2021/22 concert season at the Southbank Centre’s Royal Festival Hall
Concert programme
Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich
Southbank Centre’s Royal Festival Hall Wednesday 8 December 2021 | 7.30pm
Jurowski conducts Rachmaninoff Shostakovich Violin Concerto No. 1 in A minor, Op. 77 (36’) Interval (20’) Brett Dean Notturno inquieto (Rivisitato) World premiere of new version (13’)
Contents 2 Welcome LPO news 3 On stage tonight 4 London Philharmonic Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Leonidas Kavakos 8 Programme notes 13 Recommended recordings 14 More concerts with Jurowski this season 17 Sound Futures donors 18 Thank you 20 LPO administration
Rachmaninoff Symphony No. 3 in A minor, Op. 44 (38’) Vladimir Jurowski conductor Leonidas Kavakos violin Concert generously supported by Victoria Robey OBE
This concert is being recorded and filmed for live broadcast on BBC Radio 3 and 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
This concert is being recorded by BBC Radio 3 for live broadcast, and will be available for 30 days via the Radio 3 website and the BBC Sounds app.
London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Welcome to the Southbank Centre
LPO news Carols at Waterloo
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.
Yesterday, Tuesday 7 December, we returned to our usual annual spot in Waterloo Station to bring some festive cheer to commuters during the evening rush hour and raise money for Save the Children.
Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.
LPO brass players and friends were joined by members of the London Philharmonic Choir to entertain with a selection of carols and Christmas favourites. Thank you to everyone who organised and took part, and to everyone who donated.
Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Slice, Spiritland, wagamama and Wahaca.
Tour news
If you would like to get in touch with us following your visit, please write to: Visitor Contact Team, Southbank Centre, Belvedere Road, London SE1 8XX, or email customer@southbankcentre.co.uk
Last month we travelled to Germany for a busy week of concerts with Principal Conductor Edward Gardner and pianist Jan Lisiecki. Following his Royal Festival Hall performance with the Orchestra on 10 November, Jan reprised Schumann’s Piano Concerto in Stuttgart, Munich, Frankfurt, Cologne, Berlin, Essen and Hamburg, all to rave reviews in the German press.
We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: Photography is not allowed in the auditorium.
Tomorrow (9 December) we were due to return to Germany, this time with Vladimir Jurowski in his new role as Conductor Emeritus, alongside violinist Julia Fischer. At the time of writing two of the venues have been obliged to close for the time being, and it is yet to be confirmed whether we will be able to travel to the other two German venues, and to complete our performing year at the Théâtre des Champs-Elysées in Paris.
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 the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. Mobiles and watches should be switched off before the performance begins.
FUNharmonics are back! Sunday 7 November saw our first FUNharmonics family concert at the Royal Festival Hall since February 2019. It was great to welcome back our youngest audiences, who experienced the colourful world of Berlioz’s Symphonie fantastique, brought to life by presenter Rachel Leach and conductor Michael Seal.
Enjoying your visit safely As we continue our 2021/22 LPO season, the health and wellbeing of our audiences, musicians and staff remains our top priority, and all concerts and events will have appropriate safety measures in place in accordance with Government guidelines: the Southbank Centre’s website will be kept up-todate with all the latest information. To find out more, visit southbankcentre.co.uk/visit or speak to a member of Southbank Centre staff.
We’re already looking forward to our next FUNharmonics concert on Sunday 13 February at 12 noon, when Michael and the Orchestra will be joined by presenter Polly Ives to tell the heroic story of Sir Scallywag and the Golden Underpants, based on the book by Giles Andreae and Korky Paul, with music by Paul Rissmann. Suitable for ages 5+ and with free pre-concert activities from 10am, the concert is on sale now: visit lpo.org.uk/funharmonics
Out of respect for our staff and visitors, we ask that you continue to wear a face covering inside our venues if you are able to do so. Thank you.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
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
Lasma Taimina
Chair supported by Irina Gofman & Mr Rodrik V. G. Cave
Minn Majoe Yang Zhang
Chair supported by Eric Tomsett
Martin Höhmann
Chair supported by Chris Aldren
Ronald Long Thomas Eisner Cassi Hamilton Catherine Craig Alice Hall Morane Cohen-Lamberger Rasa Zukauskaite John Dickinson Sophie Mather
Second Violins
Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Emma Oldfield Helena Smart Kate Birchall Clarice Curradi Fiona Higham
Chair supported by David & Yi Buckley
Joseph Maher Nancy Elan Nynke Hijlkema Georgina Leo Marie-Anne Mairesse Sioni Williams Ashley Stevens Sarah Thornett Nilufar Alimaksumova Erzsébet Rácz
Violas
David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek
Cor Anglais
Benedetto Pollani Laura Vallejo Michelle Bruil Daniel Cornford Alistair Scahill Joseph Fisher Raquel Bolivar Shiry Rashkovsky
Sue Böhling* Principal
Bass Trombone
Lyndon Meredith Principal
Chair supported by Dr Barry Grimaldi
Clarinets
Benjamin Mellefont Principal Thomas Watmough Chair supported by Roger Greenwood
Paul Richards* James Maltby
Cellos
Kristina Blaumane Principal
Bass Clarinet
Chair supported by Bianca & Stuart Roden
Pei-Jee Ng Co-Principal
Paul Richards*
Chair supported by The Candide Trust
Tuba
Lee Tsarmaklis* Principal
Timpani
Simon Carrington* Principal Chair supported by Victoria Robey OBE
Percussion
Andrew Barclay* Principal Chair supported by Gill & Garf Collins
Jean Kim Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Helen Rathbone Sibylle Hentschel George Hoult David Bucknall
Bassoons
Jonathan Davies Principal Chair supported by Sir Simon Robey
Gareth Newman
Contrabassoon
Double Basses
Rachel Masters Principal Tamara Young
Horns
Piano
Guest Principal
Co-Principal
Hugh Kluger George Peniston Tom Walley Laura Murphy Lowri Morgan Charlotte Kerbegian
Charlotte Ashton
Catherine Edwards
Martin Hobbs Mark Vines Co-Principal Gareth Mollison
Celestes
Trumpets
Assistant Conductor
Paul Beniston* Principal Toby Street Anne McAneney
Flutes
Harps
Simon Estell* Principal
John Ryan* Principal Alex Edmundson
Kevin Rundell* Principal Sebastian Pennar
Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Feargus Brennan
Catherine Edwards Philip Moore
Gabriella Teychenné
* Holds a professorial appointment in London
F Trumpet
Guest Principal
Clare Childs Stewart McIlwham*
Paul Beniston*
Trombones
Piccolo
Mark Templeton* Principal
Stewart McIlwham* Principal
Chair supported by William & Alex de Winton
David Whitehouse
Oboes
Ian Hardwick* Principal Alice Munday Sue Böhling*
The LPO also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler Caroline, Jamie & Zander Sharp
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
© Benjamin Ealovega
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
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
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.
© Benjamin Ealovega
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.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Vladimir Jurowski Conductor Emeritus, London Philharmonic Orchestra
© Drew Kelley
A committed operatic conductor, Vladimir’s recent highlights include semi-staged performances of Wagner’s Das Rheingold, Die Walküre and Siegfried with the London Philharmonic Orchestra at the Royal Festival Hall; Strauss’s Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony Orchestra; Wozzeck, Der Rosenkavalier and Prokofiev’s The Fiery Angel at the Bavarian State Opera; Henze’s The Bassarids and Schoenberg’s Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Salzburg Festival with Wozzeck; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the LPO. He has conducted Parsifal at Welsh National Opera, War and Peace at the Opera National de Paris, Eugene Onegin at the Teatro alla Scala Milan, Ruslan and Ludmila at the Bolshoi Theatre, and Tchaikovsky’s Iolanta and Penderecki’s Der Teufel von Loudon at the Semperoper Dresden, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, The Cunning Little Vixen, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera.
Vladimir Jurowski became the London Philharmonic Orchestra’s Conductor Emeritus in September 2021, following 14 years as Principal Conductor, during which his creative energy and artistic rigour were central to the Orchestra’s success. At the BBC Proms concert with the LPO on 12 August 2021 – his final official concert as Principal Conductor – he received the Royal Philharmonic Society Gold Medal, one of the highest international honours in music.
In the 2021/22 season Jurowski returns to the Staatskapelle Dresden; conducts new productions of Shostakovich’s The Nose and Penderecki’s Die Teufel von Loudun at the Bavarian State Opera; and showcases a wealth of symphonic repertoire from Mozart, Liszt, Enescu and Elgar to Suk, Britten, Marko Nikodijevic and Elena Firsova, with particular focuses on Stravinsky, Prokofiev and Bruckner with the Berlin Radio Symphony Orchestra, and Shostakovich and Mahler with the Bavarian State Orchestra.
In September 2021 Vladimir became Music Director at the Bavarian State Opera in Munich. Since 2017 he has been Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. He is also Principal Artist of the Orchestra of the Age of Enlightenment, and in 2021 stepped down from his decade as Artistic Director of the Russian State Academic Symphony Orchestra to become its Honorary Conductor. He has previously held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13).
The LPO has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2, 4 & 8; works by Shostakovich, Stravinsky, Beethoven, Rachmaninoff, Strauss, Mozart, Vaughan Williams, Julian Anderson and, most recently, Vladimir Martynov’s Utopia. In 2017 the Orchestra released a 7-CD box set of Jurowski’s LPO recordings in celebration of his 10th anniversary as Principal Conductor.
Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Royal Concertgebouw Orchestra, the Chamber Orchestra of Europe, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras.
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Southbank Centre’s Royal Festival Hall Wednesday 8 December 2021 Due to recently updated Covid-related travel restrictions, Leonidas Kavakos is unable to perform with the Orchestra this evening. The London Philharmonic Orchestra is very grateful to Alina Ibragimova for stepping in at short notice.
Alina Ibragimova violin
© Eva Vermandel
Performing music from Baroque to new commissions on both modern and period instruments, Alina Ibragimova has established a reputation for versatility and the ‘immediacy and honesty’ (The Guardian) of her performances. Highlights of the 2021/22 season include returns to the Royal Concertgebouw, London Symphony and Philharmonia orchestras; debuts with the Mahler Chamber Orchestra and the St Petersburg Philharmonic; and appearances at Hamburg’s Elbphilharmonie, Vienna’s Konzerthaus and London’s Wigmore Hall. Alina last appeared with the LPO on 22 April 2021, performing Prokofiev’s Violin Concerto No. 1 with conductor Joshua Weilerstein, streamed in an online concert on Marquee TV. Recent seasons have also seen Alina perform with the Bavarian Radio Symphony Orchestra, Chamber Orchestra of Europe, Swedish Radio Symphony, Seattle Symphony, Orchestra of the Age of Enlightenment, Deutsches Symphonie-Orchester Berlin and Tonhalle-Orchester Zürich, collaborating with conductors including Edward Gardner, Vladimir Jurowski, Sir John Eliot Gardiner, Jakub Hrůša, Robin Ticciati and Daniel Harding. In recital, Alina has appeared at the Southbank Centre, Amsterdam’s Concertgebouw, Salzburg’s Mozarteum, Vienna’s Musikverein, New York’s Carnegie Hall, Berlin’s Pierre Boulez Saal and the Royal Albert Hall, where she performed Bach’s Sonatas and Partitas for solo violin as part of the BBC Proms. Her longstanding partnership with pianist Cédric Tiberghien has seen the duo tour extensively worldwide and win acclaim for their traversals of sonatas by Mozart and Beethoven, both live and on record. Alina is also a founding member of the Chiaroscuro Quartet – one of the most sought-after period ensembles. Alina’s discography on Hyperion Records ranges from Bach Concertos with Arcangelo through to Prokofiev Sonatas with pianist Steven Osborne. Her 2020 album of Shostakovich Violin Concertos with Vladimir Jurowski and the State Academy Symphony Orchestra of Russia received a Gramophone Editor’s Choice and a Diapason d’Or, and was one of The Times’s Discs of the Year. Her 2021 recording of Paganini’s 24 Caprices topped the classical album charts on its release. Born in Russia in 1985, Alina studied at the Moscow Gnesin School before moving to the UK, where she attended the Yehudi Menuhin School and the Royal College of Music. An alumna of the BBC New Generation Artists Scheme (2005–07), she was made an MBE in the 2016 New Year Honours List.
London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Programme notes Dmitri Shostakovich 1906–75
Violin Concerto No. 1 in A minor, Op. 77 1948, rev. 1955 Leonidas Kavakos violin 1 Nocturne: Moderato 2 Scherzo: Allegro 3 Passacaglia: Andante 4 Burlesque: Allegro con brio – Presto
Shostakovich was dismissed from his teaching posts at the Leningrad and Moscow Conservatoires, and for the next five years presented himself in public as the author of much bland and politically acceptable music. But at the same time he also wrote more personal and challenging works, putting them aside for better times. As well as the Violin Concerto, they included the Fourth and Fifth String Quartets, the song cycle From Jewish Folk Poetry and the Tenth Symphony.
By his early 40s, Shostakovich had produced a huge amount of music in almost every form: operas, ballets, symphonies, chamber music, and several scores for the theatre and cinema. His only concerto, however, was the light (though wonderful and funny) Concerto for Piano, Trumpet and Strings of 1933. Wasn’t it now time to follow his distinguished colleagues Prokofiev, Myaskovsky and Khachaturian with a violin concerto? Some prompting may have come from the great violinist David Oistrakh, whom he had known as a friend and chamber music partner for over a decade.
These works became known to the public only after Stalin’s death in 1953, the Violin Concerto last of all. Already familiar to friends and fellow musicians from the composer’s run-throughs at the piano, it was premiered in Leningrad in October 1955 and then four months later in Moscow, conducted by Evgeny Mravinsky and played by Oistrakh, its dedicatee. Shostakovich was delighted by the performances, and later dedicated to Oistrakh both his Second Violin Concerto (1967) and Violin Sonata (1968). The movement titles might at first suggest something like a series of loosely connected character pieces, but in fact this is one of Shostakovich’s most tightly and symphonically organised scores.
The Violin Concerto was completed in March 1948, but had to wait seven and a half years before it was performed. The reason, as so often with Shostakovich, was closely bound up with Soviet musical politics. While he was in the middle of composing the finale, there came the infamous resolution from the Central Committee of the Communist Party censoring a number of composers, Shostakovich chief among them, for such crimes as ‘formalist perversions’ and ‘anti-democratic tendencies’. These accusations were nonsense, but it was Stalin’s nonsense and the composers in question had no choice but to bow their heads and do as they were told.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Programme notes Nocturne The Nocturne gives the impression of being the most free of the four movements, a long and eloquent meditation for the violin, rising and falling in great arches of melody. The orchestra functions as accompaniment to the soloist, providing a background of brooding anxiety. Much of this movement’s power derives from its measured pace and rhythm, the overall restraint producing an effect of great intensity.
Scherzo & Passacaglia Restraint is thrown aside in the following Scherzo, a remorseless nightmare of activity that hurtles onwards in a wild, frantic dance. One of the many ideas that appear in its course is the four-note DSCH motive (D, E-flat, C, B-natural in German musical notation) that the composer used as his own musical signature; another provides the basis of the third movement, a 17-bar theme given out initially by cellos and basses, and then repeated a further eight times. This Passacaglia recalls something of the brooding intensity of the first movement, though it is more sectional in construction and therefore offers a greater variety of expression and gesture.
Burlesque A solo cadenza, of mounting tension and fearsome technical difficulty, spills into the finale, which Shostakovich originally intended to be launched by the soloist. He changed his mind, scoring it instead for the full orchestra, when Oistrakh begged for a moment of respite ‘so at least I can wipe the sweat off my brow’. This finale, recalling the wild energy of the Scherzo, makes no concessions to Soviet orthodoxy or to the demands for optimism at all costs, and puts the seal on one of Shostakovich’s most powerful and personal works. Programme note © Andrew Huth
Dimitri Shostakovich
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Programme notes Brett Dean born 1961
Notturno inquieto (Rivisitato) 2018, rev. 2021 1 L’inizio (Preludio) 2 Notturno Brett Dean’s Notturno inquieto was commissioned and premiered on 14 June 2018 by Sir Simon Rattle and the Berlin Philharmonic as part of Rattle’s final concerts in Berlin as the orchestra’s Artistic Director. Previously a viola player with the Berlin Philharmonic, Dean appears to be acknowledging his former colleagues with this work. Starting with one solo viola, then a second, the viola section evokes a scene of nocturnal unrest, which culminates progressively until it becomes overlayed by a wind chorale. With new energy the piece reaches a massive climax, but quickly calms down and ends in a restrained manner, with the music melting away ‘al niente’ – to absolute silence. Tonight’s performance, however, revisits the work by unveiling a new introductory movement, L’inizio, a brief, dark but slowly rising ‘upbeat’ scored for sampled sounds and the LPO’s percussion and double bass sections only. Special thanks are due to LPO Principal Percussionist Andrew Barclay, Co-Principal Double Bassist Sebastian Pennar and sound engineer Myles Eastwood for their assistance in the production of the sampled material. The work’s Italian title is intended as a wink of friendly acknowledgment to its dedicatee, Simon Rattle. During Rattle’s first ever rehearsal with the Berlin Philharmonic as a young guest conductor in 1986, Dean recalls him using an Italian term to clarify his musical intentions, followed by a lot of understanding head-nodding from the orchestra members. This Simon followed up quickly with: ‘Yes, always clearest to say it in Italian ... except maybe in politics!’ Brett Dean
Programme note © Boosey and Hawkes, translation by Michael Sterzinger
© Bettina Stoess
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Brett Dean Composer-in-Residence, London Philharmonic Orchestra Australian composer Brett Dean became the LPO’s Composer-in-Residence for three years from September 2020. The Orchestra worked closely with Dean on his opera Hamlet, which was premiered at Glyndebourne Festival Opera in 2017 to great acclaim, winning both the 2018 South Bank Sky Arts Award and the International Opera Award for Best New Opera. During his LPO residency he also takes on the role of Composer Mentor to the LPO Young Composers Programme, providing guidance and expertise to the five rising stars and conducting their annual Debut Sounds showcase.
sampler and tape, inspired by the music of Carlo Gesualdo, that he gained international recognition.
On 16 December 2020 the London Philharmonic Orchestra under Vladimir Jurowski gave the UK premiere of Dean’s work The Players for orchestra and accordion, filmed at the Royal Festival Hall and broadcast on Marquee TV. On 9 February 2022 the Orchestra will give a performance of his Viola Concerto with soloist Lawrence Power, and on 27 April 2022 the UK premiere of his Cello Concerto with soloist Alban Gerhardt.
Dean enjoys a busy performing career as violist and conductor, performing his own Viola Concerto with many of the world’s leading orchestras. He is a natural chamber musician, frequently collaborating with other soloists and ensembles to perform both his own chamber works and standard repertoire, including projects with the Doric Quartet, Scharoun Ensemble and Alban Gerhardt, the Australian Chamber Orchestra and the Australian National Academy of Music. Dean’s imaginative conducting programmes usually centre around his own works combined with other composers and highlights include his appointment as Creative Chair at the Tonhalle-Orchester Zürich 2017/18; projects with the BBC Symphony, Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, Sydney Symphony, BBC Philharmonic, Gothenburg Symphony, Toronto Symphony, Tonkünstler-Orchester and Stuttgart Chamber Orchestra; and as Artist in Residence with the Swedish Chamber Orchestra.
Brett Dean began composing in 1988, initially concentrating on experimental film and radio projects and as an improvising performer. His reputation as a composer continued to develop, and it was through works such as his clarinet concerto Ariel’s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings,
Upcoming highlights include the world premiere of a new large scale work for double chorus and orchestra, In this Brief Moment, in February 2022, commissioned by the Orchestre National de Lyon, Sydney Philharmonia Choirs and City of Birmingham Symphony Orchestra. His opera Hamlet also receives is highly-anticipated US premiere at New York’s Metropolitan Opera in May 2022.
Dean conducting a rehearsal for the LPO Debut Sounds concert with LPO members and Foyle Future Firsts, June 2021
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Programme notes Serge Rachmaninoff 1873–1943
Symphony No. 3 in A minor, Op. 44 1936
1 Lento – Allego moderato – Allegro 2 Adagio ma non troppo – Allegro vivace 3 Allegro – Allegro vivace – Allegro (Tempo primo) – Allegretto – Allegro vivace
as he finally finished the finale, and the Symphony was first performed on 6 November of that year by the composer’s favoured Philadelphia Orchestra under Leopold Stokowski.
Fate dealt a cruel hand when it pushed into exile a man so filled with love for his native country as Serge Rachmaninoff. The composer fled Russia at the Revolution of 1917 and effectively gave up hope of ever returning. ‘His homesickness assumed the character of a disease as the years passed’, wrote Rachmaninoff’s most famous interviewer, David Ewen, ‘and one symptom of that disease was an unshakeable melancholy.’
The reception was lukewarm, but Rachmaninoff’s achievement in the Third is unquestionably outstanding. With perspective we can hear how he perfects the established hallmarks of his late style: how his tunes have that bit more shape and flair, how thoroughly he understands the qualities of individual instruments, how his orchestration is more delicate and discriminating, how his harmonic language has added pungency and danger, how his counterpoints are more skilful and considered, and how the whole symphonic conversation has become that bit more intense and diverse.
It was a melancholy that seeped into Rachmaninoff’s late orchestral scores, heating their brooding passion and tempering their epic sweep. The inspiration was still Russia, but now the composer was writing of it from the outside – in longing and frustration rather than fascinated wonder. That is felt strongly in the Third Symphony. Not only does it sound more Russian than its two predecessors, it conveys that sense of nostalgia and loss more profoundly through both its aching lyricism and thundering explosions.
What remains from the work’s two predecessors, however, is the use of a pervading ‘motto’ theme employing narrow, stepwise intervals akin to those of a sacred chant. This is heard right at the start of the piece on clarinet, muted horn and muted cello, a gesture described by Russian music expert David Nice as ‘a ghostly reminiscence’. Cellos against gentle woodwind syncopations introduce the gorgeous secondary theme as the tempo eases, but soon the music rediscovers its thrust and becomes more schizophrenic; trumpets throw the ‘fate motif’ back at the orchestra three times and despite the impassioned protests of the strings, it wins out – closing the movement in new orchestral clothing.
Most of the Symphony was written in Rachmaninoff’s villa overlooking Lake Lucerne in Switzerland. The first two movements took shape with relative ease in the autumn of 1935 but Rachmaninoff fretted over the third; it had been nearly three decades since he’d written a symphony, and his two most successful recent pieces – the Paganini Rhapsody and the Corelli Variations – used tunes by other composers. ‘With each of my thoughts I thank God that I was able to do it’, Rachmaninoff wrote to his sister-in-law in June 1936
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Programme notes Only two movements follow, Rachmaninoff deploying his new trick of placing a brittle scherzo-style passage within his slow movement. A horn plays the ‘motto’ right at the start, accompanied by spread chords on a harp. But it’s a solo violin that introduces the movement’s main theme. This uses a smooth triplet rhythm (three notes in the space of two) that is itself countered by a melody on the flute topped off by a graceful trill.
Recommended recordings of tonight’s works by Laurie Watt Shostakovich: Violin Concerto No. 1 Alina Ibramigova | State Academic Symphony Orchestra of Russia | Vladimir Jurowski (Hyperion)
The struggles Rachmaninoff faced in writing the Symphony’s final movement seem immediately blown away as the movement launches. This is a tour-de-force of melody-propelled dynamism that immediately thrusts out themes before plunging into a rapid fugue heralded by the fate theme. Staggered entries from top-down strings suggest a dance, but for David Nice ‘the dance seems destined to sink in a slough of despond’, compounded by an airing of the plainsong theme referencing the ‘day of wrath’, the Dies Irae. But the dark clouds appear to be banished as a coda full of snappy, lunging brilliance wraps the Symphony up.
Rachmaninoff: Symphony No. 3 London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0088: see below)
Programme note © Andrew Mellor
On the LPO Label: Jurowski conducts Rachmaninoff Rachmaninoff: Symphony No. 3 10 Songs (arr. Jurowski) Vladimir Jurowski conductor Vsevolod Grivnov tenor £9.99 | LPO-0088 All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Vladimir Jurowski Next concerts with the LPO’s Conductor Emeritus
Saturday 9 April 2022 Mitsuko Uchida plays Beethoven
Wednesday 13 April 2022 Julia Fischer plays Elgar
Helmut Lachenmann Marche fatale (UK premiere) Beethoven Piano Concerto No. 4 Bruckner Symphony No. 6
Elgar Violin Concerto Enescu Symphony No. 2 Vladimir Jurowski conductor Julia Fischer violin
Vladimir Jurowski conductor Mitsuko Uchida piano
Book online at lpo.org.uk
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
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.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
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.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
Thank you
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and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.
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London Philharmonic Orchestra • 8 December 2021 • Jurowski conducts Rachmaninoff
London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra)
Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter
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