21 November LPO Programme notes

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

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 21 November 2012 | 7.30pm

YANNICK NÉZET-SÉGUIN conductor lawrence power viola truls mØRK cello

PROGRAMME £3 CONTENTS 2 Welcome / Leader 3 About the Orchestra 4 Tonight’s performers 5 Yannick Nézet-Séguin 6 Lawrence Power 7 Truls Mørk 8 Programme notes 12 Birthday Appeal 2012/13 13 Supporters 14 Next concerts 15 Christmas gifts from the LPO 16 LPO administration The timings shown are not precise and are given only as a guide.

haydn Symphony No. 44 in E minor (Trauer) (22’) haydn Cello Concerto No. 2 in D major (26’) Interval r strauss Don Quixote (40’)

* supported by the Tsukanov Family and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Welcome

pieter schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.

WELCOME TO SOUTHBANK CENTRE

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© Patrick Harrison

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Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra.

He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. 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 has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim.

He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.

In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam Philharmonic Orchestra.

Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download.

Recent additions include Dvořák’s Stabat Mater under Neeme Järvi; Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Sibelius’s Symphonies Nos. 5 & 6 under the late Paavo Berglund; and the world premiere of Ravi Shankar’s First Symphony conducted by David Murphy.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 The London Philharmonic Orchestra maintains an concerts there each season. 2012/13 highlights include energetic programme of activities for young people and three concerts with Vladimir Jurowski based around local communities. Highlights include the Deutsche the theme of War and Peace in collaboration with the Bank BrightSparks Russian National Orchestra; schools’ concerts; the sKurt Weill’s The Threepenny Nézet-Séguin willed the LPO to an Leverhulme Young Opera, also conducted by Composers project; Jurowski; 20th-century American almost delirious dynamism … Stunning. and the Foyle Future works with Marin Alsop; Haydn Edward Seckerson, The Independent, 11 April 2010 Firsts orchestral and Strauss with Yannick Nézettraining programme Séguin; and the UK premiere of for outstanding young players. Over recent years, Carl Vine’s Second Piano Concerto with pianist Piers developments in technology and social networks have Lane under Vassily Sinaisky. Throughout 2013 the enabled the Orchestra to reach even more people Orchestra will collaborate with Southbank Centre on worldwide: all its recordings are available to download The Rest Is Noise festival, based on Alex Ross’s book of from iTunes and, as well as a YouTube channel, news the same name and charting the 20th century’s key blog, iPhone app and regular podcasts, the Orchestra musical works and historical events. has a lively presence on Facebook and Twitter.

The Orchestra has flourishing residencies in Brighton Find out more and get involved! and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency lpo.org.uk accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra facebook.com/londonphilharmonicorchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. twitter.com/LPOrchestra Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

London Philharmonic Orchestra | 3

tonight’s performers

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Chair supported by Moya Greene

Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Höhmann Geoffrey Lynn Robert Pool Yang Zhang Rebecca Shorrock Alina Petrenko Peter Nall Helena Smart Galina Tanney Second Violins Andrew Storey Guest Principal Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Imogen Williamson Sioni Williams Alison Strange Stephen Stewart Mila Mustakova Sheila Law Elizabeth Baldey Stephen Dinwoodie Sarah Buchan

Violas Fiona Winning Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Naomi Holt Michelle Bruil Alistair Scahill Daniel Cornford Isabel Pereira Cellos Kristina Blaumane Principal Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Jonathan Ayling Chair supported by Caroline, Jamie & Zander Sharp

Gregory Walmsley Sue Sutherley Susanna Riddell Liubov Ulybesheva Tom Roff Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Tom Walley Catherine Ricketts

Flutes Jaime Martín* Principal Sue Thomas Chair supported by the Sharp Family

Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Angela Tennick Cor Anglais Sue Bohling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Nicholas Carpenter* Bass Clarinet Paul Richards Principal E-flat Clarinet Nicholas Carpenter* Principal Bassoons Gretha Tuls Guest Principal Gareth Newman* Dominic Tyler Contrabassoon Claire Webster

Horns John Ryan* David Pyatt Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Anthony Chidell Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Nicholas Betts Trombones Mark Templeton* Principal Robert Workman Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Euphonium David Whitehouse Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Harp Rachel Masters* Principal * Holds a professorial appointment in London

4 | London Philharmonic Orchestra

YANNICK nÉZET-SÉGUIN

© Marco Borggreve

conductor

Yannick Nézet-Séguin is Music Director of both the Rotterdam Philharmonic Orchestra and The Philadelphia Orchestra. He has been Principal Guest Conductor of the London Philharmonic Orchestra since 2008 and Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000.

His European debut in 2004 swiftly led to invitations to many ensembles such as the Dresden Staatskapelle, the Berlin Philharmonic, the Bavarian Radio Symphony Orchestra, the Vienna Philharmonic (in Salzburg, Lucerne and Vienna), the Accademia Nazionale di Santa Cecilia, the Royal Stockholm Philharmonic Orchestra and the Chamber Orchestra of Europe. He made his BBC Proms debut in 2009 with the Scottish Chamber Orchestra, returning the following year with the Rotterdam Philharmonic Orchestra. Summer 2012 saw concerts with the Orchestre Métropolitain in Canada; The Philadelphia Orchestra in Vail and Saratoga; and concerts at Lincoln Center’s Mostly Mozart Festival in New York with the Chamber Orchestra of Europe and the Mostly Mozart Festival Orchestra.

A notable opera conductor, Nézet-Séguin made his debut at the Salzburg Festival in 2008 with a new production of Gounod’s Roméo et Juliette, returning to the city for the 2010 Mozartwoche and Don Giovanni at the 2010 and 2011 summer festivals. For the Metropolitan Opera he has conducted Carmen, Don Carlo and Faust, and will return each season. He will return to the Teatro alla Scala and the Royal Opera House, Covent Garden, following debuts in 2011 (Roméo et Juliette) and 2012 (Rusalka) respectively. For the Netherlands Opera he has conducted The Makropulos Case, Turandot and Don Carlo (all with the Rotterdam Philharmonic Orchestra) and in 2011 embarked on a major opera series for the Festspielhaus Baden-Baden.

Yannick Nézet-Séguin conducted his inaugural concerts as Music Director of The Philadelphia Orchestra last month. Other highlights of the 2012/13 season include two separate tours to Japan and the Far East with the

Rotterdam Philharmonic Orchestra; a German tour with the London Philharmonic Orchestra; and the complete Schumann symphonies and concertos with the Chamber Orchestra of Europe in Paris. He also returns to the Bavarian Radio Symphony Orchestra and to the Metropolitan Opera for La traviata.

Following highly successful DVD releases of Roméo et Juliette (Salzburg Festival, 2008) and Carmen (the Metropolitan Opera, 2010) for their Yellow Label, in July 2012, Deutsche Grammophon announced a major long-term collaboration. Initial plans include a series of three orchestral recordings with the Rotterdam Philharmonic Orchestra, starting with Tchaikovsky’s Sixth Symphony, and live recordings of Mozart’s seven mature operas from the Baden-Baden Summer Festival.

The first of these, Don Giovanni (Mahler Chamber Orchestra, 2011), was released in September 2012, with Così fan tutte (Chamber Orchestra of Europe, 2012) as the second instalment. Nézet-Séguin’s discography with the Rotterdam Philharmonic Orchestra includes recordings of Strauss (Ein Heldenleben/Four Last Songs with Dorothea Roschmann) and Berlioz (Symphonie fantastique/La mort de Cléopâtre) for BIS Records; and three EMI/Virgin releases, including an Edison Awardwinning album of Ravel’s orchestral works. With the London Philharmonic Orchestra and Choir he has recorded Brahms’s German Requiem on the LPO’s own label (LPO-0045). He and the Orchestre Métropolitain also continue to enjoy a fruitful recording relationship with the Canadian label ATMA Classique.

A native of Montreal, Yannick Nézet-Séguin studied piano, conducting, composition and chamber music at the Conservatoire de musique du Québec in Montreal, and choral conducting at the Westminster Choir College in Princeton, New Jersey, before going on to study with renowned conductors – most notably the Italian maestro Carlo Maria Giulini. His honours include a prestigious Royal Philharmonic Society Award; Canada’s highly coveted National Arts Centre Award; and the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government.

In 2011 he received an honorary doctorate from the University of Quebec in Montreal, and he was appointed a Companion of the Order of Canada in 2012.

London Philharmonic Orchestra | 5

lawrence power

© Jack Liebeck

viola

Lawrence Power is one of the foremost violists of today, and in 2011 was shortlisted for the Royal Philharmonic Society Instrumentalist Award.

He is regularly invited to perform with some of the world’s greatest orchestras including the Chicago Symphony, Boston Symphony, Bavarian Radio Symphony, Royal Concertgebouw, Stockholm Philharmonic, Warsaw Philharmonic and Bergen Philharmonic orchestras.

Recent engagements have included Walton’s Viola Concerto and Britten’s Lachrymae with the London Philharmonic Orchestra, Russian National Orchestra and Vladimir Jurowski as part of Southbank Centre’s ‘War and Peace’ mini-series last month; the UK premiere of Olga Neuwirth’s concerto Remnants of Song with the Philharmonia Orchestra and Susanna Mälkki at the 2012 BBC Proms; the world premiere of Luke Bedford’s Wonderful Two-Headed Nightingale with the Scottish Ensemble; and the world premiere of Charlotte Bray’s Invisible Cities at the 2012 Verbier Festival. Other engagements have included Berlioz’s Harold in Italy with the Chicago Symphony Orchestra conducted by Sir Mark Elder, and also with the Stavanger Symphony Orchestra; the Bartók Concerto with the Real Filharmonía de Galicia, the Bergen Philharmonic Orchestra and the Royal Concertgebouw Orchestra under Markus Stenz; Mozart’s Sinfonia Concertante with the Philharmonia Orchestra at Royal Festival Hall, the Boston Symphony Orchestra at Tanglewood Music Festival, the Bavarian Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra; the York Bowen Concerto with the Philharmonisches Staatsorchester in Mainz; Toru Takemitsu’s concerto A String Around Autumn with the Orquesta Sinfónica de Tenerife; and the Rózsa Concerto with the BBC Scottish Symphony and Royal Liverpool Philharmonic orchestras.

The 2009/10 season included the UK premiere of Betty Olivero’s Neharo’t, Neharo’t as part of the BBC Proms chamber season at Cadogan Hall in London, as well as appearances with the Amsterdam Sinfonietta and the Stavanger Symphony Orchestra. During 2011, Lawrence 6 | London Philharmonic Orchestra

performed Penderecki’s Viola Concerto in a series of concerts with Camerata Salzburg conducted by the composer, and Mark-Anthony Turnage’s On Opened Ground with the London Philharmonic Orchestra conducted by Markus Stenz – now released on the LPO Label (LPO-0066). He also made critically acclaimed orchestral debuts in Australia.

Lawrence’s world premiere recording of concertos by Cecil Forsyth and Edwin York Bowen (BBC Scottish Symphony Orchestra/Martyn Brabbins) for Hyperion Records was widely praised, and chosen by Gramophone magazine as one of the best 100 CDs of 2005. Other recordings include Brahms viola sonatas; the Walton and Rubbra viola concertos (nominated for a 2008 Gramophone Award); York Bowen’s complete works for viola and piano with Simon Crawford-Phillips (all for Hyperion); and Mozart’s Sinfonia Concertante with Maxim Vengerov and the UBS Verbier Festival Chamber Orchestra for EMI. A disc of Hindemith’s Sonatas for viola and piano with Simon Crawford-Phillips was released in June 2009, and a recording of the Bartók and Rózsa concertos was released in October 2010 to rave reviews.

His three-disc Hindemith survey for Hyperion has become a benchmark for recordings of this repertoire.

Current releases for Hyperion include a Shostakovich disc and the Britten Double Concerto with the BBC Scottish Symphony Orchestra and violinist Anthony Marwood, as well as a disc of Vaughan Williams and McEwen with the BBC National Orchestra of Wales.

The 2011/12 season saw Lawrence Power become Artist in Residence with the Bergen Philharmonic Orchestra, which included various projects and a tour of Spain.

A new commission by James MacMillan will be premiered with the London Philharmonic Orchestra in 2013/14.

TRULS MØRK cello

Truls Mørk’s reputation as a cellist of fierce intensity and grace has been built on performances throughout the world with the most distinguished orchestras. In Europe he has appeared with orchestras including the Royal Concertgebouw Orchestra, the Orchestre de Paris and the Bavarian Radio Symphony Orchestra; and in North America with the New York Philharmonic, Boston Symphony, Chicago Symphony and Cleveland orchestras, amongst others. Conductor collaborations include performances with Myung-Whun Chung, Mariss Jansons, Gustavo Dudamel, Sir Simon Rattle and Christoph Eschenbach.

Highlights include concerts with the Royal Stockholm Philharmonic Orchestra and Sakari Oramo; the Tonhalle-Orchester Zürich and David Zinman; the NDR Radiophilharmonie Hannover and Eivind Gullberg Jensen; the Philharmonia Orchestra and Esa-Pekka Salonen; the Vienna Symphony Orchestra and James Gaffigan; and both the Bamberg and Swedish Radio symphony orchestras with Manfred Honeck. This season also sees Mørk as Artist in Residence with the Oslo Philharmonic Orchestra – its first project of this kind, which will include two contrasting programmes and a recording. Last season he collaborated with Lisa Batiashvili performing the Brahms Double Concerto with the Rotterdam Philharmonic Orchestra, the Deutsches Symphonie-Orchester Berlin (including a summer festival tour), and the Staatskapelle Dresden.

included Pavel Haas’s Cello Concerto with the Vienna Symphony Orchestra under Jonathan Nott; Krzysztof Penderecki’s Concerto for Three Cellos with the NHK Symphony Orchestra under Charles Dutoit; and Haflidi Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony and Scottish Chamber orchestras.

Rautavaara’s Towards the Horizon was recorded for Ondine with the Helsinki Philharmonic Orchestra under John Storgårds, and was nominated for a 2012 Gramophone Award. Mørk’s highly acclaimed CPE Bach Cello Concertos disc for Virgin Classics with Les Violons du Roy under Bernard Labadie was awarded a 2011 ECHO Klassik Award. Other recordings include the Brahms Double Concerto with the Gewandhausorchester Leipzig, Riccardo Chailly and Vadim Repin on Deutsche Grammophon; and Haflidi Hallgrímsson’s works for cello and orchestra for Ondine.

Mørk has also recorded Schumann’s Cello Concerto with Paavo Järvi and the Orchestre Philharmonique de Radio France, as well as the complete Bach Cello Suites, which won a Grammy Award in 2002.

Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff and Natalia Schakowskaya. His numerous awards include the 2011 Norwegian Critics’ Prize and the 2010 Sibelius Prize. Truls Mørk plays on the rare 1723 Domenico Montagnana ‘Esquire’.

A dedicated chamber musician, Truls Mørk continues to give regular recitals at major venues throughout the world. As part of the 2011 Bergen International Festival he performed the complete Beethoven cello sonatas over two evenings, together with the Variations for Cello and Piano – last presented at the Festival in this format

by Jacqueline du Pré in 1970.

Truls Mørk is a committed performer of contemporary music, and in spring 2012 gave the UK premiere of Einojuhani Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra. Other premieres have London Philharmonic Orchestra | 7

PROGRAMME NOTES

Speedread It’s all about personality. ‘Anyone can see I’m a goodnatured fellow’ said Joseph Haydn, and generations of musicians knew him as ‘Papa Haydn’, a kindly artistic father-figure to Mozart and Beethoven.

Richard Strauss’s reputation in the mid-1890s could scarcely have been more different. ‘Ugly, cacophonous, blatant and erratic’ was how one contemporary critic described his work, declaring it ‘the most perverse music I ever heard in all my life’. Newspaper cartoonists portrayed him with a huge throbbing forehead and weird, staring little eyes.

But there’s more to any artist than outward appearances – and tonight’s concert disproves both

Joseph Haydn 1732–1809

Read many music textbooks and sooner or later you’ll come across the term Sturm und Drang (‘storm and stress’). It was the name of a 1776 play by the German dramatist Maximilian von Klinger, but it’s come to be used as a shorthand for a mood of passionate, often violent emotion that swept across the German-speaking artistic world in the 1770s. It’s often applied to the symphonies that Haydn wrote at the first peak of his creative maturity, and when you listen to music as turbulent as this extraordinary Symphony No. 44, it’s easy to hear why.

There’s just one problem. The Symphony was written between 1769 and 1772. And it was written at the great palace of Eszterháza, where Haydn was Kapellmeister to the Hungarian nobleman Prince Nicolaus Esterházy. Built on reclaimed swampland near Lake Neusiedl, Eszterháza might as well have been on an island. Haydn’s musicians felt so isolated that in 1772 he wrote an entire 8 | London Philharmonic Orchestra

stereotypes. A young Joseph Haydn, working in servant’s uniform at an aristocratic court, releases unheard-of passions in a volcano of a classical symphony. Yet, asked to showcase a newly signed star of the court orchestra, he responds with a concerto of irresistible humour and grace. And Richard Strauss, with the whole musical world lying (slightly terrified) at his feet, decides to pull its leg with music that deploys the most advanced orchestral effects to play shameless musical jokes – and ends by plucking the tenderest of heartstrings. Because, as both Haydn and Strauss knew, there’s more to human life than just laughter or tears.

Symphony No. 44 in E minor (Trauer), Hob. I/44 1 Allegro con brio 2 Menuetto: Allegretto 3 Adagio 4 Finale: Presto

symphony (No. 45 – the ‘Farewell’) as a musical protest on their behalf. As for himself: ‘I was cut off from the world. There was no-one to confuse or torment me, and I was forced to become original.’ So any Sturm or Drang in his music came from his own creative imagination.

And what an imagination! The Symphony is in the key of E minor – rare in the 18th century. That guaranteed a special level of concentration from the performers: exactly what was needed for one of the darkest and most intensely worked first movements even Haydn ever wrote. The minuet – supposedly a graceful dance – becomes a taut exercise in counterpoint, yielding to a serene central Trio section with a horn soaring over melting major-key violins. And the first bars of the finale are a release of that tension, a torrential musical downpour that sweeps with unrelenting drive from first bar to last. It’s thrilling.

So why the nickname – Trauer (‘funeral’ or ‘mourning’)?

Well, the story goes that, late in life, Haydn asked for the Adagio of this Symphony to be played at his funeral.

And whatever the (entirely original) storms and stresses of the outer movements, even one listen to this poised, luminously peaceful slow movement will show you why a man who wrote over 104 symphonic slow movements might have kept a very special place in his heart for this one.

Joseph Haydn 1732–1809

For a minor 18th-century masterpiece, the only fate worse than being forgotten by the 19th century was being popular in it. Haydn’s D major Cello Concerto of 1783 never left the repertoire – but, like an old master painting, it picked up accretions. Nineteenth-century virtuosi rewrote the cello part to display their own technique and Haydn’s modest orchestration, designed for the court orchestra at Eszterháza, was supplemented by a full Victorian woodwind section. By the early 20th century, many experts doubted whether this Concerto was even by Haydn at all, attributing it instead to Anton Kraft, principal cellist of the Eszterháza orchestra from 1778 to 1790.

At that point, little short of a signed score in Haydn’s own hand could have restored the Concerto’s reputation – and, miraculously, that’s exactly what turned up.

In 1954, the Bruckner scholar Leopold Nowak found a manuscript bearing the inscription di me Giuseppe Haydn, 1783. Case closed. But the doubters were right in one regard – Anton Kraft (1752–1820) did play a crucial role in the creation of this Concerto. Kraft was one of the greatest players of his age, and the founder of a little

Cello Concerto No. 2 in D major, Hob. VIIb/2 (Op. 101) Truls Mørk cello 1 Allegro moderato 2 Adagio 3 Rondo (Allegro) dynasty of fine cellists. He would go on to perform in the world premiere of Beethoven’s ‘Eroica’ Symphony in Vienna, and by the age of 26 he was already a formidable player.

It was only natural that Haydn should seek to recruit Kraft, and having recruited him, written him a concerto with which to display his skills before the Prince. So the Concerto’s solo part was a bespoke creation, designed to show off Kraft’s technique and in particular his gloriously rich and lyrical upper register. Hence the steady, courtly pace of the Concerto’s first movement and the warm, inward character of the Adagio – a slow movement of which Mozart might have been proud.

Even the cheerfully folksy Rondo (‘No-one can tell me the exact notes of the tune of “Here we go gathering nuts in May”’ remarked Donald Tovey, ‘but everybody agrees that the finale of Haydn’s Cello Concerto is suspiciously like it’) lends itself to lyricism as well as genuine fireworks.

Some believe that this Concerto was written for Prince Nicolaus’s wedding in September 1783. If that’s true, it was a luxury gift.

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

London Philharmonic Orchestra | 9

PROGRAMME NOTES

Richard Strauss

Don Quixote, Op. 35 Lawrence Power viola Truls Mørk cello

1864–1949

He became so absorbed in his books that … his fancy grew full of what he used to read about: enchantments, quarrels, battles, challenges, loves, agonies … In short, his wits being quite gone, he hit upon the notion that he should make a knight-errant of himself, roaming the world over in quest of adventures.

You don’t have to have read Cervantes’s Don Quixote to know the story of the Man of La Mancha. ‘Tilting at windmills’ has entered the language. But Richard Strauss was a voracious reader, and for a composer who once boasted that he could depict a knife and fork in music, the appeal of Don Quixote proved irresistible.

The more so, as in 1897 Strauss was contemplating a vast, heaven-storming ‘heroic symphony’ for supersized orchestra. That would appear in 1898 as Ein Heldenleben: a piece that’s still guaranteed to wind up Strauss’s enemies. Yet Strauss could never resist sticking a pin in pomposity – even his own. Especially his own. Alongside Heldenleben he imagined a comic counterpart (‘a satyr play’, he called it), intended as a long, knowing laugh at the whole notion of heroism.

The subject had popped into Strauss’s head as early as October 1896, while on holiday in Florence. ‘First idea for a new orchestral piece,’ he jotted in his diary ‘Don Quichote – mad, free variations on a knightly theme’.

And that’s what, the following summer, he composed: Don Quixote, Fantastic Variations on a Theme of Knightly Character. It’s exactly that: a series of musical shaggydog stories with, at its heart, the awkward, courteous, and utterly deluded figure of Don Quixote himself, played by that most noble (and yet faintly ridiculous) of string instruments, the solo cello. He’s assisted by the rather more down-to-earth figure of his farmer-turnedsquire Sancho Panza, represented by the distinctly (with the best will in the world) less glamorous viola. And with introductions out of the way, let Richard Strauss 10 | London Philharmonic Orchestra

– as witty and worldly as the Don is innocent, yet still (you can’t help feeling) deeply fond of the daft old boy – take up the tale: Introduction: A toylike fanfare and a graceful musical bow; we meet the old gentleman, his imagined ladylove Dulcinea (a demure oboe solo), and hear his dreams of chivalry and romance (a tucket of trumpets) growing ever more rambling, muddled and dissonant, until, with an almighty crash, his wits snap and he steps forward as …

Theme: Don Quixote, the knight errant (solo cello) and, shortly afterwards, his squire Sancho – a flat-footed duet for viola and tenor tuba (euphonium).

Variation 1: They ride out, and see an army of slowlyturning windmills – obviously giants in disguise. The Don charges, with unhappy results.

Variation 2: They encounter the army of the emperor Alifanfaron, and defeat them in battle. You might think it sounds more like a flock of bleating sheep; we couldn’t possibly comment.

Variation 3: Sancho asks Don Quixote if he’s quite sure he knows what he’s doing. The Don puts him straight, and then falls into a rapturous daydream. Strauss’s orchestra soars with him.

Variation 4: They charge at a procession of religious penitents (chanting brass). Again, the results are disappointing.

Variation 5: In a moonlit courtyard, a chastened Don Quixote keeps a knightly vigil over his rusty weapons.

Warm breezes stir the night.

Variation 6: She may look like a peasant girl on muleback (oboes and tambourine) – but Don Quixote hails her as his beloved Dulcinea under a spell. She runs a mile.

Variation 7: Knight and squire sail through the air on a flying horse – unaware that it’s a toy and they’ve actually remained very much on the ground. Strauss uses a wind-machine to pull off the deception.

Variation 8: Now they board an enchanted boat on a fast-flowing river – but there’s nothing very magical about the water that drips heavily from them after the inevitable soggy comedown.

Variation 9: A pair of wandering friars (bassoons) shuffle along. The Don sees two sorcerers – and naturally enough, charges straight at them.

Variation 10: A concerned neighbour, disguised as the Knight of the White Moon, challenges Don Quixote.

Unfortunately, his martial prowess is real enough, and after a shattering clash of lances, a devastated Quixote renounces his mission and trudges sadly home.

Epilogue: Don Quixote’s mind clears. Now old and weak, he thinks over his adventures, and his dream, and – as the orchestra sings a gentle prayer – he dies with a smile on his lips.

Programme notes © Richard Bratby

Yannick Nézet-Séguin conducts on the LPO Label Brahms: A German Requiem Yannick Nézet-Séguin conductor Elizabeth Watts soprano Stéphane Degout baritone London Philharmonic Orchestra and Choir £9.99 | LPO-0045 ‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording that I didn’t begrudge a single minute of the time spent to savour them.’ Gramophone Available from www.lpo.org.uk/shop, the London Philharmonic Orchestra Box Office (020 7840 4242, Monday–Friday 10am–5pm), all good CD outlets and the Royal Festival Hall shop. Downloads available from iTunes, Amazon, eMusic and classicsonline.com.

London Philharmonic Orchestra | 11

London Philharmonic Orchestra Birthday Appeal 2012/13 This season the London Philharmonic Orchestra has reached 80 years on the concert platform. We would like you to consider helping us celebrate by making a donation to our birthday wish list.

These presents are all items that the Orchestra desperately needs this season. Alternatively you could make a donation to be spent on whatever we need the most.

£800

£250

£1,500

Two double bass stools

Three tom-toms

Carmina Burana music hire

Our double bass stools are on their last legs. Support our musicians by giving them something new to sit on!

We often have to hire percussion.

Owning our own tom-toms would make a great birthday present!

Donate towards the score and part hire for the conductor, Orchestra and London Philharmonic Choir for the performance of Orff’s Carmina Burana on 6 April 2013.

£3,000

£5,000

£5,000

FUNharmonics illustrations

Recording a concert for live stream

New terminal server

Donate to the bespoke illustrations and animation designed for each themed FUNharmonics family concert, to help educate and increase engagement with our young audiences.

Help us to increase the Orchestra’s reach around the world through donating to the recording of a 2013 concert for live stream and potential CD release.

The socks option – sounds boring but we really need it! The terminal server keeps our staff and backstage team in touch by providing remote access to emails and files when the Orchestra is on tour.

Get involved and visit www.lpo.org.uk/birthday for more information.

Alternatively get in touch via katherine.hattersley@lpo.org.uk or call 020 7840 4212.

12 | London Philharmonic Orchestra

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors:

Guy & Utti Whittaker Manon Williams

David Ellen Commander Vincent Evans Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann 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 Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Ken Follett Pauline & Peter Halliday Michael & Christine Henry Mr Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha 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 Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Des & Maggie Whitelock Bill Yoe

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough

Hon. Benefactor Elliott Bernerd

Thomas Beecham Group The Tsukanov Family Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Education Partner Boeing Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Addleshaw Goddard Charitable Trust Angus Allnatt Charitable Foundation BBC Performing Arts Fund The Boltini Trust Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust The Eranda Foundation Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust

The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous

London Philharmonic Orchestra | 13

next LPO concertS at royal festival hall

Saturday 24 November 2012 | 7.30pm

Saturday 1 December 2012 | 7.30pm

Haydn Nelson Mass R Strauss Ein Heldenleben

Zimmermann Ecclesiastical Action, for two speakers, bass and orchestra (semi-staged) Brahms A German Requiem

Yannick Nézet-Séguin conductor Sarah-Jane Brandon soprano Sarah Connolly mezzo soprano Robin Tritschler tenor Hanno Müller-Brachmann bass-baritone London Philharmonic Choir FREE Barlines post-concert discussion The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme.

All welcome, no booking required.

Vladimir Jurowski conductor Dietrich Henschel bass-baritone Omar Ebrahim Speaker 1 (Ecclesiastical Action) Malcom Sinclair Speaker 2 (Ecclesiastical Action) Annabel Arden director (Ecclesiastical Action) Miah Persson soprano (A German Requiem) London Philharmonic Choir FREE Barlines post-concert discussion The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme.

All welcome, no booking required.

Wednesday 28 November 2012 | 7.30pm Beethoven Overture, Fidelio Schoenberg Ode to Napoleon Bonaparte Schoenberg A Survivor from Warsaw Nono Julius Fučík Beethoven Symphony No. 5 Vladimir Jurowski conductor Robert Hayward narrator (Ode to Napoleon Bonaparte & A Survivor from Warsaw) Omar Ebrahim Fučík (Julius Fučík) Malcom Sinclair Voice (Julius Fučík) Annabel Arden director Gentlemen of the London Philharmonic Choir 6.15–6.45pm FREE pre-concert discussion Royal Festival Hall Composer and academic Silvina Milstein looks at the works of Nono and Schoenberg.

All welcome, no booking required.

FREE Barlines post-concert discussion The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme.

All welcome, no booking required.

14 | London Philharmonic Orchestra

Wednesday 12 December 2012 | 7.30pm Grisey Quatre chants pour franchir le seuil Mahler Symphony No. 5 Vladimir Jurowski conductor Allison Bell soprano 6.15–6.45pm FREE pre-concert discussion Royal Festival Hall The London Philharmonic Orchestra’s Composer in Residence, Julian Anderson, takes a look at the music of Gérard Grisey.

All welcome, no booking required.

Booking details London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk (no transaction fee) Southbank Centre Ticket Office (transaction fees apply) 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

Virtual Christmas Gifts from the London Philharmonic Orchestra Want to give a ‘different’ present to your music-loving friends or family this Christmas? How about a stocking filler or a gift for someone who has everything? Celebrate with the London Philharmonic Orchestra by giving one or more of our Virtual Gifts.

Whether you are helping us to produce world-class concerts or providing a London child with their first experience of live music, your gift will have an impact long after the celebration itself.

Each gift comes with a bespoke Christmas card which we can send to you or directly to the recipient with your own personal greeting, along with a 10% discount voucher for a spring 2013 London Philharmonic Orchestra concert of the recipient’s choice. For more details visit www.lpo.org.uk/virtualgifts or call 020 7840 4212.

Solo moments: £10 Your opportunity to support a sensational musical moment from the London Philharmonic Orchestra and guest soloists during one of next spring’s concerts. Choose from the following: • • • • • • • • •

Flute solo in Ravel’s Mother Goose (Saturday 16 February 2013) Cor anglais solo in Dvořák’s ‘New World’ Symphony (Wednesday 20 February 2013) Clarinet opening of Gershwin’s Rhapsody in Blue (Friday 22 February 2013) Bassoon solo in Stravinsky’s The Rite of Spring (Saturday 16 February 2013) Opening trumpet fanfare in Strauss’s Also sprach Zarathustra (Saturday 19 January 2013) Violin solo in Sibelius’s Violin Concerto (Friday 1 February 2013) Piano solo in Rachmaninoff’s Piano Concerto No. 3 (Friday 15 February 2013) Choir in Orff’s Carmina Burana (Saturday 6 April 2013) Vocal soloists in Weill’s The Threepenny Opera (Saturday 2 March 2013)

Adopt A Class: £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school, helping them overcome their disabilities through music.

Roll Call: £40 Help us liven up an assembly in one of South London’s schools by sending in a group of LPO musicians.

Centre Stage: £50 Your gift will help us offer the opportunity for a South London school child to perform on the Royal Festival Hall stage. Includes an invitation to watch the culmination of our Schoenberg New Horizons GCSE schools’ composition project on Wednesday 23 January 2013.

You can also buy a gift of a year’s membership of the London Philharmonic Orchestra Friends or LPO Contemporaries: visit www.lpo.org.uk/gifts for more details.

In order to guarantee delivery by Christmas please order by Wednesday 19 December 2012. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No. 238045.

London Philharmonic Orchestra | 15

administration

Board of Directors

General Administration

Orchestra Personnel

Archives

Victoria Sharp Chairman Stewart McIlwham* President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler Gareth Newman* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Sir Philip Thomas Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams

Timothy Walker AM Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian

Gillian Pole Recordings Archive

Michael Pattison Stage Manager

Professional Services

Finance David Burke General Manager and Finance Director

Julia Boon Assistant Orchestra Personnel Manager

* Player-Director

Advisory Council Jonathan Dawson Clive Marks OBE FCA Lord Sharman of Redlynch OBE Victoria Sharp Timothy Walker AM American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Honorary Chairman Noel Kilkenny Honorary Director Victoria Sharp Honorary Director Richard Gee, Esq Of Counsel Robert Kuchner, CPA

Alison Atkinson Digital Projects Manager

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors

Ken Graham Trucking David Greenslade Instrument Transportation FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Development Concert Management Roanna Gibson Concerts Director (maternity leave) Ruth Sansom Artistic Administrator / Acting Head of Concerts Department Graham Wood Concerts and Recordings Manager Barbara Palczynski Glyndebourne and Projects Administrator Jenny Chadwick Tours and Engagements Manager Alison Jones Concerts Co-ordinator Jo Orr PA to the Chief Executive / Concerts Assistant

Nick Jackman Development Director Helen Searl Corporate Relations Manager Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Sarah Fletcher Development and Finance Officer Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager

Matthew Freeman Recordings Consultant

Rachel Williams Publications Manager

Education & Community

Samantha Kendall Box Office Manager (Tel: 020 7840 4242)

Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

16 | London Philharmonic Orchestra

Libby Northcote-Green Marketing Co-ordinator Claire Lampon Intern Albion Media Public Relations (Tel: 020 3077 4930)

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photograph of Haydn courtesy of the Royal College of Music, London.

Front cover photograph © Patrick Harrison.

Printed by Cantate.