LPO Programme notes 3 Dec 11 by London Philharmonic Orchestra

Principal Conductor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 3 December 2011 | 7.30pm

VLADIMIR JUROWSKI conductor JANINE JANSEN violin

JULIAN ANDERSON Fantasias‡ (25’) MOZART Violin Concerto No. 5 in A major (31’) Interval TCHAIKOVSKY Manfred Symphony (56’)

* supported by the Tsukanov Family † supported by Macquarie Group ‡ This performance is supported by the Boltini Trust. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

PROGRAMME £3 CONTENTS 2 Southbank Centre / Leader 3 List of players 4 About the Orchestra 5 Vladimir Jurowski 6 Janine Jansen 7 Programme notes 11 LPO Christmas gifts 12 2011/12 Annual Appeal 13 Supporters 14 Recordings 15 Future concerts 16 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

pieter schoeman Leader

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

WELCOME TO SOUTHBANK CENTRE

Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact Kenelm Robert, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or phone 020 7960 4250 or email customer@southbankcentre.co.uk We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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

2 | London Philharmonic Orchestra

LONDON PHILHARMONIC ORCHESTRA

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Radu Bitica Helena Smart Katalin Varnagy Catherine Craig Tina Gruenberg Martin Höhmann Chair supported by Richard Karl Goeltz

Geoffrey Lynn Robert Pool Yang Zhang Rebecca Shorrock Alain Petitclerc Galina Tanney Peter Nall Joanne Chen Second Violins Clare Duckworth Principal Chair supported by the Sharp Family

Jeongmin Kim Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nynke Hijlkema Dean Williamson Sioni Williams Heather Badke Alison Strange Peter Graham Stephen Stewart Mila Mustakova Sheila Law Violas Tom Dunn Guest Principal Robert Duncan Gregory Aronovich Katharine Leek Benedetto Pollani Susanne Martens Emmanuella ReiterBootiman

Laura Vallejo Martina Forni Michelle Bruil Daniel Cornford Isabel Pereira Alistair Scahill Martin Fenn

Cor Anglais Sue Bohling Principal

Timpani Simon Carrington* Principal

Chair supported by Julian & Gill Simmonds

Percussion Andrew Barclay* Principal

Clarinets Robert Hill* Principal Nicholas Carpenter*

Chair supported by Andrew Davenport

Bass Clarinet Paul Richards Principal

Keith Millar Olly Yates Ignacio Molins Eddy Hackett

E-flat Clarinet Nicholas Carpenter* Principal

Harps Rachel Masters* Principal Helen Sharp

Gregory Walmsley Santiago Carvalho† Susanna Riddell Tom Roff Helen Rathbone Pavlos Carvalho Tae-Mi Song

Bassoons Gareth Newman* Principal Simon Estell Laurence O’Donnell

Piano, Celeste & Organ Catherine Edwards

Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Tom Walley Joe Melvin Helen Rowlands Catherine Ricketts Catherine Colwell

Horns John Ryan Principal Alec Frank-Gemmill Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Cellos Kristina Blaumane Principal Susanne Beer Co-Principal Francis Bucknall Laura Donoghue Jonathan Ayling Chair supported by Caroline, Jamie and Zander Sharp

Flutes Jaime Martín* Principal Susan Thomas Stewart McIlwham* Laura Lucas

Synthesiser Roderick Elms

Contra-bassoon Simon Estell Principal

* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Zildjian Cymbals

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

Nicholas Betts Co-Principal Joe Sharp Cornets Nicholas Betts Joe Sharp

Piccolos Stewart McIlwham* Principal Susan Thomas Trombones Mark Templeton* Principal Oboes David Whitehouse Ian Hardwick Principal Angela Tennick Bass Trombone Sue Bohling Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal

The London Philharmonic Orchestra is extremely grateful to cymbal manufacturer Avedis Zildjian for its ongoing support. We have been using Zildjian cymbals for over 40 years and in that time they have become part of the LPO sound. The Orchestra’s percussionist Andrew Barclay is a ‘Zildjian Artist’, and as part of his endorsement of the brand, the company undertakes to provide the large range of cymbals required by a modern symphony orchestra. We hope our relationship will flourish for many years to come. zildjian.com

London Philharmonic Orchestra | 3

LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as performing classical concerts, the Orchestra also records film and computer game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then has been headed by many of the great names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Russian Vladimir Jurowski, appointed in 2007, with French-Canadian Yannick Nézet-Séguin as Principal Guest Conductor. The Orchestra is based at Royal Festival Hall in London’s Southbank Centre, where it has performed since it opened in 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. Concert highlights in 2011/12 include a three-week festival celebrating the music of Prokofiev, concerts with artists including Sir Mark Elder, Marin Alsop, Renée Fleming, Stephen Hough and Joshua Bell, and several premières of works by living composers including the Orchestra’s Composer in Residence, Julian Anderson. In addition to its London concerts, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first-ever visit to China by a Western orchestra. Touring remains a big part of the Orchestra’s life: tours in the 2011/12 season include visits to Belgium, Switzerland, Germany, the US, Spain, China, Russia, Oman, Brazil and France.

4 | London Philharmonic Orchestra

You may well have heard the London Philharmonic Orchestra on film soundtrack recordings: it has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, Philadelphia and East is East. The Orchestra also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 50 releases on the label, which are available on CD and to download. Recent additions include Dvořák’s Symphonic Variations and Symphony No. 8 conducted by Sir Charles Mackerras; Holst’s The Planets conducted by Vladimir Jurowski; Mahler’s Symphony No. 8 under Klaus Tennstedt; Shostakovich Piano Concertos with Martin Helmchen under Vladimir Jurowski; and Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra under Jukka-Pekka Saraste. The Orchestra was also recently honoured with the commission to record all 205 of the world’s national anthems for the London 2012 Olympics Team Welcome Ceremonies and Medal Ceremonies. 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. The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the ever-popular family and schools concerts, fusion ensemble The Band, the Leverhulme Young Composers project and the Foyle Future Firsts orchestral training scheme for outstanding young players. Over the last few years, developments in technology and social networks have 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, news blog, iPhone app and regular podcasts, the Orchestra has a thriving presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

VLADIMIR JUROWSKI

CONDUCTOR

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

Highlights of the 2011/12 season and beyond include his débuts with the Vienna Philharmonic, Boston Symphony Orchestra, NHK Symphony Orchestra Tokyo and San Francisco Symphony, and return visits to the Chamber Orchestra of Europe, Staatskapelle Dresden, Tonhalle Orchester Zurich, Accademia Nazionale di Santa Cecilia and the Chicago Symphony, St Petersburg Philharmonic, Royal Concertgebouw and Philadelphia orchestras. Jurowski’s operatic engagements have included Jenůfa, The Queen of Spades and Hänsel und Gretel at the Metropolitan Opera, Parsifal and Wozzeck at Welsh National Opera, War and Peace at the Opéra National de Paris, Eugene Onegin at La Scala Milan and Iolanta at the Dresden Semperoper, as well as The Magic Flute, La Cenerentola, Otello, Macbeth, Falstaff, Tristan und Isolde, Die Meistersinger von Nürnberg, Don Giovanni, The Rake’s Progress, and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. Future engagements include new productions of Ariadne auf Naxos and The Cunning Little Vixen at Glyndebourne, Die Frau ohne Schatten at the Metropolitan Opera, Moses und Aron at the Komische Oper Berlin and Ruslan and Ludmila at the Bolshoi Theatre. Jurowski’s discography includes the first ever recording of Giya Kancheli’s cantata Exil for ECM, Meyerbeer’s L’étoile du nord for Naxos-Marco Polo, and Werther for BMG as well as numerous live recordings on the London Philharmonic Orchestra’s own label. He has also recorded works by Prokofiev, Shostakovich, Tchaikovsky and Stravinsky for PentaTone with the Russian National Orchestra.

Vladimir Jurowski conducts Tchaikovsky's 'Manfred' Symphony on the LPO Label CD £9.99 | LPO-0009 Buy from lpo.org.uk/shop, the London Philharmonic Orchestra Box Office (020 7840 4242, Mon–Fri 10am– 5pm), all good CD outlets and the Royal Festival Hall shop. Also available as a download from iTunes, Amazon, eMusic and classicsonline.com.

London Philharmonic Orchestra | 5

JANINE JANSEN VIOLIN

A truly exciting and versatile artist, Janine Jansen’s performances have left audiences spellbound and critics searching for superlatives. She works regularly with the Royal Concertgebouw, Chicago Symphony, London Symphony, Philadelphia, Cleveland, Mahler Chamber, NHK Symphony, Berlin Philharmonic and New York Philharmonic orchestras. Conductor collaborations include such eminent names as Yannick Nézet-Séguin, Mariss Jansons, Lorin Maazel, Valery Gergiev, Riccardo Chailly, Neeme and Paavo Järvi, Esa-Pekka Salonen, Daniel Harding, Edo de Waart and Gustavo Dudamel. During the 2011/12 season, Janine will undertake a residency at London’s Wigmore Hall. She will tour Asia with the Royal Concertgebouw Orchestra and Myung-Whun Chung, and Europe with the Accademia Nazionale di Santa Cecilia and Antonio Pappano. She will also return to the Dresden Staatskapelle, Los Angeles Philharmonic, Finnish Radio Symphony and Bavarian Radio Symphony orchestras. Tonight’s appearance is the second of three concerts with the London Philharmonic Orchestra at Royal Festival Hall this season. On 16 November she performed Tchaikovsky’s Violin Concerto under Osmo Vänskä, and on 1 February 2012 she returns to perform Prokofiev’s Violin Concerto No. 2 conducted by Yannick Nézet-Séguin. In addition to her concerto performances, Janine is a devoted chamber musician. This season she will perform a chamber project including Schubert’s String Quintet and Schoenberg’s Verklärte Nacht in addition to duo recitals in London, Berlin, Amsterdam, Hamburg, Dortmund, Lyon and Eindhoven. She established and curates the annual International Chamber Music Festival in Utrecht, and since 1998 has performed each season at the Berlin Philharmonie’s Spectrum Concerts series. Her chamber partners include Jean-Yves Thibaudet, Mischa Maisky, Julian Rachlin, Itamar Golan, Martin Fröst, Khatia Buniatishvili, Leif Ove Andsnes and Torleif Thedéen. 6 | London Philharmonic Orchestra

Janine has an exclusive recording contract with Decca (Universal Music). Her most recent release is a disc of French music entitled Beau Soir with pianist Itamar Golan. Each of her previous five albums have been awarded a Platinum Disc for sales in the Netherlands. Renowned for her success on iTunes, her recordings have reached No. 1 in the digital charts on a number of occasions. In September 2003, Janine received the Dutch Music Prize from the Ministry of Culture – the highest distinction an artist can achieve in the Netherlands. She has received numerous other awards including the Edison Klassiek Public Award three times (most recently in 2010), three Echo Klassik awards, the German Record Critics’ Award, and the NDR Musikpreis for outstanding artistic achievement in 2007. In 2008 she was awarded the VSCD Klassieke Muziekprijs for individual achievement, and in May 2009 she received the Royal Philharmonic Society Instrumentalist Award for performances in the UK. The outstanding instrument played by Janine Jansen is the ‘Barrere’ by Antonio Stradivari, on extended loan from the Elise Mathilde Foundation.

PROGRAMME NOTES

Speedread Julian Anderson, the London Philharmonic Orchestra’s current Composer in Residence, wrote his brilliantly coloured Fantasias in 2009 as part of his previous orchestral residency with the Cleveland Orchestra in the USA. The title emphasises the free, quasi-improvisatory evolution of each of the five component movements: an arresting fanfare, a quick-fire toccata, a rainforest nocturne, a whirlwind scherzo, and a quick finale reaching a culmination that sums up the whole work. There is an element of fantasy, too, in the handling of traditional forms in the other two works we hear tonight. In Mozart’s Fifth Violin Concerto of 1775, the soloist makes her first entry in the opening

Julian ANDERSON Born 1967

Julian Anderson, now in his second season as Composer in Residence with the London Philharmonic Orchestra, is no stranger to the Orchestra: he was its Composer in Focus in the 2002/3 season, he wrote Alleluia for it to perform at the reopening of the Royal Festival Hall in 2007, and for some years he has been a member of the London Philharmonic Choir. Born in London, he studied composition with John Lambert privately and at the Royal College of Music, with Alexander Goehr at Cambridge University, and in Paris with Tristan Murail. He has been Composer in Residence with Sinfonia 21, Composer in Association with the City of Birmingham Symphony Orchestra, and a Daniel Lewis Young Composer Fellow with The Cleveland Orchestra; and from 2002 until earlier this year he was artistic director and presenter of the Philharmonia Orchestra’s early-evening ‘Music of Today’ series.

quick movement with a soaring Adagio; and the final rondo in minuet time breaks off to include a duple-time episode imitating the noisy ‘Turkish’ style. And Tchaikovsky’s Manfred Symphony of 1885 adapts symphonic form to accommodate a narrative programme drawn loosely from Byron’s dramatic poem. The first movement portrays the solitary hero’s guilty memories of his forbidden relationship with his late sister Astarte; the second is a dazzling scherzo describing a fairy appearing to Manfred in an alpine waterfall; the third is a picturesque ‘Pastorale'; and the finale is a wild bacchanale, during which the spirit of Astarte appears and pardons Manfred before he dies.

FANTASIAS for orchestra Fantasia I Fantasia II Fantasia III Fantasia IV Fantasia V

Presto ♩=160 ♩=92 Dolcissimo notturno ♩=46 Molto allegro ♩=140 Prestissimo ♩=152

Meanwhile, he has taught at the Royal College of Music, at Harvard University, and since 2007 at the Guildhall School of Music & Drama. Anderson’s music belongs uncompromisingly to the modernist mainstream, but it has always succeeded in making a direct connection with audiences because of his imaginative handling of colour, his clear delineation of mood, and his use of simple melodic material, often derived from folk traditions. Julian Anderson wrote Fantasias in 2009, as part of his association with The Cleveland Orchestra. It was first performed by the Orchestra, conducted by Jonathan Nott, in November 2009; the British premières followed in August 2010 on a tour by the National Youth Orchestra of Great Britain under Semyon Bychkov, which ended at the BBC Proms. The piece could almost London Philharmonic Orchestra | 7

PROGRAMME NOTES

have been called ‘Concerto for Orchestra’: certainly its composer describes it as ‘a celebration of the modern symphony orchestra’. It is scored for very large forces, deployed in highly detailed textures, whether in bubbling fast music or in slowly evolving clouds of texture. In the later stages of the work, a characteristic touch of harmonic complexity is added by the use of a synthesiser tuned a quarter-tone down, joined by various wind instruments in the same tuning. The title refers to the free, quasi-improvisatory way in which each of the movements unfolds: Anderson compares this to the ‘caprice and deliberate wilfulness’ of such works as the keyboard Fantasias of CPE Bach. But the progress of the music is not entirely improvisatory: the five movements, of strongly contrasting characters, are linked by thematic and harmonic cross-references. The opening Fantasia is a fanfare for the brass alone, in which different kinds of material associated with different instrumental sections ricochet around the group. ‘Fantasia II’ presents a sequence of rapidly changing orchestral textures and sonorities, before settling into a swirling melody for the strings, in bundles of parallel lines, and a rhythmic dance for the full orchestra. The composer describes ‘Fantasia III’ as

‘a nocturne … partly suggested by the image of a rainforest and its acoustic’ – and reflecting, he might have added, his admiration for the music of Villa-Lobos, with its proliferating jungle-like textures. The strings, using a variety of methods of tone production, create a richly woven curtain of sustained sounds, twice interrupted by pauses; against this backdrop, the woodwind and later the brass interject bird-calls and fanfares, starting in the distance, coming nearer and finally receding. ‘Fantasia IV’ is a very short, cartoonlike scherzo, with a central trio through which a solo violin sustains its own high, singing line. ‘Fantasia V’ also begins at high speed, with rapid interchanges between sections, slows slightly into a passage in which the full orchestra explodes in jagged rhythmic figures, and gradually loses momentum before arriving at the culmination of the whole work. Here, the high woodwind launch a melody that grows out of the initial fanfares of ‘Fantasia I’ and takes in ideas from other movements; this is repeated in different colourings, before a last cloud of string sound is brusquely dispersed by the woodwind and brass.

Enjoyed the concert? Donate by text The London Philharmonic Orchestra has teamed up with Just Giving to enable you to donate by text message. It is one of the easiest ways to give, and 100% of the donation will go towards the Orchestra’s work both on and off the concert platform. To donate, text PHIL12 and the amount you wish to donate (£1, £2, £3, £4, £5, or £10) to 70070. e.g. to donate £10, text PHIL12 £10 to 70070 Your donation is also eligible for Gift Aid, enabling us to claim an extra 25p per £1 at no extra cost to you. Just follow the instructions in the confirmation text you will receive from Just Giving. Your donation will be added to your next mobile phone bill or deducted from your Pay As You Go credit. Donating via text message is just one of the ways you can support the Orchestra’s 2011/12 Fundraising Appeal, in aid of The Community Programme. More details about the Appeal can be found on page 12. lpo.org.uk/text Texts are charged at your mobile phone operator’s standard rate. The charity [the London Philharmonic Orchestra] will receive 100% of your donation. You must be 16 or over and please ask the bill payer’s permission. For full terms and conditions and more information, please visit www.justgiving.com/info/terms-of-service.

8 | London Philharmonic Orchestra

Wolfgang Amadeus MOZART 1756–91

Mozart’s father Leopold was the author of one of the most celebrated violin tutors of his day, so it is not surprising that when his son began to show a precocious aptitude for music, he should have taken up the violin – at the age of six, reportedly, and without any formal teaching – as well as the piano. The instrument remained important to him in his youth, and indeed he played it regularly in the Salzburg court orchestra and on tours. In 1777, when he was visiting Augsburg, Leopold wrote encouragingly to him: ‘You yourself do not know how well you play the violin, if you will only do yourself credit and play with energy, with your whole heart and mind, yes, just as if you were the first violinist in Europe.’ It was only when Mozart left the Salzburg court for Vienna in 1781, and so escaped from the direct influence of his father, that he concentrated his efforts as a public performer on the piano, reserving the violin (or more often the viola) for private musical parties.

violin concerto no. 5 in a major janine Jansen violin 1 Allegro aperto (cadenza by Joseph Joachim) 2 Adagio 3 Tempo di Minuetto – Allegro – Tempo di Minuetto

Of the five concertos, the last – dated 20 December 1775 – is the most mature, and the most ambitious, despite having no more than the standard Salzburg orchestration of strings, two oboes and two horns. The first movement has the unusual marking of Allegro aperto, suggesting openness or straightforwardness; its most unusual feature is the soaring six-bar Adagio with which the solo violin makes its initial entry. The same tempo marking, and the same concentration on the lyrical upper register of the solo instrument, mark the E major slow movement. The finale is a rondo in minuet time, which was a familiar enough way of ending a mid-18th-century concerto; less expected is the appearance of a minor-key central episode in 2/4 time and in the currently fashionable ‘Turkish’ style, with the usual noisy percussion impersonated by the cellos and basses. This movement also boasts one of Mozart’s wittiest endings.

Not surprisingly, all Mozart’s five full-scale concertos for solo violin date from his early years: the first probably from April 1773, the rest from the period between June and December 1775 – the months leading up to his 20th birthday. It is known that some of the concertos were played by the Italian-born leader of the Salzburg orchestra, Antonio Brunetti; and there is a reference in one of Leopold Mozart’s letters to a concerto written for another Salzburg violinist, Johann Anton Kolb. But there is also evidence that Mozart himself played at least one of them in public; and it is easy to imagine that they reflect his own technique and personality as a violinist – not least in the many opportunities they present for improvised transitions as well as full-scale cadenzas.

INTERVAL – 20 minutes An announcement will be made five minutes before the end of the interval. London Philharmonic Orchestra | 9

PROGRAMME NOTES

Peter Ilyich TCHAIKOVSKY 1840–93

Tchaikovsky composed his Manfred Symphony in just over four months in the spring and summer of 1885, three years before his Fifth Symphony; the first performance took place in Moscow in March 1886. The Symphony is unnumbered – and perhaps on that account unduly neglected – because it is overtly a programmatic symphony, based on a pre-existing narrative, in the tradition of Berlioz’s influential Symphonie fantastique and Harold in Italy. The programme was drawn up by the Russian critic Vladimir Stasov for the composer Mily Balakirev, and later passed on by Balakirev to Tchaikovsky with numerous musical suggestions, many of which he ignored. It is based loosely on Byron’s poetic drama Manfred, completed and published in 1817. The first movement of the Symphony introduces the central figure of the poem, Manfred, who lives in an alpine castle and recklessly roams the peaks, shunning the company of men and communing with the spirit world, in an attempt to expiate his guilt over his illicit love for his late sister Astarte. Two themes at the very outset suggest his state of mind, the first dark and despondent and dominated by a falling phrase, the second suggesting the weight of his guilt in its repeated downward plunges and painful ascents: these form the basis of an extended slow section, which culminates in a blazing climax. A more lyrical group of themes in triple time represents Manfred’s memories of Astarte; and in the final section, marked Andante con duolo (‘griefstricken’), his first theme returns, also in triple time, at a peak of intensity.

Manfred: symphony in four scenes after Byron’s dramatic poem, Op. 58 1 2 3 4

Lento, lugubre – Moderato con moto – Andante – Andante con duolo Vivace con spirito Pastorale: Andante con moto Allegro con fuoco – Lento – Tempo I – Andante – Andante quasi moderato – Andante con duolo – Allegro – Largo

The second movement was suggested by an episode in the poem in which ‘The Alpine Fairy appears to Manfred beneath the rainbow of the waterfall’. It is a balletic scherzo of dazzling brilliance, with a more melodic Trio presumably representing the Fairy’s own song. Manfred’s first theme reappears in the course of this Trio, and also towards the end of the reprise of the scherzo. The third movement is a ‘Pastorale’, subtitled ‘The simple, free and peaceful life of the mountain folk’. It presents a whole sequence of picturesque ideas, with the falling phrase from Manfred’s first theme and a tolling bell casting only a momentary shadow over the sunlit landscape. The finale, which departs substantially from Byron’s narrative, depicts a subterranean bacchanal; the spirit of Astarte appears, and pardons Manfred for his sins before he dies. The movement begins with a resolute march, which is then swept up into a wild dance – in the course of which fragments of Manfred’s first theme reappear once more. There is a slow interlude, of solemn chords leading to Manfred’s dragging second theme, before the dance is resumed in fugal texture. Manfred’s first theme alternates with fragments of the dance; after a pause, Astarte’s music from the first movement returns, even more radiant than before. There is a reprise of the impassioned Andante con duolo statement of Manfred’s first theme from the first movement, followed by an episode of gathering speed and excitement, and a solemn conclusion coloured by the sound of the organ and by repetitions in the bass of the first phrase of the funeral chant Dies irae. Programme notes by Anthony Burton © 2011

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Virtual Christmas gifts from the London Philharmonic Orchestra Virtual gifts are a lighthearted way to share the power and beauty of music this Christmas whilst supporting the charitable objectives of the London Philharmonic Orchestra. Whether you are helping us to produce worldclass concerts or providing an inner London child with a first experience of live music, your gift will have an impact long after the tinsel has come down. Gifts of just £15 can support one of the iconic solo moments of the Orchestra’s 2012 season. Alternatively you can help the Orchestra to make a difference by taking music into schools throughout South London. For full details on how to give the gift of music this Christmas visit lpo.org.uk/virtualgifts or call Elisenda Ayats on 020 7840 4225. We will send a card direct to the recipient, or to you if you prefer, to let them know what their gift is supporting. 1. Take a Bow £15 Your opportunity to support a sensational solo from a London Philharmonic Orchestra musician during one of next Spring’s concerts. Each gift includes a card and a 10% discount voucher for a Spring 2012 London Philharmonic Orchestra concert of the recipient’s choice. • • • • • • • •

Cello tune from Dvořák Symphony No. 8 (Wednesday 8 February 2012) Flute solo from Dvořák Symphony No. 8 (Wednesday 8 February 2012) Oboe solo from Brahms Violin Concerto (Wednesday 22 February 2012) Violin solo from Elgar Symphony No. 1 (Saturday 24 March 2012) Horn solo from Brahms Symphony No. 1 (Wednesday 18 April 2012) The biggest bang in the world première of Kalevi Aho’s Percussion Concerto (Wednesday 18 April 2012) Clarinet solo from Tchaikovsky Symphony No. 4 (Saturday 28 April 2012) Opening fanfare from Tchaikovsky Symphony No. 4 (Saturday 28 April 2012)

2. Adopt A Class £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school and help them to overcome their disabilities through music. Gift includes a card and a 10% discount voucher for a Spring 2012 London Philharmonic Orchestra concert of the recipient’s choice. 3. Roll Call £40 Help us to liven up an assembly in one of South London’s schools by sending in a group of LPO musicians. Gift includes a card and a 10% discount voucher for a Spring 2012 London Philharmonic Orchestra concert of the recipient’s choice. 4. Centre Stage £50 Your gift will help us to offer the opportunity for a South London school child to perform on the Royal Festival Hall stage as part of our Next Generation Prokofiev project in the New Year. Gift includes an invitation to see the culmination of our Prokofiev schools composition project on 1 February 2012, and a 10% discount voucher for a Spring 2012 London Philharmonic Orchestra concert of the recipient’s choice. You can also buy a gift of a year’s membership of London Philharmonic Orchestra Friends or LPO Contemporaries. For full details visit lpo.org.uk/gifts In order to guarantee delivery by Christmas please order by Monday 19 December 2011. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No 238045.

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London Philharmonic Orchestra

Annual Appeal 2011/12 in aid of the Community Programme Despite living close to Royal Festival Hall, many people in South London have never visited the venue or heard an orchestra perform. We are committed to our work in the community to ensure that as many people as possible can access and enjoy music of the highest quality. There are three dynamic projects within the Community Programme, providing inspirational musical opportunities for children and their families. Animate Orchestra is a young person’s ‘orchestra for the 21st century’, offering young people in Lewisham and Greenwich a creative pathway for them to continue their playing as they make the transition from primary to secondary education – a time when many young musicians give up. Young people make music side by side with London Philharmonic Orchestra musicians. The Band is the Orchestra’s fusion ensemble for young people in South London, at which they improvise, create, and rehearse their own music – from classical to jazz, hip hop, rock, and more. Members have inspirational contact with London Philharmonic Orchestra players, in sessions led by some of the UK’s leading tutors. Earlier this evening The Band gave an exciting performance of new music on the Clore Ballroom Floor, inspired by Julian Anderson's piece Fantasias and Forkbeard Fantasy's visual installation at Southbank Centre. FUNharmonics are our Family Concerts – an interactive introduction for all the family to music and the orchestra, presented by Chris Jarvis of CBeebies. Free foyer activities before and after the concert include Have-a-Go sessions where children can try out a range of orchestral instruments with our musicians; and the Human Orchestra – fun rhythmic sessions where music is performed using body percussion, singing, drumming, and clapping. Your Support In order to undertake this essential work we depend entirely on donations from charitable sources each year, and we are asking you to help us to support this work in the communities surrounding the South Bank. If you do feel able to contribute to this year’s Appeal we would be extremely grateful. Gifts of any size make a real difference; to donate please contact Elisenda Ayats on 020 7840 4225 or elisenda.ayats@lpo.org.uk. For more information, and to donate online, please visit lpo.org.uk/support_us/appeal And now, for the first time, you can also donate up to £10 to the Orchestra via text message – see page 8 for more details.

12 | London Philharmonic Orchestra

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 Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie and Zander Sharp Eric Tomsett Mrs Sonja Drexler Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas

David Ellen Commander Vincent Evans Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Pauline & Peter Halliday Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Bill Yoe

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

Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Appleyard & Trew LLP AREVA UK British American Business Charles Russell Destination Québec – UK Lazard Leventis Overseas Man Group plc Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria Trusts and Foundations Arts and Business Allianz Cultural Foundation

Angus Allnatt Charitable Foundation The Boltini Trust Britten-Pears Foundation The Candide Charitable Trust The Coutts Charitable Trust The Delius Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Fenton Arts Trust The Foyle Foundation The Jeniffer and Jonathan Harris Charitable Trust Hattori Foundation for Music and the Arts Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust The Leverhulme Trust Lord and Lady Lurgan Trust Maurice Marks Charitable Trust Marsh Christian Trust The Mercers’ Company

Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Serge Prokofiev Foundation Serge Rachmaninoff Foundation The Reed Foundation The Seary Charitable Trust The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Steel Charitable Trust The Stansfield Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Thistle Trust The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous London Philharmonic Orchestra | 13

Recent recordings

on the London Philharmonic Orchestra label Jukka-Pekka Saraste conducts Sibelius’s Symphony No. 5 and Pohjola’s Daughter, and Lutosławski’s Concerto for Orchestra ‘This has to be one of the best recordings around of Sibelius’s Fifth. And Lutosławski’s Concerto can never have been more brilliantly played.’ Classic FM magazine, December 2011 Supported by the Adam Mickiewicz Institute as part of the Polska Music grant programme LPO-0057

Vladimir Jurowski conducts Honegger’s Pastorale d’été, Symphony No. 4 and Une Cantate de Noël ‘[The Fourth Symphony] is full of charm and tactile invention, vividly realised in this live recording.’ The Sunday Times, 30 October 2011

LPO-0058

The perfect gift for Christmas Treat someone to a London Philharmonic Orchestra CD subscription and they will receive all the new releases on the LPO Label, mailed before the CDs are available in the shops.

• Full year CD subscription: £79.99 10 CDs (worth at least £100)

• Half year CD subscription: £44.99 5 CDs (worth at least £50)

• Both subscriptions include exclusive pre-release mailing Buy online lpo.org.uk/gifts Or call the London Philharmonic Orchestra box office: 020 7840 4242

14 | London Philharmonic Orchestra

Full festival details at lpo.org.uk/prokofiev, or pickhighlights up a brochure in the Royal Festival Hall foyer Festival include

13 January — 1 February Friday 13 January 2012 | 7.30pm 2012 JTI FRIDAY SERIES

Prokofiev Suite, Lieutenant Kijé Prokofiev Cello Concerto, Op. 58 Prokofiev Symphony No. 7

Get closer to Sergei Prokofiev

Alexander Vedernikov conductor A festival Danjulo Ishizakacurated cello

by Vladimir Jurowski

— The world première of an oratorio version of Prokofiev’s Ivan the Terrible Wednesday 25 January 2012 | 7.30pm — Prokofiev’s incidental music to Egyptian Nights with excerptsProkofiev from texts by Bernard Chout (excerpts Shaw, from concert suite) Pushkin and Shakespeare by Simon Callow Prokofiev Pianoread Concerto No. 4 (for the left hand) — Excerpts fromProkofiev ballets Cinderella and Chout (The Cinderella (excerpts) Buffoon) Jurowski — Free classicalVladimir club night with conductor Gabriel Prokofiev Fleisher piano and Rambert Leon Dance Company

lpo.org.uk/prokofiev

Saturday 28 January 2012 | 7.30pm 6.00–6.45pm FREE pre-concert event Royal Festival Hall Prokofiev Incidental music to 'Egyptian Nights'* Get closer to one of the Professor Alexander Ivashkin explores the importance of Prokofiev (arr. Levon Atovmyan) Ivan the Terrible most misunderstood men the cello to Prokofiev. (world première of this version)**

in 20th-century music

Wednesday 18 January 2012 | 7.30pm Prokofiev Symphonic Song, Op. 57 Prokofiev Piano Concerto No. 5 Prokofiev Symphony No. 6

Vladimir Jurowski conductor Ewa Podleš contralto Andrey Breus baritone Simon Callow narrator London Philharmonic Choir

Vladimir Jurowski conductor Steven Osborne piano

* With texts by George Bernard Shaw, Pushkin and Shakespeare ** Generously supported by The Serge Prokofiev Foundation

6.00–6.45pm FREE pre-concert performance Royal Festival Hall Prokofiev’s String Quartet No. 1 and Quintet, performed by musicians from the Royal College of Music.

Wednesday 1 February 2012 | 7.30pm

Sunday 22 January 2012 | 3.30pm The Prokofiev Diaries

Prokofiev Symphony No. 1 in D major (Classical) Prokofiev Violin Concerto No. 2 in G minor Prokofiev Symphony No. 5 in B-flat major Yannick Nézet-Séguin conductor Janine Jansen violin

Readings from the diaries and other autobiographical writings, alongside musical extracts. Vladimir Jurowski conductor Simon Callow as Prokofiev Joan Rodgers soprano Piers Lane piano

Booking details

Concert generously supported by Mr Leonid and Mrs Olga Makharinsky

Southbank Centre Box Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk (transaction fees apply)

Tickets £9–£39 | Premium seats £65 London Philharmonic Orchestra Box Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk (no transaction fee)

In person at Royal Festival Hall Box Office Daily 10.00am–8.00pm (no transaction fee)

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Administration

Board of Directors

General Administration

Orchestra Personnel