LPO Programme Notes - 22 September 2010 by London Philharmonic Orchestra

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL MAHLER ANNIVERSARY Wednesday 22 September 2010 | 7.30 pm VLADIMIR JUROWSKI conductor PETRA LANG mezzo soprano

TRINITY BOYS CHOIR ZEMLINSKY Six Maeterlinck Songs, Op. 13

2 3 4 5 6 7

9 16 17 18 19 20

List of Players Orchestra History Leader Vladimir Jurowski Petra Lang London Philharmonic Choir Trinity Boys Choir / Southbank Centre Programme Notes Mahler Recordings Supporters Philharmonic News Administration Future Concerts

The timings shown are not precise and are given only as a guide. (20’)

INTERVAL

†

CONTENTS

LONDON PHILHARMONIC CHOIR

MAHLER Symphony No. 3

PROGRAMME £3

(92’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Julia Rumley

Sarah Malcolm Miranda Davis Claudio Cavalletti Anthony Byrne

Chair supported by Mrs Steven Ward

Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Florence Schoeman Sarah Streatfeild Yang Zhang Rebecca Shorrock Peter Nall Toby Tramaseur SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Joseph Maher Kate Birchall Chair supported by David and Victoria Graham Fuller

Nancy Elan Fiona Higham Marie-Anne Mairesse Ashley Stevens Dean Williamson Sioni Williams Heather Badke Alison Strange Peter Graham Stephen Stewart Mila Mustakova Sheila Law Anna Croad VIOLAS Alexander Zemtsov* Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter-Bootiman Laura Vallejo David Cornford Alistair Scahill Isabel Pereira

Chair supported by John and Angela Kessler

CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon

Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Gregory Walmsley Sue Sutherley Susanna Riddell Sibylle Hentschel Tom Roff Pavlos Carvalho DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Roger Linley Joe Melvin Helen Rowlands Louis Garson Tom Walley Catherine Ricketts FLUTES Jaime Martin* Principal Susan Thomas* Marta Santamaria Stewart McIlwham* PICCOLOS Stewart McIlwham* Principal Marta Santamaria OBOES Ian Hardwick Principal Angela Tennick Owen Dennis Sue Bohling

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COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Emily Sutcliffe Katie Lockhart Paul Richards E FLAT CLARINETS Nicholas Carpenter Principal Katie Lockhart

TROMBONES Mark Templeton* Principal David Whitehouse Becky Smith BASS TROMBONES Lyndon Meredith Principal Christian Jones TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal Andrew Barclay* Co-Principal

BASS CLARINET Paul Richards Principal BASSOONS Gareth Newman* Principal Clare Webster Susanna Dias Simon Estell CONTRA BASSOON Simon Estell Principal HORNS John Ryan Principal Alec Frank-Gemmill Guest Principal Martin Hobbs Gareth Mollison Mark Vines Max Garrard Jonathan Barrett Anthony Chidell Adrian Uren TRUMPETS Paul Beniston* Principal Anne McAneney*

Chair supported by Andrew Davenport

PERCUSSION Rachel Gledhill Principal Keith Millar Jeremy Cornes Sam Walton Alex Neal Gillian McDonagh OFFSTAGE PERCUSSION Ignacio Molins Adrian Spillett Christopher Guy HARPS Rachel Masters* Principal Helen Sharp PIANO Catherine Edwards HARMONIUM Bernard Robertson

Chair supported by Geoff and Meg Mann

Nicholas Betts Co-Principal Daniel Newell Chair supported by Mrs Steven Ward

Tom Rainer Huw Morgan

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

OFFSTAGE POST-HORN Paul Beniston* Principal ASSISTANT CONDUCTOR Eduardo Portal

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LONDON PHILHARMONIC ORCHESTRA

Patrick Harrison

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin, its new Principal Guest Conductor from September 2008. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the première performances of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson. In addition to its London season and a series of concerts at Wigmore Hall, the Orchestra has flourishing

residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. 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 continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, France, Belgium and Luxembourg. Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East. The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast

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LONDON PHILHARMONIC ORCHESTRA

PIETER SCHOEMAN

regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski.

In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. He was appointed Leader in 2008.

Recent additions to the catalogue have included acclaimed releases of Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker; Mahler’s Symphony No. 2 conducted by Klaus Tennstedt; Brahms’s Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; and Dvořák’s Requiem under the baton of Neeme Järvi. The Orchestra’s own-label CDs are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases.

Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts.

Pieter Schoeman has performed as a soloist and recitalist throughout the world 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 Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.

‘The LPO do glowering colours very well, and they needed the full palette as Jurowski drove them, menacing and tight, through Mussorgsky’s phantasmagoria …’ GEOFF BROWN, THE TIMES, 17 AUGUST 2010

To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter. www.lpo.org.uk

4 | London Philharmonic Orchestra

As a soloist with the London Philharmonic Orchestra, he has performed Arvo Pärt’s Double Concerto with Boris Garlitsky and Benjamin Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. This season he will perform the Brahms Double Concerto with Kristina Blaumane. In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore as well as the BBC Symphony Orchestra. This season he has been invited to lead the Rotterdam Philharmonic Orchestra on several occasions. Pieter Schoeman has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television. He led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. He teaches at Trinity College of Music.

Patrick Harrison

LEADER

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VLADIMIR JUROWSKI

Karen Robinson

CONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies in Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival, where he conducted Rimsky-Korsakov’s May Night. The same year saw his brilliant debut at the Royal Opera House Covent Garden in Nabucco. In 1996 he joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001. Since 1997 Vladimir Jurowski has been a guest at some of the world’s leading musical institutions including the Royal Opera House Covent Garden, Teatro La Fenice di Venezia, Opéra Bastille de Paris, Théâtre de la Monnaie Bruxelles, Maggio Musicale Festival Florence, Rossini Opera Festival Pesaro, Edinburgh Festival, Semperoper Dresden and Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera New York with Rigoletto. In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the title of Principal Artist of the Orchestra of the Age of Enlightenment, and from 2005 to 2009 served as Principal Guest Conductor of the Russian National Orchestra with whom he will continue to work in the years ahead.

Vladimir Jurowski is a regular guest with many of the world’s leading orchestras including the Berlin Philharmonic, Oslo Philharmonic, Royal Concertgebouw, Bavarian Radio Symphony, Dresden Staatskapelle, Los Angeles Philharmonic and Philadelphia Orchestras as well as the Gewandhausorchester Leipzig. Highlights of the 2010/11 season and beyond include his debuts with the Vienna Philharmonic, Cleveland, San Francisco Symphony and Mahler Chamber Orchestras, and return visits to the Chicago Symphony, Chamber Orchestra of Europe, Berlin Philharmonic, Royal Concertgebouw, St Petersburg Philharmonic and Philadelphia Orchestras. His operatic engagements have included Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Rake’s Progress and Peter Eötvös’ Love and Other Demons at Glyndebourne Opera. Future engagements include new productions of Die Meistersinger and The Cunning Little Vixen at Glyndebourne, Die Frau ohne Schatten at the Metropolitan Opera, Ruslan and Ludmila at the Bolshoi Theatre, and Iolanta at the Dresden Semperoper. Jurowski’s discography includes the first ever recording of Giya Kancheli’s cantata Exile for ECM (1994), L’Étoile du Nord by Meyerbeer for Naxos-Marco Polo (1996) and Werther for BMG (1999) as well as live recordings of works by Rachmaninov, Turnage, Tchaikovsky, Britten, Brahms and Shostakovich on the London Philharmonic Orchestra’s own label, and Prokofiev’s Betrothal in a Monastery on Glyndebourne Opera’s own label. He also records for PentaTone with the Russian National Orchestra, with releases to date including Tchaikovsky’s Suite No. 3 and Stravinsky’s Divertimento from Le Baiser de la fée, Shostakovich’s Symphonies Nos 1 and 6, Prokofiev’s Symphony No. 5 and Tchaikovsky’s Hamlet Incidental Music. Glyndebourne have released DVD recordings of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus and Rachmaninov’s The Miserly Knight. Other recent DVD releases include Hänsel und Gretel from the Metropolitan Opera New York, and his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler (released by Medici Arts).

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PETRA LANG MEZZO SOPRANO

Berlin and Manchester, with Ivan Fischer in Brussels, Budapest and London and with Gerd Albrecht in Tokyo.

Petra Lang was born in Frankfurt and, after graduating as a violinist, studied voice at the Akademie für Tonkunst in Darmstadt and in Mainz. Her voice teacher today is Ingrid Bjoner. She attended the Opernstudio of the Bavarian State Opera in Munich and started her career in Dortmund and Braunschweig where she sang Octavian in Der Rosenkavalier, Marie in Wozzeck, Fricka in Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Judith in Bluebeard’s Castle and Brangäne in Tristan und Isolde. In 1997, Petra Lang had great success as Brangäne in New York performing with the Opera Orchestra of New York under the baton of Eve Queler. Also in the role of Brangäne she made her debut with Armin Jordan conducting in Geneva, with Silvio Varviso in Antwerp, with Semyon Bychkov in Turin and Dresden, with Bernard Haitink in London, with Simon Rattle in Amsterdam, with Myung Whun Chung in Paris, with Christian Thielemann in Vienna and at the Bayreuth Festival. Highlights of her career so far have included the roles of Kundry in Parsifal with Simon Rattle in London, with Andrew Davis in Dresden, with Armin Jordan in Geneva, with Simone Young in Hamburg, with Marek Janowski in Monte Carlo and with Ulf Schirmer in Leipzig; Cassandra in Berlioz’s Les Troyens with Sir Colin Davis in London and with Donald Runnicles at the Edinburgh Festival; Judith in Bartok’s Bluebeard’s Castle with Wolfgang Sawallisch in Philadelphia and New York, with Bernard Haitink in Brussels and London, and with Ivan Fischer in Modena, Ferrara and at the Royal Opera House Covent Garden; Ortrud in Lohengrin with Donald Runnicles at the Edinburgh Festival; and Sieglinde in Die Walküre with Jeffrey Tate in Cologne, Venice, Naples,

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In 2002 Petra Lang won two Grammy Awards for her interpretation of Cassandra as part of the London Symphony Orchestra’s live recording of Berlioz’s Les Troyens conducted by Sir Colin Davis. The album won the categories of Best Classical and Best Opera Recording of the Year. In May 2002, the recording also won two of the highly respected BRIT Awards in London making it one of the best selling recordings of the year and went on to win the Preis der Deutschen Schallplatten Kritik and the Orphée d’or de l’Académie du disque lyrique. Petra Lang is also a very successful concert singer. She has performed with some of the most prestigious orchestras in Europe and the US such as the Berlin Philharmonic, Chicago Symphony, Dallas Symphony, Israel Philharmonic, London Philharmonic, Munich Philharmonic, Philadelphia, Royal Concertgebouw and Vienna Philharmonic Orchestras. In 2007, she made a successful concert tour of Japan. Her versatile concert repertoire includes symphonies and orchestral lieder by Mahler, Wagner’s Wesendonck Lieder and Schoenberg’s Gurrelieder. Petra Lang has worked with such esteemed conductors as Claudio Abbado, Gerd Albrecht, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, Myung Whun Chung, Andrew Davis, Colin Davis, Ivan Fischer, Bernard Haitink, Marek Janowski, Armin Jordan, Fabio Luisi, Kurt Masur, Riccardo Muti, Simon Rattle, Wolfgang Sawallisch, Jeffrey Tate, Christian Thielemann, Franz Welser-Möst and Simone Young. Future engagements include the role of Venus in Tannhäuser in Munich; Cassandra in a new production of Les Troyens at the Deutsche Oper Berlin; Ortrud in Lohengrin at the Bayreuth Festival in 2011 and for San Francisco Opera; Rusalka at Covent Garden; Kundry in Parsifal in 2013 in Munich; and numerous concerts.

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LONDON PHILHARMONIC CHOIR PATRON: HRH Princess Alexandra PRESIDENT: Sir Roger Norrington ARTISTIC DIRECTOR: Neville Creed

ACCOMPANIST: Iain Farrington CHAIRMAN: Mary Moore CHOIR MANAGER: Kevin Darnell

Sopranos Catherine Allum, Annette Argent, Tessa Bartley, Olivia Carter, Paula Chessell, Alana Clark, Katja Cleasby, Sally Cottam, Shelia Cox, Sarah Deane-Cutler, Sally Domegani, Alison Flood, Rachel Gibbon, Hannah Grace, Simone Gregoire, Jane Hanson, Francesca Harris, Sally Harrison, Elizabeth Hicks, Alexa Hills, Laura Hunt, Erin Hutchinson, Georgina Kaim, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Frances Lake, Charlotte Lawrence, Laetitia Livesey, Joanna Loxton, Marj McDaid, Linda Park, Teresa Pells, Christine Rush, Caryn Smith, Claire Spencer, Tania Stanier, Caroline Taunt, Susan Thomas, Agnes Tisza, Alicia Van der Merwe, Laura Westcott, Fran Wheare, Hannah Widmann

Altos Joanna Arnold, Katrina Black, Sam CastellFinegold, Noel Chow, Yvonne Cohen, Liz Cole, Janik Dale, Margaret Driver, Moira Duckworth, Andrea Easey, Lynne Eaton, Carmel Edmonds, Regina Frank, Clare Galton, Kathryn Gilfoy, Lara Harvey, Erica Howard, Kasia Hunt, Kate Jackson, Edith Judd, Alexis Kessler Calice, Lisa MacDonald, Mary Moore, Marjana Morrison, Rachel Murray, Elisabeth Nicol, Angela Pascoe, Helene Richards, Sheila Rowland, Jenny Ryall, Carolyn Saunders, Tamara Swire, Rachel Taylor, Catherine Travers, Susi Underwood, Margaret de Valois Rowney, Jenny Watson, Suzanne Weaver, Erika Weingarth

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors throughout its history and made numerous recordings for CD, radio and television. Its Artistic Director is Neville Creed.

The Choir appears regularly at the BBC Proms at the Royal Albert Hall and performances have included Beethoven’s Symphony No. 9, Elgar’s The Dream of Gerontius, Rachmaninov’s The Bells and the UK premières of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir shared the stage with Daleks and other creatures at the Doctor Who Prom in 2008 and for a second time in 2010.

Enjoying a close relationship with the London Philharmonic Orchestra, the Choir joins it regularly for concerts in the UK and abroad. Last season’s highlights included performances of Mahler’s Symphony No. 2, Mendelssohn’s Elijah, Haydn’s Seven Last Words, Honegger’s Une Cantate de Noël, Poulenc’s Stabat Mater, Janáček’s The Eternal Gospel, Myaskovsky’s Symphony No. 6 and Liszt’s A Faust Symphony. Future concerts this season include Bartók’s The Miraculous Mandarin, Dvořák’s Te Deum and Stabat Mater, Fauré’s Requiem, Mahler’s Das klagende Lied, Holst’s The Planets and Elgar’s The Dream of Gerontius. Recently released CDs with the London Philharmonic Orchestra include Dvořák’s Requiem conducted by Neeme Järvi and Brahms’s Ein deutsches Requiem with Yannick NézetSéguin.

The London Philharmonic Choir also works with other leading orchestras. It has visited many countries in Europe and travelled as far afield as Kuala Lumpur, Hong Kong and Perth, Australia. In 2007, the Choir celebrated its 60th anniversary and published a book – Hallelujah: An Informal History of the London Philharmonic Choir. The book is available from retail outlets here at Southbank Centre and can be ordered through the Choir’s website. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit www.lpc.org.uk.

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TRINITY BOYS CHOIR

SOUTHBANK CENTRE

DIRECTOR: DAVID SWINSON

Singers: Joshua Aarons, Adam Ahmed, Sherwyn Appadu, Samuel Aston, Leo Benedict, Alex Canning, Miles Cook, Benjamin Crozier, Henry Crozier, Dylan Davies, James Dugan, Luke Dugan, Sebastian Elliott, Francesco Gosnell, Thomas Heming, Duy Le, Stefan Leadbeater, Adam Lord, Matthew Morris, Geoffrey Niu, Christopher O’Brien, Dominic O’Donnell, Joseph Parks, Benjamin Richardson, Joshua Richardson, John Ritchie, Joseph Rooke, Luke Saint, Andrew Samarasekara, Parshav Savla, Christopher Sharrock, Brendan Shek, Benjamin Stein, Pascal Tohouri, Fred Willis

Trinity Boys Choir is one of the busiest and most successful in the world. It has enjoyed a high professional profile, both at home and abroad, since its foundation by David Squibb over forty years ago. In the world of opera, the boys appear on such prestigious stages as Glyndebourne, the Royal Opera House, Covent Garden, English National Opera, the Opéra Comique, Paris, and La Fenice, Venice, as well as at the Aix-en-Provence Festival. The boys are especially well known for their part in Britten’s A Midsummer Night’s Dream in which they have appeared in over one hundred and fifty professional performances. They feature on both the Warner DVD and the Virgin Classics CD of the opera. On the concert platform, the Choir is regularly invited to perform at the BBC Proms and was honoured to sing at Her Majesty the Queen’s 80th Birthday Prom Concert at the Royal Albert Hall in 2006. The boys have performed with all the major London orchestras, and with Sir John Eliot Gardiner and his Monteverdi Choir in Spain, Germany, Italy and the UK. Trinity Boys Choir has also been invited to sing in Vienna with the Vienna Boys Choir, and in France, Holland, Hong Kong, Japan, Malaysia and Norway. The Choir’s many recordings include John Rutter’s Bang, an opera written for the boys, Britten’s A Boy Was Born with the BBC Symphony Chorus, and Walton’s Henry V with the BBC Symphony Orchestra and the BBC Singers. Several feature films also incorporate the voices of Trinity Boys Choir including Lord of the Flies and 101 Dalmations.

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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, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery If you wish to get in touch with us following your visit please contact Kenelm Roberts, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or email customer@southbankcentre.co.uk or phone 020 7960 4250. 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 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

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PROGRAMME NOTES

SPEEDREAD Gustav Mahler never had any qualms about aiming high. In his own words, the Third Symphony ‘begins with inanimate nature and ascends to the love of God.’ It is a truly extraordinary musical journey, on which one may encounter angels, wild animals, a ghostly post-horn, the terrifying majesty of the god Pan and the musings of a great German philosopher. What makes the symphony so much more than a crazily ambitious ragbag of images and ideas is the music: an awe-inspiring trombone solo here, a wild, brilliant collage of marching bands the next;

Alexander ZEMLINSKY

voluptuous beauty alternates with exquisite stillness; anguished, lonely melodies melt into heart-easing hymn tunes. Mahler’s slightly younger contemporary Alexander Zemlinsky was more secretive, more introverted. On the whole he avoided grand gestures or universe-embracing philosophical schemes. But his luscious, acutely sensitive Maeterlinck Songs also contain a note of intense selfrevelation, especially when they deal with lost love – after all, this was the man who lost the love of his life to the charismatic Gustav Mahler…

SIX MAETERLINCK SONGS, OP. 13 PETRA LANG mezzo soprano

1871-1942

Die drei Schwestern (The Three Sisters) Die Mädchen mit den verbundenen Augen (The Maidens with Bound Eyes) Lied der Jungfrau (The Song of the Virgin) Als ihr Geliebter schied (When her lover went away) Und kehrt er einst heim (And should he return one day) Sie kam zum Schloss gegangen (She came towards the castle) ‘My God, how beautiful it all is!’ That was the composer and conductor Anton Webern’s reaction to the fifth of these songs, Und kehrt er einst heim, in a letter to the composer; ‘the passage, “Say, for fear lest he weep, that I smiled.” Indescribable.’ Did Webern realise that he’d touched a tender nerve – probably the very place where this sensitive, secretive composer felt most vulnerable? At the turn into the twentieth century, Zemlinsky had had an intense, but not quite consummated affair with the talented and powerfully alluring Alma Schindler, daughter of one of Vienna’s most celebrated painters, Emil Schindler. But then Alma got to know the more charismatic, and at that time much more successful

Gustav Mahler, and after some initial vacillation, she chose to become the latter’s wife. Zemlinsky’s feelings of grief and unfulfilled longing never really left him, and these themes return again and again in his vocal and stage works. The desperately poignant ending of his great Lyric Symphony (1923) deals with two lovers parting for the last time. And in these Six Maeterlinck Songs, all written in 1910, emotional betrayal and loss feature increasingly. Even the hymn-like Lied der Jungfrau has an expressively telling moment at the phrase, ‘Verirrt sich die Liebe’ (‘If love goes astray’); and the personal element becomes increasingly clear in the last three songs. The date of composition also has intensely personal significance. During the summer of 1910, Mahler made a terrible discovery: his beloved Alma was having an affair with a younger man, the architect Walter Gropius, and was thinking of leaving him. The shock almost certainly hastened Mahler’s final decline – he died the following year. In Zemlinsky’s Und kehrt er einst heim a woman leaves her husband, but not before instructing

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PROGRAMME NOTES

her maid on how to break the news to him. When Alma re-established contact with Zemlinsky in 1913, telling him how much she’d enjoyed the songs, Zemlinsky told her to ‘take a good look’ at this song. But if he felt any Schadenfreude towards Mahler, his once-successful rival, the music reveals none of it. Instead we have only exquisite tenderness, mingled with sadness at the

husband’s irretrievable loss. In the previous song, No 4, Als ihr Geliebter schied, it is the woman who is betrayed, finally throwing herself to her death from a tower window. But Zemlinsky’s own experience surfaces fully in Sie kam zum Schloss gegangen. The old king watches powerlessly as his much younger wife leaves him, in the arms of the man she truly loves.

1. Die drei Schwestern

1. The Three Sisters

Die drei Schwestern wollten sterben, Setzten auf die güldnen Kronen, Gingen sich den Tod zu holen,

The three sisters were fain to die, put on their crowns of gold, went in search of death,

Wähnten ihn im Walde wohnen. „Wald so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

thought to find him in the forest. ‘Forest, shouldst thou grant us death, thou shalt inherit three golden crowns.’

Da begann der Wald zu lachen Und mit einem Dutzend Küssen Liess er sie die Zukunft wissen.

At that the forest began to laugh and with a dozen kisses let them know the future.

Die drei Schwestern wollten sterben, Wähnten Tod im Meer zu finden, Pilgerten drei Jahre lang.

The three sisters were fain to die, thought to find death at sea, journeyed three long years.

„Meer, so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

‘Sea, shouldst thou grant us death, thou shalt inherit three golden crowns.’

Da begann das Meer zu weinen, Liess mit dreimal hundert Küssen Die Vergangenheit sie wissen.

At that the sea began to weep, and with three times one hundred kisses let them know the past.

Die drei Schwestern wollten sterben, Lenkten nach der Stadt die Schritte, Lag auf einer Insel Mitte.

The three sisters were fain to die, turned their steps towards the city lying mid an island.

„Stadt, so gib uns, dass wir sterben, Sollst drei güldne Kronen erben!“

‘City, shouldst thou grant us death, thou shalt inherit three golden crowns.’

Und die Stadt tat auf die Tore Und mit heißen Liebesküssen Liess die Gegenwart sie wissen.

And the city opened its gates and with passionate kisses of love let them know the present.

2. Die Mädchen mit den verbundenen Augen

2. The Maidens with Bound Eyes

Die Mädchen mit den verbundenen Augen (Tut ab die goldenen Binden!) Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.

The maidens with bound eyes (take off the golden blindfolds!) the maidens with bound eyes wished to meet their destiny.

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PROGRAMME NOTES

Haben zur Mittagsstunde (Lasst an die goldenen Binden!) Haben zur Mittagsstunde Das Schloss geöffnet im Wiesengrunde,

At stroke of noon (leave on the golden blindfolds!) at stroke of noon they opened the castle on the grassy plain,

Haben das Leben gegrüsst, (Zieht fester die goldenen Binden!) Haben das Leben gegrüsst, Ohne hinaus zu finden.

they greeted life, (make tighter the golden blindfolds!) they greeted life, yet did not find their way out.

Die Mädchen mit den verbundenen Augen Wollten ihr Schicksal finden.

The maidens with bound eyes wished to meet their destiny.

3. Lied der Jungfrau

3. The Song of the Virgin

Allen weinenden Seelen, Aller nahenden Schuld Öffn’ ich im Sternenkranze Meine Hände voll Huld.

To all weeping souls, all sinners who approach, haloed by stars I open my arms, full with grace.

Alle Schuld wird zunichte Vor der Liebe Gebet, Keine Seele kann sterben, Die weinend gefleht.

All sin will perish before love’s prayer, no soul can die which, weeping, repents.

Verirrt sich die Liebe Auf irdischer Flur, So weisen die Tränen Zu mir ihre Spur.

If love goes astray on earthly plains, then tears will show me whither it has gone.

4. Als ihr Geliebter schied

4. When her lover went away

Als ihr Geliebter schied (Ich hörte die Türe gehn) Als ihr Geliebter schied, Da hab ich sie weinen gesehn.

When her lover went away (I heard the door close) when her lover went away I saw her weeping.

Doch als er wieder kam (Ich hörte des Lichtes Schein) Doch als er wieder kam, War ein anderer daheim.

Yet when he returned (I heard the light of the lamp) yet when he returned another was at home.

Und ich sah den Tod (Mich streifte sein Hauch) Und ich sah den Tod, Der erwartet ihn auch.

And I saw death (his breath touched me lightly) and I saw death awaiting him also.

5. Und kehrt er einst heim

5. And should he return one day

Und kehrt er einst heim, Was sag ich ihm dann? Sag, ich hätte geharrt, Bis das Leben verrann.

And should he return one day, what am I to tell him? – Tell him, I waited till my life ebbed away.

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PROGRAMME NOTES

Wenn er weiter fragt Und erkennt mich nicht gleich? Sprich als Schwester zu ihm; Er leidet vielleicht.

If he asks further without knowing me straight? – Speak to him as a sister; perhaps he is suffering.

Wenn er fragt, wo du seist, Was geb ich ihm an? Mein Goldring gib Und sieh ihn stumm an ...

If he asks where you are, how should I answer? – Give him my golden ring and say not a word ...

Will er wissen, warum So verlassen das Haus? Zeig die offne Tür, Sag, das Licht ging aus.

Should he want to know why the house is so desolate? – Show him the open door, say the light was blown out.

Wenn er weiter fragt Nach der letzten Stund’? Sag, aus Furcht, dass er weint, Lächelte mein Mund.

If he asks further, about your last moment? – Say, for fear lest he weep, that I smiled.

6. Sie kam zum Schloss gegangen

6. She came towards the castle

Sie kam zum Schloss gegangen, Die Sonne erhob sich kaum. Sie kam zum Schloss gegangen, Die Ritter blickten mit Bangen Und es schwiegen die Frauen.

She came towards the castle – the sun was hardly risen – she came towards the castle, the knights watched uneasily and the women grew silent.

Sie blieb vor der Pforte stehen, Die Sonne erhob sich kaum. Sie blieb vor der Pforte stehen, Man hörte die Königin gehen Und der König fragte sie:

She stopped before the gate – the sun was hardly risen – she stopped before the gate, the queen’s footsteps were heard and the king asked her:

Wohin gehst du? Wohin gehst du? Gib acht in dem Dämmerschein! Wohin gehst du? Wohin gehst du? Harrt drunten jemand dein? Sie sagte nicht ja noch nein.

Where are you going? Where are you going? – Take heed, it is not yet quite light! – Where are you going? Where are you going? Does someone await you down there? She answered neither yes nor no.

Sie stieg zur Fremden hernieder Gib acht in dem Dämmerschein. Sie stieg zu der Fremden hernieder, Sie schloss sie in ihre Arme ein. Die beiden sagten nicht ein Wort Und gingen eilends fort.

She climbed down to the stranger – take heed, it is not yet quite light – she climbed down to the stranger, she embraced her tightly. Neither spoke a word and they hurried away.

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PROGRAMME NOTES

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

Gustav MAHLER

SYMPHONY NO. 3 IN D MINOR PETRA LANG mezzo soprano LONDON PHILHARMONIC CHOIR TRINITY BOYS CHOIR

1860-1911

Part One Kräftig Entschieden [Powerful. Resolute] Part Two Tempo di Menuetto. Sehr mässig [At a very moderate pace] Comodo. Scherzando. Ohne Hast [Unhurried] Sehr langsam [Very slow]. Misterioso. Durchaus ppp [As quiet as possible] Lustig im Tempo und keck im Ausdruck [At jaunty tempo with bold expression] Langsam. Ruhevoll. Empfunden [Slow. Peaceful. With Feeling] No work by Gustav Mahler has stirred up more passionate controversy than his Third Symphony. The world première, in the German town of Krefeld in 1902, was a spectacular triumph, despite sweltering summer heat, poor acoustics and an ad hoc orchestra thrown together at the last minute. Two years later the Viennese première was a scandal: the critics were incensed, one of them walked out of the performance muttering that Mahler ought to be put in jail. Since then the symphony has continued to polarise opinion. ‘It’s all very well’, spluttered the composer William Walton, ‘but you can’t call that a symphony.’ For Arnold Schoenberg however, the Third Symphony revealed ‘a human being, a drama, truth, the most ruthless truth!’

It is easy to see why the Third Symphony should provoke such extreme reactions. In both form and content it is Mahler’s most extravagant, outrageous work. Mahler famously told Sibelius that ‘the symphony must be like the world. It must embrace everything’. Mahler wrote revealingly about the Third Symphony in his letters to the soprano Anna von Mildenburg. ‘Just imagine a work of such magnitude that it actually mirrors the whole world – one is, so to speak, an instrument played upon by the universe… In my symphony the whole of nature finds a voice.’ For a while, Mahler contemplated giving the Third Symphony a title: perhaps Pan, after the Greek nature god, or maybe The Joyful Science, after one of Friedrich Nietzsche’s philosophical works. In the fourth movement of the Third Symphony Mahler sets the most famous lines from Nietzsche’s Thus Spake Zarathustra. This was the work in which Nietzsche first put forward the ideal of the ‘Superman’, the man who can embrace life – nature – in all its fullness, who can confront both the beauty and the horror of existence without faltering. After writing the Third Symphony’s second movement Mahler made this very Nietzschian observation: ‘It always strikes me as strange that most people, when they speak of “nature”, think only of flowers, little birds, and woodsy smells. No one knows the god Dionysus, the great Pan. There now! You have a

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PROGRAMME NOTES

sort of programme... Everywhere and always it is only the voice of nature!’ Fired by this vision, Mahler set out his programme in more detail. The symphony’s six movements were to have subtitles: 1. ‘Summer marches in’. 2. ‘What the flowers of the meadow tell me’. 3. ‘What the animals of the forest tell me’. 4. ‘What night tells me (mankind)’. 5. ‘What the morning bells tell me (the angels)’. 6. ‘What love tells me’. A philosophical plan emerges, in which each movement aspires higher than the one before. The awakening of elemental nature leads eventually to the realisation of transcendent love. But painful experience had planted doubts in Mahler’s mind about titles and literary programmes, and in later performances the Third Symphony appeared without detailed explanatory notes. Clearly there are elements in the Third Symphony that cry out for more than musical explanation – how else can we make sense of his choice of texts in the fourth and fifth movements, or the strangely evocative offstage post-horn solo in the third? Of course it’s helpful to know what Mahler had in mind, but at all times the listener’s imagination must be free to divine its own meanings. The listener also needs to be prepared for the Third Symphony’s extraordinary proportions. The first movement is huge: around 35 to 40 minutes in most performances, and at times it feels more like a fantastic kaleidoscope of wildly contrasting sounds than a traditional symphonic argument. However one can say that this movement alternates three kinds of music: the dark, primordial sounds of the opening (described by Mahler as ‘Pan awakes’), pastoral sounds (murmurous wind and string trills, woodwind birdcalls), and an increasingly wild collage of raucous, garish march music. Eventually it is the martial music which triumphs: ‘Summer marches in’. The ‘flowers of the meadow’ minuet that follows is on a much more intimate scale, with delicately aromatic scoring and gentle folksy tunefulness. This movement quickly became a hit in its own right – like the famous

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Adagietto from the Fifth Symphony. The third movement is more complex. The naïve vitality of the opening ‘animals of the forest’ music is twice interrupted by the offstage post-horn, sounding through a quiet halo of high strings. Physical distance here creates an effect of emotional distance – a warmlytinged memory perhaps, or an evocation of lost primal innocence. Then, near the end of this movement comes a ferocious fortissimo outburst: Pan is revealed again in all his frightful majesty. Quiet echoes of the deep bass stirrings from near the beginning of the symphony introduce the fourth movement, almost all of which is delivered in an awestruck pianissimo. Here the subject is mankind’s struggle to make sense of the world, its joy and its grief, as expressed enigmatically in Nietzsche’s verses. But having gone this far with Nietzsche, Mahler’s philosophical journey turns in a new direction. Nietzsche rejected Christian compassion as unworthy of his ‘Superman’. Mahler now embraces it in his fifth movement. The sound of church bells (literally and mimicked by the boys’ choir) introduces the voices of angels. In simple, folk-like tones they tell of God’s forgiveness of Peter, the ‘all too human’ disciple of Christ who became the rock on which the Christian Church was built. This is the symphony’s turning point. The sixth movement now combines the functions of slow movement and finale, moving from rapt meditation to grand summing-up. An ardent, hymn-like theme for strings (‘What love tells me’) alternates with troubled, searching music. Ideas from earlier in the symphony return, then the hymn builds to a grand apotheosis, using the force of the full orchestra (minus the harps) for the first time since the end of the first movement. Writing to Anna von Mildenburg, Mahler composed a little verse motto for this movement: ‘Father, see these wounds of mine! Let no creature of yours be lost!’ So, Mahler concluded, the symphony finally holds out the hope of something like Christian redemption. ‘I could almost call this “What God tells me”. And truly, in the sense that God can only be understood as love. And so my work begins as a musical poem embracing all stages of development in a step-wise ascent. It begins with inanimate nature and ascends to the love of God.’ Programme notes by Stephen Johnson © 2010

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PROGRAMME NOTES

O Mensch, gib Acht! Was spricht die tiefe Mitternacht? Ich schlief, ich schlief! Aus tiefem Traum bin ich erwacht! Die Welt ist tief, Und tiefer als der Tag gedacht! Tief ist ihr Weh! Lust, tiefer noch als Herzeleid! Weh spricht: Vergeh! Doch alle Lust will Ewigkeit, Will tiefe, tiefe Ewigkeit!

O Man, take heed! What does the deep midnight say? I slept, I slept! From a deep dream I was awakened! The world is deep, And deeper than the day imagined! Deep is its woe! Joy, deeper still than heartache! Woe says: Begone! But all joy seeks eternity, Seeks deep, deep eternity.

Es sungen drei Engel einen süssen Gesang, Mit freuden es selig in dem Himmel klang, Sie jauchzten fröhlich auch dabei, Das Petrus sei von Sünden frei.

Three angels were singing a sweet song, With joy it rang blissfully in Heaven, At the same time they rejoiced That Peter was freed from sin.

Und als der Herr Jesus zu Tische sass, Mit seinen zwölf Jüngern das Abendmahl ass Da sprech der Herr Jesus: Was stehst du denn hier? Wenn ich dich anseh’, so weinest du mir! Und sollt’ ich nicht weinen Du gütiger Gott, Ich hab’ übertreten die zehn Gebot’. Ich gehe und weine ja bitterlich, Ach komm und erbarme dich über mich!

And as the Lord Jesus sat at table With his twelve disciples at evening meal, Lord Jesus said: Why do you stand here? When I look at you, you weep before me! And should I not weep, Thou benevolent God, I have broken the ten commandments. I go and weep so bitterly, Ah come and have mercy upon me!

Hast du denn übertreten die zehn Gebot’, So fall’ auf die Knie und bete zu Gott, Liebe nur Gott in alle Zeit! So wirst du erlangen die himmlische Freud’.

If you have broken the ten commandments, Then fall on your knees and pray to God, Love only God for evermore! Then heavenly joy will be yours.

Die himmlische Freud’ ist ein selige Stadt, Die himmlische Freud’, die kein Ende mehr hat! Die himmlische Freud’ war Petro bereit’t Durch Jesum und Allen zur Seligkeit.

Heavenly joy is a blessed city, Heavenly joy, which has no end! Heavenly joy was granted to Peter Through Jesus and all in blessed state. English translations © Eric Mason

Hear every note

Hard of hearing? Visit the cloakroom for equipment to improve your concert experience.

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MAHLER RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0012 Klaus Tennstedt conducts Mahler’s Songs of a Wayfarer (with Thomas Hampson) and Symphony No. 1 ‘... a stirring account, with his tight control causing Mahler’s climactic outbursts – both joyous and nostalgic – to hit home potently ... The LPO’s lead bassist tackling Mahler’s minor-key overhaul of ‘Frère Jacques’ is fittingly melancholic, while the finale is packed with energy and bracing inevitability.’ CLASSIC FM MAGAZINE

LPO-0033 Jaap Van Zweden conducts Mahler’s Symphony No. 5 ‘He unfolds the drama of the first movement with a sure grasp of the need for subtle variations of tempo … the finale is a joyous, life-affirming rondo that lifts the spirits.’ MICHAEL KENNEDY, THE SUNDAY TELEGRAPH, 10 AUGUST 2008

LPO-0038 Klaus Tennstedt conducts Mahler’s Symphony No. 6 ‘This live recording of a 1983 performance of Mahler’s Sixth Symphony might not be at the cutting edge of modern digital technology, but musically it sweeps away everything before it.’ CLASSIC FM MAGAZINE

LPO-0044 Klaus Tennstedt conducts Mahler’s Symphony No. 2 ‘This live version of the Resurrection is frequently startling – extremely expansive but exciting, dramatic and highly charismatic …The playing and singing are excellent, and the recording, made by the Music Performance Research Centre, is near-faultless.’ GRAHAM RICKSON, THE ARTS DESK, 22 MARCH 2010

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon

Guy & Utti Whittaker

Mr Daniel Goldstein Mrs Barbara Green Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough

Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Ken Follett Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Egil Oldeide Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Appleyard & Trew llp British American Business Brown Brothers Harriman Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC

Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jonathan & Jeniffer Harris Trust The Idlewild Trust The Emmanuel Kaye Foundation John Lyon’s Charity Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust

UK Friends of the FelixMendelssohn-Bartholdy Foundation The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Rubin Foundation The Samuel Sebba Charitable Trust Sound Connections The Steel Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Sir Jules Thorn Charitable Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

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PHILHARMONIC NEWS

A Tribute to Anthony Byrne on his Retirement

A colleague recalls: “Tony is a man of infinite charm and, as with his playing, when he speaks you have to listen. He has been a colleague since 1972 when I first met him while freelancing with Bournemouth Sinfonietta where at the time he was Principal Viola. Some years later he was to join me in the London Philharmonic.

Tony Byrne was born in Dublin and spent all his formative years there. He studied the violin at school but in order to make up a chamber music group was ‘elected’ to play the viola and fell in love with the instrument right away. He was subsequently offered a scholarship to study at the College of Music in Dublin.

“In recent years he has shared many chamber music performances with me, delighting the audience not only with his playing but also with his preambles on the music we are about to perform.

After completing his studies he joined the Symphony Orchestra of the Irish Radio and was also a founder Anthony Byrne member of the newly formed Irish Chamber Orchestra. He left Dublin in 1965 to join the BBC Orchestra in Bristol and later spent “He is a person of great enthusiasms: his family, his seven years with the Bournemouth Sinfonietta as commitment to the Orchestra and his Italian language Principal Viola. He joined the London Philharmonic studies. His enormous popularity amongst the Orchestra in 1974 and played as Co-Principal Viola for members of the Orchestra has long been celebrated in many years before moving down the section a few a song 'There is only one Tony Byrne' written by various years ago. members of the brass section and sung regularly on the buses on every tour. He lives in Hassocks and delights in country life and long walks on the Sussex Downs. He particularly enjoys “His retirement will leave a great gap in the life of the our Glyndebourne seasons and his entertaining and Orchestra and we shall sorely miss him.” enthusiastic tours of the opera house given in his still We are grateful to John and Angela Kessler, members of the audible soft Irish brogue have long enchanted our Orchestra's Thomas Beecham Group, whose donations in recent supporters. seasons have supported Tony's chair.

Principal Friends The London Philharmonic Orchestra acknowledges the generous support of its Principal Friends whose valuable contributions, along with those made by all our Friends and Supporters, help us to ensure the continued quality of our work both on and off the concert platform. Our grateful thanks to: Mr Ralph Aldwinckle Mr Clifford Brown Mr Michael Ching Ms Alison C Clarke Mr Geoffrey A Collens Miss Tessa Cowie Mrs G Hegglin-Petris

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Mr Hugh Herrington Mr Jeffrey Herrmann Mr R A Ingham Mr Stephen Olton Mr David MacFarlane Mr Ivan Powell Mr & Mrs Graham & Jean Pugh

Mr James A Reece Mrs Lesley Smurthwaite Mr & Mrs John & Susi Underwood Mr & Mrs R & J A Wallhouse Mr E Weighman Mr C D Yates

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

ORCHESTRA PERSONNEL