London Philharmonic Orchestra 22 Feb 2015 Eastbourne programme

Congress Theatre, Eastbourne Concert programme lpo.org.uk

Winner of the 2013 RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Leader PIETER SCHOEMAN† Composer in Residence MAGNUS LINDBERG Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Congress Theatre, Eastbourne Sunday 22 February 2015 | 3.00pm

Borodin In the Steppes of Central Asia (7’) Tchaikovsky Violin Concerto in D major, Op. 35 (34’) Interval Dvořák Symphony No. 9 in E minor, Op. 95 (From the New World) (40’)

Programme £2.50 Contents 2

3 4 5 6 7 8 12 13

14 15 16

Welcome LPO concerts at the Congress Theatre On stage About the Orchestra Leader: Vesselin Gellev Garry Walker Tamsin Waley-Cohen Programme notes London 2015/16 season LPO Eastbourne Appeal Orchestra News Supporters Sound Futures donors LPO administration

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

Garry Walker conductor Tamsin Waley-Cohen violin

* supported by the Tsukanov Family Foundation and one anonymous donor † supported by Neil Westreich CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL

Welcome

Welcome to the Congress Theatre, Eastbourne Artistic Director Chris Jordan General Manager Gavin Davis Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you.

We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 18th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible.

We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

More London Philharmonic Orchestra concerts to enjoy at the Congress Theatre More information available in the season brochure: pick up a copy after the concert, call 020 7840 4242 to request a copy, or browse online at lpo.org.uk/ eastbourne Sunday 15 March 2015 | 3.00pm Beethoven Symphony No. 1 Haydn Piano Concerto in D major, Hob. VIII.11 Rossini Overture, The Barber of Seville Mozart Symphony No. 41, K551 (Jupiter) Daniel Smith conductor Maria Meerovitch piano Sunday 29 March 2015 | 3.00pm Tchaikovsky Romeo and Juliet (Fantasy Overture) Elgar Cello Concerto Rimsky-Korsakov Scheherazade Jaime Martín conductor Andreas Brantelid cello Sunday 12 April 2015 | 3.00pm Elgar Introduction and Allegro Mendelssohn Violin Concerto Beethoven Symphony No. 7 Domingo Hindoyan conductor Madalyn Parnas violin Tickets £13–£29 plus £1 postage per booking.

Book all three concerts for a 10% discount Box Office 01323 412000 Book online at eastbournetheatres.co.uk

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On stage

First Violins Vesselin Gellev Leader Catherine Craig Martin Hohmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp Yang Zhang Ishani Bhoola Maeve Jenkinson Robin Wilson Peter Nall Jacqueline Roche Miranda Allen Gordon MacKay Second Violins Jeongmin Kim Principal Fiona Higham Nynke Hijlkema Joseph Maher Floortje Gerritsen Harry Kerr Elizabeth Baldey Nicole Stokes Georgina Leo Naomi Anner

Violas Helen Kamminga Guest Principal Benedetto Pollani Laura Vallejo Isabel Pereira Martin Fenn Stanislav Popov Richard Cookson Martin Wray Cellos Francis Bucknall Principal David Lale Santiago Carvalho† Elisabeth Wiklander Sue Sutherley Susanna Riddell

Oboes Helen Barker Guest Principal Alice Munday

Trombones David Whitehouse Principal Duncan Wilson

Cor Anglais Sue Böhling* Principal

Bass Trombone Lyndon Meredith Principal

Clarinets Robert Hill* Principal Thomas Watmough Bassoons Gareth Newman Principal Simon Estell

Double Basses George Peniston Principal Tom Walley Kenneth Knussen Charlotte Kerbegian

Horns Stephen Nicholls Guest Principal Jonathan Bareham Duncan Fuller Jason Koczur Alex Wide

Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE Hannah Grayson

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Tuba Lee Tsarmaklis* Principal Chair supported by Friends of the Orchestra Timpani Barnaby Archer Guest Principall Percussion Ignacio Molins Guest Principal

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Piccolo Hannah Grayson

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Neil Westreich; Eric Tomsett; Sonja Drexler; David & Victoria Graham Fuller; Simon Robey; William & Alex de Winton; Andrew Davenport; anonymous donor

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The LPO’s playing throughout was exceptional in its warmth, finesse and detail. The Guardian, January 2013 The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg is the Orchestra’s current Composer in Residence.

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label.

There are now over 80 releases available on CD and to download. Recent additions include Poulenc and Saint-Saëns organ works with Yannick Nézet-Séguin and organist James O’Donnell; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Brahms’s Symphonies Nos. 3 & 4 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf.

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. In 2013 it was the winner of the RPS Music Award for Ensemble.

© Benjamin Ealovega

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others.

He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble.

Vesselin has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and the Accademia Nazionale di Santa Cecilia. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people.

Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

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Garry Walker conductor

“Garry Walker’s handling of the music is sharp-eared, to say the least.

© Jack Liebeck

Richard Fairman, The Financial Times, June 2014

Winner of the 1999 Leeds Conductor’s Competition, Scottish born Garry Walker studied cello (with Ralph Kirshbaum) and conducting at the Royal Northern College of Music. He is now Visiting Professor of Conducting at the Royal Conservatoire of Scotland.

Garry Walker was Principal Guest Conductor of the Royal Scottish National Orchestra (2003–07), Guest Conductor of the Royal Philharmonic, Principal Conductor of Paragon Ensemble and now enjoys a close association with Red Note Ensemble, Scotland’s premiere contemporary music ensemble.

In the UK, he has worked with all the BBC orchestras, the Hallé, National Youth Orchestra of Scotland, London Sinfonietta, Royal Liverpool Philharmonic Orchestra, Philharmonia, and City of Birmingham Symphony Orchestra. Chamber orchestras have included the Northern Sinfonia, Scottish Chamber Orchestra, English Chamber Orchestra and Academy of St Martin’s in the Fields. He regularly appears at the Edinburgh International Festival and in 2003 conducted a notable performance of Mahler’s Symphony No. 2 ‘Resurrection’ with the Royal Scottish National Orchestra.

Outside the UK he has appeared with the Gothenburg Symphony Orchestra, the Orchestre Philharmonique de Luxembourg, Collegium Musicum, Denmark, Musikkollegium Winterthur and the Deutsches Symphonie Orchester Berlin. Further afield he has conducted the Melbourne Symphony Orchestra, Auckland Philharmonia, and made his US debut with the Utah Symphony Orchestra. More recently he has conducted the Adelaide Symphony Orchestra, the Pacific Symphony Orchestra in California, the Dortmund Philharmoniker, and Musikkollegium Winterthur.

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An experienced opera conductor, Garry Walker conducted a new production of Janáček’s The Cunning Little Vixen for Garsington Opera in 2014. He has also conducted both Britten’s Curlew River and the world premiere of Stuart Macrae’s opera The Assassin Tree at the Edinburgh International Festival. He also conducted David McVicar’s much acclaimed production of Britten’s The Turn of the Screw, and Raskatov’s A Dog’s Heart for English National Opera, Cimarosa’s The Secret Marriage for Scottish Opera, Mozart’s La Clemenza di Tito at the Royal Northern College of Music and Poulenc’s La Voix Humaine at the Linbury Studio Theatre at the Royal Opera House, Covent Garden. Outside the UK he has conducted Britten’s Curlew River for Lyon Opera and a new production by Calixto Bieito of Hosakawa’s Hanjo at the Ruhr Triennale.

Future plans include appearances with the Auckland Philharmonia, Adelaide Symphony Orchestra, Royal Philharmonic Orchestra and Orchestra della Toscana.

Amongst the many international soloists with whom Garry Walker has collaborated are Maxim Vengerov, Truls Mørk, Mischa Maisky, James Ehnes, David Geringas and Branford Marsalis.

Recordings have included works by Havergal Brian and Matthew Taylor on Toccata Classics, Edward Harper on Delphian and Dvořák on Sony.

Today’s appearance is Garry’s debut with the LPO.

garrywalker.net A short video profiling Garry Walker bit.ly/1xzGFmvt

Tamsin Waley-Cohen violin

Tamsin Waley-Cohen held us rapt with daring and undaunted performances.

Hilary Finch, The Times

Tamsin Waley-Cohen enjoys an adventurous and varied career. She has performed with many orchestras such as the Royal Philharmonic, Bournemouth Symphony and BBC Concert orchestras, and further afield with Budapest Philharmonic, Graz Kammerphilharmonie and Chapelle Musicale de Tournai, with conductors including Andrew Litton, Jose Serebrier, Tamas Vasary, Shlomo Mintz and Nicolae Moldoveanu. Performances have taken her across Europe and to the USA, playing in venues such as the Barbican, Wigmore Hall, Cadogan Hall, Queen Elizabeth Hall, Symphony Hall Birmingham, Bridgewater Hall Manchester, the Great Hall, Liszt Academy and in other venues across the UK and the continent.

As a recitalist, Tamsin enjoys a duo partnership with pianist Huw Watkins, with whom she has released three CD recordings, most recently 1917 which received outstanding reviews and was in the Top 20 of the Official Classical Charts. Other recordings include music based on ‘Americans in Paris’ in the 20th century (Champs Hill) and a disc of Mendelssohn concertos with David Curtis and Orchestra of the Swan (Signum Records). Tamsin’s most recent disc is Vaughan Williams’s Lark Ascending and Violin Concerto in D minor again with Orchestra of the Swan and David Curtis.

Tamsin has performed in many festivals including Cheltenham, Academia San Felice, Florence Chamber Music and Stift, Presteigne, and made her US debut with the Mendelssohn Concerto in the Bowdoin Festival. She has been artist in residence at RomanRiver and Frome Music festivals. She is also Artistic Director of the Sunday Series at London’s Tricycle Theatre, for which she was named one of Evening Standard’s 1,000 most influential Londoners and was Artistic Director of Music at the Bargello Chamber Music Festival in Florence, Italy in 2011–12.

Tamsin Waley-Cohen was born in London in 1986. She became a Foundation Scholar, studying with Itzhak Rashkovsky, at the Royal College of Music where she won all available awards, including – twice – the concerto competition, and was their String Player of the Year in 2005. Numerous competition successes include winning the 2005 Royal Overseas League String Prize and the 2007 J&A Beare Bach competition. She has also participated in masterclasses given by Ida Haendel, Igor Ozim, and Ruggiero Ricci, the latter describing her as ‘the most exceptionally gifted young violinist I have ever encountered’.

Tamsin plays the 1721 ex-Fenyves Stradivarius violin.

Her love of chamber music led her to form the Honeymead Ensemble (resident at the Tricycle Theatre in London) as well as the Honeymead Festival in Exmoor.

She recently joined the acclaimed London Bridge Trio and regularly plays with pianists Tom Poster and Simon Crawford-Philips, and cellist Gemma Rosefield. She has premiered works by composers including Torsten Rasch, Joseph Phibbs, and Richard Causton; in 2011 she gave the premiere of Concertion written for her by Huw Watkins.

tamsinwaleycohen.com An interesting little snippet: Tamsin Waley-Cohen helps BBC Two ‘s Global Weirding find out about the strange relationship between her Stradivarius and the weather. bit.ly/1Dm9HNt

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Programme notes

Speedread Three unmistakable voices of 19th-century Slavonic nationalism speak out in today’s concert. Borodin was a leading figure in the movement towards a new style reflecting Russian national character, and his ‘musical picture’ In the Steppes of Central Asia is one of its most evocative products; Tchaikovsky’s Violin Concerto was

Alexander Borodin

written during a period of self-imposed exile, and aches with feeling for his native land; and Dvořák’s effortless ability to evoke the atmosphere of his Czech homeland shines through even when combined with a determined attempt to honour the open horizons and peoples of the ‘New World’ of America.

In the Steppes of Central Asia

1833–87

Borodin’s ‘proper job’ as a chemist (in which he rose to be Professor at the Medico-Surgical Academy in St Petersburg) meant that his time for composing was largely limited to the university holiday periods, with the result that of the five great nationalist Russian composers of the 19th century (himself, Balakirev, Cui, Mussorgsky and Rimsky-Korsakov) he was the least productive. With much of that creative time, too, dominated by long toil on the ultimately unfinished opera Prince Igor, his purely orchestral output was restricted to just four works: three symphonies (one of them uncompleted at his death) and the eight-minute tone poem V sredney Azii (‘In the Steppes of Central Asia’). Composed in 1880, this last was premiered in St Petersburg that same year, with Rimsky-Korsakov conducting.

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Borodin actually called the piece a ‘musical picture’, and indeed little more is shown in it than an empty landscape into which a caravan of horses and camels arrives and then departs. Two themes are heard over the pervading ostinato – a ‘peaceful Russian song’ and ‘the melancholy notes of an oriental melody’ – but although according to the composer one represents a conqueror and the other the conquered, they eventually merge in languid counterpoint. Despite this simple outline, there is great skill in the piece, both in its technical handling – it seems that Borodin did not use actual folk tunes, but composed his own characteristic melodies with their contrapuntal combination in mind from the beginning – and in its atmospheric orchestral scoring.

Pyotr Ilyich Tchaikovsky 1840–93

If there is a sense of reawakening, perhaps even of rebirth, to the start of Tchaikovsky’s Violin Concerto, it is an entirely appropriate one. Only days before he started composing it in March 1878, he had been picking at a new piano sonata with scant success: ‘Am I played out?’, he wrote in a letter. ‘I have to squeeze out of myself weak and worthless ideas and ponder every bar.’

He was writing from the house at Clarens near Lake Geneva where he was staying as part of his six-month escape from Russia following the personal disaster and resultant mental breakdown (there had even been a suicide attempt) provoked by his illconsidered marriage the previous year. In that period of wandering he had completed both the Fourth Symphony and the opera Eugene Onegin, but begun very little that was new in itself.

It was now, however, that the arrival of Josef Kotek, a violinist and former pupil from the Moscow Conservatory (and possibly a former lover), brought a recovery in the composer’s spirits. The two spent much time playing chamber music together, and within three days Tchaikovsky was enthusiastically at work on the Violin Concerto. The sketches were completed eleven days later and the scoring a fortnight after that, by which time Tchaikovsky had also managed to provide a new slow movement to replace the original (which survives as Méditation for violin and piano). The work got a lukewarm reception at its first performance in Vienna in 1881 with Adolf Brodsky as soloist, but the Russian premiere in Moscow nine months later set it firmly on the way to the popularity it enjoys today.

Violin Concerto in D major, Op. 35 Tamsin Waley-Cohen violin 1 Allegro moderato – Moderato assai 2 Canzonetta: Andante – 3 Finale: Allegro vivacissimo

was Édouard Lalo’s new Symphonie espagnole for violin and orchestra, both for its ‘freshness’ and for the fact that ‘like Léo Delibes and Bizet, [Lalo] does not strive for profundity, but carefully avoids the routine, seeks out new forms, and thinks more about musical beauty than observing established traditions, as the Germans do’.

That freshness certainly finds its way into Tchaikovsky’s concerto, which inhabits a very different world from the tortured emotionalism of his recent symphony and opera. But there is something here, too, of the unforced and unassuming formal simplicity of Lalo’s approach, though this is not to say that it is without craft. The first movement is a sonata form with an elegant introduction and two clearly discernable big melodies amid some more fleeting themes, all bound together by subtly glinting thematic connections. ‘Musical beauty’ is also present; like Mendelssohn in his Violin Concerto – whose formal quirk of a cadenza placed before the moment of recapitulation it also recalls – Tchaikovsky manages effortlessly to make natural partners of lyrical grace and virtuoso brilliance.

Tchaikovsky’s designation of the G minor slow movement as a Canzonetta acknowledges its essentially song-like nature (complete with woodwind introduction and play-out), but does little to hint at its Slavic melancholy. That Russian flavour is then raised to a newly boisterous level in a Finale which sports with two dance-like themes, the first excitably athletic, the second a more lyrical one whose innate soulfulness quickly overcomes the rustic drones with which it first appears.

Of the pieces Tchaikovsky and Kotek played through together, one that particularly impressed the composer

Interval – 20 minutes A bell will be rung a few minutes before the end of the interval.

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Programme notes continued

Antonín Dvořák 1841–1904

‘Apparently I am to show them the path to the promised land and the kingdom of a new, independent art; in short, to create a national music!’ Having been appointed Director of the National Conservatory of Music in New York, Dvořák knew that great things were expected of him, as his letters home show. American music in the second half of the 19th century was strongly dominated by German-trained composers who aligned it firmly with the central European classical tradition, and it must have been with a view to breaking free from this somewhat stifling influence that the wealthy Jeanette Thurber founded her new conservatory in 1892 and invited Dvořák, one of Europe’s most prominent nationalist composers, for a three-year term as its first Director. By her own account, it was Mrs Thurber who also suggested to Dvořák the idea of composing a symphony that would reflect his impressions of America. He began it in January 1893 and completed it the following May. It was premiered amid huge public interest and acclaim on 16 December.

The ideal identity of an American national music was at this time the subject of considerable debate, one desirable element recognised by many being the influence of black and native American music. Dvořák espoused the cause straight away. Having heard spirituals sung to him by a black student (and no doubt encountered the ‘plantation songs’ of the popular white composer Stephen Foster), he declared in an interview in the New York Herald in May 1893: ‘I am now convinced that the future music of this country must be built on the foundations of the songs which are called Negro melodies. They must become the basis of a serious and original school of composition which should be established in the USA.’ His recently completed symphony – which by the time of its premiere had acquired the title ‘From the New World’ – undoubtedly embodied this ambition.

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Symphony No. 9 in E minor, Op. 95 (From the New World) 1 Adagio – Allegro molto 2 Largo 3 Scherzo: Molto vivace 4 Allegro con fuoco

But although few would deny the American feel of the ‘New World’ Symphony, or the audibility of its influence on later American composers (not least those who wrote for Hollywood), Dvořák was clear that he did not use existing folk melodies, and sought only to reproduce ‘the spirit of Negro and Indian music’ with ‘characteristic themes’. In this sense he was doing much the same as in his ‘Slavonic’ music, and indeed, given that such features as syncopations and pentatonic melodies are common to many of the world’s folkmusics (Czech among them), there is much to be said for considering this a work of truly dual nationality.

Though he loved America, Dvořák was often homesick while there, and with a different set of ears it is not hard to hear the symphony as an expression of longing for his Bohemian homeland, displaying (as the 20thcentury conductor Václav Talich once put it) ‘the rhythm and melody of his surroundings ... remoulded by Dvořák’s Czechness’.

The Symphony opens with a pensive introduction containing a slow melody whose syncopations gradually draw it towards the athletic main theme of the Allegro which follows (and which will make several strategic returns later in the symphony). This first movement also features two contrasting themes, both introduced by winds and both with a syncopated nature that would seem to qualify them as ‘characteristically’ American.

There is a stormy central development section, and after the main themes have been reprised, a driving finish.

The slow movement is a gem whose celebrity is richly deserved. After a sequence of solemn chords has helped to establish its new and unusual key (D flat major), a solo cor anglais intones the simple, spiritual-like theme that is surely one of the most glorious melodies in all music. The warm sense of pastoral nostalgia is briefly broken by some forest stirrings and a fleeting glimpse of

the first movement’s wider vistas, but at the end there is a return to the opening’s mood of wistfulness.

The stamping dance of the Scherzo seems to inhabit the world of the native American – indeed, Dvořák later said that, like the Largo, it was inspired by a scene in Longfellow’s poem The Song of Hiawatha. Its form is unusual, containing in addition to its lightly skipping central Trio a song-like second theme within its main repeated section.

The finale introduces a striking new theme, but while this rightly dominates the movement, Dvořák makes much play of bringing back melodic fragments from earlier movements. The music works to an almost Wagnerian climax before the symphony ends in a final surprise gesture of longing.

Programme notes © Lindsay Kemp

On the LPO CD Label: Jurowski conducts Tchaikovsky CDs on sale tonight from the Congress Theatre merchandise kiosk

Symphonies Nos. 1 & 6

Symphonies Nos. 4 & 5

Manfred Symphony

Vladimir Jurowski conductor

Vladimir Jurowski conductor

Vladimir Jurowski conductor

£10.99 (2CDs) | LPO-0039

£10.99 (2CDs) | LPO-0064

£9.99 (1CD) | LPO-0009

Also available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Available to download or stream online via iTunes, Spotify, Amazon and others.

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2015/16 season at Royal Festival Hall Highlights 2015

2016

Wednesday 23 September Mahler Symphony No 7 Vladimir Jurowski conductor

Shakespeare400 In 2016 the LPO joins many of London’s other leading cultural institutions to celebrate the legacy of Shakespeare, 400 years since his death.

Highlights include:

Wednesday 14 October Penderecki conducts Penderecki including UK premieres of Harp Concerto and Adagio for Strings Saturday 31 October Bruckner Symphony No. 5 Stanisław Skrowaczewski conductor Friday 6 November A celebration of Mexican orchestral music Alondra de la Parra conductor JTI Friday Series

Wednesday 3 February Dvorˇák Overture, Otello Wednesday 10 February Sibelius The Tempest (extracts) Friday 15 April Prokofiev Romeo and Juliet (extracts) JTI Friday Series Saturday 23 April Anniversary Gala Concert Including: Verdi Otello and Falstaff (extracts) Music from Britten, Mendelssohn and Walton Vladimir Jurowski conductor Simon Callow director Booking now Tickets from £9.00 Ticket office 020 7840 4242 lpo.org.uk

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London Philharmonic Orchestra 2014/15 Eastbourne Appeal As the London Philharmonic Orchestra’s 2014/15 season at Eastbourne continues with another year of superb programming, it is with great anticipation that we welcome a number of gifted young artists to share the stage with the Orchestra, including violinists Tamsin Waley-Cohen (today’s soloist) and Madalyn Parnas, and cellist Andreas Brantelid.

Young musicians like these will have been significantly influenced by their first experience of a live orchestral concert, and it is for this reason that the Orchestra performs live to over 16,000 school children each year through a series of specially designed daytime concerts that link to what they are learning at school.

Our 2014/15 Eastbourne Appeal aims to secure further support towards these educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. There is a subsidy of £9 on each ticket and we hope to be able to offer over 550 young people the opportunity to attend a performance as a result of this Appeal.

To date, your support through this appeal has enabled us to reach 90% of that target. We are extremely grateful for the continued support of our Eastbourne audiences in reaching this point and hope you will consider making a contribution to enable us to achieve our goal.

To donate please visit lpo.org.uk/eastbourneappeal or contact Helen Etheridge: 020 7840 4225 or helen.etheridge@lpo.org.uk

Orchestra news 2015/16 season launch Booking for the new season at Royal Festival Hall is now well and truly open. Highlights include Shakespeare400: a joint celebration with other leading cultural organisations of the 400th anniversary of Shakespeare’s death. We present a series of concerts celebrating some of the wonderful music inspired by the great playwright, including works by Nicolai, Sibelius, Dvořák, Prokofiev, Strauss and Britten. The series culminates in a specially curated Anniversary Gala Concert directed by Simon Callow. Find out more a lpo.org.uk/performances.

The new season at Eastbourne will be announced very soon. To be the first to find out what’s coming up sign up for our emails at lpo.org.uk/signup.

Latest LPO CD release: Vaughan Williams Symphonies Nos. 4 & 8 Released this month on the LPO Label is a pair of Vaughan Williams Symphonies: Nos. 4 & 8, (LPO-0082) conducted by Ryan Wigglesworth and Vladimir Jurowski respectively. They were recorded live in concert at the Royal Festival Hall on 24 September 2008 (Symphony No. 8) and 1 May 2013 (Symphony No. 4).

Priced £9.99, the CD is available from lpo.org.uk/ shop (where you can listen to soundclips before you buy), the LPO Ticket Office (020 7840 4242) and all good CD retailers.

Alternatively you can download it from iTunes, Amazon and others, or stream via Spotify.

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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 The Tsukanov Family Foundation Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Laurence Watt Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry

Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Mrs Kazue Turner Simon Turner Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

14 | London Philharmonic Orchestra

Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust

Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to Sound Futures, which will establish our first ever endowment. Donations from those below have already been matched pound for pound by Arts Council England through a Catalyst Endowment grant.

By May 2015 we aim to have raised £1 million which, when matched, will create a £2 million fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We thank those who are helping us to realise the vision.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Richard Buxton Simon Robey Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Bruno de Kegel Mr Gavin Graham Moya Greene Tony and Susie Hayes Catherine Høgel & Ben Mardle Mrs Philip Kan

Rebecca Halford Harrison Honeymead Arts Trust Mrs Dawn Hooper Rehmet Kassim-Lakha Mr Geoffrey Kirkham Peter Leaver Drs Frank & Gek Lim Peter Mace Mr David Macfarlane Geoff & Meg Mann Marsh Christian Trust Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Paris Natar Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Peter Russell Pritchard Donors Mr Alan Sainer Ralph and Elizabeth Aldwinckle Tim Slorick Michael and Linda Blackstone Lady Valerie Solti Dr Anthony Buckland Timothy Walker AM Business Events Sydney Laurence Watt Lady June Chichester Mr R Watts John Childress & Christiane Wuillamie Des & Maggie Whitelock Lindka Cierach Christopher Williams Paul Collins Peter Wilson Smith Mr Alistair Corbett Victoria Yanakova David Dennis Mr Anthony Yolland Mr David Edgecombe David Ellen And all other donors who wish to Mr Timothy Fancourt QC remain anonymous Karima & David G Mr Daniel Goldstein Mr Derek B. Gray Mr Roger Greenwood Rose and Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Ruth Rattenbury The Reed Foundation Sir Bernard Rix David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich * Player-Director Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer

Archives

David Greenslade Finance and IT Manager

Development

Samanta Berzina Finance Officer

Nick Jackman Development Director

Gillian Pole Recordings Archive

Concert Management

Catherine Faulkner Development Events Manager

Charles Russell Solicitors

Kathryn Hageman Individual Giving Manager

Graham Wood Concerts and Recordings Manager

Crowe Clark Whitehill LLP Auditors

Laura Luckhurst Corporate Relations Manager

Dr Louise Miller Honorary Doctor

Jenny Chadwick Tours Manager

Anna Quillin Trusts and Foundations Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Helen Etheridge Development Assistant

Roanna Gibson Concerts Director

Alison Jones Concerts and Recordings Co-ordinator

Rebecca Fogg Development Assistant Kirstin Peltonen Development Associate

Jo Cotter Tours Co-ordinator

Marketing

Orchestra Personnel

Kath Trout Marketing Director

Andrew Chenery Orchestra Personnel Manager

Mia Roberts Marketing Manager

Sarah Holmes Sarah Thomas Librarians (job-share)

Rachel Williams Publications Manager (maternity leave)

Christopher Alderton Stage Manager

Sarah Breeden Publications Manager (maternity cover)

Damian Davis Transport Manager Ellie Swithinbank Assistant Orchestra Personnel Manager

16 | London Philharmonic Orchestra

Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator

Philip Stuart Discographer

Professional Services

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

Photographs of Borodin, Tchaikovsky and Dvořák courtesy of the Royal College of Music, London.

Front cover photograph © Julian Calverley. Cover design/ art direction: Chaos Design.

Printed by Cantate.