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


SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 22 January 2011 | 7.30pm


PROGRAMME £3 CONTENTS 2 3 4 5 6 7 8 12 13 14 15 16

List of Players Orchestra History Leader / Southbank Centre Yannick Nézet-Séguin Sally Matthews / Gerald Finley London Philharmonic Choir Programme Notes BBC Radio 3 / John Alldis Supporters Recordings Administration Future Concerts

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

FRANCK Symphony in D minor



This concert is being recorded by BBC Radio 3 for broadcast on 26 January 2011. (38’)

Tonight’s concert is dedicated to John Alldis, Chorus Master of the London Philharmonic Choir from 1969-1982, who died on 20 December 2010.

supported by Macquarie Group


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FIRST VIOLINS Pieter Schoeman* Leader Lucy Baker Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

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

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

Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Imogen Williamson Sioni Williams Heather Badke Alison Strange

VIOLAS Jonathan Barritt Guest Principal Robert Duncan Katharine Leek Susanne Martens Benedetto Pollani Emmanuella Reiter-Bootiman Laura Vallejo Naomi Holt Isabel Pereira Daniel Cornford Miranda Davis Sarah Malcolm CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon

Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Gregory Walmsley Sue Sutherley Tae-Mi Song Rosie Banks David Bucknall DOUBLE BASSES Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Joe Melvin Tom Walley Helen Rowlands

FLUTES Sam Coles Guest Principal Stewart McIlwham*

TROMBONES Mark Templeton* Principal David Whitehouse

OBOES Ian Hardwick Principal Angela Tennick

BASS TROMBONE Lyndon Meredith Principal

COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Nicholas Carpenter BASS CLARINET Paul Richards Principal

TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal HARP Rachel Masters* Principal ORGAN Catherine Edwards

BASSOONS Gareth Newman* Principal Simon Estell HORNS John Ryan Principal Martin Hobbs Jonathan Durrant Gareth Mollison TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

CORNETS Nicholas Betts Principal Daniel Newell

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport John and Angela Kessler The Tsukanov Family

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Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor and, in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin its new Principal Guest Conductor from September 2008. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the premières of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson. In addition to its London season and a series of concerts at Wigmore Hall, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, Spain, France, Belgium and Luxembourg. Having long been embraced by the recording, broadcasting and film industries, the London

Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East. The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. Recent additions to the catalogue have included acclaimed releases of Christmas choral music conducted by Vladimir Jurowski, Bruckner’s Symphony No. 6 conducted by Christoph Eschenbach, Verdi’s Requiem conducted by Jesús López-Cobos, Holst’s The Planets conducted by Vladimir Jurowski and Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker. The Orchestra’s own-label CDs are also widely available to download. Visit for the latest releases. 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, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter. London Philharmonic Orchestra | 3

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In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. He was appointed Leader in 2008. Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.  Pieter Schoeman has performed as a soloist and recitalist throughout the world in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and 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, he has performed Arvo Pärt’s Double Concerto with Boris Garlitsky and Benjamin Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. Last October he performed the Brahms Double Concerto with Kristina Blaumane.   In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore as well as the BBC Symphony Orchestra. This season he has been invited to lead the Rotterdam Philharmonic Orchestra on several occasions.  Pieter Schoeman has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television. He led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. He teaches at Trinity College of Music in London.

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WELCOME TO SOUTHBANK CENTRE We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include: Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact Kenelm Roberts, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or email or phone 020 7960 4250. We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended MOBILES, PAGERS AND WATCHES should be switched off before the performance begins

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Marco Borggreve


At 35 years old, Yannick Nézet-Séguin is one of the most highly respected and sought-after conductors on today’s international classical music scene and has been widely praised by audiences, critics and artists alike for his musicianship, dedication and charisma. He is Music Director of the Rotterdam Philharmonic Orchestra and in June 2010 was appointed Music Director Designate of the Philadelphia Orchestra with immediate effect and will take up the full title of Music Director from the 2012/13 season. He is also Principal Guest Conductor of the London Philharmonic Orchestra and Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal). A native of Montreal, Yannick Nézet-Séguin has conducted all of the major Canadian orchestras. Since his European debut in 2004, he has appeared regularly with many of Europe’s leading orchestras including the Dresden Staatskapelle, Orchestre National de France, Royal Stockholm Philharmonic Orchestra and Chamber Orchestra of Europe. In 2009, he made his BBC Proms debut with the Scottish Chamber Orchestra. Recent conducting highlights have included highly successful tours of the Far East and North America with the Rotterdam Philharmonic, as well as his debuts with the Berlin Philharmonic, Vienna Philharmonic (at the 2010 Salzburg Mozartwoche), Zürich Tonhalle, Philadelphia, Boston Symphony and Los Angeles Philharmonic Orchestras. A notable operatic conductor, Yannick Nézet-Séguin made his critically acclaimed Metropolitan Opera debut in December 2009 with a new production of Bizet’s Carmen and has just returned for a new production of Verdi’s Don Carlo. For Netherlands Opera he has conducted Janáček's The Makropoulos Case and Puccini’s

Turandot with the Rotterdam Philharmonic. In summer 2010, he returned to the Salzburg Festival to conduct the Vienna Philharmonic in Mozart’s Don Giovanni as well as a revival of his 2008 production of Gounod’s Roméo et Juliette with the Mozarteum Orchester Salzburg. In addition to his regular orchestral commitments, the second half of his 2010/11 season will include a tour with the Chamber Orchestra of Europe which culminates in a performance at the Salzburg Mozartwoche in late January 2011, and debuts with the Chicago Symphony, Bayerischer Rundfunk (Munich) and Leipzig Gewandhaus Orchestras. He makes his house debut at the Teatro alla Scala, Milan, conducting Roméo et Juliette, returns to Montreal Opera for Salome and conducts the Mahler Chamber Orchestra in a production of Don Giovanni in Baden-Baden. He will make his debut at the Royal Opera House, Covent Garden, in 2011/12. Yannick Nézet-Séguin’s first three Rotterdam Philharmonic recordings on the EMI/Virgin label, all released during the 2009/10 season, comprise an Edison Award-winning album of Ravel’s orchestral works, the Beethoven and Korngold Violin Concertos with violinist Renaud Capuçon, and Fantasy: A Night at the Opera with flautist Emmanuel Pahud. Future releases include Berlioz’s Symphonie fantastique and La Morte de Cléopâtre for BIS Records. His discography also includes several award-winning recordings with the Orchestre Métropolitain on the ATMA Classique label. Yannick Nézet-Séguin studied piano, conducting, composition and chamber music at the Conservatoire de musique du Québec in Montreal, and continued his studies with renowned conductors, most notably the Italian maestro Carlo Maria Giulini. His honours include a prestigious Royal Philharmonic Society Award, the Virginia-Parker Award from the Canada Council in 2000, numerous Prix Opus from the Conseil québécois de la musique, and Canada’s highly coveted National Arts Centre Award.

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Sally Matthews was the winner of the 1999 Kathleen Ferrier Award. She completed the Opera Course at the Guildhall School of Music and Drama in 2000 and was a member of The Royal Opera Young Artists programme from 2001 to 2003. She currently studies with Paul Farringdon. In 2001 she made her Royal Opera House debut as Nannetta in Falstaff with Bernard Haitink. Since then, her roles at Covent Garden have included Pamina in Die Zauberflöte; Fiordiligi in Così fan tutte; Sifare in Mitridate; and Anne Truelove in The Rake’s Progress. Other roles have included the title roles in Cavalli’s La Calisto and Unsuk Chin’s Alice in Wonderland in Munich and in Rusalka for Opera Australia; Blanche in Poulenc’s Les Dialogues des Carmélites and the Governess in Britten’s The Turn of the Screw in Vienna; and Sophie in Der Rosenkavalier for Netherlands Opera. Her plans include the Countess in Le nozze di Figaro for the Glyndebourne Festival; Delius’s A Village Romeo and Juliet at Covent Garden; Brahms’s Requiem with Bernard Haitink and the Chamber Orchestra of Europe; Strauss’s Vier letzte Lieder with Robin Ticciati and the Bamberg Symphony Orchestra; and the world première of Toshia Hosokawa’s Sternlose Nacht with the Mahler Chamber Orchestra and Kent Nagano in Baden-Baden. Concert appearances have included performances of Carmina Burana and Mahler’s Symphony No. 4 with the Berlin Philharmonic and Sir Simon Rattle; Elijah at the Saito Kinen Festival, Japan, with Seiji Ozawa; Berg’s Seven Early Songs with the BBC Philharmonic Orchestra and Gianandrea Noseda; and Haydn’s The Creation with the LSO and Sir Colin Davis. She has appeared frequently in recital and was part of the BBC New Generation Artists scheme.

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Sim Canetty-Clarke


Johan Persson


This Canadian baritone has become one of the leading singers and dramatic interpreters of his generation. In opera, he has sung Mozart’s major baritone roles in New York, London, Paris, Amsterdam, Rome, Vienna, Prague, Tel Aviv and Budapest as well as at the Glyndebourne and Salzburg Festivals. Other roles have included Golaud in Pelléas et Mélisande and Frank/Fritz in Korngold’s Die Tote Stadt at Covent Garden; and Onegin at English National Opera. In contemporary opera, he created the roles of J. Robert Oppenheimer in John Adams’s Doctor Atomic; Harry Heegan in MarkAnthony Turnage’s The Silver Tassie for ENO for which he won the Royal Philharmonic Society Award; and Jaufré Rudel in Kaija Saariaho’s L’amour de loin. Next month, he will take on the role of Stern in the world première of Mark-Anthony Turnage’s opera Anna Nicole at Covent Garden and in the summer he will make his role debut as Hans Sachs in Die Meistersinger at Glyndebourne, conducted by Vladimir Jurowski. His concert work has featured Mark-Anthony Turnage’s The Torn Fields and When I Woke (both available on the LPO Live label) and he is a frequent guest of many orchestras throughout Europe and the US. This season he will return to the Wigmore Hall with Julius Drake for an all Schumann programme. His recent CD of Dichterliebe and other Heine settings by Schumann achieved great critical acclaim as did his previous releases of Barber and Ives songs. Other recordings include Mozart’s Requiem, Handel's Messiah, Britten’s War Requiem, Beethoven’s Symphony No. 9 and an album of opera arias with Ed Gardner and the London Philharmonic Orchestra. Film credits include Wingrave in Channel 4’s film of Britten’s Owen Wingrave and he also appears in Wonders are Many, a film on the making of the opera Doctor Atomic.

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ACCOMPANIST: Iain Farrington CHAIRMAN: Mary Moore CHOIR MANAGER: Kevin Darnell

Sopranos Catherine Allum, Annette Argent, Hilary Bandy, Sarah Bindon, Charlotte Cantrell, Olivia Carter, Paula Chessell, Sheila Cox, Sarah Deane-Cutler, Sally Donegani, Emily Eason, Alison Flood, Sally Harrison, Elizabeth Hicks, Alexa Hills, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Frances Lake, Suzannah Lipman, Georgie Mawby, Marj McDaid, Sophie Mearing-Smith, Natalie Millet, Felicity Mowat, Linda Park, Alexia Prakas, Beth Procopio, Isobel Pyrke, Sarah C. Skinner, Claire Spencer, Rose Stachniewska, Tania Stainer, Amy Stroud, Susan Thomas, Agnes Tisza, Nicola Ward, Laura Westcott, Frances Wheare

Helene Richards, Muriel Swijghuisen Reigersberg, Jenny Ryall, Catherine Travers, Susi Underwood, Libby Vannet, Philippa Walden

Altos Jenny Adam, Susannah Bellingham, Sally Brien, Michelle Brockbank, Lara Carim, Isabelle Cheetham, Isobel Chester, Noel Chow, Yvonne Cohen, Janik Dale, Moira Duckworth, Andrea Easey, Lynn Eaton, Carmel Edmonds, Pauline Finney, Regina Frank, Lara Harvey, Karin Hendrickson, Pamela Hider, Sophy Holland, Kasia Hunt, Marjana Jovanovic Morrison, Andrea Lane, Lisa MacDonald, Laetitia Malan, Mary Moore, Elisabeth Nicol, Angela Pascoe,

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors throughout its history and made numerous recordings for CD, radio and television. Its Artistic Director is Neville Creed. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Last season’s highlights included performances of Mahler’s Symphony No. 2, Mendelssohn’s Elijah, Haydn’s Seven Last Words, Honegger’s Une Cantate de Noël, Poulenc’s Stabat Mater, Janáček’s The Eternal Gospel, Myaskovsky’s Symphony No. 6 and Liszt’s A Faust Symphony. This season, the Choir has performed Mahler’s Symphony No. 3, Bartók’s The Miraculous Mandarin, and Dvořák’s Te Deum and Stabat Mater. Future engagements include Mahler’s Das klagende Lied, Holst’s The Planets and Elgar’s The Dream of Gerontius. Recently released CDs with the London Philharmonic Orchestra include Dvořák’s Requiem conducted by Neeme Järvi, Brahms’s Ein deutsches Requiem with

Tenors David Aldred, Geir Andreassen, Simon Best, Chris Beynon, John Boyne, Keith Chaundy, Lorne Cuthbert, Kevin Darnell, Jack Dixon, Aloysius Fekete, Iain Handyside, Stephen Hodges, Patrick Hughes, Andrew Mackie, Philip Padfield, Rhydian Peters, Paul Thirer, Tony Wren Basses John Bandy, Stephen Benson, Jonathon Bird, Nicholas Brown, Adam Bunzl, Geoff Clare, David Clark, Phillip Dangerfield, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Christopher Harvey, Mark Hillier, Stephen Hines, Hugh Hudson, Martin Hudson, Aidan Jones, Steve Kirby, Robbie Li, John Luff, Anthony McDonald, John Morris, Ashley Morrison, William Parsons, Johan Pieters, David Regan, John Salmon, Daniel Snowman, Peter Sollich, Alex Thomas, Edwin Tomlins, James Torniainen, James Wilson, John Wood, Hin-Yan Wong

Yannick Nézet-Séguin and Holst’s The Planets under Vladimir Jurowski. The Choir appears regularly at the BBC Proms at the Royal Albert Hall and performances have included Beethoven’s Symphony No. 9, Elgar’s The Dream of Gerontius, Rachmaninov’s The Bells and the UK premières of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir shared the stage with Daleks and other creatures at the Doctor Who Proms in 2008 and 2010. The Choir also works with other leading orchestras, has visited many countries in Europe and travelled as far afield as Kuala Lumpur, Hong Kong and Perth, Australia. It sings in Raymond Gubbay’s Classical Spectacular, Organ Gala and Christmas Classics concerts, and recently joined Katherine Jenkins in her Christmas show at the Royal Albert Hall. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit

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SPEEDREAD We begin this evening with César Franck’s only symphony, a big romantic work in three closely related movements employing the cyclical procedures introduced by Liszt. A sombre introduction leads to a darkly passionate Allegro, which climaxes with a surging melody that has been called the faith theme. The following Allegretto is a combination of slow movement and scherzo. Themes from the first two movements reappear in a bright finale based mainly on the joyful transformation of a figure from the symphony’s introduction.


Fauré’s Requiem is unusual in omitting the Dies Irae (Day of Wrath) section of the text, so dramatically set by Verdi and other composers. Not for him were fearful apprehensions of Judgement Day. Fauré saw death as ‘a happy deliverance, an aspiration towards happiness above’. His Requiem is consequently a touchingly beautiful work, restrained in expression, emphasising throughout the idea of eternal rest. © Eric Mason

SYMPHONY IN D MINOR Lento – Allegro non troppo | Allegretto | Allegro non troppo


Few composers have been less aptly christened than Franck, whose baptismal names translate as Caesar Augustus. This earnest, industrious, unassuming musician, Belgian by birth and French by adoption, had an ambitious father who tried to make a boy wonder pianist of him. In his mid-twenties Franck fled and married, only to find that he had exchanged a tyrant for a virago. His avenue of escape was to an organ loft in Paris, the city where he spent most of his life as an organist, teacher and composer of organ and sacred choral music. The big change came in his last 15 years when an admiring circle of pupils gathered round him. ‘Pater Seraphicus’ they called their mentor, and in response to their prompting he blossomed out as the composer of the major works by which he is known best today. At the age of 67 he was knocked down by a bus, and a few months later he died of pleurisy complicated by after-effects of the accident. So he did not live to see more than the first glimmers of the public recognition his music achieved. His only symphony was completed in 1888 and first performed the following year. It is a big, romantic work

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with three closely related movements instead of the usual four, and in form it pays tribute to Liszt, one of Franck’s earliest supporters, by adopting that composer’s cyclical procedure. Themes from the first two movements are woven into the third. Although there is no avowed extra-musical programme, one may well see the work as striving from initial doubts and questioning towards the expression of hope and religious faith. The symphony begins with a slow introduction. Its sombre opening motive has been compared to the ‘Must it be?’ phrase in Beethoven’s last string quartet, but it also resembles the ‘Annunciation of death’ motive in Wagner’s Die Walküre. The contemplative violin figure that follows is the source of the symphony’s ultimate joy. With a different continuation the sombre motive provides the first subject of the darkly passionate Allegro non troppo. Returning to the slow tempo, Franck shows this theme in another dark key (F minor) but eventually the faster tempo is resumed and the tonality brightens to F major. A tender second theme, beginning with a rising scale, appears on the strings and is

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followed at the climax by a surging melody that has been called the ‘faith theme’. All this material is interwoven in a development section and recapitulated, the movement ending with sudden optimism in the major key. Slow movement and scherzo are combined in the Allegretto, which opens with a cor anglais melody. Franck disclosed that while composing this he had a vague notion of a procession in olden times. The following string tune has a kinship with the first movement’s faith theme. After a brief return of the cor anglais tune Franck interpolates the faster scherzo, a busy but delicate violin variation on the same melody. A trio section begun by the clarinets follows this. Then the scherzo music returns, combined now with the cor anglais melody. The string tune from the first part of

the movement reappears on wind instruments, answered by the trio theme on strings, and the movement is rounded off by a coda. The third movement quickly establishes the bright key of D major. There are two main subjects: first a joyful transformation of the violin figure from the symphony’s introduction, then a short theme on the brass. The cor anglais recalls its ‘processional’ melody, the two main subjects are restated and worked to a climax, and after a development section all three themes are heard again. Finally, the faith theme re-enters, encounters the questioning motive of the symphony’s opening but thrusts it aside so that the first theme of the finale can bring the work to an exultant end. © Eric Mason

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

Gabriel FAURÉ



For ten years from the age of nine Fauré studied at the Niedermeyer School in Paris, an institution specialising in religious music, and until he was 60 he earned his living mainly as a church organist and choirmaster. In 1896 he became chief organist of that famous Paris church, the Madeleine, so as a composer he was well equipped by training and experience to provide music for liturgical purposes. It was the death of his father in 1885 that turned his thoughts towards composing a Requiem. The first version, performed at the Madeleine in January 1888, was in five movements with a chamber accompaniment

for lower strings, harp, timpani and organ. Pie Jesu was sung by a boy soprano, and boys took the soprano line in the chorus. The second version (1893) included a new Offertoire for baritone and chorus, and a Libera me, which Fauré had composed in 1877 as an independent work for baritone and organ. Horns, trumpets and trombones were added to the orchestra. The third and final version (1900) further enlarged the accompaniment, adding woodwind and violins but reducing the organ to a mainly supportive role. Pie Jesu was now sung by an adult soprano. In this form the Requiem was heard for the first time in July 1900 at the Trocadéro in Paris.

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Fauré’s Requiem is a touchingly beautiful work, loving and gentle and deliberately restrained in expression. The composer selected his text from the Mass for the Dead and the Order of Burial with this intention. Except for those few lines that recur in the Libera me, he omitted the Dies Irae. Not for him were fearful apprehensions of Judgement Day. In answer to a criticism that his Requiem was ‘a lullaby of death’, he replied: ‘It is thus that I see death: as a happy deliverance, an aspiration towards happiness above rather than as a painful experience.’ The idea of eternal rest is emphasised throughout. A solemn and imposing D unison on brass, woodwind and lower strings launches the Introit, and the orchestra sonorously punctuates the opening line of the prayer. The main D minor theme is introduced at the repeat of these words. A second, more solemn theme appears at Te decet hymnus, and the main theme returns for the Kyrie that concludes the movement. In a more severe vein the first part of the Offertoire is a choral canon, beneath which the organ and strings enter with a sequence of sevenths. The baritone soloist makes his first entry at Hostias (We offer Thee, Lord, sacrifice of prayers and praise), singing what seems to have aspirations towards a fully-fledged melody but remains closer to a chant. Again the orchestra comments with chords of the seventh. Then the choir takes up the opening words again and adds an Amen. The harp appears for the first time in the Sanctus, its rippling semiquavers and a violin descant providing a luminous accompaniment to the simple vocal lines. A dramatic contrast is made briefly by the Hosanna with

Introit and Kyrie Chorus Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Kyrie eleison. Christe eleison. Kyrie eleison.

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its fanfare-like brass phrases before the initial accompaniment is resumed and plays this short movement out. In place of the usual Benedictus Fauré chose the last two lines of the Sequence for the Dead and set them to one of his most celebrated melodies. This soprano solo, Pie Jesu, is a prayer for eternal rest expressed with a moving tenderness and simplicity. The Agnus Dei opens with an easeful string theme in F (D minor’s relative major key) which continues as a counter-melody to the choral part taken mainly by the tenors. After Lux aeterna there is a severe reference back to the opening of the Introit, to which Fauré replies with the healing balm of the Agnus Dei melody in a new key, D major. Libera me, the plea for personal salvation on Judgement Day, begins as a baritone solo with a strong, longbreathed melody. The choir enters at Tremens factus (I am seized with trembling), and there is a dramatic outburst with the reference to the Day of Wrath. But the terror is short-lived and the movement ends calmly. The text of the final movement, In Paradisum, comes like Libera me from the Order of Burial. Fauré’s famous setting introduces another lovely melody with an ethereal accompaniment in which harp figures play the leading part. It makes a visionary, consummately beautiful ending, not fervent and assured but, as the composer said, ‘an aspiration towards happiness above’. © Eric Mason

Grant them eternal rest, Lord, and let perpetual light shine upon them. Thou, O God, art praised in Zion, and a vow shall be paid to Thee in Jerusalem. Hear my prayer, to Thee all flesh shall come. Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

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Offertoire Chorus O Domine Jesu Christe, Rex gloriae, libera animas defunctorum de poenis inferni et de profundo lacu, de ore leonis; ne absorbeat Tartarus, ne cadant in obscurum. Baritone solo Hostias et preces tibi, Domine, laudis offerimus; tu suscipe pro animabus illis quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

O Lord Jesus Christ, King of glory, deliver the souls of the dead from the pains of hell and from the deep pit, from the lion’s mouth; that the abyss may not swallow them, and they may not fall into darkness. We offer Thee, Lord, sacrifice of prayers and praise; receive them for those souls whom today we commemorate. Make them, Lord, to pass from death to life, which Thou didst promise once to Abraham and his seed.

Sanctus Chorus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest.

Pie Jesu Soprano solo Pie Jesu, Domine, dona eis requiem, dona eis sempiternam requiem.

Merciful Jesus, Lord, grant them rest, grant them eternal rest.

Agnus Dei Chorus Agnus Dei, qui tollis peccata mundi, dona eis sempiternam requiem. Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pia es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Lamb of God, that takest away the sins of the world, grant them eternal rest. Let eternal light shine upon them, Lord, with Thy saints for ever, for Thou art merciful. Grant them eternal rest, Lord, and let perpetual light shine upon them.

Libera me Baritone solo Libera me, Domine, de morte aeterna in die illa tremenda quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Chorus Tremens factus sum ego et timeo dum discussio venerit atque ventura ira. Dies illa, dies irae, calamitatis et miseriae; dies illa, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Deliver me, Lord, from eternal death on that dreadful day when the heavens and earth shall be moved, and Thou shalt come to judge the world by fire. I am seized with trembling and fear when I reflect on the trial and wrath to come. That day, the day of wrath, calamity and misery; that day, a great and exceedingly bitter day. Grant them eternal rest, Lord, and let perpetual light shine upon them.

London Philharmonic Orchestra | 11

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Baritone solo and chorus Libera me, Domine, de morte aeterna.

Deliver me, Lord, from eternal death.

In paradisum Chorus In paradisum deducant te Angeli; in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

May the Angels lead you into paradise; at thy coming may the Martyrs receive you, and bring you into the Holy City, Jerusalem. May the chorus of Angels receive you, and with Lazarus, once a beggar, may you have eternal rest.

JOHN ALLDIS 1929-2010

Live orchestral concerts specially recorded by BBC Radio 3 are a vital part of the station’s output and I’m delighted that we will continue our 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 Wri ght Controller, BBC Radio 3 Tonight’s concert will be broadcast in Performance on 3 on 26 January at 7pm, and is available online for 7 days after broadcast at

12 | London Philharmonic Orchestra

The London Philharmonic Choir and London Philharmonic Orchestra were deeply saddened to learn of the death, on 20 December 2010, of the distinguished choral conductor and musician, John Alldis. John was Chorus Master of the Choir from 19691982, a period of great success and progress for the London Philharmonic Choir. One of the finest choral conductors of his generation, he left a lasting impression on the British musical scene and on the many individuals with whom he worked. He is fondly remembered by a number of current members of the Choir. Our sincere condolences go to his widow, Ursula, and to his family.

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

Guy & Utti Whittaker

Commander Vincent Evans Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe

Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Mr Richard Fernyhough Ken Follett Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Appleyard & Trew llp AREVA UK British American Business Brown Brothers Harriman Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria

Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jonathan & Jeniffer Harris Trust Capital Radio’s Help a London Child The Idlewild Trust The Emmanuel Kaye Foundation The Leverhulme Trust Lord and Lady Lurgan Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust

UK Friends of the FelixMendelssohn-Bartholdy Foundation The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Reed Foundation The Rubin Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust Sound Connections The Stansfield Trust The Steel Charitable Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

London Philharmonic Orchestra | 13

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RECORDINGS WITH SALLY MATTHEWS AND GERALD FINLEY ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL LPO-0007 Jonathan Nott, Vladimir Jurowski and Marin Alsop conduct MarkAnthony Turnage’s Scherzoid, Evening Songs, When I Woke and Yet Another Set To, with Gerald Finley (baritone) and Christian Lindberg (trombone) ‘... exhilarating, explosive stuff.’ DAVID GUTMAN, GRAMOPHONE, NOVEMBER 2005

‘Conductors Jonathan Nott, Vladimir Jurowski and Marin Alsop, all sound at one with Turnage’s mixture of drive and composure, and the LPO, recorded live at the Royal Festival Hall last season, is on its best form.’ MATTHEW RYE, DAILY TELEGRAPH, 3 DECEMBER 2005

LPO-0010 Kurt Masur conducts Britten’s War Requiem with soloists Christine Brewer, Anthony Dean Griffey, Gerald Finley and the London Philharmonic Choir ‘Masur’s focused, powerfully perceptive reading impresses with its overwhelming sense of structure and purpose, drawing from the score every ounce of anger, bitterness, resignation, tragedy, pathos and ecstasy.’ INTERNATIONAL RECORD REVIEW

LPO-0031 Marin Alsop conducts Mark-Anthony Turnage’s Twice Through the Heart, sung by Sarah Connolly, The Torn Fields, sung by Gerald Finley, and Hidden Love Song with saxophonist Martin Robertson as soloist ‘Striking performances of three of Mark-Anthony Turnage’s most powerful works, conducted by Marin Alsop ... Gerald Finley is the marvellous baritone soloist. Those who say there are no heart and melody in contemporary music should listen to this eloquent composer.’ SUNDAY TELEGRAPH

LPO-0037 Vladimir Jurowski conducts Britten, including Les Illuminations with soloist, Sally Matthews ‘... this neat assemblage of early Britten contains wonderful things. The LPO responds marvellously to Vladimir Jurowski, and the depth of tone and fluency in the Variations on a Theme of Frank Bridge are remarkable for a live recording, while soprano Sally Matthews produces lusciously seductive sounds in the Rimbaud settings of Les Illuminations’ THE GUARDIAN

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

14 | London Philharmonic Orchestra

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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

Andrew Chenery Orchestra Personnel Manager

Edmund Pirouet Consultant

Sarah Thomas Librarian

Philip Stuart Discographer

Michael Pattison Stage Manager

Gillian Pole Recordings Archive

*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST 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 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 Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor

Alison Atkinson Digital Projects Manager FINANCE David Burke General Manager and Finance Director David Greenslade Finance and IT Manager CONCERT MANAGEMENT Roanna Chandler Concerts Director Ruth Sansom Artistic Administrator

Camilla Begg Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

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

DEVELOPMENT Nick Jackman Development Director Harriet Mesher Charitable Giving Manager

Graham Wood Concerts, Recordings and Glyndebourne Manager

Phoebe Rouse Corporate Relations Manager

Alison Jones Concerts Co-ordinator

Sarah Tattersall Corporate Relations and Events Manager

Jenny Chadwick Tours and Engagements Manager Jo Orr PA to the Executive / Concerts Assistant

Melissa Van Emden Corporate Relations and Events Officer

LONDON PHILHARMONIC ORCHESTRA Visit the website for full details of London Philharmonic Orchestra activities. The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photographs of Franck and Fauré courtesy of the Royal College of Music, London.

Elisenda Ayats Development and Finance Officer

Photograph on the front cover by Patrick Harrison.

Matthew Freeman Recordings Consultant



Kath Trout Marketing Director

Programmes printed by Cantate.

Fiona Lambert Education and Community Consultant

Ellie Dragonetti Marketing Manager

Anne Findlay Education Officer Isobel Timms Community Officer Richard Mallett Education and Community Producer

Helen Boddy Marketing Co-ordinator Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Ed Weston Intern Valerie Barber Press Consultant (Tel: 020 7586 8560)

†Supported by Macquarie Group

London Philharmonic Orchestra | 15

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Wednesday 26 January 2011 | 7.30pm Peter Eötvös Shadows (UK première of the orchestral version) Liszt Piano Concerto No. 2 Zemlinsky Lyric Symphony Vladimir Jurowski conductor Alexander Markovich piano Melanie Diener soprano Thomas Hampson baritone

Kurt Masur and Anne-Sophie Mutter

JTI FRIDAY SERIES Friday 4 February 2011 | 7.30pm

6.15pm–6.45pm | FREE Pre-Concert Event Royal Festival Hall Surrey University music lecturer Jeremy Barham discusses Mahler, fin-de-siècle Vienna and the avantgarde generation.

Brahms Double Concerto for violin and cello Brahms Symphony No. 1 Kurt Masur conductor Anne-Sophie Mutter violin Daniel Müller-Schott cello

Barlines – FREE Post-Concert Event Level 2 Foyer at Royal Festival Hall An informal discussion with Vladimir Jurowski following the evening’s performance. Osmo Vänskä and Bernd Glemser

Wednesday 9 February 2011 | 7.30pm Melanie Diener and Thomas Hampson

MAHLER ANNIVERSARY Saturday 29 January 2011 | 7.30pm Ligeti Lontano Bartók Violin Concerto No. 1 Mahler Das klagende Lied (original version) Vladimir Jurowski conductor Barnabas Kelemen violin Melanie Diener soprano Christianne Stotijn mezzo soprano Michael Koenig tenor Christopher Purves baritone London Philharmonic Choir

Rachmaninov The Isle of the Dead Rachmaninov Rhapsody on a Theme of Paganini Liszt Totentanz Dvořák Symphony No. 7 Osmo Vänskä conductor Bernd Glemser piano


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

16 | London Philharmonic Orchestra

22 Jan 2011 LPO Programme notes  

Programme notes for LPO concert on 22 Jan 2011

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