London Philharmonic Orchestra 4 Feb 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

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 Saturday 4 February 2017 | 7.30pm

Haydn The Creation (109’) There will be a 20-minute interval between Parts 1 and 2, and a short pause after Part 2 (please remain seated).

Sir Roger Norrington conductor Susan Gritton soprano (Gabriel/Eve) Thomas Hobbs tenor (Uriel) Christopher Maltman baritone (Raphael/Adam) London Philharmonic Choir Neville Creed Artistic Director

This concert will be broadcast by Radio 3 in Concert on Monday 13 February 2017, 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. The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome LPO 2017/18 season 3 On stage tonight 4 Belief and Beyond Belief 6 About the Orchestra 7 Next concerts 8 Sir Roger Norrington 9 Susan Gritton Thomas Hobbs 10 Christopher Maltman The Creation on the LPO Label 11 London Philharmonic Choir 12 Programme notes 15 Text 21 Sound Futures donors 22 Supporters 24 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 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 A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

LPO 2017/18 season

The 2017/18 LPO season is now announced! Browse online at lpo.org.uk or look out for your season brochure in the post over the next few days. Booking opens on Wednesday 8 February online and via the LPO Box Office. To take advantage of priority booking (now open), become a Friend of the London Philharmonic Orchestra for as little as £50 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/support/memberships Highlights of the new season include: Belief and Beyond Belief 2017 Continuing our ambitious festival in partnership with Southbank Centre, our concerts from September to December examine the themes of Judgement, War and Peace, and Rituals and Seasons, and highlights include: • Vladimir Jurowski explores the theme of ‘Judgement’ with Enescu’s powerful drama Oedipe. • Andrés Orozco-Estrada showcases Shostakovich’s ‘Leningrad’ Symphony as part of ‘War and Peace’. • The Orchestra and Jurowski give the long-awaited UK premiere of An Autumn Symphony, Joseph Marx’s multicoloured Romantic masterpiece. Changing Faces: Stravinsky’s Journey 2018 Under the Artistic Directorship of Vladimir Jurowski, we chronologically chart the life of Stravinsky. Highlights include: • Three major ballet scores written for Diaghilev’s Ballets Russes – The Firebird, Petrushka and The Rite of Spring. • Vasily Petrenko conducts the Pulcinella Suite. • Patricia Kopatchinskaja plays Stravinsky’s Violin Concerto, performed alongside his landmark choral masterpiece Symphony of Psalms. A Golden Gala Evening Vladimir Jurowski and the Orchestra celebrate ten years of this extraordinary partnership with a semi-staged gala performance of Wagner’s Das Rheingold. Anne-Sophie Mutter returns The legendary violinist gives a rare performance of Penderecki’s Violin Concerto No. 2 (Metamorphosen).

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On stage tonight

First Violins Kevin Lin 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 Second Violins Andrew Storey Principal Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Sarah Streatfeild Yang Zhang Harry Kerr

Violas David Quiggle Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Benedetto Pollani Laura Vallejo Naomi Holt

Flutes Juliette Bausor Principal Sue Thomas* Sub-Principal

Cellos Kristina Blaumane Principal

Clarinets Thomas Watmough Principal Paul Richards

David Whitehouse

Bassoons Jonathan Davies Principal Gareth Newman

Timpani Simon Carrington* Principal

Contrabassoon Simon Estell* Principal

Fortepiano Catherine Edwards

Horns John Ryan* Principal

* Holds a professorial appointment in London

Chair supported by Bianca & Stuart Roden

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

Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Laurence Lovelle Tom Walley Charlotte Kerbegian

Chair supported by Victoria Robey OBE

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

Stewart McIlwham* Trombones Mark Templeton* Principal

Oboes Ian Hardwick* Principal Alice Munday

Chair supported by Laurence Watt

Martin Hobbs

Chair supported by William & Alex de Winton

Bass Trombone Lyndon Meredith Principal

† 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: Andrew Davenport • Friends of the Orchestra • Dr Barry Grimaldi • Sir Simon Robey • Neil Westreich

London Philharmonic Orchestra | 3

Belief and Beyond Belief An overview of 2017’s year-long festival, by Richard Bratby

Roman Catholic) it seems profoundly strange. But this is what Mozart thought, what he felt: what he believed. And his music speaks to us. There’s something irreducible there. As Theodor Adorno once put it, ‘When I hear great music, I believe that I know that what this music said cannot be untrue.’

n a glass case at Mozart’s birthplace in Salzburg is a little wax doll. Its eyes look demurely downwards, it wears a crown four times the size of its head and it’s clad in what looks like an embroidered ballgown. This is the Loreto-Kindl (Loreto Child): a replica of an ivory model of the infant Christ housed in Salzburg’s Loreto Church. Believed to have miraculous properties, it was (and is) an object of pilgrimage. The Mozart family revered it. When, in Paris in 1764, the eight-year old Wolfgang fell sick, his father Leopold sent money back to Salzburg for a Mass to be said at the shrine of the Child. What are we to think of that today? When we hear the procession that opens Mozart’s Requiem and find our emotions responding to those sighing woodwinds, are we somehow feeling and reacting to the same impulse that once prompted Mozart to kneel before a wax doll? It’s a curious thing, the Loreto Child, and oddly touching. To 21st-century minds (and particularly if you’re not

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Which is why music has a central role – arguably the central role – in Southbank Centre’s year-long 2017 festival Belief and Beyond Belief: a cross-artform investigation of the great questions surrounding our experiences of life, death, religion and spirituality, and the role of religious belief in all its forms in the 21st century. Music, after all, is capable of articulating feelings and ideas that lie beyond words. That gives it a unique scope when dealing with a subject this vast, and this intangible. Belief, says LPO Principal Conductor and Artistic Advisor Vladimir Jurowski, is ‘probably the most all-encompassing theme we could find.’ ‘We were looking for something that would concern all people in all times. And of course you can’t help but come to all those basic questions of life and death: why are we here, what is the purpose of human existence?’ These are questions that – while central to the world’s major religions – are also of urgent importance to those who don’t follow any one specific faith. ‘Spirituality, obviously, is not only about organised religion and faith. It’s about the intangible matters, the non-corporeal realm of human existence’ says Jurowski. ‘As the Dalai Lama put it recently, we can all exist without religion – but we cannot exist without spirituality.’ No question, though: Western classical music’s centuries-old relationship with organised JudeoChristian religion offers a magnificent starting point. Mozart’s Requiem forms part of the series [performed by the London Philharmonic Orchestra and Choir on 25 March], as does Tallis’s Spem in Alium [8 April] and Haydn’s life-affirming oratorio The Creation [4 February] – expressions of belief, grounded in the certainties of a pre-Darwin age. In each of these masterpieces, contemplation of the divine actually intensifies the music’s humanity. Belief certainly enriches the experience of hearing these works today, but few would argue that they have nothing meaningful to say to an atheist or agnostic.

Still, as Jurowski explains, ‘I didn’t want us to limit ourselves to one period of time, one epoch. Working with a modern orchestra is like having a time machine at your disposal. You’re free to move in time and space within the duration of one concert.’ It’ll be thought-provoking but also enormous fun to travel in one evening [28 January] from the divinely ordered exuberance of Jean-Féry Rebel’s Les élémens (1737) to Milhaud’s La Création du monde (1923) and John Adams’s Harmonielehre (1985) – works that don’t so much celebrate an established universal order, as grab what they can find to hand and try to throw together a new one. It’s hard to feel that Also sprach Zarathustra – Richard Strauss’s explicitly post-Christian orchestral romp through Nietzsche [10 February] – sees the death of God as anything but a liberation. Wagner’s Parsifal [28 April; Act III excerpts], however, can be an altogether more troubling experience, as well as a transcendent one. And then there are the works that, in the sunset years of Western civilisation’s spiritual consensus, erect massive ramparts against the abyss. Gustav Mahler – a Jewish convert to Catholicism, and the first great composer to undergo analysis with Sigmund Freud – throws gigantic forces and every last ounce of creative muscle into his Eighth Symphony [8 April]. But what of Bruckner’s Ninth [22 March], designed by an unshakably devout composer as a final act of homage and praise ‘to my beloved God’? As his health failed, Bruckner prayed daily to be allowed time and strength to finish the Symphony. Neither was granted. And during the 20th century, art and belief have both tended to throw open questions rather than assert answers. Confronted with atrocities such as that commemorated in Martinů’s Memorial to Lidice [25 January], the silence that Charles Ives called The Unanswered Question [11 February] may be the only appropriate response. Yet even in atheist dictatorships, composers continued to seek meaning. ‘Shostakovich was never a believer’ says Jurowski. ‘He was afraid of death. He was convinced that with the end of human existence the human spirit also ceases to exist’. Somehow, though, in his fifteenth (and final) symphony [22 February] ‘he finds space in there for very loving music […] You are exposed to someone who has a thing or two to teach us about life.’ Edison Denisov’s Second Symphony [also 22 February], written during its composer’s terminal cancer, is even more

uncompromising. ‘He finds no consolation at the end of his journey. It was obviously an act of defiance.’ In a godless world, the very act of asserting religious belief becomes a radical act. In 1966, Krzysztof Penderecki’s Bach-inspired St Luke Passion [4 March] outraged Western modernists almost as much as it offended the authorities in communist Poland. The composer made its significance explicit: ‘The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic experience of mankind in the middle of the 20th century’. Penderecki is as devoutly Roman Catholic as Mozart, but the St Luke Passion is designed for all listeners. Religion helps it tell its truths; but those truths are comprehensible even without belief. It’s why Jurowski has chosen to open Belief and Beyond Belief tonight not with a sacred work, but a semi-staged opera: a story of tyranny, freedom, courage and – supremely – human love: Beethoven’s Fidelio. ‘Fidelio celebrates what the German-Jewish philosopher Ernst Bloch called “The Principle of Hope” – one of the cornerstones of the human spiritual existence’, says Jurowski. ‘Hope is what makes us human, what gives life meaning; hope – when lived actively – has the power to change the world. Fidelio connects and mediates between the religious and humanist approach to life, and thus appears to me to be a perfect start for a celebration of spirituality and the human spirit.’ If there’s any one motto for this whole, intensely rich and complex journey into music and belief, ‘Hope’ would probably be it. ‘We’re not going to turn Southbank Centre into a place of worship’, says Jurowski. ‘We’re not going to turn the concert hall into a temple. We just want to look at all these different pieces of music by different composers, which are all concerned with the same questions’. In other words, to do what music lets us do more intensely than any other art form – explore different ways of simply being human. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Watch the interview with Vladimir and browse the full festival: lpo.org.uk/belief

London Philharmonic Orchestra | 5

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. 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.

Next concerts at Southbank Centre’s Royal Festival Hall friday 10 february 2017 7.30pm Haydn Symphony No. 22 (The Philosopher) Poulenc Organ Concerto Ligeti Atmosphères R Strauss Also sprach Zarathustra Andrés Orozco-Estrada conductor James O’Donnell organ

saturday 11 february 2017 7.30pm Philip Glass The Light Aaron Jay Kernis Flute Concerto (UK premiere) Ives The Unanswered Question John Adams Doctor Atomic Symphony Andrés Orozco-Estrada conductor Marina Piccinini flute

wednesday 22 february 2017 7.30pm Denisov Symphony No. 2 Berg Violin Concerto Shostakovich Symphony No. 15 Vladimir Jurowski conductor Patricia Kopatchinskaja violin

lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Book now lpo.org.uk 020 7840 4242 London Philharmonic Orchestra | 7

Sir Roger Norrington conductor

This was a lesson in how familiar things can be made exciting and risky, as if they were created yesterday.

The Telegraph, September 2016 (Brahms Symphony No. 1 at the BBC Proms)

For 50 years Roger Norrington has been at the forefront of the movement for historically informed orchestral playing. Whether with his own London Classical Players in the 1980s, with his Stuttgart Radio Symphony, Camerata Salzburg or Zurich Chamber Orchestra in recent years, or with the Orchestra of the Age of Enlightenment from its foundation, he has sought to put modern players in touch with the historical styles of the music they play. The work involves orchestra size and seating, tempo, phrasing, articulation and sound. Sir Roger (he was knighted by the Queen in 1997) sang and played the violin from a young age, and began conducting at Cambridge. He studied at the Royal College of Music under Sir Adrian Boult and in 1962 founded the first of several groups for the performance of early music: the Heinrich Schütz Choir. This was followed ten years later by the London Classical Players, which achieved worldwide fame with its dramatic recordings of the nine Beethoven symphonies. Works by Haydn, Mozart, Berlioz, Brahms, Bruckner and many others followed, and established Norrington as a leading exponent of historical style. In 1966 Sir Roger became Music Director of the new and stimulating Kent Opera. Here again he introduced innovative thinking about orchestra size, playing style and tempi, particularly with the earlier repertoire. He brought to opera the distinguished directors Jonathan Miller and Nicholas Hytner. He conducted many hundreds of performances for Kent and went on to work at The Royal Opera, Covent Garden; English National Opera; La Scala; La Fenice; and the Vienna Staatsoper.

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Norrington moved on to share his historical findings with more ‘modern’ orchestras, choirs and opera companies. He is a frequent guest with many of the world’s major orchestras including the Berlin Philharmonic, Vienna Philharmonic, Deutsches Symphonie-Orchester Berlin, Leipzig Gewandhaus Orchestra, Concertgebouw Orkest, l’Orchestre de Paris, NHK in Tokyo and Philharmonia Orchestra in London. In the US he has appeared over many years with the Boston, Chicago and San Francisco symphonies, The Philadelphia Orchestra, the Cincinnati and Detroit symphonies, and the LA Philharmonic. Permanent posts with orchestras have included Chief Conductor of the Bournemouth Sinfonietta, Music Director of the Orchestra of St. Luke’s in New York, Chief Conductor (now Emeritus) of the Salzburg Camerata, Chief Conductor (now Emeritus for life) of the Stuttgart Radio Symphony Orchestra, Principal Conductor (now Emeritus) of the Zurich Chamber Orchestra, and Conductor Emeritus of the Orchestra of the Age of Enlightenment. With Stuttgart Sir Roger made a remarkable series of over 60 recordings spanning the core orchestral repertoire, with sets of works by Haydn, Mozart, Beethoven, Schubert, Berlioz, Mendelssohn, Schumann, Brahms, Dvořák, Tchaikovsky, Wagner, Bruckner, Mahler and Elgar. Taken together they offer a vivid glimpse of how a modern orchestra can get in touch with its historical roots, cherishing the gesture and sound each composer might have expected in his lifetime.

Thomas Hobbs

soprano

tenor

One of the most accomplished lyric sopranos of her generation, Susan Gritton is acclaimed for her versatility in music ranging from Handel and Mozart to Strauss, Berg and Britten. Recent successes in opera include Ellen Orford in Peter Grimes (La Scala, Tokyo and Opera Australia); Blanche in Dialogues des Carmélites (Bayerische Staatsoper); Countess Madeleine in Capriccio and Tatyana in Eugene Onegin (Grange Park); Micaela in Carmen and Liu in Turandot (Covent Garden); Donna Anna in Don Giovanni (Bolshoi and Opera de Montreal); Elettra in Idomeneo (Netherlands Opera); and Konstanze in Die Entführung aus dem Serail (Deutsche Staatsoper and Bayerische Staatsoper). Title roles include Theodora (Glyndebourne); Rodelinda (Bayerische Staatsoper); The Bartered Bride (Covent Garden) and The Cunning Little Vixen (English National Opera).

Thomas Hobbs is in demand with many leading baroque and early music ensembles, appearing throughout Europe and the US as a soloist in key works from the 16th, 17th and 18th centuries. He works frequently with Philippe Herreweghe and his acclaimed ensemble Collegium Vocale Gent (CVG), and Raphaël Pichon and his Ensemble Pygmalion.

Other highlights include Ravel’s Shéhérazade (Royal Liverpool Philharmonic Orchestra/Sir Charles Mackerras); Brahms’s Ein deutsches Requiem (Berlin Philharmonic/ Sir Simon Rattle; Philharmonia Orchestra/Christoph von Dohnányi); Berg’s Bruchstücke aus Wozzeck (Swedish Radio Symphony Orchestra/Daniel Harding); Honegger’s Jeanne d’Arc au bûcher (Accademia Nazionale di Santa Cecilia/Sir Antonio Pappano); Handel’s Messiah (Royal Opera House Orchestra/Pappano); Tatyana in concert performances of Eugene Onegin (Bamberg Symphony/ Robin Ticciati); the final scene from Capriccio (Hamburg Symphony/Jeffrey Tate); Elgar’s The Kingdom (London Symphony Orchestra/Sir Mark Elder); Schumann’s Das Paradies und die Peri (Vienna Philharmonic/Rattle; Scottish Chamber Orchestra/Sir Roger Norrington); and Britten’s Les Illuminations, including the world premiere of Britten’s three additional Rimbaud settings (BBC Scottish Symphony Orchestra/Martyn Brabbins). A Grammy-nominated artist, Susan has recorded prolifically. Her recent recording of Les Illuminations (BBCSO/Gardner) was widely acclaimed, and her recordings of Britten’s War Requiem (Gabrieli Consort/Paul McCreesh) and The Rape of Lucretia (Aldeburgh Festival Ensemble/Oliver Knussen) were both released in 2016.

Susan Gritton

Current and future engagements include The Creation with the Israel Camerata in Jerusalem; further tours with Collegium Vocale Gent; and Bach’s B minor Mass, Cantatas and the Easter Oratorio with De Nederlandse Bachvereniging. He will also sing Bach with the Musikpodium Stuttgart, and Monteverdi’s Vespers with the Academy of Ancient Music. Recent concert performances include appearances with the Tonkünstler-Orchester Niederösterreich and Tonhalle- Orchester Zürich; Evangelist in Bach’s St Matthew Passion and St John Passion with the Choir of King’s College, Cambridge, Le Concert Lorrain and Ensemble Pygmalion; Bach’s B minor Mass with CVG and Le Concert Lorrain; Bach’s Magnificat with De Nederlandse Bachverenigning; Bach’s Christmas Oratorio with the Australian Chamber Orchestra; and Handel’s Israel in Egypt with the Choir of King’s College, Cambridge. Recent operatic roles include Ferrando in Mozart’s Così fan tutte with the Oxford Philomusica; Telemachus in Monteverdi’s The Return of Ulysses for English National Opera; and Apollo and Shepherd in Monteverdi’s Orfeo with Richard Egarr and the AAM. Thomas’s ever-expanding discography includes Bach’s B minor Mass with CVG and the Dunedin Consort; Bach Motets, Leipzig Cantatas and Christmas Oratorio with CVG; Handel’s Acis et Galatea and Esther with the Dunedin Consort; Beethoven’s Mass in C with Stuttgart Kammerchor; Handel’s Chandos Anthems with the Orchestra of the Age of Enlightenment; and Mozart’s Requiem with the Dunedin Consort. London Philharmonic Orchestra | 9

Christopher Maltman

baritone

A renowned Don Giovanni, Christopher Maltman has sung the role at the Salzburg Festival, in Berlin, Munich, Cologne, and at the Royal Opera House, Covent Garden, where he has also sung Papageno, Guglielmo, Lescaut, Forester, Marcello and Ramiro. At the Vienna State Opera his roles have included Siskov (Janáček’s Aus einem Totenhaus), Eugene Onegin, Figaro and Prospero (Thomas Adès’s The Tempest). Increasingly in demand for Verdi roles, Christopher has sung Simon Boccanegra in Frankfurt, Post (Don Carlos) in Amsterdam and Frankfurt, and Conte di Luna (Il trovatore) at Covent Garden. Other operatic appearances include Il Conte in Paris, Alfonso in Munich, Friedrich (Wagner’s Das Liebesverbot) in Madrid, and Figaro (The Barber of Seville), Papageno and Silvio at the Metropolitan Opera, New York. His concert engagements have included the Chicago Symphony Orchestra under James Conlon at the Ravinia Festival; The Cleveland Orchestra under Franz WelserMöst; the Philharmonia Orchestra under Christoph von Dohnányi; the BBC Symphony Orchestra under John Adams; the Orchestra of the Age of Enlightenment under Sir Roger Norrington, the London Symphony Orchestra under Sir Simon Rattle, Tadaaki Otaka, Valery Gergiev and Sir Colin Davis; Concentus Musicus Wien under Nikolaus Harnoncourt; the Orchestra Filarmonica della Scala under Daniel Harding; the Dresden Staatskapelle under Sir John Eliot Gardiner; the Boston Symphony Orchestra under James Conlon and Sir Colin Davis; the Los Angeles Philharmonic Orchestra under Esa-Pekka Salonen; and the New York Philharmonic Orchestra under Kurt Masur. His recital appearances include the Aldeburgh, Edinburgh, Salzburg, Schwetzingen and Schwarzenberg festivals; the Vienna Konzerthaus; the Amsterdam Concertgebouw; the Cologne Philharmonie; Alte Oper Frankfurt; and New York’s Carnegie Hall. Christopher is also a regular guest at London’s Wigmore Hall.

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Haydn’s The Creation on the LPO Label

Klaus Tennstedt conductor Lucia Popp soprano (Gabriel/Eve) Anthony Rolfe Johnson tenor (Uriel) Benjamin Luxon baritone (Raphael/Adam) London Philharmonic Orchestra & Choir £14.99 (2 CDs) | LPO-0008 Recorded live at Southbank Centre’s Royal Festival Hall, London, on 19 February 1984

‘The playing and choral singing are consistently thrilling, while the lineup of soloists has rarely been bettered.’ The Guardian, 10 February 2006

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

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for almost 70 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Mahler’s Symphony No. 2 under the Orchestra’s Principal Guest Conductor Andrés Orozco-Estrada, Rachmaninoff’s The Bells with Vasily Petrenko, Taneyev’s St John of Damascus and Szymanowski’s Stabat Mater under the Orchestra’s Principal Conductor and Artistic Advisor Vladimir Jurowski, and Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder. This season the Choir looks forward to a packed schedule of choral classics including Mozart’s Requiem and Mahler’s epic Symphony No. 8, the latter as part of the Choir’s 70th birthday celebrations in 2017.

Sopranos Annette Argent, Chris Banks, Hilary Bates, Laura Buntine, Carole Cameron, Charlotte Cantrell, Ella Cape-Davenhill, Olivia Carter, Paula Chessell, Emily Clarke, Olivia Crawford, Antonia Davison, Jessica Dixon, Lucy Doig, Rachel Gibbon, Jane Goddard, Jane Hanson, Catherine Harris, Sally Harrison, Carolyn Hayman, Camille Hirons, Kamila Karimjee, Jenni Kilvert, Olivia Knibbs, Elsa Korning, Liz Lawrence, Joy Lee, Clare Lovett, Janey Maxwell, Katie Milton, Harriet Murray, Mariana Nina, Linda Park, Rosie Philpott, Marie Power, Stephanie Rawlins, Rebecca Sheppard, Charlotte Stacey, Tania Stanier, Katie Stuffelbeam, Victoria Sutcliffe, Sarah Van Staveren, Susan Watts, Joanna Webster, Rochelle Williams Altos Christine Allison, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Isabelle Cheetham, Noel Chow, Sara de la Serna, Fiona Duffy-Farrell, Andrea Easey, Carmel Edmonds, Sarah Finkemeyer, Henrietta Fisher, Kathryn Gilfoy, Bethea Hanson-Jones, Emily Hill, Judy Jones, Marjana Jovanovic Morrison, Marissa Landy, Andrea Lane, Ethel Livermore, Laetitia Malan, Ian Maxwell, Malvina Maysuradze, Caroline Morris, Sophie Morrison,

The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. Last season it travelled to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23, Op. 14. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Annabeth Murphy-Thomas, Rachel Murray, John Nolan, Miranda Ommanney, Anna Read, Sheila Rowland, Carolyn Saunders, Rima Sereikiene, Susi Underwood, Emma Windle Tenors Scott Addison, David Aldred, Tim Appleby, Chris Beynon, James Clarke, Kevin Darnell, Fred Fisher, Alan Glover, Peter Goves, Josh Haley, Iain Handyside, Stephen Hodges, Patrick Hughes, Tony Masters, Kevin Rainey, Keith Saunders, Jaka Škapin, Owen Toller, Claudio Tonini, Martin Yates Basses Christopher Bacon, Jonathon Bird, Gordon Bukey-Webster, Filipe Caetano, Geoffrey Clare, Philip Dangerfield, Marcus Daniels, Thomas Fayle, Halldor Fossa, Ian Frost, Christopher Gadd, John Graham, Nicholas Hennell-Foley, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Martin Hudson, Ashley Jacobs, Alan Jones, David Kent, John G Morris, John D Morris, Ashley Morrison, Robert Northcott, Will Parsons, Johannes Pieters, Nicola Ravarino Guagenti, Jonathan Riley, John Salmon, Edwin Smith, Peter Taylor, John Wood

London Philharmonic Orchestra | 11

Programme notes

Joseph Haydn 1732–1809

When the 58-year-old Joseph Haydn arrived in London on 1 January 1791, after a two-week journey from Vienna, he sparked a Georgian media frenzy. Haydn was fascinated by Britain, enthusiastically noting down his reactions to everything from Royal Navy warships to Cockney slang. But nothing had prepared him for the impact of the British choral tradition, which he encountered in May 1791 at the massive Handel Commemoration Festival at Westminster Abbey. An orchestra and chorus of over a thousand performed Israel in Egypt and Messiah to a huge and receptive audience. Haydn was profoundly affected – both by the music, and by the overwhelming communal response it provoked. ‘He confessed’, recounted one of his first biographers, Giuseppe Carpani, ‘that when he heard the compositions of Hendl [sic] in London, he was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment.’ Haydn returned to Austria determined to create something with the same power and popularity. And he wanted it to be heard and enjoyed by his friends in Britain too. Before leaving London for the last time in 1795, Haydn had been given an English libretto for an oratorio based on Milton’s Paradise Lost, in which three angels and Adam and Eve retell the opening verses of the Book of Genesis. We don’t know who wrote it, though Haydn was assured that it had originally been intended for Handel. Modest about his grasp of English, he hesitated to set it in the original, so he enlisted one of Vienna’s most knowledgeable music-lovers, Baron Gottfried van Swieten, who ‘resolved to clothe the poem in German garb’. Van Swieten’s translation is the text that Haydn set as Die Schöpfung – and which he had translated back into English as The Creation. Completed in the autumn of 1797, Die Schöpfung/The Creation became the first

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Die Schöpfung (The Creation) (1797) Susan Gritton soprano (Gabriel/Eve) Thomas Hobbs tenor (Uriel) Christopher Maltman baritone (Raphael/Adam) London Philharmonic Choir

work in musical history to be published bilingually. It would soon become almost as popular as Messiah in the English-speaking world, and this evening we hear a new English revision by Paul McCreesh. The astonishing, tonally ambiguous prelude to The Creation, ‘The Representation of Chaos’, is itself a radical masterpiece, and it’s long had musicologists purring with approval. But Haydn planned it as part of a far greater design. Chaos is defeated by the most dazzlingly powerful affirmation of tonality in all classical music – a mighty burst of C major as God creates light. And throughout the whole work, passages of relaxation (the radiant soprano aria ‘With verdure clad’, the rosy dawn that opens Part 3) and of playful humour (all those sound-effects, and a bubbly comic-opera duet for Adam and Eve) are balanced by music of visionary grandeur. Learning from Handel, Haydn structured his oratorio around big, stirring choruses. As thrilling to sing as they are to hear, ‘Awake the harp’, ‘The heavens are telling’ and ‘Achieved is the glorious work’ match Handelian majesty with classical symphonic sweep. And then there are the moments where he simply expresses Biblical ideas in some of the happiest music of the Age of Enlightenment – Haydn freely admitted that he ‘was never so devout as when I was working on The Creation’. Yet his faith was as much about joy as awe: ‘Whenever I think of God’, he famously remarked, ‘I can imagine only a Being infinitely great and infinitely good, and the idea of this latter attribute of the divine nature fills me with such confidence, such joy, that I should set even a miserere in tempo allegro.’ But Haydn was emphatically not naïve. At Mozart’s suggestion, Haydn had joined the Viennese Masonic lodge Zur wahren Eintracht (True Concord) in February 1785, and his personal library contained a range of

banned philosophical texts. He didn’t just take the Bible’s word for the splendour of the Universe – in June 1792 he’d sought out the astronomer William Herschel at Windsor, and studied it for himself through the world’s most advanced telescope. Similarly, in The Creation, the very noblest music celebrates the limitless potential of Creation’s highest achievement – humanity. Written three years before Beethoven’s first symphony, the arias ‘Now heaven in fullest glory shines’ and ‘In native worth and honour clad’ are surely the crowning moment of the 18th-century Enlightenment in classical music. Haydn’s contemporaries felt it then, as we feel it today. Haydn’s final public appearance was at a performance of The Creation at the University of Vienna in honour of his 76th birthday, on 27 March 1808. Salieri was at the keyboard, and Beethoven was in the audience (afterwards, as Haydn left, he kneeled to kiss the old man’s hand). At the words ‘Und es ward Licht’ the entire audience erupted into spontaneous applause. Haydn, no longer able to stand unaided, raised his arms to heaven and declared, as strongly as his weakened voice allowed, ‘Not from me – it all comes from above.’ Programme note © Richard Bratby

A new libretto for The Creation, by Paul McCreesh The Creation is now generally sung in German, yet there is no doubt that Haydn wished for the immediate impact which can only be created by performing the work in the audience’s own language. There have been many attempts to adapt and rewrite parts of the English text, but in preparation for the 2008 Gabrieli Consort & Players recording (DG Archiv 477736-1) I decided to give the libretto a complete and thorough revision, in the hope of creating a version which speaks directly and comfortably to English listeners, and is more worthy of Haydn’s sublime music. Often very simple changes to word order, or the insertion of a word with the correct number of syllables, can make for considerably more beautiful (and more comprehensible) English and, crucially, a better relationship between the text and Haydn’s music. Paul McCreesh, 2009

Part 1 The text begins on page 15. 1

Overture. The Representation of Chaos After a mighty chord of C, Haydn depicts the infinite void in a prelude that sounds modern even today. Recitative and chorus: In the beginning A hushed recitative prepares for the overwhelming creation of Light.

2 Aria (Uriel) and chorus: Now vanish before the holy beams A fresh and joyful song for the first morning of Creation. 3

Recitative (Raphael): And God made the firmament Haydn depicts the elements orchestrally before introducing each one in turn.

Aria (Gabriel) and chorus: The marvellous work beholds amaz’d. A virtuoso soprano aria blossoms into an exuberant chorus of praise.

Recitative (Raphael): And God said

Aria (Raphael): Rolling in foaming billows Haydn’s orchestra depicts the sea, mountains and river valleys in music that prefigures Beethoven’s ‘Pastoral’ Symphony.

Recitative (Gabriel): And God said

Aria (Gabriel): With verdure clad This serene and lovely aria, with its 6/8 metre and birdsong-like woodwind writing, takes the 18thcentury pastoral style to its rapturous peak.

Recitative (Uriel): And the heavenly host

10 Chorus: Awake the harp For the first time in the work Haydn sets out to emulate the mighty Handel choruses that had so inspired him in London. 11 Recitative (Uriel): And God said 12 Recitative (Uriel): In brightest splendour The newly created Sun rises in a radiant and festive D major for full orchestra. The Moon receives cooler treatment. Continues overleaf London Philharmonic Orchestra | 13

Programme notes continued

13 Chorus with soli: The heavens are telling A worthy successor to Handel’s Hallelujah and a stirring climax to the first part of the oratorio.

Interval – 20 minutes

Enlightenment’s vision of Humanity; the courage, dignity, intellect and capacity for love of Adam and Eve are all expressed in the music. The key of C suggests the innocence and perfection of humanity before the Fall. 25 Recitative (Raphael): And God saw everything

Part 2 14 Recitative (Gabriel): And God said

26 Chorus: Achieved is the glorious work Creation is complete; the entire heavenly host joins in vigorous song.

15 Aria (Gabriel): On mighty pens After an orchestral introduction of symphonic proportions, Haydn depicts the creation of the birds: clarinet, bassoons and flute respectively portray the larks, turtle-doves and nightingale.

27 Trio: On thee each living soul awaits Over a radiant woodwind chorale, the three angels praise God – and hint solemnly at the potential consequences, should Adam and Eve turn from their Creator.

16 Recitative (Raphael): And God created great whales God creates great whales: low strings provide a suitably solemn accompaniment to His words.

28 Chorus: Achieved is the glorious work Haydn completes the chorus and rounds off Part 2 with a powerful double fugue.

17 Recitative (Raphael): And the angels struck their immortal harps

Part 3

18 Trio: Most beautiful appear The three angels admire in turn the newly created hills, birds and fishes. Typically lighthearted touches paint the picture in the orchestra; flute for the circling birds, and, for the whale, what else but the double bass? The trio leads into …

29 Introduction and Recitative (Uriel): In rosy mantle The orchestral prelude depicts morning in Eden: three flutes gently paint the idyllic dawn.

19 Chorus with soli: The Lord is great A bustling hymn of praise: chorus and soloists intertwining to brilliant and majestic effect. 20 Recitative (Raphael): And God said 21 Recitative (Raphael): Straight opening her fertile womb The orchestra depicts the new-created animals – from lion down to worm – before Raphael admires each one in turn. 22 Aria (Raphael): Now heaven in fullest glory shines Trumpets and drums give a regal dignity to Raphael’s description of Creation. 23 Recitative (Uriel): And God created Man God creates Man: the music briefly evokes both wonder and tenderness. 24 Aria (Uriel): In native worth and honour clad In this broad and noble aria, Haydn celebrates the

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30 Duet (Adam and Eve) with chorus: By thee with bliss, O bounteous Lord In an atmosphere of rapturous calm, Adam and Eve sing an expressive hymn to the Creation. The music soon spills over into out-and-out celebration. 31 Recitative (Adam and Eve): Our duty have we now perform’d Adam and Eve, having praised God, now start to notice each other. 32 Duet (Adam and Eve): Graceful consort Love-duet gives way to childlike playfulness, as Adam and Eve realise that life is even more joyful together. 33 Recitative (Uriel): O happy pair In a brief echo of Milton, the angel warns lest the happy pair seek to know more than they should. 34 Finale, chorus and soli: Praise the Lord A mighty and rousing double fugue ends the work with a final shout of praise. Programme note © Richard Bratby Bratby

The Creation: Text

Part 1 Overture The Representation of Chaos Recitative [accompagnato] and chorus RAPHAEL In the beginning God created the heaven and the earth. and the earth was without form, and void; and darkness was upon the face of the deep. CHORUS And the spirit of God mov’d upon the face of the waters. And God said, Let there be light: and there was light. Recitative URIEL And God saw the light, that it was good: and God divided the light from the darkness. Aria and chorus URIEL Now vanish before the holy beams the gloomy, dismal shades of darkness; the first of days appears! Disorder yields and order fair prevails. Affrighted fly hell’s spirits, black in throngs; down they sink in the deepest abyss to endless night. CHORUS Despairing, cursing rage, attends their rapid fall. A new-created world springs up at God’s command. Recitative [accompagnato] RAPHAEL And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so. Outrageous, dreadful storms now arise; as chaff by the winds impell’d are the clouds. By heaven’s fire the sky is enflam’d, and awful roll the thunders on high.

At his command, rise from the floods, reviving showers of rain, the dreary wasteful hail, the light and flaky snow. Aria and chorus GABRIEL The glorious heav’nly hierarchy, the marvellous work beholds amaz’d. And to the ethereal vaults resounds the praise of God, and of the second day. CHORUS And to the ethereal vaults resounds the praise of God, and of the second day. Recitative RAPHAEL And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear: and it was so. And God called the dry land Earth, and the gath’ring of waters called he Seas, and God saw that it was good. Aria RAPHAEL Rolling in foaming billows, uplifted roars the boisterous sea. Mountains and rocks now emerge, into the clouds their tops ascend. Through verdant plains outstretching wide the rivers flow, in serpent error. Softly purling glideth on through silent vales the limpid brook. Recitative GABRIEL And God said: Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth: and it was so. Aria GABRIEL With verdure clad, the fields appear delightful to the ravish’d sense; by flowers sweet and gay London Philharmonic Orchestra | 15

Text continued

adorned is the charming sight. The fragrant herbs give forth their scent, here shoots the healing plant. With copious fruit the spreading boughs are hung. In leafy arches twine the shady groves. O’er lofty hills majestic forests rise. Recitative URIEL And the heavenly host the third day proclaimed, praising God, and saying:

GABRIEL, URIEL and RAPHAEL As day after day his power declares; And night after night his honour affirms. CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works. GABRIEL, URIEL and RAPHAEL In all the lands resounds the word, never unperceived, ever understood.

Chorus CHORUS Awake the harp, the lyre awake! With shouts of joy, your voices raise! In triumph proclaim the might of the Lord! For all the heav’ns and the earth has he clothed in glorious attire.

CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works.

Recitative URIEL And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs, and for seasons, and for days, and for years. He made the stars also.

Part 2

Recitative [accompagnato] URIEL In brightest splendour rises now the sun, and darts his rays; an eager, joyful bridegroom, a giant, glad and proud, to run his measured course. With gentle steps, and softer, silv’ry beams, steals the moon, through still and silent night. The boundless span of heaven’s vault is now adorn’d with numberless golden stars, and the sons of God announced the fourth day thus, in song divine, with joy proclaiming his might: Trio and chorus CHORUS The heavens are telling the glory of God; the firmament displays the wonder of his works. 16 | London Philharmonic Orchestra

Interval – 20 minutes

Recitative [accompagnato] GABRIEL And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven. Aria GABRIEL On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun. The merry lark bids welcome to the morn, and cooing calls the tender dove his mate. From every bush and grove resound the nightingale’s delightful, liquid notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft, enchanting lays. Recitative [accompagnato] RAPHAEL And God created great whales, and every living creature that moveth, and God blessed them, saying:

Be fruitful all! Multiply ye wing’d and feather’d tribes, and sing from every tree! Multiply, ye finny tribes, and fill each wat’ry deep! Be fruitful, grow and multiply, rejoice in him, your Lord and God! Recitative RAPHAEL And the angels struck their immortal harps, and the wonders of the fifth day sang. Trio and chorus GABRIEL Most beautiful appear, with verdure young adorn’d the gently sloping hills. Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright. URIEL In lofty circles play, and flutter through the sky the cheerful flocks of birds. And in the flying whirl their glittering plumes are dyed like rainbows by the sun. RAPHAEL See flashing midst the waters bright a thousand fry that dart through rolling waves. Upheaved from the deep, see the immense Leviathan sports on the foaming spray. GABRIEL, URIEL and RAPHAEL How many are thy works, O God! Who may their numbers tell? GABRIEL, URIEL, RAPHAEL and CHORUS The Lord is great and great his might; his glory lasts for ever and for evermore. Recitative RAPHAEL And God said: Let the earth bring forth the living creature after his kind; cattle, and creeping thing, and beast of the earth, after his kind.

Recitative [accompagnato] RAPHAEL Straight opening her fertile womb, the earth obeys the word, and teems with creatures numberless, in perfect forms and fully grown. Cheerfully roaring, stands the tawny lion. With sudden leaps the flexible tiger appears. The nimble stag rears up his branching head. With flying mane, the noble steed springs up and neighs, with spirit proud. The cattle in herds peacefully graze on fields and meadows green. And o’er the leas are scattered flocks of fleecy, meek and bleating sheep. Unnumber’d as the sands, in whirls arise great swarms of insects. In long dimension creeps with sinuous trace the worm. Aria RAPHAEL Now heaven in fullest glory shines; earth smiles in all her rich attire. The air is fill’d with feather’d fowl; the water swells with shoals of fish; by heavy beasts the ground is trod. But all the work was not complete, there wanted yet that wondrous being that God’s creation should admire and praise his works with heart and voice. Recitative URIEL And God created man in his own image. In the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul. Aria URIEL In native worth and honour clad, with beauty, strength and courage bless’d, to heav’n erect and tall he stands, a man, the lord and king of nature all. His noble, gen’rous brow sublime, declares a wisdom deep within, and in his eyes with brightness shines the soul, London Philharmonic Orchestra | 17

Text continued

the breath and image of his God. With fondness leans upon his breast the partner for him form’d, a woman fair, a graceful spouse. Her softly smiling virgin-looks, of flow’ry spring a mirror, speak love, delight and bliss. Recitative RAPHAEL And God saw everything that he had made; and behold, it was very good; and the heavenly choir thus closed the sixth day, in song divine. Trio and chorus CHORUS Achieved is the glorious work; the Lord delights in all he sees. In lofty strains let us rejoice, our song shall be the praise of God! GABRIEL and URIEL On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated are they all. RAPHAEL But when, O Lord, thy face is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust. GABRIEL, URIEL and RAPHAEL Thou sendest forth thy breath again, and life with vigour fresh returns. Revived earth unfolds new force and new delights. CHORUS Achieved is the glorious work, our song shall be the praise of God! Glorious be his name for ever; he sole on high, exalted, reigns. Alleluia.

There will be a short pause after Part 2 (please remain seated).

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Part 3 Recitative [accompagnato] URIEL In rosy mantle now appears, by sweetest sounds awak’d, the morning, young and fair. From heav’n’s eternal realm, pure harmony descends on ravish’d earth. Behold the blissful pair, as hand in hand they go! Their radiant eyes shine with heartfelt joy and thanks. And so with cheerful noise, their God they soon will praise. Then let our voices ring, united with their song! Duet and chorus EVE and ADAM By thee with bliss, O bounteous Lord, the heav’n and earth are fill’d. This world, so great, so wonderful, thy mighty hand has fram’d. CHORUS For ever blessed be his pow’r! His name be ever magnified! ADAM Of stars the fairest, O how sweetly thou crown’st the smiling dawn. How brighten’st thou, O sun, the day, thou eye and soul of all! CHORUS Proclaim in your extended course the glorious pow’r and might of God! EVE And thou that rul’st the silent night, and all ye starry host spread wide and everywhere his praise in joyful songs around! ADAM Ye mighty elements, by whose pow’r are ceaseless changes made, ye misty vapours and dewy steams, that rise and fall through th’air, acclaim and praise our God and Lord!

CHORUS Acclaim and praise our God and Lord! Great is his name, and great his might!

so God, our Lord, ordains. For such obedience brings me joy, contentment and honour.

EVE Ye purling fountains, tune his praise, and wave your tops, ye pines! Ye plants exhale, ye flowers breathe on him your balmy scent!

Duet ADAM Graceful consort! At thy side softly fly the golden hours. Every moment brings new rapture, every care is put to rest.

ADAM Ye that on lofty mountains tread, and ye that lowly creep, ye birds that sing at heaven’s gate, and ye, that swim the deep, EVE, ADAM and CHORUS Ye living creatures, praise the Lord! All with life and breath! EVE and ADAM Ye valleys, hills and shady woods bear witness to our song. From morn to eve shall you repeat our grateful hymn of praise. EVE, ADAM and CHORUS Hail bounteous Lord! Creator, hail! Thy word called forth this wondrous frame. The heav’ns and earth thy pow’r proclaim; we praise thee now and evermore. Recitative ADAM Our duty have we now perform’d, in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and every step wakes new delight within our breast, at the wonders all around. Then may’st thou know the high degree of bliss the Lord has granted us, and with devoted heart confess his boundless love. Come, follow me! Thy guide I’ll be. EVE O thou, for whom I am! My help, my shield, my all! Thy will is law to me;

EVE Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward shall be thy love. EVE and ADAM The dew-dropping morning, O how she gladdens all! The cool breezy evening, O how she quickens all! How pleasing is the savour of the fruit! How charming is the smell of fragrant blooms! But without thee, what is to me the morning dew, the evening breeze, the sav’ry fruit, the fragrant bloom? With thee is every joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it all shall be. Recitative URIEL O happy pair, and always happy yet, unless, by false conceit misled, ye strive for more than granted is, and more would know, than know ye should! Chorus CHORUS Praise the Lord, lift up your voices! Thank him, thank our God for all his wonders. Celebrate his power and glory! Let his name resound on high! God’s mighty pow’r shall last for evermore, Amen. English text revised by Paul McCreesh 2006 and 2009 (© Paul McCreesh 2009) London Philharmonic Orchestra | 19

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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 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 | 21

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

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir 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 Hamish & Sophie Forsyth 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 Virginia Slaymaker

Bronze Patrons An anonymous donor 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 Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh 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

22 | London Philharmonic Orchestra

Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron 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 Mr Alan C Butler 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 Derek B Gray 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 Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF

Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane

Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr Kenneth Shaw Mr Kevin 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 Ageas 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 The Sampimon 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 | 23

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel 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

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