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Concert programme 2013/14 season Part of Southbank Centre’s

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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 Saturday 26 October 2013 | 7.30pm

Dutilleux Tout un monde lointain (27’) Interval Shostakovich Symphony No. 13 (Babi Yar) (61’)

Yannick Nézet-Séguin conductor Jean-Guihen Queyras cello Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir

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

Programme £3 Contents 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Yannick Nézet-Séguin 8 Jean-Guihen Queyras 9 Mikhail Petrenko 10 London Philharmonic Choir 11 Programme notes 15 Symphony No. 13 text 21 Next concerts 22 Catalyst: Double Your Donation 23 Supporters 24 LPO administration The timings shown are not precise and are given only as a guide.


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 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. 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

2 | London Philharmonic Orchestra

Tonight’s works in context

1900 1906 Dmitri Shostakovich born in St Petersburg, Russia

1910 1920 1930

1908 First commercial radio transmission 1912 1914 1916 1918

Sinking of the RMS Titanic. Premiere of Schoenberg’s Pierrot Lunaire in Berlin Outbreak of World War I Henri Dutilleux born in Angers, France End of World War I

1922 Creation of the Soviet Union (USSR) 1928 Alexander Fleming discovered penicillin 1929 Wall Street Crash 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1936 Abdication of King Edward VIII


1939 Outbreak of World War II 1945 End of World War II

1950 1960

1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II 1954 Roger Bannister breaks the four-minute mile in Oxford 1960 Alfred Hitchcock’s film Psycho released 1962 Premiere of Shostakovich’s Symphony No. 13 in Moscow 1963 John F. Kennedy assassinated in Dallas, Texas

1970 1980 1990 2000 2010

1970 Premiere of Dutilleux’s Tout un monde lointain in Aix-en-Provence, France 1975 Death of Shostakovich in Moscow 1977 Death of Elvis Presley 1982 UK premiere of Dutilleux’s Tout un monde lointain by Mstislav Rostropovich and the London Philharmonic Orchestra 1989 1991 1994 1997 1999

Fall of the Berlin Wall Collapse of the Soviet Union Nelson Mandela elected President of South Africa Hong Kong returned to China Euro adopted as a single currency by participating countries in Europe

2001 September 11 attacks in the USA 2004 Facebook founded 2008 Barack Obama elected President of the United States 2012 Higgs boson particle discovered 2013 Death of Dutilleux in Paris

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

After playing so perfectly prepared and beautifully detailed as this, the rest is noise indeed. The Guardian 2 October 2013, Royal Festival Hall: Vladimir Jurowski conducts Britten

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence. The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the

4 | London Philharmonic Orchestra

world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years.

Pieter Schoeman leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy 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 over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Mahler’s Das Lied von der Erde with Yannick NézetSéguin, Sarah Connolly and Toby Spence. In summer 2012 the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Find out more and get involved!

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

© Patrick Harrison

The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles, and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.   In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. 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 Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Second Violins Winona Fifield Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Nynke Hijlkema Raja Halder Caroline Simon Dean Williamson Stephen Stewart Sheila Law Elizabeth Baldey

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Emmanuella Reiter Daniel Cornford Naomi Holt Martin Fenn Sarah Malcolm

Piccolo Stewart McIlwham* Principal

Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Santiago Carvalho† David Lale Elisabeth Wiklander Sue Sutherley Helen Rathbone Sibylle Hentschel Jonathan Kitchen

Clarinets Robert Hill* Principal Thomas Watmough Paul Richards

Tuba Lee Tsarmaklis* Principal

E-flat Clarinet Katie Lockhart

Percussion Andrew Barclay* Principal

Double Basses Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Tom Walley Catherine Ricketts Laura Murphy Flutes Melkorka Ólafsdóttir Guest Principal Sue Thomas Chair supported by the Sharp Family

Oboes Ian Hardwick Principal Alice Munday Sue Böhling Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds

Bass Clarinet Paul Richards Principal Bassoons Joost Bosdijk Guest Principal Gareth Newman* Simon Estell Contrabassoon Simon Estell Principal Horns John Ryan* Principal David Pyatt* Principal Chair supported by Simon Robey

Martin Hobbs Mark Vines Co-Principal Gareth Mollison

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

Nicholas Betts Co-Principal Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal

Timpani Simon Carrington* Principal

Chair supported by Andrew Davenport

Giles Harrison Keith Millar Sarah Mason Nigel Bates Harps Rachel Masters* Principal Chair supported by Friends of the Orchestra

Stephanie Beck Piano Catherine Edwards Celeste Janet Simpson * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: David & Victoria Graham Fuller

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Yannick Nézet-Séguin

© Marco Borggreve


Yannick Nézet-Séguin became Music Director of The Philadelphia Orchestra at the start of the 2012/13 season, and has been Music Director of the Rotterdam Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra since 2008. He has conducted all the major ensembles in his native Canada and has been Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000. Since his European debut in 2004, Yannick Nézet-Séguin has worked with many fine ensembles including the Dresden Staatskapelle, Berlin Philharmonic, Vienna Philharmonic, Staatskapelle Berlin, Bavarian Radio Symphony Orchestra, Accademia Nazionale di Santa Cecilia, Royal Stockholm Philharmonic Orchestra and Chamber Orchestra of Europe. Following his 2009 BBC Proms debut with the Scottish Chamber Orchestra, he returned the following year and again this summer with the Rotterdam Philharmonic Orchestra. He has also appeared at festivals in Edinburgh, San Sebastián (Spain) and Grafenegg (Austria). Engagements at summer festivals in North America have included Lanaudière, Vail Valley, Saratoga and Mostly Mozart. A notable opera conductor, Yannick made his Salzburg Festival debut in 2008 with a new production of Roméo et Juliette, returning in 2010 and 2011 for Don Giovanni. For New York’s Metropolitan Opera he has conducted Carmen, Don Carlo, Faust and La traviata, and returns for Rusalka this season. His 2011 debut at Teatro alla Scala, Milan (Roméo et Juliette) was followed in 2012 by his Royal Opera House, Covent Garden debut (Rusalka). For The Netherlands Opera, he has conducted The Makropoulos Case, Turandot and Don Carlo, all with the Rotterdam Philharmonic Orchestra. In 2011 he embarked on a major Mozart opera series for the Festspielhaus Baden-Baden.

Yannick Nézet-Séguin’s 2013/14 season opened with concert performances of Der fliegende Holländer with the Rotterdam Philharmonic Orchestra in Rotterdam, at the Théâtre des Champs-Elysées in Paris, and the Konzerthaus Dortmund, the last inaugurating the start of his term as Artist in Residence at the venue. In addition to his regular orchestral commitments, this season he also returns to the Berlin Philharmonic and Vienna Philharmonic, and leads The Philadelphia Orchestra on an extensive tour of China. Recent additions to Yannick’s extensive discography include The Rite of Spring with The Philadelphia Orchestra, a Tchaikovsky disc with the Rotterdam Philharmonic Orchestra and Lisa Batiashvili, Così fan tutte with the Chamber Orchestra of Europe, and Don Giovanni with the Mahler Chamber Orchestra, all for Deutsche Grammophon. With the Rotterdam Philharmonic Orchestra he has made recordings for EMI Classics and BIS Records. He also continues to enjoy a fruitful recording relationship with the London Philharmonic Orchestra for the LPO Label – this month sees the release of Mahler’s Das Lied von der Erde with Sarah Connolly and Toby Spence (LPO–0073) – and with the Orchestre Métropolitain for ATMA Classique. A native of Montreal, Yannick Nézet-Séguin studied piano, conducting, composition and chamber music at the Conservatoire de musique du Québec in Montreal and choral conducting at the Westminster Choir College in Princeton, New Jersey, before going on to study with renowned conductors, most notably the Italian maestro Carlo Maria Giulini. His honours include a prestigious Royal Philharmonic Society Award; Canada’s highly coveted National Arts Centre Award; and the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government. In 2011 he received an honorary doctorate from the University of Quebec in Montreal, and in 2012 was appointed a Companion of the Order of Canada. Yannick’s new LPO Label CD, Mahler’s Das Lied von der Erde with soloists Sarah Connolly and Toby Spence, is on sale tonight from the Foyles merchandise stand in the Royal Festival Hall foyer. Yannick will be signing copies after the concert.

London Philharmonic Orchestra | 7

Jean-Guihen Queyras

© Francois Séchet


Jean-Guihen Queyras enjoys an enviable reputation as a musician of exceptional versatility and integrity. His musical horizons are seemingly boundless, and he is in great demand as a soloist with international orchestras and conductors, as a chamber musician, and as a solo performer.

is also Artist in Residence at the Barcelona Symphony Orchestra.

He has performed with many of the world’s great orchestras including the Philharmonia, NHK Symphony, Tokyo Symphony, Rotterdam Philharmonic, Leipzig Gewandhaus, Budapest Festival and Netherlands Philharmonic orchestras; the Orchestre de la Suisse Romande; the Orchestre de Paris; and the TonhalleOrchester Zürich, under the baton of conductors such as Yannick Nézet-Séguin, Frans Brüggen, Günther Herbig, Iván Fischer, Philippe Herreweghe, Jiří Bělohlávek, Oliver Knussen and Sir Roger Norrington. He is a regular soloist with early music ensembles such as the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin, and made his Carnegie Hall debut in New York with Concerto Köln in 2004.

Jean-Guihen made his BBC Proms debut to unanimous acclaim in 2008, and frequently appears at the Aldeburgh and Edinburgh festivals and London’s Wigmore Hall. His regular chamber music partners include pianists Alexandre Tharaud and Alexander Melnikov and violinist Isabelle Faust. He is a member of the Arcanto Quartet with Tabea Zimmermann, Antje Weithaas and Daniel Sepec, and also performs with Persian zarb specialists Keyvan and Bijan Chemirani.

Jean-Guihen is frequently invited to host artistic residencies. These have included projects at the Muziekcentrum Vredenburg in Utrecht, the Concertgebouw in Amsterdam, and De Bijloke in Ghent. He was Artist in Residence with the Hamburg-based chamber orchestra Ensemble Resonanz, with whom he led and played several eclectic programmes at the Laieszhalle Hamburg, Cologne Philharmonie, Théâtre des Bouffes du Nord Paris, Vienna Konzerthaus and Muziekgebouw Amsterdam. Highlights of the 2013/14 season include performances with the Zurich Chamber Orchestra, Los Angeles Chamber Orchestra and Orchestre de la Suisse Romande, and a major Schumann project throughout Europe with the Freiburg Baroque Orchestra and Pablo Heras-Casado. Hailed for his landmark solo Bach recitals, this season he will perform these throughout Europe, the USA and Japan. This season Jean-Guihen 8 | London Philharmonic Orchestra

An enthusiastic exponent of contemporary music, Jean-Guihen is committed to expanding the repertoire boundaries of his instrument. He has enjoyed a longstanding relationship with Ensemble InterContemporain and regularly collaborates with composers including Bruno Mantovani, Jörg Widmann and Pierre Boulez. He gave the premieres of cello concertos by Michael Jarrell and Johannes Maria Staud, the latter at the Berlin Konzerthaus and Vienna Musikverein in 2010 and subsequently at the Salzburg Festival.

Jean-Guihen has made several successful recordings for Harmonia Mundi and, following the success of his much-anticipated recording of Bach’s complete Solo Suites in 2008 which received immediate acclaim (Diapason d’Or and CD of the Year in Diapason; CHOC du Monde de la Musique), he has released three further recordings: a Debussy/Poulenc CD with Alexandre Tharaud; a disc of cello concertos of the 21st century; and, most recently, Vivaldi Cello Concertos with the Akademie für Alte Musik Berlin. Previous CDs include Schubert’s ‘Arpeggione’ Sonata alongside works by Berg and Webern; Dvořák’s Cello Concerto with the Prague Philharmonia under the baton of Jiří Bělohlávek; and Haydn and Monn’s Cello Concertos performed on a period instrument with the Freiburg Baroque Orchestra, praised in both The Independent on Sunday and The Telegraph as the definitive baroque version. Jean-Guihen plays a cello made by Gioffredo Cappa in 1696, on loan from Mécénat Musical Société Générale since November 2005. He is currently a Professor at the Musikhochschule Freiburg.

Mikhail Petrenko

© Askonas Holt


St Petersburgborn bass Mikhail Petrenko graduated from the renowned St Petersburg State Rimsky-Korsakov Conservatoire in the class of Professor Minzhilkiev. He was awarded diplomas at the International Rimsky-Korsakov Competition for Young Opera Singers in 1998 and the Elena Obraztsova International Competition for Young Opera Singers the following year. In 2000 he was a finalist and diploma-winner at the Maria Callas New Verdi Voices Competition in Parma. Mikhail’s vocal flexibility lends itself to a vast range of operatic repertoire including roles such as Heinrich (Lohengrin), Hunding (Die Walküre), Hagen (Götterdämmerung), Friar Laurence (Romeo and Juliet), Ferrando (Il trovatore), Basilio (The Barber of Seville), Daland (The Flying Dutchman), King Marke (Tristan and Isolde), Sarastro (The Magic Flute), Leporello (Don Giovanni), the Pope (Benvenuto Cellini), and the title role in The Marriage of Figaro. Mikhail also regularly appears in concert: previous engagements have included the Storm Knight in Kashchey the Immortal with the London Philharmonic Orchestra and Vladimir Jurowski at the 2008 BBC Proms, and Beethoven’s Symphony No. 9 with the Rotterdam Philharmonic Orchestra conducted by Yannick NézetSéguin, as well as with the Tokyo Metropolitan and Montreal Symphony orchestras. He has also sung Janáček’s Glagolitic Mass with the NHK Symphony Orchestra under Charles Dutoit, and Verdi’s Requiem with the Swedish Radio Symphony Orchestra and Daniel Harding. He repeated this repertoire in the 2012/13 season with The Philadelphia Orchestra under the baton of Yannick Nézet-Séguin, with whom he has built a strong relationship and regularly collaborates, and will again repeat this repertoire with the Rotterdam Philharmonic Orchestra this season.

Mikhail’s continued fascination with the music of Wagner has taken him across the world, singing under renowned conductors including Myung-Whun Chung in Tristan and Isolde – a work he will repeat with the same conductor and the Tokyo Philharmonic Orchestra in three concerts later this year. Last season he took part in performances of the entire Ring Cycle conducted by Daniel Barenboim at the Deutsche Staatsoper Berlin, as well as Die Walküre and Götterdämmerung at the Teatro alla Scala conducted by Daniel Barenboim and KarlHeinz Steffens respectively, and concert performances of the Ring under Jonathan Nott and the Bamberg Symphony Orchestra. Adding to an already varied discography, Mikhail recently sang Rachmaninoff’s The Bells with the Berlin Philharmonic under the baton of Sir Simon Rattle, which was recorded for release on EMI. In a change to his usual appearances, he also features as Leporello in Juan, Kasper Holten’s film version of Don Giovanni, which was well received by audiences worldwide. Mikhail enjoyed a hugely successful 2012/13 season including his role debut as Oreste in Strauss’s Elektra at the Aix-en-Provence Festival. Highlights of the current season include a return to the Metropolitan Opera as Prince Galitsky in Prince Igor, as well as Gounod’s Faust with The Netherlands Opera and Marc Minkowski. In forthcoming seasons Mikhail will sing the title roles in Duke Bluebeard’s Castle and The Marriage of Figaro at the Metropolitan Opera; appear in another Ring Cycle at the Wiener Staatsoper; and give another concert performance of Shostakovich’s Symphony No. 13 under Hannu Lintu and the Finnish Radio Symphony Orchestra.

London Philharmonic Orchestra | 9

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Roger Norrington | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Andrew Mackie | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for over 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2012/13, concerts with the LPO included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem, Elgar’s The Dream of Gerontius, Stravinsky’s Symphony of Psalms and Orff’s Carmina Burana. As part of Southbank Centre’s The Rest Is Noise festival, which includes tonight’s performance of Shostakovich’s Symphony No. 13 (Babi Yar), the Choir has performed Britten’s War Requiem, Poulenc’s Stabat mater and Tippett’s A Child of Our Time. Forthcoming engagements in the festival include Arvo Pärt’s Magnificat and Berlin Mass, and John Adams’s El Niño. Recently released CDs with the London Philharmonic Orchestra include Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin, Holst’s The Planets and Mahler’s Symphony No. 2 with Vladimir Jurowski, Beethoven’s Missa Solemnis with Christoph Eschenbach, and Dvořák’s Requiem and Stabat mater with Neeme Järvi. The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008, 2010 and 2013, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. Last year, it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. Most recently, members of the choir performed Weill’s The Threepenny Opera in Paris, with a repeat performance in London.

10 | London Philharmonic Orchestra

The Choir also works with other leading orchestras, and last June joined forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral, recently released on CD by the LSO. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. The London Philharmonic Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit

Gentlemen of the London Philharmonic Choir Scott Addison, George Adje, David Aldred, Geir Andreassen, Nick Arratoon, Martyn Atkins, Chris Beynon, Jonathon Bird, Peter Blamire, Damion Box, Nick Brown, Andrei Caracoti, Andy Chan, Noel Chow, Geoff Clare, Lorne Cuthbert, Phillip Dangerfield, Marcus Daniels, Kevin Darnell, Damian Day, John Farrington, Colin Fleming, Ian Frost, Christopher Gadd, Robert Garbolinski, Robert Geary, Nigel Grieve, Robin Hall, Peter Haselden, Jean-Christophe Higgins, Mark Hillier, Stephen Hines, Stephen Hodges, David Hodgson, Yaron Hollander, Rob Home, Michael Hope, Anthony Howick, Martin Hudson, Hyun Jin Jeong, Aidan Jones, Dave Kent, Pete Lazonby, Georges Leaver, Andrew Mackie, Tony Masters, Anthony McDonald, John McLeod, Richard Miller, John G Morris, Ashley Morrison, Rhydian Peters, Luke Phillips, Miles Phillips, Johan Pieters, Mike Probert, Fraser Riddell, John Salmon, Keith Saunders, Chris Short, Ed Smith, Peter Sollich, Alex Thomas, James Torniainen, Brad Warburton, Matthew Ward, James Wilson, Travis Winstanley, Hin-Yan Wong, John Wood, Tony Wren

Programme notes

Speedread A world of dreams, a refuge in the imagination, is explored in Henri Dutilleux’s Tout un monde lointain, one of the few modern cello concertos to gain a hold in today’s concert repertoire. Partly inspired by the voluptuous, sinister verses of the 19th-century French poet Charles Baudelaire, the writing is also a tribute to the expressive power, agility and superb control in the highest tonal reaches of the work’s dedicatee, the cellist Mstislav Rostropovich. Rostropovich provides the link with the work in the second half of this concert, the monumental,

Henri Dutilleux 1916–2013 The French composer Henri Dutilleux never called his Tout un monde lointain a cello concerto, but it was warmly welcomed as such at its premiere in 1970. Since then it has joined the select handful of cello concertos written in the second half of the 20th century that have managed to become cherished repertoire pieces. That said, the structure of Tout un monde lointain (the title means ‘A whole distant world’) is highly unusual for a virtuoso concerto. There are five linked movements, but these are woven into one another so subtly and skilfully that at times it isn’t easy to say where one ‘movement’ ends and another begins. In effect the movements flow into one another, like symbols or events in dreams – highly appropriate given that the inspiration for Tout un monde lointain was partly the work of the dream-intoxicated 19th-century French poet Charles Baudelaire, and especially his sinister, voluptuous verse collection Les fleurs du mal (‘The flowers of evil’), which provided the titles of each of the five movements.

dark-hued, choral symphony ‘Babi Yar’ (Symphony No. 13) by the Russian cellist’s close friend Dmitri Shostakovich. Encouraged by signs of a ‘thaw’ in Soviet politics and culture, Shostakovich made his Thirteenth Symphony a blistering portrait of the evils of Stalinism: powerfully tragic one moment, fiercely sarcastic the next, it manages in the end to find a strange kind of peace. At the time the authorities simply blanked the Symphony out, and performances were rare. But today it stands as both a dignified memorial to dark times and a reminder of humanity’s extraordinary capacity to endure.

Tout un monde lointain Jean-Guihen Queyras cello 1 2 3 4 5

Énigme (Enigma) Regard (Gaze) Houles (Surges) Miroirs (Mirrors) Hymne (Hymn)

There was, however, another important source of inspiration. Dutilleux was asked to write the concerto by the great Russian cellist Mstislav Rostropovich, for whom Shostakovich had written his two magnificent cello concertos. Typically, Dutilleux took his time composing and perfecting Tout un monde lointain – composition occupied him between 1967 and 1970. And something of the refined fastidiousness of his working methods can be felt in the music’s ravishing – at times almost hallucinatory – subtlety. But one of Dutilleux’s main concerns appears to have been suiting the tone and style of the music to Rostropovich’s own sound and character as a cellist. A lot of the writing for the solo cello is very high, reflecting Rostropovich’s uniquely beautiful tone in this extreme register. Each of the movements is headed with a quotation from Baudelaire, reflecting some aspect of the music’s teasingly enigmatic character. Continued overleaf London Philharmonic Orchestra | 11

Programme notes continued

1 Enigma ‘… And in this strange and symbolic nature’ Mysterious percussion sounds introduce a hushed, meditative cello cadenza, leading to faster, more rhythmic dialogues between cellist and orchestra. Eventually it pauses on a high note, which pivots into – 2 Gaze ‘From your eyes, from your green eyes, Lakes in which my soul trembles And sees itself upside down …’ A slow movement formed from a long arching high cello line, with hushed but intense orchestral accompaniment: the ‘arch’ form recalls the mirror imagery in the poem. 3 Surges ‘… You contain, ebony sea, a dazzling dream of sails, of rowers, of flames and masts …’

4 Mirrors ‘Our two hearts will be huge torches reflecting their double lights in our two spirits, those twin mirrors …’ Another slow movement, with a singing cello line this time accompanied by liquid pulsations from percussion, with harp and marimba. 5 Hymn ‘… Nurse your dreams; wise men do not have such beautiful ones as fools!’ The title may lead us to expect something solemn, but Dutilleux looks back to Ancient Greece, when hymns were danced as well as sung. This lively, slightly nervous music draws together ideas from preceding movements. Tension builds, but at the end the cello seems to disappear, tremolando, like the elusive fading of a dream upon waking.

Dynamic poetic imagery is now reflected in faster, more virtuosic cello writing, which seems to spur the orchestra on to more frenzied action, yet this finally merges into –

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

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Shostakovich’s Symphony No. 13:

12 | London Philharmonic Orchestra

Dmitri Shostakovich


The text begins on page 15. In the early 1960s something extraordinary seemed to be stirring in Soviet Russia. Since the new leader, Nikita Khrushchev, had taken over in 1958 there had been tentative signs that some kind of political and cultural thaw might be on the way. Then the years 1961 and 1962 saw the release of two literary works that would never even have been considered for publication during the fearsome reign of Joseph Stalin. Alexander Solzhenitsyn’s candid portrait of life in a Soviet prison camp, One Day in the Life of Ivan Denisovich, quickly became a hit in the West. The success of Yevgeny Yevtushenko’s poem ‘Babi Yar’, about the massacre of Jews by Nazi troops in a ravine near the city of Kiev, was more local to Russia. But it stirred up huge controversy. Officially the Soviet regime was against anti-Semitism; in actuality it was rather different. Shostakovich had long been an admirer of the Jews. He loved Russian Jewish humour and folk music, and was stirred and encouraged by the Jewish people’s ability to endure terrible persecution. In March 1962 Shostakovich decided to set Yevtushenko’s ‘Babi Yar’ as a one-movement choral cantata. But as with several of his earlier projects, the music had other ideas. Before long ‘Babi Yar’ had grown into a five-movement choral symphony, setting more poems by Yevtushenko in a sequence that left no doubt that Symphony No. 13 was a directly polemical work: a multi-faceted indictment of the Soviet system and a plea on behalf of its victims. At the same time, the Thirteenth Symphony is one of the most openly ‘Russian’ of Shostakovich’s symphonies when it comes to sheer sound. Not only is the soloist a bass, the chorus is composed entirely of bass voices.

Symphony No. 13 in B flat minor (Babi Yar) Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir 1 2 3 4 5

Babi Yar: Adagio Humour: Allegretto In the Store: Adagio Fears: Largo A Career: Allegretto

The sound of the deep, vibrant solo bass voice is perhaps the most distinctive feature of traditional Russian Orthodox church music. Shostakovich also gives special roles to the bass instruments in the orchestra: the tuba (fourth movement), the bass clarinet (finale), and especially the cellos and basses. These instruments often provide important linking passages between the vocal sections – like wordless meditative commentaries on what has just been spoken. By the time Symphony No. 13 had its first performance, in December 1962, the Soviet authorities had taken fright. Dissident acts were breaking out everywhere. Clearly the brake had to be applied, and soon. Attempts were made to prevent the Symphony’s premiere; but surprisingly, given the power of the Soviet state, they failed. The audience’s response to the Symphony was ecstatic. But the reaction of the authorities and the official press was complete silence. Further performances were discouraged. A recording was made, but – significantly – it was only ever made available for sale in the West. The first movement, the titular ‘Babi Yar’, is the longest of the five. A grim Adagio, haunted by the sound of a tolling bell, invokes famous anti-Semitic outrages. It builds to a terrifying climax as the soloist imagines himself as Anne Frank, waiting in terror for the breaking down of the door. It is left to the orchestra to complete the story. But then comes an extreme shift of mood for ‘Humour’, a savage, almost manic demonstration of gallows wit. Like many Russians during the worst years of Stalinism, Shostakovich found strength and release in jokes, however bitter the content. The orchestra’s acrid Broadway parody ending conveys that sense with lethal accuracy.

London Philharmonic Orchestra | 13

Programme notes continued

After this come two slow movements. ‘In the Store’ depicts a sight many visitors to the old Soviet Union will remember: lines of women queuing with heroic patience for food outside wretchedly stocked shops. At the height of the Stalinist terror they could also sometimes be seen waiting for information about loved ones who had been arrested, or had simply disappeared. Clicking castanets and woodblocks mark time eerily; but at the end of this movement, for the only time in the Symphony, the chorus sings in harmony: unmistakably an ‘Amen’ – a kind of blessing perhaps. Then comes ‘Fears’, the atmosphere of dread in a totalitarian state conveyed by ominous gong strokes and bass drum rolls, and the weirdly sinister voice of the tuba. Yevtushenko’s opening words mean ‘Fears are dying out in Russia’, but Shostakovich cunningly splits them up, so that the chorus really seems to say: ‘They are dying … in Russia … fears’, hinting at much darker meanings.

At first the switch of mood for the finale, ‘A Career’, may be disconcerting. After the nightmare vision of ‘Fears’, why this sweetly lilting waltz on two flutes? What should we make of the puzzling ‘in-jokes’ about bureaucrats and public careerists who deal with the devil? Some of the jokes would need an essay of their own to be explained adequately. But there is a long precedent here. As Shostakovich would almost certainly have known, the idea of following tragedy with lighter satire goes back to Ancient Greece. And the final return of the waltz theme (now on muted strings), followed by enigmatically tinkling celeste, leads to a return of the very sound that opened this Symphony: the stroke of the bell. Musically, we have come full circle. Programme notes by Stephen Johnson © 2013

Shostakovich on the LPO Label

Symphonies Nos. 1 & 5

Symphony No. 8

Symphony No. 10

Kurt Masur conductor

Gennady Rozhdestvensky conductor

Bernard Haitink conductor

LPO-0001 | £9.99

LPO-0069 | £9.99

LPO-0034 | £9.99

Piano Concertos Nos. 1 & 2 / Piano Quintet Vladimir Jurowski conductor Martin Helmchen piano

LPO-0053 | £9.99

Over 70 LPO Label recordings available from, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Also available to download or stream online via iTunes, Spotify, Amazon and others.

14 | London Philharmonic Orchestra

Shostakovich: Symphony No. 13

1 Babi Yar Nad Babim Yarom pamyatnikov net. Krutoy obrïv, kak gruboye nadgrobye. Mne strashno, mne sevodnya stolko let, kak samomu yevreyskomu narodu.

There is no memorial above Babi Yar. The steep ravine is like a crude tombstone. I’m frightened, I feel as old today as the Jewish race itself.

Mne kazhetsa seychas – ya i yudei. Vot ya bredu po drevnemu Egiptu. A vot ya, na kreste raspyatïy, gibnu, i do sikh por na mne – sledï gvozdey.

I seem now to be a Jew. Here I am a wanderer in ancient Egypt. And here I hang on the cross and die, I still bear the mark of the nails.

Mne kazhetsa, shto Dreyfus – eto ya. Meshchanstvo – moy donoschik i sudya! Ya za reshetkoy, ya popal v kolstso, zatravlennïy, oplyovannïy, obolgannïy, i damochki s bryusselskimi oborkami, viszha, zontami tichut mne v litso.

I seem now to be Dreyfus. I’m denounced and judged by the bourgeois rabble. I’m behind bars, I’m encircled, persecuted, spat on, slandered, and fine ladies with lace frills squeal and prod my face with their parasols.

Mne kazhetsa, ya – malchik v Byelostoke. Krov lyotsa, rastekayas po polam. Beschinstvuyut vozhdi traktirnoy stoyki. I pakhnut vodkoy s lukom popolam. Ya sapogom otbroshennïy, bessilnïy, naprasno ya pogromshchikov molyu. Pod gogot: ‘Bey zhidov! Spasay Rossiyu!’ Labaznik izbivayet mat moyu.

I seem to be a little boy in Bialystok. Blood is spattered over the floor. The ringleaders in the tavern are getting brutal. There’s a stench of vodka and onions. I’m kicked to the ground, I’m powerless, In vain I beg the persecutors. They guffaw ‘Kill the Yids! Save Russia!’ A grain merchant beats up my mother.

O russkiy moy narod, ya znayu, ty po sushchnosti internatsionalen: no chasto te, chi ruki nechistï, tvoim chisteyshim imyenem bryatsali. Ya znayu dobrotu moyey zemli. Kak podlo, shto i zhilochkoy ne drognuv, antisemitï narekli sebya: ‘Soyuzom russkovo naroda’.

Oh, my Russian people, I know that you are internationalists at heart: but there have been those with soiled hands who abused your good name. I know that my land is good. How filthy that without the slightest shame the anti-Semites proclaimed themselves ‘The Union of the Russian People’.

Mne kazhetsa, ya – eto Anna Frank, prozrachnaya, kak vetochka v aprele, i ya lyublyu, i mne nye nado fraz, no nado, shtob drug v druga mï smotreli. Kak malo mozhno videt, obonyat! Nelzya nam listev i nelzya nam neba, no mozhno ochen mnogo – eto nezhno drug druga

I seem to be Anne Frank, as tender as a shoot in April, I am in love and have no need of words, but we need to look at one another. How little we can see or smell! The leaves and the sky are shut off from us. But there is a lot we can do – we can tenderly embrace one another

Please turn the page quietly London Philharmonic Orchestra | 15

Shostakovich Symphony No. 13 continued

v tyomnoy komnate obnyat! – ‘Syuda idut!’ – ‘Ne boysa. Eto gulï samoy vesnï, ona sydua idyot. Idi ko mne, day mne skoreye gubï!’ – ‘Lomayut dver!’ – ‘Net! Eto ledokhod!’

in the dark room! – ‘Someone’s coming!’ – ‘Don’t be frightened. These are the sounds of spring, spring is coming, Come to me. Quick, give me your lips!’ – ‘They’re breaking down the door!’ – ‘No! It’s the ice breaking!’

Nad Babim Yarom shelest dikikh trav, derevya smotryat grozno, po-sudeyski. Zdes molcha vsyo krichit, i, shapku snyav, ya chuvstvuyu, kak medlenno sedeyu. I sam ya, kak sploshnoy bezzvuchnïy krik nad tïsyachami tïsyach pogrebyonnïkh. Ya – kazhdy zdes rasstrelyannïy starik, Ya – kazhdy zdes rasstrelyannïy rebyonok. Nichto vo mne pro eto ne zabudet. ‘Internatsional’ pust progremit, kogda naveki pokhoronen budet posledniy na zemle antisemit.

Above Babi Yar the wild grass rustles, the trees look threatening, as though in judgement. Here everything silently screams, and, baring my head, I feel as though I am slowly turning grey. And I become a long, soundless scream above the thousands and thousands buried here. I am each old man who was shot here, I am each child who was shot here. No part of me can ever forget this. Let the ‘lnternationale’ thunder out when the last anti-Semite on the earth has finally been buried.

Yevreyskoy krovi net v krovi moyey, no nenavisten zloboy zaskoruszloy ya vsem antisemitam kak yevrey, i potomu ya nastoyashchiy russkiy!

There is no Jewish blood in my blood. But I experience the loathsome hatred of all anti-Semites as though I were a Jew – And that is why I am a true Russian!

2 Yumor


Tsari, koroli, imperatorï, vlastiteli vsey zemli, komandovali paradami, no yumorom ne mogli.

Tsars, kings, emperors, rulers of the whole world, have ordered parades, but they couldn’t order humour around.

V dvortsï imenitïkh osob, vse dni vozlezhashchikh vïkholenno, yavlyalsa brodyaga Ezop, i nishchimi oni vyglyadeli. V domakh, gde khanza nasledil svoimi nogami shchuplïmi, vsyu poshlost Khodzha Nasreddin shibal, kak shakhmatï, shutkami!

In the palaces of the great, spending their days sleekly reclining, Aesop the vagrant turned up and they all looked like beggars. In houses where a hypocrite had left his nasty little footprints, Hodja Nasreddin’s jokes would demolish pretensions like pieces on a chessboard! ...

16 | London Philharmonic Orchestra

Khotyeli yumor kupit, da tolko yevo nye kupish! Khoteli yumor ubit, a yumor pokazÏval kukish!

They’ve tried to buy humour, but he just wouldn’t be bought. They’ve tried to kill humour, but humour gave them the finger.

Borotsa s nim delo trudnoye. Kaznili yevo bez kontsa. Yevo golova otrublennaya torchala na pike streltsa. No lish skomoroshi dudochki svoy nachinali skaz, on zvonko krichal: ‘Ya tutochki!’ I likho puskalsa v plyas.

Fighting him’s a tough job. They’ve never given up executing him. His chopped-off head was stuck onto a soldier’s pike. But as soon as the clown’s pipes struck up their tune, he screeched out, ‘Here I am!’ and broke into a jaunty dance.

V potryopannom kutsem paltishke, ponuryas i slovno kayas, prestupnikom politicheskim on, poymannïy, shol na kazn. Vsem vidom pokornost vïkazïval, gotov k nezemnomu zhityu, kak vdrug iz paltishka vïskalzival, rukoy makhal … i-tyu-tyu!

Wearing a threadbare little overcoat, downcast and apparently repentant, under arrest as a political prisoner, he went to his execution. Everything about him displayed submission, resignation to the life hereafter, when suddenly he wriggled out of his coat, waved his hand and – bye-bye!

Yumor pryatali v kamerï, da chyorta s dva udalos. Reshotki i stenï kamennïye on prokhodil naskvoz. Otkashlivayas prostuzhenno, kak ryadovoy boyets, shagal on chastushkoy-prostushkoy s vintovkoy na Zimniy Dvorets.

They’ve hidden humour away in dungeons but they hadn’t a hope in hell. He passed straight through bars and stone walls. Clearing his throat from a cold, like a rank-and-file soldier, he was a popular tune marching along with a rifle to the Winter Palace.

Privïk on ko vzglyadam sumrachnïm, no eto yemu ne vredit, i sam na sebya s yumorom yumor poroy glyadit. On vechen. On lovok. I yurok. Proydyot cherez vsyo, cherez vsyekh. Itak, da slavitsa yumor! On muzhestvennïy chelovek!

He’s quite used to dirty looks, they don’t bother him at all, and from time to time humour looks at himself humorously. He’s eternal. He’s artful. And quick. He gets around everyone and everything. So, three cheers for humour! He’s a brave fellow!

Please turn the page quietly

London Philharmonic Orchestra | 17

Shostakovich Symphony No. 13 continued

3 V magazine

In the Store

Kto v platke, a kto v platochke, kak na podvig, kak na trud, v magazin po-odinochke molcha zhenshchinï idut.

Wearing shawls, wearing scarves, as though off to some heroic enterprise or to work, into the store one by one the women silently come.

O, bidonov ikh bryatsanye, zvon butïlok i kastryul! Pakhnet lukom, ogurtsami, pakhnet sousom ‘Kabul’.

Oh, the rattling of their cans, the clanking of bottles and pans! There’s a smell of onions, cucumbers, a smell of ‘Kabul’ sauce.

Zyabnu, dolgo v kassu stoya, no pokuda dvizhus k ney, ot dïkhanya zhenshchin stolkikh v magazine vsyo tepley.

I’m shivering as I queue up for the cash desk, but as I inch forward towards it, from the breath of so many women a warmth spreads round the store.

Oni tikho podzhidayut, bogi dobrïye semi, i v rukakh oni szhimayut dengi trudnïye svoyi.

They wait quietly, their families’ guardian angels, and they grasp in their hands their hard-earned money.

Eto zhenshchinÏ Rossii. Eto nasha chest i sud. I beton oni mesili, i pakhali, i kosili ...

These are the women of Russia. They honour us and they judge us. They have mixed concrete, and ploughed, and harvested …

Vsyo oni perenosili, vsyo oni perenesut. Vsyo na svete im posilno, – skolko silï im dano!

They have endured everything, they will continue to endure everything. Nothing in the world is beyond them – they have been granted such strength!

Ikh obschïtivat postïdno! Ikh obveshivat greshno!

It is shameful to short-change them! It is sinful to short-weight them!

I v karman pelmeni sunuv, ya smotryu, surov i tikh, na ustalÏye ot sumok ruki pravednïye ikh.

As I shove dumplings into my pocket I sternly and quietly observe their pious hands weary from carrying their shopping bags.

4 Strakhi


Umirayut v Rossii strakhi, slovno prizraki prezhnikh lyet, lish na paperti, kak starukhi, koye-gde yeshcho prosyat na khleb.

Fears are dying out in Russia, like wraiths from bygone years; only in church porches, like old women, here and there they still beg for bread.

18 | London Philharmonic Orchestra

Ya ikh pomnyu vo vlasti i sile pri dvore torzhestvuyushchey Izhi.

I remember when they were powerful and mighty at the court of the lie triumphant.

Strakhi vsyudu, kak teni, skolzili, pronikali vo vse etazhi. Potikhonku lyudey priruchali i na vse nalgali pyechat: gde molchat bï – krichat priuchali, i molchat – gde bï nada krichat. Eto stal sevodnya dalyokim. Dazhe stranno i vspomnit teper: taynïy strakh pered chim-to donosom, taynïy strakh pered stukom v dver.

Fears slithered everywhere, like shadows, penetrating every floor. They stealthily subdued people and branded their mark on everyone; when we should have kept silent they taught us to scream, and to keep silent when we should have screamed. All this seems remote today. It is even strange to remember now: the secret fear of an anonymous denunciation, the secret fear of a knock at the door.

Nu, a strakh govorit s inostrantsem? S inostrantsem – to shto, a s zhenoy! Nu, a strakh bezotchotnïy ostatsa posle marshey vdvoyom s tishinoy?

Yes, and the fear of speaking to foreigners? Foreigners … ? even to your own wife! Yes, and that unaccountable fear of being left, after a march, alone with the silence?

Nye boyalis mï stroit v meteli, ukhodit pod snaryadami v boy, no boyalis poroyu smertelno razgovorivat sami s soboy. Nas ne sbili i nye rastlili, i nedarom seychas vo vragakh pobedivshaya strakhi Rossiya yeshcho bolshiy rozhdayet strakh.

We weren’t afraid of construction work in blizzards, or of going into battle under shell fire, but at times we were mortally afraid of talking to ourselves. We weren’t destroyed or corrupted, and it is not for nothing that now Russia, victorious over her own fears, inspires greater fear in her enemies.

Strakhi novïye vizhu, svetleya: strakh neiskrennim bït so stranoy, strakh nepravdoy unizit idei, shto yavlyayutsa pravdoy samoy; strakh fanfarit do odurenya, strakh chuzhiye slova povtoryat, strakh unizit drugikh nedoveryem i chrezmerno sebe doveryat.

I see new fears dawning: the fear of being untrue to one’s country, the fear of dishonestly debasing ideas that are obviously true; the fear of boasting oneself into a stupor, the fear of parroting someone else’s words, the fear of humiliating others with distrust and of trusting oneself overmuch.

Umirayut Rossii strakhi. I kogda ya pishu eti stroki i poroyu nevolno speshu, to pishu ikh v yedinstvennom strakhe, shto ne v polnuyu silu pishu.

Fears are dying out in Russia. And while I am writing these lines, at times unintentionally hurrying, I write haunted by the single fear of not writing with all my strength.

Please turn the page quietly London Philharmonic Orchestra | 19

Shostakovich Symphony No. 13 continued

5 Karyera

A Career

Tverdili pastïri, shto vreden i nerazumen Galiley. No, kak pokazïvayet vremya, kto nerazumney – tot umney!

The priests kept on saying that Galileo was dangerous and foolish. But, as time has shown, the fool was much wiser!

Uchonïy, sverstnik Galileya, bïl Galileya ne glupeye. On znal, shto vertitsa zemlya, no u nyevo bïla semya. I on, sadyas s zhenoy v karetu, svershiv predatelstvo svoyo, schital, shto delayet karyeru, a mezhdu tem gubil yeyo.

A certain scientist, Galileo’s contemporary, was no stupider than Galileo. He knew that the earth revolved, but he had a family. And as he got into a carriage with his wife after accomplishing his betrayal, he reckoned he was advancing his career, but in fact he’d wrecked it.

Za osoznaniye planetÏ shol Galiley odin na risk, i stal velikim on. Vot eto – ya ponimayu – karyerist!

For his discovery about our planet Galileo faced the risk alone, and he was a great man. Now that is what I understand by a careerist.

Itak, da zdravstvuyet karyera, kogda karyera takova, kak u Shekspira i Pastera, Nyutona i Tolstovo ... (Lva … ? Lva!) Zachem ikh gryazyu pokrïvali? Talant – talant, kak ni kleymi. ZabïtÏ te, kto proklinali, no pomnyat tekh, kovo klyali.

So then, three cheers for a career when it’s a career like that of Shakespeare or Pasteur, Newton, or Tolstoy … (Leo? – Leo!) Why did they have mud slung at them? Talent is talent, whatever name you give it. They’re forgotten, those who hurled curses, but we remember the ones who were cursed.

Vse te, kto rvalis v stratosferu, vrachi, shto gibli ot kholer, vot eti delali karyeru! Ya s ikh karyer beru primer!

All those who strove towards the stratosphere, the doctors who died of cholera, they were following careers! I’ll take their careers as an example!

Ya veryu v ikh svyatyu veru. Ikh vera – muzhestvo moyo. Ya delayu sebe karyeru tem, shto ne delayu yeyo!

I believe in their sacred belief, and their belief gives me courage. I’ll follow my career in such a way that I’m not following it.

Yevgeny Yevtushenko (1933–)

Transliteration and English translation © Andrew Huth

20 | London Philharmonic Orchestra

Next LPO concerts at Royal Festival Hall

Wednesday 30 October 2013 | 7.30pm

Sunday 3 November 2013 | 12.00pm

Ligeti Lontano Lutosławski Cello Concerto* Schnittke Symphony No. 1

FUNharmonics Family Concert

Michail Jurowski conductor Johannes Moser cello * Generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme – Centenary of Witold Lutosławski 2013.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Conductor Michail Jurowski discusses the evening’s programme.

Saturday 2 November 2013 | 7.30pm Messiaen Des canyons aux étoiles (From the Canyons to the Stars) Christoph Eschenbach conductor Tzimon Barto piano John Ryan horn Andrew Barclay percussion Erika Öhman percussion Free pre-concert event 6.00–6.45pm | Royal Festival Hall Colour and Eternity – the music of Olivier Messiaen Exploring the rich sound world of Olivier Messiaen, this talk delves into his musical language, where birdsong, faith and colour collide to produce one of the most original musical voices in the 20th century. A new piano miniature inspired by Des canyons aux étoiles will also be performed.

Britten The Young Person’s Guide to the Orchestra Chris Jarvis presenter Timothy Redmond conductor Tickets £5–£18 Free pre- and post-concert events around the Royal Festival Hall building: for details visit

Wednesday 6 November 2013 | 7.30pm Sofia Gubaidulina Offertorium Arvo Pärt Magnificat Arvo Pärt Cantus in memoriam Benjamin Britten Arvo Pärt Berlin Mass Tõnu Kaljuste conductor Sergej Krylov violin London Philharmonic Choir Supported by the Estonian Embassy in London and the Ambache Charitable Trust.

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall LPO Foyle Future Firsts, conducted by Ben Gernon, present a programme including Galina Ustvolskaya’s final work – Symphony No. 5 (Amen), a haunting setting of The Lord’s Prayer.

Part of the Royal Philharmonic Society Bicentenary Celebrations, 1813–2013

Tickets £9–£39 (premium seats £65) unless stated London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm

Transaction fees: £1.75 online, £2.75 telephone

Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

London Philharmonic Orchestra | 21

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email or visit

Catalyst Endowment Donors Masur Circle Arts Council England Emmanuel & Barrie Roman The Sharp Family The Underwood Trust Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey The late Mr K Twyman Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Haitink Patrons Moya Greene Tony and Susie Hayes Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix TFS Loans Limited The Tsukanov Family Foundation Guy & Utti Whittaker Manon Williams

22 | London Philharmonic Orchestra

Pritchard Donors Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin Geoff & Meg Mann

Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous Simon Robey The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook David Ellen

Commander Vincent Evans Mr Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard 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 Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring 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 Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Mayor’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation Youth Music and others who wish to remain anonymous

London Philharmonic Orchestra | 23


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

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)


Timothy Walker AM Chief Executive and Artistic Director

Sarah Holmes Librarian (maternity cover)

Philip Stuart Discographer


Christopher Alderton Stage Manager

Gillian Pole Recordings Archive

Brian Hart Transport Manager

Professional Services

David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Julia Boon Assistant Orchestra Personnel Manager

Concert Management


Roanna Gibson Concerts Director

Nick Jackman Development Director

Graham Wood Concerts and Recordings Manager

Helen Searl Corporate Relations Manager

Jenny Chadwick Tours Manager Tamzin Aitken Glyndebourne and UK Engagements Manager Alison Jones Concerts and Recordings Co-ordinator Jo Cotter PA to the Chief Executive / Tours Co-ordinator Matthew Freeman Recordings Consultant Education and Community Patrick Bailey Education and Community Director Alexandra Clarke Education and Community Project Manager Lucy Duffy Education and Community Project Manager Richard Mallett Education and Community Producer

24 | London Philharmonic Orchestra

Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 Email: The London Philharmonic Orchestra Limited is a registered charity No. 238045.


Front cover photograph © Patrick Harrison.

Kath Trout Marketing Director

Printed by Cantate.

Mia Roberts Marketing Manager Rachel Williams Publications Manager Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Lily Oram Intern Digital Projects Alison Atkinson Digital Projects Manager

LPO concert programme 26 October 2013