London Philharmonic Orchestra 9 Nov 2016 concert programme by London Philharmonic Orchestra

MUSIC IS OUR WORLD. WE WANT TO SHARE ITS ASTONISHING POWER AND WONDER WITH YOU. Concert programme lpo.org.uk

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

Southbank Centre’s Royal Festival Hall Wednesday 9 November 2016 | 7.30pm

Beethoven Violin Concerto in D major, Op. 61 (42’) Interval (20’) Dvořák Symphony No. 9 in E minor (From the New World), Op. 95 (40’)

Robin Ticciati conductor Anne-Sophie Mutter violin

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

Contents 2 Welcome LPO news 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Robin Ticciati 7 Anne-Sophie Mutter 8 Programme notes 9 New on the LPO Label: Beethoven 10 Recommended recordings 11 Next concerts 12 CD Subscription packages NOISE student scheme 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

LPO news

This month’s LPO Label release: Masur conducts Beethoven Symphonies Brand new on the LPO Label is a disc of Beethoven’s Symphonies Nos. 1 & 4, conducted by Kurt Masur live in concert at Southbank Centre’s Royal Festival Hall in November 2004. Masur was Principal Conductor of the London Philharmonic Orchestra from 2000–07 and conducted more than 150 performances in London and internationally during his tenure. He sadly passed away in December last year, but this pair of recordings pays tribute to his musical legacy: he conducted Beethoven with insight and cohesion, these concert performances conducted from memory. Priced at £9.99, the disc is available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others. Christmas gifts from the LPO If you’re searching for an unusual present this year for a classical music lover, the London Philharmonic Orchestra has a fantastic range on offer, from annual gift memberships for our Friends or Contemporaries schemes, to an annual CD subscription with a new release delivered to the recipient’s letterbox each month, to LPO gift vouchers that are valid for a year and can be used to buy concert tickets or CDs. Browse the full selection at lpo.org.uk/gifts or call the LPO Ticket Office on 020 7840 4242. Ravi Shankar’s Sukanya: May 2017 In May 2017 the Orchestra will take part in the first performances of an opera by Indian music legend Ravi Shankar. Shankar was composing his pioneering opera Sukanya at the time of his death in 2012, and it explores the common ground between the music, dance and theatrical traditions of India and the West. The four performances will take place at Leicester’s Curve (world premiere, 12 May), The Lowry, Salford (14 May), Symphony Hall Birmingham (15 May) and London’s Southbank Centre (19 May). lpo.org.uk/sukanya Sukanya is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester. The 19 May performance is a co-production between The Royal Opera, the London Philharmonic Orchestra and Curve, Leicester in association with Southbank Centre. With generous philanthropic support from Arts Council England and the Bagri Foundation.

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On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Kevin Linn Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Ji-Hyun Lee Chair supported by Eric Tomsett

Catherine Craig Thomas Eisner Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Austeja Juska Caroline Frenkel Georgina Leo Second Violins Jeongmin Kim Principal Chair supported by Friends of the Orchestra

Tania Mazzetti Kate Birchall Nancy Elan Lorenzo Gentili-Tedeschi Fiona Higham Chair supported by David & Yi Buckley

Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Herford Robin Wilson Jamie Hutchinson Sioni Williams John Dickinson

Violas Przemysław Pujanek Guest Principal Cyrille Mercier Co-Principal Robert Duncan Katharine Leek Susanne Martens Daniel Cornford Martin Fenn Claudio Cavaletti Julia Kornig Charles Cross Benedetto Pollani Cameron Campbell Cellos Pei-Jee Ng Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Sue Sutherley Tom Roff Helen Rathbone Jonathan Kitchen Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Flutes Juliette Bausor Principal Stewart McIlwham* Piccolo Stewart McIlwham* Principal

Chair supported by Geoff & Meg Mann

Trombones Mark Templeton* Principal

Oboes Ian Hardwick* Principal Alice Munday

Chair supported by William & Alex de Winton

David Whitehouse

Cor Anglais Sue Böhling* Principal

Bass Trombone Lyndon Meredith Principal

Chair supported by Dr Barry Grimaldi

Tuba Lee Tsarmaklis* Principal

Clarinets Thomas Watmough Principal Paul Richards

Timpani Simon Carrington* Principal

Bassoons Jonathan Davies Principal Gareth Newman Horns David Pyatt* Principal Chair supported by Simon Robey

David Bucknall

John Ryan* Principal Double Basses Kevin Rundell* Principal William Cole Sebastian Pennar Sub-Principal George Peniston Laurence Lovelle Thomas Walley Lowri Morgan Charlotte Kerbegian

Trumpets Paul Beniston* Principal Robin Totterdell Guest Principal Anne McAneney*

Chair supported by Laurence Watt

Martin Hobbs Gareth Mollison Stephen Nicholls

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler • Victoria Robey OBE • Bianca & Stuart Roden

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London Philharmonic Orchestra

Everything about this performance ... was perfect ... one of the best pieces of orchestral playing I have heard in quite a long time. Seen and Heard international, February 2015

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: last season included visits to Mexico,

Pieter Schoeman leader

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur (see page 9).

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Robin Ticciati conductor

Ticciati immediately announced his quality by drawing refined and restrained playing from the London Philharmonic Orchestra.

Martin Kettle, The Guardian, 13 November 2015

Robin Ticciati is Principal Conductor of the Scottish Chamber Orchestra (since the 2009/10 season) and Music Director of Glyndebourne Festival Opera (since 2014). From the 2017/18 season he will assume the Music Directorship of the Deutsches SymphonieOrchester Berlin for an initial five-year term. Guest conducting projects over the next two seasons include return engagements with the Bavarian Radio Symphony Orchestra, Chamber Orchestra of Europe, Staatskapelle Dresden, DSO-Berlin, NDR Sinfonieorchester Hamburg, Vienna Symphony, Swedish Radio Symphony, Budapest Festival Orchestra, London Symphony Orchestra, Orchestre National de France and Czech Philharmonic Orchestra. Following this evening’s concert he will embark on an extensive European tour with the London Philharmonic Orchestra and AnneSophie Mutter to cities including Vienna (Musikverein), Berlin (Philharmonie), Munich (Gasteig) and Paris (Théâtre des Champs-Élysées). For his first two seasons as Glyndebourne Music Director, Robin Ticciati conducted new productions of Der Rosenkavalier and La finta giardiniera, Die Entführung aus dem Serail and a revival of a Ravel double-bill combining L’heure espagnole and L’enfant et les sortilèges. His third season will see him conduct a new production of La clemenza di Tito. Aside from Glyndebourne, recent opera projects include new productions of Peter Grimes at La Scala Milan, The Marriage of Figaro at the Salzburg Festival, Eugene Onegin at the Royal Opera House, and a Metropolitan Opera debut with Hänsel und Gretel. He will return to the Met in spring 2017 with Eugene Onegin.

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Robin Ticciati is in his eighth season as Principal Conductor of the Scottish Chamber Orchestra. His 2016/17 season with the SCO will seek to grow its focus on living composers both from Britain and further afield, as well as the music of Mozart, Strauss and Bruckner. This season will see the Orchestra touring to Europe and Asia and appearing at the Edinburgh International Festival. Its latest recording for Linn Records, featuring Haydn symphonies, was released in September 2015 to rave reviews, with particular praise for its energy and the originality of its programming. The other three albums the Orchestra has recorded for Linn – two Berlioz discs (Symphonie fantastique; Les nuits d’été and La mort de Cléopâtre) and a double album featuring Schumann’s four symphonies – have attracted unanimous critical acclaim. Robin’s discography also includes Berlioz’s Roméo et Juliette and L’enfance du Christ with the Swedish Radio Symphony Orchestra (Linn); Dvořák’s Symphony No. 9, Bruckner’s Mass No. 3 and a Brahms disc with the Bamberger Symphoniker and the Chor des Bayerischen Rundfunks (Tudor); as well as a number of opera releases on Opus Arte and Glyndebourne’s own label. Born in London, Robin Ticciati is a violinist, pianist and percussionist by training. He was a member of the National Youth Orchestra of Great Britain when he turned to conducting, aged 15, under the guidance of Sir Colin Davis and Sir Simon Rattle. He was recently appointed Sir Colin Davis Fellow of Conducting by the Royal Academy of Music.

Anne-Sophie Mutter violin

I don’t know a better violinist or musician. She has immense imagination, and her technique is flawless.

Sir André Previn

Anne-Sophie Mutter has been among the world’s greatest violin virtuosos for four decades – 2016 marked the 40-year anniversary of her debut, aged 13, at the Lucerne Festival on 23 August 1976. The fourtime Grammy Award-winner performs at all the world’s major music venues, focusing equally on traditional repertoire and music by living composers. She has given the world premieres of 24 works, and Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, Sir André Previn and Wolfgang Rihm have all composed for her. The violinist also uses her popularity for charity projects and supports the development of exceptionally talented young musicians. Anne-Sophie’s 2016 calendar has included guest performances at the Salzburg Easter Festival and Lucerne Summer Festival, and appearances with the London and Pittsburgh symphony orchestras; the New York, Vienna and Czech Philharmonic orchestras; and the Sächsische Staatskapelle Dresden. Together with ‘Mutter’s Virtuosi’, the ensemble of the Anne-Sophie Mutter Foundation, she undertook an international concert tour, while a recital tour with pianist Lambert Orkis took her to Europe, China, Korea, Taiwan and Japan. Following tonight’s concert, a European tour with the London Philharmonic Orchestra under Robin Ticciati will conclude her 2016 calendar. To mark Anne-Sophie’s 35-year stage anniversary in 2011, Deutsche Grammophon released a comprehensive box set comprising all her DG recordings, extensive documentary material and previously unpublished rarities. A live recording: ‘Anne-Sophie Mutter – Live from the Yellow Lounge’ of her club performance in Berlin in May 2015 was

released on CD, vinyl, DVD and Blu-ray in August 2015: the first ever live recording from a DG Yellow Lounge event. On the podium at the Neue Heimat nightclub in Berlin’s Friedrichshain district, Anne-Sophie was joined by her long-standing piano accompanist Lambert Orkis, the ‘Mutter’s Virtuosi’ chamber ensemble and harpsichordist Mahan Esfahani. The programme covered three centuries of classical music, from Bach and Vivaldi to Gershwin and John Williams – a combination chosen especially by Anne-Sophie for the event. In 2008 the violinist founded the ‘Anne-Sophie Mutter Foundation’, aiming to provide support for an elite of rising young musicians worldwide. Anne-Sophie also takes a keen interest in alleviating the medical and social problems of our time, supporting various causes through regular benefit concerts. In 2016 she performed for the Foundation of the Ruhr Piano Festival, SOS Children’s Villages in Syria and the Leipzig Refugee Council. Anne-Sophie Mutter has been awarded the German Grand Order of Merit, the French Medal of the Legion of Honour, the Bavarian Order of Merit, the Decoration of Honour for Services to the Republic of Austria, and numerous other honours. facebook.com/annesophiemutter

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Programme notes

Speedread Some pieces of music need no introduction. The cor anglais melody from the second movement of Dvořák’s Ninth Symphony, with its hazy, nostalgic glow, is as familiar to us now as the hammer-blows that open Beethoven’s Fifth or the galloping strings of Rossini’s William Tell. Despite some criticism that this iconic melody was not ‘authentically American’ – ‘it is merely the spirit of Negro and Indian melodies which I have tried to reproduce’, Dvořák insisted – the Symphony itself was an instant hit. The audience at the premiere responded with thunderous applause and Dvořák wrote with astonishment to his

Ludwig van Beethoven 1770–1827

By the time Beethoven composed his first – and only – complete concerto for the violin, he was already a master of the instrument. He had under his belt a series of nine sonatas for violin and piano, two solo Romances for violin and orchestra, and the start of a youthful Violin Concerto in C major, WoO 5 – which would remain unfinished. He had also established himself as a composer of considerable renown: in 1801, he wrote gleefully to his friend Franz Wegeler that when it came to publishers, ‘I state my price and they pay.’ So it is altogether surprising that the reception at the premiere of his Violin Concerto in D major was lukewarm at best. ‘The Concerto enjoyed no great success’, wrote his biographer, Anton Schindler. ‘It was totally ignored: violinists … rejected the work as unrewarding.’ It was not until 1844, when the 13-year-old Joseph Joachim resurrected the Concerto under Mendelssohn’s direction to ‘frenetic applause’, that the work became 8 | London Philharmonic Orchestra

publisher: ‘the papers are saying that no composer has ever achieved a triumph such as this!’ But not all the music we cherish today was always received with such rapture. Beethoven died believing that his only Violin Concerto was a flop. It was not until nearly 20 years after his death that the work was resurrected and finally earned its reputation as the first of the truly great Romantic concertos for the violin. Nowadays, we struggle to hear what its first audiences found so unappetising amidst the soaring opening Allegro, gloriously ethereal slow movement and colourful, rambunctious finale.

Violin Concerto in D major, Op. 61 (1806) Anne-Sophie Mutter violin 1 Allegro ma non troppo 2 Larghetto – 3 Rondo: Allegro

firmly established within the repertoire. By then, tastes had changed and features that nearly half a century earlier had been regarded as ‘risky’ and ‘disconcerting’ were now deemed more acceptable. The mysterious strokes on the timpani with which the Concerto opens would come to seem intriguing, rather than simply bizarre. The Concerto’s surprising length – 15 minutes longer than any of Mozart’s own for the violin – was now more in keeping with the extended nature of the Romantic concerto. And the dazzling virtuosity of the solo violin part became a real draw for audiences becoming increasingly accustomed to inspiring and impressive musical feats within the concert hall. It is worth bearing in mind, though, that Beethoven’s Violin Concerto as we know it today is thought to be considerably revised from that of the 1806 premiere. According to Carl Czerny, Beethoven completed the work in haste at the request of Franz Clement, the Concerto’s dedicatee and commissioner. Clement

wanted a new concerto to perform at a benefit concert in Vienna in December 1806 and reports suggest that the score was barely finished before the first rehearsals began – so much so that Clement was all but sightreading at the premiere. After its rather lacklustre premiere, the work underwent several revisions before its publication, including its transformation into a concerto for piano, for which Beethoven added an unusual extended cadenza with timpani accompaniment. Like the knocking of ‘Fate’ at the start of the Fifth Symphony, the timpani beats with which the work opens form the foundations of the Violin Concerto. These five simple strokes saturate the opening movement, intertwining themselves within the first theme and underpinning the accompaniment of the

second, alternating between ominous and celebratory at every turn. This expansive first movement, wrought with dense thematic interplay and dramatic dynamic contrasts, is quite at odds with the stillness of the central Larghetto – a series of ethereal variations in which the soloist appears to extemporise freely over muted strings. This quiet corner of the Concerto has none of the showmanship of the outer movements, with its serene, bird-like utterances seeming to prefigure that of Vaughan Williams’s The Lark Ascending by more than a hundred years. The finale, by contrast, is a riot of drama and colour, bursting out of the Larghetto without pause with a pastoral violin melody that is taken up by the orchestra with full force. With every repetition, this simple country theme grows increasingly virtuosic, eventually leading to a climactic coda packed full of exhilarating showmanship.

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

New on the LPO Label: Beethoven Symphonies Nos. 1 & 4 Symphony No. 1 in C major Symphony No. 4 in B flat major Kurt Masur conductor London Philharmonic Orchestra

£9.99 | LPO-0093 Recorded live on 24 & 27 November 2004

‘... The musicians of the LPO responded with litheness, a real sense of rediscovering the all-too-familiar, and nigh-on impeccable playing.’ The Daily Telegraph, November 2004 Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

London Philharmonic Orchestra | 9

Programme notes continued

Antonín Dvořák 1841–1904

In June 1891, Dvořák was approached by Jeannette Thurber, a wealthy American patron of the arts, with an offer he could hardly refuse. Thurber planned to set up a new music conservatory in New York, and she wanted him to serve as its director. A year later, encouraged both by the position’s generous salary and the chance to discover ‘real American music’, Dvořák and his family arrived in America to begin three of the most productive years of his life. As soon as he arrived, he became an instant celebrity and a commission from the New York Philharmonic for a new symphony came just three months later. Although he was busy with his duties at the conservatory, Dvořák was bursting with ideas for new music and accepted the commission with relish. His sketchbooks show that he began work on the new symphony in January 1893 and completed it barely five months later. Although he was often homesick, Dvořák was fascinated by his new environment, taking every opportunity to discover and absorb the local culture, and actively seeking out the ‘real American music’ he had moved to America to find. Ragtime was hugely popular in the bars and dancehalls of New York during this time, but it left little impression on Dvořák, who instead became infatuated by the Negro spirituals that were brought to his attention by one of his pupils at the conservatory. ‘I am now satisfied that the future music of this country must be founded upon what are called the Negro melodies’, he later declared. ‘This must be the real foundation of any serious and original school of composition to be developed in the United States.’ His Symphony No. 9, to which Dvořák gave the subtitle ‘From the New World’, was inspired in part by this new preoccupation, although he was at pains to point out that the work is not an exercise in ethnography, as some of his critics claimed. ‘It is merely the spirit of Negro and

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Symphony No. 9 in E minor (From the New World), Op. 95 (1893) 1 Adagio – Allegro molto 2 Largo 3 Scherzo: Molto vivace – Poco sostenuto 4 Allegro con fuoco

Indian melodies which I have tried to reproduce in my new symphony’, he wrote. ‘I have not actually used any of the melodies.’ Aside from a theme that bears a strong resemblance to the traditional spiritual ‘Swing low, sweet chariot’ in the Symphony’s first movement, there are no ‘authentic’ Negro melodies to be found. Instead, the Symphony gets its sense of ‘otherness’ from its use of pentatonic melodies, the song-like simplicity of many of its themes, and the pastoral pictorialism that arches across its four movements – features that are no more indigenous to American folk music than they are to many other folk cultures around the world. Rather than hearing it as a musical invocation of his time in America, Dvořák’s ‘New World’ Symphony is better understood as a gift to a country he had grown to love, and a fond letter home to the one he missed so dearly. As he wrote in a letter in 1893, ‘I should never have written these works “just so” if I hadn’t seen America.’ Programme notes © Jo Kirkbride

Recommended recordings Beethoven: Violin Concerto Anne-Sophie Mutter | Berlin Philharmonic | Herbert von Karajan (Deutsche Grammophon) or Kyung Wha Chung| London Philharmonic Orchestra | Klaus Tennstedt (EMI) or Arthur Grumiaux| Concertgebouw Orchestra | Sir Colin Davis (Pentatone Classics) Dvořák: Symphony No. 9 Sir Charles Mackerras | London Philharmonic Orchestra (Eminence) or István Kertész | Vienna Philharmonic (Decca)

Next concerts at Southbank Centre’s Royal Festival Hall WEDNESDAY 30 november 2016 7.30pm

WEDNESDAY 7 December 2016 7.30pm

Weber Overture, Der Freischütz Mozart Clarinet Concerto Rachmaninoff Symphony No. 2

Glinka Spanish Overtures Prokofiev Cello Concerto Dargomyzhsky Baba-Yaga (Fantasy-Scherzo) Tchaikovsky Symphony No. 2 (Little Russian)

Andrés Orozco-Estrada conductor Julian Bliss clarinet

Free pre-concert event | 6:15pm Julian Bliss discusses Mozart’s Clarinet Concerto and his career to date.

Vladimir Jurowski conductor Steven Isserlis cello Concert generously supported by Victoria Robey OBE

WEDNESDAY 14 December 2016 7.30pm friday 2 december 2016 7.30pm jti friday SERIES

Glinka Waltz Fantasy Chopin Piano Concerto No. 1 Rachmaninoff Symphony No. 1

Weber Overture, Euryanthe Bruch Violin Concerto No. 1 Beethoven Symphony No. 3 (Eroica)

Vladimir Jurowski conductor Jan Lisiecki piano

Andrés Orozco-Estrada conductor Hilary Hahn violin

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MUSIC IS OUR WORLD.

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bring it on!’

‘London concert-goers are lucky to have concerts as creative as this’ - Financial Times

Sound Futures donors

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

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

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

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 13

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Victoria Robey OBE Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family Principal Associates An anonymous donor Mr Peter Cullum CBE Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Neil Westreich Associates Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Laurence Watt Michael & Ruth West

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Virginia Slaymaker Mr Brian Smith The Viney Family Guy & Utti Whittaker Bronze Patrons Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mrs Irina Gofman Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams

14 | London Philharmonic Orchestra

Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Rose & Dudley Leigh Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Dr Karen Morton Mr & Mrs Andrew Neill

Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Martin & Cheryl Southgate Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Lady Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Mr Derek B. Gray Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger Mrs Nino Kuparadze Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld

Mr Robert Ross Mr Kenneth Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Jill Fine Mainelli Kristina McPhee David Oxenstierna Natalie Pray Robert Watson Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida

Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

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

London Philharmonic Orchestra | 15

Administration

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

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager