LPO Prog notes 17 Nov 10 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†

MAHLER ANNIVERSARY

PROGRAMME £3

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 17 November 2010 | 7.30pm

KAZUSHI ONO conductor NATHALIE STUTZMANN contralto

RICHARD STRAUSS Death and Transfiguration MAHLER Rückert-Lieder

2 3 4 5 6 7 12 13 14 15 16

List of Players Orchestra History Leader Kazushi Ono Nathalie Stutzmann Programme Notes Recordings Supporters Southbank Centre Administration Future Concerts

The timings shown are not precise and are given only as a guide. (24’)

(17’)

INTERVAL RAVEL Suites Nos 1 and 2 from ‘Daphnis et Chloé’ (27’)

†

CONTENTS

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Julia Rumley Katalin Varnagy Martin Höhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Florence Schoeman Rebecca Shorrock Alain Petitclerc Toby Tramaseur Joanne Chen Kay Chappell Amanda Smith Alina Petrenko Caroline Frenkel Lisa Obert Caroline Simms SECOND VIOLINS Jeongmin Kim Principal Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Ashley Stevens Andrew Thurgood Dean Williamson Sioni Williams Alison Strange Stephen Stewart Sheila Law Elizabeth Baldey Steve Dinwoodie VIOLAS Vicci Wardman Guest Principal Robert Duncan Susanne Martens Benedetto Pollani Laura Vallejo Daniel Cornford Alistair Scahill Isabel Pereira

Naomi Holt Sarah Malcolm Miranda Davis Claudio Cavalletti

COR ANGLAIS Sue Bohling Principal

CELLOS Susanne Beer Principal Gregory Walmsley Santiago Sabino Carvalho + Jonathan Ayling

OBOE D’AMORE Timothy Watts

Chair supported by Caroline, Jamie and Zander Sharp

Sue Sutherley Susanna Riddell Helen Rathbone Emma Black Alexandra Mackenzie David Bucknall DOUBLE BASSES Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Tom Walley Joe Melvin Helen Rowlands FLUTES Jaime Martin* Principal Eilidh Gillespie Stewart McIlwham* PICCOLOS Stewart McIlwham* Principal Eilidh Gillespie

Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Emily Meredith

BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal PERCUSSION Rachel Gledhill Principal Andrew Barclay* Co-Principal

E FLAT CLARINET Nicholas Carpenter Principal BASS CLARINET Paul Richards Principal BASSOONS John Price Principal Gareth Newman* Laurence O’Donnell CONTRA BASSOON Simon Estell Principal HORNS John Ryan Principal Nicholas Korth Guest Principal Martin Hobbs Emma Whitney Gareth Mollison

Chair supported by Andrew Davenport

Keith Millar Jeremy Cornes Sam Walton Gary Kettel Matthew Dickenson Eddie Hackett Sarah Cresswell HARPS Rachel Masters* Principal Lucy Haslar KEYBOARD Catherine Edwards

TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

ALTO FLUTE Susan Thomas*

Tom Rainer Tony Cross

OBOES Ian Hardwick Principal William Oinn

TROMBONES Mark Templeton* Principal David Whitehouse

* 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: David and Victoria Graham Fuller John and Angela Kessler Richard and Victoria Sharp The Tsukanov Family Simon Yates and Kevin Roon

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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 premières 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, Spain, 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. 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.

‘ … a simply tremendous performance of Mahler’s 3rd Symphony … Jurowski and his players plunged us into a winter of discontent so profoundly expectant that even the inveterate coughers were silenced.’ EDWARD SECKERSON, THE INDEPENDENT, 23 SEPTEMBER 2010

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, download our iPhone application and join us on Facebook and Twitter.

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

Patrick Harrison

LEADER

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KAZUSHI ONO CONDUCTOR

Stuttgart, Frankfurt and Cologne as well as the BBC Symphony and BBC National Orchestra of Wales. This season Kazushi Ono made his debut with the London Symphony Orchestra, conducting Sibelius’s Symphony No. 5 at the Festival d'Aix-en-Provence.

Described as ‘one of the most fascinating musical minds of our era’ and ‘a phenomenon’ (Le Figaro) Kazushi Ono has held the position of Principal Conductor of the Opéra de Lyon since the start of the 2008/09 season. His first season included new, award-winning and critically acclaimed productions of Prokofiev’s The Gambler and Berg’s Lulu. Productions for the 2009/10 season included Puccini’s Manon Lescaut and the world première of a new work, Emilie, by Saariaho. Kazushi Ono’s career has involved a number of high profile positions including Principal Conductor of the Tokyo Philharmonic Orchestra (1992-2001) and General Music Director of the Badisches Staatstheater (19962002). In 2002 he succeeded Antonio Pappano as Music Director of La Monnaie, Brussels, where his debut production of Strauss's Elektra was described by the Suddeutsche Zeitung as ‘the miracle of Brussels’. He enjoyed six highly successful seasons at La Monnaie before moving to the Opéra de Lyon in September 2008. He is also Conductor Laureate of the Tokyo Philharmonic Orchestra. These positions are testimony to the importance he places on devoting time to building foundations and forging strong relationships with orchestras.

Kazushi Ono has conducted almost all the Wagner operas, most notably the complete Ring cycle at the Karlsruhe Opera during his tenure there from 1996 to 2002 as well as several operatic world premières including Luca Francesconi’s Ballata, Toshio Hosokawa’s Hanjo and Philippe Boesmans’ Julie. He will return to the Metropolitan Opera, New York, this season following his successful debut there with Aida in 2007. His recent guest opera engagements include Elektra at the Deutsche Oper Berlin, Verdi’s Macbeth at La Scala, Hänsel und Gretel at Glyndebourne and a new production of Szymanowski’s King Roger at the Opéra de Paris. He also has a strong affection for the theatre and works not only with established opera directors such as Luc Bondy, Peter Stein, Laurent Pelly and David McVicar but has also enjoyed collaborations with artists outside the traditional opera field such as the visual artist Jan Fabre, choreographer Anne Teresa de Keersmerker and film director François Girard. His varied catalogue of CD recordings demonstrates his wide repertoire, ranging from Chin, Gubaidulina, Britten, Turnage and Rihm to Shostakovich, Mahler, Strauss and Tchaikovsky. Other recent recordings include a 2009 Decca DVD of the acclaimed Glyndebourne production of Humperdinck’s Hänsel und Gretel filmed with the London Philharmonic Orchestra as well as releases from the Opus Arte label featuring productions of Aida and The Rake’s Progress, both with La Monnaie, Brussels.

In addition to these tenures, Kazushi Ono has been a guest conductor with some of the world’s leading international orchestras such as the Boston Symphony, Israel Philharmonic, Leipzig Gewandhaus, City of Birmingham Symphony, London Philharmonic, Oslo Philharmonic and Academia Santa Cecilia. Together with radio orchestras such as the Orchestre Philharmonique de Radio France, Vienna Radio Symphony, Danish Radio and Finnish Radio, he has also conducted numerous German radio orchestras including Hamburg, Freiburg,

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NATHALIE STUTZMANN

Jean-François Leclercq

CONTRALTO

Regarded as one of the most important musical personalities of our time and as the possessor of a rare and authentic contralto voice, Nathalie Stutzmann has very recently signed an exclusive contract with Deutsche Grammophon as a singer and conductor. A first recording, Prima Donna, dedicated to the great Vivaldian contraltos will be released in April 2011. She will sing and also conduct her own ensemble, Orfeo 55. Nathalie Stutzmann works regularly with the most important conductors such as Seiji Ozawa, Sir Simon Rattle, Mariss Jansons, Sir John Eliot Gardiner, Christoph Eschenbach, Jukka-Pekka Saraste and Marc Minkowski and with the most prestigious orchestras including the Berlin Philharmonic Orchestra, Vienna Philharmonic Orchestra, New York Philharmonic, London Symphony Orchestra, Orquesta Nacional de España and Orchestre de Paris. An accomplished all-round musician, Nathalie Stutzmann started studying the piano, bassoon, chamber music and also conducting at an early age. Parallel to her career as a singer, she devotes part of each season to her own chamber orchestra, Orfeo 55, created in 2009 and in residence at the Arsenal in Metz, as well as to her activities as a guest conductor. In 2011, for the celebration of the 100th anniversary of the death of Gustav Mahler, Nathalie Stutzmann will give many Mahler performances. Sir Simon Rattle has invited her to sing the Symphonies Nos 3 and 8 in Berlin at the Philharmonie, in London at the Royal Festival Hall and in Amsterdam at the Concertgebouw. She will also sing Mahler in Munich with the Bayerische Rundfunk Orchester and Mariss Jansons, in Washington with the National Symphony Orchestra and Christoph

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Eschenbach and in Sao Paulo with the Orquestra Sinfônica do Estado de São Paulo and Giancarlo Guerrero. During the season, she will also sing at the Salle Pleyel in Paris, at Boston Symphony Hall and at the Auditorio Nacional in Madrid. As a recitalist, Nathalie Stutzmann is particularly renowned for her interpretations of German Lied and French song which she performs all over the world with the Swedish pianist Inger Södergren. In the next months, the duo will appear in Paris, Tokyo, Madrid and The Hague. With Orfeo 55, she will perform in Paris, Amsterdam, Monte Carlo, Bordeaux and Metz as well as in Spain at the Festival of Cuenca and in Toroella. This season, she has been invited as a guest conductor by the Kuopio Symphony Orchestra in Finland, by the Pomeriggi Musicali in Milan and by the orchestras in Montpellier, Nancy and Metz to conduct music from the classical and romantic repertoires. Nathalie Stutzmann studied singing with her mother, Christiane Stutzmann, and then at the Ecole d’Art Lyrique de l’Opéra de Paris with Hans Hotter amongst others. She studied conducting with Jorma Panula. She has made more than 75 recordings. Among her recent releases are Schubert’s Die schöne Müllerin with Inger Södergren, Bach Cantatas and Brahms’s Alto Rhapsody both conducted by Sir John Eliot Gardiner, Ravel’s L’Enfant et les sortilèges with the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle, and Bach’s Mass in B minor conducted by Marc Minkowski. Nathalie Stutzmann regularly gives masterclasses throughout the world and is a Chevalier des Arts et des Lettres.

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PROGRAMME NOTES

SPEEDREAD Before the triumphant première of Don Juan in 1889 Richard Strauss was already at work on his next, more audacious symphonic poem, Death and Transfiguration, which he brought out successfully the following year. He was still only in his mid-twenties. We are to imagine a dying man dreaming of childhood days and youthful love. After a feverish struggle he dies and is transfigured, his earthly aspirations realised in an apotheosis of perfect calm. Gustav Mahler was four years older than Strauss, which means that we are marking this year the 150th anniversary of his birth and next year the centenary of

Richard STRAUSS

his early death. Mahler was, like Strauss, a great song composer, and this evening’s five settings of poems by Friedrich Rückert are among his finest. We end this evening with the two suites from Daphnis et Chloé, the luscious masterpiece that Ravel composed for Diaghilev’s Ballets Russes. Set in ancient Greece, the ballet tells the love story of a goatherd and shepherdess. When pirates abduct Chloé, Daphnis prostrates himself before the god Pan, who puts the pirates to flight. Ravel said that he aimed to be loyal to the Greece of his dreams, which he associated with scenes painted by 18th-century French artists. © Eric Mason

DEATH AND TRANSFIGURATION, OP. 24

1864-1949 It was Liszt who invented the term ‘symphonic poem’ to describe orchestral works in one movement inspired by his response to a poem, drama, painting or other extramusical subject. Strauss greatly developed this genre, making his own symphonic poems psychological or even in part philosophical studies. They survive, however, by their musical qualities. As Strauss put it: ‘I am a musician first and last, for whom all “programmes” are merely the stimulus to the creation of new forms and nothing more’. In the spring of 1889, with Macbeth and Don Juan completed but not yet performed, Strauss began the more ambitious Tod und Verklärung (Death and Transfiguration). After a summer in Bayreuth he took up an appointment as assistant conductor at the Weimar Opera in October, and in that city the following month he conducted the first performance of Don Juan, which made him nationally famous virtually overnight. His new status as the most important composer since Wagner was confirmed the next summer when he

conducted in nearby Eisenach on 21 June the première of Death and Transfiguration. He prefaced the score with a poem by Alexander Ritter, but the music inspired the poem, not vice-versa. We are to imagine a man lying on his deathbed. Racked with pain, he remembers his childhood, his early loves and his striving towards ideals he has never attained. At length he dies and, transfigured, finds ‘gloriously achieved in everlasting space those things which could not be fulfilled here below’. The music is a masterly tapestry of mainly short motives woven into the quasi-symphonic form of an introduction, main movement and epilogue. In the Largo introduction one may picture the sickroom and sense the fitful beat of the dying man’s pulse. He dreams of childhood days and youthful love, a combination of two woodwind motives and a longer descending theme (oboe and solo violin) which begins with an upward octave leap. A sudden change to Allegro

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PROGRAMME NOTES

molto agitato signals the man’s recall to his present plight. There follows a feverish struggle, at the height of which the brass introduce the transfiguration theme, a rising phrase incorporating an octave leap. The oboe/ violin theme of young love is tenderly recollected and develops into an ardent love scene with menacing intrusions by present reality. The aspiring transfiguration theme reappears but fades into the hush of the work’s opening. With a pitiless hammering death makes its

final attack; a deep gong marks the man’s passing from this world. At last his aspirations are realised. In an apotheosis of perfect calm the earlier motives coalesce and the transfiguration theme achieves its fullest expression. On his own deathbed sixty years later Strauss said: ‘Dying is just as I composed it in Tod und Verklärung.’ © Eric Mason

Gustav MAHLER 1860-1911 The majority of Mahler’s songs are settings of German folk poetry, but between 1901 and 1904 – the period of the Fifth and Sixth Symphonies – he became engrossed with the poems of Friedrich Rückert (1788-1866) and set ten for voice and orchestra. Five songs form the cycle of Kindertotenlieder (Songs on the Death of Children). The other five, which we hear this evening, are separate, unconnected songs, each accompanied by a differently constituted orchestra. The composer’s very careful choice of instrumental tone colours for each setting brings out the musical subtlety of these songs. In Blicke mir nicht in die Lieder, Mahler’s closest approach to the style of Hugo Wolf, the orchestra comprises single woodwind, horn, harp and muted strings without basses. A softly buzzing string figure suggests the bees to which the poem refers. Ich atmet’ einen linden Duft is as fragrant in its music as the poem. Its vocal line is delicately supported by single woodwind, horns, celeste, harp and muted violins and violas. The poem is a play on the words lind (gentle, mild, soothing) and Linde (lime tree). Um Mitternacht is scored for wind, harp, piano and timpani, omitting strings. The anxiety of the awakened sleeper, alone and apprehensive in the dark, is evoked by

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RÜCKERT-LIEDER NATHALIE STUTZMANN contralto Blicke mir nicht in die Lieder | Ich atmet’ einen linden Duft | Um Mitternacht | Liebst du um Schönheit | Ich bin der Welt abhanden gekommen an insistent three-note figure matching the poem’s repeated Mitternacht and by a scale that repeatedly descends into the darkest depths of the orchestra. The declaration of faith in the Almighty brings an instant transformation; the timbres lighten and the scale shines forth on the brass with firm confidence. Mahler composed Liebst du um Schönheit as a love-song to his wife, Alma. In Gustav Mahler: Memories and Letters (John Murray) she related that she used to play a lot of Wagner and that her husband slipped the song into a score of Die Walküre. ‘He waited day after day for me to find it, but I never happened to open the volume, and his patience gave out. “I think I’ll take a look at Die Walküre today”, he said abruptly. He opened it and the song fell out. I was overwhelmed with joy and we played it that day twenty times at least.’ This exquisite song is scored for woodwind (without flutes), four horns, harp and strings. Ich bin der Welt abhanden gekommen is one of Mahler’s most profoundly felt songs, sharing the mood of the Adagietto in the Fifth Symphony. The scoring is for woodwind (without flutes), two horns, harp and strings. A cor anglais outlines the melody, which the singer takes up and extends with instrumental assistance and finally relinquishes to the cor anglais.

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PROGRAMME NOTES

1. Blicke mir nicht in die Lieder! Meine Augen schlag ich nieder, wie ertappt auf böser Tat. Selber darf ich nicht getrauen ihrem Wachsen zuzuschauen. Deine Neugier ist Verrat!

1. Don’t peep at my songs! I cast my eyes down, as if caught doing wrong. I do not let myself venture to watch them grow. Your curiosity is betrayal!

Bienen, wenn zie Zellen hauen, lassen auch nicht zu sich schauen, schauen selbst auch nicht zu. Wenn die reichen Honigwaben sie zu Tag befördert haben, dann vor allen nasche du!

Bees, when they are forming cells, don’t let one watch them either, and do not watch themselves. When the rich honeycombs have been brought to light, then be first to take your fill!

2. Ich atmet’ einen linden Duft. Im Zimmer stand ein Zweig der Linde, ein Angebinde von lieber Hand. Wie lieblich war der Lindenduft. Wie lieblich ist der Lindenduft, das Lindenreis brachst du gelinde! Ich atme leis’ im Duft der Linde, der Liebe linden Duft.

2. I breathed a gentle fragrance. In the room stood a sprig of lime, a present from a beloved hand. How lovely was the scent of lime. How lovely is the scent of lime, the twig of lime you gently plucked! I softly breathe the lime’s fragrance, the gentle fragrance of love.

3. Um Mitternacht hab’ ich gewacht und aufgeblickt zum Himmel; kein Stern vom Sterngewimmel hat mir gelacht um Mitternacht.

3. At midnight I lay awake and looked up to the sky; no star in the myriads of stars smiled at me at midnight.

Um Mitternacht hab’ ich gedacht hinaus in dunkle Schranken. Es hat kein Lichtgedanken mir Trost gebracht um Mitternacht.

At midnight my thoughts went out to the limits of darkness. No thought of light brought me comfort at midnight.

Um Mitternacht nahm ich in Acht die Schläge meines Herzens; ein einz’ge Puls des Schmerzens war angefacht um Mitternacht.

At midnight I took heed of the beating of my heart; a single pulse of pain was fanned into flame at midnight.

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PROGRAMME NOTES

Um Mitternacht kämpft’ ich die Schlacht, o Menschheit, deiner Leiden; nicht konnt’ ich sie entscheiden mit meiner Macht um Mitternacht.

At midnight I fought the battle, o mankind, of your sorrows; I could not decide it with my strength at midnight.

Um Mitternacht hab’ ich die Macht in deine Hand gegeben! Herr! über Tod und Leben du hältst die Wacht um Mitternacht.

At midnight I gave my strength into Thy hands! Lord! Over death and life Thou keepest watch at midnight.

4. Liebst du um Schönheit, o nicht mich liebe! Liebe die Sonne, sie trägt ein goldnes Haar! Liebst du um Jugend, o nicht mich liebe! Liebe den Frühling, der jung ist jedes Jahr! Liebst du um Schätze, o nicht mich liebe! Liebe die Meerfrau, sie hat viel Perlen klar! Liebst du um Liebe, o ja, mich liebe! Liebe mich immer, dich lieb’ ich immer, immerdar!

4. If you love for beauty’s sake, oh love me not! Love the sun, for it has golden hair! If you love for youth’s sake, oh love me not! Love the spring, which is young every year! If you love for treasure’s sake, oh love me not! Love the mermaid, she has many bright pearls! If you love for love’s sake, oh yes, love me! Love me for ever, I’ll love you for ever, evermore!

5. Ich bin der Welt abhanden gekommen, mit der ich sonst viele Zeit verdorben; sie hat so lange nichts von mir vernommen, sie mag wohl glauben ich sei gestorben!

5. I have lost touch with the world, with which I used to waste much time; it has heard nothing of me for so long, it may well believe me dead!

Es ist mir auch gar nichts daran gelegen ob sie mich für gestorben hält. Ich kann auch gar nichts sagen dagegen, denn wirklich bin ich gestorben der Welt.

And it does not matter at all to me whether it takes me for dead. I can say nothing at all against that, for truly I am dead to the world.

Ich bin gestorben dem Weltgetümmel und ruh’ in einem stillen Gebiet! Ich leb’ allein in meinem Himmel, in meinem Lieben, in meinem Lied.

I am dead to the world’s hurly-burly and rest in a quiet land! I live alone in my heaven, in my loving, in my song.

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

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PROGRAMME NOTES

Maurice RAVEL

SUITES NOS 1 AND 2 FROM ‘DAPHNIS ET CHLOÉ’ Nocturne – Interlude – Danse guerrière Lever du jour – Pantomime – Danse générale

1875-1937 Ravel’s orchestral masterpiece was composed to Sergei Diaghilev’s commission for the Ballets Russes. Begun in 1909, it took the composer more than two years to complete, the closing scene alone occupying him for a full year. There were disagreements over the scenario, and the stage production was not achieved without quarrels, but the ballet finally opened at the Châtelet Theatre, Paris, on 8 June 1912 with Nijinsky and Karsavina dancing the title roles and Pierre Monteux conducting. Fokine was the choreographer and Bakst the designer. The ballet was not a real success, partly because its creators had divergent conceptions of ancient Greece. A later ballet choreographed by Sir Frederick Ashton in 1951 established itself in the repertoire of Britain’s Royal Ballet, but Ravel’s score is largely self-sufficient. The composer, who described it as a Symphonie chorégraphique, soon realised that the music could stand alone in the concert hall, and for that purpose he extracted two suites of ‘symphonic fragments’. Ravel aimed, he said, ‘to compose a broad musical fresco, concerned less with archaic fidelity than with loyalty to the Greece of my dreams, which is associated with the Greece imagined and depicted by the French artists of the latter part of the 18th century’. The score is constructed, as he pointed out, like a symphony with a strict system of tonality and a small number of themes, whose recurrence ensures homogeneity. It requires a large orchestra, and there is also a wordless chorus which, with the composer’s sanction, is usually omitted from the suites. Based loosely on a pastoral by the Greek sophist, Longus, who lived in the second or third century A.D., the ballet tells a simple love story. Towards the end of the first scene Daphnis, a goatherd, lies fainting on the ground, for pirates have abducted his shepherdess

sweetheart Chloé. The scene is a woodland grotto sacred to the god Pan. It contains three statues of nymphs, and one by one the nymphs (represented by solo flute, horn and clarinet respectively) descend from their pedestals and begin a slow dance. Perceiving Daphnis, they dry his tears and lead him to a rock upon which the form of Pan himself takes shape. Daphnis prostrates himself in supplication. An interlude (approaching horn and trumpet calls) accompanies the scene change to the pirates’ camp on a rocky coast. The pirates run to and fro, laden with booty and bearing torches. By the light of these they break into the warlike dance with which the first suite concludes. The second suite is the complete last scene of the ballet. Daphnis, unaware that Chloë has been saved, lies asleep as day breaks, and Ravel provides a marvellously sensitive evocation of a woodland dawn. At first there is only the murmur of rivulets formed by dew from the rocks. As the light strengthens, birdsong is heard and two shepherds (piccolo and E flat clarinet) pass by. Herdsmen find Daphnis and wake him. He looks in anguish for Chloë (theme on clarinets and divided violas) and suddenly she appears. They rush into each other’s arms as the sunrise theme on the strings reaches its full splendour and Pan’s intervention is made manifest. An old shepherd (oboe solo) explains that Pan saved Chloë in remembrance of the nymph Syrinx, whom the god loved. The young couple mime the story of Pan and Syrinx, Daphnis at one point fashioning a flute from some stalks and Chloë dancing to the tune he plays. Eventually she falls into his arms and he pledges his fidelity (a combination of two motto themes). Their friends arrive and join the reunited lovers in a joyful Danse générale. © Eric Mason London Philharmonic Orchestra | 11

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MAHLER RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0012 Klaus Tennstedt conducts Mahler’s Symphony No. 1 and Songs of a Wayfarer with Thomas Hampson ‘... 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

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

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-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

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 The Tsukanov Family Simon Yates & Kevin Roon

Guy & Utti Whittaker

Commander Vincent Evans Mr Daniel Goldstein Mrs Barbara Green 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

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

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

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 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 AREVA UK 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

Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation 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 Capital Radio’s Help a London Child The Idlewild Trust The Emmanuel Kaye Foundation 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 The Swan Trust John Thaw Foundation The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

London Philharmonic Orchestra | 13

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FREE Pre-Concert Event Royal Festival Hall 1 December 2010 | 6 pm Vladimir Jurowski conductor

FOYLE FUTURE FIRSTS orchestral apprenticeship programme Mahler Lieder eines fahrenden Gesellen (with Njabulo Madlala baritone) Kancheli Exil (with Allison Bell soprano)

The Foyle Future Firsts programme is generously funded by the Foyle Foundation with additional support from The Dâ€™Oyly Carte Charitable Trust, The Eranda Foundation, The Fenton Arts Trust and the Musicians Benevolent Fund.

SOUTHBANK CENTRE

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, CaffĂ¨ Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside 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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