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 23 January 2013 | 7.30pm
SIR MARK ELDER conductor LILLI PAASIKIVI mezzo soprano paul groves tenor
webern Im Sommerwind (13’) schoenberg Five Orchestral Pieces, Op. 16 (16’) Interval
PROGRAMME £3 CONTENTS 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Sir Mark Elder 8 Lilli Paasikivi / Paul Groves 9 Programme notes 12 Song texts 17 Next concerts 19 Supporters 20 LPO administration The timings shown are not precise and are given only as a guide.
MAHLER Das Lied von der Erde (59’) Concert generously supported by Barrie and Emmanuel Roman This concert is being broadcast live by the BBC on Radio 3 Live In Concert.
Free pre-concert performance 6.00–6.45pm | Royal Festival Hall The culmination of our New Horizons GCSE composition project. Students from Greenwich, Lewisham, Southwark and Lambeth will perform their own compositions alongside LPO musicians, based on Schoenberg’s Peripetie. Supported by Sir William Boreman’s Foundation
* supported by the Tsukanov Family and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
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 the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email email@example.com 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.
Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre
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Tonight’s works in context
1860 Gustav Mahler born in Kalištĕ, Bohemia (now part of the Czech Republic) 1861–65 American Civil War
1869 Tolstoy’s War and Peace published
1874 Arnold Schoenberg born in Vienna 1876 Prototype telephone invented by Alexander Graham Bell
1880 Dostoyevsky’s The Brothers Karamazov published 1883 Anton Webern born in Vienna. Death of Richard Wagner 1886 First sales of Coca-Cola in the USA, originally marketed as a patent medicinal remedy
1891 Carnegie Hall opened in New York City 1896 Henri Becquerel discovered radioactivity. First modern Olympic games held in Athens
1904 Webern completed Im Sommerwind 1907 Mahler left Vienna for New York
1909 Schoenberg completed Five Orchestral Pieces & Mahler completed Das Lied von der Erde 1911 Death of Gustav Mahler 1912 Sinking of the RMS Titanic. Premiere of Schoenberg’s Pierrot Lunaire in Berlin. 1914 Outbreak of World War I
1918 End of World War I. Women’s suffrage movement leads to the vote for women aged 30 and over in the UK 1922 Creation of the Soviet Union (USSR) 1925 Premiere of Berg’s opera Wozzeck in Berlin
1929 Wall Street Crash 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1937 J R R Tolkien’s The Hobbit published
1939 Outbreak of World War II in Europe 1942 Copland composed Fanfare for the Common Man 1945 End of World War II. Death of Anton Webern.
1951 Death of Arnold Schoenberg
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The LPO were on exceptional form, and the performance had a real edge-of-yourseat excitement. The Guardian (29 September 2012, Royal Festival Hall: Rachmaninoff, Shchedrin, Denisov & Miaskovsky)
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, Sir John Pritchard, 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 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 concerts there each season. 2012/13 highlights include three concerts with Vladimir Jurowski based around
4 | London Philharmonic Orchestra
the theme of War and Peace in collaboration with the Russian National Orchestra; Kurt Weill’s The Threepenny Opera, also conducted by Jurowski; 20th-century American works with Marin Alsop; Haydn and Strauss with Yannick Nézet-Séguin; and the UK premiere of Carl Vine’s Second Piano Concerto with pianist Piers Lane under Vassily Sinaisky. Throughout 2013 the Orchestra will collaborate with Southbank Centre on The Rest Is Noise festival, based on Alex Ross’s book of the same name and charting the 20th century’s key musical works and historical events. The Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.
© Patrick Harrison
London Philharmonic Orchestra
Pieter Schoeman leader
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 London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the Deutsche Bank BrightSparks Series; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, developments in technology and social networks have 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, news blog, iPhone app and regular podcasts, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra
Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.
© Patrick Harrison
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 Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy.
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.
twitter.com/LPOrchestra 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. London Philharmonic Orchestra | 5
On stage tonight
First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler
Ilyoung Chae Chair supported by Moya Greene
Ji-Hyun Lee Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Thomas Eisner Geoffrey Lynn Robert Pool Sarah Streatfeild Grace Lee Rebecca Shorrock Benjamin Roskams Alina Petrenko Galina Tanney Caroline Frenkel Second Violins Matthew Scrivener Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Ashley Stevens Nancy Elan Floortje Gerritsen Eugene Lee Helena Nicholls Andrew Thurgood Dean Williamson Sioni Williams Alison Strange Stephen Stewart Violas Scott Dickinson Guest Principal Robert Duncan Gregory Aronovich
Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Michelle Bruil Naomi Holt Daniel Cornford Claudio Cavalletti Sarah Malcolm
Piccolos Stewart McIlwham* Principal Julia Crowell
Trumpets Paul Beniston* Principal Anne McAneney*
Oboes Ian Hardwick Principal Angela Tennick Fraser MacAulay
Nicholas Betts Co-Principal
Cellos Alexander Somov Guest Principal Francis Bucknall Laura Donoghue Jonathan Ayling
Cor Anglais Sue Bohling Principal
Chair supported by Caroline, Jamie & Zander Sharp
Gregory Walmsley Santiago Carvalhoâ€ Sue Sutherley Susanna Riddell Elisabeth Wiklander Tom Roff Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Sebastian Pennar Catherine Ricketts Flutes Juliette Bausor Guest Principal Joanna Marsh Stewart McIlwham* Julia Crowell
Chair supported by Julian & Gill Simmonds
Clarinets Robert Hill* Principal Emily Meredith Katie Lockhart Bass Clarinet Paul Richards Principal E-flat Clarinet Nicholas Carpenter* Principal Bassoons Bernardo Verde Guest Principal Gareth Newman* Simon Estell
Chair supported by Geoff & Meg Mann
Trombones Mark Templeton* Principal David Whitehouse Bass Trombones Lyndon Meredith Principal Lewis Edney Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Keith Millar Jeremy Cornes Eddy Hackett Harps Rachel Masters* Principal Lucy Haslar
Contrabassoon Simon Estell Principal
Celeste Catherine Edwards
Horns John Ryan* Principal David Pyatt Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Anthony Chidell
Mandolin James Ellis * Holds a professorial appointment in London â€ Chevalier of the Brazilian Order of Rio Branco
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Victoria Graham Fuller The Sharp Family
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Sir Mark Elder
© Simon Dodd
Sir Mark Elder has been Music Director of the Hallé since September 2000. He was Music Director of English National Opera from 1979–93, Principal Guest Conductor of the City of Birmingham Symphony Orchestra from 1992–95, and Music Director of the Rochester Philharmonic Orchestra in the USA from 1989–94. He has also held positions as Principal Guest Conductor of the BBC Symphony Orchestra and the London Mozart Players. He has worked with many of the world’s leading orchestras including the Berlin and Munich Philharmonic orchestras; the London, Chicago and Boston symphony orchestras; the Orchestre de Paris; and the Royal Concertgebouw Orchestra. In the UK he enjoys close associations with both the London Philharmonic Orchestra and the Orchestra of the Age of Enlightenment, of which he is a Principal Artist. Sir Mark Elder has appeared annually at the BBC Proms in London for many years, including, in 1987 and 2006, the internationally televised Last Night of the Proms. In 2012 he conducted four Proms, including the First Night, with the Hallé, the BBC Symphony Orchestra and the Aldeburgh World Orchestra. Elder works regularly in the most prominent international opera houses including the Royal Opera House, Covent Garden; the Metropolitan Opera, New York; the Opéra National de Paris; the Lyric Opera of Chicago; and Glyndebourne Festival Opera. Other guest engagements have taken him to the Bayreuth Festival (where he was the first English conductor to conduct a new production), Munich, Amsterdam, Zürich, Geneva, Berlin, and the Bregenz Festival. During his years at ENO, Elder brought international acclaim to the company for its work in London, as well as leading tours to the USA (including the Met in New York) and Russia (including the Bolshoi in Moscow and the Mariinsky in St Petersburg).
Sir Mark Elder has made many recordings with orchestras including the London Philharmonic Orchestra, the Hallé, the City of Birmingham Symphony Orchestra, the BBC Symphony Orchestra, the Orchestra of the Age of Enlightenment, the Orchestra of the Royal Opera House and the Rochester Philharmonic Orchestra, as well as with English National Opera, in repertoire ranging from Verdi, Strauss and Wagner to contemporary music. In 2003 the Hallé launched its own CD label and releases have met with universal critical acclaim, culminating in Gramophone Awards for The Dream of Gerontius in 2009 and Götterdämmerung and Elgar’s Violin Concerto in 2010. In collaboration with the director Barrie Gavin, Sir Mark Elder made a two-part film on the life and music of Verdi for BBC TV in 1994, which was followed by a similar project on Donizetti for German television in 1996. In 2011 he co-presented the four-part BBC TV series ‘Symphony’, and in 2012 fronted BBC2’s series ‘Maestro at the Opera’. Recent opera recordings include Donizetti’s Dom Sebastien, Imelda di Lambertazzi, Linda di Chamounix and most recently Maria di Rohan for Opera Rara, and Die Walküre with the Hallé. In April 2011 he took up the position of Artistic Director of Opera Rara, with whom he is planning several recording projects over the next few years. Recent and forthcoming symphonic engagements include the Boston Symphony, Chicago Symphony, London Symphony, Russian National, Netherlands Radio Philharmonic, Rotterdam Philharmonic, Bergen Philharmonic, Budapest Festival, Gothenburg Symphony, Gürzenich and Australian Youth orchestras; the Britten Sinfonia; the Tonhalle-Orchester Zurich; and the Orchestra of the Age of Enlightenment. Sir Mark Elder was knighted in 2008, and was awarded the CBE in 1989. He won an Olivier Award in 1991 for his outstanding work at ENO, and in 2006 he was named Conductor of the Year by the Royal Philharmonic Society. He was awarded Honorary Membership of the Royal Philharmonic Society in 2011.
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Since making her debut with Sir Simon Rattle and the Berlin Philharmonic as Fricka in the Aix-en-Provence Festival’s production of the Ring Cycle, Wagnerian roles have become central to Lilli Paasikivi’s stage work. House debuts have included La Monnaie as Brangäne, Hamburgische Staatsoper as Fricka and Oper Frankfurt as Kundry.
American tenor Paul Groves enjoys an international career, performing on the stages of the world’s leading opera houses and concert halls. He made his debut at La Scala in 1995 as Tamino in The Magic Flute under Riccardo Muti, and has returned in several roles including Renaud in Gluck’s Armide and Nemorino in L’elisir d’amore – the first American tenor invited to La Scala for this role. Audiences in Paris have seen him often since his debut in 1996, when he appeared as Tom Rakewell at the Théâtre du Châtelet in a new Sellers/Salonen production of The Rake’s Progress. He has returned to the Châtelet as Admète in Alceste, led by Sir John Eliot Gardiner, and as Bénédict in Berlioz’s Béatrice et Bénédict.
Tonight’s concert is her debut with the London Philharmonic Orchestra. Other concert highlights this season include Verdi’s Requiem with the Orchestre National de Lille, and appearances at the Verbier Festival. Key to Lilli Paasikivi’s concert repertoire are the Mahler song cycles and symphonies. Notable appearances have included Das Lied von der Erde and Des Knaben Wunderhorn with the Los Angeles Philharmonic under Esa-Pekka Salonen; Das Lied von der Erde with the Sydney Symphony Orchestra under Vladimir Ashkenazy; Symphony No. 3 with the London Symphony Orchestra under Paavo Järvi; Symphony No. 8 with the Berlin Philharmonic under Sir Simon Rattle; and Kindertotenlieder with the New World Symphony Orchestra under Michael Tilson Thomas. She made her debut with the New York Philharmonic in the world premiere of Rodion Shchedrin’s The Enchanted Wanderer under Lorin Maazel, returning for Mahler’s Symphony No. 2 under Alan Gilbert. Other appearances have included the BBC Proms with Sibelius’s The Tempest under Osmo Vänskä, the Orquesta Sinfónica de Bilbao in Schoenberg’s Gurrelieder under Günter Neuhold, and the Leipzig Gewandhausorchester in Schumann’s Faust Szenen under Christopher Hogwood. Paasikivi’s recordings include The Dream of Gerontius under Vladimir Ashkenazy; Beethoven’s Symphony No. 9 with the Leipzig Gewandhausorchester under Riccardo Chailly for Decca; Mahler’s Symphony No. 3 with the Philharmonia Orchestra under Benjamin Zander for Telarc; Mahler’s Symphony No. 8 with the London Symphony Orchestra under Valery Gergiev for LSO Live; Sibelius’s Kullervo under Osmo Vänskä for BIS; and Alma Mahler’s complete songs with Jorma Panula for Ondine. 8 | London Philharmonic Orchestra
© J Henry Fair
© Rami Lappalainen & Unelmastudio Oy Ltd
Paul Groves made his debut with the Opéra de Paris as Fenton in a new production of Falstaff, later returning for performances as Tamino; Berlioz’s Faust; Nemorino; Julian in a new production of Charpentier’s Louise; and his role debut as Mozart’s Idomeneo. The role of Tamino was also the vehicle for his debut at London’s Royal Opera House, Covent Garden. He has since returned to perform the role of Pylade in Iphigénie en Tauride opposite Simon Keenlyside and Susan Graham. Groves appeared at the 2011 BBC Proms in a performance of Beethoven’s Missa Solemnis with the London Symphony Orchestra and Sir Colin Davis, followed by tours to other European capitals and Avery Fisher Hall in New York. He then appeared in Mahler’s Symphony No. 8 at the Temple of Heaven in Beijing with Charles Dutoit, followed by his debut as Albert Gregor in Janáček’s The Makropulos Case with Oper Frankfurt. As well as tonight’s performance with the London Philharmonic Orchestra, other concert performances this season include a return to the LPO this Saturday, 26 January for Elgar’s The Dream of Gerontius, and performances of Berlioz’s Te Deum with the San Francisco Symphony. Operatic appearances this season include performances of Don Giovanni at the Aix-enProvence Festival and the Teatro Real in Madrid.
Speedread In Vienna at the turn of the last century, you were either with Mahler or you were against him. His supporters gathered at the city’s cafés, attended his performances at the opera house and lauded the ‘ruthless truth’ expressed in his symphonies. Meanwhile his detractors sharpened their pens and poured out anti-Semitic bile to lampoon his music. In 1907 the battle between these factions came to a head and Mahler was forced out of Vienna. As the
composer left the city, Gustav Klimt was heard to whisper, ‘It is over’. Although that feeling of farewell breathes through Mahler’s final works, including Das Lied von der Erde, Klimt was ultimately proved wrong. Another era was dawning, helmed by Arnold Schoenberg, Mahler’s greatest fan and the selfappointed pedagogue and chieftain of a radical new style.
Anton Webern would become Schoenberg’s most rigorous disciple, though his musical career began in more perfumed terms. He adored Mahler and Strauss and, following in their stead, wrote Im Sommerwind, an ‘idyll for large orchestra’, during the summer of 1904. Like Mahler and Strauss’s evocations of the natural world, Webern’s ambitious tone-poem tapped contemporary obsessions with nature worship and pantheism, demonstrated in the poem by Bruno Wille on which Webern’s diaphanous work is based.
entirely in character. Just weeks after he completed Im Sommerwind, Webern met Schoenberg, which changed his musical path forever.
Employing typically vast forces, Im Sommerwind begins with an eerie hum, not unlike the ‘sound of nature’ that opens Mahler’s First Symphony. Woodwind calls and trilling strings portray the balmy heat of summer before these pointillist splashes amass to form a radiant panorama, only to vanish once more. Unlike Mahler or Strauss, the young Webern seems to lack the cohesive agent of thematic material, yet in the context of his later works, these panting musical aphorisms seem
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Arnold Schoenberg 1874–1951
Shortly after Webern became Schoenberg’s first private pupil, Mahler’s Third Symphony was performed in Vienna. It was a landmark occasion for the young cultural cognoscenti and, writing to Mahler, Schoenberg said: ‘I cannot speak as a musician to a fellow musician, but as one human being to another. The fact is: I have seen your soul in its nakedness, its utter nakedness. […] I saw a human being struggling in agitated torment for inner peace; I felt a human being, a drama, truth, the most ruthless truth!’ Schoenberg wished to communicate that same sense of reality in his own music. Early works such as Verklärte Nacht (1899) and Pelleas und Melisande (1903) were vivid emotional responses to contemporary literature. Schoenberg’s daring to question traditional musical precepts such as rules about dissonance in a forum as conservative and unforgiving as Vienna – where Mahler was still considered a radical – made him a bright magnetic force in contemporary music.
Five Orchestral Pieces, Op. 16 1 2 3 4 5
‘Vorgefühle’, Sehr rasch (‘Premonitions’, very fast) ‘Vergangenes’, Mäßige Viertel (‘The Past’, moderate) ‘Farben’, Mäßige Viertel (‘Colours’, moderate) ‘Peripetie’, Sehr rasch (‘Peripetia’, very fast) ‘Das obligate Rezitativ’, Bewegte Achtel (‘The Obbligato Recitative’, with movement)
Spanning just over 15 minutes of music, Schoenberg’s pieces employ the vast resources of the contemporary orchestra and explore the widest possible musical ideas. Shortly after completing the work he wrote to his friend Ferruccio Busoni about his new aims: ‘I strive for: complete liberation from all forms from all symbols of cohesion and of logic. Thus: away with ‘motivic working out.’ Away with harmony as cement or bricks of a building. Harmony is expression and nothing else. Then: Away with Pathos! Away with protracted ten-ton scores, from erected or constructed towers, rocks and other massive claptrap. My music must be brief. Concise! In two notes: not built, but ‘expressed’!!’ Formulated on the cultural battleground that was Vienna and inspired by Mahler’s thunderous example, Schoenberg was nonetheless brave enough to try out his own radical ideas. He created an entirely new soundworld, which was launched just over 100 years ago at the world premiere of the Five Orchestral Pieces under Henry Wood at the Proms on 3 September 1912.
Schoenberg’s Five Orchestral Pieces are compressed but no less vivid attempts to match Mahler’s example. He told his publisher that they were purely ‘technical’ works, yet the five movements – like Mahler’s programmatic Third Symphony – tell an unspoken drama. Schoenberg gave a more accurate description of the Five Orchestral Pieces in a programme note, in which he said, ‘this music seeks to express all that swells in us subconsciously like a dream.’
Interval – 20 minutes An announcement will be made five minutes before the end of the interval.
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Das Lied von der Erde Lilli Paasikivi mezzo soprano Paul Groves tenor
1 2 3 4 5 6
Das Trinklied vom Jammer der Erde (Drinking Song of Earth’s Misery) (orch. Colin Matthews) Der Einsame im Herbst (Autumn Loneliness) Von der Jugend (Youth) Von der Schönheit (Beauty) Der Trunkene im Frühling (The Drunkard in Spring) Der Abschied (Farewell)
The song texts begin overleaf. 1907 was a point of profound crisis in Mahler’s life. During the summer, spent by the Wörthersee, Mahler’s daughters became ill. Anna recovered, but Maria died from scarlet fever and diphtheria. To make matters worse, the attending doctor discovered that Mahler had a heart defect that, four years later, would kill him. Returning to Vienna for the beginning of the operatic season – having been Director of the Hofoper since 1897 – Mahler was unable to muster the requisite energy to face yet another year of anti-Semitic attacks from the press. He resigned from his post and took a lucrative job at the Metropolitan Opera in New York. On 9 December 1907, Schoenberg, Berg and Webern among many others gathered at the Westbahnhof to bid farewell to their idol. As the train pulled out of the station, Gustav Klimt was heard to say, ‘Es ist vorbei’ (‘It is over’). When Mahler, his wife Alma and Anna came back to Austria the following summer, they realised that they could not return to their old summer retreat. Journeying yet further away from Vienna, the Mahlers took rooms outside Toblach (now in Italy). In previous summers Mahler had worked prolifically, sketching entire symphonies within the space of just a few weeks. But 1908 was different. Mahler found it almost impossible to work and would disappear on long walks. But he would occasionally sit and read a collection of Chinese
poems translated into German by Hans Bethge. They were stylised, naive, much like the poems of Des knaben Wunderhorn that had fascinated Mahler in earlier years. Slowly, he began to compose a series of songs, but what developed over the course of that summer was actually a symphony told through Lieder. Working first on the middle movements, then the opening song and finally ‘Der Abschied’, Mahler described his emotional desolation in Das Lied von der Erde. Like all of Mahler’s symphonies, the opening movement offers a conflicted message. A fanfare introduces a heroic but inebriated tenor. The music lurches through various keys and he sounds distinctly morose – ‘Dunkel ist das Leben, is der Tod!’ (Dark is life; dark is death!). The song was clearly intended to sound overwrought, yet Mahler’s persistently clamorous dynamics make the song rather difficult to perform. Mark Elder commissioned Colin Matthews to adapt the orchestration to address these concerns, as Matthews explains: ‘Mahler was criticised in his lifetime for making changes to the orchestration of the music he conducted – notably the symphonies of Beethoven and Schumann. But he took exactly the same line with his own music, altering it to match different acoustics or whenever he was dissatisfied with
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the orchestral balance. Although he never heard Das Lied von der Erde or the Ninth Symphony, they were, unlike the Tenth Symphony, complete in every detail when he died, and some of their orchestral textures are amongst the most sophisticated that even he had achieved. But in the opening song of Das Lied von der Erde he miscalculated, and every conductor has to ask the orchestra to play almost throughout at a lower dynamic level. When Mark Elder suggested that I make a version of the first movement that would aim at a more realistic balance, I was at first disconcerted by the thought of changing Mahler’s orchestration. But then I recalled the words that Otto Klemperer reports him as saying at the rehearsals for his Eighth Symphony: ‘If, after my death, something doesn’t sound right, then change it. You have not only a right, but a duty to do so.’ After this braying opening, the rest of the Symphony is more muted. ‘Der Einsame im Herbst’ (probably the first song Mahler completed) has immediate affinity with his emotional situation. Aimless, cold, this is a bitter remembrance of things past. The ensuing songs vacillate between these heartfelt memories and seemingly inconsequential pictures. ‘Von der Jugend’ presents a Chinese tea party in a pavilion (which is then seen in reflection), while ‘Von der Schönheit’
describes young girls picking flowers. Mahler presents their unpolluted beauty only to knock it down with the return of the intoxicated hero in ‘Der Trunkene im Frühling’. If the first five songs offer a complete cycle, ‘Der Abschied’ prompts a totally new vein. Mahler’s attachment to the text is evident in his adaptation of Bethge’s translation and the addition of his own last lines. Like the great sighs with which he ends the Ninth and Tenth symphonies, ‘Der Abschied’ offers a huge summation of what has gone before. Mahler wipes away any residual joy with a boom of tam-tam and harp. Initially unwilling to move out of the dark key into which the song has slumped, the music slowly rises to a sweet nostalgia. But nothing is concrete and, after tortured exchanges between the violin and horn, the singer seems even more anguished as a funeral march begins. Its gruff energy finally falters, staggering into a more resigned major key. This final section, dominated by breathy exclamations of ‘Ewig’, is bathed in an entirely new light. Having endured great sadness, Mahler finally makes peace with the world. Programme notes © Gavin Plumey 2012
1 Das Trinklied vom Jammer der Erde (Li-Tai-Po)
Drinking Song of Earth’s Misery
Schon winkt der Wein im gold’nen Pokale, Doch trinkt noch nicht, erst sing’ ich euch ein Lied! Das Lied vom Kummer soll auflachend in die Seele euch klingen. Wenn der Kummer naht, liegen wüst die Gärten der Seele, Welkt hin und stirbt die Freude, der Gesang. Dunkel ist das Leben, ist der Tod.
Wine is already sparkling in the golden goblet But do not drink yet; first I will sing you a song! The song of care shall sound laughing in your soul.
Herr dieses Hauses! Dein Keller birgt die Fülle des goldenen Weins! Hier, diese Laute nenn’ ich mein! Die Laute schlagen und die Gläser leeren, Das sind die Dinge, die zusammen passen.
Lord of this house! Your cellar holds abundance of golden wine! I call this lute here my own! To strike the lute and to drain the glasses, Those are the things which go together.
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When care draws near, the gardens of the soul lie waste, Joy and singing fade away and die. Dark is life; dark is death.
Mahler: Das Lied von der Erde
Ein voller Becher Weins zur rechten Zeit Ist mehr wert als alle Reiche dieser Erde! Dunkel ist das Leben, ist der Tod! Das Firmament blaut ewig und die Erde Wird lange fest steh’n und aufblüh’n im Lenz. Du aber, Mensch, wie lang lebst denn du? Nicht hundert Jahre darfst du dich ergötzen An all dem morschen Tande dieser Erde! Seht dort hinab! Im Mondschein auf den Gräbern Hockt eine wild-gespenstische Gestalt – Ein Aff’ ist’s! Hört ihr, wie sein Heulen Hinausgellt in den süßen Duft des Lebens! Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Leert eure gold’nen Becher zu Grund! Dunkel ist das Leben, ist der Tod!
A brimming cup of wine at the right time Is worth more than all the riches of this earth! Dark is life; dark is death! The heavens are ever blue and the earth Will long stand fast and blossom forth in spring. But thou, O man, how long wilt thou live? Not one hundred years may’st thou enjoy thyself With all the rotting trifles of this earth! Look down there! In the moonlight on the graves There crouches a wild and ghostly form – It is an ape! Listen, how its howling Rings out amidst the sweet scent of life! Now take up the wine! Now, friends, it is time! Drain your golden cups to the depths! Dark is life; dark is death!
2 Der Einsame im Herbst (Tchang-Tsi)
Herbstnebel wallen bläulich überm See; Vom Reif bezogen stehen alle Gräser; Man meint, ein Künstler habe Staub von Jade Über die feinen Blüten ausgestreut.
The autumn mists drift blue over the lake; The blades of grass stand covered with frost; One would think an artist had strewn jade-dust Over the delicate blossoms.
Der süße Duft der Blumen ist verflogen; Ein kalter Wind beugt ihre Stengel nieder. Bald werden die verwelkten, gold’nen Blätter Der Lotosblüten auf dem Wasser zieh’n.
The flowers’ sweet scent is gone; An icy wind bends down their stems. Soon the withered golden leaves Of the lotus-flowers will be drifting on the water.
Mein Herz ist müde. Meine kleine Lampe Erlosch mit Knistern, es gemahnt mich an den Schlaf. Ich komm’ zu dir, traute Ruhestätte! Ja, gib mir Ruh’, ich hab’ Erquickung not!
My heart is weary. My little lamp Has gone out with a sputter, it urges me to go to sleep. I come to you, beloved place of rest, Yes, give me rest; I need refreshment!
Ich weine viel in meinen Einsamkeiten. Der Herbst in meinem Herzen währt zu lange. Sonne der Liebe, willst du nie mehr scheinen, Um meine bittern Tränen mild aufzutrocknen?
Long do I weep in my loneliness. The autumn in my heart endures too long. Sun of love, will you never shine again Tenderly to dry my bitter tears?
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Mahler: Das Lied von der Erde continued
3 Von der Jugend (Li-Tai-Po)
Mitten in dem kleinen Teiche Steht ein Pavillon aus grünem Und aus weißem Porzellan. Wie der Rücken eines Tigers Wölbt die Brücke sich aus Jade Zu dem Pavillon hinüber.
In the middle of the little pool Stands a pavilion of green And white porcelain. Like a tiger’s back, The jade bridge arches itself Over to the pavilion.
In dem Häuschen sitzen Freunde, Schön gekleidet, trinken, plaudern, Manche schreiben Verse nieder.
In the little house friends are sitting Prettily dressed, drinking and chattering; Some are writing down verses.
Ihre seidnen Ärmel gleiten Rückwärts, ihre seidnen Mützen Hocken lustig tief im Nacken.
Their silk sleeves fall Backwards; their silk caps fall Roguishly over their necks.
Auf des kleinen Teiches stiller Wasserfläche zeigt sich alles Wunderlich im Spiegelbilde.
On the still surface of the little pool Everything is reflected Wonderfully as in a mirror.
Alles auf dem Kopfe stehend In dem Pavillon aus grünem Und aus weißem Porzellan.
Everything is standing on its head In the pavilion of green And white porcelain.
Wie ein Halbmond steht die Brücke, Umgekehrt der Bogen. Freunde, Schön gekleidet, trinken, plaudern.
The bridge stands like a half-moon With its arch upside-down. Friends Prettily dressed are drinking and chattering.
4 Von der Schönheit (Li-Tai-Po)
Junge Mädchen pflücken Blumen, Pflücken Lotosblumen an dem Uferrande. Zwischen Büschen und Blättern sitzen sie, Sammeln Blüten in den Schoß und rufen Sich einander Neckereien zu. Gold’ne Sonne webt um die Gestalten Spiegelt sie im blanken Wasser wider, Sonne spiegelt ihre schlanken Glieder, Ihre süßen Augen wider. Und der Zephir hebt mit Schmeichelkosen das Gewebe Ihrer Ärmel auf, führt den Zauber Ihrer Wohlgerüche durch die Luft. O sieh, was tummeln sich für schöne Knaben Dort an dem Uferrand auf mut’gen Rossen? Weithin glänzend wie die Sonnenstrahlen; Schon zwischen dem Geäst der grünen Weiden Trabt das jungfrische Volk einher!
Young girls are picking flowers, Lotus-flowers by the river-bank. They are sitting among the bushes and the leaves, Gathering blossoms in their laps and calling Teasingly to one another. The golden sun shines over their forms And reflects them in the clear water; The sun reflects their slender limbs, And their sweet eyes. And the breeze lifts their embroidered sleeves Caressingly, and carries the magic of their perfume Through the air. Oh see, what fair youths are those There by the river-bank on their brave steeds? Flashing in the distance like sunbeams, The gay young men are trotting by, Among the branches of the green willows!
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Das Roß des einen wiehert fröhlich auf Und scheut und saust dahin, Über Blumen, Gräser, wanken hin die Hufe, Sie zerstampfen jäh im Sturm die hingesunk’nen Blüten. Hei! Wie flattern im Taumel seine Mähnen, Dampfen heiß die Nüstern! Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Und die schönste von den Jungfrau’n sendet Lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer großen Augen, In dem Dunkel ihres heißen Blicks Schwingt klagend noch die Erregung ihres Herzens nach.
The steed of one of them neighs merrily, Hesitates and plunges on. His hoofs pass over flowers and grass; Stormily they trample down the fallen blossoms. How his mane tosses in frenzy! Hot steam blows from his nostrils. The golden sun shines over the forms And reflects them in the clear water. And the fairest of the maidens casts Looks of longing after him. Her proud bearing is only pretence. In the flashing of her large eyes In the darkness of her warm glances, Her anxious heart cries after him.
5 Der Trunkene im Frühling (Li-Tai-Po)
The Drunkard in Spring
Wenn nur ein Traum das Leben ist, Warum denn Müh’ und Plag’? Ich trinke, bis ich nicht mehr kann, Den ganzen, lieben Tag!
If life is but a dream, Why are there toil and misery? I drink till I can drink no more The whole, long, merry day!
Und wenn ich nicht mehr trinken kann, Weil Kehl’ und Seele voll, So tauml’ ich bis zu meiner Tür Und schlafe wundervoll!
And when I can drink no more, For body and mind are sated, I stagger to my door And sleep wonderfully.
Was hör ich beim Erwachen? Horch! Ein Vogel singt im Baum. Ich frag’ ihn, ob schon Frühling sei, Mir ist als wie im Traum.
And what do I hear when I awake? Hark! A bird is singing in the tree. I ask him if it is already spring; It seems to me like a dream.
Der Vogel zwitschert: Ja! Der Lenz Ist da, ist kommen über Nacht! Aus tiefstem Schauen lauscht’ ich auf, Der Vogel singt und lacht!
The bird twitters: Yes! Spring Is here; it came overnight! With deep attention I listened for it; The bird sings and laughs!
Ich fülle mir den Becher neu Und leer’ ihn bis zum Grund Und singe, bis der Mond erglänzt Am schwarzen Firmament!
I fill my glass anew And drain it to the bottom, And sing until the moon shines out In the dark heavens.
Und wenn ich nicht mehr singen kann, So schlaf’ ich wieder ein. Was geht mich denn der Frühling an? Laßt mich betrunken sein!
And when I can sing no more, I fall asleep again. What have I to do with spring? Let me remain a drunkard!
London Philharmonic Orchestra | 15
Mahler: Das Lied von der Erde continued
6. Der Abschied (Mong-Kao-Yen and Wang-Wei)
Die Sonne scheidet hinter dem Gebirge. In alle Täler steigt der Abend nieder Mit seinen Schatten, die voll Kühlung sind. O sieh! Wie eine Silberbarke schwebt Der Mond am blauen Himmelssee herauf. Ich spüre eines feinen Windes Weh’n Hinter den dunklen Fichten! Der Bach singt voller Wohllaut durch das Dunkel. Die Blumen blassen im Dämmerschein. Die Erde atmet voll von Ruh’ und Schlaf. Alle Sehnsucht will nun träumen. Die müden Menschen geh’n heimwärts, Um im Schlaf vergeßnes Glück Und Jugend neu zu lernen! Die Vögel hocken still in ihren Zweigen. Die Welt schläft ein! Es wehet kühl im Schatten meiner Fichten. Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl. Ich sehne mich, o Freund, an deiner Seite Die Schönheit dieses Abends zu genießen. Wo bleibst du? Du läßt mich lang allein! Ich wandle auf und nieder mit meiner Laute Auf Wegen, die von weichem Grase schwellen. O Schönheit! O ewigen Liebens-Lebenstrunk’ne Welt! Er stieg vom Pferd und reichte ihm den Trunk Des Abschieds dar. Er fragte ihn, wohin Er führe und auch warum es müßte sein. Er sprach, und seine Stimme war umflort: Du, mein Freund, Mir war auf dieser Welt das Glück nicht hold! Wohin ich geh’? Ich geh’, ich wand’re in die Berge. Ich suche Ruhe für mein einsam Herz. Ich wandle nach der Heimat! Meiner Stätte. Ich werde niemals in die Ferne schweifen. Still ist mein Herz und harret seiner Stunde! Die liebe Erde allüberall blüht auf im Lenz und grünt
The sun sinks behind the mountains. Evening falls in the valleys With its shadows, full of cooling freshness. See, how the moon above floats like a silver ship On the blue sea of the heavens. I feel a gentle wind blowing Behind the dark pines! The brook sings loud and melodious through the darkness. The flowers grow pale in the twilight. The earth breathes deeply in rest and sleep. All longing now has turned to dreaming. The tired people go homewards To find forgotten happiness in sleep And to learn youth anew! The birds crouch silent on the branches. The world falls asleep! There is a cool breeze in the shadow of the pines. I stand here waiting for my friend; I wait for him to take a last farewell. I long, my friend, to enjoy the beauty Of the evening at your side. Where are you? You have left me alone so long! I wander up and down with my lute On paths rich with soft grass. O beauty! O world, drunk for ever with love and life! He dismounted and I gave him the parting cup, I asked him where He was going, and also why it must be. He spoke, and his tones were veiled; O my friend,
Aufs neu! Allüberall und ewig blauen licht die Fernen! Ewig... ewig...
© Copyright 1989 by Universal Edition A.G., Wien. Text by Hans Bethge from ‘Chinesischen Flöte’ © with permission by Yin Yang Media Verlages.
16 | London Philharmonic Orchestra
Fortune was not kind to me in this world! Where am I going? I shall wander in the mountains, I am seeking rest for my lonely heart. I shall wander to my native land, to my home. I shall never roam abroad. Still is my heart; it is awaiting its hour! Everywhere the lovely earth blossoms forth in spring and grows green Anew! Everywhere, for ever, horizons are blue and bright! For ever and ever ...
English translation reprinted by kind permission of Decca Music Group Limited.
The Deutsche Bank BrightSparks Series As one of the flagship projects in its extensive Corporate Citizenship programme, Deutsche Bank has been supporting the London Philharmonic Orchestra’s BrightSparks schools’ concerts since 2001. Deutsche Bank’s generous funding ensures that children and their teachers have the opportunity to experience a live performance by the Orchestra at no cost. Across the year, the series of eight concerts at Royal Festival Hall reaches approximately 16,000 young people from London state schools. This year the series has been extended to include concerts for A-Level music students for the first time, ensuring that pupils aged 5 to 18 can experience the Deutsche Bank BrightSparks Series. In addition to its support of music education, Deutsche Bank’s Corporate Citizenship programme spans a range of themes aimed at addressing disadvantage, promoting social mobility and supporting emerging artists. Globally, hundreds of thousands of people each year participate in education programmes supported by Deutsche Bank. At this evening’s concert we are delighted to welcome young people from across London whose tickets have been provided by Deutsche Bank.
Next LPO concerts at Royal Festival Hall Saturday 26 January 2013 | 7.30pm Elgar The Dream of Gerontius Sir Mark Elder conductor Sarah Connolly mezzo soprano Paul Groves tenor Brindley Sherratt bass London Philharmonic Choir Choir of Clare College, Cambridge
Friday 1 February 2013 | 7.30pm JTI Friday Series Debussy Ibéria (from Images pour orchestre) Sibelius Violin Concerto Sibelius Symphony No. 4 Jukka-Pekka Saraste conductor Henning Kraggerud violin
Please note there will be no interval.
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Passion for Music Deutsche Bank is committed to providing young people with access to the arts. Our free tickets scheme allows over 15,000 young people each year to attend a tailored performance by the London Philharmonic Orchestra, building musical understanding and appreciation.
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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 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 Guy & Utti Whittaker Manon Williams Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas
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 Anthony Yolland 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
Ken Follett Michael & Christine Henry 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 Mr Laurie Watt Des & Maggie Whitelock Bill Yoe Hon. Benefactor Elliott Bernerd 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 Destination Québec – UK 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 Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria
In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Addleshaw Goddard Charitable Trust BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust 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 | 19
Board of Directors
Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler 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 (maternity leave)
Gillian Pole Recordings Archive
Sarah Holmes Librarian (maternity cover)
Advisory Council Victoria Sharp Chairman Richard Brass Sir Alan Collins Jonathan Dawson Christopher Fraser OBE Clive Marks OBE FCA Stewart McIlwham Lord Sharman of Redlynch OBE 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 Finance David Burke General Manager and Finance Director
Michael Pattison Stage Manager
Matthew Freeman Recordings Consultant
Mia Roberts Marketing Manager
Education & Community
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Crowe Clark Whitehill LLP Julia Boon Auditors Assistant Orchestra Personnel David Greenslade Manager FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Ken Graham Trucking Concert Management Instrument Transportation London Philharmonic Roanna Gibson Development Orchestra Concerts Director 89 Albert Embankment (maternity leave) Nick Jackman London SE1 7TP Development Director Ruth Sansom Tel: 020 7840 4200 Artistic Administrator / Acting Fax: 020 7840 4201 Helen Searl Head of Concerts Department Box Office: 020 7840 4242 Corporate Relations Manager lpo.org.uk Graham Wood Katherine Hattersley Concerts and Recordings Charitable Giving Manager The London Philharmonic Manager Orchestra Limited is a Melissa Van Emden registered charity No. 238045. Barbara Palczynski Events Manager Glyndebourne and Projects Photograph of Webern Laura Luckhurst Administrator © Universal Edition. Corporate Relations and Jenny Chadwick Photograph of Schoenberg Events Officer Tours and Engagements courtesy of the Royal College Sarah Fletcher Manager of Music, London. Development and Finance Alison Jones Officer Front cover photograph Concerts Co-ordinator © Patrick Harrison. Marketing Jo Orr Printed by Cantate. PA to the Chief Executive / Kath Trout Concerts Assistant Marketing Director
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