LPO Programme notes 26 Jan 2011 by London Philharmonic Orchestra

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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†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 26 January 2011 | 7.30pm

PROGRAMME £3 CONTENTS 2 3 4 5 6

VLADIMIR JUROWSKI conductor ALEXANDER MARKOVICH piano MELANIE DIENER soprano

THOMAS HAMPSON baritone

PETER EÖTVÖS Shadows (UK première of the orchestral version) SUE THOMAS flute NICHOLAS CARPENTER clarinet

LISZT Piano Concerto No. 2

(15’)

9 16 17 18 19 20

List of Players Orchestra History Leader Vladimir Jurowski Sue Thomas / Nicholas Carpenter Alexander Markovich / BBC Radio 3 Melanie Diener / Thomas Hampson Programme Notes Recordings Supporters Southbank Centre Administration Future Concerts

The timings shown are not precise and are given only as a guide. (22’)

INTERVAL ZEMLINSKY Lyrische Symphonie

†

(48’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

This concert is being recorded by BBC Radio 3 for broadcast on 1 February 2011.

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John and Angela Kessler

Lucy Baker Katalin Varnagy Thomas Eisner Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Rebecca Shorrock Alain Petitclerc Peter Nall Galina Tanney SECOND VIOLINS Heather Cottrell Guest Principal Jeongmin Kim Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Marie-Anne Mairesse Dean Williamson Alison Strange Peter Graham Stephen Stewart Mila Mustakova Elizabeth Baldey Dafydd Williams VIOLAS Alexander Zemtsov* Principal Chair supported by The Tsukanov Family

Robert Duncan Susanne Martens Benedetto Pollani Emmanuella Reiter-Bootiman Laura Vallejo Daniel Cornford

Isabel Pereira Sarah Malcolm Anthony Byrne Rebecca Carrington Karen Norlen CELLOS Kristina Blaumane Principal Chair supported by Simon Yates and Kevin Roon

Susanne Beer Co-Principal Francis Bucknall Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Gregory Walmsley Susanna Riddell David Lale Pavlos Carvalho Tae-Mi Song DOUBLE BASSES Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Joe Melvin Louis Garson Damian Rubido Gonzalez Lowri Morgan FLUTES Sue Thomas* Principal Joanna Marsh Guro Pettersen Stewart McIlwham* PICCOLOS Stewart McIlwham* Principal Guro Pettersen OBOES Ian Hardwick Principal Angela Tennick Sue Bohling

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

CLARINETS Nicholas Carpenter Principal Emily Meredith Paul Richards David Fuest BASS CLARINET Paul Richards Principal CONTRA BASS CLARINET David Fuest

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

BARITONE SAXOPHONE Martin Robertson

Keith Millar Jeremy Cornes

BASSOONS John Price Principal Gareth Newman* Simon Estell

HARP Rachel Masters* Principal

CONTRA BASSOON Simon Estell Principal HORNS John Ryan Principal Martin Hobbs Nicolas Wolmark Gareth Mollison Brendan Thomas

CELESTE Catherine Edwards HARMONIUM John Alley

ASSISTANT CONDUCTOR Thomas Blunt

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

Nicholas Betts Co-Principal PICCOLO TRUMPET Nicholas Betts Principal

* 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 Richard and Victoria Sharp

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

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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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VLADIMIR JUROWSKI

Karen Robinson

CONDUCTOR

Born in Moscow, the son of conductor Mikhail Jurowski, Vladimir Jurowski completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany where he continued his studies in Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. In 1995 he made his international debut at the Wexford Festival, where he conducted Rimsky-Korsakov’s May Night. The same year saw his brilliant debut at the Royal Opera House Covent Garden in Nabucco. In 1996 he joined the ensemble of Komische Oper Berlin, becoming First Kapellmeister in 1997 and continuing to work at the Komische Oper on a permanent basis until 2001. Since 1997 Vladimir Jurowski has been a guest at some of the world’s leading musical institutions including the Royal Opera House Covent Garden, Teatro La Fenice di Venezia, Opéra Bastille de Paris, Théâtre de la Monnaie Bruxelles, Maggio Musicale Festival Florence, Rossini Opera Festival Pesaro, Edinburgh Festival, Semperoper Dresden and the Teatro Comunale di Bologna (where he served as Principal Guest Conductor between 2000 and 2003). In 1999 he made his debut at the Metropolitan Opera New York with Rigoletto. In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera and in 2003 was appointed Principal Guest Conductor of the London Philharmonic Orchestra, becoming the Orchestra’s Principal Conductor in September 2007. He also holds the title of Principal Artist of the Orchestra of the Age of Enlightenment, and from 2005 to 2009 served as Principal Guest Conductor of the Russian National Orchestra with whom he will continue to work in the years ahead.

Vladimir Jurowski is a regular guest with many of the world’s leading orchestras including the Berlin Philharmonic, Oslo Philharmonic, Royal Concertgebouw, Bavarian Radio Symphony, Dresden Staatskapelle, Los Angeles Philharmonic and Philadelphia Orchestras as well as the Gewandhausorchester Leipzig. Highlights of the 2010/11 season and beyond include his debuts with the Vienna Philharmonic, Cleveland, San Francisco Symphony and Mahler Chamber Orchestras, and return visits to the Chicago Symphony, Chamber Orchestra of Europe, Berlin Philharmonic, Royal Concertgebouw, St Petersburg Philharmonic and Philadelphia Orchestras. His operatic engagements have included Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan, as well as Die Zauberflöte, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Don Giovanni, The Rake’s Progress and Peter Eötvös’ Love and Other Demons at Glyndebourne Opera. Future engagements include new productions of Die Meistersinger and The Cunning Little Vixen at Glyndebourne, Die Frau ohne Schatten at the Metropolitan Opera, Russlan and Ludmila at the Bolshoi Theatre, and Iolanta at the Dresden Semperoper. Jurowski’s discography includes the first ever recording of Giya Kancheli’s cantata Exil for ECM (1994), L’Étoile du Nord by Meyerbeer for Naxos-Marco Polo (1996), and Werther for BMG (1999) as well as live recordings of works by Rachmaninov, Turnage, Tchaikovsky, Britten, Brahms and Shostakovich on the London Philharmonic Orchestra’s own label, and Prokofiev’s Betrothal in a Monastery on Glyndebourne Opera’s own label. He also records for PentaTone with the Russian National Orchestra, with releases to date including Tchaikovsky’s Suite No. 3 and Stravinsky’s Divertimento from Le Baiser de la fée, Shostakovich’s Symphonies Nos 1 and 6, Prokofiev’s Symphony No. 5 and Tchaikovsky’s Hamlet Incidental Music. Glyndebourne have released DVD recordings of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus and Rachmaninov’s The Miserly Knight, and other recent DVD releases include Hänsel und Gretel from the Metropolitan Opera New York, and his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler (released by Medici Arts).

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FLUTE

CLARINET

Sue Thomas was born in Merthyr Tydfil and began playing the flute at the age of ten. She studied on the Joint Course at the Royal Northern College of Music and Manchester University with Trevor Wye and subsequently at the Royal Academy of Music with William Bennett. Whilst at the Academy she won the Flute Prize and graduated with a Dip. RAM, the highest diploma awarded by the Academy. Her orchestral career has included work with all the major symphony and opera orchestras in London. She joined the London Philharmonic Orchestra in 2002 and has performed many times as a soloist with the Orchestraâ€™s chamber ensemble at Wigmore Hall. In 2007 she became a Flute Professor at the Royal College of Music and regularly gives master classes in all of the London conservatoires. In 2009 she was awarded an Associate of the RAM in recognition of her contribution to the music profession.

Benjamin Ealovega

NICHOLAS CARPENTER

Susanna Riddell

SUE THOMAS

Nicholas Carpenter studied the clarinet at the Royal College of Music with Dame Thea King and John McCaw. He was Principal Clarinet with the Bournemouth Sinfonietta for ten years before joining the London Philharmonic Orchestra in 1995. He also plays regularly as Guest Principal Clarinet with most of the major orchestras in England including the London Symphony Orchestra, BBC Symphony Orchestra, the Academy of St Martin in the Fields and City of Birmingham Symphony Orchestra. Nicholas also enjoys a busy career as a recital and chamber musician. He made his first solo recording of British music for clarinet and piano in 1992 and recorded the Mozart Clarinet Quintet with the Brindisi Quartet for EMI in 1997. He is much in demand as a teacher and is regularly invited to give masterclasses throughout the UK. In 2008 he joined the staff of the Guildhall School of Music and Drama as Professor of Clarinet.

Hear every note

Hard of hearing? Visit the cloakroom for equipment to improve your concert experience.

6 | London Philharmonic Orchestra

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ALEXANDER MARKOVICH PIANO

Live orchestral concerts specially recorded by BBC Radio 3 are a vital part of the Born in 1964 into a family of musicians, Alexander Markovich entered the Moscow Gnessin School at the age of six and at 13 was awarded first prize in the Prague Youth Radio Competition. He studied piano and conducting at the Moscow Conservatory before emigrating to Israel in 1990 and becoming an Israeli citizen. He partnered musicians such as Vadim Repin and Maxim Vengerov, and his talent was then brought to the attention of international audiences and critics. Subsequently he accompanied instrumentalists including Sergey Nakaryakov, Julian Rachlin, Ida Haendel and Gerard Causse, and performed in Wigmore Hall in London, Carnegie Hall in New York, Berlin Philharmonie, Geyhal-Ha Tarbut in Tel Aviv, Suntory Hall in Tokyo and Théâtre des Champs-Elysées in Paris. In 1997, after meeting conductor Neeme Järvi, Alexander Markovich returned to solo activity and was invited to make his debut as a soloist with the Detroit Symphony Orchestra. An invitation to play with the Montreal Symphony Orchestra followed as well as reengagements with both Detroit and Montreal. He has also played with the Gothenburg Symphony Orchestra, WDR Cologne and Residentie Orchestra in The Hague. In 2005 he appeared with the Bayerische Staatsorchester in Munich under Paavo Järvi and was immediately reinvited to take part in the orchestra’s New Year’s Gala Concert conducted by Zubin Mehta. Other performances have included concerts with the Buenos Aires Philharmonic, Lübeck, Stuttgart Philharmonic and Vienna Tonkünstler Orchestras, and recitals at the Moscow Conservatory and the Ruhr Piano Festival.

station’s output and I’m delighted that we will continue our long association with the London Philharmonic Orchestra by bringing performances from this season to the widest possible audience, including those listening at home, on air and online.

Roger Wright Controller, BBC Radio 3

Tonight’s concert will be broadcast in Performance on 3 on 1 February 2011 at 7pm, and is available online for 7 days after broadcast at bbc.co.uk/radio3

Alexander Markovich is well known through his recordings with Teldec, Deutsche Grammophon and Erato.

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THOMAS HAMPSON

SOPRANO

BARITONE

The German soprano Melanie Diener studied with Sylvia Geszty in Stuttgart, with Rudolf Piernay in Mannheim, and at Indiana University. She made her debut as Ilia in Idomeneo at the Garsington Opera Festival in 1996 and has since been heard at the Vienna Staatsoper, the Metropolitan Opera, The Royal Opera Covent Garden, the Bavarian Opera, Semper Oper and Berlin Staatsoper, as well as in Paris, Zurich, Lausanne and Ferrara. Her repertoire predominantly includes the operas of Mozart and Strauss, comprising roles such as Elettra (which she has sung in Vienna), Fiordiligi (in London, Paris, Zurich, Dresden, Ferrara and the Met), Donna Elvira (in London, Paris, Aix-en-Provence, Vienna, Munich and the Met), Vitellia (in Berlin and the Met) the Marschallin (in Berlin and Hamburg), Ariadne and Chrysothemis (in Zurich, Munich and Vienna).

American baritone Thomas Hampson enjoys an international career as a recitalist, opera singer and recording artist, and maintains an active interest in teaching, research and technology. He has performed in all of the world’s major concert halls and opera houses with many of today’s most renowned singers, pianists, conductors and orchestras. He is one of the most respected, innovative and sought-after soloists performing today.

Dario Acosta

MELANIE DIENER

Melanie Diener made her Bayreuth Festival debut in 1999 as Elsa in Lohengrin, a role she has also sung in Zurich, London, Vienna and Munich, and was heard at the 2002 and 2003 Salzburg Festivals as Donna Elvira under the baton of Nikolaus Harnoncourt. She achieved great success in the title roles of Fidelio in Zurich and Katya Kabanova in Berlin and Vienna, as Ellen Orford in Peter Grimes at the Vienna Staatsoper and Dresden, and as Sieglinde in Dresden. She has collaborated with most of the major orchestras and conductors of our time, and her concert repertoire includes Beethoven’s Symphony No. 9, Britten’s War Requiem, Schoenberg’s Gurrelieder, Strauss’s Four Last Songs, Janáček’s Glagolitic Mass and Mahler’s Symphony No. 8. Future projects include the role of Ursula in Hindemith’s Mathis der Maler in Paris, Senta in Der fliegende Holländer in Lisbon, Sieglinde in Amsterdam and Zemlinsky’s Lyric Symphony in Turin.

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A significant part of his 2010/11 season is dedicated to performances of Mahler’s music. He began with a recital at the composer’s birth place and an internationally televised orchestral concert. Throughout the season he performs Mahler’s orchestral works in many of the world’s musical capitals, and features the composer’s songs in a series of recitals in Berlin, Munich, Hamburg, Vienna, Zurich, London, Amsterdam, Paris, Milan, Madrid and Oslo. His new recording of Des knaben Wunderhorn with the Wiener Virtuosen appears this month. Other highlights of 2010/11 include the title role in a new production of Verdi’s Macbeth at Lyric Opera of Chicago; three all-Strauss concerts with Renée Fleming and the Berlin Philharmonic; selections from George Crumb’s American Songbooks performed with the Chamber Music Society of Lincoln Center; and the world premières of Richard Danielpour’s Songs of Solitude and William Bolcom’s Laura Sonnets, both of which were written especially for him. In Switzerland, he performs at the Zurich Opera in new productions of Verdi’s I Masnadieri and Wagner’s Parsifal. Raised in Spokane, Washington, Hampson has received many honours and his discography of more than 150 albums includes winners of a Grammy Award, two Edison Prizes and a Grand Prix du Disque.

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PROGRAMME NOTES

SPEEDREAD Placed at the heart of Europe, Hungary was keen to adhere to its Viennese neighbours during Hapsburg rule, but encouraged its inhabitants to stride out with their own national ideas. Liszt became a favourite of Empress Elisabeth (herself Queen of Hungary) and was famed for the virtuosity and wild Romanticism that infuses his Second Piano Concerto. Nowadays the leading contemporary composer Peter Eötvös plays on ideas of

Peter EÖTVÖS

memory and time and recalls the music of his native Transylvania in Shadows. Although Zemlinsky was born in Vienna, his diverse family had roots stretching far from the Empire’s capital, including to his Hungarian grandfather. Recalling Mahler’s Das Lied von der Erde, Zemlinsky’s 1923 Lyric Symphony has an achingly personal message that ultimately erodes ideas of nationality and place.

SHADOWS SUE THOMAS flute NICHOLAS CARPENTER clarinet

Born 1944

Born in the depths of Transylvania towards the end of the Second World War, Peter Eötvös escaped the darkest chapter in his country’s history. For Eötvös, however, his initial impressions of Hungarian culture reached further back, characterised by the composer Zoltán Kodály, who accepted him into the Academy of Music in Budapest at the age of 14. During his student days Eötvös became the Music Director at the Comedy Theatre in Budapest. Despite success and strong admiration for his teachers, his future (like that of his compatriot Ligeti) lay further afield. His travels to Darmstadt and work as Stockhausen’s copyist were to prove decisive; Eötvös went on to conduct many of Stockhausen’s major works. The influence of electronic music and the theatre can be discerned in Shadows. Prefaced with a quote by the French philosopher Michel Serres, the work echoes the thinker’s preoccupations with space and time through

the music and the specific arrangement of the performing space. The flute and clarinet soloists are positioned in front of two banks of strings, which provide an eerie stereophonic shimmer. The woodwind and brass sections, with their backs to the audience, act as respective shadows to the flute and clarinet. Eötvös thereby encourages us to imagine a more liberated realm through the three wildly contrasting movements. The first (originally placed second) is a highly rhythmical dance. In the central movement (which opened the work when it was premièred) Eötvös generates tension through a repeatedly rising melody. The third movement – recalling the funeral dances of his native Transylvania – is murky and dense, before a long-spun dialogue emerges between the two soloists. The presence of the celesta and the final tap of the drum and cymbal remove the music to mere abstract noises – shadows of what has gone before.

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PROGRAMME NOTES

Franz LISZT

PIANO CONCERTO NO. 2 ALEXANDER MARKOVICH piano

1811-1886

Liszt was an outstanding performer. Famed for his virtuosity, he travelled throughout Europe and was greeted with acclaim wherever he was heard. As the full fervour of Romanticism began to take hold, Liszt’s passionate approach captured the imagination. At the same time the piano itself evolved, allowing for greater dynamic contrast, new techniques and textures; Liszt became its most revered practitioner. Although he was prolific in his composition of solo works and rhapsodic tone poems (with orchestra) for his favourite instrument, he was less certain about the two named piano concertos that he began during the 1830s. After its première (under Berlioz) in 1855 (some 20 years after he began composing), Liszt revised his First Piano Concerto for a further year. Yet the Second Piano Concerto, begun in 1839, would remain on the composer’s desk until 1861 (despite another premature première in 1857, in which Liszt conducted the young pianist Hans Bronsart von Schellendorff).

Conceived, as with the majority of his orchestral works, in one seamless multipart movement, Liszt sought to create graceful tonally moving forms. Like Wagner, these have an almost organic quality, given grounding and structure through the recurrence of motifs and an overarching tonal scheme. Rather than being a showcase for the pianist’s abilities, Liszt conceived the Second Concerto as a scrupulously orchestral work, through which the pianist is heard. The ripe unresolved chromaticism of the opening, with its sighing woodwind, indicates the journey ahead. The piano emerges beneath the gleam of those woodwind chords before a cadenza introduces more aggressive music. It is relatively short-lived as an aching exchange between solo cello and piano emerges. The unspent passions of this dialogue burn through in the heroic fanfares of the Allegro deciso, which firmly establishes the home key before a skittish coda brings the concerto to a close.

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

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PROGRAMME NOTES

Alexander ZEMLINSKY 1871-1942

Although Zemlinsky moved in radical circles – Schoenberg was both his pupil and brother-in-law – he was no revolutionary himself. But in the melée of modernism, it is all too easy to dismiss Zemlinsky’s idiom as regressive. He broke out of the all-tooWagnerian shackles of post-Romanticism (as heard in Schoenberg’s Gurrelieder) and found a new, freer sense of tonality and expression, as in Mahler’s late symphonies. Certainly that composer’s symphonic Das Lied von der Erde had a huge impact on Zemlinsky’s 1923 Lyric Symphony.

hugely popular throughout Europe (not dissimilar to the oriental texts of Das Lied von der Erde). Conceived as a dialogue between two lovers – a soprano and baritone – Zemlinsky’s ‘Symphonie in sieben Gesängen’ is a cyclical work, describing the rise and fall of a love affair. Opening with an austere motif, the music tells of a dark and foreboding world. The baritone rises out of the waste of this sober prologue. Although his text indicates some spiritual want, the shifting ebb and flow of Zemlinsky’s chromatic score journeys toward a more sensual goal.

Having established himself as a prominent conductor in Vienna, Zemlinsky was invited to take the helm at the Neues Deutsches Theater in Prague. Czech audiences proved to be distinctly less reactionary than those in Vienna and Zemlinsky was able to be freer with his repertoire, placing Salome (which had been banned in Vienna for a period) and his own Florentine Tragedy next to The Mikado or Götterdämmerung. Despite the role’s demands, Zemlinsky, like Mahler before him, managed to balance his time between conducting and composing. His Maeterlinck songs (heard in the opening concert of the London Philharmonic Orchestra’s season) were composed during the Prague period as well as the bold Second String Quartet and his heady one-act operas Eine florentinische Tragödie and Der Zwerg.

The skittish ditty of the second song answers the baritone’s longing with nubile femininity. Coyly sighing and feigning innocence, the soprano’s call is highly appealing. The restlessness of the first song cannot be held at bay, however, and the orchestra escalates to a level of unprecedented rapture. As the pained motif of the opening burns through again, such girlish innocence is revealed as a mirage, underlined by the baritone’s image of ‘floating in the sky of my dreams’ at the beginning of the third song. Zemlinsky’s misty orchestration, with hovering high strings and harp glissandos, consigns the lovers’ thoughts solely to the imagination. Although there is great passion here, there is also marked pain.

The Lyric Symphony was also composed at this time and Zemlinsky was quite open with his publisher of the influence of Mahler on the piece. Written at a time of professional success, Zemlinsky was nevertheless distraught at having lost the love of Luise Sachsel (who later returned to become his second wife). Akin to the resigned sadness that pervades Mahler’s late score, Zemlinsky’s work is filled with longing and regret. It was those qualities, rather than any religious fervour, that Zemlinsky found in Rabindranath Tagore’s poetry, then

The fourth song is characterised by a dialogue between solo violin and cello, depicting the lovers. Although occasionally playing in imitation, they sound as if in a vacuum. Despite this ongoing sense of hurt, this movement is a haven of calm and erotic reverence. The sighing ‘speak to me, my love’ becomes more intense over the course of the song. The baritone has no truck with such reverie and the fifth movement is violent and dismissive. Perhaps gleaning some sense of the relationship’s transience, he becomes ever more ferocious, though cannot resist his lover’s embrace. His

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PROGRAMME NOTES

violent repost is answered in turn by an eerie elegy. The soprano has grown weary of such remonstrations and in the penultimate movement, as in the third song, she realises that these are just delusions of love. The sparseness of the construction, with oboe and solo violin mocking the earlier dialogue, has a Mahlerian sense of despair. The orchestra fills this bare space with a sadistic outburst (again recalling the opening motif) out of which the final song materializes – a melancholy

epilogue, sung by the baritone. Vacillating between major and minor, Zemlinsky composes with regret, but also the hope of peace and closure. Like ‘Der Abschied’ at the end of Das Lied von der Erde, the singer is both weary with what has occurred but propelled into eternity. Programme notes © Gavin Plumley, 2010

I Ich bin friedlos, ich bin durstig nach fernen Dingen. Meine Seele schweift in Sehnsucht, den Saum der dunklen Weite zu berühren. O großes Jenseits, o ungestümes Rufen deiner Flöte! Ich vergesse, ich vergesse immer, dass ich keine Schwingen zum Fliegen habe, dass ich an dieses Stück Erde gefesselt bin für alle Zeit.

I I am restless. I am athirst for far-away things. My soul goes out in a longing to touch the skirt of the dim distance. O Great Beyond. O the keen call of thy flute! I forget, I ever forget, that I have no wings to fly, that I am bound in this spot evermore.

Ich bin voll Verlangen und wachsam, ich bin ein Fremder im fremden Land. Dein Odem kommt zu mir und raunt mir unmögliche Hoffnungen zu. Deine Sprache klingt meinem Herzen vertraut wie seine eig’ne. O Ziel in Fernen, o ungestümes Rufen deiner Flöte! Ich vergesse immer, ich vergesse, dass ich nicht den Weg weiß, dass ich das beschwingte Ross nicht habe.

I am eager and wakeful, I am a stranger in a strange land. Thy breath comes to me whispering an impossible hope. The language sounds to my heart as familiar as its own. O Far-to-seek, O the keen call of thy flute! I forget, I ever forget, that I know not the way, that I have not the winged horse.

Ich bin ruhlos, ich bin ein Wanderer in meinem Herzen. Im sonnigen Nebel der zögernden Stunden, welch gewaltiges Gesicht von dir wird Gestalt in der Bläue des Himmels! O fernstes Ende, o ungestümes Rufen deiner Flöte! Ich vergesse, ich vergesse immer, dass die Türen überall verschlossen sind in dem Hause, wo ich einsam wohne!

I am listless, I am a wanderer in my heart. In the sunny haze of the languid hours, what vast vision of thine takes shape in the blue of the sky! O Farthest End, O the keen call of thy flute! I forget, I ever forget, that the gates are shut everywhere in the house where I dwell alone!

II Mutter, der junge Prinz muss an unserer Türe vorbeikommen, wie kann ich diesen Morgen auf meine Arbeit Acht geben? Zeig mir, wie soll mein Haar ich flechten; zeig mir, was soll ich für Kleider anziehen.

II O mother, the young Prince is to pass by our door, – how can I attend to my work this morning? Show me how to braid up my hair; tell me what garment to put on.

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PROGRAMME NOTES

Warum schaust du mich so verwundert an, Mutter? Ich weiß wohl, er wird nicht ein einz’ges Mal zu meinem Fenster aufblicken. Ich weiß, im Nu wird er mir aus den Augen sein; nur das verhallende Flötenspiel wird seufzend zu mir dringen von weitem. Aber der junge Prinz wird bei uns vorüberkommen, und ich will mein Bestes anzieh’n für diesen Augenblick.

Why do you look at me amazed, mother? I know well he will not glance up once at my window; I know he will pass out of my sight in the twinkling of an eye; only the vanishing strain of the flute will come sobbing to me from afar. But the young Prince will pass by our door, and I will put on my best for the moment.

Mutter, der junge Prinz ist an unserer Türe vorbeigekommen, und die Morgensonne blitzte an seinem Wagen. Ich strich den Schleier aus meinem Gesicht, riss die Rubinenkette von meinem Hals und warf sie ihm in den Weg. Warum schaust du mich so verwundert an, Mutter? Ich weiß wohl, dass er meine Kette nicht aufhob. Ich weiß, sie ward unter den Rädern zermalmt und ließ eine rote Spur im Staube zurück. Und niemand weiß, was mein Geschenk war und wer es gab. Aber der junge Prinz kam an uns’rer Tür vorüber, und ich hab’ den Schmuck von meiner Brust ihm in den Weg geworfen.

O mother, the young Prince did pass by our door, and the morning sun flashed from his chariot. I swept aside the veil from my face. I tore the ruby chain from my neck and flung it in his path. Why do you look at me amazed, mother? I know well he did not pick up my chain; I know it was crushed under his wheels leaving a red stain upon the dust, and no one knows what my gift was nor to whom. But the young Prince did pass by our door, and I flung the jewel from my breast before his path.

III Du bist die Abendwolke, die am Himmel meiner Träume hinzieht. Ich schmücke dich und kleide dich immer mit den Wünschen meiner Seele. Du bist mein Eigen, mein Eigen, du, die in meinen endlosen Träumen wohnt.

III You are the evening cloud floating in the sky of my dreams. I paint you and fashion you ever with my love longings. You are my own, my own, Dweller in my endless dreams!

Deine Füße sind rosigrot von der Glut meines sehnsüchtigen Herzens, du, die meine Abendlieder erntet. Deine Lippen sind bittersüß vom Geschmack des Weins aus meinen Leiden. Du bist mein Eigen, mein Eigen, du, die in meinen einsamen Träumen wohnt.

Your feet are rosy-red with the glow of my heart’s desire. Gleaner of my sunset songs! Your lips are bitter-sweet with the taste of my wine of pain. You are my own, my own, Dweller in my lonesome dreams!

Mit dem Schatten meiner Leidenschaft hab’ ich deine Augen geschwärzt, gewohnter Gast in meines Blickes Tiefe. Ich hab’ dich gefangen und dich eingesponnen, Geliebte, in das Netz meiner Musik. Du bist mein Eigen, mein Eigen, du, die in meinen unsterblichen Träumen wohnt.

With the shadow of my passion have I darkened your eyes, Haunter of the depth of my gaze! I have caught you and wrapt you, my love, in the net of my music. You are my own, my own, Dweller in my deathless dreams!

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PROGRAMME NOTES

IV Sprich zu mir, Geliebter! Sag mir mit Worten, was du sangest. Die Nacht ist dunkel, die Sterne sind in Wolken verloren, der Wind seufzt durch die Blätter. Ich will mein Haar lösen, mein blauer Mantel wird dich umschmiegen wie Nacht. Ich will deinen Kopf an meine Brust schließen, und hier, in der süßen Einsamkeit, lass dein Herz reden. Ich will meine Augen zumachen und lauschen, ich will nicht in dein Antlitz schauen.

IV Speak to me, my love! Tell me in words what you sang. The night is dark. The stars are lost in clouds. The wind is sighing through the leaves. I will let loose my hair. My blue cloak will cling round me like night. I will clasp your head to my bosom, and there in the sweet loneliness murmur on your heart. I will shut my eyes and listen. I will not look in your face.

Wenn deine Worte zu Ende sind, wollen wir still und schwelgend sitzen, nur die Bäume werden im Dunkel flüstern. Die Nacht wird bleichen, der Tag wird dämmern, wir werden einander in die Augen schauen und jeder seines Weges zieh’n. Sprich zu mir, Geliebter!

When your words are ended, we will sit still and silent. Only the trees will whisper in the dark. The night will pale. The day will dawn. We shall look at each other’s eyes and go on our different paths. Speak to me, my love!

V Befrei mich von den Banden deiner Süße, Lieb! Nichts mehr von diesem Wein der Küsse. Dieser Nebel von schwerem Weihrauch erstickt mein Herz. Öffne die Türe, mach Platz für das Morgenlicht. Ich bin in dich verloren, eingefangen in die Umarmungen deiner Zärtlichkeit. Befrei mich von deinem Zauber und gib mir den Mut zurück, dir mein befreites Herz darzubieten.

V Free me from the bonds of your sweetness, my love! No more of this wine of kisses. This mist of heavy incense stifles my heart.

VI Vollende denn das letzte Lied und lass uns auseinander geh’n. Vergiss diese Nacht, wenn die Nacht um ist. Wen müh’ ich mich mit meinen Armen zu umfassen? Träume lassen sich nicht einfangen. Meine gierigen Hände drücken Leere an mein Herz, und es zermürbt meine Brust.

VII Friede, mein Herz, lass die Zeit für das Scheiden süß sein. Lass es nicht einen Tod sein, sondern Vollendung. Lass Liebe in Erinn’rung schmelzen und Schmerz in Lieder. 14 | London Philharmonic Orchestra

Open the doors, make room for the morning light. I am lost in you, wrapped in the folds of your caresses. Free me from your spells, and give me back the manhood to offer you my freed heart.

VI Then finish the last song and let us leave. Forget this night when the night is no more. Whom do I try to clasp in my arms? Dreams can never be made captive. My eager hands press emptiness to my heart and it bruises my breast.

VII Peace, my heart, let the time for the parting be sweet. Let it not be a death but completeness. Let love melt into memory and pain into songs.

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PROGRAMME NOTES

Lass die letzte Berührung deiner Hände sanft sein wie die Blume der Nacht. Steh still, steh still, o wundervolles Ende, für einen Augenblick und sage deine letzten Worte in Schweigen. Ich neige mich vor dir, ich halte meine Lampe in die Höhe, um dir auf deinen Weg zu leuchten.

Let the last touch of your hands be gentle like the flower of the night. Stand still, O Beautiful End, for a moment, and say your last words in silence. I bow to you and hold up my lamp to light you on your way.

German text by Hans Effenberger. English translation of his poems from the original Bengali by Rabindranath Tagore. © Copyright 1925 by Universal Edition (London) Ltd. Copyright renewed 1954 by Universal Edition / UE10769. Reproduced by permission. All rights reserved.

Barlines FREE Post-Concert Event There will be an informal discussion with Vladimir Jurowski following this evening’s performance at Level 2 Central Bar at Royal Festival Hall.

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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RECENT RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0047 Vladimir Jurowski conducts Holst’s The Planets ‘Brisk tempos and a brilliant, brassy sound distinguish this version of Holst’s best-loved work … hats off to the energy and commitment of the LPO players.’ PAUL GENT, DAILY TELEGRAPH, 8 OCTOBER 2010

LPO-0048 Jesús López-Cobos conducts Verdi’s Requiem with Margaret Price, Livia Budai, Giuseppe Giacomini, Robert Lloyd and the London Philharmonic Choir ‘This live recording from the Festival Hall in 1983 is so good, I regret not having attended the concert ... Jesús López-Cobos conducts a splendidly dramatic account of the score and the LPO Choir raise the roof.’ HUGH CANNING, THE SUNDAY TIMES, 5 SEPTEMBER 2010

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

LPO-0050 Vladimir Jurowski conducts Christmas choral music by Vaughan Williams, Bach and Mendelssohn with Lisa Milne, Ruxandra Donose, Andrew Staples, Christopher Maltman and the London Philharmonic Choir ‘Here’s a delightful disc of Christmas music by three major composers … Warmly recommended.’ NIGEL SIMEONE, INTERNATIONAL RECORD REVIEW, DECEMBER 2010

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

Guy & Utti Whittaker

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

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

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

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

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

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

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

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

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SOUTHBANK CENTRE

WELCOME TO SOUTHBANK CENTRE

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium

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, CaffĂ¨ Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

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

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.

LONDON PHILHARMONIC ORCHESTRA RECORDING ARCHIVE The New Year may be a good time to sort through your collection of London Philharmonic Orchestra recordings. If seasonal gifts or indulgent shopping have resulted in a shelf space problem, we would be delighted to help out by taking any recordings you now feel you could part with. Last year we received some splendid windfalls from two generous supporters, whose gifts have filled in some of the gaps in our Recording Archive but there is still quite a long way to go. So, if you have any recordings that you think may be of interest, please get in touch with Gillian Pole at the London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP.

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