13 February 2010 LPO Programme Notes

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

AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 13 February 2010 | 7.30 pm

YANNICK NÉZET-SÉGUIN conductor LISA MILNE soprano LONDON PHILHARMONIC CHOIR

RAVEL Pavane pour une Infante défunte RAVEL Suite: Le Tombeau de Couperin DEBUSSY Nocturnes

(6’)

The timings shown are not precise and are given only as a guide.

(25’)

(6’)

POULENC Stabat Mater †

CONTENTS 2 List of Players 3 Orchestra History 4 Southbank Centre 5 Yannick Nézet-Séguin 6 Lisa Milne 7 London Philharmonic Choir 8 Programme Notes 16 Recordings / Family Concert 17 Supporters 18 Philharmonic News 19 Administration 20 Future Concerts

(16’)

INTERVAL FAURÉ Pavane

PROGRAMME £3

(33’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Abigail Young Guest Leader Vesselin Gellev Sub-Leader Benjamin Roskams Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Robert Pool Florence Schoeman Sarah Streatfeild Yang Zhang Rebecca Shorrock Alain Petitclerc Peter Nall Galina Tanney Joanne Chen Kay Chappell Alina Petrenko SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

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

Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Imogen Williamson Heather Badke Peter Graham Stephen Stewart

VIOLAS Alexander Zemtsov* Principal Janis Lielbardis Robert Duncan Anthony Byrne Chair supported by John and Angela Kessler

Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Daniel Cornford Naomi Holt Pamela Ferriman CELLOS Alexander Somov Guest Principal Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Gregory Walmsley Tom Roff Helen Rathbone Tae-Mi Song Stephen Anstee Philip Taylor DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Anita Mazzantini David Johnson Helen Rowlands Tom Walley Louis Garson

FLUTES Jaime Martin* Principal Eilidh Gillespie Stewart McIlwham*

TRUMPETS Paul Beniston* Principal Anne McAneney*

PICCOLO Stewart McIlwham* Principal

Nicholas Betts Co-Principal

OBOES Ian Hardwick Principal Angela Tennick COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Nicholas Carpenter BASS CLARINET Paul Richards Principal BASSOONS John Price Principal Gareth Newman* Simon Estell HORNS Christopher Parkes Guest Principal Martin Hobbs Stephen Nicholls Gareth Mollison

Chair supported by Geoff and Meg Mann

TROMBONES Mark Templeton* Principal David Whitehouse BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Nigel Thomas Guest Principal PERCUSSION Andrew Barclay* Principal Keith Millar HARPS Rachel Masters* Principal Helen Sharp

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Caroline, Jamie and Zander Sharp Mrs Steven Ward Simon Yates and Kevin Roon

2 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

© Richard Cannon

Seventy-seven 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 2009/10 include Between Two Worlds – an exploration of the music and times of Alfred Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and dedicated to the 20th Anniversary of the Fall of the Berlin Wall; and new works by Rautavaara, Philip Glass, Ravi Shankar and the Orchestra’s Composer in Residence, Mark-Anthony

Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.

In addition to its London season, 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 it 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 standard of execution by the London Philharmonic Orchestra and Chamber Choir of the Moscow Conservatory, magnificently corralled by Jurowski, was exemplary.’

ANDREW CLARK, FINANCIAL TIMES, 19 NOVEMBER 2009

London Philharmonic Orchestra | 3

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LONDON PHILHARMONIC ORCHESTRA

WELCOME TO SOUTHBANK CENTRE

the London Philharmonic Orchestra. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA. 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 extensively 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 Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of early Britten works conducted by Vladimir Jurowski; Mahler’s Symphony 6 under the baton of Klaus Tennstedt; Tchaikovsky’s Symphonies 1 and 6 conducted

by Vladimir Jurowski; Sir Thomas Beecham recordings of Mozart, Delius and Rimsky-Korsakov from the 1930s; a CD of John Ireland’s works taken from his 70th Birthday Concert in 1949; and Dvorˇák’s Requiem conducted by Neeme Järvi. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.

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.

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 and join us on Facebook.

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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: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon 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 our Head of Customer Relations at Southbank Centre, Belvedere Road, London SE1 8XX, by phone on 020 7960 4250 or by email at customer@southbankcentre.co.uk 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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YANNICK NÉZET-SÉGUIN

Marco Borggreve

CONDUCTOR

At the start of the 2008/09 season, Yannick NézetSéguin succeeded Valery Gergiev as Music Director of the Rotterdam Philharmonic Orchestra and became Principal Guest Conductor of the London Philharmonic Orchestra. He remains Artistic Director and Principal Conductor of the Orchestre Métropolitain du Grand Montréal, a position he took up in March 2000.

A native of Montreal, he studied at the Conservatoire de Musique du Québec in Montreal and has worked with all the major Canadian orchestras. Principal Guest Conductor of the Victoria Symphony between 2003 and 2006, he now regularly conducts the Toronto Symphony and, at the end of the 2009/10 season, will conduct his first Mahler Symphony (No. 8) in Montreal and Ottawa, using the combined forces of the Orchestre Métropolitain and National Arts Center Orchestra.

His most recent opera productions in Canada were Gounod’s Faust for Canadian Opera in 2007, and Madama Butterfly in Montreal in 2008. In August 2008 he made an outstandingly successful Salzburg Festival debut conducting a new production of Gounod’s Roméo et Juliette with a cast led by Rolando Villazon and Nino Machaidze. He recently made an acclaimed debut for the Netherlands Opera conducting The Makropoulos Case and made his Metropolitan Opera debut in December 2009 with a new production of Carmen.

Productions are also planned for La Scala and the Royal Opera House, Covent Garden.

He records for the dynamic Canadian company ATMA Classique, and his recordings with the Orchestre Métropolitain have received prizes and critical acclaim.

His most recent recordings, La Mer (a collection of works by Debussy, Britten and Mercure) and Bruckner’s Symphony 9 have been widely praised and Bruckner’s Symphony 8 was released last autumn. He has made three recordings with the Rotterdam Philharmonic Orchestra of works by Beethoven, Richard Strauss, Korngold and Ravel.

He made a series of successful European debuts in 2004/05 and is now a regular guest conductor of many leading orchestras, such as the Dresden Staatskapelle, Orchestre National de France, Royal Stockholm Philharmonic Orchestra and Chamber Orchestra of Europe. During 2008, he made acclaimed debuts with the Philadelphia, Vienna Symphony, National Symphony (Washington), Los Angeles Philharmonic and Boston Symphony Orchestras. Forthcoming debuts will take him to the Cleveland Orchestra, Chicago Symphony Orchestra, Tonhalle-Orchester (Zurich), Vienna Philharmonic Orchestra, Berlin Philharmonic Orchestra and Gewandhaus Orchestra in Leipzig.

London Philharmonic Orchestra | 5

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LISA MILNE

Clive Barda / ArenaPAL

SOPRANO

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music and Drama.

She has appeared at the Metropolitan Opera, New York, as Pamina in Die Zauberflöte and as Susanna in Le nozze di Figaro. At the Glyndebourne Festival, her roles have included Pamina, the title roles of Rodelinda and Theodora, Marzelline in Fidelio and Micäela in Carmen.

At English National Opera she has sung Countess Almaviva in Le nozze di Figaro, the title role in Alcina, Ännchen in Der Freischütz and Anne Trulove in The Rake’s Progress. At Welsh National Opera she has sung Servilia in La clemenza di Tito and she created the role of Sian in the world première of James MacMillan’s opera The Sacrifice. For Scottish Opera she has sung the title role in Semele, Adèle in Die Fledermaus, Adina in L’elisir d’amore, Zerlina in Don Giovanni, Susanna, Ilia in Idomeneo and Despina in Così fan tutte. Other appearances have included the roles of Marzelline on tour with the Salzburg Festival, Gretel in Hänsel und Gretel for Stuttgart Opera, Ilia at the Royal Danish Opera, Marzelline in Dallas and Atalanta in Serse at the Göttingen Handel Festival.

In concert, recent engagements have taken her to the Boston Symphony Orchestra with Levine; the Berlin Philharmonic with Rattle; the Mahler Chamber Orchestra with Harding; the Dresden Staatskapelle with Ticciati; and the City of Birmingham Symphony Orchestra with Oramo. She is a frequent guest at both

6 | London Philharmonic Orchestra

the Edinburgh Festival and the BBC Proms and she appears regularly with such orchestras as the City of Birmingham Symphony, BBC Symphony, London Symphony, Royal Scottish National, Royal Philharmonic and Scottish Chamber Orchestras.

Her engagements this season and next include appearances with the Budapest Festival Orchestra and Fischer; the Vienna Philharmonic Orchestra and New York Philharmonic Orchestra with Harding; the Scottish Chamber Orchestra with Langrée; and the Rotterdam Philharmonic with Gergiev.

A renowned recitalist, she has appeared at the Aix-enProvence and City of London Festivals; the Usher Hall in Edinburgh; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels; and the Schumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall.

Her many recordings include the roles of Ilia with Mackerras for EMI; Servilia, also with Mackerras, for DG; Atalanta with McGegan for BMG; Marzelline with Elder for Glyndebourne’s own label; and The Governess for the BBC Television film of The Turn of the Screw for Opus Arte. She has also recorded Mahler’s Symphony 2 with Ivan Fischer for Channel Classics which won a Gramophone Award; songs by John Ireland and a solo album of Hebridean Folk Songs for Hyperion; songs by Roger Quilter for Collins Classics; songs by Francis George Scott for Signum; and Vaughan Williams’ Serenade to Music with Norrington for Decca.

Awards include the Maggie Teyte Prize, the John Christie Award and the Royal Philharmonic Society Award, as well as Honorary Doctorates of Music from the University of Aberdeen and The Robert Gordon University. She was awarded an MBE in the Queen’s Birthday Honours in 2005.

Lisa Milne studies with Patricia McMahon.

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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: Tessa Bartley

Sopranos Catherine Allum, Lasma Anspoka, Annette Argent, Fiona Bantock, Paula Chessell, Katja Cleasby, Penny Coombes, Shelia Cox, Sally Cottam, Emma Craven, Melanie Dargatz, Sarah Deane-Cutler, Emily Eason, Sophie Fetocacis, Sarah Fisher, Claudie Gheno, Rachel Gibbon, Marnie Greenrod, Simone Gregoire, Boon Kim Fam, Alison Flood, Sally Harrison, Emily Harrup, Carolyn Hayman, Elizabeth Hicks, Jocelyn Kelty, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Charlotte Lawrence, Katherine Lee, Clare Lovett, Sophie Mearing-Smith, Felicity Mowat, Linda Park, Teresa Pells, Isabella Radcliffe, Diana Richards, Sarah C Royle, Tania Stanier, Amy Stroud, Susan Thomas, Isobel Timms, Jenny Torniainen

Marjana Jovanovic Morrison, Rachel Murray, Elizabeth Nicol, Angela Pascoe, Muriel Swijghuisen Reigersberg, Helene Richards, Jenny Ryall, Stephanie Saffrey, Carolyn Saunders, Tamara Swire, Susi Underwood, Mariken Van Dolen, Jenny Watson, Erika Weingarth

Altos Jenny Adam, Joanna Arnold, Phye Bell, Susannah Bellingham, Lara Carim, Isabelle Cheetham, Noel Chow, Liz Cole, Janik Dale, Moira Duckworth, Fiona Duffy, Elisa Dunbar, Andrea Easey, Carmel Edmonds, Regina Frank, Kathryn Gilfoy, Suzanne Healey, Lucy Hewes, Pam Hider, Sophy Holland, Erica Howard, Kasia Hunt, Kate Jackson, Edith Judd, Alice Kershaw, Alexis Kessler Calice, Andrea Lane, Lisa MacDonald, Laetitia Malan, Ruth Mariner, Anna Mignot, Liz Moloney, Mary Moore,

Basses Jonathon Bird, Gordon Buky-Webster, Geoff Clare, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Christopher Harvey, Mark Hillier, Stephen Hines, Rylan Holey, Hugh Hudson, Martin Hudson, Aidan Jones, Thorsten Laux, Anthony McDonald, John Morris, Ashley Morrison, William Parsons, Johan Pieters, Peter Sollich, Greg Thomas, Edwin Tomlins, James Torniainen, Hin-Yan Wong, John Wood

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs and consistently meets with great critical acclaim. It has been involved in over 80 recordings and has performed under leading international conductors throughout its history.

with the London Philharmonic Orchestra to perform Haydn’s Die Schöpfung at the Béla Bartók National Concert Hall.

The Choir enjoys a close relationship with the London Philharmonic Orchestra, joining it regularly for performances in the UK and abroad. It also works with many other leading orchestras and has enjoyed sharing the stage with Daleks, dinosaurs and various other creatures in 2008’s Doctor Who and last year’s Evolution! Proms.

The Choir often travels overseas and, in the last few years, its visits to Europe have included concerts in Rome, Lucerne and Cologne. It has travelled as far afield as Kuala Lumpur, Perth in Australia and Hong Kong where in February 2008 it gave two concerts at the Hong Kong Arts Festival: a performance of Stravinsky’s Symphony of Psalms and Rachmaninov’s The Bells with the Hong Kong Philharmonic Orchestra under Edo de Waart, and a programme of British choral music conducted by the Choir’s Artistic Director, Neville Creed.

Over New Year 2009, the Choir travelled to Budapest

Tenors Robin Anderson, Robert Beale, Chris Beynon, John Boyne, Keith Chaundy, Brian Coulstock, Lorne Cuthbert, Kevin Darnell, Michael Delany, Jack Dixon, Dwayne Engh, Aloysius Fekete, Iain Handyside, Rob Home, Patrick Hughes, John Moses, Stephen Pritchard, Kevin Rainey, Paul Thirer, Alex Thomas, Owen Toller

Last season’s highlights included performances of Beethoven’s Missa solemnis and Symphony 9, Dvorˇák’s Requiem, Brahms’s Ein deutsches Requiem, Holst’s The Planets and Schoenberg’s Gurrelieder. This season the Choir has already enjoyed performances of Mahler’s Symphony 2, Mendelssohn’s Elijah, Haydn’s Seven Last Words and a programme of Christmas music including Honegger’s Une Cantate de Noël. The Choir is delighted to be collaborating again with Yannick Nézet-Séguin and Vladimir Jurowski this season.

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 in the Southbank Centre and can be ordered through the Choir’s website.

The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information about the Choir, including details about how to join, please visit www.lpc.org.uk.

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PROGRAMME NOTES

SPEEDREAD One preoccupation of French composers in the late 19th century and well into the 20th was the evocation of the past. Fauré’s Pavane (heard tonight in its rare choral version) uses the rhythm of the stately Renaissance dance to conjure up pre-Revolutionary elegance, while the Pavane for a dead Infanta by Fauré’s pupil Ravel is more tinged with melancholy – as is Ravel’s highly individual version of a 17th-century dance suite, Le Tombeau de Couperin. But Debussy’s three early

Maurice RAVEL

Nocturnes are essays in musical Impressionism which are more concerned with everyday life, in depictions of drifting ‘Clouds’ over the river Seine and of ‘Festivities’ interrupted by a procession, though the closing seascape also includes the voices of the ‘Sirens’ of classical antiquity. As for Poulenc’s Stabat Mater, a setting for soprano, chorus and orchestra of the mediaeval prayer to the mother of the crucified Christ, it make some allusions to Renaissance textures and Baroque rhythms, but the bitter-sweet quality of its melodies and harmonies is very much the composer’s own.

PAVANE POUR UNE INFANTE DÉFUNTE

1875-1937

Ravel wrote his Pavane for a dead Infanta as a piece for solo piano in 1899, when he was still studying with Fauré at the Paris Conservatoire. It was only in 1910 that he arranged it for small orchestra, in which form it quickly became an enormous success. This was a matter of some embarrassment to the composer, as he was always quick to acknowledge what he saw as the work’s youthful faults, including its indebtedness to the keyboard style of Chabrier – and, he might have added, to the Pavane by Fauré.

The pavane was a Renaissance dance in slow duple time, frequently associated with melancholy in general (as in Dowland’s Lachrimae sequence) or specifically

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written as an elegy (like Byrd’s for the Earl of Salisbury).

Ravel said that he chose the title simply for its beauty of sound, and warned performers not to over-emphasise the work’s funereal aspect. But he did concede that the piece was ‘an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court’.

In its orchestral form, it begins with the horn as an unconventional carrier of the haunting melody over pizzicato muted strings, suggesting a guitar or lute, and later clothes the melodic line in constantly varied woodwind and string colours, with telling interjections by the harp.

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PROGRAMME NOTES

Maurice RAVEL

SUITE: LE TOMBEAU DE COUPERIN Prélude: Vif | Forlane: Allegretto | Menuet: Allegro moderato | Rigaudon: Assez vif

1875-1937

Le Tombeau de Couperin started life, like the Pavane and several of Ravel’s other orchestral works, as a piece for piano. Begun in 1914 and completed in 1917, it is the composer’s only substantial piece from the period of the First World War, during which he enrolled as a driver in the French army, but was beset by ill health and laid low by the death of his mother. Ravel conceived it in a spirit of patriotism, combining two traditions of the French Baroque period, those of the keyboard suite – exemplified by the Ordres of François Couperin ‘le grand’ – and of the ‘tombeau’, or memorial, to a departed colleague. He dedicated the movements individually to the memory of friends killed in the War; and for the first publication he designed a title-page with a funerary urn as its central feature. In 1919, at the request of his publisher, Ravel made an orchestral version of the work; this was taken up the following year by the Swedish Ballet in its inaugural Paris season, and proved one of the company’s biggest successes. Of the six movements of the original piano suite, Ravel discarded two, a Fugue and a Toccata. The remaining four, re-ordered, he scored for chamber orchestra with all his habitual skill and subtlety.

The piece reflects the inspiration of the French Baroque era not in direct imitation of its melodies or harmonies, but in the choice of dance forms of the period, the prevalence of repeated sections and regular four-bar phrases, and the frequent use of the turning figure known as the mordent (and the inverted mordent) to ornament the melodic lines. One of its most remarkable features is that, through Ravel’s shifting, often modal harmonies and plangent woodwind writing, it succeeds in conveying an overall air of gentle lamentation without a single slow movement. The Prélude sustains its rapid triplet movement without pause, requiring considerable virtuosity from all the woodwind but especially the oboe. The Forlane, in 6/8 time, is (as Couperin would have described it) en rondeau, with numerous returns of the springing opening melody. The Menuet has as a central trio a musette over a drone bass, coloured by double-bass harmonics. The energetic final Rigaudon has a slower middle section of decorative woodwind melodies tinged with melancholy.

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PROGRAMME NOTES

Claude DEBUSSY

NOCTURNES LONDON PHILHARMONIC CHOIR Nuages | Fêtes | Sirènes

1862-1918

Debussy composed his three Nocturnes during the 1890s, while he was also working on his opera Pelléas et Mélisande. They seem to have begun their life as Trois Scènes au Crépuscule, or ‘Three Twilight Scenes’, suggested by poems by Henri de Régnier, which Debussy described in 1892 as ‘almost finished’ apart from the task of orchestration. Their next incarnation was under the title of Nocturnes, but scored for solo violin with small orchestra (the first piece accompanied by strings, the second by flutes, horns, trumpets and harps, the last by the two groups combined): Debussy told the great violinist Eugène Ysaÿe in late 1894 that he was writing them for him. Then between 1897 and 1899 the Nocturnes took their final form as a triptych for full orchestra, with female chorus in the last movement. Or not quite their final form: even after they had been performed – the first two movements in 1900, the complete work the following year – and published, Debussy continued to make changes to the orchestration, which were incorporated into a posthumous revised edition.

The title of the work has nothing to do with the traditional form of the nocturne, as practised by Chopin.

It may have been suggested by the ‘nocturnes’ of Whistler; and certainly the piece shows Debussy’s general affinity with the Impressionist painters, in its concentration on the effects of light and its building-up of an overall picture through a multitude of detailed brush-strokes. For example, the composer wrote that the first movement, ‘Clouds’, ‘renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white’. He is also said to have told a friend that the piece was suggested by the sight of heavy clouds over the river Seine in Paris, represented by the drifting

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chords of the opening section, coupled with the sound of a ship’s siren, embodied in the recurring motif on the cor anglais. There is an interlude of more sustained melody at a slightly faster tempo, before the grey clouds return.

The second movement, ‘Festivities’, according to Debussy, ‘gives us the vibrating atmosphere with sudden flashes of light’, while its central episode is ‘a dazzling fantastic vision’ of a procession ‘which passes through the festive scene and becomes merged in it’.

Again, the composer expanded on this in conversation, saying that his inspiration was ‘a recollection of oldtime public rejoicings in the Bois de Boulogne attended by happy, thronging crowds’, with ‘the former drum and bugle band of the Garde Nationale, beating the tattoo as it approached from afar and passed out of sight’. The first section is in light-footed, flexible gigue time; the middle section is a march, counterpointed by the melody of the gigue as it nears its climax; there is a transition with a brief surge of expressive violin melody before the dance is resumed, eventually fading away to silence.

The last movement, ‘Sirens’, depicts ‘the sea and its countless rhythms, and presently, amongst the waves silvered by moonlight, is heard the mysterious song of the Sirens as they laugh and pass on’. Amid fantastically detailed orchestral textures, the seductive mermaids of classical antiquity are personified by the wordless female chorus. Towards the end, the cor anglais motif from the first movement returns: perhaps, as Calum MacDonald has ingeniously suggested, a punning reference to a different kind of siren; but also a subtle unifying gesture before the last of the work’s three quiet endings.

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PROGRAMME NOTES

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

Gabriel FAURÉ

PAVANE, OP. 50 LONDON PHILHARMONIC CHOIR

1845-1924

Fauré composed his Pavane in 1886 and ’87, shortly before starting work on his well-known Requiem. He originally conceived it as a piece for small orchestra alone. But he later added an optional part for chorus, to words by Count Robert de Montesquiou; and it is in this rarely heard version that it will be performed tonight.

The piece is in the moderately slow tempo of the Renaissance pavane, with an opening section of continuously unfolding, modally tinged melody, a

sterner middle section, and a subtly varied reprise. It resembles the Pavane for a dead Infanta by Fauré’s pupil Ravel in its steady tread and its use of pizzicato strings to suggest a guitar or lute. But compared to the Ravel it is less melancholy in its effect, and more elegantly nostalgic for the leisured era of open-air aristocratic entertainments in pre-Revolutionary France – an effect reinforced by Montesquiou’s verses, which touch lightly on the pains of love.

C’est Lindor! c’est Tircis! et c’est tous nos vainqueurs!

C’est Myrtil! c’est Lydé! les reines de nos coeurs.

Comme ils sont provocants! Comme ils sont fiers toujours!

Comme on ose régner sur nos sorts et nos jours!

Faites attention! Observez la mesure!

O la mortelle injure!

La cadence est moins lente! Et la chute plus sûre!

Nous rabattrons bien leurs caquets!

Nous serons bientôt leurs laquais!

Qu’ils sont laids! Chers minois!

Qu’ils sont fols! Airs coquets!

Et c’est toujours de même. Et c’est ainsi toujours!

On s’adore! on se hait! on maudit ses amours!

It’s Lindor! It’s Tircis! And all our conquerors!

It’s Myrtil! It’s Lydé! The queens of our hearts.

How provocative they are! How proud they are always!

Adieu Myrtil! Eglé! Chloé! démons moqueurs!

Adieu donc et bons jours aux tyrans de nos coeurs!

Et bons jours!

How they dare to reign over our destinies and our days!

Pay attention! Keep to the beat!

O the mortal insult!

The ending is less slow! And the fall more certain!

We shall beat back their chatter!

We shall soon be their lackeys!

How ugly they are! Dear pretty faces!

What madcaps they are! Coquettish airs!

And it’s always the same. And always will be!

We adore them! We hate them! We curse their love affairs!

Farewell Myrtil! Eglé! Chloé! Mocking demons!

Farewell then and good day to the tyrants of our hearts!

And good day!

Robert, Comte de Montesquiou-Fezensac (1855-1921)

English translation © Eric Mason

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PROGRAMME NOTES

Francis POULENC

STABAT MATER LISA MILNE soprano LONDON PHILHARMONIC CHOIR

1899-1963

Poulenc once told an interviewer that he had put ‘the best and most genuine part of myself’ into his sacred music. He regained the Catholic faith of his childhood in 1936 on a visit to the shrine of the Virgin Mary at Rocamadour in the south of France, a place which always remained important to him; and after that he maintained it sincerely, considering it not at all at odds with what he called his ‘Parisian sexuality’. When his friend Christian Bérard, a well-known theatre designer, died in 1949, Poulenc decided to commemorate him not with a Requiem but with a setting of the Stabat Mater, the 13th-century prayer for salvation addressed to the Virgin as mother of the crucified Christ. The published score is dedicated ‘to the memory of Christian Bérard, to commit his soul to Our Lady of Rocamadour’. Poulenc wrote the work – his first sacred composition for chorus and orchestra – at high speed in the summer and autumn of 1950, and orchestrated it the following April, in time for the première at the Strasbourg Festival in June.

The Stabat Mater is scored for solo soprano, five-part choir (including baritones as well as basses) and a substantial orchestra. The twenty verses of the prayer are grouped into twelve movements, separated by shorter or longer pauses according to precise directions

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in the score. The musical language owes something to the Renaissance in its references to the old church modes and in passages of vocal counterpoint, and something to the Baroque in its use of rhythmic figures of the period and its foundation on a firm bass line – occasionally in familiar patterns such as the four-note descending scale underpinning the very start and the first choral entry. But the music is always characteristic of the composer, constructed in short, shapely melodic phrases, responsive to the text, over rich and supple chromatic harmonies. As for the work’s overall design, Poulenc’s main concern seems to have been to ensure maximum variety between and sometimes within movements. While the prevailing mood is sombre and reverential, there are quick movements which are by turns violent, easy-going and relaxed; the ‘Eja mater’ is even carefree in Poulenc’s blithe manner of the 1920s.

And there is a wide range of textures, with a number of passages for unaccompanied voices – notably the ‘Fac ut ardeat’, which is effectively a motet for the three upper choral parts with instrumental interjections – and with the solo soprano adding an extra element of dramatic expression to ‘Vidit suum’, ‘Fac ut portem’ and the closing vision of Paradise.

Programme notes by Anthony Burton © 2010

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PROGRAMME NOTES

1. Stabat mater dolorosa Chorus Stabat mater dolorosa Juxta crucem lacrymosa Dum pendebat filius.

The sorrowing mother stood weeping beside the cross where hung her son.

2. Cujus animam gementem Chorus Cujus animam gementem Contristatem et dolentem Pertransivit gladius.

Her groaning spirit, saddened and lamenting, a sword had pierced.

3. O quam tristis Chorus O quam tristis et afflicta Fuit illa benedicta Mater unigeniti.

Oh how sad and afflicted was that blessed mother of the only-begotten.

4. Quae moerebat Chorus Quae moerebat et dolebat Pia mater dum videbat Nati poenas inclyti.

She mourned and sorrowed gentle mother as she saw the sufferings of her glorious son.

5. Quis est homo Chorus Quis est homo qui non fleret Matrem Christi si videret In tanto supplicio?

Who is the man who would not weep if he saw the mother of Christ in such distress?

Quis non posset contristari Matrem Christi contemplari Dolentem cum filio?

Who could not sorrow contemplating the mother of Christ grieving with her son?

Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum.

For the sins of his people she saw Jesus in torment and subjected to the scourge.

6. Vidit suum Soprano and Chorus Vidit suum dulcem natum Morientem desolatum Dum emisit spiritum.

She saw her sweet child dying in desolation as he gave up the spirit.

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PROGRAMME NOTES

7. Eja mater Chorus Eja mater, fons amoris, Me sentire vim doloris Fac ut tecum lugeam.

Ah mother, source of love, let me feel the force of grief that I may weep with thee.

8. Fac ut ardeat Chorus Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam.

Make my heart blaze with love of Christ God that I may please him.

9. Sancta mater Chorus Sancta mater, istud agas, Crucifixi fige plagas Cordi meo valide.

Holy mother, grant this, stamp the wounds of the crucified firmly on my heart.

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

That thy wounded son, who deigned to suffer for me, may share with me his sufferings.

Fac me vere tecum flere Crucifixo condolere Donec ego vixero.

Make me truly weep with thee grieve with thee for the crucified as long as I live.

Juxta crucem tecum stare Te libenter sociare In planctu desidero.

Beside the cross to stand with thee to join thee willingly in mourning I desire.

Virgo virginum praeclara, Mihi jam non sisamara, Fac me tecum plangere.

Virgin supreme among virgins, do not now be harsh to me, let me weep with thee.

10. Fac ut portem Soprano and Chorus Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere.

Grant I may bear Christ’s death, grant me a share in his passion, and remembrance of his wounds.

Fac me plagis vulnerari, Cruce hac inebriari Ob amorem filii.

Let me be wounded with his wounds, by this cross be filled with love for thy son.

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PROGRAMME NOTES

11. Inflammatus et accensus Chorus Inflammatus et accensus, Per te, virgo, sim defensus In die judicii.

Inflamed and afire, through thee, virgin, let me be defended on the Day of Judgement.

Christe cum sit hinc exire Da per matrem me venire Ad palmam victoriae.

Christ, when I must pass away grant that through thy mother I may come to the palm of victory.

12. Quando corpus Soprano and Chorus Quando corpus morietur, Fac ut animae donetur Paradisi gloria.

Amen.

When my body dies, grant that my spirit may be given the glory of paradise.

Amen.

English translation © Eric Mason, 1982

Download London Philharmonic Orchestra recordings from www.lpo.org.uk/shop It’s easy to take the London Philharmonic Orchestra with you wherever you go! Visit our downloads site to choose the works (or even single movements) you’d like to buy, and download high quality MP3s to your computer for transfer to an MP3 player or CD. With regular additions of new recordings with conductors from Beecham to Jurowski you’ll always have a selection of great music to choose from.

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LATEST RECORDING ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

FUNharmonics Family Concert

Dreams Sunday 14 March 2010 | 11.30am Royal Festival Hall

Obtain an exclusive pre-release copy of

Davenport In the Night Garden (theme) Debussy Prélude à l’après-midi d’un faune (excerpt) Saint-Saëns Danse macabre Marianelli The Starfish’s Story Various Classical Lullabies Silvestri The Polar Express (theme) Stuart Stratford conductor Chris Jarvis presenter

BRAHMS: A GERMAN REQUIEM conducted by

YANNICK NÉZET-SÉGUIN Yannick Nézet-Séguin’s first CD on the London Philharmonic Orchestra’s own label will be released in April. The CD is a live performance of Brahms’s German Requiem with soloists Elizabeth Watts and Stéphane Degout, and the London Philharmonic Choir, taken from a concert given on 4 April 2009 at the Royal Festival Hall.

You can buy the CD this evening at the MDC desk in the foyer or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk.

It will be available from all good retailers from April.

16 | London Philharmonic Orchestra

Foyer Events from 10am You can try your hand at playing an orchestral instrument in one of our Have-a-Go sessions, get your face painted or join our human orchestra – all in the foyers before and after the performance.

Generously supported by The Jeniffer & Jonathan Harris Charitable Trust.

TICKETS Child £4-£7; Adult £8-£14 For booking details see page 20.

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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 Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie and Zander Sharp Eric Tomsett Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen

Commander Vincent Evans 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 & 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 Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough 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 Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen 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 Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC

Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Andor Charitable Trust The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust

Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Serge Rachmaninoff Foundation Stansfield Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Underwood Trust and others who wish to remain anonymous.

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PHILHARMONIC NEWS

The Band Now in its second year, The Band has gone from strength to strength. The project is the London Philharmonic Orchestra’s youth fusion group and it gives aspiring young musicians from south London the chance to work with members of the Orchestra in creative composition workshops.

Led by workshop leader Phil Mullen, the sessions give approximately 30 young people from a wide crosssection of south London the opportunity to compose in a range of different styles. The music they create can incorporate classical, mainstream rock and pop, folk, jazz and experimental styles but, above all, reflects their passion for music-making. They can observe first-hand the Orchestra members’ skills and expertise, and learn from them what it means to be a member of a musical ensemble. This will give them an invaluable experience that will assist them in their future musical lives – wherever these may lead them.

It also gives them a level of access to the Orchestra they might not otherwise experience. Last term, Band members were given the chance to observe a full orchestral rehearsal of Tchaikovsky’s 4th Symphony, conducted by Vladimir Jurowski. ‘I felt inspired’, Lidia (19) said about the opportunity, ‘they were all looking at the conductor and they understood everything he was doing’.

The group is currently working towards its next concert on the Clore Ballroom, Royal Festival Hall, at 5.30pm on Friday 12 March. The performance will include pieces inspired by Ravel’s Mother Goose Suite and Schumann’s Piano Concerto, both of which are featured in the evening concert shortly afterwards.

Members of The Band take a break during rehearsals for their summer 2009 concert

London Philharmonic Orchestra’s 2010/11 Season at Southbank Centre Look out for brochures for next season’s concerts which will be available at the Royal Festival Hall from 22 February. If you can’t wait that long, visit our website www.lpo.org.uk where the concerts will be available to book online from 15 February.

With a major focus on Mahler during his anniversary year and concerts with Evgeny Kissin, Thomas Hampson, Kurt Masur, Anne-Sophie Mutter, Marin Alsop, Christian Tetzlaff, Osmo Vänskä and Neeme Järvi, there is much to look forward to next season.

Principal Conductor, Vladimir Jurowski sets the scene on 22 September with a concert of Zemlinsky and Mahler and Principal Guest Conductor Yannick NézetSéguin’s repertoire includes Mahler, Fauré and Berlioz.

If you know anyone aged between 15 and 19 from Southwark, Lambeth or Lewisham, whom you think would be perfect for the group, do let them know about it. They can join by visiting www.lpo.org.uk/theband

We renew our partnership with Opera Rara in a performance of Rossini’s Aureliano in Palmira and welcome our new Composer in Residence Julian Anderson with performances of his The Stations of the Sun and The Crazed Moon.

The Band receives support from The Emmanuel Kaye Foundation.

If you can’t get to the Royal Festival Hall or view online, telephone 020 7840 4200 for a free brochure.

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director

*Non-Executive Directors

Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

THE LONDON PHILHARMONIC TRUST

Joshua Foong Finance Officer

Pehr Gyllenhammar Chairman Desmond Cecil CMG Sir George Christie CH Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Timothy Walker AM † Laurence Watt Simon Yates

CONCERT MANAGEMENT

AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Horwath Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor

Roanna Chandler Concerts Director Ruth Sansom Artistic Administrator Graham Wood Concerts, Recordings and Glyndebourne Manager Alison Jones Concerts Co-ordinator Hattie Garrard Tours and Engagements Manager Camilla Begg Concerts and Tours Assistant Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian Michael Pattison Stage Manager Hannah Tucker Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

EDUCATION AND COMMUNITY PROGRAMME

ARCHIVES Edmund Pirouet Consultant

Matthew Todd Education and Community Director

Philip Stuart Discographer

Anne Newman Education Officer

Gillian Pole Recordings Archive

Isobel Timms Community Officer

INTERN

Alec Haylor Education and Community Assistant

Jo Langston Marketing

Richard Mallett Education and Community Producer

LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242

DEVELOPMENT Emma O’Connell Development Director Nick Jackman Charitable Giving Manager Phoebe Rouse Corporate Relations Manager Sarah Tattersall Corporate Relations and Events Manager Anna Gover Charitable Giving Officer Melissa Van Emden Corporate Relations and Events Officer MARKETING Kath Trout Marketing Director

www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities.

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photographs of Ravel, Debussy, Fauré and Poulenc courtesy of the Royal College of Music, London.

Photograph on the front cover

by Benjamin Ealovega.

Programmes printed by Cantate.

Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Heather Barstow Marketing Co-ordinator Valerie Barber Press Consultant (Tel: 020 7586 8560) †Supported by Macquarie Group

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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

Wednesday 17 February 2010 | 7.30pm Tchaikovsky Fantasy Overture, Romeo and Juliet Prokofiev Piano Concerto 1 Prokofiev Romeo and Juliet (excerpts) Vladimir Jurowski conductor Alexander Toradze piano

24 February 2010 | FREE Pre-Concert Event 6.15pm | Royal Festival Hall Musicologist Stephen Johnson takes a closer look at Shostakovich’s The Gamblers and The Nose.

JTI Friday Series | Friday 12 March 2010 | 7.30pm Ravel Mother Goose Suite Schumann Piano Concerto Brahms Symphony 2 Vladimir Jurowski and Alexander Toradze

Gunther Herbig conductor Hélène Grimaud piano

Saturday 20 February 2010 | 7.30pm Janá˘cek Taras Bulba Janá˘cek The Eternal Gospel Suk Symphony 2 (Asrael)

Gunther Herbig and Hélène Grimaud

Vladimir Jurowski conductor Sofia Fomina soprano Michael König tenor London Philharmonic Choir

Wednesday 17 March 2010 | 7.30pm

Barlines | FREE Post-Concert Event Clore Ballroom Floor, Royal Festival Hall Foyer An informal discussion with Vladimir Jurowski following the evening’s performance.

Wagner Lohengrin, Prelude to Act 1 Brahms Violin Concerto Bartók Concerto for Orchestra Ludovic Morlot conductor Anne-Sophie Mutter violin FREE Pre-Concert Event 6.00pm | Royal Festival Hall A performance by Lambeth and Southwark school children marking the culmination of their composition project, inspired by this evening’s repertoire.

Sofia Fomina and Michael König

Wednesday 24 February 2010 | 7.30pm Shostakovich The Gamblers Shostakovich Suite from ‘The Nose’ Shostakovich Symphony 1 Vladimir Jurowski conductor Mikhail Urusov Ikharev, a gambler Vladimir Ognev Gavryushka, his servant Sergei Leiferkus Uteshitelny, a gambler Sergei Aleksashkin Shvokhnev, a gambler Viacheslav Voynarovskiy Krugel, a gambler Mikhail Petrenko Alexey, his servant

20 | London Philharmonic Orchestra

TO BOOK

Tickets £9-£38 / Premium seats £55 London Philharmonic Orchestra Ticket Office 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members