LPO concert programme: 9 Mar 2022 - Sheku Kanneh-Mason plays Shostakovich (cond. Edward Gardner) by London Philharmonic Orchestra

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 9 March 2022 | 7.30pm

Sheku Kanneh-Mason plays Shostakovich Judith Weir Forest (13’) Shostakovich Cello Concerto No. 2 (33’) Interval (20’) Daniel Kidane Sirens (6’) Bartók Concerto for Orchestra (35’) Edward Gardner conductor

Supported by Aud Jebsen

Sheku Kanneh-Mason cello

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 7 8 9 15

16 17 18 20

Welcome LPO news On stage tonight London Philharmonic Orchestra Leader: Pieter Schoeman Edward Gardner Sheku Kanneh-Mason Edward Gardner on tonight’s programme Programme notes Recommended recordings New on the LPO Label: Jessye Norman sings Strauss Next concerts Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Welcome to the Southbank Centre

LPO news

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New on the LPO Label: Jessye Norman sings Strauss

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.

The latest release on our LPO Label is an album of works by Richard Strauss featuring the late Jessye Norman. Conducted by Klaus Tennstedt at the Royal Festival Hall in 1986, this live recording captured the extraordinary soprano in the prime of her career. It features five of Strauss’s songs and the Dance of the Seven Veils and Closing Scene from Salome, as well as the orchestral suite Le bourgeois Gentilhomme.

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The album is available now to stream or download, or to purchase on CD from all good retailers.

We look forward to seeing you again soon. A few points to note for your comfort and enjoyment:

LPO Young Composers 2022/23: Applications close this Friday

Photography is not allowed in the auditorium. Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

The LPO Young Composers programme aims to find and support the progression of talented orchestral composers, offering a platform to develop their orchestral compositional voice and wider music industry knowledge. Working under the mentorship of the LPO’s Composer-in-Residence (currently Brett Dean), the Young Composers spend a season with the LPO, each creating a new work for chamber orchestra that is performed by Foyle Future First musicians and LPO players at a showcase concert.

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.

The deadline to apply for the 2022/23 programme is 11.59pm on Friday 11 March 2022. To be eligible to apply, composers need to:

Enjoyed tonight’s concert?

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Be over 18 years of age and not in full-time education Compose at postgraduate level or beyond, or at an equivalent standard Be based in the UK, able to attend London-based dates on the scheme (c.10–12 dates over the year) and have the time to dedicate to the opportunity Be unpublished by a major publisher Have not had a work performed by a professional symphonic orchestra in concert (unless as part of an emerging composer programme or scheme).

For more information visit lpo.org.uk/youngcomposers

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Kate Oswin

Chair supported by Friends of the Orchestra

Minn Majoe Morane Cohen-Lamberger Lasma Taimina Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Catherine Craig Yang Zhang

Chair supported by Eric Tomsett

Nilufar Alimaksumova Katalin Varnagy

Chair supported by Sonja Drexler

Esther Kim Thomas Eisner Ronald Long Gavin Davies John Dickinson Gabriela Opacka Alice Hall

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 Eriko Nagayama Joseph Maher Sioni Williams Marie-Anne Mairesse Nicole Stokes Ashley Stevens Georgina Leo

Violas

David Quiggle Principal Richard Waters Co-Principal

Chair supported by Caroline, Jamie & Zander Sharp

Oboes

Katharine Leek Benedetto Pollani Stanislav Popov Alistair Scahill Richard Cookson Daniel Cornford Pam Ferriman Shiry Rashkovsky Martin Fenn

Ian Hardwick* Principal Alice Munday Sue Böhling*

Cor Anglais

Sue Böhling* Principal

Cellos

Chair supported by Bianca & Stuart Roden

Chair supported by Victoria Robey OBE

Leonardo Sesenna Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Susanna Riddell George Hoult Helen Thomas Sibylle Hentschel Philip Taylor

Bass Clarinet

Double Basses

Simon Estell* Principal

Paul Richards* Principal

Bassoons

Trumpets

Paul Beniston* Principal Anne McAneney Tom Nielsen Kaitlin Wild

Katie Bedford Guest Principal Clare Childs Stewart McIlwham*

Trombones

Piccolo

Mark Templeton* Principal

Stewart McIlwham*

Chair supported by William & Alex de Winton

Principal

David Whitehouse

Laura Vallejo

Chair supported by Gill & Garf Collins

Keith Millar Feargus Brennan Laura Bradford

Harps

Piano

John Ryan* Principal Alex Wide Guest Principal Martin Hobbs Duncan Fuller Gareth Mollison

Flutes

Andrew Barclay* Principal

Gareth Newman Simon Estell*

Horns

Laura Murphy Lowri Morgan Charlotte Kerbegian Adam Wynter

Percussion

Rachel Masters Principal Rachel Wick

Contrabassoon

Chair supported by William & Alex de Winton

Simon Carrington* Principal

Jonathan Davies Principal

Chair supported by Sir Simon Robey

Kevin Rundell* Principal Hugh Kluger George Peniston Tom Walley

Lee Tsarmaklis* Principal

Clarinets

Paul Richards

Chair supported by The Candide Trust

Tuba

Timpani

Chair supported by Roger Greenwood

Pei-Jee Ng Co-Principal

Lyndon Meredith Principal

Chair supported by Dr Barry Grimaldi

Benjamin Mellefont Principal Thomas Watmough

Kristina Blaumane Principal

Bass Trombone

Katherine Tinker

Assistant Conductor Aage Richard Meyer

* Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Chris Aldren

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

London Philharmonic 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 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. 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; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

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 • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

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 • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Edward Gardner Principal Conductor, London Philharmonic Orchestra

Berlin, Royal Stockholm Philharmonic and Wiener Symphoniker; while returns included engagements with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaborations with the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms. Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. The 2021/22 season will see Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since 2015. From February 2022 he also became Artistic Advisor at the Norwegian Opera & Ballet, and will take up the position of Music Director in August 2024. During the 2021/22 season Edward conducts the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres. In September 2021 he and the LPO appeared at the Enescu Festival in Bucharest, and in November they embarked on an extensive tour of Germany with pianist Jan Lisiecki. Following tonight’s concert, he next returns to the LPO on 19 March for a concert of Mendelssohn, Schoenberg, and Brahms songs with Bryn Terfel: see page 16.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014. Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic’s 2021/22 season with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra will perform in Barcelona and Paris this season.

Edward Gardner’s position at the LPO is supported by Aud Jebsen.

In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Sheku Kanneh-Mason cello

festivals; the Zurich Tonhalle; the Lucerne Festival; the Festival de Saint-Denis; the Verbier Festival; the Théâtre des Champs-Elysées in Paris, the Teatro della Pergola in Florence; L’Auditori in Barcelona; the Auditorio Nacional in Madrid; and New York’s Carnegie Hall.

Current and future seasons include appearances at London’s Barbican, the Berlin Philharmonie, the Amsterdam Concertgebouw, Suntory Hall Tokyo, and tours of North America, Italy, South Korea and China. Since his debut in 2017, Sheku has performed every summer at the BBC Proms, including in 2020 when he gave a breathtaking recital performance with his sister Isata to an empty auditorium due to the COVID-19 pandemic. During the lockdown in spring 2020, Sheku and his siblings performed in twice-weekly livestreams from their family home in Nottingham to audiences of hundreds of thousands around the globe. He has performed at the BAFTA awards ceremony twice in 2017 and 2018, was the winner of Best Classical Artist at the Global Awards in 2020 and 2021 (the latter as part of the Kanneh-Mason family), and received the 2020 Royal Philharmonic Society’s Young Artist Award.

Sheku Kanneh-Mason is already in great demand from major orchestras and concert halls worldwide. He became a household name in 2018 after performing at the wedding of the Duke and Duchess of Sussex at Windsor Castle, his performance having been greeted with universal excitement after being watched by nearly two billion people globally. Sheku initially garnered renown as the winner of the 2016 BBC Young Musician competition, the first Black musician to take the title. He has released two chart-topping albums on the Decca Classics label, Inspiration in 2018 and Elgar in 2020. The latter reached No. 8 in the overall UK Official Album Chart, making Sheku the first cellist in history to reach the UK Top 10.

Sheku continues his studies with Hannah Roberts at London’s Royal Academy of Music as a Bicentenary Fellow. He began learning the cello at the age of six with Sarah Huson-Whyte and then Ben Davies at the Junior Department of the Royal Academy of Music. He has received masterclass tuition from Guy Johnston, Ralph Kirshbaum, Robert Max, Alexander Baillie, Steven Doane, Rafael Wallfisch, Jo Cole, Melissa Phelps, Julian Lloyd Webber, Frans Helmerson and Miklós Perényi.

Sheku made an acclaimed debut with the London Philharmonic Orchestra in October 2019, when he performed the Elgar Cello Concerto at the Royal Festival Hall with conductor Susanna Mälkki. He has also recently made debuts with orchestras including the BBC Symphony, Seattle Symphony, Orchestre Philharmonique de Radio France, NDR Elbphilharmonie, Stockholm Philharmonic, Atlanta Symphony, Japan Philharmonic, Frankfurt Radio Symphony and Baltimore Symphony orchestras. Forthcoming highlights include performances with the Cleveland Orchestra, Orchestre de Paris, Deutsches Symphonie-Orchester Berlin, Barcelona Symphony, New York Philharmonic and Czech Philharmonic orchestras, and on tour with the City of Birmingham Symphony Orchestra.

Sheku Kanneh-Mason was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the New Year Honours List 2020. He plays a Matteo Goffriller cello from 1700, which is on indefinite loan to him.

In recital, Sheku has performed at illustrious venues and festivals around the world including London’s Wigmore Hall; the Edinburgh, Cheltenham and Aldeburgh

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Edward Gardner on tonight’s programme

A welcome from our Principal Conductor

I’m delighted to welcome you to tonight’s concert. It’s thrilling to work with Sheku Kanneh-Mason again, playing Shostakovich’s Second Cello Concerto. Even within Shostakovich’s world, this Concerto has an unremitting, searing quality, and Sheku’s playing will bring out all the struggle and passion of this wonderful piece.

a wonderful playfulness – in the second movement there’s a remarkable lightness of touch, and of course brilliance, and possibly resolution in the finale. Daniel Kidane’s Sirens fits really nicely into this programme: it has the same fizz and wit as the last movement of the Bartók, but it’s much more than that. I’m a huge fan of Daniel’s music, and he was one of the LPO Young Composers back in 2012/13, so he’s really part of the LPO family. We hope to be commissioning more from him in future seasons, so hopefully Sirens will give the audience a short taste of his colour palette.

I find it fascinating to perform Bartók’s music alongside Shostakovich, not just because of the dismissive quotation from Shostakovich’s Seventh Symphony in the fourth movement of the Concerto for Orchestra. Generally, Bartók’s music is more abstract than Shostakovich’s, which is often saturated by its historical context. However, the wonder of the Concerto for Orchestra, which crowns this concert, is Bartók’s ability to marry the spark and virtuosity of his new American home with a painful look back towards his homeland. Bartók was filled with anxiety that, close to death, he might never see Hungary again. You hear this in the mystical opening, the folk melody of the fourth movement, and especially in the central burning Elegy, the heart of the piece. Countering this dark yearning is

Alongside these three pieces, I wanted to include something that had some lushness in the sound; a richer palette, a richer soundworld; and Judith Weir is a composer who’s always been close to my heart. She creates a beautiful post-Messiaen richness of sound; it’s like a tapestry of greens and reds. I’ve loved the warmth and generosity of Judith’s music since I sang it when I was young, and Forest is the perfect contrast to the rest of the concert.

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Judith Weir born 1954

Forest 1995

Born in Cambridge to Scottish parents, Judith Weir studied composition with John Tavener, Robin Holloway and Gunther Schuller. On leaving Cambridge University in 1976 she taught in England and Scotland, and in the mid-1990s became Associate Composer with the City of Birmingham Symphony Orchestra, and Artistic Director of Spitalfields Festival. She was a Visiting Professor at Princeton (2001) Harvard (2004) and Cardiff (2006–13) and in 2014 was appointed Master of the Queen’s Music. From 2015–19 she was Associate Composer to the BBC Singers.

Within the final pages, a different, more distinct world is occasionally glimpsed. Perhaps this is the forest of folklore and prehistory, rather than the animated and burgeoning biological site examined in the man part of the music. On reaching the conclusion, a region of faint string chords, I felt rather like a fairy tale character pressing deeper an deeper into a mysterious prospect of trees.’

Judith Weir is the composer of several operas (written for Kent Opera, Scottish Opera, ENO and Bregenz), which have been widely performed. She has written orchestral music for the BBC Symphony, Boston Symphony and Minnesota Orchestras.

Composed in 1995, Forest is one of several works for orchestra and for chorus written while Weir was resident composer with the City of Birmingham Symphony Orchestra in the 1990s (others include Storm and We are Shadows). It was commissioned by The John Feeney Charitable Trust and first performed in December 1995 by the City of Birmingham Symphony Orchestra, conducted by the orchestra’s then Music Director, Simon Rattle. The composer writes: ‘I started to write this piece with nothing but the opening melody in mind. As I arranged this apparently simple material for an initial ensemble of four solo violas and cello, the intertwining lines seemed to be sprouting musical leaves; or, in other words, interesting melodic and harmonic fragments were being generated almost as if in a process of nature. After observing a few more pages of these self-propagating complications take shape, I decided on the title Forest. Nearly everything in the piece has grown from the tiny musical seeds encountered in the opening bars, and the composition has unfolded in a particularly natural and organic way.

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Dmitri Shostakovich 1906–75

Cello Concerto No. 2 1966 Sheku Kanneh-Mason cello 1 Largo 2 Allegretto 3 Allegretto his closest friends Shostakovich quickly came to see this as a compromise too far and bitterly regretted it, even to the point of contemplating suicide.

Shostakovich’s First Cello Concerto (1959) was a huge hit at its first performance, and rapidly established itself as a modern classic of the genre. The Second Concerto, composed in 1966, caused more perplexity, and for some years it was sidelined. But recently cellists and audiences have begun to show more interest in it – which would have pleased the great cellist Mstislav Rostropovich, for whom Shostakovich wrote both concertos. Rostropovich always insisted that the Second Cello Concerto was the greater of the two. It may be more elusive, introspective, darkly teasing, but as with many of Shostakovich’s important later works, its riddles only make it the more fascinating. At the same time it contains some of the composer’s most deeply probing lyricism.

This may have some bearing on a prominent musical quotation in the Second Cello Concerto. In the first movement, the cello’s melancholy brooding is disturbed by razor-sharp staccato figures from high woodwind, growing more frenzied towards the climax. These anticipate the appearance of a distinctive little tune at the beginning of the second movement, played by the cello to an oom-pah accompaniment for low woodwind. This turns out to be an Odessa street-song: ‘Bubliki, kupitye bubliki’ – ‘Bread rolls, come buy our bread rolls.’ Shostakovich told Rostropovich that this was one of his favourite tunes, but his use of it in the Concerto is strikingly black-edged. At the height of the finale the tune returns, heralded by grimly satirical fanfares on horns and high woodwind and decorated with crazily swirling harp glissandos. Almost certainly this is vicious selfparody: Shostakovich lampoons himself as opportunist market-trader, a purveyor of cheap sustenance, hollow in the middle (bubliki are like bagels or pretzels), and soon forgotten.

Still, it comes as something of a surprise to discover that Shostakovich wrote the Second Cello Concerto as a kind of 60th birthday present to himself. Surely this must have been an ironic gesture, given that so much of the music seems bound up in painful introspection and selfmockery. Nowadays, many see Shostakovich as one of the dissident artistic heroes of Stalin’s Soviet Union, a composer whose music sustained Russians through what was probably the blackest period in their country’s history. But that doesn’t seem to be how Shostakovich saw himself. In 1960 Shostakovich had finally joined the Communist Party, despite holding out all the way through Stalin’s terrible regime. Clearly, pressure had been put on him to make this decision, but according to

But the end of the Concerto does seem to offer some kind of consolation. As the cello descends into its lower register, the xylophone picks out a fragment of a tune, while woodblock, tom-tom and side drum produce quiet ticking rhythms in the background. Shostakovich was

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes fascinated by clocks: his Moscow apartment was full of them, and their sounds turn up again and again in his last works. Is Shostakovich repeating the old message that time alone will tell – that history will pronounce the final verdict on his work? It’s hard to say for certain, but the ending puts the bitter dance-fanfares of the finale’s climax into perspective. At the very least, no pain lasts forever. Programme note © Stephen Johnson

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

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Daniel Kidane born 1986

Sirens 2016

Daniel Kidane‘s music has been performed extensively across the UK and abroad as well as being broadcast on BBC Radio 3. He is an alumnus of the LPO Young Composers scheme, which he participated in during 2012/13.

Christus factus est for Merton College Choir, recorded for Delphian; and Be Still for Manchester Camerata, which was broadcast on BBC Radio 3 and received further international premieres by the San Francisco Symphony, the Swedish Chamber Orchestra and the Orchestre de Chambre de Paris. His most recent work, Revel, inspired by Manchester Carnival, was commissioned by the BBC Proms for the Kanneh-Mason family and premiered in August 2021.

Daniel began his musical education at the age of eight, when he started playing the violin. He first received composition lessons at the Royal College of Music Junior Department and then went on to study privately in St Petersburg, receiving lessons in composition from Sergey Slonimsky. He completed his undergraduate and postgraduate studies at the Royal Northern College of Music under the tutelage of Gary Carpenter and David Horne.

Sirens was one of five short works commissioned by the BBC to commemorate the 400th anniversary of

Highlights include orchestral works Woke, premiered by the BBC Symphony Orchestra and Sakari Oramo at the Last Night of the Proms in 2019; Zulu for the Royal Scottish National Orchestra; commissions for Mahan Esfahani (harpsichord) and Michala Petri (recorder), premiered at Wigmore Hall and released on CD; a work for the CBSO Youth Orchestra inspired by grime music; a chamber work for the Cheltenham Festival which draws inspiration from jungle music and a new type of vernacular; a song-cycle commissioned by Leeds Lieder and inspired by the poetry of Ben Okri; and Dream Song for baritone Roderick Williams and Chineke! Orchestra, which was performed at the reopening of the Southbank Centre’s Queen Elizabeth Hall in 2018. A US premiere of the work is planned by the Seattle Symphony, postponed from spring 2020. Recent works premiered during the COVID-19 lockdowns include The Song Thrush and the Mountain Ash for Huddersfield Choral Society, with text by Poet Laureate Simon Armitage; Dappled Light for violinists Maxine Kwok and Julián Gil Rodríguez for the London Symphony Orchestra’s Summer Shorts series;

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Shakespeare’s death in 2016, and was given its premiere on 23 April 2016 by the BBC Philharmonic at Manchester’s Bridgewater Hall under Andrew Gourlay. The composer writes: ‘Sirens was envisaged as an evocation of Mancunian nightlife and invites the listener to go on a relentlessly propulsive ride through the city. As a university student in Manchester I was always amazed at the variety of music the place had to offer – one could experience jazz, rock, jungle, R&B and dub all in one night. Some of the sounds from Manchester’s famed club scene also acted as inspiration for the

rhythms, figurations and instrumentation in my own piece. As well as capturing the euphoric night scene, I also wanted to imbue the grit of the awry aftermath that follows in the early hours of the morning. This idea of portraying both sides arose from Shakespeare’s Sonnets 153 and 154, which reflect on love’s legacy and lesson. These two closing sonnets tie up the entire sequence of sonnets and seem to say that despite everything, Shakespeare would do it all again, as his disease, his love, is incurable and nothing will ever change that.’

New music with Edward Gardner and the LPO Visions and Utterances Wednesday 30 March 2022 | 7.30pm Royal Festival Hall Four UK premieres: Missy Mazzoli River Rouge Transfiguration Rebecca Saunders to an utterance, for piano and orchestra Mason Bates Liquid Interface George Walker Sinfonia No. 5 (Visions) Edward Gardner conductor Nicolas Hodges piano

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London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Béla Bartók 1881–1945

Concerto for Orchestra 1943

1 Introduzione (Introduction): Andante non troppo – Allegro vivace 2 Giuoco delle coppie (Game of Couples): Allegretto scherzando 3 Elegia (Elegy): Andante non troppo 4 Intermezzo interotto (Interrupted Intermezzo): Allegretto 5 Finale: Pesante – Presto composer soon got the feeling that the Americans were less interested in his music than they were in his perceived prestige. Bartók was also ill. He didn’t know it, but he was dying of leukemia. The pain and mystery of his illness put a huge strain on the composer and he withdrew into himself. In 1942 the violinist Joseph Szigeti and conductor Serge Koussevitsky attempted to rekindle Bartók’s spirits with a commission for an orchestral work, to be performed by Koussevitsky’s Boston Symphony Orchestra. The result became Bartók’s signature work. For Koussevitsky, at the time of the Concerto for Orchestra’s first performance in December 1944, it was ‘the best orchestral piece of the last 25 years.’ The words were quoted by the composer himself, who wrote excitedly to a friend recounting the details of the first performance in Boston and Koussevitsky’s reaction to it.

Béla Bartók transcribed swathes of peasant music from his native Hungary as well as from Romania, Croatia and beyond. By the 1920s he had developed a musical voice that fused these discoveries with his existing postImpressionistic, late Romantic tendencies. It was a distinctive voice full of writhing textures, rhythmic drive, sonorous harmonies and elemental folk qualities.

The Concerto for Orchestra represents one of Bartók’s most successful attempts to marry local folk music to a more universal orchestral language. The work’s title reflects ‘a tendency to treat the single instruments or instrumental groups in a concertante or soloistic manner,’ and is built in an arch structure in which the first movement reflects the fifth and the second reflects the fourth. They surround a central Elegia described by Bartók as a ‘night piece’.

Like so many others, Bartók’s life was thrown off-course by World War II. In 1940 the composer left Nazioccupied Hungary for a tour of America. Initially things turned out well: the tour was a success and Bartók was offered a teaching post at Columbia University. But the

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Programme notes Bartók exploits the qualities of particular instruments or instrumental groups deliciously. But there are a few less-obvious features in the Concerto to listen out for. One is his treatment of intervals (two notes separated by a specific gap), and his fondness for the interval of the perfect fourth (think of the first two notes of the carol ‘Away in a Manger’). The Concerto’s main theme is built from fourths, outlined in the piece’s hushed opening. In Bartók’s second movement the folk influence can be heard via melodies strung into a chain, played by five pairs of wind instruments. Bartók characterises each pair with a particular interval: bassoons play in sixths, oboes in thirds, clarinets in sevenths, flutes in fifths and trumpets in seconds.

Recommended recordings of tonight’s works by Laurie Watt Judith Weir: Forest BBC Symphony Orchestra | Martyn Brabbins (NMC) Shostakovich: Cello Concerto No. 2 Truls Mørk | London Philharmonic Orchestra Mariss Jansons (Warner) or Heinrich Schiff | Bavarian Radio Symphony Orchestra | Maxim Shostakovich (Philips)

As the Concerto for Orchestra thumps towards its end, there’s a clear feeling of release. ‘Strings whip up clouds of dust under manic feet’ writes Alex Ross in his book The Rest Is Noise; ‘winds squawk like children.’ Was this an imagined homecoming from the exiled Bartók? If so, it was the nearest he’d get. He died in America ten months after the Concerto’s first performance.

Bartók: Concerto for Orchestra Bergen Philharmonic Orchestra | Edward Gardner (Chandos)

Programme note © Andrew Mellor

New on the LPO Label: Jessye Norman sings Strauss Richard Strauss: Five Songs | Le Bourgeois Gentilhomme | Salome (excerpts) Klaus Tennstedt conductor Jessye Norman soprano .£9.99 | LPO-0122

Newly available recording: recorded live in concert at the Southbank Centre’s Royal Festival Hall on 4 May 1986

All LPO Label releases are available on CD from all good retailers, and to download or stream via Spotify, Apple Music, Idagio and others.

Next LPO concerts at the Southbank Centre’s Royal Festival Hall Out of Italy

Movie Legends

Wednesday 16 March 2022

Friday 25 March 2022

Vaughan Williams Overture: The Wasps Mozart Piano Concerto No. 25, K503 R Strauss Aus Italien

Howard Shore The Lord of the Rings: The Fellowship of the Ring for Symphony Orchestra and Chorus Danny Elfman Percussion Concerto (world premiere) Danny Elfman Batman Suite Danny Elfman Alice in Wonderland Suite

David Zinman conductor Richard Goode piano

Bryn Terfel sings Brahms Saturday 19 March 2022 Mendelssohn Overture: A Midsummer Night’s Dream Brahms Four Serious Songs, Op. 121 Schoenberg Pelleas und Melisande Edward Gardner conductor Bryn Terfel bass-baritone Generously supported by Victoria Robey OBE

Ludwig Wicki conductor Colin Currie percussion Grace Davidson soprano London Philharmonic Choir

Visions and Utterances Wednesday 30 March 2022 Four UK premieres: Missy Mazzoli River Rouge Transfiguration Rebecca Saunders to an utterance, for piano and orchestra Mason Bates Liquid Interface George Walker Sinfonia No. 5 (Visions) Edward Gardner conductor Nicolas Hodges piano With the support of Part of the Southbank Centre’s SoundState festival

Book online lpo.org.uk Ticket Office 020 7400 4242

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

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

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

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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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Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

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The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

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Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

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In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

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Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill

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London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

Thank you

Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

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Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation 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.

Board of the American Friends of the LPO 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:

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

London Philharmonic Orchestra • 9 March 2022 • Sheku Kanneh-Mason plays Shostakovich

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

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Concert Management

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Anna Quillin Trusts and Foundations Manager

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London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd