London Philharmonic Orchestra 30 Sep 2017 concert programme by London Philharmonic Orchestra

b e m ov e d 2017/18 Season at Southbank Centreâ&#x20AC;&#x2122;s Royal Festival Hall Concert programme

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

Southbank Centre’s Royal Festival Hall Saturday 30 September 2017 | 7.30pm

Mozart Piano Concerto No. 20 in D minor, K466 (28’) Interval (20’) Bruckner Symphony No. 5 in B flat major (1878 version) (79’)

Vladimir Jurowski conductor Richard Goode piano

Concert broadcast on Monday 2 October at 7.30pm by Radio 3 in Concert, and available for 30 days after broadcast via the Radio 3 website and the BBC iPlayer Radio app.

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

Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Richard Goode 8 Programme note: Mozart 9 Next concerts 10 Programme note: Bruckner 11 Recommended recordings 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. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 3879 9555, or email customer@southbankcentre.co.uk 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 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.

Das Rheingold: A Golden Gala Evening Saturday 27 January 2018 6.00pm Royal Festival Hall

Wagner Das Rheingold Vladimir Jurowski conductor with soloists including Sofia Fomina, Anna Larsson, Matthias Goerne and Matthew Rose

Celebrate Vladimir Jurowski’s 10th year as LPO Principal Conductor by joining us for this Golden Gala Evening at Royal Festival Hall. As well as standard concert tickets, we are offering special packages including pre- and post-concert receptions and the chance to meet the musicians who will bring Wagner’s great music drama to the stage.

lpo.org.uk/vj10

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. Generously supported by members of the Orchestra’s Ring Cycle Syndicate and patrons of our Golden Gala Evening.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Lin Co-Leader Ji-Hyun Lee 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 Kana Kawashima Ioana Forna Second Violins Jeongmin Kim Principal Tania Mazzetti Co-Principal Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Harry Kerr Sheila Law Lasma Taimina John Dickinson Alberto Vidal Anna Croad

Violas David Quiggle Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Stanislav Popov Isabel Pereira Daniel Cornford Martin Fenn Cristina Gestido Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

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

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

Susanna Riddell Helen Rathbone Philip Taylor Jane Lindsay Iain Ward

Horns David Pyatt* Principal

Double Basses Kevin Rundell* Principal Hugh Kluger Sebastian Pennar George Peniston Laurence Lovelle Damián Rubido González Lowri Morgan Kenneth Knussen Charlotte Kerbegian Samuel Rice

Chair supported by Sir Simon Robey

Mark Vines Co-Principal Martin Hobbs Duncan Fuller Gareth Mollison Trumpets Paul Beniston* Principal Philip Cobb Guest Principal Anne McAneney*

Flutes Juliette Bausor Principal Sue Thomas*

Chair supported by Geoff Mann

Robin Totterdell

Chair supported by Victoria Robey OBE

Trombones Mark Templeton* Principal

Stewart McIlwham* Ian Mullin

Chair supported by William & Alex de Winton

David Whitehouse

Oboes Ian Hardwick* Principal Alice Munday Amy Roberts Jennifer Brittlebank

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

Clarinets Christian Stene Guest Principal Thomas Watmough Paul Richards James Maltby

Timpani Simon Carrington* Principal Assistant Conductor Farkhad Khudyev

Bassoons Jonathan Davies Principal Gareth Newman Simon Estell* Laura Vincent

* 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: The Candide Trust • Andrew Davenport • Friends of the Orchestra • Dr Barry Grimaldi • Laurence Watt

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London Philharmonic Orchestra

Jurowski and the LPO, keyed up to a high level of concentration, delivered [John Adams’s Harmonielehre] with the shattering force of the Big Bang. Richard Fairman, Financial Times, 31 January 2017

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. Celebrating its 85th anniversary this season, the Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and this season we celebrate the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Our year-long Belief and Beyond Belief festival in partnership with Southbank Centre

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continues to the end of 2017, exploring what it means to be human in the 21st century. Then, in 2018, we explore the life and music of Stravinsky in our new series Changing Faces: Stravinsky’s Journey, charting the life and music of one of the 20th century’s most influential composers. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: the 2016/17 season included visits to New York, Germany, Hungary, Spain, France, Belgium, The Netherlands and Switzerland, and tours in 2017/18 include Romania, Japan, China, the Czech Republic, Germany, Belgium, Austria, Spain, Italy and France.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. In 2017/18 we celebrate the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

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

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

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Vladimir Jurowski conductor

As Jurowski prepares to mark 10 years with the LPO, the understanding between them seems in great shape.

Martin Kettle, The Guardian, 29 January 2017

Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, becoming Principal Conductor in 2007. In January 2018 we celebrate the tenth anniversary of this extraordinary partnership with a semi-staged gala performance of Wagner’s Das Rheingold (see page 2). One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow and studied at the Music Academies of Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Earlier this month Vladimir took up the position of Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir is a regular guest with many leading orchestras in both Europe and North America, including the Royal Concertgebouw Orchestra; the Accademia Nazionale di Santa Cecilia, Rome; the New York Philharmonic; The Philadelphia Orchestra;

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The Cleveland Orchestra; the Boston, San Francisco and Chicago symphony orchestras; and the TonhalleOrchester Zürich, Leipzig Gewandhausorchester, Mahler Chamber Orchestra, Staatskapelle Dresden and Chamber Orchestra of Europe. His opera engagements have included Rigoletto, Jenůfa, The Queen of Spades, Hansel and Gretel and Die Frau ohne Schatten at the Metropolitan Opera, New York; Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opéra National de Paris; Eugene Onegin at the Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; Salome with the State Academic Symphony of Russia; Moses und Aron at the Komische Oper Berlin; Iolanta and Die Teufel von Loudun at Semperoper Dresden, and numerous operas at Glyndebourne including Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Cunning Little Vixen, Peter Eötvös’s Love and Other Demons, and Ariadne auf Naxos. In 2017 he made an acclaimed Salzburg Festival debut with Wozzeck and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including Brahms’s complete symphonies; Mahler’s Symphonies Nos. 1 and 2; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances. This month saw the release of a seven-disc set of Tchaikovsky’s complete symphonies under Jurowski (LPO-0101), and a special anniversary seven-disc set of his previously unreleased recordings with the LPO spanning the symphonic, choral and contemporary genres (LPO-1010). Visit lpo.org.uk/recordings to find out more.

Richard Goode piano

Goode drew on a luxuriously wide palette to allow each piece its separate place in the sun ... They all seemed larger than life, with their poetry in close-up, possessing an oracular grandeur ... At 72 this great American is just hitting his stride. © Sasha Gusov

Michael Church, The Independent, 13 November 2015

Richard Goode has performed as soloist with most of the major orchestras in the US and many across Europe. In 2016/17 he was soloist with Iván Fischer and the Budapest Festival Orchestra both in Budapest and across the East Coast of the US. Highlights of the 2017/18 season include his debut with the Oslo Philharmonic and returns to the Los Angeles Philharmonic and Cleveland orchestras, as well as concerts with the BBC Philharmonic and Netherlands Philharmonic orchestras and the Orchestre National du Capitole de Toulouse, with conductors including Andrew Manze and Christoph von Dohnányi. In recital, Richard Goode performs regularly at London’s Wigmore Hall, at Southbank Centre’s International Piano Series and in major musical centres across Europe, which in recent seasons has included Amsterdam, Budapest, Madrid, Stockholm and Antwerp. He has been a regular performer over the years at the Edinburgh International Festival and Pianos aux Jacobins (Toulouse), and in 2017 made his debuts at the Verbier, Oxford Piano and Pablo Casals festivals and gave the closing concert at Finland’s Mänttä Festival. This season Richard will perform in recital as part of the Lincoln Center’s Great Performers series, as well as in Philadelphia, Berkeley, La Jolla and Madison, among others. Richard Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to Lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra under Iván Fischer was released in 2009 to exceptional critical acclaim and nominated for a Grammy award. His 10-CD set of the complete Beethoven sonatas cycle – the first ever by

an American-born pianist – was nominated for a Grammy and chosen for the Gramophone Good CD Guide. Other recording highlights include a series of Bach Partitas, a duo recording with soprano Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra. A native of New York, Richard Goode studied with Nadia Reisenberg at the Mannes College of Music and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy award. His first public performance of the complete cycle of Beethoven sonatas at New York’s 92Y in 1987/88 was hailed by The New York Times as ‘among the season’s most important and memorable events’ and was later reprised with great success at Southbank Centre’s Queen Elizabeth Hall in 1994 and 1995. Richard Goode is also a highly respected teacher and mentor of young musicians. He holds the positions of International Chair of Piano Studies at London’s Guildhall School of Music & Drama and Visiting Professor at the Royal Academy of Music, and is on the faculty at Mannes College in New York. He frequently leads masterclasses at some of the world’s most prestigious institutions, including at Verbier Festival Academy in 2017, and in 2017/18 has been invited to teach in the public masterclass series at Wigmore Hall. Richard Goode was Co-Artistic Director with Mitsuko Uchida of the Marlboro Music School and Festival in Vermont from 1999–2013. He is married to the violinist Marcia Weinfeld and they live in New York City.

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Programme notes

Speedread Mozart’s turbulent, brooding and brilliant Piano Concerto K466 makes a striking pairing with Bruckner’s grand, mysterious Fifth Symphony. Mozart is routinely termed a ‘Classical era’ composer, but in this stirring Concerto formal balance and elegance are challenged by romantic storms, and by an urgent personal intensity that at times seems closer to Beethoven. Composing a century later, Bruckner often found himself labelled ‘Romantic’,

Wolfgang Amadeus Mozart 1756–91

On 10 February 1785, Leopold Mozart arrived in Vienna to stay with his son and daughter-in-law. A lot depended on this visit. Wolfgang Mozart’s relations with his father had been severely strained since he had engineered his dismissal (in Mozart’s own words, ‘with a kick in the arse’) from the services of the Archbishop of Salzburg in 1781 and settled in the Austrian capital with no firm professional prospects. Things had got worse when he married the singer Constanze Weber in August 1782, a union of which Leopold sternly disapproved. Mozart’s letters show how deeply he yearned for his father’s blessing, and how painful it was for him when this was withheld. In 1785, however, Mozart did manage to persuade Leopold to visit him in Vienna and hear him give the first performance of his new piano concerto, K466. Leopold takes up the story in a letter to Mozart’s sister: ‘We arrived at one o’clock ... The copyist was still copying the Concerto when we arrived, and your brother did not even have time to play through the Rondo, as he had to supervise the copying ... On the 8 | London Philharmonic Orchestra

and there are moments – especially in the great Adagio – where signs of deep personal crisis can be made out. Yet in the background we also sense spacious but firm architectural strength, a feeling of something elemental slowly, patiently working its way through to the thrilling, hymn-like conclusion. Bruckner’s symphonies have been described as ‘cathedrals in sound’, in which case the Fifth is the most cathedral-like of them all.

Piano Concerto No. 20 in D minor, K466 Richard Goode piano 1 Allegro 2 Romance 3 Rondo [Allegro assai]

same evening we drove to the subscription concert, at which a great many members of the aristocracy were present ... The concert was magnificent and the orchestra played splendidly. In addition to the symphonies, a female singer from the Italian theatre sang two arias. Then we had the new and very fine Concerto.’ Mozart couldn’t have chosen a better occasion to show his father that he’d chosen the right path. Here he was, the darling of the Viennese aristocracy, composing as he’d never composed before. To cap it all, the following day Leopold took part with his son in performances of three of Mozart’s new string quartets. The guest of honour was Joseph Haydn, who afterwards told Leopold, ‘Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name.’ Today Mozart is often labelled as a product of the socalled ‘Classical era’, but for some of his contemporaries he was really a young romantic, and the D minor

Concerto shows why. The first movement is brooding, turbulent, its melodies and harmonies full of intense chromatic expression. Mozart used minor keys more rarely than any other great composer, but when he did, he exploited the drama and pathos of the minor mode to special effect. If the opening theme of the Romance suggests classical poise, or at least rococo elegance, this is swept aside by the agitated minor-key middle section, and it’s no surprise when into this almost Byronic

urgency breaks out again in the finale. Some 19thcentury romantic critics complained that the Concerto’s last-minute switch to a D major ‘happy ending’ was unconvincing, but it clearly impressed Beethoven, who imitated it in his own C minor Concerto (No. 3), and who wrote solo cadenzas for K466 – alas, Mozart’s own cadenzas (mentioned in family correspondence) haven’t survived.

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

Next concerts at Southbank Centre’s Royal Festival Hall

Saturday 21 October 2017 7.30pm

wednesday 25 October 2017 7.30pm

friday 27 October 2017 7.30pm

Beethoven Piano Concerto No. 3 Rossini Stabat Mater

Shostakovich Cello Concerto No. 1 Pēteris Vasks Dona nobis pacem Gregorian Chant Dies Irae Rachmaninoff Symphonic Dances*

Beethoven Piano Concerto No. 5 (Emperor) Shostakovich Symphony No. 7 (Leningrad)

Andrés Orozco-Estrada conductor István Várdai cello London Philharmonic Choir The Lay Vicars of Westminster Abbey

Andrés Orozco-Estrada conductor Inon Barnatan piano

Carlos Miguel Prieto conductor Hannes Minnaar piano Joyce El-Khoury soprano Anna Stéphany mezzo-soprano Kan Wang tenor Michele Pertusi bass-baritone London Philharmonic Choir

*In co-operation with the Serge Rachmaninoff Foundation. The Lay Vicars of Westminster Abbey appear by kind permission of the Dean and Chapter of Westminster.

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

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Programme notes continued

Anton Bruckner 1824–96

Anton Bruckner moved to Vienna in October 1868 at the age of 44. There must have been times during the next decade when he wondered if he hadn’t made a colossal mistake. In his previous home, in the Upper Austrian capital, Linz, his church compositions and organ improvisations had been applauded and he had become something of a local celebrity. One critic, after hearing a performance of the Mass in D minor had predicted the symphony was to be Bruckner’s true medium – a remark that the fervently Roman Catholic Bruckner read as a sign from Heaven. But it was also understood that Linz was too small, too provincial for a talent like Bruckner. He must go to Vienna, the city of Mozart, Haydn, Beethoven and Schubert. There, surely, he would find the encouragement, the inspiration, and the discerning appreciation he needed. It all turned out very differently. Despite energetic championship by the conductor Johann Herbeck, Bruckner soon found musical Vienna either indifferent or contemptuous. He had difficulty even scraping a living – his salary as teacher at the Vienna Conservatory and organist at the Imperial Chapel was barely adequate. A moment of solid encouragement came in 1873, when Bruckner’s idol Wagner saw the score of the Third Symphony, praised it extravagantly, and magnanimously accepted the dedication. But the Symphony’s lavish inscription to Wagner probably did Bruckner more harm than good. It certainly intensified anti-Bruckner feelings in the more reactionary corners of the Viennese press – notably the influential, acerbic critic Eduard Hanslick. Hanslick’s review of the Third Symphony’s disastrous premiere in 1877 must be one of the most humiliating public attacks ever endured by a composer of genius. Surprisingly, this depressing decade was also one of Bruckner’s most musically productive periods.

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Symphony No. 5 in B flat major (1878 version) 1 2 3 4

Adagio – Allegro Adagio: Sehr langsam [very slow] Scherzo: Molto vivace (Schnell [fast]) – Trio: Im gleichen Tempo [at the same tempo] Adagio – Allegro moderato

During the years 1871–76 he wrote four monumental symphonies (Nos. 2 to 5), which show steadily increasing mastery and originality in his handling of large musical forms. Like the great cathedrals in which Bruckner worshipped and (as organist) played, these symphonies are based largely on the same architectural ground-plan, but in character they are quite different. In any case, the Fifth Symphony has important features which are not shared with Nos. 2 to 4. The opening movement – unusually for Bruckner – begins with a slow introduction. At first, slow is very much the word. Above a quiet pizzicato walking bass, violins and violas move in simple, gravely eloquent polyphony, like a choir intoning a solemn motet. This comes to a pause – then, silence. What follows is stupendous but mystifying: an upward-thrusting figure for full orchestra in a remote key; more silence ... then a radiant brass chorale. These last two gestures are repeated, at different pitches. Then again, silence. A crescendo, faster, seems to herald the start of the main movement; but at its height the chorale phrase returns, massively, on full orchestra. A hush (violins, tremolando), and now the Allegro begins with a lively, supple theme on violas and cellos. This Allegro seems much faster, but as the movement unfolds, one may sense that the background pulse is still slow – like the steady progress of a huge ship. When the Symphony’s hushed opening music returns later on there is a feeling that its slow tread has been going on quietly somewhere, uninterrupted. There are other such moments later in the first movement: the slow ‘background’ pulse seems to break through the active ‘surface’ of the Allegro, assuring the listener that there are other processes at work than those that are immediately present to the ear – ‘more things in heaven and earth’, one might say. Perhaps in this we can sense something of Bruckner’s enduring faith in a mysterious underlying divine purpose, sometimes hidden, but revealed in the end. It was this faith that helped him

endure ridicule and neglect in Vienna, and ultimately it was vindicated. The second movement, a real slow movement this time, has similar moments of revelation. But here the emotional contrast is more extreme. The desolate oboe tune at the opening, with its skeletal pizzicato string accompaniment, could well be a reflection of Bruckner’s depression in those grimly unrewarding 1870s: ‘My life has lost all its joy and enthusiasm’, he wrote to a friend, ‘and all for nothing’. But the music also allows visions of consolation, especially in the glorious, singing second theme, introduced by warm massed strings. Nevertheless, the final climax is strangely unfulfilled – no radiant brass hymns decorated with cascading strings (as so often in a Bruckner Adagio), but grinding dissonances, subsiding into a short, desolate coda. After this the Scherzo follows Bruckner’s archetypal balanced Scherzo–Trio–Scherzo plan. Many of his familiar stylistic elements are here too: rapid, pounding dance figures, slower, more flavoursome Ländler (a kind of ‘country cousin’ to the sophisticated Viennese waltz). But here the atmosphere is distinctly spooky and the contrast between the rapid opening idea (itself a speeded-up version of the Adagio theme) and the slower dance tune that keeps interposing itself can be disconcerting, as though the Scherzo can’t make up its mind which is its ‘main’ tempo. Bruckner himself once referred to this symphony as his ‘Fantastic’. Was he thinking particularly of this movement? The central Trio has more of the daylight about it, though even here a strange, slightly impish humour repeatedly creeps in at unexpected moments. It’s sometimes said that Bruckner lacked a sense of humour – at least in his music. That claim is rendered absurd by the introduction to the final movement. Here, like Beethoven in his Ninth Symphony, Bruckner brings back memories of themes from earlier movements before starting out on his grand finale. Bruckner, however, dismisses these themes, not (like Beethoven) with a powerful orchestral recitative, but with a deliberately cheeky figure for solo clarinet – it’s as though Bruckner were affectionately teasing himself for daring to tread in Beethoven’s giant footsteps. Then cellos and basses seize on the clarinet’s mocking figure and turn it into a striking fugue subject. This is soon moving along nicely – but again, as so often in Bruckner, this turns out to be a foretaste rather than the

real thing. The promised monumental fugue is to come later, after second and third themes, both extensively worked out, and after a magnificent chorale for brass with hushed responses from strings. It is only then that Bruckner begins to flex his contrapuntal muscles, in a superb double fugue, based on both the cello-bass motif and the opening phrase of the chorale. Chorales are recurring features of Bruckner’s symphonic style. But it is worth remembering that the chorale is a Protestant, specifically a Lutheran form: chorales were not normally used in 19th-century Austrian Catholic worship. To hear one sung by a congregation, Bruckner had to sneak into the Lutheran church in Linz where a friend was organist (with his hat pulled down over his eyes in case anybody recognised him!). Perhaps Bruckner was also deliberately invoking aspects of his Germanic musical heritage: the chorales and fugues of Bach, the use of the chorale Ein feste Burg (‘A safe stronghold’) in Mendelssohn’s ‘Reformation’ Symphony, firmly placing himself in the Great German Tradition. Whatever his thinking, the eventual outcome is one of the most magnificently affirmative endings in the romantic symphonic literature. After a long, exciting crescendo, the chorale thunders in on full brass through surging strings. Finally fanfare-like echoes of the first movement’s Allegro theme set the seal: the huge ship has reached harbour to a triumphant reception. Programme note © Stephen Johnson

Recommended recordings of tonight’s works Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Mozart: Piano Concerto No. 20 in D minor, K466 Daniel Barenboim piano/director English Chamber Orchestra (Classics for Pleasure) Bruckner: Symphony No. 5 in B flat major Stanisław Skrowaczewski conductor London Philharmonic Orchestra (LPO Label LPO-0090)

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Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher 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 The Tsukanov Family Principal Associates An anonymous donor The Candide Trust Alexander & Elena Djaparidze Sergey Sarkisov & Rusiko Makhashvili Julian & Gill Simmonds Neil Westreich Associates Kay Bryan William & Alex de Winton Virginia Gabbertas Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Gold Patrons Evzen & Lucia Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Sally Groves & Dennis Marks The Jeniffer & Jonathan Harris Charitable Trust John & Angela Kessler Vadim & Natalia Levin Countess Dominique Loredan Mr & Mrs Makharinsky Geoff Mann Tom & Phillis Sharpe The Viney Family Laurence Watt Guy & Utti Whittaker

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

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Noel Otley JP & Mrs Rachel Davies Roderick & Maria Peacock Mr Roger Phillimore Mr Michael Posen Sir Bernard Rix Mr Robert Ross Anonymous Dr Eva Lotta & Mr Thierry Sciard Barry & Gillian Smith Anna Smorodskaya Lady Valerie Solti Mr & Mrs G Stein Mrs Anne Storm Sergei & Elena Sudakov Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Grenville & Krysia Williams Mr Anthony Yolland Principal Supporters An anonymous donor Roger & Clare Barron Gabor Beyer, through BTO Management Consulting AG David & Patricia Buck Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Peter Cullum CBE Mr Timonthy Fancourt QC Marie-Laure Favre-Gilly de Varennes de Beuill Mr Richard Fernyhough Mr Derek B. Gray Malcolm Herring Ivan Hurry Per Jonsson Mr Ralph Kanza Rehmet Kassim-Lakha de Morixe Mr Colm Kelleher Peter Kerkar Mr Gerald Levin

Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Peter Mace Brendan & Karen McManus Kristina McPhee Andrew T Mills Randall & Maria Moore Dr Karen Morton Olga Pavlova Dr Wiebke Pekrull Mr James Pickford Andrew & Sarah Poppleton Tatiana Pyatigorskaya Martin & Cheryl Southgate Mr Christopher Stewart Andrew & Rosemary Tusa Anastasia Vvedenskaya Howard & Sheelagh Watson Des & Maggie Whitelock Holly Wilkes Christopher Williams Mr C D Yates Bill Yoe Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Mrs Alan Carrington Miss Siobhan Cervin Gus Christie Alison Clarke & Leo Pilkington Mr Joshua Coger Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Cameron & Kathryn Doley Stephen & Barbara Dorgan Mr Nigel Dyer Sabina Fatkullina Mrs Janet Flynn Christopher Fraser OBE The Jackman Family Mrs Irina Tsarenkov Mr David MacFarlane Mr John Meloy Mr Stephen Olton

Robin Partington Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr David Russell Mr Kenneth Shaw Ms Natalie Spraggon Michael & Katie Urmston Damien & Tina Vanderwilt Timothy Walker AM Mr John Weekes Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray 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 After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Accenture Ageas BTO Management Consulting AG Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Fevertree Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations ABO Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Foyle Foundation Lucille Graham Trust Help Musicians UK John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Andrew Lloyd Webber Foundation London Stock Exchange Group Foundation Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Austin & Hope Pilkington Trust PRS For Music Foundation Rivers Foundation Romanian Cultural Institute The R K Charitable Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

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

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Administration

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

General Administration

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