29march eastbourne lpoweb

Congress Theatre, Eastbourne Concert programme lpo.org.uk

Winner of the 2013 RPS Music Award for Ensemble Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Leader pieter schoeman† Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Brighton Dome Concert Hall Saturday 28 March 2015 | 7.30pm

Programme £2.50

Congress Theatre, Eastbourne Sunday 29 March 2015 | 3.00pm

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Tchaikovsky Romeo and Juliet (Fantasy Overture) (21’) Elgar Cello Concerto in E minor, Op. 85 (26’) Interval Rimsky-Korsakov Scheherazade, Op. 35 (47’)

Jaime Martín conductor Andreas Brantelid cello

* supported by the Tsukanov Family Foundation † supported by Neil Westreich CONCERTS PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH BRIGHTON DOME AND EASTBOURNE BOROUGH COUNCIL

Contents Welcome On stage About the Orchestra Leader: Pieter Schoeman Jaime Martín Andreas Brantelid Programme notes Orchestra news 2014/15 Eastbourne Appeal 2015/16 Brighton season Supporters Sound Futures donors LPO administration

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

Saturday 28 March 2015

Sunday 29 March 2015

Welcome to Brighton Dome

Welcome to the Congress Theatre, Eastbourne

Chief Executive Andrew Comben We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following: LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks.

SMOKING Brighton Dome is a no-smoking venue.

INTERVAL DRINKS may be ordered in advance at the bar to avoid queues.

PHOTOGRAPHY is not allowed in the auditorium.

RECORDING is not allowed in the auditorium.

MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium.

Thank you for your co-operation.

The concert at Brighton Dome on 28 March 2015 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.

Brighton Dome gratefully acknowledges the support of Brighton & Hove City Council and Arts Council England.

Brighton Dome is managed by Brighton Dome and Brighton Festival, which also runs the annual threeweek Brighton Festival in May. brightondome.org brightonfestival.org

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Artistic Director Chris Jordan General Manager Gavin Davis

Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you.

We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 18th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible.

We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email theatres@eastbourne.gov.uk or write to Gavin Davis, General Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.

On stage

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by an anonymous donor

Catherine Craig Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Sarah Streatfeild Rebecca Shorrock Galina Tanney Robert Yeomans Caroline Sharp Nilufar Alimaksumova Robert Pool** Thomas Eisner** Second Violins Nicole Wilson Guest Principal Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Nancy Elan Fiona Higham Nynke Hijlkema Ashley Stevens Floortje Gerritsen Sioni Williams Gavin Davies John Dickinson** Elizabeth Baldey**

Violas Cyrille Mercier Principal Robert Duncan Benedetto Pollani Laura Vallejo Naomi Holt Isabel Pereira Martin Fenn Richard Cookson Susanne Martens** Sarah Malcolm** Cellos Kristina Blaumane Principal Chair supported by Bianca and Stuart Roden

Francis Bucknall Santiago Carvalho† David Lale Elisabeth Wiklander Helen Rathbone Sibylle Hentschel** George Hoult** Double Basses Tim Gibbs Principal Laurence Lovelle George Peniston Tom Walley Kenneth Knussen** Helen Rowlands**

Trombones Mark Templeton* Principal

Flutes Sue Thomas* Principal Chair supported by Victoria Robey OBE

Chair supported by William & Alex de Winton

Hannah Grayson

David Whitehouse

Piccolos Stewart McIlwham* Principal Hannah Grayson

Bass Trombone Lyndon Meredith Principal Tuba David Kendall

Oboes Ian Hardwick* Principal Jenny Brittlebank

Timpani Simon Carrington* Principal

Cor Anglais Sue Böhling* Principal

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Clarinets Robert Hill* Principal Thomas Watmough Bassoons Gareth Newman Principal Emma Harding Horns Mark Vines Principal Martin Hobbs Duncan Fuller Gareth Mollison Timothy Ball

Keith Millar Ignacio Molins Sarah Mason Scott Lumsdaine Harp Rachel Masters* Principal * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco ** 28 March only

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

Meet our members: lpo.org.uk/players

Nicholas Betts Co-Principal

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at these concerts: Sonja Drexler; Eric Tomsett; Simon Robey

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Full marks to the London Philharmonic for continuing to offer the most adventurous concerts in London.

The Financial Times, 14 April 2014 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 ensembles in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and community groups.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors 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. From September 2015 Andrés Orozco-Estrada will take up the position of Principal Guest Conductor. Magnus Lindberg 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 the Hall’s opening in 1951 and been Resident Orchestra since 1992. It gives around 30 concerts there each season with many of the world’s top conductors and

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soloists. Throughout 2013 the Orchestra collaborated with Southbank Centre on the year-long The Rest Is Noise festival, charting the influential works of the 20th century. 2014/15 highlights include a seasonlong festival, Rachmaninoff: Inside Out, exploring the composer’s major orchestral masterpieces; premieres of works by Harrison Birtwistle, Julian Anderson, Colin Matthews, James Horner and the Orchestra’s new Composer in Residence, Magnus Lindberg; and appearances by many of today’s most soughtafter artists including Maria João Pires, Christoph Eschenbach, Yannick Nézet-Séguin, Osmo Vänskä, Lars Vogt, Barbara Hannigan, Vasily Petrenko, Marin Alsop, Katia and Marielle Labèque and Robin Ticciati.

Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer it takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. 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.

Pieter Schoeman leader

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

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label.

There are now over 80 releases available on CD and to download. Recent additions include organ works by Poulenc and Saint-Saëns with Yannick Nézet-Séguin; Strauss’s Don Juan and Ein Heldenleben with Bernard Haitink; Shostakovich’s Symphonies Nos. 6 & 14 and Zemlinsky’s A Florentine Tragedy with Vladimir Jurowski; and Orff’s Carmina Burana with Hans Graf.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people.

Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement and social media has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter.

© Patrick Harrison

Touring remains a large part of the Orchestra’s life: highlights of the 2014/15 season include appearances across Europe (including Iceland) and tours to the USA (West and East Coasts), Canada and China.

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.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonic7

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. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

Jaime Martín conductor

Jaime Martín’s detailed performance took on heady swagger, and his infectious enjoyment of the music communicated to the orchestra and audience alike.

Alexander Lindström

John Allison, The Telegraph, December 2014

Jaime Martín has risen quickly to international acclaim as a conductor in recent years, following his prominent career as a flautist. He was appointed Artistic Director and Principal Conductor of Gävle Symphony Orchestra in September 2013 and, more recently, has been designated the Principal Guest Conductor of the Orquesta Sinfónica de Castilla y León. He is also Chief Conductor of the Orquestra de Cadaqués and Artistic Director of the Santander International Festival.

As a guest conductor he has worked with international orchestras including Orchestre Philharmonique de Radio France, Royal Liverpool Philharmonic, Barcelona Symphony, Royal Scottish National, and St Paul Chamber orchestras, and Academy of St Martín in the Fields. Future guest engagements include return to visits to the Orquestra Sinfonica do Estado de Sao Paulo, Swedish Radio, Winterthur Orchestra and his debuts with New Zealand Symphony Orchestra and the Northern Sinfonia.

Jaime made his operatic debut conducting The Magic Flute at El Escorial Madrid and San Sebastian Festival in August 2012. He made his debut with English National Opera in February 2013 conducting The Barber of Seville and returned in autumn last year to conduct The Marriage of Figaro.

Jaime’s recordings include Schubert’s Symphony No. 9 and Beethoven’s Symphony No. 3 ‘Eroica’, with the Orquestra de Cadaqués, and a CD of works by Granados, Garreta, Taltabull and Lamote de Grigno with the Barcelona Symphony Orchestra. All his recordings as conductor are on the Tritó label and received critical

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acclaim. Solo recordings include Mozart concertos with Sir Neville Marriner, a premiere recording of the Sinfonietta Concerto for Flute and Orchestra written for him by Xavier Montsalvatge and conducted by Gianandrea Noseda, Bach works for flute, violin, and piano with violinist Murray Perahia and the Academy of St Martin in the Fields for Sony, and Mozart’s Flute Quartet for EMI, amongst others.

Born in Santander, Spain, Jaime studied with Antonio Arias in Madrid and later with Paul Verhey in The Hague, Holland.

facebook.com/jaime.martin.1675

Andreas Brantelid cello

Andreas Brantelid displayed complete technical mastery. He played the Beethoven Concerto with elegance of style and phrasing – and in the Paganini Concerto, he gave an exceptional display of controlled violin playing.

© Marios Taramides

The Strad

Andreas Brantelid was born in Copenhagen in 1987 to Swedish/Danish parents. He started playing the cello from a very early age, studying with his father Ingemar.

He made his concerto debut at the age of 14 with the Royal Danish Orchestra playing the Elgar Cello Concerto.

Since then he has appeared as a soloist with all the major orchestras in Scandinavia.

This season he will make his debut with the MDR Leipzig Orchestras as well as returning to the BBC National Orchestra of Wales. He will also make his debut in Japan, performing a solo recital as well as concerto performances with the Yomiuri Nippon Symphony Orchestra.

Last season, Andreas made his debut with the Seattle and Milwaukee Symphony orchestras and also performed at the Konzerthaus in Vienna with the Danish National Chamber Orchestra. Other recent concerto performances include his debut with the Mahler Chamber Orchestra and Pablo Heras-Casado performing Dutilleux’s Tout un Monde Lointain and concerts with the Tonhalle, Vienna Symphony, Hamburg Symphony, Brussels Philharmonic and City of Birmingham Symphony orchestras. He has worked with many distinguished conductors including Philippe Herreweghe, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste and Robin Ticciati.

musicians and has played at many important festivals including Jerusalem, Schleswig-Holstein, Bergen, Lockenhaus, Kuhmo, Verbier and the City of London.

His debut concerto disc of the Tchaikovsky, Schumann and Saint-Saëns cello concertos with the Danish National Symphony Orchestra was released by EMI in 2008. This was followed by a disc of chamber music by Chopin including his Cello Sonata (2010) and an Encore disc (2012). A disc of the complete works for cello and piano by Grieg will be released by BIS this year.

Andreas won First Prize in the Eurovision Young Musicians Competition (2006) and the Paulo International Cello Competition (2007). He was a Borletti-Buitoni Trust Fellowship winner in 2008.

He was also recently a member of the Lincoln Centre Chamber Music Society in New York and the BBC’s New Generation Artist scheme.

He plays the ‘Boni-Hegar’ Stradivarius from 1707, kindly lent to him by the Norwegian Art Collector Christen Sveaas.

This weekend’s performances of Elgar’s Cello Concerto mark his debut with the London Philharmonic Orchestra.

andreasbrantelid.com Andreas’s recital and chamber appearances during this season include Seoul, Berlin, Paris, Dresden and the Dortmund Konzerthaus, where he is a ‘Junge Wilde’ artist. He has previously performed in New York (Carnegie Hall and Alice Tully), London (Wigmore Hall), Chicago, Zurich, Vancouver, Barcelona and Salzburg.

Andreas very much enjoys collaborating with other

Read an interview with String Visions where Andreas reveals how he didn’t always listen to his dad’s teaching advice. stringvisions.ovationpress.com/2012/06/andreasbrantelid-interview

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Programme notes

Speedread Tchaikovsky and Rimsky-Korsakov use the full range of orchestral colours to conjure tales of high romance and profound tragedy. In Romeo and Juliet, Tchaikovsky tapped a story of impossible love to mirror his own frustrations in matters of the heart.

Rimsky-Korsakov’s even more vivid Scheherazade evokes the tableaux of One Thousand and One Nights, describing the moment when the eponymous

Pyotr Ilyich Tchaikovsky

Sultana’s storytelling skills quell her husband’s lust for murder. Between these two dazzling Russian works, Elgar’s Cello Concerto, completed in 1919, responds thoughtfully to the time in which it was written. Turning away from the passionate lyricism of his earlier Violin Concerto, the celebrated Englishman composed music for an uncertain world.

Romeo and Juliet (Fantasy Overture)

1840–93

Tchaikovsky was no stranger to disillusionment.

A homosexual, living within a highly patriarchal and judgmental society, he channelled his frustrations into a sequence of works about impossible love, beginning with his ‘Fantasy Overture’ Romeo and Juliet in 1869 (subsequently revised) and continuing with his ballet Swan Lake, his opera Eugene Onegin and the fatalistic Fourth, Fifth and Sixth Symphonies. While he attempted to marry in the late 1870s – ‘to shut the mouths of assorted contemptible creatures whose opinions mean nothing to me, but who are in a position to cause distress to those near to me’, as he wrote to his gay brother Modest – the union was a failure.

No less doomed was the relationship of Romeo Montague and Juliet Capulet, the ‘star-cross’d lovers’ who ‘take their life’ in William Shakespeare’s great tragedy. The idea of a tone poem on the subject was originally suggested by Balakirev, who likewise

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advised the young Tchaikovsky to draw three separate elements from the drama, namely the solemn Friar Laurence (whose potions have fatal consequences), the sword-fighting Montagues and Capulets and the eponymous lovers. Tchaikovsky brilliantly combines the first two in the development section of his sonata-form piece, before crowning the work with an outspoken declamation of the famous lovers’ theme.

Edward Elgar

Cello Concerto in E minor Op. 85 Andreas Brantelid cello 1 Adagio – Moderato 2 Lento – Allegro molto 3 Adagio 4 Allegro – Moderato – Allegro ma non troppo – Poco più lento – Adagio

Courtesy of The Elgar Birthplace Museum

1857–1934

Elgar with Beatrice Harrison, who gave the first performance of the Cello Concerto outside of London and made the first recording.

On 24 May 1919, Henry Cope Colles, chief music critic of The Times and editor of the third and fourth editions of Grove’s Dictionary of Music and Musicians, wrote at length about three new chamber works by Edward Elgar, all of which had recently been premiered at Wigmore Hall. ‘Elgar’s music,’ he opined, ‘is always autobiographical; but the life is not completed; it is the present which one looks for most eagerly in his latest work, and not the past. What has he to say now, and have the years stamped their meaning on him in any profound way?’ The answer was to be found in Elgar’s next work: his Cello Concerto.

Its predecessor, the Violin Concerto, first performed

by Fritz Kreisler under the composer at the Queen’s

Hall on 10 November 1910, had been one of Elgar’s most successful works. Passionate and brave, ‘the Concerto,’ as Elgar’s friend William Henry Reed recalled, ‘proved to be a complete triumph, the concert a brilliant and unforgettable occasion.’ But by 1919, when Elgar began its successor, the years had indeed stamped their meaning on him in a profound way. Europe was just beginning to stagger to its feet after the worst war ever witnessed. Understandably, Elgar had been equivocal about the conflict, which had caused his depression to flare up and his health to worsen. All of this coloured Elgar’s music and, rather than returning to the mood of his Violin Concerto, he created a particularly anguished work for cello and orchestra. Sadly, at least at its premiere on 27 October 1919, the piece perplexed more than it inspired.

The cello opens the Concerto with a series of broad chords and a pensive melodic fragment, which is picked up by the clarinet. Silence follows before the cello utters a question (inverting the work’s initial gestures), duly answered by a new melody in the strings. This meanders, almost absent-mindedly, before being repeated, in a bruised and melancholy manner, by the cello. A second section provides more animated music and yet, while the cello turns towards the major mood, wistfulness remains. Only after the opening chords are stated again, pizzicato, does a new temper emerge. This skittish second movement, full of semiquavers, is at once joyful and nervous.

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Programme notes continued

The Elgar Birthplace Museum

Courtesy of The Elgar Birthplace Museum

Exploring the life and music of England’s great composer

Elgar’s original score

The Adagio recalls the Concerto’s initial question. Here the nostalgia seems less restive, though the key of B flat major places this elegiac movement at a tritonal remove from the prevailing tonic of E minor. This is a backward glance, as in the Orpheus myth, to bygone contentment (with echoes of the Violin Concerto, the Second Symphony and The Music Makers). At first, the finale clings to the Adagio’s tenuous tonality, before returning, via a harmonic sleight of hand, to E minor.

What ensues is a determined attempt to live in the present, underlined by the music’s ‘resolute’ marking.

But nothing is so simple and this last movement is as conflicted as its predecessors, swinging between tempos, metres and keys. There is outright joy here too, but also sadness, not least in the painful Lento section towards the end, which Elgar caps with a brusque summation of the initial chords and the rushing music of the Finale.

Interval – 20 minutes A bell will be rung a few minutes before the end of the interval.

Set in the beautiful countryside of Worcestershire is the museum dedicated to the life and times of England’s great composer, Sir Edward Elgar.

Open every day 11am - 5pm

Lower Broadheath, Worcester tel. 01905 333224 birthplace@elgarmuseum.org

1 Free Entry to the Museum with this programme when accompanied by a full paying adult

Recommended recordings of today’s works Tchaikovsky: Romeo and Juliet St Petersburg Philharmonic / Vladimir Ashkenazy [Decca] Elgar: Cello Concerto Jacqueline du Pré / London Symphony Orchestra / Sir John Barbirolli [Warner/EMI] Rimsky-Korsakov: Scheherazade London Philharmonic Orchestra / Mariss Jansons [EMI Classics]

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Nikolai Rimsky-Korsakov 1844–1908

Orientalism was big business during the final decades of the 19th century. World fairs introduced new clothes and customs to culturally voracious Westerners and, as shipping lines opened, not least the Suez Canal in 1869, access increased. The Russians had their own intoxicating brand of Orientalism, though even they admitted that an Empire straddling both Europe and Asia could not entirely consider the Middle and Far East as ‘other’. Nonetheless, there are numerous examples of exotic tropes in their music, such as Borodin’s In Central Asia, the Arabian Dance in Tchaikovsky’s The Nutcracker and Rimsky-Korsakov’s Scheherazade.

Drawing on tales from One Thousand and One Nights, the collection of West and South Asian folk tales compiled in Arabic during the Middle Ages, this seminal symphonic poem was composed in 1888, shortly after Rimsky-Korsakov had finished work on the completion and orchestration of Borodin’s mammoth Prince Igor. Rimsky-Korsakov decided that his new work, Scheherazade, would recall rather than refer directly to events from One Thousand and One Nights. ‘All I desired,’ he later wrote in his autobiography, ‘was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairytale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements’.

The work begins with a glowering fanfare, describing Sultan Schariar. Rimsky-Korsakov wrote that the Sultan ‘vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales.’ After a passage indebted to Mendelssohn’s A Midsummer Night’s Dream, we hear Scheherazade’s own beguiling motif, played by a solo violin and harp. There follows

Scheherazade, Op. 35 1 2 3 4

The Sea and Sinbad’s Ship The Kalendar Prince The Young Prince and the Young Princess Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman

a steady but sweeping barcarolle describing ‘The Sea and Sinbad’s Ship’ of her first tale. The melody, full of chromatic inflections, develops freely over the course of the ensuing sections, in which Scheherazade’s storytelling theme is also a prominent feature.

The second movement heralds another story, introduced once more by the Sultana. She recites a fakir’s tale of a young prince who dressed up as a wandering pauper, enduring hardships in his search for wisdom. Various instruments pick up his travelling tune before being interrupted by more ominous forces (with premonitions of the evil Kachtcheï in Stravinsky’s The Firebird). The third movement, on the other hand, is a heartfelt romance, evoking a prince, represented by a string melody, and his love for a princess, who is described in the dancing middle section. Although the two are initially separated, they eventually come together, as the movement closes contentedly with both themes.

As in many four-part symphonies, the Finale offers a grand summation of the preceding movements.

Particularly prominent is the juxtaposition of the Sultan’s booming bass motif and Scheherazade’s storytelling theme. To save her life, she offers a dazzling conflation of three episodes from One Thousand and One Nights, featuring the humming bazaars of Baghdad and a particularly violent seascape.

Ultimately, Scheherazade’s charms overwhelm the Sultan’s murderous intentions and the work closes with her theme and a final iteration of the Mendelssohn-like chords.

Programme notes © Gavin Plumley

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Orchestra news

Next LPO label release

New season 2015/16

The LPO recordings catalogue continues to grow apace.

Our next release is Bruckner’s mighty Symphony No. 3, performed by the Orchestra under the renowned Bruckner specialist, Stanisław Skrowaczewski. Recorded live at Royal Festival Hall in March last year, according to one reviewer, Skrowaczewski gave it ‘a distinctive and personal interpretation that was clearly the result of a lifetime’s experience with the music’. The CD (LPO-0084) will be available from 30 March priced £9.99, and can be bought or downloaded at: lpo.org.uk/recordings

We are delighted to announce the launch of our 2015/16 season at Brighton Dome. Highlights include appearances by the new Music Director of Glyndebourne Festival Opera, Robin Ticciati, who presents an evening of French music on 14 November, newly appointed LPO Principal Guest Conductor, Andrés Orozco-Estrada, returns to Brighton on 27 February, and international classical guitar phenomenon, Miloš Karadaglić joins us on 16 April with a rare performance of Castelnuovo-Tedesco’s intoxicating Guitar Concerto No. 1.

As part of the worldwide Shakespeare anniversary celebrations of 2016, we are presenting a series of works inspired by the Bard in both our London and Brighton seasons, including Strauss’s Macbeth on 27 February and excerpts from Prokofiev’s Romeo and Juliet on 16 April.

Pick up a brochure on your way out of the concert at Brighton Dome, or visit www.lpo.org.uk for more information.

The Eastbourne 2015/16 season will be announced on Sunday 12 April. lpo.org.uk/whats-on-and-tickets

London Philharmonic Orchestra 2014/15 Eastbourne Appeal With two concerts remaining of the London Philharmonic Orchestra’s 2014/15 season at Eastbourne, it is with great anticipation that we welcome cellist Andreas Brantelid (today’s soloist) and violinist Madalyn Parnas.

Musicians like these will have been significantly influenced by their first experience of a live orchestral concert, and it is for this reason that the Orchestra performs live to over 16,000 school children each year through a series of specially designed daytime concerts that link to what they are learning at school.

Our 2014/15 Eastbourne Appeal aims to secure further support towards these educational activities, ensuring that young people – particularly those in under-resourced areas – have the opportunity to access their first orchestral experience. There is a subsidy of £9 on each ticket and we hope to be able to offer over 550 young people the opportunity to attend a performance as a result of this Appeal.

To date, your support through this appeal has been outstanding and we have almost reached our target. We are extremely grateful for the continued support of our Eastbourne audiences in reaching this point and hope you will consider making a contribution to enable us to achieve our goal.

To donate please visit lpo.org.uk/eastbourneappeal or contact Helen Etheridge: 020 7840 4225 or helen.etheridge@lpo.org.uk

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Introducing the London Philharmonic Orchestra’s 2015/16 season at Brighton Dome.

Tickets on sale now!

Saturday 14 November | 7.30pm Fauré Suite, Pelléas et Mélisande Ravel Piano Concerto in G major Ravel Valses nobles et sentimentales Debussy La mer Robin Ticciati conductor Louis Schwizgebel piano

BOOK NOW 01273 709709 brightondome.org Season discounts of up to 20% available!

Saturday 16 January | 7.30pm Mozart Overture, Lucio Silla Brahms Piano Concerto No. 2 Beethoven Symphony No. 7 Adrian Prabava conductor Stefan Ćirić piano Saturday 27 February | 7.30pm R Strauss Macbeth Khachaturian Violin Concerto Stravinsky Firebird Suite (1945 version) Andrés Orozco-Estrada conductor Kristóf Baráti violin Saturday 16 April | 7.30pm de Falla The Three-cornered Hat (Suite No. 2) Castelnuovo-Tedesco Guitar Concerto No. 1 Prokofiev Romeo and Juliet (excerpts) Jaime Martín conductor Miloš Karadaglić guitar

Martin Höhmann first violin © Benjamin Ealovega

London Philharmonic Orchestra | 13

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 Neil Westreich William and Alex de Winton Simon Robey Victoria Robey OBE Bianca & Stuart Roden Julian & Gill Simmonds* Anonymous Garf & Gill Collins* Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Mrs Philip Kan* Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett John & Manon Antoniazzi John & Angela Kessler Guy & Utti Whittaker * BrightSparks patrons. Instead of supporting a chair in the Orchestra, these donors have chosen to support our series of schools’ concerts.

Principal Benefactors Mark & Elizabeth Adams Desmond & Ruth Cecil Mr John H Cook David Ellen Mr Daniel Goldstein Drs Frank & Gek Lim Peter MacDonald Eggers Dr Eva Lotta & Mr Thierry Sciard Mr & Mrs David Malpas Mr Michael Posen Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Laurence Watt Grenville & Krysia Williams Mr Anthony Yolland Benefactors Mrs A Beare David & Patricia Buck Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett Georgy Djaparidze Mr David Edgecombe Mr Timothy Fancourt QC Mr Richard Fernyhough Tony & Susan Hayes Michael & Christine Henry Malcolm Herring J. Douglas Home Ivan Hurry

Mr Glenn Hurstfield Per Jonsson Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Ms Ulrike Mansel Robert Markwick Mr Brian Marsh Andrew T Mills John Montgomery Dr Karen Morton Mr & Mrs Andrew Neill Tom & Phillis Sharpe Martin and Cheryl Southgate Professor John Studd Mr Peter Tausig Simon Turner Howard & Sheelagh Watson Des & Maggie Whitelock Christopher Williams Bill Yoe and others who wish to remain anonymous Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: Accenture AREVA UK Berenberg British American Business Carter-Ruck Bronze: Appleyard & Trew LLP BTO Management Consulting AG Charles Russell Speechlys Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Angus Allnatt Charitable Foundation Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust

14 | London Philharmonic Orchestra

Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Peter Carr Charitable Trust, in memory of Peter Carr The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation Lucille Graham Trust The Jeniffer and Jonathan Harris Charitable Trust Help Musicians UK The Hinrichsen Foundation The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leche Trust London Stock Exchange Group Foundation Marsh Christian Trust The Mayor of London’s Fund for Young Musicians Adam Mickiewicz Institute The Peter Minet Trust The Ann and Frederick O’Brien Charitable Trust

Office for Cultural and Scientific Affairs of the Embassy of Spain in London Palazzetto Bru Zane – Centre de musique romantique française The Austin and Hope Pilkington Trust Polish Cultural Institute in London PRS for Music Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust Serge Rachmaninoff Foundation Romanian Cultural Institute Schroder Charity Trust Ernst von Siemens Music Foundation The David Solomons Charitable Trust Souter Charitable Trust The Steel Charitable Trust The John Thaw Foundation The Tillett Trust UK Friends of the Felix-MendelssohnBartholdy-Foundation The Viney Family Garfield Weston Foundation The Barbara Whatmore Charitable Trust Youth Music and others who wish to remain anonymous

Sound Futures Donors

By May 2015 we aim to have raised £1 million which will be matched pound for pound by Arts Council England through a Catalyst Endowment grant. This will create a £2 million endowment fund supporting our Education and Community Programme, our creative programming and major artistic projects at Southbank Centre.

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich Tennstedt Circle Richard Buxton Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman Solti Patrons Ageas John & Manon Antoniazzi Georgy Djaparidze Mrs Mina Goodman and Miss Suzanne Goodman Mr James R D Korner Robert Markwick & Kasia Robinski The Rothschild Foundation Haitink Patrons Dr Christopher Aldren Mark & Elizabeth Adams Mrs Pauline Baumgartner Lady Jane Berrill Mr Edwin Bisset Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Bruno de Kegel Mr Gavin Graham

Mr Timothy Fancourt QC Karima & David G Mr Daniel Goldstein Mr Derek B Gray Mr Roger Greenwood Mr J Douglas Home Honeymead Arts Trust Mrs Dawn Hooper Rehmet Kassim-Lakha Mr Geoffrey Kirkham Peter Leaver Wg Cdr & Mrs M T Liddiard OBE JP RAF Drs Frank & Gek Lim Peter Mace Mr David Macfarlane Geoff & Meg Mann Dr David McGibney Michael & Patricia McLaren-Turner John Montgomery Rosemary Morgan Paris Natar Mr & Mrs Andrew Neill Mr Roger H C Pattison The late Edmund Pirouet Mr Michael Posen Sarah & John Priestland Mr Christopher Queree Mr Alan Sainer Pritchard Donors Tim Slorick Ralph and Elizabeth Aldwinckle Lady Valerie Solti Michael and Linda Blackstone Timothy Walker AM Conrad Blakey OBE Laurence Watt Dr Anthony Buckland Mr R Watts Business Events Sydney Christopher Williams Lady June Chichester John Childress & Christiane Wuillamie Peter Wilson Smith Victoria Yanakova Paul Collins Mr Anthony Yolland Mr Alistair Corbett Mr David Devons And all other donors who wish to Mr David Edgecombe remain anonymous David Ellen Moya Greene Mrs Dorothy Hambleton Tony and Susie Hayes Catherine Høgel & Ben Mardle Mrs Philip Kan Rose and Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana and Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation Sir Bernard Rix David Ross and Line Forestier (Canada) Carolina & Martin Schwab Tom and Phillis Sharpe Dr Brian Smith Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Lady Marina Vaizey Ms Jenny Watson Guy & Utti Whittaker

London Philharmonic Orchestra | 15

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Neil Westreich

Chief Executive

Education and Community

Digital Projects

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Alison Atkinson Digital Projects Director

Alexandra Clarke Education and Community Project Manager

Matthew Freeman Recordings Consultant

Amy Sugarman PA to the Chief Executive / Administrative Assistant Finance David Burke General Manager and Finance Director David Greenslade Finance and IT Manager

Lucy Duffy Education and Community Project Manager

Public Relations Albion Media (Tel: 020 3077 4930)

Richard Mallett Education and Community Producer

Archives

Development

Gillian Pole Recordings Archive

Philip Stuart Discographer

Dayse Guilherme Finance Officer

Nick Jackman Development Director

* Player-Director

Concert Management

Advisory Council Victoria Robey OBE Chairman Christopher Aldren Richard Brass David Buckley Sir Alan Collins KCVO CMG Andrew Davenport Jonathan Dawson William de Winton Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jamie Korner Clive Marks OBE FCA Stewart McIlwham Sir Bernard Rix Baroness Shackleton Lord Sharman of Redlynch OBE Thomas Sharpe QC Martin Southgate Sir Philip Thomas Sir John Tooley Chris Viney Timothy Walker AM Elizabeth Winter

Roanna Gibson Concerts Director

Catherine Faulkner Development Events Manager

Charles Russell Solicitors

Kathryn Hageman Individual Giving Manager

Crowe Clark Whitehill LLP Auditors

Laura Luckhurst Corporate Relations Manager

Dr Louise Miller Honorary Doctor

American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung 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 Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Graham Wood Concerts and Recordings Manager Jenny Chadwick Tours Manager

Anna Quillin Trusts and Foundations Manager

Tamzin Aitken Glyndebourne and UK Engagements Manager

Helen Etheridge Development Assistant

Alison Jones Concerts and Recordings Co-ordinator

Rebecca Fogg Development Assistant Kirstin Peltonen Development Associate

Jo Cotter Tours Co-ordinator

Marketing

Orchestra Personnel

Kath Trout Marketing Director

Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians (job-share) Christopher Alderton Stage Manager Damian Davis Transport Manager Ellie Swithinbank Assistant Orchestra Personnel Manager

16 | London Philharmonic Orchestra

Mia Roberts Marketing Manager Rachel Williams Publications Manager (maternity leave) Sarah Breeden Publications Manager (maternity cover) Samantha Cleverley Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator

Professional Services

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Orchestra Limited is a registered charity No. 238045.

Photographs of Tchaikovsky, Elgar (portrait) and Rimsky-Korsakov courtesy of the Royal College of Music, London.

Front cover photograph: © Julian Calverley. Cover design/ art direction: Chaos Design.

Printed by Cantate.