arts, music across many cultures became an integral part of his musical vocabulary: as well as Western classical music, he has studied West African music and dance, Persian music theory, Balkan music theory, and tala (rhythmic cycles) in Hindustani classical music.
Derrick Skye’s music has been commissioned and/or performed by ensembles including the Los Angeles Chamber Orchestra, Netherlands Philharmonic Orchestra, National Arts Centre Orchestra (Canada), Chicago Sinfonietta, Albany Symphony, Rochester Philharmonic, Berkeley Symphony, Dayton Philharmonic, The National Orchestral Institute, Los Angeles Master Chorale, Conspirare, EXIGENCE, Cantori New York, Cecilia Chorus New York, Yale Glee Club, The Juilliard School, Sphinx Virtuosi, Lincoln Center, Bridge to Everywhere, Salastina Music Society, Lyris Quartet, Super Devoiche (Bulgarian Women’s Choir) and Lian Ensemble (Persian Ensemble).
Skye received the New Music USA Award in 2010 and 2011, and was awarded a composer residency with the Los Angeles Chamber Orchestra for the 2015/ 2016 season. In 2021 he was awarded the Princess Grace Honoraria in the Theatre category for his work Mother of Bravery, and Best New Composition in the San Francisco Classical Voice Audience Choice Awards for his work Mind the Rhythm.
Derrick Skye has given pre-concert talks and workshops about the use of non-Western music in his compositions at universities and institutions across the USA. He served as a composer panelist for the 2022 and 2019 League of American Orchestras conferences, and spoke at the 2016 conference on the topic of how orchestras can forge stronger relationships with their diverse communities. He serves as Artistic Director of the new music collective and arts organisation Bridge to Everywhere, Director of Instrumental Ensembles at
Mount Saint Mary’s University, and Artistic Advisor for the Los Angeles Chamber Orchestra.
Skye is an American who has Ghanaian, Nigerian, British, Irish and Native American ancestry. His ancestry and identity have led him to claim and develop an ‘American’ aesthetic that incorporates many cultural influences into his work, reflecting the diverse communities he is part of. He passionately believes in music as a doorway into understanding other cultures and different ways of living. He is deeply invested in fostering creative and effective collaboration between artists of different disciplines and traditions.
Prologue –‘Somewhere’ –Scherzo –Mambo –Cha-cha –Meeting Scene –‘Cool’, Fugue –Rumble –Finale
Although he was educated primarily in the classical tradition, the composer and conductor Leonard Bernstein moved easily between the concert hall and the Broadway stage. One of his greatest successes was West Side Story, which opened on Broadway in September 1957, ran for 772 performances, and has since become one of the most revived of all musicals. Originally the conception of the choreographer Jerome Robbins, it is a transposition of the story of Shakespeare’s Romeo and Juliet to modern New York City, with the feuding Montagues and Capulets replaced by the Jets and the Sharks, rival teenage gangs of white Americans and Puerto Ricans. This setting, and the extensive dance element in the show, allowed Bernstein to introduce Latin-American dance rhythms alongside echoes of jazz and popular music into his rich and subtly integrated score.
The dance music of West Side Story was introduced to the concert hall in 1961, in the shape of this continuous suite, assembled and scored for full orchestra (under Bernstein’s supervision) by Sid Ramin and Irving Kostal. The Prologue is a tense dance scene for the rival gangs. The song ‘Somewhere’ and the Copland-like Scherzo accompany a dream sequence in which the gangs are
reconciled in friendship. The ‘Mambo’ is a competitive dance which belongs to real life. The ‘Cha-cha’ accompanies the first meeting of the lovers Tony and Maria in the dance hall (with hints of the song ‘Maria’); the ‘Meeting Scene’ underscores their first dialogue. ‘Cool’ is a song and dance scene in which the Jets decide to rein in their aggression: Bernstein’s music is a fusion of ‘cool’ jazz idioms and fugal form. ‘Rumble’ is the music for the climactic gang fight, in which Tony is killed. The tragic Finale quotes the melody of Maria’s song ‘I have a love’, as Tony’s body is carried away.
Programme note © Anthony Burton
Copland: Appalachian Spring BBC Philharmonic | John Wilson (Chandos)
Derrick Skye: Prisms, Cycles, Leaps Bridge to Everywhere (Orenda Records)
Bernstein: Symphonic Dances from ‘West Side Story’ Leonard Bernstein | New York Philharmonic (Sony)
Recorded live in concert at the Southbank Centre’s Royal Festival Hall, 4 December 2021
‘As powerful an experience, musical and spiritual, as
expect to hear from a living composer for years’
Music, Idagio and others.
Friday 4 November 2022, 7.30pm
Chen Yi Momentum Bruch Violin Concerto No. 1 Brahms Symphony No. 3
Alpesh Chauhan conductor Randall Goosby violin
Celebrating the 50th Anniversary of Ambassadorial Diplomatic Relations between China and the UK
Wednesday 9 November 2022, 7.30pm
Agata Zubel Piano Concerto No. 2 (world premiere) Lutosławski Symphony No. 4 Stravinsky The Rite of Spring
Edward Gardner conductor Tomoko Mukaiyama piano
Co-financed by the Minister of Culture and National Heritage of the Republic of Poland
Saturday 26 November 2022, 7.30pm
Vaughan Williams Serenade to Music Tippett A Child of Our Time
Edward Gardner conductor Nadine Benjamin soprano Sarah Connolly mezzo-soprano Kenneth Tarver tenor Roderick Williams baritone London Philharmonic Choir London Adventist Chorale Soloists of the Royal College of Music Generously supported by Mrs Aline Foriel-Destezet
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
Arts Council England Dunard Fund
Victoria Robey OBE
Emmanuel & Barrie Roman
The Underwood Trust
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation Neil Westreich
Valentina & Dmitry Aksenov Richard Buxton
The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation
Mr & Mrs Makharinsky
Alexey & Anastasia Reznikovich
Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner
The late Mr K Twyman
John & Manon Antoniazzi
Gabor Beyer, through BTO Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris Charitable Trust
Mr James R.D. Korner
Christoph Ladanyi & Dr Sophia Ladanyi-Czernin
Robert Markwick & Kasia Robinski
The Maurice Marks Charitable Trust
The Rothschild Foundation
Tom & Phillis Sharpe
The Viney Family
Mark & Elizabeth Adams
Dr Christopher Aldren
Mrs Pauline Baumgartner
Lady Jane Berrill
Mr Frederick Brittenden
David & Yi Yao Buckley
Mr Clive Butler
Gill & Garf Collins
Mr John H Cook
Mr Alistair Corbett
Bruno De Kegel
Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International
Mr Gavin Graham Moya Greene
Mrs Dorothy Hambleton
Tony & Susie Hayes
Malcolm Herring
Catherine Høgel & Ben Mardle
Mrs Philip Kan
Rehmet Kassim-Lakha de Morixe
Rose & Dudley Leigh Lady Roslyn Marion Lyons
Miss Jeanette Martin Duncan Matthews KC
Diana & Allan Morgenthau
Charitable Trust
Dr Karen Morton
Mr Roger Phillimore
Ruth Rattenbury
The Reed Foundation
The Rind Foundation
Sir Bernard Rix
David Ross & Line Forestier (Canada)
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
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 CBE AM Christopher Williams Peter Wilson Smith
Mr Anthony Yolland
and all other donors who wish to remain anonymous
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.
Anonymous donors
Mrs Aline Foriel-Destezet
Aud Jebsen
In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE
William & Alex de Winton
Mr & Mrs Philip Kan
Neil Westreich
The American Friends of the London Philharmonic Orchestra
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe Casbon
In memory of Ann Marguerite Collins
Sally Groves MBE George Ramishvili Associates
Mrs Irina Andreeva
In memory of Len & Edna Beech Steven M. Berzin
Ms Veronika BorovikKhilchevskaya
The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Patricia Haitink
The Lambert Family Charitable Trust
Countess Dominique Loredan Stuart & Bianca Roden
In memory of Hazel Amy Smith
The Tsukanov Family
The Viney Family
An anonymous donor
Chris Aldren David & Yi Buckley
In memory of Allner Mavis Channing
Sonja Drexler
Jan & Leni Du Plessis
The Vernon Ellis Foundation
Peter & Fiona Espenhahn
Hamish & Sophie Forsyth Mr Roger Greenwood Malcolm Herring
John & Angela Kessler Julian & Gill Simmonds Eric Tomsett
Andrew & Rosemary Tusa Guy & Utti Whittaker Mr Florian Wunderlich
Dame Colette Bowe David Burke & Valerie Graham John & Sam Dawson
Bruno De Kegel
Ulrike & Benno Engelmann Virginia Gabbertas MBE
Dmitry & Ekaterina Gursky
The Jeniffer & Jonathan Harris Charitable Trust
Catherine Høgel & Ben Mardle
Sir George Iacobescu Jamie & Julia Korner
Mr & Mrs Makharinsky
Mr Nikita Mishin Andrew Neill Tom & Phillis Sharpe
Mr & Mrs John & Susi Underwood Laurence Watt Grenville & Krysia Williams
Anonymous donors
Michael Allen
Mr Mark Astaire Nicholas & Christine Beale
Mikhail Noskov & Vasilina Bindley
Mr Anthony Blaiklock
Lorna & Christopher Bown
Mr Bernard Bradbury
Simon Burke & Rupert King Desmond & Ruth Cecil
Mr Evgeny Chichvarkin
Mr John H Cook
Georgy Djaparidze
Deborah Dolce
Cameron & Kathryn Doley Mariana Eidelkind & Gene Moldavsky
David Ellen Ben Fairhall
Mr Richard & Helen Gillingwater
Mr Daniel Goldstein David & Jane Gosman
Mr Gavin Graham Lord & Lady Hall
Mrs Dorothy Hambleton Martin & Katherine Hattrell Michael & Christine Henry
Mr Steve Holliday
J Douglas Home
Mr & Mrs Ralph Kanza
Mrs Elena & Mr Oleg Kolobov Rose & Dudley Leigh
Wg. Cdr. & Mrs M T Liddiard OBE JP RAF
Drs Frank & Gek Lim
Mr Nicholas Little Geoff & Meg Mann
Mrs Elizabeth Meshkvicheva
Andrew T Mills
Peter & Lucy Noble
Mr Roger Phillimore
Mr Michael Posen
Mr Anthony Salz
Ms Nadia Stasyuk
Charlotte Stevenson Joe Topley
Mr & Mrs John C Tucker
Timothy Walker CBE AM Jenny Watson CBE Grenville & Krysia Williams
Anonymous donors
Dr Manon Antoniazzi
Julian & Annette Armstrong
Mr John D Barnard
Mr Geoffrey Bateman
Mr Philip Bathard-Smith
Mrs A Beare
Dr Anthony Buckland
Dr Simona Cicero & Mr Mario Altieri
Mr Peter Coe
Mrs Pearl Cohen
David & Liz Conway
Mr Alistair Corbett
Ms Mary Anne Cordeiro
Ms Elena Dubinets
Mr Richard Fernyhough
Jason George
Mr Christian Grobel
Prof Emeritus John Gruzelier Mark & Sarah Holford
Mrs Maureen Hooft-Graafland
Per Jonsson
Mr Ian Kapur
Ms Kim J Koch
Ms Elena Lojevsky
Mrs Terry Neale
John Nickson & Simon Rew Oliver & Josie Ogg
Ms Olga Ovenden
Mr James Pickford
Filippo Poli
Sir Bernard Rix
Mr Robert Ross Priscylla Shaw
Martin & Cheryl Southgate
Mr & Mrs G Stein
Dr Peter Stephenson
Joanna Williams
Christopher Williams
Ms Elena Ziskind
Anonymous donors
Ralph & Elizabeth Aldwinckle
Mr & Mrs Robert Auerbach
Mrs Julia Beine Harvey Bengen Miss YolanDa Brown
Miss Yousun Chae
Mr Julien Chilcott-Monk
Alison Clarke & Leo Pilkington
Mr Joshua Coger Miss Tessa Cowie
Mr David Devons
Patricia Dreyfus
Mr Martin Fodder
Christopher Fraser OBE Will Gold Ray Harsant
Mr Peter Imhof
The Jackman Family
Mr David MacFarlane
Dame Jane Newell DBE
Mr Stephen Olton
Mari Payne
Mr David Peters
Ms Edwina Pitman
Mr & Mrs Graham & Jean Pugh
Mr Giles Quarme
Mr Kenneth Shaw
Mr Brian Smith
Ms Rika Suzuki
Tony & Hilary Vines
Dr June Wakefield
Mr John Weekes
Mr C D Yates
Elliott Bernerd
Alfonso Aijón
Kenneth Goode
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Victoria Robey OBE
Mrs Jackie Rosenfeld OBE
Timothy Walker CBE AM Laurence Watt
David & Yi Buckley
Gill & Garf Collins
William & Alex de Winton
Sonja Drexler
The Friends of the LPO Irina Gofman
Roger Greenwood
Dr Barry Grimaldi
Mr & Mrs Philip Kan
John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker
Bloomberg Carter-Ruck French Chamber of Commerce
Tutti Lazard Walpole
Trialist
Sciteb
Gusbourne Estate
Jeroboams
Lindt & Sprüngli Ltd
OneWelbeck Steinway
Google Inc
ABO Trust
BlueSpark Foundation
The Boltini Trust Borrows Charitable Trust
The Candide Trust Cockayne – Grants for the Arts
The London Community Foundation
The D’Oyly Carte Charitable Trust Dunard Fund
Ernst von Siemens Music Foundation
Foyle Foundation Garrick Charitable Trust
John Horniman’s Children’s Trust John Thaw Foundation Institute Adam Mickiewicz Kirby Laing Foundation
The Marchus Trust
The Radcliffe Trust Rivers Foundation Rothschild Foundation
RVW Trust
Scops Arts Trust
Sir William Boremans' Foundation
The John S Cohen Foundation
The Stanley Picker Trust
The Thriplow Charitable Trust
The Vaughan Williams Charitable Trust
The Victoria Wood Foundation
The Viney Family
The Barbara Whatmore Charitable Trust
and all others who wish to remain anonymous.
We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:
Simon Freakley Chairman
Jon Carter
Jay Goffman
Alexandra Jupin
Natalie Pray Damien Vanderwilt Elizabeth Winter
Catherine Høgel Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP
Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva Steven M. Berzin
Veronika Borovik-Khilchevskaya Marie-Laure Favre Gilly de Varennes de Bueil Aline Foriel-Destezet Irina Gofman
Countess Dominique Loredan Olivia Ma George Ramishvili Jay Stein
Dr Catherine C. Høgel Chair
Lord Hall of Birkenhead CBE
Vice-Chair
Martin Höhmann* President
Mark Vines* Vice-President
Kate Birchall*
David Buckley David Burke
Bruno De Kegel Deborah Dolce Elena Dubinets
Tanya Joseph Hugh Kluger*
Katherine Leek*
Al MacCuish Minn Majoe*
Tania Mazzetti*
Jamie Njoku-Goodwin
Andrew Tusa
Neil Westreich
Simon Freakley (Ex officio –Chairman of the American Friends of the London Philharmonic Orchestra)
*Player-Director
Martin Höhmann Chairman Christopher Aldren
Dr Manon Antoniazzi
Roger Barron Richard Brass Helen Brocklebank
YolanDa Brown Simon Burke
Simon Callow CBE
Desmond Cecil CMG Sir Alan Collins KCVO CMG
Andrew Davenport Guillaume Descottes
Cameron Doley
Christopher Fraser OBE
Jonathan Harris CBE FRICS
Marianna Hay MBE Nicholas Hely-Hutchinson DL Amanda Hill
Rehmet Kassim-Lakha
Jamie Korner
Geoff Mann
Clive Marks OBE FCA
Stewart McIlwham
Andrew Neill
Nadya Powell
Sir Bernard Rix
Victoria Robey OBE Baroness Shackleton
Thomas Sharpe KC
Julian Simmonds
Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
Elena Dubinets Artistic Director
David Burke Chief Executive
Chantelle Vircavs PA to the Executive
Roanna Gibson Concerts and Planning Director Graham Wood Concerts and Recordings Manager
Fabio Sarlo
Glyndebourne and Projects Manager
Maddy Clarke Tours Manager
Alison Jones
Concerts and Recordings Co-ordinator
Robert Winup Concerts and Tours Assistant
Matthew Freeman Recordings Consultant
Andrew Chenery Orchestra Personnel Manager
Sarah Thomas Martin Sargeson Librarians
Laura Kitson Stage and Operations Manager
Stephen O’Flaherty
Deputy Operations Manager
Freddie Jackson Deputy Stage Manager
Felix Lo Orchestra and Auditions Manager
Frances Slack Finance Director
Dayse Guilherme Finance Manager
Jean-Paul Ramotar Finance and IT Officer
Talia Lash Education and Community Director
Hannah Foakes Lowri Davies Education and Community Project Managers
Laura Willis Development Director
Rosie Morden Individual Giving Manager Siân Jenkins Corporate Relations Manager
Anna Quillin Trusts and Foundations Manager
Katurah Morrish Development Events Manager
Eleanor Conroy Al Levin
Development Assistants
Nick Jackman Campaigns and Projects Director
Kirstin Peltonen Development Associate
Kath Trout Marketing and Communications Director
Mairi Warren Marketing Manager
Rachel Williams Publications Manager Harrie Mayhew Website Manager
Ruth Haines
Press and PR Manager
Sophie Harvey Digital and Residencies Marketing Manager
Greg Felton Digital Creative Alicia Hartley Marketing Assistant
Philip Stuart Discographer Gillian Pole Recordings Archive
Charles Russell Speechlys Solicitors
Crowe Clark Whitehill LLP Auditors
Dr Barry Grimaldi Honorary Doctor
Mr Chris Aldren
Honorary ENT Surgeon
Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon London Philharmonic Orchestra
89 Albert Embankment London SE1 7TP
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