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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

AM†

MAHLER ANNIVERSARY

PROGRAMME £3 CONTENTS

JTI FRIDAY SERIES SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Friday 25 February 2011 | 7.30pm

CHRISTOPH ESCHENBACH conductor CHRISTOPHER MALTMAN baritone MAHLER Lieder eines fahrenden Gesellen

†

List of Players Orchestra History Leader Christoph Eschenbach Christopher Maltman Programme Notes Southbank Centre Supporters Recordings Administration Future Concerts

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

(16’)

INTERVAL MAHLER Symphony No. 9 in D

2 3 4 5 6 7 12 13 14 15 16

(87’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Ji-Hyun Lee Katalin Varnagy Catherine Craig Thomas Eisner Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Peter Nall Galina Tanney Sylvain Vasseur Alina Petrenko Caroline Sharp SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Jeongmin Kim Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Ashley Stevens Imogen Williamson Sioni Williams Peter Graham Stephen Stewart Mila Mustakova Elizabeth Baldey Stephen Dinwoodie VIOLAS Tom Dunn Guest Principal Katharine Leek Susanne Martens Laura Vallejo

Daniel Cornford Naomi Holt Isabel Pereira Sarah Malcolm Miranda Davis Anthony Byrne Matthias Wiesner Karin Norlen CELLOS Josephine Knight Guest Principal Francis Bucknall Laura Donoghue Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Santiago Sabino Carvalho + Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Tae-Mi Song DOUBLE BASSES Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Roger Linley Kenneth Knussen Joe Melvin FLUTES Sue Thomas* Principal Ian Mullin Sarah Bennington Joanna Marsh PICCOLO Stewart McIlwham* Principal

OBOES Ian Hardwick Principal Owen Dennis Katie Bennington Sue Bohling COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Nicholas Carpenter Principal Emily Meredith James Burke Paul Richards E FLAT CLARINET Katie Lockhart Guest Principal BASS CLARINET Paul Richards Principal BASSOONS Gareth Newman* Principal Emma Harding Graham Hobbs Simon Estell CONTRA BASSOON Simon Estell Principal HORNS John Ryan Principal Martin Hobbs Adrian Uren Gareth Mollison Stephen Nicholls

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

Daniel Newell David Hilton TROMBONES Mark Templeton* Principal David Whitehouse BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal Christopher Thomas PERCUSSION Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Glyn Matthews Eddie Hackett HARPS Rachel Masters* Principal Helen Sharp

* 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: David and Victoria Graham Fuller John and Angela Kessler The Tsukanov Family

2 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

Patrick Harrison

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

London Philharmonic Orchestra | 3

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LONDON PHILHARMONIC ORCHESTRA

PIETER SCHOEMAN

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 www.lpo.org.uk/shop for the latest releases.

‘ … a simply tremendous performance of Mahler’s 3rd Symphony … Jurowski and his players plunged us into a winter of discontent so profoundly expectant that even the inveterate coughers were silenced.’ EDWARD SECKERSON, THE INDEPENDENT, 23 SEPTEMBER 2010

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter.

4 | London Philharmonic Orchestra

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.

Patrick Harrison

LEADER

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CHRISTOPH ESCHENBACH CONDUCTOR

As a pianist, he continues his fruitful collaboration with baritone Matthias Goerne. The duo is recording Schubert’s three song cycles: Die schöne Müllerin, Die Winterreise and Schwanengesang, the first instalment of which was released in May 2009 to critical acclaim. In the summer of 2010, they performed the complete cycle in three recitals at the Salzburg Music Festival, where Christoph Eschenbach also conducted two concerts with the Vienna Philharmonic.

In demand as a distinguished guest conductor with the finest orchestras and opera houses throughout the world, Christoph Eschenbach began his tenure in September 2010 as Music Director of the National Symphony Orchestra as well as Music Director of the John F. Kennedy Center for the Performing Arts in Washington DC. Since his appointment to these positions in 2008, he has been playing a key role in planning future seasons, international festivals and special projects for these two prestigious institutions. In 2009/10 Christoph Eschenbach returned to the Vienna Philharmonic on three occasions in Vienna and Salzburg; the Philadelphia Orchestra, where he served as Music Director from 2003 to 2008; the London Philharmonic Orchestra at Royal Festival Hall and on a tour of China; the Staatskapelle Dresden; and the NDR Symphony Orchestra, where he was Music Director from 1998 to 2004. Highlights of 2010/11 include an engagement at the Paris Opera conducting Hindemith’s Mathis der Mahler; a tour of Europe with the Staatskapelle Dresden; two weeks with the Orchestre de Paris, the ensemble he led as Music Director between 2000 and 2010; performances of Messiaen’s Turangalîla Symphony with the National Symphony Orchestra as part of the Kennedy Center’s India Festival; and concerts with the Munich Philharmonic, NDR Symphony, Leipzig Gewandhaus, London Philharmonic and Curtis Symphony Orchestras. Principal Conductor of the Schleswig-Holstein Music Festival International Orchestral Academy since 2004, he also appears regularly in Germany and on tour with the SHMF Orchestra.

A prolific recording artist over five decades, Christoph Eschenbach has an impressive discography as both a conductor and a pianist. His recordings include works ranging from J.S. Bach to music of our time and reflect his commitment not just to canonical works but the music of the late 20th and early 21st-century as well. His discography includes recordings with the Orchestre de Paris, London Symphony Orchestra, London Philharmonic Orchestra, Vienna Philharmonic Orchestra, Hamburg NDR Symphony Orchestra and Houston Symphony Orchestra, among many others. Over the past five years, Ondine has released sixteen of his critically acclaimed recordings with the Orchestre de Paris and Philadelphia Orchestra, a number of which have received prestigious honours such as BBC Music Magazine’s ‘Disc of the Month’, Gramophone’s ‘Editor’s Choice’ and the German Record Critics’ Award. His recent recording of the music of Kaija Saariaho with the Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM Classical Award in Contemporary Music. Mentored by George Szell and Herbert von Karajan, Christoph Eschenbach held the posts of Chief Conductor and Artistic Director of the Tonhalle Orchestra from 1982 to 1986; Music Director of the Houston Symphony from 1988 to 1999; Music Director of the Ravinia Festival from 1994 to 2003; and Artistic Director of the Schleswig-Holstein Music Festival from 1999 to 2002. His many honours include the Légion d’Honneur; Commandeur dans l’Ordre des Arts et des Lettres; the Officer’s Cross with Star and Ribbon of the German Order of Merit; and the Commander’s Cross of the German Order of Merit for outstanding achievements as pianist and conductor. He also received the Leonard Bernstein Award from the Pacific Music Festival, where he was co-artistic director from 1992 to 1998.

London Philharmonic Orchestra | 5

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CHRISTOPHER MALTMAN BARITONE

Levon Biss

Totenhaus at the Vienna State Opera; and Posa in Don Carlo for the Netherlands Opera.

Winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition, Christopher Maltman read biochemistry at Warwick University and studied singing at the Royal Academy of Music. On the opera stage, his recent appearances have included the title role of Don Giovanni at the Salzburg Festival, Bayerische Staatsoper, Munich, and in Cologne; and Papageno in Die Zauberflöte, Guglielmo in Così fan tutte, Forester in The Cunning Little Vixen, Marcello in La Bohème and Ramiro in L’Heure espagnole at the Royal Opera House Covent Garden. His roles at the Glyndebourne Festival have included Papageno, Figaro in Le nozze di Figaro and Sid in Albert Herring. At the Bayerische Staatsoper, Munich, he has sung Tarquinius in The Rape of Lucretia, Guglielmo, Marcello and Albert in Werther. Other opera roles in Europe have included The Count in Le nozze di Figaro and Aeneas in Dido and Aeneas in Vienna; Figaro in Il barbiere di Siviglia at the Deutsche Staatsoper, Berlin; and Tarquinius at the Aldeburgh Festival and English National Opera. An acclaimed Billy Budd, he has sung the role at Welsh National Opera, Teatro Regio in Turin, Seattle, Frankfurt and Munich. In the US he has appeared at the Metropolitan Opera, New York as Papageno, Harlekin in Ariadne auf Naxos and Silvio in I Pagliacci; in San Francisco as Papageno; in Seattle as Guglielmo; and in San Diego as Figaro in Il barbiere di Siviglia and Laurent in Thérèse Raquin. His future engagements include The Count in Le nozze di Figaro at the Paris Opera, Royal Opera House, Covent Garden, and Zurich Opera; Shishkov in Aus einem

6 | London Philharmonic Orchestra

His concert engagements have included appearances with the Cleveland Orchestra and Welser-Möst, London Philharmonic Orchestra with Jurowski, Philharmonia Orchestra with von Dohnányi, BBC Symphony Orchestra with John Adams, Orchestra of the Age of Enlightenment with Norrington, London Symphony Orchestra with Rattle, Otaka and Sir Colin Davis, Concentus Musicus Wien with Harnoncourt, Dresden Staatskapelle with Sir John Eliot Gardiner, Boston Symphony Orchestra with James Conlon and Sir Colin Davis, Los Angeles Philharmonic Orchestra with EsaPekka Salonen and New York Philharmonic Orchestra with Kurt Masur. A renowned recitalist, he has appeared at the Vienna Konzerthaus; Amsterdam Concertgebouw; Salzburg Mozarteum; Alte Oper in Frankfurt; Philharmonie in Cologne; La Scala, Milan; Carnegie Hall and Lincoln Center in New York; and at the Aldeburgh, Edinburgh, Cheltenham and Schwarzenberg Schubertiade Festivals. He is a regular guest at the Wigmore Hall where in 2009/10 he performed and recorded the three great Schubert cycles with Graham Johnson for the Wigmore Live label. He has recorded the Vaughan Williams Serenade to Music for Decca; Warlock, Holst and Somervell songs for Collins Classics; and he took part in Deutsche Grammophon’s complete Beethoven Folk Song project. His recording of Schumann’s Dichterliebe for Hyperion was released to tremendous critical acclaim and he has recently recorded Schumann’s Liederkreis, Op. 24, with Graham Johnson, a Debussy album with Malcolm Martineau and a disc of English songs with Roger Vignoles. On film, he has appeared in John Adams’ award-winning The Death of Klinghoffer, and took the title role in Juan, a new film production of Don Giovanni which premièred at the FilmFest Hamburg in October 2010.

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PROGRAMME NOTES

SPEEDREAD The two works that occupy this evening’s Mahler bill are his earliest song-cycle and his last completed symphony. The songs were prompted by a failed love affair, and Mahler wrote the words himself, describing the feelings of a young jilted wayfarer. Here already in the composer’s early twenties are the themes that were to permeate his life’s work: his love of life and nature set against disappointment, grief and despair. Mahler came from a family all too acquainted with death, and when he composed his Ninth Symphony he

Gustav MAHLER 1860-1911

The Lieder eines fahrenden Gesellen (Songs of a Wayfaring Lad is probably the closest English approximation) date in their first version from 1884 and are Mahler’s earliest song-cycle. Like the First Symphony, begun the same year, they were prompted by an illstarred love affair between the composer and a soprano, Johanna Richter. The rejected Mahler wrote the poems himself, imagining himself as the young wayfarer, a jilted lover who, like the central figure of Schubert’s Winterreise cycle, seeks escape and consolation in travel. From his childhood Mahler had been engrossed in Des Knaben Wunderhorn (The Boy’s Magic Horn), the treasury of German folk poetry published at the beginning of the 19th century, and in the last two decades of the century he set nearly two dozen of the poems to music. For this cycle with his own poems he adopted a similar verse style, and in fact borrowed the opening lines of the first song from a Wunderhorn poem. From the start Mahler described the cycle as being ‘for a low voice with orchestral accompaniment’,

was himself under sentence of an early death from heart disease. In the first of four movements, a struggle between three main themes, every expression of hope is negated by premonitions of death. The second movement parodies clumsy country music, and the third, a caustic parody of contrapuntal procedures, is a sardonic reply to unsympathetic critics. The finale alternates between a passionate hymn to all that is best in life and a deep, heartbroken resignation. Peace comes at last, in Bruno Walter’s words, ‘like the melting of a cloud in the ethereal blue’. Eric Mason

LIEDER EINES FAHRENDEN GESELLEN CHRISTOPHER MALTMAN baritone Wenn mein Schatz Hochzeit macht | Ging heut’ morgens über’s Feld | Ich hab’ ein glühend Messer | Die zwei blauen Augen von meinem Schatz

but in 1884 he sketched the songs only for voice and piano. The orchestration appears to date from the following decade; the final revisions were made in 1896 for the première in Berlin of the cycle as we know it today. By that time Mahler had two symphonies behind him, which explains the precision of the scoring. A full orchestra is used but more for clarity and variety of tone-colour and texture than for weight of sound. The music of the first two songs is in a folk-like vein. Mahler used the country-walk melody of the second again in the opening movement of the First Symphony. The idiom changes in the third song, the image of the knife in the jilted lover’s breast bringing forth agonised music of the kind encountered in the symphonies. In the final song, which Mahler quoted in the First Symphony’s funeral march, the despairing wanderer walks off into the night and beneath a lime tree finds peace at last in sleep.

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PROGRAMME NOTES

1. Wenn mein Schatz Hochzeit macht, fröhliche Hochzeit macht, hab ich meinen traurigen Tag! Geh ich in mein Kämmerlein, dunkles Kämmerlein! Weine, weine um meinen Schatz, um meinen lieben Schatz!

When my sweetheart gets married, joyfully gets married, is a sad day for me! I go into my little room, dark little room! Weep, weep for my treasure, for my dear treasure!

Blümlein blau, Blümlein blau! Verdorre nicht, verdorre nicht! Vöglein süss, Vöglein süss, du singst auf grüner Heide! Ach, wie ist die Welt so schön! Ziküth! Ziküth!

Little blue flower, little blue flower! Do not wither, do not wither! Sweet little bird, sweet little bird, you are singing on the green heath! Ah, how beautiful the world is! Cheep! Cheep!

Singet nicht! Blühet nicht! Lenz ist ja vorbei! Alles Singen ist nun aus! Des Abends wenn ich schlafen geh, denk ich an meine Leide, an meine Leide!

Do not sing! Do not flower! Spring is certainly past! Now all the singing is over! In the evening when I go to sleep, I think of my sorrow, of my sorrow!

2. Ging heut’ morgens über’s Feld, Tau noch auf den Gräsern hing; sprach zu mir der lust’ge Fink: ‘Ei, du! Gelt? Guten Morgen! Ei gelt? Du! Wird’s nicht eine schöne Welt? Zink! Zink! schön und flink! Wie mir doch die Welt gefällt!’

I walked this morning across the field, dew still hung upon the grass; the merry chaffinch spoke to me: ‘Hi, you! Isn’t it so? Good morning! Isn’t it? You! Isn’t it a beautiful world? Pink! Pink! Fine and lively! How very pleasing I find the world!’

Auch die Glockenblum am Feld hat mir lustig, guter Ding mit den Glöckchen, klinge, kling, ihren Morgengruss geschellt: ‘Wird’s nicht eine schöne Welt? Kling, kling! schönes Ding! Wie mir doch die Welt gefällt! Heia!’

Also the bluebell in the field, a good and cheerful thing with its little bells, tinkle, ting, rang me its morning greeting: ‘Isn’t it a beautiful world? Ting, ting! Lovely thing! How very pleasing I find the world! Hey ho!’

Und da fing im Sonnenschein gleich die Welt zu funkeln an; alles Ton und Farb gewann im Sonnenschein. Blum und Vogel, gross und klein.

And there at once in the sunshine the world began to sparkle; everything took on sound and colour in the sunshine. Flower and bird, large and small.

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PROGRAMME NOTES

‘Guten Tag, ist’s nicht eine schöne Welt? Ei, du, gelt?’

‘Good day, isn’t it a beautiful world? Hi, you, isn’t it so?’

Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein mir nimmer blühen kann!

Is my good fortune too beginning now? No, no, I reckon that can never bloom for me!

3. Ich hab’ ein glühend Messer, ein Messer in meiner Brust. O Weh! Das schneid’t so tief in jede Freud’ und jede Lust. Ach, was ist das für ein böser Gast! Nimmer hält er Ruh, nimmer hält er Rast, nicht bei Tag, noch bei Nacht wenn ich schlief. O Weh!

I have a gleaming knife, a knife in my breast. O woe! It cuts so deep into every joy and every delight. Ah, what a bad guest it is! It never holds its peace, it never rests, neither by day nor by night when I sleep. O woe!

Wenn ich in den Himmel seh, seh ich zwei blauen Augen stehn. O Weh! Wenn ich im gelben Felde geh, seh ich von fern das blonde Haar im Winde wehn. O Weh! Wenn ich aus dem Traum auffahr und höre klingen ihr silbern’ Lachen, O Weh! Ich wollt ich läg auf der schwarzen Bahr, könnt nimmer die Augen aufmachen!

When I look at the sky, I see two blue eyes. O woe! When I go into the yellow fields, I see in the distance that blonde hair waving in the wind. O woe! When I rise from the dream and hear her silver laughter ring, O woe! I wish I lay on a black bier, could never again open my eyes.

4. Die zwei blauen Augen von meinem Schatz die haben mich in die weiten Welt geschickt. Da musst ich Abschied nehmen vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab ich ewig Leid und Grämen.

My sweetheart’s two blue eyes have sent me into the wide world. I had to take my leave of a much-loved place! O eyes of blue, why did you look at me? Now eternal sorrow and grief are mine.

Ich bin ausgegangen in stiller Nacht wohl über die dunkle Heide. Hat mir niemand Ade gesagt. Ade! Mein Gesell war Lieb und Leide. Auf der Strasse stand ein Lindenbaum, da hab ich zum ersten Mal im Schlaf geruht unter dem Lindenbaum.

I walked out into the silent night far across the dark heath. Nobody bid me good bye. Good bye! My companion was love and sorrow. Along the way a lime tree stood, there for the first time I found rest in sleep under the lime tree.

London Philharmonic Orchestra | 9

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PROGRAMME NOTES

Der hat sein Blüten über mich geschneit, da wusst ich nicht wie das Leben tut, war alles, alles, wieder gut, alles, Lieb und Leid, und Welt und Traum!

It snowed its blossom over me, there I was lost to life’s trouble, everything, all was good again, everything, love and sorrow, and world and dream!

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

Gustav MAHLER

SYMPHONY NO. 9 IN D Andante comodo | Im Tempo eines gemächlichen Ländlers | Rondo Burleske: Allegro assai | Adagio

1860-1911

Soon after completing that gigantic affirmation, the Eighth Symphony, in 1907 Mahler learned that he was suffering from the heart disease that was to kill him four years later at the age of 50. The spectre of death haunts several of his early and middle period symphonies, but when he composed his last three – Das Lied von der Erde, the Ninth and the unfinished Tenth – he was facing death itself. All three are in their different ways poignant farewells. Das Lied von der Erde (The Song of the Earth) is in effect a symphony with voices, and Mahler at first proposed calling it his Ninth Symphony. But he had a morbid superstition about the number, knowing that Beethoven’s Ninth was his last

10 | London Philharmonic Orchestra

and that Bruckner had not lived to complete his. So he gave the vocal work a different title and proceeded in 1909 to the Symphony in D with the thought that, even though it would bear the fatal number, it was really his tenth symphony. He did not live to hear it. Finished in 1910, it received its first performance in June 1912 in Vienna under Bruno Walter. In the Ninth Symphony Mahler expresses his love of life and the horror of its impending extinction; the leavetaking in the finale is heart-broken. His yearning to maintain a hold on life intensifies the passionate romanticism of this music, while his bitterness and

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PROGRAMME NOTES

irony issue in passages of tortured dissonance. His masterly handling of form here enables him to integrate apparently opposing styles. Notwithstanding its complexity of detail the long symphony emerges as ultimately unified. The order of the movements recalls Tchaikovsky’s Pathétique, though there is no evidence that Mahler consciously copied his predecessor. After the first movement there comes one in dance rhythm and a fast third movement, the Adagio being placed last. The keys follow Mahler’s favoured procedure of progressive tonality, but where in the ultimately optimistic Fifth and Seventh Symphonies the finale’s key is a semitone higher, here there is a semitone drop between initial D major and the finale’s D flat. The large orchestra comprises piccolo and four flutes, four oboes and cor anglais, three clarinets plus E flat and bass clarinets, four bassoons and contra-bassoon, horns, trumpets, trombones, tuba, percussion, harps and strings. Yet these forces are often used with remarkable economy. Alban Berg was among the first to study the score. The first movement, he wrote, ‘is the expression of an exceptional fondness for this earth, the longing to live in peace on it, to enjoy nature to its depths – before death comes. For it comes irresistibly. The whole movement is permeated by premonitions of death, … all the elements of terrestrial dreaming culminate in it, … most potently in the colossal passage where this premonition becomes certainty, where in the midst of the “highest strength” of almost painful joy in life, death itself is announced “with the greatest force”.’ Musically this movement is a struggle between three main themes, the conflict preceded by an atmospheric introduction setting out four basic ideas: a faltering bass rhythm, a tolling harp figure, a phrase for muted horn and a rustling motive for violas. Against this background the violins introduce the main D major theme, a melody suggesting the Alpine environment in which Mahler composed every summer. This is the foundation of the whole symphony. In one metamorphosis later in this movement it becomes a sad, slow version of Johann Strauss’s waltz, Enjoy Life. In another its dropping semitones refer explicitly to the farewell motive in Beethoven’s Les Adieux piano sonata. On its first appearance the D major theme is soon

opposed by a D minor one, which thrusts upwards and reaches a stormy climax topped by a tragic fanfare. At once the first theme reasserts itself, and again the D minor theme follows, but this time the fanfare at the climax is transformed into an exultant third principal theme. The development begins with a return to the shadowy introduction. Conflict resumes, and twice more the exultant third theme is reached after turmoil. The second time it blazes, as the composer instructs and Berg noted, at the ‘highest strength’ but is savagely terminated by the symphony’s opening motives thundered out. A funeral march takes shape from the preludial ideas, leading to a final disfigured statement of the main theme and a nostalgic coda, which disperses that theme into fragments. In the two middle movements Mahler turned his sardonic attention to aspects of life that he did not love. The second movement, a scherzo with two trio sections, is marked ‘In the tempo of a leisurely Ländler, somewhat clumsy and very blunt’. Mahler parodies the Austrian country waltz, building a C major theme from banal fragments. Still more tawdry and hollow is the first trio section, a quick waltz with vulgar trombone contributions. The second trio, following immediately, is a reflective Ländler. Nostalgia is swept aside by the first trio’s return, and the rest of the movement switches from theme to theme, ending with an eerie fragmentation of the first. Mahler’s sketch for the third movement bears the ironic dedication: ‘To my brothers in Apollo’, meaning those fellow musicians who had criticised his music, particularly its supposed lack of counterpoint. His reply, an A minor movement entitled Rondo Burleske and marked ‘very defiant’, is a caustic parody of contrapuntal procedures. Mahler creates a welter of dissonant, disjunct counterpoint with fragments of themes, some drawn from his earlier symphonies. There are two crazy march tunes and a double fugue, which is suddenly halted by a cymbal clash. A trumpet sounds a beatific transformation of a phrase from the second movement to open a visionary D major interlude, but the Rondo music breaks in and rises to still greater frenzy than before.

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PROGRAMME NOTES

SOUTHBANK CENTRE

The finale alternates between a passionate, moving hymn to all that is best in life and passionless episodes that bespeak resignation. Musically as well as emotionally the finale gathers together and transmutes what has gone before. Not only is the opening of the hymn-like main theme a further reference to Beethoven’s farewell motive, but also the complete theme is a noble transformation of the second movement’s tawdry quick waltz. The whole movement is permeated by a four-note turn derived from the same source and first used to eloquent purpose in the third movement’s visionary interlude. The resigned episodes are sparely scored in contrast with the main theme’s richly textured string setting. The strings, undeterred by disruptive elements in the harmony, persist with their passionate hymn and reach a poignant climax reinforced by brass. Slowly the music fades away like, to quote Bruno Walter, ‘the melting of a cloud into the ethereal blue’. There at the end – so the high, thin line of the violins tells us – Mahler’s thoughts are set upon those sunlit heights where the dead children of his Kindertotenlieder dwell.

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 customer@southbankcentre.co.uk 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

Download London Philharmonic Orchestra recordings from www.lpo.org.uk/shop It’s easy to take the London Philharmonic Orchestra with you wherever you go! Visit our downloads site to choose the works (or even single movements) you’d like to buy, and download high quality MP3s to your computer for transfer to an MP3 player or CD. With regular additions of new recordings with conductors from Beecham to Jurowski you’ll always have a selection of great music to choose from.

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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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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 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 Guy & Utti Whittaker 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 Commander Vincent Evans

Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton 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 Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland 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

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 Arts and Business 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 Jeniffer and Jonathan Harris Trust Capital Radio’s Help a London Child The Idlewild Trust The Emmanuel Kaye Foundation The Leverhulme Trust Lord and Lady Lurgan Trust 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.

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RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0012 Klaus Tennstedt conducts Mahler’s Symphony No. 1 and Songs of a Wayfarer with Thomas Hampson ‘... a stirring account, with his tight control causing Mahler’s climactic outbursts – both joyous and nostalgic – to hit home potently ... The LPO’s lead bassist tackling Mahler’s minor-key overhaul of ‘Frère Jacques’ is fittingly melancholic, while the finale is packed with energy and bracing inevitability.’ CLASSIC FM

LPO-0044 Klaus Tennstedt conducts Mahler’s Symphony No. 2 ‘This live version of the Resurrection is frequently startling – extremely expansive but exciting, dramatic and highly charismatic …The playing and singing are excellent, and the recording, made by the Music Performance Research Centre, is near-faultless.’ GRAHAM RICKSON, THE ARTS DESK, 22 MARCH 2010 VOTED ONE OF THE TEN BEST CLASSICAL MUSIC CDS OF 2010 BY THE WASHINGTON POST

LPO-0038 Klaus Tennstedt conducts Mahler’s Symphony No. 6 ‘This live recording of a 1983 performance of Mahler’s Sixth Symphony might not be at the cutting edge of modern digital technology, but musically it sweeps away everything before it.’ CLASSIC FM MAGAZINE

LPO-0049 Christoph Eschenbach conducts Bruckner’s Symphony No. 6 ‘The playing from the London Philharmonic is superb. There isn’t a single section of the orchestra whose performance ever drops below the superlative ... Highly recommended.’ GAVIN DIXON, MUSICWEB INTERNATIONAL

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. 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 www.lpo.org.uk

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