30jan10 LPO Programme notes

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence MARK-ANTHONY TURNAGE Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

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AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 30 January 2010 | 7.30 pm MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUS OSMO VÄNSKÄ conductor HELENA JUNTUNEN soprano

SIBELIUS Symphony 3 in C

(26’)

SIBELIUS Orchestral Songs

(25’)

INTERVAL SIBELIUS Symphony 2 in D

†

Page 1

(44’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

PROGRAMME £3 CONTENTS 2 List of Players 3 Orchestra History 4 Leader 5 Osmo Vänskä 6 Helena Juntunen 7 Programme Notes 15 Recordings 16 Southbank Centre 17 Supporters 18 Philharmonic News 19 Administration 20 Future Concerts

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

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Jeongmin Kim Katalin Varnagy Catherine Craig Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Florence Schoeman Sarah Streatfeild Yang Zhang Rebecca Shorrock Alain Petitclerc Peter Nall Midori Sugiyama Toby Tramaseur SECOND VIOLINS Fredrik Paulsson Guest Principal Clare Duckworth Co-Principal Chair supported by Richard and Victoria Sharp

Joseph Maher Nancy Elan Fiona Higham Nynke Hijlkema Ashley Stevens Andrew Thurgood Imogen Williamson Sioni Williams Alison Strange Peter Graham Stephen Stewart Sheila Law

VIOLAS Alexander Zemtsov* Principal Agnieszka Orlowska Robert Duncan Anthony Byrne Chair supported by John and Angela Kessler

Benedetto Pollani Emmanuella Reiter Daniel Cornford Isabel Pereira Miranda Davis Sarah Malcolm Clive Howard Rebecca Carrington CELLOS Alexander Somov Guest Principal Francis Bucknall Laura Donoghue Santiago Sabino Carvalho + Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Gregory Walmsley Susanna Riddell Tom Roff Helen Rathbone Pavlos Carvalho DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston David Johnson Roger Linley Helen Rowlands Catherine Ricketts Lowri Morgan

FLUTES Laura Lucas Guest Principal Stewart McIlwham*

TROMBONES Mark Templeton* Principal David Whitehouse

PICCOLO Stewart McIlwham* Principal

BASS TROMBONE Lyndon Meredith Principal

OBOES Ian Hardwick Principal Angela Tennick

TUBA Lee Tsarmaklis Principal

CLARINETS Robert Hill* Principal Emily Sutcliffe BASS CLARINET Paul Richards Principal

TIMPANI Simon Carrington* Principal PERCUSSION Andrew Barclay* Principal HARP Rachel Masters* Principal

BASSOONS John Price Principal Gareth Newman* Claire Webster CONTRA BASSOON Claire Webster HORNS John Ryan Principal Martin Hobbs Brendan Thomas Gareth Mollison Nicolas Wolmark TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

Nicholas Betts Co-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 Julian and Gill Simmonds Mrs Steven Ward Simon Yates and Kevin Roon

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LONDON PHILHARMONIC ORCHESTRA

© Richard Cannon

Seventy-seven 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 2009/10 include Between Two Worlds – an exploration of the music and times of Alfred Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and dedicated to the 20th Anniversary of the Fall of the Berlin Wall; and new works by Rautavaara, Philip Glass, Ravi Shankar and the Orchestra’s Composer in Residence, Mark-Anthony

Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.

In addition to its London season, 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 it 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 standard of execution by the London Philharmonic Orchestra and Chamber Choir of the Moscow Conservatory, magnificently corralled by Jurowski, was exemplary.’

ANDREW CLARK, FINANCIAL TIMES, 19 NOVEMBER 2009

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LONDON PHILHARMONIC ORCHESTRA

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PIETER SCHOEMAN LEADER

the London Philharmonic Orchestra. Tours in 2009/10 include visits to Germany, Australia, France, China, the Canaries and the USA. 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 extensively 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 Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of early Britten works conducted by Vladimir Jurowski; Mahler’s Symphony 6 under the baton of Klaus Tennstedt; Tchaikovsky’s Symphonies 1 and 6 conducted

by Vladimir Jurowski; Sir Thomas Beecham recordings of Mozart, Delius and Rimsky-Korsakov from the 1930s; a CD of John Ireland’s works taken from his 70th Birthday Concert in 1949; and Dvorˇák’s Requiem conducted by Neeme Järvi. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.

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 and join us on Facebook.

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In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. In 2008 he was appointed Leader.

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 Edouard 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 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 and Benjamin Britten's Double Concerto, which was recorded for the Orchestra’s own record label. Most recently he also played concertos with the Wiener Concertverein and Orchestre Philharmonique de Nice.

In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. During his tenure there he performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon, Baltimore and the London Philharmonic Orchestra.

A frequent guest of the BBC Symphony Orchestra in London, Pieter Schoeman returned in October 2006 to lead that orchestra on a three week tour of Seoul, Beijing, Shanghai, Singapore and Kuala Lumpur.

Pieter Schoeman has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, 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.

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OSMO VÄNSKÄ CONDUCTOR

As a guest conductor in America, Vänskä has appeared with the Boston Symphony, Chicago Symphony, Cleveland, National Symphony, New York Philharmonic, Philadelphia and Pittsburgh Symphony Orchestras. In Europe, he has conducted the Berlin Philharmonic, BBC Symphony, Czech Philharmonic, Helsinki Philharmonic, London Philharmonic and Royal Concertgebouw Orchestras as well as the Gewandhaus Orchester Leipzig and the Orchestre de Paris.

Praised for his intense and dynamic performances, Osmo Vänskä is recognised for compelling interpretations of the standard, contemporary and Nordic repertoires, as well as for the close rapport he establishes with the musicians he leads.

In 2003, Vänskä became the tenth Music Director of the Minnesota Orchestra and has since drawn extraordinary reviews for concerts both at home and abroad, including appearances at Carnegie Hall and Lincoln Center New York, major European tours, and a visit in 2009 to venues such as the Cologne and Berlin Philharmonie, Frankfurt Alte Oper, Vienna Musikverein and the Barbican in London. His Minnesota Orchestra contract has been renewed until 2015.

Vänskä and the Minnesota Orchestra have recently completed a five-year, five-disc project to record the complete Beethoven symphonies on the BIS label. The collection has amassed rave reviews and their recording of Beethoven’s Symphony 9 received a 2008 Grammy nomination for ‘Best Orchestral Performance’. Last year Vänskä embarked on a series of new recordings, including all five Beethoven piano concertos with pianist Yevgeny Sudbin; a disc of Bruckner’s Symphony 4; and live recordings of Tchaikovsky’s Piano Concertos 1, 2 and 3 and Concert Fantasia with pianist Stephen Hough.

Vänskä was Music Director of the Lahti Symphony Orchestra from 1988, and now holds the position of Conductor Laureate. He transformed the regional ensemble into one of Finland’s flagship orchestras.

Their partnership has received widespread attention through its collection of innovative Sibelius recordings on the BIS label and its international performances in London, Birmingham, Vienna and New York.

Osmo Vänskä began his music career as a clarinettist.

He held the co-principal chair of the Helsinki Philharmonic from 1977-82 and the principal chair of the Turku Philharmonic from 1971-76. Following conducting studies under Jorma Panula at Finland’s Sibelius Academy, he was awarded first prize at the 1982 Besançon International Young Conductors’ Competition. Three years later he began his tenure with the Lahti Symphony as Principal Guest Conductor, while also serving as Music Director of the Iceland Symphony Orchestra and the Tapiola Sinfonietta. In addition, Vänskä served as Chief Conductor of the BBC Scottish Symphony Orchestra from 1997-2002.

In recent years, Vänskä has enjoyed a return to performing on the clarinet. He has often played chamber music with members of the Minnesota Orchestra and has performed as a clarinettist at Napa Valley’s Music in the Vineyards Festival and the Mostly Mozart Festival in New York.

Vänskä has recorded extensively on the BIS label. His numerous Sibelius recordings with the Lahti Symphony Orchestra have amassed numerous awards, including a 1996 Gramophone Award and Cannes Classical Award for the original version of the Symphony 5. His first-ever complete recording of The Tempest won the 1993 Prix Académie Charles Cros, and his original version of the Sibelius Violin Concerto with Leonidas Kavakos won the 1991 Gramophone Awards for ‘Record of the Year’ and ‘Best Concerto Recording’.

Vänskä was awarded an honorary doctorate from the University of Glasgow in recognition of his tenure as Chief Conductor of the BBC Scottish Symphony Orchestra, and was also honoured with a Royal Philharmonic Society Award for his outstanding contribution to classical music.

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HELENA JUNTUNEN SOPRANO

One of the most successful young Finnish artists of today, soprano Helena Juntunen opened the 2007/08 season as Pamina in Die Zauberflöte in Geneva and Helsinki, as The Countess in Le nozze di Figaro in Nice and as Mimi in La bohème in her role debut in Helsinki.

She also returned to the Minnesota Orchestra for Beethoven’s Symphony 9. Engagements this season and beyond include her return to Malaga for Strauss’s Four Last Songs and Mahler’s Symphony 4, the title role in Veli-Matti Puumala’s opera Anna Liisa at the Helsinki Festival, her debut in Gothenburg as Mimi, her role debut as Marie/Marietta in Die tote Stadt in Nancy, and her debuts at the Concertgebouw in Amsterdam in Sibelius’s The Tempest and with L’Ensemble Intercontemporain of Paris.

During the 2006/07 season she sang the role of Pamina at the Theater an der Wien and in Luxembourg, and the role of Jenny in Mahagonny in Nancy and Luxembourg, as well as making her debut at the London Proms performing Sibelius tone poems, and singing Mahler’s Symphony 2 in subscription concerts with the Minnesota Orchestra. She enjoyed a busy 2005/06 season with Pamina at La Théâtre de la Monnaie in Brussels, followed by the same role in Nancy, Zdenka in Arabella in Helsinki, Marie in Wozzeck in Nice and Pamina for the Aix-en-Provence Festival and the Wiener Festwochen. In the same season she made her Salzburg Festival debut in Handel’s Alexander’s Feast, sang Barber’s Knoxville: Summer of 1915 in Malaga in Spain, and made her Minnesota Orchestra debut in Beethoven’s Symphony 9.

In 2004/05 Helena Juntunen made her debut in the role of Sophie in Der Rosenkavalier at the Finnish National Opera, followed by her debut at Brussels’

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Théâtre de la Monnaie as Pamina in Die Zauberflöte as well as a return to the Savonlinna Festival for the role of Liu in Turandot. The 2003/04 season was one of debuts for Miss Juntunen, beginning with her Italian debut at the Teatro Carlo Felice in Genoa as Madama Cortese in Il viaggio a Reims, followed by her Antwerp debut as Zdenka in Arabella, and her Dresden Staatsoper debut as Pamina in Die Zauberflöte. In October 2003 she made her New York recital debut at Carnegie Hall’s Weil Recital Hall in a programme of Lieder and song in German, French, Finnish, Swedish and Italian. She also made her American stage debut as Marguerite in Faust with the Connecticut Grand Opera. Earlier in the same season she appeared with the National Orchestra of Belgium in Villa-Lobos’s Bachianas Brasileiras No. 5, among other works under the baton of Mikko Franck and took the the role of Liu in a new production of Puccini's Turandot at the Savonlinna Festival.

At the 2002 Savonlinna Festival in Finland, Helena Juntunen generated great critical acclaim in her debut as Marguerite in Gounod’s Faust. She has appeared at the Finnish National Opera since the 1999-2000 season, most recently as Zdenka in Strauss’s Arabella and Madame Cortese in Rossini’s Il viaggio a Reims. She has also worked as a soloist with internationally renowned conductors such as Esa-Pekka Salonen, Jukka-Pekka Saraste, Mikko Franck and Osmo Vänskä. Her repertoire also encompasses the roles of Gilda in Rigoletto, Adina in L'elisir d’amore, both Mimi and Musetta in La bohème, Siebel in Gounod’s Faust, and Miss Wordsworth in Britten’s Albert Herring, which she has performed in theatres throughout Finland.

Miss Juntunen’s discography to date includes the role of Hilda in Rautavaara’s Aleksis Kivi and Irene in The House of the Sun by the same composer. She has also recorded a solo CD of Finnish Songs by Leevi Madetoja, all of which have been released by the Ondine label.

The recipient of numerous awards and prizes, Helena Juntunen was awarded First Prize in the Lappeenranta Singing Competition 2002, the Tampere Opera Grand Prix in 2001 and the Timo Mustakallio Singing Competition in 2000. She is an alumna of the Sibelius Academy, and studied Lieder with Elisabeth Schwarzkopf, Hartmut Holl, Mitsuko Shirai and Ilmo Ranta.

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PROGRAMME NOTES

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUS No conductor today has done more than Osmo Vänskä to challenge and enrich our understanding of the great Finnish composer Jean Sibelius. Not only is he a truly exceptional interpreter of the composer’s music but he has also brought to light vast quantities of unknown or little known Sibelius music.

In a series of four concerts Osmo Vänskä takes us through the entire chain of Sibelius symphonies, pausing on the way to explore some lesser known gems such as The Wood Nymph and the Cantique and Devotion for cello and orchestra, as well as allowing us to hear the great orchestral tone poem Tapiola and the intoxicating vocal tone poem Luonnotar.

Tonight we hear two early symphonies – Nos 2 and 3 – and in between Finnish soprano, Helena Juntunen, joins us for a selection of exquisite Sibelius songs.

Jean Sibelius 1865-1957 ‘You mention interconnections between themes and other such matters, all of which are quite subconscious on my part. Only afterwards can one discern this or that relationship but for the most part one is merely the vessel. That miraculous logic (let us call it God) which governs a work of art, that is the important thing.’

JEAN SIBELIUS TO HIS FRIEND AXEL CARPELAN

SPEEDREAD Sibelius’s dramatic, colourful and fervently patriotic Second Symphony is deservedly one of his most popular major works; its successor, the Third, is far less well known. On first hearing it seems more abstract, more rigorously compact, and less melodically generous – at least in its outer movements. But as a demonstration of Sibelius’s belief that a symphony should be ‘like a river’ it

could hardly be bettered: a powerful current runs through the work, rising like a mighty tide at the ending.

Between these two great symphonies we find a more intimate Sibelius in the orchestral versions of some of his finest songs, opening with Höstkväll (‘Autumn Evening’) – in effect a masterly miniature tone poem summing up so much of Sibelius’s intense feeling about man’s place in nature.

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PROGRAMME NOTES

SYMPHONY 3 IN C, OP. 52 Allegro moderato | Andantino con moto, quasi allegretto | Moderato – Allegro (ma non tanto)

Sibelius’s Third Symphony (1904-7) is a significantly different kind of work from the much more popular Second. In several ways it represents the next stage in the composer’s long struggle to free himself from what he felt were the excesses of late romanticism: the huge, loose-limbed structures and vast, colour-enhanced orchestras of Mahler, Richard Strauss or Scriabin. In this new symphony Sibelius scaled his orchestra down to the kind of forces Beethoven or Schumann would have recognised, and compressed his argument into just over half-an-hour. Sibelius may also have been influenced by the ideal of Junge Klassizität (‘Young Classicism’) of his friend, the virtuoso pianist and composer Ferruccio Busoni, but as the First and Second Symphonies show, he had begun this journey towards greater economy and clarity at least a decade earlier.

This may all sound forbiddingly abstract, and yet the effect is quite different. Sibelius was never interested in musical structure or argument for its own sake. ‘I should like to compare the symphony to a river’, he once wrote. ‘It is born from various rivulets that seek each other and in this way the river proceeds wide and powerful towards the sea.’ What is wonderful about Sibelius’s river-like – or as it is often put, ‘organic’ – musical logic is that you don’t have to be a musician or musicologist to understand it. Most listeners simply ‘feel’ the current and allow themselves to be carried along by it. That is certainly the case in the Symphony’s first movement, which grows with magnificent inevitability from its opening theme (cellos and basses alone) – relatively quiet, but full of potential energy. The

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compelling momentum continues, almost unabated, until the calmer, slower coda, with its solemn closing ‘Amen’ cadence – an echo perhaps of the nationallyflavoured religious cantata Marjatta Sibelius was planning at the time, but never finished.

Sibelius the magician, the creator of haunting moods and landscapes, is much more in evidence in the next two movements. The second is a slow, lilting nocturnal dance, painted in muted colours. The waltz-like first theme alternates with passages of thoughtful stillness.

The first of these – a solemn chant-like dialogue between choirs of cellos and woodwind – is almost certainly another echo of the Marjatta scheme. Later though come flickers of light on woodwind, like the faint light of low sun through trees on a far-Northern winter’s day. The finale is really two movements in one.

It begins as a scherzo: like the slow movement this is prevailingly quiet, with its own moments of mystery – as when nasal muted horns recall the eerie forestscapes of Sibelius’s tone poem Nightride and Sunrise. But gradually the horn figure is transformed into something brighter and more confident – another hymn-like tune, this time on violas and cellos. The finale has emerged from the scherzo, just as the finale of Beethoven’s Fifth emerges in splendour from the dying embers of its scherzo third movement (a transformation which fascinated Sibelius throughout his career). Gradually the energy builds and the hymn sounds in triumph above vigorously pulsating strings. Then a curt, three-note gesture on full brass brings the symphony to a sudden but satisfying close.

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PROGRAMME NOTES

ORCHESTRAL SONGS Höstkväll (Op. 38/1) – Autumn Evening | Den första kyssen (Op. 37/1) – The First Kiss | Flickan kom ifrån sin älsklings möte (Op. 37/5) – The Girl came from her Lovers’Tryst | Bollspelet vid Trianon (Op. 36) – Tennis at Trianon | Arioso (Op. 3) | Hertig Magnus (Op. 57/6) – Duke Magnus | Var det en dröm? (Op. 37/4) – Was It a Dream?

HELENA JUNTUNEN soprano

Together, Sibelius’s nearly a hundred songs form a rich and, outside the Nordic countries, shamefully underexplored territory. His writing for the female voice in particular can be searingly beautiful: as for instance in the glorious tone poem Luonnotar. In the songs the eternal themes of love and death are pervasive but – unsurprisingly given that this is Sibelius – nature often plays a vital supporting role. The big surprise for many is that this great symphonist was also able to say so much, and so finely, in these miniature forms.

Most of the songs were written for voice and piano, and on the whole Sibelius preferred to keep them that way.

However he realised some could benefit from a stronger, more colourful palate: for instance the unsettling, supernatural drama Hertig Magnus (‘Duke Magnus’, 1909) or the seductively melancholic Arioso (1910) – these he orchestrated himself. The haunting

Var det en dröm? (‘Was it a dream?’, 1902) is performed this evening in an orchestration by Simon PergamentParmet and the unashamedly romantic Den första kyssen (‘The First Kiss’, 1900) in an orchestration by NilsEric Fougstedt. Ernest Pingould orchestrated the darktoned Flickan kom ifrån sin älsklings möte (‘The Girl came from her Lovers’ Tryst’, 1901) as well as the other wordly, Gallic-flavoured Bollspelet vid Trianon (‘Tennis at Trianon’, 1899). However when it came to a masterpiece like Höstkväll (‘Autumn Evening’, 1903) Sibelius clearly realised that this powerful song – effectively a miniature tone poem – demanded to speak in orchestral terms and undertook the task himself. Its theme lies at the core of so much of Sibelius’s greatest music: a solitary figure feels awestruck and exalted by the elemental mystery of nature, his own sorrow dying ‘like a cry lost in the autumn’s mighty lament’.

Höstkväll

Autumn Evening

Solen går ned, och molnen vandra med vefullt sinne hän över skummande sjö, över susande skogars skymning.

Måsen skriar på ödsligt skär falken dväljes i klyftans skygd trött att jaga han gömt sin näbb i vingens av skurar tyngda dun.

The sun goes down And the clouds wander in woeful mood Passing over the foaming lake, Over the twilight of sighing forests.

The seagull screams on a desolate rock, The falcon stays in his crevice, Tired of hunting, he hides his beak In the rain-heavy down of his wing.

Solen gick ned, det mörknar allt mer över moens furor, mörknar om bergen, där ränniln suckar i ljung och mossa.

Tvinsjukt dröjer ett gulblekt sken över västliga kullars rand.

Dagens viskande avsked tonar sorgset i tätnande skuggor bort.

The sun went down, It darkens over the moorland pines.

Darkens round the mountains, Where the rivulet sighs in moss and heather.

A sallow gleam stays languishing Over the rim of the western hills.

The whispering day’s farewell In thickening shadows fades sadly away.

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PROGRAMME NOTES

Regnets fall på hällarna sorlar av vemods sägner födda av molnens jord kringsvävande skumma tankar; sjöns emot stranden brutna våg brusar av dunkla ödens gång, röster, skälvande hemskt av smärta, ropa i stormen ur skogens djup.

The falling rain on the rocks Murmurs with sad tales, Born of the soil of the clouds Roaming, elusive thoughts; The lake’s wave breaking on the shore, Clamours with gloomy fortunes past, Voices dismally trembling in pain Call in the storm from the forest’s deep.

Ensam ute i öde nejd mot fuktig klippa lutad, står förtrollad en vandrare, lyss och njuter.

Känner hans själ en samklang med sången, som höjes av stjärnlös natt?

Dör hans ve som en sakta ton i höstens väldiga sorgedikt?

Out alone in a desolate place, Against a damp rock leaning, A wanderer stands enchanted And listens with pleasure.

Does his soul feel in harmony With the song that is raised by the starless night?

Does his grief die like a gentle note In the mighty autumnal lament?

Viktor Rydberg (1828-1895)

English translation: BIS Records

Den första kyssen

The First Kiss

På silvermolnets kant satt aftonstjärnan, från lundens skymning frågte henne tärnan: Säg, aftonstjärna, vad i himlen tänkes, när första kyssen åt en älskling skänkes?

Och himlens blyga dotter hördes svara: På jorden blickar ljusets änglaskara, och ser sin egen sällhet speglad åter; blott döden vänder ögat bort och gråter.

Upon the silver cloud sat the evening star.

From the dusk of a grove asked the maiden: Pray tell, evening star, what you in heaven think When a first kiss is given to a lover?

And heaven’s shy daughter was heard to reply: The angels of light look down on earth And see their own joy reflected; Death alone averts his eyes and weeps.

Johan Ludvig Runeberg (1804-1877)

English translation: BIS Records

Flickan kom ifrån sin älsklings möte

The Girl came from her Lovers’ Tryst

Flickan kom ifrån sin älsklings möte, kom med röda händer. Modern sade: ”Varav rodna dina händer, flicka?”

Flickan sade: ”Jag har plockat rosor och på törnen stungit mina händer.”

The girl came from her lovers’ tryst.

Came back with hands all red. Her mother asked: ‘What made your hands so red, girl?’

The girl replied: ‘I was picking roses and pricked my hands on the thorns.’

Åter kom hon från sin älsklings möte, kom med röda läppar. Modern sade: ”Varav rodna dina läppar, flicka?”

Flickan sade: ”Jag har ätit hallon och med saften målat mina läppar.”

Again she came from her lovers’ tryst, Came back with lips all red. Her mother asked: ‘What makes your lips so red, girl?’

The girl replied: ‘I was eating berries And painted my lips with the juice.’

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PROGRAMME NOTES

Åter kom hon från sin älsklings möte, kom med bleka kinder. Modern sade: ”Varav blekna dina kinder, flicka?”

Flickan sade: ”Red en grav, o moder!

Göm mig där och ställ ett kors däröver, och på korset rista, som jag säger:

Again she came from her lovers’ tryst, Came back with her cheeks all pale. Her mother asked: ‘What makes your cheeks so pale, girl?’

The girl replied: ‘Oh mother, dig for me a grave, Hide me in it and raise a cross, And on the cross carve what I say:

En gång kom hon hem med röda händer, ty de rodnat mellan älskarns händer.

En gång kom hon hem med röda läppar, ty de rodnat under älskarns läppar.

Senast kom hon hem med bleka kinder, ty de bleknat genom älskarns otro.”

Once she came home with hands all red, For they had reddened between her lover’s hands.

Once she came home with lips all red, For they had reddened beneath her lover’s lips.

At last she came home with cheeks all pale, For they had paled through her lover’s betrayal.’

Johan Ludvig Runeberg (1804-1877)

English translation: BIS Records

Bollspelet vid Trianon

Tennis at Trianon

Det smattrar prat och slår boll och skrattar emellan träden vid Trianon, små markisinnor i schäferhattar, de le och gnola, lonlaridon.

There is prattling, ball-game and laughter Among the trees of Trianon, Little marquises wearing shepherdesses’ hats Smile and warble ‘lonlaridon’.

Små markisinnor på höga klackar, de leka oskuld och herdefest för unga herdar med stela nackar, vicomte Lindor, monseigneur Alceste.

Little marquises in high-heeled shoes Play at innocence, at being shepherdesses, For young and stiff-necked shepherds, Vicomte Lindor, Monseigneur Alceste.

Men så med ett vid närmsta stam stack grovt och brett ett huvud fram.

But suddenly From behind a nearby tree A coarse and broad Head appeared.

Vicomten skrek: ”Voilà la tête là!” och monseigneur slog förbi sin boll och ”qu’est-ce que c’est?” och ”qui est la bête là?” det ljöd i korus från alla håll.

The Vicomte shouted ‘Voilà la tête là!’

And the Monseigneur missed his ball And ‘qu’est-ce que c’est?’ and ‘qui est la bête là?’

Was heard in chorus from one and all.

Och näsor rynkas förnämt koketta, en hastig knyck i var nacke far och markisinnor hoppa lätta och bollen flyger från par till par.

And noses are wrinkled in studied disdain, Heads are given a brisk toss, And the marquises skip lightly And the ball flies from couple to couple.

Men tyst därifrån med tunga fjät går dräggens son Jourdan Coupe-tête.

But quietly thence, With heavy steps, Goes the son of the gutter Jourdan Coupe-tête.

Gustaf Fröding (1860-1911)

English translation: BIS Records

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Arioso

Arioso

Flickan gick en vintermorgon i den rimbeströdda lunden, såg en vissnad ros och talte: ”Sörj ej, sörj ej arma blomma, att din sköna tid förflutit!

Du har levat, du har njutit, du har ägt din vår och glädje, innan vinterns köld dig nådde.

The maid went out one winter morning In the frost-sprinkled grove, Saw a faded rose and said: ‘Weep not, weep not, dearest flower, That your fairest time is past, You have lived and have enjoyed, You have known your spring and pleasure Ere the winter cold did strike you.

Värre öde har mitt hjärta, har på en gång vår och vinter: gossens öga är dess vårdag och min moders är dess vinter.

A far worse fate my heart has suffered, To know at once both spring and winter: My own boy’s eye its day in spring And my mother’s is its winter.

”Sörj ej, arma blomma, att din sköna tid förflutit!”

‘Weep not, weep not, dearest flower, That your fairest time is over!’

Johan Ludvig Runeberg

English translation: BIS Records

Hertig Magnus

Duke Magnus

Hertig Magnus från sitt fönster drömmande ser Vätterns bölja månbelyst och sval och klangrik slottets fasta murar skölja;

Duke Magnus, from his window, Gazes at how Lake Vättern’s waves, Moonlit and cool and richly sounding, Lap against the castle’s strong walls.

Tunga kval hans själ förvirrat, att sin gode far han mistat, och att blod i strömmar flutit för hans bröders skull, som tvistat.

Deep cares have clouded his soul: The loss of his own good father And blood flowing in rivers, Caused by his brothers, and their strife.

Hertig Magnus från sitt fönster ser i vattnets ljusa dager liten sjönymf ljuvligt vagga, sjungande och fri och fager:

Duke Magnus, from his window, Sees in the bright waters A little water-nymph, rocking sweetly, Singing and free and beautiful:

”Hertig Magnus”, så hon sjunger, ”kom till mig från slottet höga, att ditt ädla sjuka hjärta i den svala böljan löga,

‘Duke Magnus,’ she sings, ‘Come to me from high in the castle, To bathe your noble, suffering heart In the cool waves.

låt mig kyssa få din tinning, sköna prins, låt dig beveka, kasta dig i mina armar, på gullharpan skall jag leka!”

Grant me leave to kiss your brow, Fair prince, I implore you, Cast yourself into my arms, I shall play on my golden harp!’

Hertig Magnus från sitt fönster, tjusad utav nymfens fägring, sprang i vattnet, lät sig föras av sin undersköna hägring,

Duke Magnus, from his window, Enchanted by the nymph’s beauty, Leaped into the water, let himself be led By the wondrously fair illusion,

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bars omkring tills morgon grydde av den väna vattuanden, och blev funnen bland violer, oskadd, slumrande på stranden.

He was carried about ’til dawn By the fair spirit of the water, And was found among violets, Unharmed, slumbering on the lake shore.

Ernst Josephson (1851-1906)

English translation: BIS Records

Var det en dröm?

Was it a Dream?

Var det en dröm, att ljuvt en gång jag var ditt hjärtas vän?

Jag minns det som en tystnad sång, då strängen darrar än.

Was it a dream that once, in bliss, I was your heart’s true friend?

I recall it as a song long past, Though a string still trembles.

Jag minns en törnros av dig skänkt, en blick så blyg och öm; jag minns en avskedstår, som blänkt.

Var allt, var allt en dröm?

I recall a rose received from you, A glance so shy and sweet; I recall a glistening parting tear.

Was it all, was it all a dream?

En dröm lik sippans liv så kort uti en vårgrön ängd, vars fägring hastigt vissnar bort för nya blommors mängd.

A dream as brief as an anemone’s life In a spring meadow green, Whose beauty quickly fades away Replaced by hosts of new flowers.

Men mången natt jag hör en röst vid bittra tårars ström: göm djupt dess minne i ditt bröst, det var din bästa dröm!

But many a night I hear a voice Through floods of bitter tears: Hide its memory deep in your heart.

It was your fairest dream!

Josef Julius Wecksell (1838-1907)

English translation: BIS Records

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

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SYMPHONY 2 IN D, OP. 43 Allegretto | Tempo Andante, ma rubato | Vivacissimo – Lento e suave – Tempo primo – Lento e suave – | Finale: Allegro moderato

Sibelius once told his fellow composer Gustav Mahler that, for him, writing symphonies was about finding ‘the profound logic that establishes a connection between all the motifs’. True, no twentieth century composer is more profoundly logical than Sibelius at his best: following the development of a whole movement from a tiny thematic ‘germ’ can be like watching a speeded-up film of a plant growing from a seed to full flower. But it’s also clear that there is much more to a work like the Second Symphony than abstract development. In fact the slow second movement began life as a tone poem about the final struggle between Don Juan and Death – it’s still possible to trace the outlines of the story in the music – while the triumphant emergence of the majestic Finale theme from the stormy ending of the third movement is much more than a clever piece of musical engineering. For many of Sibelius’s fellow Finns, listening to the symphony’s first performance in 1902, this passage in particular expressed the nation’s growing hope of independence after a century of Russian domination. In fact the Second Symphony soon came to be known as the ‘Symphony of Liberation’. For his part, Sibelius never completely confirmed or denied this interpretation, but it’s hard to believe that the fate of his oppressed but heroically defiant native country didn’t leave a deep imprint on this music – and especially on its blazingly positive conclusion.

In the first movement profound logic and mounting optimism work hand in hand. The opening string chords outline a three-note rising figure, moving upwards in simple steps. This the seed from which almost everything in this music grows. But at first the growth is hesitant, broken by pauses and expectant silences.

Eventually the pace and excitement mount, but this too seems to run out of steam, and a nervous oboe figure, with murmuring string accompaniment initiates a long, striving build up. At the height of this long crescendo triumphant brass fanfares burst through, culminating in

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a grand restatement of the opening material, now without its earlier hesitancy. A brief recapitulation leads to a calmer coda, the opening rising string figures now falling to rest.

Eerie pizzicato (plucked) figures for basses and cellos, followed by a lugubrious bassoon solo, set a more sombre tone for the slow movement. In his sketches for the original Don Juan tone poem Sibelius sketched out a programme for this first section: ‘Sitting in the twilight in my castle. A stranger comes in. I ask him more than once who he is. Finally he strikes up a song. Then Don Juan sees who it is – Death.’ It’s not hard to match this closely to the music. The sense of struggle grows darker, more painful, but a warmer, major key theme for full strings (in the sketches labelled ‘Christus’) brings welcome contrast. In this movement it is the darker music – ‘Death’ according to Sibelius’s abandoned programme – that wins.

However that only makes the rushing vitality of the following Vivacissimo third movement all the more exhilarating. Twice this music is interrupted by a chantlike theme (led by oboe) in a slower tempo. The second time however this leads into a stormy transition, with scraps of a new theme heard first on bass instruments – Sibelius’s model here is clearly the thrilling ScherzoFinale transition in Beethoven’s Fifth Symphony.

Eventually the clouds part, and the scraps fuse into the superbly confident Finale theme, striding forward in three beats to the bar. This movement too has its darker episodes – Sibelius’s widow revealed that the plaintive oboe theme (above murmuring low strings) was composed in memory of her sister, who committed suicide – Death in another guise. But eventually the Finale theme returns with renewed vigour. Finally the tempo broadens and trumpets extend the Finale theme into a radiant song of victory.

Programme notes by Stephen Johnson © 2010

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RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0005 Paavo Berglund conducts Sibelius’s Symphonies 2 in D and 7 in C ‘Both here and in the Seventh Symphony’s magnificent singlemovement span, Berglund judges the music’s shifts of pace with unerring sureness, and really makes the big moments happen.’

MALCOLM HAYES, CLASSIC FM, DECEMBER 2005

LPO-0036 Osmo Vänskä conducts Rachmaninov’s Symphony 3 and Bax’s Tintagel ‘Vänskä’s account of the Third Symphony is a marvel of measured, uninflated eloquence.’

PAUL DRIVER, THE SUNDAY TIMES, 23 NOVEMBER 2008

LPO-0006 The Founding Years: Thomas Beecham conducts Mozart, Chabrier, Sibelius and Handel ‘The LPO’s first issues include this disc of recordings from the 1930s, when the orchestra and its founder, Thomas Beecham, were making history. The excerpts from Sibelius’s Tempest music, never issued before, are a fascinating rarity… The studio versions of Mozart’s Haffner Symphony and Chabrier’s España are scintillating examples of the playing that transformed the British orchestral scene.’

THE SUNDAY TIMES, 9 OCTOBER 2005

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. They 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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Miraculous Logic: The Music of Jean Sibelius Wed 27 January - Fri 5 February 2010 Southbank Centre’s Royal Festival Hall Four concerts featuring all seven Sibelius symphonies plus music for soloists and orchestra

‘Vänskä drew playing of utmost subtlety from the LPO’ JOHN ALLISON, THE SUNDAY TELEGRAPH, MAY 2008

OSMO VÄNSKÄ conductor HENNING KRAGGERUD violin HELENA JUNTUNEN soprano KRISTINA BLAUMANE cello

For full details of these concerts, see page 16.

WELCOME TO SOUTHBANK CENTRE We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

Eating, drinking and shopping? Southbank Centre shops and restaurants include: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact our Head of Customer Relations at Southbank Centre, Belvedere Road, London SE1 8XX, by email at customer@southbankcentre.co.uk or phone 020 7960 4250.

We look forward to seeing you again soon.

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

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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

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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 Mrs Steven Ward Simon Yates & Kevin Roon Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen

Commander Vincent Evans Mr Daniel Goldstein Mrs Barbara Green Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett

Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen 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 British American Business Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC

Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Andor Charitable Trust The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust

Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Serge Rachmaninoff Foundation Stansfield Trust UK Friends of the FelixMendelssohn-BartholdyFoundation The Underwood Trust and others who wish to remain anonymous.

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PHILHARMONIC NEWS

Using the work as inspiration, the students (all aged 10-11) have devised their own composition which will be performed at a free pre-concert event on 3 February at 6pm in the Royal Festival Hall.

As with so much of Sibelius’s music, the joyous 5th Symphony comes from his passion for the beauty of the Finnish landscape and its wildlife. It represents a departure from the melancholic tones of the Fourth Symphony, and is often seen as depicting Sibelius’s own journey to a happier place in his life. It also represents a move away from traditional musical form, as the piece fragments into a wide array of different musical motifs and ideas that finally coalesce at the symphony’s epic climax.

Armed with this array of imagery, Paul Griffiths and the Orchestra members ran a series of creative composition workshops. They explored the Symphony’s labyrinth of melodies and motifs and encouraged the young students to improvise around them to create their own musical themes. From these improvisations, they then pulled out the different ideas that went into creating their own original composition.

Alec Haylor

Southwark Composition Project Free Pre-Concert Performance Wednesday 3 February | 6pm Royal Festival Hall As part of the Orchestra’s commitment to schools in the local community, animateur Paul Griffiths and Orchestra members have been helping pupils from Grange Primary School in Southwark discover Sibelius’s 5th Symphony.

Pupils from last year’s Southwark Composition Project rehearse their composition.

‘Combining select LPO recordings (recent additions include Dvorˇák’s Requiem and Brahms’s Hungarian Dances), with video performances, podcasts, concert info and links to iTunes, this app sets the bar for resident orchestras.’

OBSERVER, 3 JANUARY 2010

If you have an iPhone or iPod touch, don’t forget to download the Orchestra’s FREE app (from www.lpo.org.uk/iphone) to keep up to date with news, reviews, podcasts and recordings as well as concert information.

Arrive early for next Wednesday’s concert to hear the culmination of their hard work and their enthusiastic engagement with classical music.

What is an iPhone app?

An app (as in ‘application’) is a powerful small programme to add to your iPhone to extend what it can do beyond phone, camera and internet functions. Many apps are lighthearted fun, but there are thousands of extremely useful ones too – for example updates on flight status; online radio; foreign language translation; finding your nearest restaurant.

The Orchestra’s iPhone app ‘sets the bar’ The London Philharmonic Orchestra’s iPhone app was selected by The Observer newspaper as one of their top culture apps:

There are apps with theatre listings, digitised works from art galleries, guides to gardens and museums and more. With over 90,000 apps on the iTunes app store there are apps for almost everything.

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke General Manager and Finance Director

*Non-Executive Directors

David Greenslade Finance and IT Manager

THE LONDON PHILHARMONIC TRUST

Joshua Foong Finance Officer

Pehr Gyllenhammar Chairman Desmond Cecil CMG Sir George Christie CH Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Timothy Walker AM † Laurence Watt Simon Yates

CONCERT MANAGEMENT

AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Dr Louise Miller Honorary Doctor

Roanna Chandler Concerts Director Ruth Sansom Artistic Administrator Graham Wood Concerts, Recordings and Glyndebourne Manager Alison Jones Concerts Co-ordinator Hattie Garrard Tours and Engagements Manager Camilla Begg Concerts and Tours Assistant Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian Michael Pattison Stage Manager Hannah Tucker Assistant Orchestra Personnel Manager Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

EDUCATION AND COMMUNITY PROGRAMME

ARCHIVES Edmund Pirouet Consultant

Matthew Todd Education and Community Director

Philip Stuart Discographer

Anne Newman Education Officer

Gillian Pole Recordings Archive

Isobel Timms Community Officer

INTERN

Alec Haylor Education and Community Assistant

Josephine Langston Marketing

Richard Mallett Education and Community Producer

LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242

DEVELOPMENT Emma O’Connell Development Director Nick Jackman Charitable Giving Manager Phoebe Rouse Corporate Relations Manager Sarah Tattersall Corporate Relations and Events Manager Anna Gover Charitable Giving Officer Melissa Van Emden Corporate Relations and Events Officer MARKETING Kath Trout Marketing Director

www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities.

The London Philharmonic Orchestra Limited is a registered charity No. 238045.

Photograph of Sibelius courtesy of the Royal College of Music, London.

Photograph on the front cover

by Benjamin Ealovega.

Programmes printed by Cantate.

Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education Frances Cook Publications Manager Samantha Kendall Box Office Administrator (Tel: 020 7840 4242) Heather Barstow Marketing Co-ordinator Valerie Barber Press Consultant (Tel: 020 7586 8560)

†Supported by Macquarie Group

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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUS Wednesday 3 February 2010 | 7.30pm Sibelius Luonnotar Sibelius Symphony 4 Sibelius Symphony 5

Friday 5 February 2010 FREE Pre-Concert Event 6.15pm | Royal Festival Hall Yannick Nézet-Séguin introduces the evening’s programme.

Osmo Vänskä conductor Helena Juntunen soprano

Saturday 13 February 2010 | 7.30pm

FREE Pre-Concert Event 6.00pm | Royal Festival Hall A performance by Lambeth and Southwark school children marking the culmination of their composition project, inspired by this evening’s repertoire.

Ravel Pavane pour une Infante défunte Ravel Le Tombeau de Couperin Debussy Nocturnes Fauré Pavane Poulenc Stabat Mater Yannick Nézet-Séguin conductor Lisa Milne soprano London Philharmonic Choir

Osmo Vänskä and Kristina Blaumane

MIRACULOUS LOGIC: THE MUSIC OF JEAN SIBELIUS JTI Friday Series | Friday 5 February 2010 | 7.30pm Sibelius Tapiola Sibelius Cantique and Devotion for cello and orchestra Sibelius Symphony 6 Sibelius Symphony 7 Osmo Vänskä conductor Kristina Blaumane cello

Yannick NézetSéguin and Lisa Milne

Wednesday 17 February 2010 | 7.30pm Tchaikovsky Fantasy Overture, Romeo and Juliet Prokofiev Piano Concerto 1 Prokofiev Romeo and Juliet (excerpts) Vladimir Jurowski conductor Alexander Toradze piano

Melvyn Tan and Ronald Brautigam

Wednesday 10 February 2010 | 7.30pm Ravel Suite 2, Daphnis et Chloé Ravel Valses nobles et sentimentales Poulenc Concerto for Two Pianos Debussy Prélude à l’après-midi d’un faune Debussy La Mer Yannick Nézet-Séguin conductor Melvyn Tan piano Ronald Brautigam piano

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TO BOOK Tickets £9-£38 / Premium seats £55 London Philharmonic Orchestra Ticket Office 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members