20 Feb 10 - 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 20 February 2010 | 7.30 pm

PROGRAMME £3 CONTENTS 2 List of Players 3 Orchestra History 4 London Philharmonic Choir 5 Vladimir Jurowski 6 Sofia Fomina / Michael König 7 Programme notes 12 BBC Radio 3 / Recordings 13 Supporters 14 Southbank Centre 15 Administration 16 Future Concerts

VLADIMIR JUROWSKI conductor SOFIA FOMINA soprano MICHAEL KÖNIG tenor LONDON PHILHARMONIC CHOIR

JANÁČEK Taras Bulba

(23’)

JANÁČEK The Eternal Gospel

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

(19’)

INTERVAL SUK Asrael: Symphony for large orchestra in C minor

(62’) This concert is being recorded

by BBC Radio 3 for broadcast on Wednesday 24 February 2010.

†

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Alex Velinzon Guest Leader Vesselin Gellev Sub-Leader Julia Rumley Chair supported by Mrs Steven Ward

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

Geoffrey Lynn Yang Zhang Rebecca Shorrock Alain Petitclerc Peter Nall Galina Tanney Midori Sugiyama Toby Tramaseur SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

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

Nancy Elan Fiona Higham Nynke Hijlkema Andrew Thurgood Dean Williamson Heather Badke Peter Graham Stephen Stewart Mila Mustakova Sheila Law Elizabeth Baldey Charlotte Scott Lisa Obert

VIOLAS Alexander Zemtsov* Principal Fiona Winning Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Naomi Holt Daniel Cornford Isabel Pereira Miranda Davis CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon

Laura Donoghue Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Tae-Mi Song Tom Roff Emily Isaac David Bucknall Alexandra Mackenzie William Routledge Jessica Hayes DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Benjamin Griffiths Helen Rowlands Catherine Ricketts Louis Garson FLUTES Jaime Martin* Principal Eilidh Gillespie Stewart McIlwham*

PICCOLOS Stewart McIlwham* Principal Eilidh Gillespie OBOES Ian Hardwick Principal Angela Tennick Sue Bohling Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Emily Sutcliffe Paul Richards

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

Daniel Newell Chair supported by Mrs Steven Ward

TROMBONES Mark Templeton* Principal Richard Watkin BASS TROMBONE Lyndon Meredith Principal

E FLAT CLARINET Emily Sutcliffe

TUBA Lee Tsarmaklis Principal

BASS CLARINET Paul Richards Principal

TIMPANI Simon Carrington* Principal

BASSOONS Gareth Newman* Principal Emma Harding Joanna Stark Simon Estell

PERCUSSION Keith Millar Principal Ignacio Molins

CONTRA BASSOON Simon Estell Principal HORNS John Ryan Principal Martin Hobbs Nicolas Wolmark Gareth Mollison Hugh Seenan Ellie Reed Joseph Walters

HARP Rachel Masters* Principal ORGAN Catherine Edwards

ASSISTANT CONDUCTOR Ralf Sochaczewsky

*Holds a professorial appointment in London

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: John and Angela Kessler

2 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

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. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA.

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.

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 Dvo˘rák’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.

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

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 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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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 Lasma Anspoka, Annette Argent, Fiona Bantock, Tessa Bartley, Joanna Brown, Carole Cameron, Paula Chessell, Katja Cleasby, Sally Cottam, Shelia Cox, Sarah Deane-Cutler, Sophie Fetocacis, Alison Flood, Simone Gregoire, Jane Hanson, Sally Harrison, Sue Haycock, Elizabeth Hicks, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Charlotte Lawrence, Briana Lee, Cinde Lee, Sophie Mearing-Smith, Jane Morley, Jo Musgrove, Linda Park, Amaya Pitharas, Victoria Smith, Susan Thomas, Laura Westcott

Reigersberg, Helene Richards, Jenny Ryall, Stephanie Saffrey, Carolyn Saunders, Curzon Tussaud, Susi Underwood, Jenny Watson Tenors Geir Andreassen, Robert Beale, Chris Beynon, John Boyne, Brian Coulstock, Lorne Cuthbert, Kevin Darnell, Michael Delany, Jack Dixon, Dwayne Engh, Aloysius Fekete, Iain Handyside, Rob Home, Patrick Hughes, Bruce O’Brien, Rhydian Peters, Kevin Rainey, Paul Thirer, Alex Thomas

Altos Joanna Arnold, Phye Bell, Michelle Brockbank, Noel Chow, Yvonne Cohen, Liz Cole, Dulcie Conway, Janik Dale, Lauren Dibbs, Pat Dixon, Moira Duckworth, Fiona Duffy, Andrea Easey, Lynn Eaton, Carmel Edmonds, Regina Frank, Clare Galton, Suzanne Healey, Pamela Hider, Kasia Hunt, Edith Judd, Alice Kershaw, Alexis Kessler Calice, Andrea Lane, Laetitia Malan, Liz Moloney, Mary Moore, Rachel Murray, Elisabeth Nicol, Angela Pascoe, Georgina Pearson, Muriel Swijghuisen

Basses Ken Atkinson, Stephen Bonney, Gordon BukyWebster, Raymond Choi, Geoff Clare, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Jonathan Harbourne, Rylan Holey, Mark Hillier, Stephen Hines, Martin Hudson, Aidan Jones, David Kent, John Luff, Anthony McDonald, Rory Mulchrone, Will Parsons, Johan Pieters, James Reynolds, Indioney Rodrigues, Peter Sollich, Peter Taylor, Greg Thomas, 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 Rachmaninoff’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

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Last season’s highlights included performances of Beethoven’s Missa solemnis and Symphony 9, Dvořák’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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VLADIMIR JUROWSKI

Roman Gontcharov

CONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies at High Schools of Music in Dresden and in Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival, where he conducted RimskyKorsakov’s May Night. The same year saw his brilliant debut at the Royal Opera House Covent Garden in Nabucco. In 1996 Jurowski joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001.

Since 1997 Vladimir Jurowski has been a guest at some of the world’s leading musical institutions including the Royal Opera House Covent Garden, Teatro La Fenice Venice, Opéra Bastille Paris, Théâtre Royal de la Monnaie Brussels, Maggio Musicale Festival Florence, Rossini Opera Festival Pesaro, Edinburgh Festival, Semperoper Dresden and Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera New York with Rigoletto.

In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the title of Principal Artist of the Orchestra of the Age of Enlightenment, and from 2005 to 2009 served as Principal Guest Conductor of the Russian National Orchestra with whom he will continue to work in the years ahead.

Vladimir Jurowski has made highly successful debuts with a number of the world’s leading orchestras including the Berlin Philharmonic, Rotterdam Philharmonic, Royal Concertgebouw, Gewandhaus Leipzig, Chamber Orchestra of Europe and Dresden Staatskapelle, and in the USA with the Los Angeles Philharmonic, Pittsburgh Symphony and Philadelphia Orchestras. Highlights of the 2009/10 season and beyond include his debuts with the Bavarian Radio Symphony, Chicago Symphony and Cleveland Orchestras, and return visits to the Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchester Zurich, Accademia di Santa Cecilia, Dresden Staatskapelle and Philadelphia Orchestra.

His operatic work has included performances of Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at the Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan, and Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde and Peter Eötvös’ Love and Other Demons at Glyndebourne Opera. Future engagements include new productions of Don Giovanni and Die Meistersinger and a revival of The Rake’s Progress at Glyndebourne, and Iolanta at the Dresden Semperoper.

Jurowski’s discography includes the first ever recording of Giya Kancheli’s Exile for ECM (1994), Meyerbeer’s L’Etoile du nord for Naxos-Marco Polo (1996), Werther for BMG (1999), and live recordings of works by Rachmaninoff, Turnage, Tchaikovsky, Britten and Shostakovich on the London Philharmonic Orchestra’s own label, as well as Prokofiev’s Betrothal in a Monastery on Glyndebourne Opera’s own label. He also records for PentaTone with the Russian National Orchestra, releases to date having included Stravinsky’s Divertimento from Le Baiser de la fée, Tchaikovsky’s Suite No. 3 and Shostakovich’s Symphonies Nos 1 and 6, Prokofiev’s Symphony No. 5, and Tchaikovsky’s Incidental Music from Hamlet. Glyndebourne have released DVD recordings of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus and Rachmaninoff’s The Miserly Knight, and other recent DVD releases include Hänsel und Gretel from the Metropolitan Opera New York, and his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler (released by Medici Arts).

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SOFIA FOMINA

MICHAEL KÖNIG

SOPRANO

TENOR

Sofia Fomina was born in 1982 in Tselinograd in Russia.

She studied singing at the Orlovsk Music College from 1997 to 2001, and since 2001 at the Gnessin Academy of Music in Moscow. Her teachers are GN Znamenskaya, ZA Doluhanova and PA Kudryavchenko. She has also attended master classes given by Michael Pole and Eva Marton.

Michael König was born in Mutlangen, BadenWürttemberg, Germany. From 1976 to 1989 he was a member of the Schwäbisch Gmünder St Michael Boys’ Choir. In 1986 he received his first singing lessons from Professor Vera Scherr in Stuttgart and from 1992 onwards he studied voice with Rudolf Piernay at the music university in Mannheim as well as joining the classes of Robin Bowman, Cornelius Reid, Semion Skigin, Waltraud Meier, Daniel Ferro and Jörg Demus.

In 2006 she won the 9th International Mozart Competition in Salzburg and the following year won First Prize at the International Opera Workshop Competition ‘Schloss Laubach’.

At the Novosibirsk Opera Theatre she has sung Susanna in Le nozze di Figaro and Despina in Così fan tutte, as well as Carl Orff’s Carmina Burana under Theodor Kurentsis. As a soloist she sang Mozart’s Exsultate Jubilate in Orla and Bryansk, and Handel’s Dixit Dominus at the Moscow International Performance Arts Center with the Academic Chamber Orchestra ‘Musica Viva’ under Alexander Rudin. She has taken part in the 7th Sviridov Festival and in the ‘Three centuries of classical art songs’ Festival.

Since 2008 she has been a member of the State Theatre in Saarbrücken where her roles have included Rosina in Il barbiere di Siviglia, Valencienne in The Merry Widow, Gretel in Hänsel und Gretel, Susanna in Le nozze di Figaro and Drusilla in Il Tigrane. Her repertoire also includes the roles of Belinda in Dido and Aeneas, Musetta and Mimi in La bohème, Marfa in The Tsar’s Bride, the title role in The Snow Maiden and Ludmila in Russlan and Ludmila. In concert, she has also performed arias from Alcina, I puritani, La sonnambula, Lucia di Lammermoor, Die Entführung aus dem Serail, Don Giovanni, Die Zauberflöte, Zaide and Gianni Schicchi.

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In 1994 he made his opera debut in Verdi’s I due Foscari in Ludwigshafen under August Everding and Marcello Viotti. He was an award winner at the 6th Mastersingers Contest in Nürnberg in 1997 and at the European Union Opera Competition in 1998. Many engagements followed, including the role of Hans in Smetana’s The Bartered Bride at Glyndebourne Festival Opera in 1999 and Narraboth in Strauss’s Salome in Frankfurt.

More recent engagements have included Der Freischütz in Vienna, Jenůfa in Hamburg and Tannhäuser in Paris in 2007; Fidelio at the Frankfurt Opera and Lady Macbeth of Mtsensk in Paris in 2008; and Lohengrin and Die Frau ohne Schatten at the Frankfurt Opera and Der Freischütz at the Hamburg State Opera in 2009. Future engagements include Dvo˘rák’s Requiem in Dresden, a new production of Khovanshchina in Hamburg, Beethoven’s Symphony 9 in Montreal, and new productions of Mahagonny, St François d’Assise and Lady Macbeth of Mtsensk at the Madrid Opera House.

Michael König has worked with famous maestros such as Gennady Rozhdestvensky, Vladimir Jurowski, Mikhail Jurowski, Lothar Zagrosek, Seiji Ozawa, Paolo Carignani, Gustav Kuhn and Christof Prick.

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PROGRAMME NOTES

SPEEDREAD Leoš Janáček and Josef Suk were born twenty years apart in the same area of eastern Europe now recognised as the Czech Republic. In one sense, they are opposites: one was a radical, a peasant-born outsider from the countryside (Janáček, the elder); the other was a member of the Czech musical aristocracy, embedded in the country’s symphonic tradition (Suk, the younger).

In any context, though, Janáček is one of music’s true one-offs. He radicalised the tradition of wedding classical and folk music by asking instruments and voices to imitate the patterns of Czech speech. This, together with his utterly individual approach to orchestration, resulted in uncompromising ‘realist’ music that’s often better compared to painting and sculpture than it is to the

Leoš JANÁČEK

output of other composers. Next to that of Suk and his teacher Dvořák, Janáček’s music can feel primeval, raw and elemental. ‘Where Janáček carves with the knife’, said the great Czech conductor Václav Talich, ‘Suk draws with the most delicate pen.’

But Talich also famously recognised the extraordinary spirituality that’s common to both composers’ music.

Each of tonight’s works has an element of transcendence to it; each, in the end, finds spiritual solutions to the hardships and evils of the world. Suk’s stand-out symphonic masterpiece Asrael was born out of tragedies that no human should have to endure. The composer survived by drawing strength from the spiritual essence of great art, and in the process produced his finest and most uplifting work. ‘Music saved me’, he later said.

TARAS BULBA The Death of Andrei | The Death of Ostap | The Prophecy and Death of Taras Bulba

1854-1928

As musical nationalism swept through Europe in the 18th and 19th centuries, a good number of composers emerged in what is now the Czech Republic who somehow reflected the accent of their homeland in music. None, though, conjured sounds quite like those that emanated from the pen of Leoš Janáček. Janáček was a realist: while the likes of Dvořák and Suk were city sophisticates, Janáček – like those other great realists Bartók and Ravel – was born miles from any splendid metropolis and into a peasant family living in poverty.

That, in part, lies behind the utter individuality of Janáček’s music. American music critic Alex Ross observes that while most composers of the nationalist school sought to ennoble the tradition of folk music by placing it in classical forms, Janáček turned the process on its head by taking vernacular music as his starting point. He explored a style of writing that matched the rhythms of Czech speech and captured the raw, unclean

nature of peasant life and art. It was the accepted ‘classical’ forms and practises that were adapted to fit his new musical language, not the folk material itself.

While Janáček’s resulting ‘naturalism’ had a huge impact on the opera world, it pervaded the whole of the composer’s mature output. So new was this style, and so unusual it remains, that you almost need to look to other art forms – sculpture and painting perhaps – to draw aesthetic comparisons.

The orchestral rhapsody Taras Bulba was said by Janáček to celebrate ‘a prophecy of Slavonicism.’ That prophecy occurs in the work’s final movement, as the Ukrainian Cossack Taras Bulba proclaims an inspiring vision of the freedom of the Slavic people before he is consumed by the flames of the stake to which the tyrannical Poles have condemned him. The first movement depicts the Cossack’s killing of his own son Andrei who bore a forbidden love for a Polish heiress; the second tells of

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PROGRAMME NOTES

Andrei’s brother, Ostap, who is himself executed but sights his disguised father in the crowd, taking strength before he dies. Janáček first encountered Gogol’s story in 1904, stirred apparently by a parallel belief that his native Moravia might one day become part of an independent Czech nation, free from Austro-Habsburg domination. The piece was written in 1918 and first performed in Brno in October 1921.

While the narrative of Taras Bulba provides plenty of opportunities for the ‘carving of the knife’ to which Václav Talich referred, there is intense beauty in much

Leoš JANÁČEK 1854-1928

While Janáček was religiously agnostic, the church formed a significant part of his creative DNA. The composer’s first brush with ensemble music was as a church chorister and later organist. The meeting of these experiences with Janáček’s fully developed compositional style produced its most spectacular offspring, the Glagolitic Mass, in 1926.

That work’s energy and vigour – particularly its frolicking Gloria – are often seen as a reaction to the earthly, human celebration implied by the Roman liturgy. And so it was with The Eternal Gospel. In 1913 Janáček turned to the poem of that name by Jaroslav Vrchlický, itself written in response to the commentary on the Book of Revelation by the twelfth-century mystic Joachim of Fiore. Janáček had first encountered Vrchlický’s verse over a decade earlier. But the composer remained unstirred by the poem until the eve of the First World War; The Eternal Gospel’s message of love in which an angel tells of the coming of a kingdom of freedom took on a new resonance as the world lurched towards unprecedented violence and destruction. The resulting ‘Legend’ for soprano, tenor, chorus and

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of the writing, particularly in what Janáček scholar John Tyrell refers to as the ‘presentiment’ of the Slav’s victory right at the start of the piece, with plaintive, twisting cor anglais, redemptive organ and solemn bells. By the time of the prophecy and death, those same instruments have become resplendent, ringing out in a victory of dignity rather than bombast. In between there are plenty of Janáček’s distinctive sonic hallmarks: frantic timpani; the pitting of low brass with high strings; an unconventional rhythmic vitality; and an eventual move towards elemental and bright sonorities.

THE ETERNAL GOSPEL Con moto Now what is written in the Revelation will come to pass! – | Andante Who can see the angel flying through the clouds? – | Con moto O hearken, you with sinking, wilted hearts! | Andante All that the angel told me in the dark night

orchestra with solo violin was first performed in Prague in September 1917.

In The Eternal Gospel a tenor soloist takes the part of Joachim de Fiore as written in Vrchlický’s poem. He heralds the arrival of an angel, represented by a soprano and a solo violin, which appears with a message of ‘love’s eternal empire’ and ‘freedom for human souls’.

Those Janáček hallmarks mentioned in respect to Taras Bulba resound here, too. But the elemental, bright sonorities which cap that work arrive rather earlier in this piece. The composer himself referred to the effect of the poems opening lines as that of ‘open arms longing to embrace the whole world’. They drew from him a glowing feeling, particularly in the passages for the violin and soprano. There is the occasional sense of the underlying human pain that runs through so much of Janáček’s music, but it falls subordinate to the strength of the Angel.

In studying and notating the form of Czech speech among peasant and town communities, Janáček developed a very particular way of setting the Czech

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PROGRAMME NOTES

language to music, highly tailored to the rhythms of the country’s everyday speech. But there is something of the man himself in his word settings, too. Janáček apparently spoke in short, jabbing and repetitive phrases, and some of his contemporaries cite the direct influence this had on his music. The overlapping, 1 Nuzˇ stane se, co v zjevení je psáno!

Co nejdrˇív svitne lidstvu velké ráno.

2 Kdo vidí andeˇ la, jak letí mracˇny?

Pu˚l hveˇ zdami je kryt host nadoblacˇny´.

Zas andeˇ l nad bezednou letí strzˇí A veˇ cˇné evangelium on drzˇí, By ohlásil je prˇes hory i vodu V dav ˇr ecˇí vsˇechneˇ ch pronárodu˚.

Sveˇ t v marnosti a krve tone brodu A spí, a spí, a v nerˇestech se válí.

Je teˇ zˇká mitra papezˇí I králi vínek i ucˇenci kniha.

O pu˚lnoci mu˚j zrak se k nebi zdvíhá.

Hle, knihy spona v oblacích se míhá.

Zde blízko k nebi mám a tozˇ vsˇe vidím!

Zde na skalnatém brˇehu v Kalabrii, Kde vlci v slujích s veˇ try o závod vyjí, Zde blízko k nebi mám a tozˇ vsˇe vidím.

Já se slovy aposˇtola ˇr ídím.

Ted’ vidíme vsˇe jako v zrcadle!

Vsˇak novou mízou mládne listí zvadlé.

3 Ó slysˇte, jejichzˇ srdce mdlé a zvadlé! ˇR ísˇ Ducha prˇijde jediná a trˇetí, Kdy bohatství a statky vsˇe a zlato, Sˇ perk, jmeˇ ní, bude jenom bláto.

Kdy chudy´ statkem bohácˇ bude duchem, A sveˇ t se zjarˇí veˇ cˇné vesny ruchem!

On mluví ve veˇ tru, on mluví v hromu, Já vím, zˇe pravdu dí, neb na Sodomu, Na ˇR ím se dívám z jedné strany, Na Byzanc, na Gomorhu rozhneˇ vany´ Pak z druhé strany, jich vázˇím blud a vinu A nedivím se, procˇ lezˇí sveˇ t v stínu!

repeated choral entries on the word ‘Hallelujah’ in the third movement arrive with a sense of exasperated relief. But they also chime directly with descriptions of Janáček’s own vocal style in everyday conversation, revealing just how personal and natural the composer’s word-setting is.

Now what is written in the Revelation will come to pass!

A great morning will shine out for mankind.

Who can see the angel flying through the clouds?

The guest from on high, shrouded by half of the stars.

Again the angel flying above the bottomless ravine holding the eternal gospel in his hand, so he can spread it across the mountains and the waters into the crowds of all nations’ tongues.

The world is drowning in the flood of vanity and blood and sleeping on, wallowing in vice.

Heavy is the mitre to the pope, the wreath to the king or the book to the scholar.

At midnight my eyes rise to the sky.

Behold the clasp of the book flickering by.

Standing so close to heaven I can see all!

Here on the rocky coast of Calabria, where wolves in their dens vie with the wind in their howling, standing so close to heaven, I can see all.

I abide by the words of the apostle.

Now we see everything as if in a mirror!

But withered leaves are filling anew with fresh sap.

Oh, hearken, you with sinking, wilted hearts!

The Kingdom of the Lord will come, the third and only, when wealth, all possessions and gold, jewels, and fortune will turn to mire.

When the poor in chattels will be rich in spirit, And the world will come alive with the bustle of eternal spring!

He speaks in the wind, he speaks in the thunder, I know he tells the truth, for, from one side, I look at Sodom and Rome angry at Byzantium and Gomorrah; and I weigh up their error and guilt and I fail to wonder the world lies in shadows!

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PROGRAMME NOTES

ˇR ísˇ Otce byla hveˇ zd sladky´ch plání, ˇR ísˇ Syna bylo luny usmívání, ˇR ísˇ Ducha bude slunce nehynoucí.

Aleluja!

Ty ˇr ísˇe prˇesˇly obeˇ , trˇetí vstává, Aleluja!

Jizˇ na vy´chodeˇ dní se její sláva. ˇR ísˇ byla zákonu˚, bázneˇ a strázneˇ , ˇR ísˇ byla milosti, kázneˇ a víry, ˇR ísˇ lásky prˇijde k vám, ˇr ísˇ veˇ cˇné lásky.

Jen svatyneˇ jste byli ve prˇedsíni, Ted’ po ru˚zˇích vejdete uzˇ sami.

Aleluja!

Ted’ v svatostánek vejdete uzˇ sami!

Aleluja! ˇR ísˇ lásky, ˇr ísˇ veˇ cˇné lásky prˇijde k nám!

Drˇív byla bible, potom aposˇtolu˚ Zveˇ st blahá rozlila se na sveˇ t zárˇí.

Ted’ veˇ cˇné evangelium plá v jase.

Ted’ zacˇne pravá volnost lidsky´ch dusˇí, Jezˇ kazˇdé pouto ve prach zkrusˇí.

Tu ˇr ísˇe Ducha videˇ ní mé tusˇí! ˇR ísˇ lásky prˇijde k nám, ˇr ísˇ veˇ cˇné lásky!

Jí klestím cestu vy´mluvnosti jezem, Frantisˇek bude jejím velekneˇ zem!

Kristus jen se sklonil ku cˇloveˇ ku, Vsˇak Frantisˇek se sklonil ku zvírˇeti A hmotu pojal lásky ve objetí.

Aleluja!

On proto strˇedem ˇr ísˇe trˇetí.

Aleluja! ˇR ísˇ lásky prˇijde k nám, ˇr ísˇ veˇ cˇné lásky!

4 To vsˇecko deˇ l mi andeˇ l v noci tmavé, Kdyzˇ na ru˚zˇenci dorˇíkal jsem ‘Ave’!

Obrátil zrak s vy´sˇin Kalabrie V tmu sveˇ ta, ktery´ v nepravostech hnije, Na jedné, ˇr ímské vlcˇice jhem spjaty´,

The Kingdom of the Father was sweet stars’ plain, the Kingdom of the Son was the smiling moon, the Kingdom of the Spirit an undying sun.

Hallelujah!

The two Kingdoms have passed and the third is rising, Hallelujah!

Its glory is already dawning in the East.

There has been a Kingdom of laws, anxiety and suffering, There has been a Kingdom of mercy, discipline and faith, The Kingdom of love will come, the Kingdom of eternal love.

You were only at the entrance of the sanctuary, but now you yourselves will enter, walking on roses.

Hallelujah!

Now you yourself will enter the sanctuary!

Hallelujah!

The Kingdom of eternal love will come to us!

First there was the Bible, and then the Apostles’ joyous message illuminated the world.

Now the eternal gospel glows brightly.

Now the true freedom of human souls will begin, crushing all shackles into the dust.

My vision anticipates that Kingdom of the Spirit!

The Kingdom of eternal love will come to us!

I make way for that Kingdom over the cascade of eloquence, Francis will be its high priest!

Christ only stooped to man while Francis stooped to the animal, grasping matter in his tender embrace.

Hallelujah!

Hence he is the centre of the great third Kingdom.

Hallelujah!

The Kingdom of eternal love will come to us!

Na druhé straneˇ sˇtván byzantsky´mi katy.

Já, z Fiore Jachim veˇ sˇtím veˇ k ten zlaty´. ˇR ísˇ lásky, ˇr ísˇ veˇ cˇné lásky prˇijde k nám!

All that the angel told me in the dark night, when I had said the ‘Ave’ on my rosary!

He turned his gaze from the heights of Calabria into the darkness of the world rotting in iniquities, On the one hand harnessed by the yoke of the she-wolf of Rome, On the other hand pursued by the Byzantine hangmen.

I, Joachim de Fiore, foresee that golden age.

The Kingdom of eternal love will come to us!

Jaroslav Vrchlicky´ (1853–1912)

Translations © Pavel Štébl

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PROGRAMME NOTES

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

Josef SUK

ASRAEL, SYMPHONY FOR LARGE ORCHESTRA IN C MINOR, OP. 27 Part I: Andante sostenuto | Andante sostenuto | Vivace Part II: Adagio | Adagio e maestoso

1874-1935

If Janáček’s musical language appeared to have come from nowhere, that of Josef Suk was altogether more rooted in the soil of the Czech musical establishment.

Family dynasties were a firm fixture on the Bohemian musical scene of the Baroque and Classical periods, and by the 19th and 20th centuries two families still dominated musical life: the Dvořáks and the Suks.

The stand-out talents from these respective lineages are Antonín Dvořák and Josef Suk. Suk became Dvořák’s pupil at the Prague Conservatory in 1891, the younger composer’s blossoming compositional talents nurtured and influenced by the language of his teacher. Long, Dvořákian themes were strewn about much of Suk’s work, which in its individuality referenced both Impressionism and native folk music, albeit in a standard late-Romantic mould. It looked as though Suk was becoming Dvořák’s creative heir. And soon enough, Suk became his teacher’s legal heir, too: after a few years of socialising and an easy romance, Suk married Dvořák’s daughter Otilka in 1898.

During a trip to Madrid in 1904, a telegram was placed in Suk’s hand that read simply, ‘Dvořák dead. Return immediately.’ Suk was inconsolable, and began to consider his creative response even as he returned to

Prague: it would be a four-movement symphony in Dvořák’s memory. Some months later Suk had three movements completed: a frenzied, gripping Andante stalked by a Tchaikovskian sense of fate and using Suk’s signature ‘death’ motif (rising and falling augmented fourths, proclaimed slowly at the very start of the piece); a ghostly, translucent funeral march with unsettlingly twisting strings; and a dreamlike Vivace scherzo that builds from wisp-like fantasy and a central homage to Dvořák into an ominous proclamation of the first movement’s ‘death’ motif. It was a vision, thought Suk, of Asrael – the biblical ‘Angel of Death’. In response, Suk’s language gained both emotional depth and imaginative scope as he shunted contrasting moods right up against one another in the manner of a Mahler symphony.

In the summer of 1905, as Suk was beginning to consider his fourth and final movement, he was stopped in his tracks. On 5 July, his wife Otilka, Dvořák’s daughter, died suddenly. Though she had a medical condition, Otilka wasn’t mortally ill and her death hit Suk hard; he had lost the two most important people in his life and veered towards complete emotional breakdown. But he pressed on with the ‘death’ symphony, now explicitly titled Asrael.

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PROGRAMME NOTES

The piece would now finish with two movements, to be played after the first three following a long pause. The initial Adagio was created as a memorial to Otilka, a heartfelt portrait in which two passages for solo violin represent the composer himself (he was a violinist). This is followed by a final movement that seems, like the prophecy of Taras Bulba and the message of Joachim de Fiore’s angel in The Eternal Gospel, to overcome death with spiritual means. After grappling with dark forces including the original death motif, the music pines upwards with a sense of acceptance and optimism.

Fluttering woodwinds and a series of upward modulations create a feeling of gentle ascent. The imposing fate theme is heard again as a chorale, but now in a major key; the piece ends in the elemental warmth of C major. An isolated Suk had found strength and redemption in the beauty of life, nature and art.

Asked about that painful period in 1905 finishing the score for Asrael, Suk said simply, ‘music saved me.’

Programme notes by Andrew Mellor © 2010

RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

Orchestral concerts are a vital part of BBC Radio 3’s output and I’m delighted that the station will continue its long association with the London Philharmonic Orchestra by bringing performances from this season to the widest possible audience, including those listening at home, on air and online.

Roger Wright Controller, BBC Radio 3

LPO-0029 Kurt Masur conducts Schubert’s Unfinished Symphony and Janáček’s Glagolitic Mass ‘this awesomely muscular, vital account of Janáček’s Glagolitic (or Czech) Mass …’

RICK JONES, TIMES KNOWLEDGE, 8 SEPTEMBER 2007

Tonight’s concert will be broadcast in Performance on 3 on Wednesday 24 February at 7pm, and is available online for 7 days after broadcast at bbc.co.uk/radio3

12 | London Philharmonic Orchestra

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

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

London Philharmonic Orchestra | 13

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WELCOME TO SOUTHBANK CENTRE

KATYA KABANOVA DAVID ALDEN’s new production ˇ EK’s lyrical masterpiece of JANÁC Conducted by

MARK WIGGLESWORTH Starring

PATRICIA RACETTE STUART SKELTON SUSAN BICKLEY ALFIE BOE 15 – 27 Mar 2010 6 performances only

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

s Ticketnly f ro m o £16 ENO LIVE AT THE LONDON COLISEUM www.eno.org 0871 911 0200 Illus tration by S teve Rawlings

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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 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 Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager

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 Janá˘c ek and Suk courtesy of the Royal College of Music, London.

Photograph on the front cover

by Roman Gontcharov.

Programmes printed by Cantate.

Add FSC logo

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

17 March 2010 | FREE Pre-Concert Event 6.00pm | Royal Festival Hall A performance by children from St Luke’s Primary School in Lambeth marking the culmination of their composition project inspired by this evening’s repertoire.

Saturday 10 April 2010 | 7.30pm Handel Music for the Royal Fireworks Prokofiev Violin Concerto 1 Stravinsky Fireworks Beethoven Symphony 7 Yannick Nézet-Séguin conductor Lisa Batiashvili violin

Yannick NézetSéguin and Lisa Batiashvili Vladimir Jurowski and Mikhail Urusov

JTI Friday Series | Friday 12 March 2010 | 7.30pm Ravel Mother Goose Suite Schumann Piano Concerto Brahms Symphony 2

Wednesday 14 April 2010 | 7.30pm Verdi Dances (Ballabili) from ‘Otello’ Dvo˘rák Cello Concerto Richard Strauss Aus Italian Gianandrea Noseda conductor Enrico Dindo violin

Gunther Herbig conductor Hélène Grimaud piano

TO BOOK Ludovic Morlot and Anne-Sophie Mutter

Wednesday 17 March 2010 | 7.30pm Wagner Lohengrin, Prelude to Act 1 Brahms Violin Concerto Bartók Concerto for Orchestra Ludovic Morlot conductor Anne-Sophie Mutter violin

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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