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

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 6 April 2013 | 7.30pm

HANS GRAF conductor SALLY MATTHEWS soprano andrew kennedy tenor rodion pogossov baritone London Philharmonic Choir trinity boys choir

stravinsky Symphony of Psalms (22’) Interval orff Carmina Burana (65’) Concert introduced by Julian Anderson, London Philharmonic Orchestra Composer in Residence.

Free pre-concert event 6.15–6.45pm | Royal Festival Hall Hans Graf looks at the Symphony of Psalms and the lasting appeal of Carmina Burana.

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

PROGRAMME £3 CONTENTS 2 Welcome 3 Tonight’s works in context 4 About the Orchestra 5 Leader 6 On stage tonight 7 Hans Graf 8 Sally Matthews / Andrew Kennedy 9 Rodion Pogossov / Trinity Boys Choir 10 London Philharmonic Choir 11 Programme notes 13 Symphony of Psalms text 14 Programme notes contd. 16 Carmina Burana text 28 Next concerts 29 LPO Chamber Contrasts at Wigmore Hall 30 Birthday Appeal update 31 Supporters 32 LPO administration The timings shown are not precise and are given only as a guide.

Welcome

WELCOME TO SOUTHBANK CENTRE We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email 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.

Southbank Centre’s The Rest Is Noise, inspired by Alex Ross’s book The Rest Is Noise Presented by Southbank Centre in partnership with the London Philharmonic Orchestra. southbankcentre.co.uk/therestisnoise The Rest Is Noise is a year-long festival that digs deep into 20th-century history to reveal the influences on art in general and classical music in particular. Inspired by Alex Ross’s book The Rest Is Noise, we use film, debate, talks and a vast range of concerts to reveal the fascinating stories behind the century’s wonderful and often controversial music. We have brought together the world’s finest orchestras and soloists to perform many of the most significant works of the 20th century. We reveal why these pieces were written and how they transformed the musical language of the modern world. Over the year, The Rest Is Noise focuses on 12 different parts. The music is set in context with talks from a fascinating team of historians, scientists, philosophers, political theorists and musical experts as well as films, online content and other special programmes. If you’re new to 20th-century music, then this is your time to start exploring with us as your tour guide. There has never been a festival like this. Jude Kelly Artistic Director, Southbank Centre

2 | London Philharmonic Orchestra

Tonight’s works in context

1880

1882 Igor Stravinsky born in Oranienbaum, Russia 1886 First sales of Coca-Cola in the USA, originally marketed as a patent medicinal remedy

1890 1895 Carl Orff born in Munich

1900

1897 Marconi awarded a patent for radio communication 1901 Death of Queen Victoria 1906 Kellogg’s began selling Corn Flakes

1910 1920 1930

1908 First commercial radio transmission 1912 Sinking of the RMS Titanic. Premiere of Schoenberg’s Pierrot Lunaire in Berlin 1914 Outbreak of World War I 1918 End of World War I 1922 Creation of the Soviet Union (USSR) 1929 Wall Street Crash 1930 Premiere of Stravinsky’s Symphony of Psalms in Brussels 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham 1937 Premiere of Orff’s Carmina Burana in Frankfurt

1940

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

1950

1949 Orwell’s Nineteen Eighty-Four published 1953 Death of Joseph Stalin 1955 Vietnam War began

1960 1970

1962 Cuban Missile Crisis 1963 Assassination of John F Kennedy in Dallas, Texas 1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 Death of Stravinsky in New York 1977 First Star Wars film released

1980

1980 John Lennon assassinated 1982 Death of Orff in Munich London Philharmonic Orchestra | 3

‘The LPO’s playing throughout was exceptional in its warmth, finesse and detail.’ The Guardian (23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler)

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 giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities.

American works with Marin Alsop; Haydn and Strauss with Yannick Nézet-Séguin; and the UK premiere of Carl Vine’s Second Piano Concerto with pianist Piers Lane under Vassily Sinaisky. Throughout 2013 the Orchestra is collaborating with Southbank Centre on The Rest Is Noise festival, based on Alex Ross’s book of the same name and charting the 20th century’s key musical works and historical events.

The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

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, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 concerts there each season. 2012/13 highlights include three concerts with Vladimir Jurowski based around the theme of War and Peace in collaboration with the Russian National Orchestra; Kurt Weill’s The Threepenny Opera, also conducted by Jurowski; 20th-century

4 | London Philharmonic Orchestra

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in

© Patrick Harrison

London Philharmonic Orchestra

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra maintains an energetic programme of activities for young people and local communities. Highlights include the Deutsche Bank BrightSparks Series; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent 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 lively presence on Facebook and Twitter. Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

London Philharmonic Orchestra 2013/14 season concerts – on sale now! Our 2013/14 season concerts at Royal Festival Hall are now on sale. Browse and book online at www.lpo.org.uk/newseason, pick up a copy of the season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to request a copy of the brochure or to book by phone.

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

© Patrick Harrison

2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy.

Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.  Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.   In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam Philharmonic Orchestra. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance. London Philharmonic Orchestra | 5

On stage tonight

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

Ilyoung Chae Chair supported by Moya Greene

Katalin Varnagy Chair supported by Sonja Drexler

Tom Eisner Martin HĂśhmann Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Benjamin Roskams Alina Petrenko Caroline Frenkel Galina Tanney Second Violins Jeongmin Kim Principal Joseph Maher Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Eugene Lee Helena Nicholls Sioni Williams Alison Strange Peter Graham Stephen Stewart Sheila Law

Violas Jonathan Barritt Guest Principal Robert Duncan Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Michelle Bruil Daniel Cornford Naomi Holt Alistair Scahill Rebecca Carrington Cellos Caroline Dale Guest Principal Francis Bucknall Laura Donoghue Gregory Walmsley Sue Sutherley Susanna Riddell Tom Roff Pavlos Carvalho Tae-Mi Song David Bucknall Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Helen Rowlands Jeremy Watt Tom Walley Flutes Juliette Bausor Guest Principal Sue Thomas Chair supported by the Sharp Family

Joanna Marsh Sarah Bennington

Piccolos Stewart McIlwham* Principal Sue Thomas Oboes Ian Hardwick Principal Angela Tennick Helen Barker Fraser MacAulay Cor Anglais Sue Bohling Principal Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Katie Lockhart Bass Clarinet Paul Richards Principal E-flat Clarinet Katie Lockhart

Daniel Newell David Hilton William O’Sullivan Piccolo Trumpet Daniel Newell Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal Barnaby Archer Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Bassoons Joost Bosdijk Guest Principal Gareth Newman* Stuart Russell

Keith Millar Jeremy Cornes Ignacio Molins Eddy Hackett Sarah Mason

Contrabassoon Simon Estell Principal

Harp Rachel Masters* Principal

Horns John Ryan* Principal David Pyatt* Principal Gareth Mollison Mark Vines Co-Principal Jonathan Bareham Trumpets Nicholas Betts Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Chair supported by Friends of the Orchestra

Pianos Catherine Edwards John Alley Celeste Cliodna Shanahan * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose player is not present at this concert: Caroline, Jamie & Zander Sharp

6 | London Philharmonic Orchestra

Hans Graf

© Lev Berenshteyn

conductor

Known for his wide range of repertoire and creative programming, the distinguished Austrian conductor Hans Graf is one of today’s most highly respected musicians. He was chosen to be the Music Director of the Houston Symphony in 2000 and began his tenure with the orchestra in September 2001. Prior to his appointment in Houston, he was Music Director of the Calgary Philharmonic Orchestra for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984–94. Hans Graf is a frequent guest with all the major North American orchestras. His recent and upcoming guest engagements include appearances with the Cleveland and Philadelphia orchestras; the New York and Los Angeles Philharmonics; the Boston, San Francisco, St Louis, Cincinnati, Detroit, Dallas, Baltimore, Vancouver, Indianapolis and National symphony orchestras; and the St Paul Chamber Orchestra, among others. He made his Carnegie Hall debut with the Houston Symphony in January 2006 and returned leading the Orchestra of St Luke’s in March 2007. He and the Houston Symphony were re-invited to appear at Carnegie Hall in January 2010, when they presented the New York premiere of The Planets – An HD Odyssey, featuring exclusive high-definition images from NASA’s exploration of the solar system accompanied by Holst’s famous work, The Planets. Hans Graf and the Houston Symphony returned to Carnegie Hall once again in May 2012 to participate in the venue’s ‘Spring for Music’ festival. Hans Graf’s recent and upcoming international appearances include the Deutsches Symphonie Orchester Berlin, the Orchestre National Bordeaux Aquitaine, and the Bavarian Radio Symphony, Vienna Philharmonic, Vienna Symphony, Leipzig Gewandhaus, Royal Concertgebouw and Danish Radio Symphony orchestras, as well as the St Petersburg Philharmonic, Budapest Festival, Rotterdam Philharmonic, Netherlands Radio Philharmonic, Sydney Symphony, Hong Kong Philharmonic and Malaysian Philharmonic orchestras.

In October 2010, Graf led the Houston Symphony on a tour of the UK including performances in Birmingham, Edinburgh, Leeds, Manchester, and two concerts at the Barbican in London. Graf and the Houston Symphony gave two concerts in Moscow as part of the Festival of World Symphony Orchestras in June 2012. Hans Graf has participated in such prestigious European festivals as the Maggio Musicale Fiorentino, Bregenz and Aix-en-Provence, and appeared at the Salzburg Festival for 12 consecutive seasons. His recent US festival appearances include Tanglewood, Blossom Music Festival, Aspen Music Festival, Bravo! Vail Valley Music Festival and the Grant Park Music Festival in downtown Chicago. An experienced opera conductor, Hans Graf first conducted the Vienna State Opera in 1981 and has since led productions in the opera houses of Berlin, Munich, Paris and Rome, among others. His extensive opera repertoire includes several world premieres. Recent opera engagements include Parsifal at the Zurich Opera and Boris Godunov at the Opera National du Rhin in Strasbourg. Born in 1949 near Linz, Hans Graf studied violin and piano as a child. He earned diplomas in piano and conducting from the Musikhochschule in Graz and continued his conducting studies with Franco Ferrara in Siena, Sergiu Celibidache in Bologna and Arvid Jansons in Weimar and the former Leningrad. He served as Music Director of the Iraqi National Symphony Orchestra in Baghdad during the 1975/76 season, and the following year began coaching at the Vienna State Opera. His international career was launched in 1979 when he was awarded First Prize at the Karl Böhm Competition. Hans Graf has recorded for the EMI, Orfeo, CBC, Erato, Capriccio and JVC labels. His discography includes the complete symphonies of Mozart and Schubert, the premiere recording of Zemlinsky’s opera Es war einmal, and the complete works of Dutilleux for BMG Arte Nova. His recordings with the Houston Symphony include works by Bartok and Stravinsky for Koch International; Zemlinsky’s Lyric Symphony, Berg’s Three Pieces from the Lyric Suite and Mahler’s Das Lied von der Erde for Naxos; and a DVD of The Planets – An HD Odyssey, available through the Houston Symphony.

London Philharmonic Orchestra | 7

Andrew Kennedy

soprano

tenor

Sally Matthews was the winner of the 1999 Kathleen Ferrier Award. She studied at the Guildhall School of Music & Drama, was a member of the Young Artists Programme at the Royal Opera House, and was part of the BBC Radio 3 New Generation Artists scheme. She currently studies with Paul Farringdon. Plans for this season and beyond include the Countess in The Marriage of Figaro for the Royal Opera, Covent Garden; Konstanze in Die Entführung aus dem Serail for Glyndebourne Festival Opera; Blanche in Les Dialogues des carmélites at the Bayerische Staatsoper and the Netherlands Opera; and Jenůfa at La Monnaie, Brussels. Concert appearances include The Turn of the Screw with the London Symphony Orchestra; Ellen Orford in Peter Grimes with the Orchestra dell’Academia Nazionale di Santa Cecilia and Sir Antonio Pappano in Rome; Mahler’s Symphony No. 2 and Beethoven’s Symphony No. 9 with the Berlin Philharmonic and Sir Simon Rattle; Mendelssohn’s Lobgesang with the Mahler Chamber Orchestra; and Beethoven’s Cantata on the Death of Emperor Joseph ll with the San Francisco Symphony Orchestra. Past highlights have included the Countess in The Marriage of Figaro for Glyndebourne Festival Opera; Fiordiligi in Così fan tutte, Sifare in Mitridate and Anne Truelove in The Rake’s Progress at the Royal Opera House, Covent Garden; Cavalli’s La Calisto and Unsuk Chin’s Alice in Wonderland in Munich; the Governess in The Turn of the Screw at the Theater an der Wien; and Donna Anna in Don Giovanni at the Vienna Staatsoper. Concert appearances have included Brahms’s Requiem with Bernard Haitink and the Chamber Orchestra of Europe; Strauss’s Four Last Songs with Robin Ticciati and the Bamberg Symphony Orchestra; Orff’s Carmina Burana, Mahler’s Symphony No. 4 and Schumann’s Das Paradies und die Peri with the Berlin Philharmonic; and Messiaen’s Poèmes pour Mi with the London Symphony Orchestra and Daniel Harding. Sally has also appeared in recital at the Concertgebouw, Amsterdam; La Monnaie, Brussels; and Wigmore Hall, London. 8 | London Philharmonic Orchestra

© Benjamin Ealovega

© Johan Persson

Sally Matthews

Andrew Kennedy studied at King’s College, Cambridge, and the Royal College of Music in London. He was a member of the Young Artists Programme at the Royal Opera House and a BBC Radio 3 New Generation Artist. Highlights in his operatic career have included Tamino in The Magic Flute (English National Opera); Jaquino in Fidelio (Glyndebourne Festival Opera); Tom Rakewell in The Rake’s Progress (La Scala, La Monnaie, and Opéra de Lyon); Vere in Billy Budd and Peter Quint in The Turn of the Screw (Houston Grand Opera); Tito in La clemenza di Tito (Opéra de Lyon); Count Almaviva in The Barber of Seville (Welsh National Opera); and Ferrando in Così fan tutte (Turin). In concert, Andrew’s many appearances include Mozart’s Requiem with the LSO/Sir Colin Davis (recorded for LSO Live); Orfeo in Haydn’s Orfeo e Euridice (Boston Handel and Haydn Society/Norrington); Tobia in Il ritorna di Tobia (OAE/Norrington); Mozart’s Requiem and Young Man in Korngold’s Das Wunder der Heliane (LPO/Jurowski); Finzi’s Intimations of Immortality (BBCSO/Daniel); Mozart’s Mass in C minor (Hallé/Elder); Bach’s St Matthew Passion (Netherlands Philharmonic/Sir Colin Davis); Elgar’s The Spirit of England at the Last Night of the 2007 BBC Proms; Handel’s Il trionfo with the Gabrieli Consort; Britten’s Nocturne (BBC National Orchestra of Wales), Serenade for Tenor, Horn and Strings (CBSO, BBC Scottish Symphony Orchestra/BBC National Orchestra of Wales and at the BBC Proms with the Nash Ensemble/Edward Gardner) and Les Illuminations (Edinburgh International Festival/Scottish Ensemble and with the Orchestre de Picardie); and Handel’s Messiah (Tonhalle Zürich). The 2012/13 season includes Beethoven’s Symphony No. 9 (Philharmonia Orchestra); Bliss’s The Beatitudes (BBC Philharmonic); Britten’s Serenade for Tenor, Horn and Strings (Helsinki Philharmonic); Handel’s Messiah (Opéra de Lyon); The Barber of Seville (English National Opera); Quint in The Turn of the Screw (LSO); Tamino in The Magic Flute (Toulon); and Belfiore in La finta giardiniera (Buxton Festival).

© Igor Muhin

Rodion Pogossov

Trinity Boys Choir

baritone

David Swinson director Gillian Plummer chorus master

Born in Moscow, baritone Rodion Pogossov joined the Metropolitan Opera’s Lindemann Young Artist Development Program at the beginning of the 2000/01 season and made his Carnegie Hall debut with the Metropolitan Opera Chamber Ensemble singing Stravinsky’s Renard under the baton of James Levine. The following season, 2002/03, also saw him give a Carnegie Hall recital. Since then, his career has gone from strength to strength and he has sung roles such as Guglielmo in Così fan tutte with Glyndebourne Touring Opera, Papageno in The Magic Flute at the Bilbao Opera conducted by Jean-Christoph Spinosi, Onegin in Eugene Onegin at the Festival de Lanaudière conducted by Kent Nagano, and Figaro in The Barber of Seville at the Metropolitan Opera conducted by Yves Abel. Recently Rodion Pogossov has appeared in L’elisir d’amore with Oviedo Opera, Rachmaninoff’s The Bells with VARA Radio, Carmina Burana in Madrid with the National Orchestra of Spain, and Guglielmo in Così fan tutte at the Ravinia Festival under the baton of James Conlon. Rodion’s recent engagements have included a Mahler recital in Suntory Hall, Tokyo; Valentin in Faust at the Bilbao Opera; his debut at Michigan Opera Theatre as Figaro in The Barber of Seville, which was a resounding success; and Posa in Don Carlos at the Hamburgische Staatsoper, with which he has a close relationship and where he returns this season for Valentin in Faust. Future opera engagements include his LA Opera debut as Papageno in The Magic Flute, Guglielmo in Così fan tutte at the Metropolitan Opera, and his role debut as Don Giovanni at Oviedo Opera. Rodion’s solo recital disc for the prestigious EMI Debut Series received great acclaim, and will shortly be followed by a disc of Rachmaninoff songs with pianist Iain Burnside, which is currently in production.

Trinity Boys Choir was founded almost 50 years ago by David Squibb, and has been directed by David Swinson since 2001. The boys frequently appear on such prestigious stages as the Royal Opera House, Covent Garden; Glyndebourne Festival Opera; English National Opera; and at various opera houses abroad including the Opéra-Comique, Paris; La Fenice, Venice; and at the Aixen-Provence Festival. The Choir is especially well known for its role in Britten’s A Midsummer Night’s Dream, in which it has appeared in over 150 professional performances and on a Warner DVD, a Virgin Classics CD and a Glyndebourne own-label CD. On the concert platform, the Choir is regularly invited to perform at the BBC Proms, and was honoured to take part in Her Majesty the Queen’s 80th Birthday Prom at the Royal Albert Hall in 2006. The boys have performed with all the major London orchestras, and with Sir John Eliot Gardiner and his Monteverdi Choir in Spain, Germany, Italy and the UK. Trinity Boys Choir has also been invited to perform in Vienna with the Vienna Boys Choir, as well as throughout Europe and Asia. Soloists from the Choir have recently appeared at the Krakow Film Festival and at Amsterdam’s Concertgebouw. The Choir’s many recordings include John Rutter’s opera Bang!, which was written for the boys; Britten’s A Boy Was Born with the BBC Symphony Chorus; and Walton’s Henry V with the BBC Symphony Orchestra and the BBC Singers. TV appearances have included The Royal Variety Performance, the Pride of Britain Awards and Children in Need.

Tonight’s singers: Tomi Adenuga, Billy Bearman, Alfie Bennett, Caleb Broomfield, Harry Cookson, Gabriel Crozier, Alexander Dantas, Owen Davis, Michael Eagling, Charlie Gill, Daniel Giffin, Robert Good, Isaac Hilsley, Joshua Kenney, Daniel Le Maitre-George, Fintan O’Connor, Ben Osland, Shiv Patel, David Read, Luke Regan-Daley, Ritvik Rathore, Luke Saville, Milind Sood, William Stone

London Philharmonic Orchestra | 9

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

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for over 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2012/13, concerts with the LPO have included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem and Elgar’s The Dream of Gerontius. Members of the Choir have just returned from Paris performing Weill’s The Threepenny Opera with the LPO at the Théâtre des Champs-Élysées, which was also repeated in London. Forthcoming engagements in the Southbank Centre’s The Rest Is Noise festival include Tippett’s A Child of Our Time, Britten’s War Requiem, Poulenc’s Stabat mater, Shostakovich’s Symphony No. 13, Arvo Pärt’s Magnificat and Berlin Mass, and John Adams’s El Niño. Recently released CDs with the London Philharmonic Orchestra include Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin, Holst’s The Planets and Mahler’s Symphony No. 2 with Vladimir Jurowski, and Beethoven’s Missa Solemnis with Christoph Eschenbach. Sopranos Mary Bateman, Tessa Bartley, Laura Beeley, Laura Buntine, Gemma Chance, Paula Chessell, Esther Chiang, Alana Clark, Emily Clarke, Sheila Cox, Lucy Doig, Rosha Fitzhowle, Jane Hanson, Sally Harrison, Carolyn Hayman, Frances Holles, Georgina Kaim, Judith Kistner, Ilona Kratochvilova, Roseanna Levermore, Suzannah Lipmann, Natasha Maslava, Janey Maxwell, Marj McDaid, Linda Park, Lydia Pearson, Oktawia Petronella, Alexia Prakas, Rebecca Schendel, Leanne Singh-Levitt, Rachael Stokes, Louisa Sullivan, Tracey Szwagrzak, Susan Thomas, Agnes Tisza, Susan Watts, Frances Wheare Altos Joanna Arnold, Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Yvonne Cohen, Liz Cole, Elisa Dunbar, Carmel Edmonds, Regina Frank, Henrietta Hammonds, Sophy Holland, Marjana Jovanovic Morrison, Andrea Lane, Lisa MacDonald, Michelle Marple, Mary Moore, Sophie Morrison, Rachel Murray, Raluca Negriuc,

10 | London Philharmonic Orchestra

The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008 and 2010, and in 2011 appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. Last year it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. The Choir has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir also works with other leading orchestras, and last June joined forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral, recently released on CD by the LSO. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit www.lpc.org.uk

Linnea Olsson, Angela Pascoe, Carolyn Saunders, Mayuko Tanno, Erica Tomlinson, Philippa Walden, Jenny Watson Tenors Scott Addison, David Aldred, Geir Arne Andreassen, Christopher Beynon, Lorne Cuthbert, Kevin Darnell, Fred Fisher, Robert Geary, Josh Haley, Iain Handyside, Stephen Hodges, Rylan Holey, Jesse Hollister, Patrick Hughes, Andrew Mackie, Tony Masters, Philip Padfield, Alex Thomas, Travis Winstanley, Hin-Yan Wong, Tony Wren, William Yates Basses David Booth, Gordon Buky-Webster, Geoff Clare, Rob Collis, Phillip Dangerfield, Marcus Daniels, Ian Frost, Nigel Grieve, Martin Harvey, Mark Hillier, Stephen Hines, Yaron Hollander, Martin Hudson, Steve Kirby, John Luff, John D Morris, John G Morris, Robert Northcott, Richard Pardon, Will Parsons, Johan Pieters, Tony Piper, David Regan, Fraser Riddell, John Salmon, Kevin Sebastian, Daniel Snowman, Peter Taylor, James Torniainen, James Wilson, John Wood

Programme notes

Speedread Tonight’s concert features two works in which the composers celebrate their respective roots. The Symphony of Psalms (1930) marked Igor Stravinsky’s return to his Russian Orthodox faith, while Carl Orff’s irrepressible cantata Carmina Burana (1937) revels in the bawdy poetry of his native Bavaria. As nefarious authorities came to power during the 1930s, questions about who you were and what you believed became paramount. When the Nazis

Igor Stravinsky 1882–1971

deemed Stravinsky’s music ‘degenerate’ in 1938, he belligerently shirked their accusations of cultural Bolshevism. The erotically charged Carmina Burana likewise fell foul of the new regime. Yet as soon as Orff’s popularity proved uncontainable, the Nazis embraced the composer as one of their own. Orff was all too willing to comply, becoming one of the most successful musicians under that devastating regime.

Symphony of Psalms London Philharmonic Choir Part I Part II Part III

The text is on page 13. By the time Stravinsky began work on his Symphony of Psalms in 1930, he had held the world’s musical imagination captive for two decades. With The Firebird in 1910, Petrushka (1911), The Rite of Spring (1913) and later works such as Les Noces (1923), Stravinsky had become the noble savage of European music. His nascent theatrical flair, riotous use of orchestral colour and barbarous rhythms tapped the feral roots of his native Russia as well as the spirit of an increasingly energetic age. During the 1920s, however, Stravinsky began to move away from Russian influences and embrace the structures and sounds of European music, such as the sonata, variation and fugue. Gone was the colour of his earlier theatre works and in came a new emotional detachment. This Neoclassicism, as it has been termed, provoked the opera-cum-oratorio Oedipus rex (1927) and the pellucid ballet score Apollo (1928).

Yet a figure as plural as Stravinsky was unlikely to stick to just one style. And one indication of the composer’s ongoing fascination with Russia was his return to the Orthodox faith in 1926. Three years later, his fellow Russian and theatrical advocate Sergey Diaghilev died. And it was out of this melée of mourning, Neoclassicism and renewed faith that the Symphony of Psalms was born. Serge Koussevitzky, another Russian-born émigré, had commissioned Stravinsky to write a new orchestral work for the Boston Symphony Orchestra’s 50th anniversary. On 12 December 1929 Stravinsky signed the contract, but by 6 January 1930 (Russian Christmas Eve) he had already begun to write down passages from the Latin translation of the Psalms. This was clearly not going to be an ordinary symphony. Around Easter, Stravinsky finished the finale, and he completed the first movement around the Feast of the Assumption on 15 August. London Philharmonic Orchestra | 11

Programme notes

He dutifully dedicated the work to Koussevitzky’s orchestra, though more revealing are the words ‘composée à la gloire de DIEU’ (‘composed to the glory of God’). In his book The Rest Is Noise, Alex Ross fittingly describes the first movement in terms of a large cathedral. Its jolting E minor chords, which punctuate otherwise sinuous music, are like great pillars within the building’s structure. In this imagined vaulted space we hear repentant parishioners. Slowly their appeals move from E minor to the relative key of G major, which in turn becomes the springboard (the dominant) for C minor, the key of the second movement. Here, Stravinsky generates an austere double fugue, with its contrapuntal strands finally combining as the singers ‘put their trust in the Lord’. When later describing the finale to the writer and conductor Robert Craft, Stravinsky said that it ‘was inspired by a vision of Elijah’s chariot climbing the Heavens; never before had I written anything quite so literal as the triplets for horns and piano to suggest the horses and chariot.’ That initial sense of attrition, however reverential, eventually gives way to a celebration, in which the Psalm’s list of instruments provides the basis for highly theatrical outbursts before ending with more hushed professions of faith.

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

‘It’s been tremendously exciting to look on as the works I discuss in The Rest Is Noise have come together in Southbank Centre’s festival. Twentieth-century classical music is an extraordinary creative achievement that has shaped so many aspects of what we hear now, classical or not. There will always be something smouldering at the heart of this repertoire, something dangerous and untamed, but placing the music in a broad cultural and historical context should help people to become more comfortable with it and to understand how it came to be.’ Alex Ross, author, The Rest Is Noise southbankcentre.co.uk/therestisnoise

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Stravinsky: Symphony of Psalms

I Exaudi orationem meam, Domine, et deprecationem meam: auribus percipe lacrimas meas. Ne sileas, quoniam advena ego sum apud te: et peregrinus, sicut omnes patres mei. Remitte mihi, ut refrigerer prius quam abeam: et amplius non ero.

Hear my prayer, O Lord, and give ear unto my cry; hold not Thy peace at my tears. For I am a stranger with Thee, and a sojourner, as all my fathers were. O spare me a little that I may recover my strength: before I go hence and be no more. Psalm 39: 12–13 (King James Version)

II Expectans expectavi Dominum: et intendit mihi. Et exaudivit preces meas; et eduxit me de lacu miseriae, et de luto fæcis. Et statuit super petram pedes meos: et direxit gressus meos. Et immisit in os meum canticum novum: carmen Deo nostro. Videbunt multi, videbunt et timebunt: et sperabunt in Domino.

I waited patiently for the Lord; and He inclined unto me, and heard my cry. He brought me up also out of an horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings. And He hath put a new song in my mouth, even praise unto our God. Many shall see it, and fear, and shall trust in the Lord. Psalm 40: 1–3 (King James Version)

III Alleluia. Laudate Dominum in sanctis Ejus. Laudate Eum in firmamento virtutis Ejus. Laudate Eum in virtutibus Ejus. Laudate Eum secundum multitudinem magnitudinis Ejus. Laudate Dominum in sanctis Ejus. Laudate Eum in sono tubae. Laudate Eum in timpano et choro. Laudate Eum in chordis et organo. Laudate Eum in cymbalis benesonantibus. Laudate Eum in cymbalis jubilationibus. Laudate Dominum. Laudate Eum, omnis spiritus laudet Dominum, omnis spiritus laudet Eum. Alleluia. Laudate, laudate, laudate Dominum.

Alleluia. Praise God in his sanctuary: Praise Him in the firmament of His power. Praise Him for His mighty acts: Praise Him according to His excellent greatness.

Praise Him with the sound of the trumpet. Praise Him with the timbrel and dance. Praise Him with stringed instruments and organs. Praise Him upon the loud cymbals. Praise Him upon the high sounding cymbals. Let everything that hath breath praise the Lord. Alleluia. Praise the Lord. Psalm 150 (King James Version)

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Programme notes

Carl Orff 1895–1982

Carmina Burana Sally Matthews soprano Andrew Kennedy tenor Rodion Pogossov baritone London Philharmonic Choir Trinity Boys Choir

The text begins overleaf. Like Stravinsky, Carl Orff was a somewhat plural figure within musical modernism. He embraced a wide range of musical styles, looked to the past for his models and fused them within a dramatic idiom. Unlike Stravinsky, Orff did not remain impervious to the political shifts of his time. Having been a vocal adherent of left-wing educational policies in the 1920s, he became entangled within the Nazi machine. At first, the Party was sceptical about his feral cantata Carmina Burana (1937). In the wake of its unbridled popularity, however, the Nazis found it convenient to embrace Orff’s hit. He was unlikely (and unwilling) to object, making huge sums but forever tainting his music by association. Orff was born in Munich in 1895. He studied there and worked as Kapellmeister at the city’s esteemed Kammerspiele. Drafted into the army during World War I, he was later deemed unfit for service and returned home, splitting his time between studying the music of the 16th and 17th centuries – producing several realisations of works by Monteverdi – and developing new educational processes. These ‘elemental’ ideas began first in dance, but were applied by Orff to music and to verbal and physical expression. This sense of community, as well as his interest in the music and culture of the past (not least his Bavarian origins), provided the groundwork for what would become Orff’s most popular work. Carmina Burana is a collection of over 250 satirical medieval poems, created by an alcoholic group of clerical students. The texts poke fun at what they see as a hypocritical church, before indulging in erotic fantasy and pondering ideas of fate and fortune. The illustrated manuscript was found in 1803 in the Benedictine monastery of Benediktbeuern and became

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an important document in Bavarian history and culture. The discovery of these texts coincided with the völkisch movement within Romanticism, celebrating the origins of Germany – often aligned with patriotic and antiurban principles – which later became part and parcel of Nazi ideology. After the premiere of Orff’s setting of 24 texts from the manuscript – selected by the composer in collaboration with the classicist Michel Hofmann – the Nazi-endorsed Völkischer Beobachter newspaper called the cantata ‘Bavarian Niggermusik’. But Orff’s popularity was unstoppable, so the Nazis quietly adopted the piece. Yet despite these unshakable associations and Orff’s consequent chilling opportunism, Carmina Burana remains an infectious and brilliantly orchestrated work. Echoing the wheel of fortune that illustrates the original poems and Orff’s score alike, the cantata is cyclical, bookended by a poem about the cruel hand of fate. Orff’s D minor ‘O Fortuna’ makes a huge impact, full of chugging rhythms, building to a scorching climax. ‘Fortune piango vulnera’ can only offer a bruised chant in its wake. Spring arrives, albeit cast in melancholic colours. The basses and altos’ mournful mantra could not be further from the ‘joyous face of spring’ described in the text. The tenors and sopranos likewise fail to provide cheer, and the baritone soloist’s descriptions of April return to a brooding D minor. Suddenly, the mood breaks, shifting in F major with a jovial ‘Ecce gratum’. Here, Orff’s jangling orchestrations come to the fore with a five-person percussion section and two pianos.

The next part of the cantata – ‘Uf dem Anger’ – is more highly charged. The opening dance, tonally stable but Stravinsky-like in its rhythmic inconsistencies, triggers a waltzing ‘Floret silva’. The peasants are clearly on heat and in the sopranos’ spry ‘Chramer, gip die varwe mir’ (moving from Latin into Middle High German) and the harmonically lush humming that follows, sex is never far away. Building to a fanfaric climax in ‘Were diu werlt alle min’, members of the chorus imagine the Queen of England lying in their arms. ‘In the Tavern’, lustful ambitions have come to nothing and the men are bitter – the upper voices absent from this testosterone-charged section. After the baritone’s braying introduction, we hear a swan roasting on the fire. Squealing bassoons and a gruellingly high tenor solo provide a picture of ironic emasculation. The abbot of Cockaigne is having none of it, however, and his ‘gesturing and mocking’ incantations provoke the riotous drinking song ‘In taberna quando sumus’.

After such muscularity, Orff moves to the ‘Cour d’amours’. This is the domain of a boys’ choir and the soprano soloist. The melancholic tone of ‘Primo vere’ returns; sexual frustration is palpable in the baritone’s ‘Dies, nox et omnia’. The soprano responds with her coquettish ‘Stetit puella’, which in turn triggers the virile ‘Circa mea pectora’. The tavern brawlers reappear and chase the women in ‘Veni, veni, venias’. Caught, the soprano soloist acquiesces with an amorous but, according to the score, ‘always veiled’ solo ‘In trutina’. With the women having conceded, the soloists, boys, chorus and orchestra join together in ‘Tempus est iocundum’, a wild carnival of sexual congress, out of which the soprano’s leaping ‘Dulcissime’ appears in orgasmic submission. The chorus greets the virginal heroines Blanchefleur, Helen and Venus, wild bells ring out, but Fortune stamps her foot once more. The wheel has turned, the peasants are powerless and Carmina Burana ends just as it began. Programme notes © Gavin Plumley

‘Carl Orff, who had participated in Leo Kestenberg’s socialistic education schemes in the Weimar period, scored a surprise hit in Nazi Germany with his cantata Carmina Burana. With its exotic percussion writing (modelled on Stravinsky’s Les Noces) and its syncopated “bounce”, Orff’s showpiece was far removed from Hitler’s favourite Wagner operas. The review in the Völkischer Beobachter, the Nazi Party paper, identified it as “Bavarian Niggermusik”. Once the work had demonstrated huge popular appeal, however, Nazi aesthetics were adjusted to accommodate it. By 1944 Goebbels was gushing in his diary that Carmina Burana contained “extraordinary beauties”.’ Alex Ross, The Rest Is Noise (Fourth Estate)

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Orff: Carmina Burana

Fortuna Imperatrix Mundi

Fortune, Empress of the World

1 2

O fortune chorus I lament the wounds that Fortune deals chorus

O Fortuna Fortune piango vulnera

I – Primo vere

Springtime

3 4 5

The joyous face of spring All things are tempered by the sun Behold the welcome

Veris leta facies Omnia sol temperat Ecce gratum

Uf dem Anger

On the Green

6 7 8 9 10

Dance The forest flowers Salesman, give me coloured paint Round Dance They who here go dancing round Come, come, dear heart of mine They who here go dancing round If the whole world were but mine

Tanz Floret silva Chramer, gip die varwe mir Reie Swaz hie gat umbe Chume, chum, geselle min Swaz hie gat umbe (reprise) Were diu werlt alle min

II – In Taberna

In the Tavern

11 12 13 14

Seething inside Once in lakes I made my home I am the abbot of Cockaigne When we are in the tavern

Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus

III – Cour d’amours

Court of Love

15 16 17 18 19 20 21 22 23

Love flies everywhere Day, night and all the world There stood a young girl In my breast If a boy and a girl Come, come, pray come On the scales Pleasant is the season Sweetest boy

Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer cum puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime

Blanziflor et Helena

Blanchefleur and Helen

24

Hail to thee, most lovely

Ave formosissima

Fortuna Imperatrix Mundi

Fortune, Empress of the World

25

O fortune

O Fortuna (reprise)

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small chorus baritone chorus

orchestra chorus and small chorus boys’ chorus and chorus orchestra chorus chorus chorus chorus

baritone tenor and male chorus baritone and male chorus male chorus

soprano and boys’ chorus baritone soprano baritone and chorus baritone and male chorus double chorus soprano soprano, baritone, chorus and boys’ chorus soprano

chorus

chorus

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 1

O Fortuna (chorus)

O fortuna, velut luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

2

O fortune! Like the moon ever changing, rising first then declining; hateful life treats us badly then with kindness, making sport with our desires, causing power and poverty alike to melt like ice. Dread destiny and empty fate, an ever turning wheel, who make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; how through your trickery my naked back is turned to you unarmed. Good fortune and strength now are turned from me, Affection and defeat are always on duty. Come now, pluck the strings without delay; and since by fate the strong are overthrown, weep ye all with me.

Fortune piango vulnera (chorus)

Fortune piango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata,

I lament the wounds that fortune deals with tear-filled eyes, for returning to the attack she takes her gifts from me. It is true as they say, London Philharmonic Orchestra | 17

Orff: Carmina Burana contd.

sed plerumque sequitur occasio calvata. In fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam! Nam sub axe legimus Hecubam reginam.

the well-thatched pate may soonest lose its hair. Once on fortune’s throne I sat exalted, crowned with a wreath of prosperity’s flowers. But from my happy, flower-decked paradise I was struck down and stripped of all my glory. The wheel of fortune turns; dishonoured I fall from grace and another is raised on high. Raised to over-dizzy heights of power the king sits in majesty — but let him beware of his downfall! For ‘neath the axle of fortune’s wheel behold Queen Hecuba.

I – PRIMO VERE (Springtime) 3

Veris leta facies (small chorus)

Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono que canto celebratur. Flore fusus gremio Phobus novo more risum dat, hoc vario iam stipatur flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena; salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

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The joyous face of spring is presented to the world; winter’s army is conquered and put to flight. In colourful dress Flora is arrayed, and the woods are sweet with birdsong in her praise. Reclining in Flora’s lap Phoebus again laughs merrily, covered with many-coloured flowers. Zephyr breathes around the scented fragrance; eagerly striving for the prize, let us compete in love. Trilling her song sweet Philomel is heard, and smiling with flowers the peaceful meadows lie; a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys.

4

Omnia sol temperat (baritone)

Omnia sol temperat purus et subtilis, novo mundo reserat faciem Aprilis; ad amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Ama me fideliter! Fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota. Quisquis amat taliter, volvitur in rota.

5

All things are tempered by the sun so pure and fine. In a new world are revealed the beauties of April; to thoughts of love the mind of man is turned, and in pleasure’s haunts the youthful God holds sway. Nature’s great renewal in solemn spring and spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your springtime there is virtue and honesty in being constant to your lover. Love me truly! Remember my constancy. With all my heart and all my mind I am with you even when far away. Whoever knows such love knows the torture of the wheel.

Ecce gratum (chorus)

Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. Iam liquescit et decrescit grando, nix et cetera; bruma fugit, et iam sugit ver estatis ubera; illi mens est misera, qui nec vivit, nec lascivit, sub estatis dextera.

Behold the welcome, long-awaited spring, which brings back pleasure and with crimson flowers adorns the fields. The sun brings peace to all around. Away with sadness! Summer returns, and now departs cruel winter. Melt away and disappear hail, ice and snow; the mists flee, and spring is fed at summer’s breast. Wretched is the man who neither lives nor lusts under summer’s spell. London Philharmonic Orchestra | 19

Orff: Carmina Burana contd.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut untantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis.

They taste delight and honeyed sweetness who strive for and gain Cupid’s reward. Let us submit to Venus’s rule, and joyful and proud be equal to Paris

UF DEM ANGER (On the Green) 6

Tanz (Dance) (orchestra)

7

Floret silva (chorus and small chorus)

Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit? Floret silva undique, nach mime gesellen ist mir we. Gruonet der walt allenthalben, was ist min geselle alse lange? Der ist geriten hinnen, owi, wer sol mich minnen?

8

The noble forest Is decked with flowers and leaves. Where is my old, my long-lost lover? He rode away on his horse. Alas, who will love me now? The forest all around is in flower, I long for my lover. The forest all around is in flower, whence is my lover gone? He rode away on his horse. Alas, who will love me now?

Chramer, gip die varwe mir (boys’ chorus and chorus)

Chramer, gip die varwe mir, die min wengel roete, damit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen!

Salesman, give me coloured paint to paint my cheeks so crimson red, that I may make these bold young men, whether they will or not, love me. Look at me, young men all! Am I not well pleasing?

Minnet, tugentliche man, minnecliche frouwen! Minne tuot iu hoch gemuot unde lat iuch in hohlen eren schouwen. Seht mich an, etc. Wol dir, werit, das du bist also freudenriche! Ich wil dir sin undertan

Love, all you right-thinking men, women worthy to be loved! Love shall raise your spirits high and put a spring into your step. Look at me, etc. Hail to thee, O world that art in joy so rich and plenteous! I will ever be in thy debt

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durch din liebe immer sicherliche. Seht mich an, etc.

9

surely for thy goodness’s sake! Look at me, etc.

Reie (Round Dance) (orchestra)

Swaz hie gat umbe (chorus) Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan.

They who here go dancing round are young maidens all who will go without a man this whole summer long.

Chume, chum, geselle min (chorus) Chume, chum, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum un mache mich gesunt.

Come, come, dear heart of mine, I so long have waited for thee. Sweetest rosy coloured mouth, come and make me well again.

Swaz hie gat umbe (reprise) (chorus) Swaz hie gat umbe, etc.

10

They who here go dancing round, etc.

Were diu werlt alle min (chorus)

Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen.

If the whole world were but mine from the sea right to the Rhine, gladly I’d pass it by if the Queen of England fair in my arms did lie.

II – IN TABERNA (In the Tavern) 11

Estuans interius (baritone)

Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi, similis sum folio, de quo ludunt venti. Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor

Seething inside with boiling rage, in bitterness I talk to myself. Made of matter, risen from dust, I am like a leaf tossed in play by the winds. But whereas it befits a wise man to build his house on a rock, I, poor fool,

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Orff: Carmina Burana contd.

fluvio labenti, sub eodem tramite nunquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes, et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, Que nunquam in cordibus habitat ignavis Via lata gradior more iuventutis, inplicor et vitiis, immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

12

am like a meandering river, never keeping to the same path. I drift along like a pilotless ship or like an aimless bird, carried at random through the air. No chains hold me captive, no lock holds me fast; I am looking for those like me, and I joined the depraved. The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb. Whatever Venus commands is pleasant toil; she never dwells in craven hearts. On the broad path I wend my way as is youth’s wont, I am caught up in vice and forgetful of virtue, caring more for voluptuous pleasure than for my health; dead in spirit, I think only of my skin.

Olim lacus colueram (tenor and male chorus)

Olim lacus colueram, olim pulcher extiteram — dum cignus ego fueram. Miser, miser! Modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer. Miser, miser! etc. Nunc in saltella iaceo, et volitare nequeo, dentes frendentes video. Miser, miser! etc.

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Once in lakes I made my home, once I dwelt in beauty — that was when I was a swan. Alas, poor me! Now I am black and roasted to a turn! On the spit I turn and turn, the fire roasts me through; now I am presented at the feast. Alas, poor me! etc. Now in a serving dish I lie and can no longer fly; gnashing teeth confront me. Alas, poor me! etc.

13

Ego sum abbas (baritone and male chorus)

Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! Quid feristi sors turpissima? Nostre vite gaudia abstulisti omnia! Wafna, wafna! Ha, ha!

14

I am the abbot of Cockaigne, and I like to drink with my friends. I belong from choice to the sect of Decius, and whoever meets me in the morning at the tavern by evening has lost his clothes, and thus stripped of his clothes cries out: Wafna, wafna! What hast thou done, oh, wicked fate? All the pleasures of this life thus to take away! Wafna, wafna! Ha, ha!

In taberna quando sumus (male chorus)

In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudante, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Bacho mittunt sortem. Primo pro nummata vini; ex hac bibunt libertini, semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus, tredecies pro iter angentibus. Tarn pro papa quam pro rege bibunt omnes sine lege.

When we are in the tavern we spare no thought for the grave, but rush to the gaming tables where we always sweat and strain. What goes on in the tavern, where a coin gets you a drink— if this is what you would know, then listen to what I say. Some men gamble, some men drink, some indulge in indiscretions. But of those who stay to gamble, some lose their clothes, some win new clothes, while others put on sack cloth. There no one is afraid of death, but for Bacchus plays at games of chance. First the dice are thrown for wine; this the libertines drink. Once they drink to prisoners, then three times to the living, four times to all Christians, five to the faithful departed, six times to the dissolute sisters, seven to the bush-rangers. Eight times to the delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those at war, twelve to the penitent, thirteen to travellers. They drink to the Pope and king alike, all drink without restraint. London Philharmonic Orchestra | 23

Orff: Carmina Burana contd.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudus, bibit magus. Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater; bibit ista, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes, et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur.

The mistress drinks, the master drinks, the soldier drinks, the man of God, this man drinks, this woman drinks, the manservant with the serving maid, the quick man drinks, the sluggard drinks, the white man and the black man drink, the steady man drinks, the wanderer drinks, the simpleton drinks, the wise man drinks. The poor man drinks, the sick man drinks, the exile drinks and the unknown, the boy drinks, the old man drinks, the bishop drinks and the deacon, sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink. Six hundred coins are not enough when all these drink too much, and without restraint. Although they drink cheerfully, many people censure us, and we shall always be short of money. May our cries be confounded and never be numbered among the just.

III — COUR D’AMOURS (Court of Love) 15

Amor volat undique (soprano and boys’ chorus)

Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio; tenet noctis infirma sub intimo cordis in custodia: fit res amarissima.

16

Love flies everywhere and is seized by desire. Young men and women are matched together. If a girl lacks a partner, she misses all the fun; in the depths of her heart is darkest night: it is a bitter fate.

Dies, nox et omnia (baritone)

Dies, nox et omnia mihi sunt contraria, virginum, colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. 24 | London Philharmonic Orchestra

Day, night and all the world are against me, the sound of maidens’ voices makes me weep. I often hear sighing, and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur. Tua pulchra facies, me fey planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.

17

Stetit puella (soprano)

Stetit puella rufa tunica; si quis earn tetigit, tunica crepuit. Eia, eia. Stetit puella, tamquam rosula; facie splenduit, os eius floruit. Eia, eia.

18

O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honour. Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

There stood a young girl in a red tunic; if anyone touched her, the tunic rustled. Heigho, heigho. There stood a girl fair as a rose; her face was radiant, her mouth like a flower. Heigho, heigho.

Circa mea pectora (baritone and chorus)

Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, manda liet, min geselle chumet niet. Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet, etc. Vellut deus, vellent dii quod mente proposui: ut eius virginea reserassem vincula. Manda liet, etc.

My breast is filled with sighing for your loveliness, and I suffer grievously. Manda liet, manda liet, my sweetheart comes not. Your eyes shine like sunlight, like the splendour of lightning in the night. Manda liet, etc. May God grant, may the gods permit the plan I have in mind: to undo the bonds of her virginity. Manda liet, etc.

London Philharmonic Orchestra | 25

Orff: Carmina Burana contd.

19

Si puer cum puellula (baritone and male chorus)

Si puer cum puellula moraretur in cellula, felix coniunctio. Amore sucrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

20

Veni, veni, venias (double chorus)

Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza trillirivos ... Pulchra tibi facies, oculorum acies, capillorum series, oh, quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

21

Come, come, pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos ... Lovely is your face, the glance of your eyes, the braids of your hair, oh, how beautiful you are! Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you.

In trutina (soprano)

In trutina mentis dubi fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo: ad iugum tarnen suave transeo.

22

If a boy and a girl linger together, happy is their union. Increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their lips.

On the scales of my wavering indecision physical love and chastity are weighed. But I choose what I see, I bow my head in submission and take on the yoke which is after all sweet.

Tempus est iocundum (soprano, baritone, chorus and boys’ chorus)

Tempus est iocundum, O virgines; modo conguadete, vos iuvenes. Oh, oh, oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Mea me confortat 26 | London Philharmonic Orchestra

Pleasant is the season, O maidens; now rejoice together, young men. Oh, oh, oh, I blossom, now with pure love I am on fire! This love is new, new, of which I perish. My love brings me comfort

promissio, mea me deportat negatio. Oh, oh, etc. Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, etc. Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, etc. Veni, domicella, cum gaudio, veni, veni, pulchra, iam, pereo. Oh, oh, etc.

23 Dulcissime (soprano) Dulcissime, ah, totam tibi subdo me!

when she promises, but makes me distraught with her refusal. Oh, oh, etc. In winter time the man is lazy, in the spring he will turn amorous. Oh, oh, etc. My chastity teases me, but my innocence holds me back! Oh, oh, etc. Come, my darling, come with joy, come, my beauty, for already I die! Oh, oh, etc.

Sweetest boy, ah, I give my all to you!

BLANZIFLOR ET HELENA (Blanchefleur and Helen) 24

Ave formosissima (chorus)

Ave formosissima, gemma pretiosa, , ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa.

Hail to thee, most lovely, most precious jewel hail pride of virgins, most glorious virgin! Hail, light of the world, hail, rose of the world! Blanchefleur and Helen, noble Venus, hail!

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) 25

O Fortuna (chorus)

O fortuna! velut luna, etc.

O fortune! Like the moon, etc.

Š 1937 Schott Music GmbH & Co. KG, Mainz. Š Renewed 1965.

London Philharmonic Orchestra | 27

Next LPO concerts at Royal Festival Hall

Saturday 27 April 2013 | 7.30pm Webern Variations for Orchestra, Op. 30 Berg Lulu Suite Martinů Double Concerto for Two String Orchestras, Piano and Timpani Bartók Music for Strings, Percussion and Celeste Vladimir Jurowski conductor Barbara Hannigan soprano

Booking details Tickets £9–£39 (Premium seats £65) 11 May FUNharmonics concert tickets £5–£18 London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm lpo.org.uk Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

Wednesday 1 May 2013 | 7.30pm Vaughan Williams Symphony No. 4 Tippett A Child of our Time Ryan Wigglesworth conductor Rebecca Evans soprano Pamela Helen Stephen mezzo soprano Ben Johnson tenor Matthew Rose bass London Philharmonic Choir Free pre-concert discussion 6.15–6.45pm | Royal Festival Hall Writer and broadcaster Daniel Snowman takes a look at Tippett’s A Child of our Time.

Saturday 11 May 2013 | 12.00pm FUNharmonics Family Concert Be Afraid, Be Very Afraid featuring Prokofiev Peter and the Wolf Chris Jarvis presenter Vladimir Jurowski conductor

2013/14 season concerts – on sale now Our 2013/14 season concerts at Royal Festival Hall are on sale now. Browse and book online at www.lpo.org.uk/newseason, pick up a copy of the season brochure from the Royal Festival Hall foyer racks this evening, or call us on 020 7840 4208 to request a copy of the brochure or to book by phone. Highlights of the new season include: • Vladimir Jurowski opens the season with a centenary celebration of the music of Britten, including Peter Grimes and the War Requiem • Yannick Nézet-Séguin demonstrates his flair for French repertoire with Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s magnificent ‘Organ’ Symphony • The Orchestra celebrates The Genius of Film Music, exploring some of the scintillating film scores created between 1960–2000

Tickets £5–£18

• Vladimir Jurowski brings The Rest Is Noise to a close with John Adams’s powerful and theatrical Nativity oratorio, El Niño

Friday 17 May 2013 | 7.30pm

• World premieres of James MacMillan’s Viola Concerto with soloist Lawrence Power, and Górecki’s Fourth Symphony

JTI Friday Series Stravinsky Jeu de Cartes Prokofiev Violin Concerto No. 2 Shostakovich Symphony No. 6 Vladimir Jurowski conductor Patricia Kopatchinskaja violin

28 | London Philharmonic Orchestra

• Classical guitarist Miloš Karadaglič performs Rodrigo’s evocative Concierto de Aranjuez • Legendary pianists Mitsuko Uchida and Leif Ove Andsnes join the Orchestra for Beethoven’s Piano Concertos Nos. 3 and 5 respectively

CHAMBER CONTRASTS Wigmore Hall, London Soloists of the London Philharmonic Orchestra and Foyle Future Firsts Members Sunday 28 April | 7.30pm Wigmore Hall

Thursday 13 June | 7.30pm Wigmore Hall

MILHAUD Wind Quintet, Op. 443 FRANÇAIX Wind Quintet No. 1 MARTINŮ Sextet for piano and wind BEETHOVEN Quintet for piano and wind in E-flat major, Op. 16

MOZART String Quintet No. 1 in B-flat major, K174 IRELAND Sextet for clarinet, horn and string quartet BRAHMS String Sextet in G major, Op. 36

Soloists of the London Philharmonic Orchestra Catherine Edwards piano

London Philharmonic Orchestra Foyle Future Firsts and Guests

The London Philharmonic Orchestra’s Chamber Contrasts series at Wigmore Hall is generously supported by Dunard Fund. Pantone 293 4-colour process: 100%Cyan 57% Magenta. 2% Black

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Foyle Future Firsts supported by

Pantone 283 4-colour process: 35% Cyan 9% Magenta

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BOOK NOW Tickets £12, £16, £22, £26 London Philharmonic Orchestra Box Office 020 7840 4242 | lpo.org.uk (No booking fee) Wigmore Hall Box Office 020 7935 2141 | wigmore-hall.org.uk Booking fees apply a

Black tint 30%

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Logo strip. Where the logo appears on a blue strip of pantone 293, there must be equal space from top of strip to top of logo and bottom of logo to bottom of strip. Artwork here shows 5mm

London Philharmonic Orchestra | 29 Company Title set in Aldine 721 Lt BT

London Philharmonic Orchestra Birthday Appeal update Two double bass stools

Three tom-toms

Illustrations for our FUNharmonics family concerts

Recording a concert for live stream

Thank you so much to all of our audience members who have given us a birthday present for our 80th birthday. Thanks to you, the Appeal has already raised over £10,000 and the double bass stools and tom-toms are on their way! However, we still need your help with the other presents on our wish list, such as our children’s concerts illustrations and recording for a live stream. Please visit www.lpo.org.uk/birthday and help celebrate our 80th by donating to our wish list. All presents, big or small, will be gratefully received by the Orchestra and, while you’re at it, why not leave us a birthday message or memory from the last 80 years? ‘For 20 years you have been one of the unfailing delights in my life, and I am lucky to have access to such a great orchestra, conductors and soloists at prices unmatched in Europe.’ ‘I think The Rest Is Noise will turn out to be a highlight, something to look back on. The concerts I have been to so far have been superb. Keep up the good work.’ ‘I’m about to be 80 too and have just left the London Philharmonic Choir after 41 years singing many marvellous concerts with you. My last was Gerontius with Sir Mark Elder in January, and I very much enjoyed The Threepenny Opera!’ With special thanks to the following people who have given over £250 to our Birthday Appeal:

Or a gift to spend on whatever we need most

Mr Aldwinckle, Mrs A Beare, Mr G Bitar, Mr C Blakey, Mr G A Collens, Mrs S Drexler, Mrs A Kessler, Mr R P Harsant, Mr M Hutchinson, Dr & Mrs F Lim, Mr R McCann, Don Kelly & Ann Wood, Mrs G Pole, Mrs V Sharp, Mr C Williams

Get involved and visit www.lpo.org.uk/birthday for more information. Alternatively get in touch via katherine.hattersley@lpo.org.uk or call 020 7840 4212.

30 | 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 Foundation Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams 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 Daniel Goldstein Don Kelly & Ann Wood Peter MacDonald Eggers Mr & Mrs David Malpas 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 Lady Marina Vaizey Howard & Sheelagh Watson 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 Ivan Hurry

Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Destination Québec – UK Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust

The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Ann and Frederick O’Brien Charitable Trust The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous

London Philharmonic Orchestra | 31

Administration

Board of Directors

General Administration

Orchestra Personnel

Archives

Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Sir Philip Thomas Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams

Timothy Walker AM Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian (maternity leave)

Gillian Pole Recordings Archive

Sarah Holmes Librarian (maternity cover)

Professional Services

* Player-Director

Advisory Council Victoria Sharp Chairman Richard Brass Sir Alan Collins Jonathan Dawson Christopher Fraser OBE Clive Marks OBE FCA Stewart McIlwham Lord Sharman of Redlynch OBE Timothy Walker AM American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Honorary Chairman Noel Kilkenny Honorary Director Victoria Sharp Honorary Director Richard Gee, Esq Of Counsel Robert Kuchner, CPA

Alison Atkinson Digital Projects Manager Finance David Burke General Manager and Finance Director

Michael Pattison Stage Manager

Jo Orr PA to the Chief Executive / Concerts Assistant

Marketing

Matthew Freeman Recordings Consultant

Mia Roberts Marketing Manager

Education & Community

Rachel Williams Publications Manager

Charles Russell Solicitors

Crowe Clark Whitehill LLP Julia Boon Auditors Assistant Orchestra Personnel David Greenslade Manager FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Ken Graham Trucking Concert Management Instrument Transportation London Philharmonic Roanna Gibson Development Orchestra Concerts Director 89 Albert Embankment (maternity leave) Nick Jackman London SE1 7TP Development Director Ruth Sansom Tel: 020 7840 4200 Artistic Administrator / Acting Fax: 020 7840 4201 Helen Searl Head of Concerts Department Box Office: 020 7840 4242 Corporate Relations Manager lpo.org.uk Graham Wood Katherine Hattersley Concerts and Recordings Charitable Giving Manager The London Philharmonic Manager Orchestra Limited is a Melissa Van Emden registered charity No. 238045. Barbara Palczynski Events Manager Glyndebourne and Projects Photograph of Orff Laura Luckhurst Administrator © INTERFOTO/Alamy. Corporate Relations and Jenny Chadwick Events Officer Tours and Engagements Front cover photograph Sarah Fletcher Manager © Patrick Harrison. Development and Finance Alison Jones Officer Printed by Cantate. Concerts Co-ordinator

Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

32 | London Philharmonic Orchestra

Kath Trout Marketing Director

Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Isobel King Intern Albion Media Public Relations (Tel: 020 3077 4930)


6 April LPO programme notes