London Philharmonic Orchestra 30 Nov 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

Southbank Centre’s Royal Festival Hall Wednesday 30 November 2016 | 7.30pm

Weber Overture, Der Freischütz (10’) Mozart Clarinet Concerto in A major, K622 (28’) Interval (20’)

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 New on the LPO Label: Beethoven 6 Andrés Orozco-Estrada 7 Julian Bliss 8 Programme notes 11 Recommended recordings Next concerts 12 2016 FUNharmonics Appeal 13 Sound Futures donors 14 Supporters 16 LPO administration

Rachmaninoff Symphony No. 2 in E minor, Op. 27 (54’)

Andrés Orozco-Estrada conductor Julian Bliss clarinet

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Julian Bliss discusses Mozart’s Clarinet Concerto and his career to date. Please note the revision to the concert programme from originally advertised. The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Broadcast by Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app. Radio 3 is streamed in HD sound online.

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. 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 We look forward to seeing you again soon. 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

LPO news

Carols at Waterloo: tomorrow, Thursday 1 December Entertaining commuters with carols at Waterloo Station in the run-up to Christmas has become a favourite annual tradition for the Orchestra. Tomorrow evening (Thursday 1 December) members of the LPO and singers from the London Philharmonic Choir will bring some festive cheer to the station concourse from 5.15–7.15pm, collecting for Save the Children. In 2015 we managed to raise a total of £2884 for the charity and we would love to beat that tomorrow. If you are in the area please do come and support our players and singers!

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

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium.

Christmas gifts from the LPO

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

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...

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.

• A luxury package comprising two top-price tickets to 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.

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On stage tonight

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

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Rebecca Shorrock Assya Nurzhigitova Second Violins Andrew Storey Principal Helena Smart Jeongmin Kim Chair supported by Friends of the Orchestra

Tania Mazzetti Kate Birchall Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Chair supported by David & Yi Buckley

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

Violas Jon Thorne Guest Principal Cyrille Mercier Co-Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Isabel Pereira Daniel Cornford Martin Fenn 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

Sue Sutherley Susanna Riddell Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Thomas Walley Lowri Morgan Samuel Rice Laura Murphy Jakub Cywinski Helen Rowlands

Flutes Juliette Bausor Principal Sue Thomas* Sub-Principal

Trumpets Paul Beniston* Principal Anne McAneney*

Chair co-supported by Victoria Robey OBE

Chair supported by Geoff & Meg Mann

Toby Street

Stewart McIlwham* Trombones Mark Templeton* Principal

Piccolo Stewart McIlwham* Principal

Chair supported by William & Alex de Winton

David Whitehouse

Oboes Ian Hardwick* Principal Alice Munday Sue Böhling*

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Cor Anglais Sue Böhling* Principal

Timpani Simon Carrington* Principal

Chair supported by Dr Barry Grimaldi

Clarinets Thomas Watmough Principal Emily Meredith

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar James Bower

Bass Clarinet Paul Richards Principal Bassoons Jonathan Davies Principal Gareth Newman Horns David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Duncan Fuller Gareth Mollison Elise Campbell

Harp Rachel Masters Principal * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco 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: Laurence Watt • Neil Westreich

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

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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,

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. 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 (see right). 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

Latest release on the LPO Label

BEETHOVEN Symphony No. 1 in C major Symphony No. 4 in B flat major Kurt Masur conductor London Philharmonic Orchestra

£9.99 | LPO-0093 Recorded live on 24 & 27 November 2004

‘... The musicians of the LPO responded with litheness, a real sense of rediscovering the all-toofamiliar, and nigh-on impeccable playing.’ The Daily Telegraph, November 2004

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

youtube.com/c/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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Andrés Orozco-Estrada Principal Guest Conductor

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

Classical Source, 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

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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.

Julian Bliss clarinet

It isn’t just his technique, though that is astonishing enough. It’s the wit, poise and vivacity in his playing. In short, it is the pure intuition leading him straight to the heart of what he plays.

The Times

Julian Bliss is one of the world’s finest clarinettists, excelling as a concerto soloist, chamber musician, jazz artist, masterclass leader and tireless musical explorer. He has inspired a generation of young players as guest lecturer and creator of his Leblanc Bliss range of affordable clarinets, and introduced a substantial new audience to his instrument. Born in the UK, Julian started playing the clarinet aged four, going on to study in the USA at the University of Indiana and in Germany under Sabine Meyer. The breadth and depth of his artistry are reflected in the diversity and distinction of his work. In recital and chamber music he has appeared at most of the world’s leading festivals and venues including Gstaad, Mecklenburg Vorpommern, Verbier, London’s Wigmore Hall and New York’s Lincoln Center. As soloist, recent and forthcoming performances include concerts with the São Paulo Symphony, Royal Philharmonic and BBC Philharmonic orchestras; the Chamber Orchestra of Paris and the Auckland Philharmonia. Julian made his debut with the London Philharmonic Orchestra in September 2004 at Royal Festival Hall, performing Malcolm Arnold’s Clarinet Concerto No. 2 under Vernon Handley.

Julian’s recent album releases have received rave reviews from critics, Album of the Week spots and media attention, including his recording of Mozart and Nielsen’s concertos with Royal Northern Sinfonia. Recent chamber discs include Gumboots: a new piece by David Bruce for clarinet and string quartet, inspired by the gumboot dancing of miners in South Africa, and a recital album of music by Russian and French composers with American pianist Bradley Moore.

facebook.com/jblissclarinet twitter.com/Julian__Bliss instagram.com/julian__bliss

In 2012 Julian established the Julian Bliss Septet, creating programmes inspired by the ‘King of Swing’ Benny Goodman, and Latin music from Brazil and Cuba. The Septet has performed to packed houses at festivals, Ronnie Scott’s in London, the Royal Concertgebouw in Amsterdam and across the USA.

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Programme notes

Speedread ‘Since Mozart, nothing more important for German opera has been written than this Freischütz’, wrote the German writer ETA Hoffmann – author of the famous, fantastical Tales – shortly after the premiere of Weber’s opera in 1821. Hoffmann was at the cutting edge of the Romantic movement; he sought in music ‘that endless longing that is the very essence of romanticism’. He traced its roots back to the darkness and emotional power of Mozart’s late music; and he heard it sounding fresh and strong in the music of his friend Weber.

Carl Maria von Weber

Hoffmann wasn’t around to hear Rachmaninoff’s Second Symphony, written 86 years later, but he’d surely have responded to its vastness and mystery, its light and darkness and its luxuriant, heartfelt emotion. Romanticism was no longer a purely German phenomenon. From Mozart to Weber to Rachmaninoff is a long journey, but the essentials remain the same, whether in classical Vienna or the last days of Imperial Russia. This is all, whoever the composer and whatever the time or place, music designed to evoke wonder – and to speak directly to the heart.

Overture, Der Freischütz (1821)

1786–1826

When, in December 1824, Weber’s opera Der Freischütz arrived in Paris, Hector Berlioz was knocked backwards: ‘There was a wild fragrance, a delicious freshness in the score that intoxicated me’, he recalled. ‘Its dreamy attitudes, its melancholy, overwhelmed me with a flood of undiscovered sensations.’ Three years after its Berlin premiere in 1821, Der Freischütz was at the spearhead of a Europe-wide aesthetic revolution. As well it might be. The supernatural tale of the young huntsman Max who, to win the hand of his beloved in a sharpshooting contest, makes a deadly pact deep in the Wolf’s Glen, had an instant appeal. This was German Romanticism at its freshest and most intoxicating, and – crucially – Weber had found exactly

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the sounds with which to express it. The Overture creates a world: the ominous stirrings of the strings, the chorus of horns echoing through the woods, and a molto vivace main section that races out of the shadows and then breaks like a storm. Weber doesn’t wholly discard convention: his second theme is a preview of the ardent, lyrical aria of his purehearted heroine Agathe. But even this gets pulled into the drama – listen to how the trombones snarl quietly at its heels second time around, before the brilliant happy ending. Der Freischütz’s triumph wasn’t just about a new fashion for fairytales. Weber’s revolution was one both of imagination, and of pure sound.

Wolfgang Amadeus Mozart 1756–91

Mozart wrote his last concerto in the autumn of 1791 for his friend and fellow-freemason Anton Stadler – probably, at that point, the greatest player in the clarinet’s brief history. In 1784 a critic had written to him that ‘I would not have thought that a clarinet could imitate the human voice so deceptively as you imitate it. Your instrument is so soft, so gentle in tone that noone who has a heart can resist it.’ Mozart, typically, took a rather more down-to-earth approach. His nickname for Stadler was Ribisel: ‘redcurrant-face’. That didn’t stop him writing a string of masterpieces for Stadler. Clarinets (and their predecessors, basset horns) give a wonderfully rich, expressive colour to many of Mozart’s most personal later works, including the Requiem. The Clarinet Concerto was no farewell to life, however. On the day he completed it, 8 October 1791, Mozart wrote to his wife that he’d played two games of billiards, ‘smoked a marvellous pipe of tobacco’, ordered a black coffee and then ‘orchestrated almost the whole Rondo for Stadler’. Not exactly a composer on his deathbed.

Clarinet Concerto in A major, K622 (1791) Julian Bliss clarinet 1 Allegro 2 Adagio 3 Rondo: Allegro

But Mozart had a remarkable ability to keep his daily life separate from his inner world, and in writing this Concerto, he produced a work that embraces both light and shade. Stadler’s recently invented ‘basset clarinet’ (as played by Julian Bliss this evening) allowed the composer to write brilliant fireworks and lyrical melodies in its upper register and to explore the rich, expressive sound of its bottom octave with equal ease. This gives the Concerto its searching, bittersweet quality, and Mozart enhances the effect with a softedged orchestral setting, with flutes but no oboes or trumpets. These colours give the concerto a specially warm, intimate tone (luminous in the Adagio), and make its expressive, gently curving melodies particularly moving. Mozart may not have meant this Concerto to be his swansong, but its subtle beauty of sound, ripe abundance of melody and compassionate tenderness of feeling make it as moving a testament to his genius as anything he ever wrote.

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

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Programme notes continued

Serge Rachmaninoff 1873–1943

Serge Rachmaninoff’s career as the rising star of the Moscow Conservatoire came to an abrupt end in St Petersburg on the evening of 27 March 1897, with the catastrophic premiere of his First Symphony. Rachmaninoff left the hall in despair even before the performance had ended. ‘I felt like a man who had suffered a stroke and had lost the use of his head and hands’, he wrote later. Destroying the score of the Symphony, he wrote no more music for three and a half years. By 1907 Rachmaninoff was world-famous as a conductor and pianist as well as a composer, but when a Russian newspaper reported that he had completed a new symphony, even his close friends were surprised. ‘It’s true’, he confirmed to his friend Mikhail Slonov; ‘I finished it a month ago, and immediately put it aside. It was a severe worry to me and I’m not going to think about it any more.’ It’s not hard to understand why he chose to write another symphony, and equally easy to understand why he kept its composition a secret, even to the extent of moving to Dresden to compose it. But if his real aim was to demonstrate a newfound confidence, he succeeded magnificently. Rachmaninoff’s inspiration breathes and expands more freely here than in any of his previous works; big, noble melodies unfurling effortlessly over the space of huge but perfectly measured musical paragraphs. The Second Symphony is Rachmaninoff’s longest concert work, and it’s highly structured. The whole mighty arc is tied together with a range of thematic cross-references. Still, whatever the Symphony’s formal logic, you’d need to have a heart of ice not to feel the tug of the deep, dark emotional current that sweeps it from first bar to last. ‘There is something in the Russian soul that corresponds to the immensity, the vagueness, the

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Symphony No. 2 in E minor, Op. 27 (1906–07) 1 Largo — Allegro moderato 2 Scherzo: Allegro molto 3 Adagio 4 Finale: Allegro vivace

infinitude of the Russian land’, wrote Nicholas Berdayev. Rachmaninoff was always reticent about his music, but the Symphony’s emotional programme is not hard to read – the archetypal Romantic journey from darkness to light. (Rachmaninoff’s boyhood hero was Tchaikovsky, after all.) Away from the glittering public spectacle of his piano concertos, Rachmaninoff poured some of his most personal music into his symphonies. In the Second, he wrote out his heart. 1. Largo – Allegro moderato Cellos and basses intone the chant-like motto theme, as the Symphony opens with a slow introduction on the broadest scale. A cor anglais recitative and a shiver from the violins launch the first movement proper with an urgent and lyrical first theme, before a solo clarinet ushers in the tender second melody; the strings melt in response. The development opens in nervous quiet, and when the storm finally breaks, it’s titanic, peaking in two successively more violent climaxes. Unsurprisingly, after this, the recapitulation lingers over the movement’s most intimate moments – though the thunder isn’t quite played-out yet … 2. Scherzo: Allegro molto A vigorous opening theme for horns flies by amid flashing violins and glockenspiel. There’s a radiant second melody, and the central section begins with a crash before developing into a sort of Russian Orthodox procession: a chant-like theme, carried forward by the winds and surrounded by glinting staccato strings. The motto theme sounds balefully in the low brass before the movement blinks into silence. 3. Adagio An ardent rising motif for the strings introduces the great clarinet melody that is the heart of the whole Symphony. ‘He sang, and in every sound his voice made

there breathed something familiar as our birthright and so vast no eye could encompass it, just as if the Russian steppe were being unrolled before us, stretching away to an endless distance’ – Turgenev could have been writing of this tune. The exquisitely soft and intricate accompaniment, with strings divided into 16 parts, subtly underlines its beauty. The movement unfurls at heavenly length and ends in profound tranquillity. 4. Finale: Allegro vivace After that hushed close, the Finale bursts in with irresistible verve. A cymbal crash and a triumphant fanfare introduce a sweeping, ecstatically happy second theme which Rachmaninoff gradually winds down. The development section begins with a flurry until, beginning with a descending scale on the bassoon, the whole orchestra gradually joins in what sounds like a great celebratory peal of bells. At last, to jubilant trumpets, the second subject returns in glory; the motto theme pushes majestically upwards, and Rachmaninoff winds the Symphony up in a final, exuberant flourish. The overwhelming feeling is of a triumphant homecoming – exactly what awaited Rachmaninoff when the Symphony was premiered at the Mariinsky Theatre, St Petersburg on 26 January 1908. Programme notes © Richard Bratby

Recommended recordings

Next concerts at Southbank Centre’s Royal Festival Hall friday 2 december 2016 7.30pm jti friday SERIES

Weber Overture, Euryanthe Bruch Violin Concerto No. 1 Beethoven Symphony No. 3 (Eroica) Andrés Orozco-Estrada conductor Hilary Hahn violin

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 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, Der Freischütz The Hanover Band | Roy Goodman (Nimbus)

Friday 13 january 2017 7.30pm

Mozart: Clarinet Concerto Jack Brymer | Royal Philharmonic Orchestra | Sir Thomas Beecham (EMI) or Martin Fröst | Deutsche Kammerphilharmonie Bremen (BIS)

Brahms Violin Concerto Brahms Symphony No. 1

Rachmaninoff: Symphony No. 2 Royal Concertgebouw Orchestra | Vladimir Ashkenazy (Decca) or Royal Philharmonic Orchestra | Yuri Temirkanov (RCA)

Book now lpo.org.uk 020 7840 4242

Manfred Honeck conductor Ray Chen violin

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.

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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 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 Robert Ross 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