LPO concert programme: 4 Feb 2022 - Julia Fischer plays Mozart: Sinfonia Concertante by London Philharmonic Orchestra

JULIA FISCHER P L AY S M O Z A R T LPO Artist-in-Residence Spring 2022

CONCERT PROGR AMME

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Friday 4 February 2022 | 7.30pm

Julia Fischer plays Mozart: Sinfonia Concertante Mozart Overture: Die Entführung aus dem Serail (6’) Mozart Violin Concerto No. 5 in A major, K219 (31’) Interval (20’) Mozart Sinfonia Concertante, K364 (30’) R Strauss Till Eulenspiegels lustige Streiche, Op. 28 (16’) Thomas Søndergård conductor Julia Fischer violin Nils Mönkemeyer viola

This concert is being filmed for future broadcast on Marquee TV. We would be grateful if audience noise during the performance could be kept to a minimum, and if audience members could kindly hold applause until the end of each full work. Thank you for your co-operation.

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

Contents 2 3 4 5 6 8 9 10 14 15 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Julia Fischer: Artist-in-Residence Spring 2022 Nils Mönkemeyer Thomas Søndergård Programme notes Recommended recordings LPO Annual Appeal 2022 Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Welcome to the Southbank Centre

LPO news Tonight’s concert on Marquee TV

We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

We are delighted that ten concerts from our 2021/22 Royal Festival Hall season are being filmed for broadcast on Marquee TV throughout the year. This evening, Mozart’s Violin Concerto No. 5 and Sinfonia Concertante are being filmed, and will be broadcast on Marquee TV on Saturday 12 March at 7pm. The broadcast will remain available to watch free of charge for 48 hours without a Marquee TV subscription.

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We look forward to seeing you again soon.

Open the Doors: LPO Annual Appeal 2022

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

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London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

On stage tonight First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Minn Majoe Catherine Craig Yang Zhang

Chair supported by Eric Tomsett

Thomas Eisner Sophie Phillips Katalin Varnagy

Chair supported by Sonja Drexler

Rasa Zukauskaite Martin Höhmann

Chair supported by Chris Aldren

Amanda Smith Sophie Mather Alice Hall Cassi Hamilton Nilufar Alimaksumova

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Kate Birchall Nancy Elan Fiona Higham

Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Sioni Williams Kate Cole Sarah Thornett Sheila Law Eriko Nagayama Emma Purslow

Violas

Piccolo

David Quiggle Principal Richard Waters Co-Principal

Stewart McIlwham* Principal

Chair supported by Caroline, Jamie & Zander Sharp

Oboes

Ting-Ru Lai Benedetto Pollani Laura Vallejo Stanislav Popov Julia Doukakis Alistair Scahill Anna Growns Daniel Cornford Julia Doukakis Shiry Rashkovsky

Trombones

Cor Anglais

David Whitehouse

Chair supported by Dr Barry Grimaldi

Clarinets

Benjamin Mellefont Principal Thomas Watmough Elliot Gresty

Jean Kim Guest Principal Francis Bucknall Gregory Walmsley David Lale Sue Sutherley Susanna Riddell Laura Donoghue Helen Thomas Sibylle Hentschel Jane Lindsay David Bucknall Leo Melvin

Bass Clarinet

Paul Richards* Principal

E-flat Clarinet

Thomas Watmough Principal

Chair supported by Roger Greenwood

Bassoons

Jonathan Davies Principal

Double Basses

Paul Beniston* Principal Anne McAneney David Hilton

Ian Hardwick* Principal Alice Munday James Hulme

Sue Böhling* Principal

Cellos

Trumpets

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

Bass Trombone

Lyndon Meredith Principal

Tuba

Lee Tsarmaklis* Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal Chair supported by Gill & Garf Collins

Keith Millar Karen Hutt Feargus Brennan Laura Bradford

Chair supported by Sir Simon Robey

Gareth Newman Emma Harding

Kevin Rundell* Principal Sebastian Pennar Co-Principal

* Holds a professorial appointment in London

Contrabassoon

Hugh Kluger George Peniston Tom Walley

Simon Estell* Principal

Chair supported by William & Alex de Winton

Horns

Laura Murphy Lowri Morgan Charlotte Kerbegian

John Ryan* Principal Nicholas Mooney Guest Principal

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Flutes

Katie Bedford Guest Principal Clare Childs Emilia Zakrzewska Stewart McIlwham*

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Candide Trust Irina Gofman & Mr Rodrik V. G. Cave Bianca & Stuart Roden

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

London Philharmonic Orchestra

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, 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.

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

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 Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its 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. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. 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 London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Julia Fischer violin LPO Artist-in-Residence Spring 2022

During the 2020/21 season Julia Fischer appeared in concert with the Elbphilharmonie Hamburg and Alan Gilbert, the Svetlanov Symphony Orchestra and Vladimir Jurowski and the Bamberg Symphony under Jakub Hrůša, and premiered a new piece by Pascal Zavaro with the Orchestre national de France under Cristian Măcelaru. In 2011 Julia Fischer founded her own Quartet with Alexander Sitkovetsky, Nils Mönkemeyer and Benjamin Nyffenegger, and continues to tour extensively in this formation. Her concert at the Alte Oper Frankfurt in 2010 marked her debut as a pianist: she performed Grieg’s Piano Concerto in the second half of the concert, having played Saint-Saëns’s Violin Concerto No. 3 in the first half. The performance is available on a Decca-released DVD. Teaching is another integral part of Julia’s musical life, as she continues to nurture and guide young talent including performances alongside her students. She regularly gives masterclasses at Musikferien at Lake Starnberg (Starnberger See). In 2019 she founded a children’s orchestra, the Kindersinfoniker, teaming up with conductor Johannes X. Schachtner and pianist Henri Bonamy in her hometown of Munich.

One of the world’s leading violinists, Julia Fischer is a versatile musician also known for her extraordinary abilities as a concert pianist, chamber musician and violin teacher. Born in Munich to German-Slovakian parents, she received her first violin lessons at the age of three and her first piano lessons shortly after from her mother, Viera Fischer. At the age of nine she started studying with renowned violin professor Ana Chumachenco, later becoming her successor. Winning First Prize at the Yehudi Menuhin International Competition in 1995 was one of the milestones in her early career and she has since performed with top orchestras worldwide.

Over the course of her artistic career Julia Fischer has released numerous critically acclaimed and awarded CD and DVD recordings, first under the Pentatone label and later under Decca. Breaking new ground in the classical music market, in 2017 she launched her own music platform, the JF CLUB, which offers exclusive audio and video footage and previews of her new recordings as well as personal insights into music and her work. Franck’s Sonata in A major, Szymanowski’s Sonata in D minor and Beethoven’s String Trio in C minor are all available exclusively on JF CLUB. In August 2021 Julia Fischer released a limited vinyl recording of Ysaÿe’s Sonatas as an exclusive JF CLUB edition in collaboration with Hänssler Classic.

In March 2019 Julia embarked on a major tour of China, Taiwan and South Korea with the London Philharmonic Orchestra under Vladimir Jurowski, and in September 2019 performed Britten’s Violin Concerto with the Orchestra, again under Jurowski, at the Royal Festival Hall and Saffron Hall. This spring she is Artist-in-Residence with the Orchestra, performing Mozart’s Concertos with Thomas Søndergård, as well as play-directing a Mozart programme and joining LPO Principal players in a chamber music concert – see opposite page for details.

Julia Fischer holds numerous awards including the Federal Cross of Merit, a Gramophone Award and the German Culture Prize. She plays a violin by Giovanni Battista Guadagnini (1742) as well as an instrument made by Phillipp Augustin (2018).

She also embarks on an extensive tour with the Academy of St Martin in the Fields, an ensemble with whom she has enjoyed a long-standing relationship. Other tours include with the Royal Philharmonic and Vasily Petrenko, and the Berlin Radio Symphony Orchestra with Vladimir Jurowski. Julia also collaborates with the Lucerne Symphony under its new Chief Conductor Thomas Sanderling, and the Bavarian Radio Symphony Orchestra under Michael Tilson Thomas. She embarks on a recital tour of major European venues with pianist Yulianna Avdeeva, as well as with her own Julia Fischer Quartet.

juliafischer.com/club

JULIA FISCHER

ART I ST- I N- R E S I D E N C E Spring 2022 at the Southbank Centre JULIA FISCHER PLAYS CHAMBER MUSIC

Sunday 6 February 2022 | 7.30pm Queen Elizabeth Hall Shostakovich Two Pieces for String Octet Bruch Octet for Strings Dvořák Piano Quintet No. 2

Julia Fischer violin & piano Soloists of the London Philharmonic Orchestra

ADVENTURES AND HOMAGES Saturday 12 February 2022 | 7.30pm Royal Festival Hall Mozart Violin Concerto No. 1 Mozart Violin Concerto No. 2 Tchaikovsky Serenade for Strings Julia Fischer violin/director With the support of

ELGAR’S VIOLIN CONCERTO Wednesday 13 April 2022 | 7.30pm Royal Festival Hall

Elgar Violin Concerto Enescu Symphony No. 2

Vladimir Jurowski conductor Julia Fischer violin

BOOK ONLINE AT LPO.ORG.UK 7

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Nils Mönkemeyer viola

Frankfurter Opern- und Museumsorchester, MDR Leipzig Radio Symphony Orchestra, NDR Radiophilharmonie, Lausanne Chamber Orchestra, Deutsche Kammerphilharmonie Bremen, Munich Chamber Orchestra and Berliner Barock Solisten.

In 2021 Nils Mönkemeyer was Artist-in-Residence at the Mecklenburg-Vorpommern Festival, where he appeared in numerous orchestral and chamber music concerts as Laureate-in-Residence, and in autumn at the Schwetzingen Festival, with programmes of his own devising. As well as tonight’s debut with the London Philharmonic Orchestra, this season Nils also performs with the Tokyo Symphony Orchestra, Orquesta Sinfónica de Galicia, Symfonieorkest Vlaanderen and Kristiina Poska on tour through Benelux and Estonia, the Deutsches Symphonie-Orchester and Rundfunk-Sinfonieorchester Berlin, the Deutsche Kammerphilharmonie Bremen, in Vienna, London, Barcelona, Berlin and Munich, and at the Schubertiade, Niedersächsische Musiktage, Heidelberger Frühling and Mozartfest Würzburg festivals. Further highlights of the season include concerts with clarinettist Sabine Meyer and pianist William Youn, and with the Julia Fischer Quartet.

Artistic brilliance and innovative programming are among the trademarks that have earned Nils Mönkemeyer a reputation as one of the world’s most successful violists, dramatically raising the profile of his instrument. Under his exclusive contract with Sony Classical, Nils has released numerous CDs, all of which have won critical acclaim and prestigious awards. His programmes run the gamut from rediscoveries and first recordings of original 18th-century viola literature, to contemporary repertoire and arrangements of his own. His most recently released CDs are recordings of Walton, Bruch and Arvo Pärt with the Bamberg Symphony under Markus Poschner, a chamber music album entitled ‘Baroque’, and his latest album in which he, together with the ensemble l´arte del mondo, combines Paganini’s Sonata per la Grand‘ Viola e Orchestra with arrangements of cello and bassoon concertos by Vivaldi and L’arte del arco by Tartini.

Nils Mönkemeyer pursues a heartfelt wish as a musician to build bridges with music by making it accessible to the disadvantaged. To this end, he founded the chamber music festival ‘Klassik für Alle’ in 2016, in collaboration with the charity Caritas Bonn. Nils Mönkemeyer has been a professor at the University of Music and Performing Arts in Munich since 2011 – the same institution at which he himself studied with Hariolf Schlichtig. Previous tenures include a professorship at the Carl Maria von Weber University of Music in Dresden, and an assistant professorship at the Reina Sofia College of Music in Madrid.

Nils Mönkemeyer has worked with conductors including Andrej Boreyko, Sylvain Cambreling, Constantinos Carydis, Nicholas Collon, Reinhard Goebel, Elias Grandy, Pietari Inkinen, Vladimir Jurowski, Joana Mallwitz, Andrew Manze, Cornelius Meister, Marc Minkowski, Kent Nagano, Markus Poschner, Kristiina Poska, Michael Sanderling, Clemens Schuldt, Markus Stenz, Mario Venzago and Simone Young. He has performed as a soloist with orchestras including the Zurich Tonhalle Orchestra, Helsinki Philharmonic Orchestra, Les Musiciens du Louvre, Vienna Radio Symphony Orchestra, Bern Symphony Orchestra, Orchestra della Svizzera Italiana, Deutsches Symphonie-Orchester, Rundfunk-Sinfonieorchester and Konzerthausorchester Berlin, Dresden Philharmonic, Hamburg Philharmonic,

Nils Mönkemeyer plays a viola made by Philipp Augustin.

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Thomas Søndergård conductor

The 2021/22 season sees the RSNO’s return to live performances, showcasing works by, amongst others, Stravinsky, Tchaikovsky, Shostakovich and Berlioz. In November 2021 Thomas led the orchestra in performances of Dvořák’s ‘New World’ Symphony and (with Midori), the world premiere of Detlev Glanert’s Violin Concerto No. 2, To the Immortal Beloved, in tandem with the 2021 United Nations Climate Change Conference in Glasgow. © Bjarke Johansen

Recent highlights with the RSNO have included tours to China and the United States, premieres of new commissions and Wynton Marsalis’s Violin Concerto with Nicola Benedetti, and much-praised appearances at the Edinburgh International Festival. This season he makes first visits to the Montreal Symphony, Minnesota Orchestra and Bergen Philharmonic, and returns to many orchestras, among them the NDR Radiophilharmonie Hannover, the Royal Danish Opera (Die Walküre and New Year concerts) and the Danish National Symphony Orchestra.

Danish conductor Thomas Søndergård is current Music Director of the Royal Scottish National Orchestra, following six seasons as Principal Guest Conductor. Between 2012 and 2018 he served as Principal Conductor of the BBC National Orchestra of Wales, after stepping down as Principal Conductor and Musical Advisor of the Norwegian Radio Orchestra. Before this month’s collaboration with Julia Fischer, Thomas Søndergård’s last appearance with the London Philharmonic Orchestra was in December 2020, when he conducted a programme of Ravel, Schubert and Bent Sørensen, filmed at the Royal Festival Hall and broadcast on Marquee TV. He has appeared with many other notable orchestras in leading European centres, such as Berlin (including the Berlin Philharmonic, Rundfunk-Sinfonieorchester Berlin and Mahler Chamber Orchestra), Leipzig (Gewandhausorchester), Paris (Orchestre National de France), London (BBC Symphony, London Symphony and Philharmonia Orchestra), Amsterdam and Rotterdam (Royal Concertgebouw Orchestra, Netherlands Philharmonic, Rotterdam Philharmonic), and is a familiar figure in Scandinavia with such orchestras as the Oslo Philharmonic, Gothenburg Symphony, Danish National Symphony, Royal Stockholm Philharmonic, Swedish Radio Symphony, Finnish Radio Symphony and Helsinki Philharmonic orchestras. North American appearances to date have included the symphony orchestras of Chicago, Toronto, Atlanta, Montreal, Vancouver, Houston and Seattle. He has made highly successful tours to China, Korea, Australia and New Zealand.

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Programme notes Wolfgang Amadeus Mozart 1756–91

Overture: Die Entführung aus dem Serail 1782

If you were to play all of Mozart’s opera overtures to someone who didn’t know them and ask which matches which title, this is perhaps the only one they would be bound to get right. Die Entführung aus dem Serail (‘The Abduction from the Seraglio’), Mozart’s first opera after his permanent move to Vienna in 1781, was premiered in July 1782, and tapped into the fascination of the day for operas on oriental subjects somehow inspired by Austria-Hungary’s not entirely comfortable proximity to (and one-time near conquest by) the Ottoman Empire. Composers typically represented what they considered to be an authentic environment for this with ‘janissary’ music – woodwind instruments and noisy percussion evoking the raucous sounds of a Turkish military band – and indeed they are a distinguishing feature of this boisterous Overture almost from the start. The opera – strictly speaking a Singspiel, in German and mixing sung arias with the spoken word – tells how Belmonte, a Spanish nobleman, rescues his beloved Konstanze from the harem of the Pasha Selim, where she has been imprisoned, in the process of which he discovers his supposedly ‘barbaric’ opponent to be both generous and enlightened. The story is essentially a comic one, but the music, typically for mature Mozart, lifts things to an emotional and psychological sophistication far above that of similar works by his contemporaries. It was a success too, indeed Mozart’s most popular opera during his lifetime.

Wolfgang Amadeus Mozart with his sister Maria Anna and father Leopold; on the wall a portrait of his dead mother Anna Maria, c. 1780. Portrait by Johann Nepomuk della Croce

The Overture is for the most part a bustling quick march in alla turca style, but encloses a tender central section based on the very first aria of the opera, in which Belmonte laments the loss of his lover. Programme note © Lindsay Kemp

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Programme notes Wolfgang Amadeus Mozart 1756-91

Violin Concerto No. 5 in A major, K219 1775 Julia Fischer violin 1 Allegro aperto 2 Adagio 3 Rondeau: Tempo di Menuetto – Allegro – Tempo di Menuetto of them in public; and it is easy to imagine that they reflect his own technique and personality as a violinist – not least in the many opportunities they present for improvised transitions as well as full-scale cadenzas. Of the five concertos, the last – dated 20 December 1775 – is the most mature, and the most ambitious, despite having no more than the standard Salzburg orchestration of strings, two oboes and two horns.

Mozart’s father Leopold was the author of one of the most celebrated violin tutors of his day, so it is not surprising that when his son began to show a precocious aptitude for music, he should have taken up the violin – at the age of six, reportedly, and without any formal teaching – as well as the piano. The instrument remained important to him in his youth, and indeed he played it regularly in the Salzburg court orchestra and on tours. It was only when Mozart left the Salzburg court for Vienna in 1781, and so escaped from the direct influence of his father, that he concentrated his efforts as a public performer on the piano, reserving the violin (or more often the viola) for private musical parties.

The first movement has the unusual marking of Allegro aperto, suggesting openness or straightforwardness; its most unusual feature is the soaring six-bar Adagio with which the solo violin makes its initial entry. The same tempo marking, and the same concentration on the lyrical upper register of the solo instrument, mark the slow movement. The finale is a rondo in minuet time, which was a familiar enough way of ending a mid-18thcentury concerto; less expected is the appearance of a minor-key central episode in the currently fashionable ‘Turkish’ style, with the usual noisy percussion impersonated by the cellos and basses. This movement also boasts one of Mozart’s wittiest endings.

Not surprisingly, all Mozart’s five full-scale concertos for solo violin date from his early years: the first probably from April 1773, the rest from the period between June and December 1775 – the months leading up to his 20th birthday. It is known that some of the concertos were played by the Italian-born leader of the Salzburg orchestra, Antonio Brunetti; and there is a reference in one of Leopold Mozart’s letters to a concerto written for another Salzburg violinist, Johann Anton Kolb. But there is also evidence that Mozart himself played at least one

Programme note © Anthony Burton

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

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Programme notes Wolfgang Amadeus Mozart 1756-91

Sinfonia Concertante in E flat major for violin, viola and orchestra, K364 1779 Julia Fischer violin Nils Mönkemeyer viola 1 Allegro maestoso 2 Andante 3 Presto concert life and where musicians were respected as independent professionals rather than court servants. In the end, however, he failed to make the wished-for impact on the French capital and, worse than that, his mother, who had accompanied him there, died. These misfortunes, together with his humbling return home to the service of the Archbishop of Salzburg in 1779, all seem to have contributed to a new maturity and seriousness in his music, and nowhere is that better shown than in the Sinfonia Concertante, arguably his finest instrumental composition before his move from Salzburg to Vienna in 1781.

Mozart’s period of devotion to the violin concerto was short. The promise shown by his teenage concertos was not followed up, and the great concertos of his maturer years in Vienna were either for piano or for his new love, the clarinet. After passing the age of 20, his only significant return to the violin as a solo instrument was in the shape of the Sinfonia Concertante for violin and viola, composed when he was a slightly older and wiser man of 24. The Sinfonia Concertante, then, stands outside the cycle of violin concertos, not just chronologically but in terms of quality and emotional depth as well. We do not know why or for whom it was written, and there is no record of any performance. Neither is the date of composition entirely certain, though it probably dates from some time in the summer or autumn of 1779, a period when Mozart was particularly interested in concertos for more than one soloist, no doubt as a result of his recent visits to Paris and Mannheim, where such works were popular and where he himself had composed a concerto for flute and harp and at least begun one for flute, oboe, horn and bassoon.

The first movement is a masterly mixture of noble strength and tender lyricism, the orchestra providing most of the former and the dialoguing soloists most of the latter; their emergence playing in octaves at the end of the opening orchestral section is a typically Mozartian marvel, as are the movement’s frequent turns to the minor. The C minor Andante is again pure Mozart; elegiac and richly beautiful, it is perhaps the single most profound movement he had yet composed, and a hint of the expressive power he would unleash in the great operas of the 1780s. The work ends, however, with a cheerful, suavely dancing and generously tuneful rondo.

But the effects of his travels ran deeper than that: the Paris sojourn had been intended as a new start for him, an opportunity to forge a career in a city with a teeming

Programme note © Lindsay Kemp

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

Programme notes Richard Strauss 1864–1949

Till Eulenspiegels lustige Streiche (Till Eulenspiegel’s Merry Pranks), Op. 28 1895

invention, being preceded only by Don Juan, Tod und Verklärung and the less successful Macbeth. Its hero, Till Eulenspiegel, was a mythological mischief-maker whose mocking of the 14th-century German establishment may well have appealed to the 31-year-old Strauss, who was rather enjoying his reputation as an outrageous purveyor of musical audacities. When he was asked by the work’s first conductor for details of its programme, he replied ‘Analysis impossible for me. All wit spent in notes’, and indeed at this stage he was happy to describe it simply as ‘in rondo form’. Few listeners could doubt, however, that there are specific events being portrayed, as became clear when Strauss did eventually provide an explanatory note some time later. A brief opening theme on strings leads to Till’s first appearance in a swaggering horn-call. Thereafter we hear him riding through a market, overturning the stalls and upsetting the women; impersonating a priest and delivering a sanctimonious sermon; flirting with the ladies; and stirring up an argument among a group of academics (personified by gruff bassoons and shrill flutes) before sticking out his tongue and running off. Throughout these episodes we continue to hear his mocking voice, his face poking out from behind the mask as it were, in a jaunty little theme unexpectedly derived from the string opening. Eventually he is captured and to the sound of a drum-roll brought to trial, though this too he pokes fun at, even as he is condemned and conducted to the gallows. The opening theme returns in an epilogue, as if to reassure us this was all long ago and far away, but it is Till who gets the last word, laughing at us still from the other side.

Like all great opera composers, Strauss showed supreme ability in the depiction of his characters’ psychological states, but perhaps only he was able to add to this such an easy genius for musical onomatopoeia. Before enjoying his first major operatic success with Salome in 1905, he had revealed this in a sequence of brilliant orchestral tone-poems rich with vivid events and unerringly naturalistic sound effects: from Don Juan to Don Quixote, and from Ein Heldenleben to the Symphonia domestica, Strauss’s tone-poems not only tell their engaging stories with wit and precision, they do so enhanced by some of the most colourful musical illustration ever conceived. Till Eulenspiegels lustige Streiche (‘Till Eulenspiegel’s Merry Pranks’) was completed in 1895, so dates from near the beginning of this golden period of orchestral

Programme note © Lindsay Kemp

London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

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by Laurie Watt Mozart Overture: Die Entführung aus dem Serail Yannick Nézet-Séguin | Chamber Orchestra of Europe (Deutsche Grammophon) Mozart: Violin Concerto No. 5 Julia Fischer | Netherlands Chamber Orchestra Yakov Kreizberg (Pentatone) Mozart: Sinfonia Concertante Julia Fischer | Gordan Nikolić | Netherlands Chamber Orchestra Yakov Kreizberg (Pentatone) R Strauss: Till Eulenspiegels lustige Streiche Vienna Philharmonic Orchestra Herbert von Karajan (Decca) or London Philharmonic Orchestra Karl Anton Rickenbacher (Eminence)

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London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

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London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

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London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

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London Philharmonic Orchestra • 4 February 2022 • Julia Fischer plays Mozart: Sinfonia Concertante

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