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
CONGRESS THEATRE, EASTBOURNE Sunday 9 December 2012 | 3.00pm
VLADIMIR JUROWSKI conductor ALEXANDRA SILOCEA piano
brahms Tragic Overture (13’)
PROGRAMME £2.50 CONTENTS 2 Welcome 3 Today’s performers 4 About the Orchestra 5 Vladimir Jurowski 6 Leader / Alexandra Silocea 7 Programme notes 10 2012/13 Eastbourne Appeal 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.
mozart Piano Concerto No. 17 in G major, K453 (32’) Interval bruckner Symphony No. 1 in C minor (Linz version, 1865–66/1877) (48’)
Box Office: 01323 412000 eastbournetheatres.co.uk * supported by the Tsukanov Family and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL
Welcome to the Congress Theatre, Eastbourne Artistic Director Chris Jordan General Manager Gavin Davis
Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 17th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email firstname.lastname@example.org or write to Suzanne Hopp, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.
London Philharmonic Orchestra 2012/13 season at the Congress Theatre Pick up a brochure in the foyer today or browse the full season at lpo.org.uk
Sunday 27 January 2013 | 3.00pm
Sunday 19 May 2013 | 3.00pm
Mendelssohn Hebrides Overture Mozart Clarinet Concerto Beethoven Symphony No. 3 (Eroica)
Wagner Overture, Die Meistersinger Schumann Piano Concerto Wagner Siegfried Idyll Beethoven Symphony No. 5
Jaime Martín conductor Nicholas Carpenter clarinet
Sunday 17 March 2013 | 3.00pm Ireland A London Overture Bruch Violin Concerto No. 1 Sibelius Symphony No. 2
Nicholas Collon conductor Benjamin Grosvenor piano ‘Grosvenor’s performance was so alluring, so alive to the music’s poetry, so colourfully detailed.’ The Telegraph
Mark Fitz-Gerald conductor Jarosław Nadrzycki violin
Nicholas Collon and Benjamin Grosvenor
Tickets £12–£28 | Box Office 01323 412000 | Book online at eastbournetheatres.co.uk
2 | London Philharmonic Orchestra
First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler
Ilyoung Chae Chair supported by Moya Greene
Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Höhmann Geoffrey Lynn Robert Pool Sarah Streatfeild Yang Zhang Second Violins Fredrik Paulsson Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Ashley Stevens Marie-Anne Mairesse Nancy Elan Dean Williamson Sioni Williams Peter Graham Mila Mustakova Elizabeth Baldey
Violas Cyrille Mercier Guest Principal Robert Duncan Gregory Aronovich Benedetto Pollani Laura Vallejo Susanne Martens Isabel Pereira Daniel Cornford
Flutes Sue Thomas Principal
Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Jonathan Ayling
Oboes Ian Hardwick Principal Angela Tennick
Chair supported by Caroline, Jamie & Zander Sharp
Gregory Walmsley Santiago Carvalho† Sue Sutherley Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis
Chair supported by the Sharp Family
Ian Mullin Stewart McIlwham* Piccolo Stewart McIlwham* Principal
Cor Anglais Sue Bohling Principal Chair supported by Julian & Gill Simmonds
Clarinets Nicholas Carpenter* Principal Emily Meredith Bassoons Gareth Newman* Principal Dominic Tyler
Horns John Ryan* David Pyatt Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann
Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco
Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport David & Victoria Graham Fuller
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 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.
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 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Dvořák’s Stabat Mater under Neeme Järvi; Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Sibelius’s Symphonies Nos. 5 & 6 under the late Paavo Berglund; and the world premiere of Ravi Shankar’s First Symphony conducted by David Murphy.
The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, ‘Jurowski and the LPO provided the appointed in 2007, and impossible that is perfection ... As things Yannick Nézet-Séguin is stand now, the LPO must rate as an Principal Guest Conductor.
example to all orchestras.’
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 Orchestra is Resident Musicalcriticism.com, July 2011 Orchestra at Southbank (BBC Proms 2011: Liszt, Bartók and Kodály) Centre’s Royal Festival Hall in London, where it has performed since it opened The London Philharmonic Orchestra maintains an in 1951, giving around 40 concerts there each season. 2012/13 highlights include three concerts with Vladimir energetic programme of activities for young people and local communities. Highlights include the Jurowski based around the theme of War and Peace Deutsche Bank BrightSparks Series; the Leverhulme in collaboration with the Russian National Orchestra; Young Composers project; and the Foyle Future Firsts Kurt Weill’s The Threepenny Opera, also conducted by orchestral training programme for outstanding young Jurowski; 20th-century American works with Marin players. Over recent years, developments in technology Alsop; Haydn and Strauss with Yannick Nézet-Séguin; and social networks have enabled the Orchestra to and the UK premiere of Carl Vine’s Second Piano reach even more people worldwide: all its recordings Concerto with pianist Piers Lane under Vassily Sinaisky. are available to download from iTunes and, as well Throughout 2013 the Orchestra will collaborate with as a YouTube channel, news blog, iPhone app and Southbank Centre on The Rest Is Noise festival, based regular podcasts, the Orchestra has a lively presence on on Alex Ross’s book of the same name and charting the Facebook and Twitter. 20th century’s key musical works and historical events. 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.
4 | London Philharmonic Orchestra
Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
© Chris Christodoulou
Principal Conductor and Artistic Advisor
One of today’s most sought-after and dynamic conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was born in Moscow, and completed the first part of his musical studies at the Music College of the Moscow Conservatory. In 1990 he relocated with his family to Germany, continuing his studies at the High Schools of Music in Dresden and Berlin. In 1995 he made his international debut at the Wexford Festival conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at the Royal Opera House, Covent Garden, with Nabucco. Vladimir Jurowski has been Music Director of Glyndebourne Festival Opera since 2001, 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 of the Orchestra of the Age of Enlightenment and Artistic Director of the Russian State Academic Symphony Orchestra. He has also held the positions of First Kapellmeister of the Komische Oper, Berlin (1997–2001); Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03); and Principal Guest Conductor of the Russian National Orchestra (2005–09). Vladimir Jurowski is a regular guest with many leading orchestras in both Europe and North America, including the Berlin and Oslo Philharmonic orchestras; the Dresden Staatskapelle; the Leipzig Gewandhausorchester; the Tonhalle Orchester Zurich; and the Royal Concertgebouw, Philadelphia, Chicago Symphony, Bavarian Radio Symphony and Mahler Chamber orchestras. Highlights of the 2012/13 season and beyond include his debuts with the Vienna Philharmonic, Boston Symphony, New York Philharmonic, NHK Symphony and San Francisco Symphony orchestras, and return visits to the Chamber Orchestra of Europe; the Tonhalle Orchester Zurich; the Accademia di Santa Cecilia; and the Philadelphia, St Petersburg Philharmonic, Royal Concertgebouw and Chicago Symphony orchestras.
Jurowski made his debut at the Metropolitan Opera, New York, in 1999 with Rigoletto, and has since returned for Jenůfa, The Queen of Spades and Hansel and Gretel. He has conducted Parsifal and Wozzeck at Welsh National Opera; War and Peace at the Opera National de Paris; Eugene Onegin at Teatro alla Scala, Milan; Ruslan and Ludmila at the Bolshoi Theatre; and Iolanta and Die Teufel von Loudon 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, The Cunning Little Vixen and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. Future engagements include new productions of Ariadne auf Naxos at Glyndebourne; Die Frau ohne Schatten at the Metropolitan Opera; Moses und Aron at the Komische Oper, Berlin; and The Fiery Angel at the Bayerische Staatsoper in Munich. Jurowski’s discography includes the first ever recording of the cantata Exil by Giya Kancheli for ECM; Meyerbeer’s L’etoile du Nord for Marco Polo; Massenet’s Werther for BMG; and a series of records for PentaTone with the Russian National Orchestra. The London Philharmonic Orchestra has released a wide selection of his live recordings on its LPO Live label, including Brahms’s Symphonies Nos. 1 and 2; Mahler’s Symphony No. 2; Rachmaninoff’s Symphonic Dances; Tchaikovsky’s Symphonies 1, 4, 5, 6 and Manfred; and works by Turnage, Holst, Britten, Shostakovich, Honegger and Haydn. His tenure as Music Director at Glyndebourne has been documented in a CD release of Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Don Giovanni, and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera New York; his first concert as the London Philharmonic Orchestra’s Principal Conductor featuring works by Wagner, Berg and Mahler; and DVDs with the Orchestra of the Age of Enlightenment (Beethoven’s Symphonies Nos. 4 and 7) and the Chamber Orchestra of Europe (Strauss and Ravel), all released by Medici Arts. Vladimir Jurowski’s position as Principal Conductor and Artistic Advisor of the London Philharmonic Orchestra is generously supported by the Tsukanov Family and one anonymous donor.
London Philharmonic Orchestra | 5
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. 6 | London Philharmonic Orchestra
After her debut at the Vienna Konzerthaus with the Vienna Chamber Orchestra in 2008, followed by recitals at the Vienna Musikverein and New York’s Carnegie Hall in 2009, Alexandra Silocea was hailed as a ‘truly natural’ artist by
© Lina Prokofieff
© Patrick Harrison
Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.
Pizzicato magazine. Born in 1984 in Romania, with German-Russian roots, Alexandra began her musical studies in her native country. From the age of 16, she continued her studies at the Music Academy in Vienna with internationally acclaimed teachers Oleg Maisenberg, Johannes Marian and Christoph Berner, and later at the Paris Conservatoire with Theodor Paraskivesco and Laurent Cabasso. She also received significant artistic guidance and inspiration from the pianist Maria João Pires. Described as a ‘special talent’ (International Piano), with ‘musical grace and fluency’ (Gramophone), an ‘extraordinary clarity of playing’ (Radio New Zealand) and ‘musically tasteful’ (BBC Music Magazine), Alexandra is the winner of numerous awards in her native Romania as well as in Greece, France, Germany, Italy and the USA. During her time in Vienna, Alexandra was awarded the Herbert von Karajan Scholarship, the Theodor Rogler Foundation and the Meyer Foundation Scholarship, and received constant support from the Wiener Neustadt Rotary Club and the Wiener Neustädter Sparkasse bank. In April 2011 Alexandra’s debut CD, Prokofiev Piano Sonatas Nos. 1–5, was released by Avie Records and received outstanding reviews (Editor’s Choice in International Piano magazine, 4 stars in The Telegraph, and the Supersonic Award in Pizzicato magazine). Appearances in 2013 include recitals in Austria, France and the UK (Brighton Festival and the Nicholas Yonge Society, Lewes), and a tour of Italy with the Haydn Orchestra. Alexandra’s second CD recording on Avie Records, Soundwaves, will be launched in spring 2013. Today’s performance with the London Philharmonic Orchestra is her UK concert debut.
Overture, concerto, symphony … … is the traditional format for an orchestral concert, designed to provide – as it certainly does in this case – an arresting start, a brilliant interlude and a weighty conclusion. Brahms’s Tragic Overture was conceived as a concert piece, rather than as a prelude to a stage work; although it was completed in the composer’s late forties, it seems to have its origins in his youthful period of ‘storm and stress’. Mozart’s Piano Concerto K453 is one of the great series of concertos he wrote in his early years in Vienna, though unlike most of them it was intended not for his own concerts but for a pupil. Its three movements
are an Allegro rich in material and colouring, a serious Andante, with prominent parts for three woodwind soloists, and an inventive set of variations. Bruckner’s First Symphony is an early work, written before its composer left provincial Linz for the bright lights of Vienna; and, rather than looking ahead to the grand plans and lofty heights of his later symphonies, it is a compact, tightly integrated piece. But there are plenty of anticipations of the mature Bruckner’s blazing passages for full orchestra, intricate contrapuntal textures, wide-arching melodies and rhythmic drive.
Tragic Overture, Op. 81
Brahms composed his Tragic Overture, in D minor, in 1880, as a contrasting companion-piece to the Academic Festival Overture, which he was writing at the same time for the University of Breslau. But there are sketches for it in a notebook dating from the end of the 1860s; and its origins may perhaps go back even further, to the symphony in D minor that Brahms was planning in the late 1850s, before he decided to turn it into the First Piano Concerto. This might suggest that the tragedy Brahms had in mind was the agonising decline and death of his friend and mentor Robert Schumann. The formal plan of the work is unusual, in that the mysterious, bare modal theme heard at the beginning never reappears in its original form. The nearest approach to an exact reprise is at the start of the development section; but the downward scale that is one feature of the theme is extended to carry the music
into more sombre regions – after which there is an episode, in a much slower tempo, in which the figure in dotted (long–short) rhythms that forms the second limb of the theme is made the basis of a subdued march and a short fugato. The initial tempo is restored, and there are suggestions that the return of the first theme is imminent; but the brass instead transform it into a brief, shining major-key curve, which leads at once into the recapitulation of the consoling second subject. Finally, the coda appears to be heralding a full return of the first theme with the two brusque chords that started the work; but Brahms reintroduces the dotted figure, brings back the theme in a broad, slowed-down version, and allows it to die away almost to nothing before the stern conclusion.
London Philharmonic Orchestra | 7
Wolfgang Amadeus Mozart 1756–91
This work belongs to the great procession of piano concertos that Mozart composed in Vienna between 1784 and 1786 – a sequence of 11 varied masterpieces that reveal him in his full maturity, at the height of his powers and his confidence. This particular example was written for one of his pupils, Barbara Ployer (‘Fräulein Babette’), the daughter of a Salzburg friend of his; she played it for the first time at a concert in her father’s house in Döbling, outside Vienna, in June 1784. It is no doubt because Mozart composed the work for someone else that his cadenzas for the first two movements (with alternatives) have survived: if he had kept the piece to himself, he would have improvised them afresh each time. Not all piano concertos sound at once like piano concertos: caught unprepared, we might sometimes take a while to realise that an opening tutti was just that and not a symphonic exposition. This piece, from the start, could never be anything else: the very first theme seems tailor-made for the piano – as if beginning in the right hand on its own, then adding the left hand with accompanying figuration. Before the piano does indeed make its first entry with this idea, we have had a chance to discover three essential features of this first movement: its characteristic generosity of melodic invention – at a conservative estimate, nine separate thematic ideas in the first tutti, with the principal
Piano Concerto No. 17 in G major, K453 Alexandra Silocea piano 1 Allegro 2 Andante 3 Allegretto
‘second subject’ still, as usual, to be introduced by the soloist a little later on; its richness of harmony – to be memorably explored and expanded in the course of the development section; and the particular prominence given to the wind section of flute, oboes, bassoons and horns. This emphasis on the wind section is even more marked in the deeply felt C major slow movement: after the opening five-bar sentence, Gluck-like in its solemnity, the flute, first oboe and first bassoon emerge in leading melodic roles; and they keep them up until the end of the movement. Their relationship to the solo piano resembles that of a group of concertante wind instruments to the solo singer in a set-piece operatic aria. There are operatic echoes in the variation finale as well: first in a chirpy, bird-like theme which, seven years later, Mozart might have given to Papageno in The Magic Flute; then, after five brilliantly inventive variations, in a presto coda which seems to round the whole work off in the manner of an opera buffa finale – beginning with a tremendous bustle of activity, reintroducing the principal theme just when it seems to have been forgotten completely, turning the spotlight on to the wind section once more, and ringing down the curtain in an atmosphere of reconciliation and great good humour.
INTERVAL – 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.
8 | London Philharmonic Orchestra
Anton Bruckner 1824–96
Bruckner put himself through a severe apprenticeship as a symphonist, writing a so-called ‘Study Symphony’ in F minor and beginning another one in D minor, later dubbed ‘Die Nullte’ or ‘No. 0’, before embarking on a work he was prepared to number as his First. He wrote it in 1865–66 in Linz, where he was organist of the cathedral, and conducted the first performance there in May 1868, shortly before leaving to take up a teaching post in Vienna. He made some revisions to this version in 1877. But these were minor compared to the complete overhaul he gave the work in 1890/91, after the Viennese court conductor Hans Richter had expressed an interest in performing it. This final revised version, published in 1893, has been much regretted by Bruckner’s admirers, who point out that it treats an early work from the inappropriate perspective of his later style, and who resent the time spent on it that could have been devoted to the Ninth Symphony, which remained unfinished at the composer’s death. In any case, tonight’s performance is of what the composer and Bruckner expert Robert Simpson called ‘the bold, clean Linz version’, in its 1877 revision, as first published in an edition by Robert Haas in 1935. In later life, Bruckner referred to the First Symphony as ‘das Beserl’, which like its English equivalent ‘the besom’ can indicate either a fierce female battleaxe or a new broom that sweeps clean. The Symphony is on a relatively compact scale compared to the composer’s later masterpieces, and full of Beethovenlike passages in which a small motif is repeated and developed, generating great rhythmic energy; and its outer movements are studded with strikingly vehement passages for the full orchestra, with different rhythmic layers in counterpoint as if Bruckner were improvising at the organ on two manuals and pedals.
Symphony No. 1 in C minor (Linz version, 1865–66/1877) 1 Allegro 2 Adagio – Andante – Adagio 3 Scherzo: Schnell – Trio: Langsamer 4 Finale: Bewegt, feurig
The first movement begins, in a manner untypical of the mature Bruckner, in urgent march time with a melody in crisp dotted rhythms. The main contrasting ideas are a singing second theme in contrapuntal textures, and a plunging trombone figure accompanied by upper string figurations recalling Wagner’s Tannhäuser overture. The closing themes of the opening exposition section, a wide-arching woodwind melody answered by strings, provide (as often in Bruckner) the starting-point for the ensuing development. The trombone melody reappears in a new version, with its Wagnerian descant, as the centrepiece of the development; but it is omitted from the recapitulation, which instead turns towards the initial march rhythms for the C minor coda. The A-flat major slow movement (the last of the four to be written) begins restlessly with a series of fragmentary ideas, before easing into more melodic writing with a chorale for the strings answered by three flutes, and a long, winding theme for the violins over undulating violas. The tempo then changes from Adagio (‘broad’) to Andante (‘walking pace’), and the metre from 4/4 to 3/4, for a middle section in which a long, ornate melodic line starts out in the first violins, is taken up at different times by the oboes, flute and bassoons, and returns to the violins again. The violin line overlaps into the unsettled beginning of the reprise of the Adagio; the chorale returns on horns and woodwind, and the winding melody begins on clarinets and bassoons, before the strings work it up to the movement’s shining climax. The third movement is a rhythmically insistent Scherzo in G minor, with a slower and more relaxed trio section in G major, and an exact reprise of the scherzo, which spills over into a coda. Continued overleaf London Philharmonic Orchestra | 9
The Finale (marked ‘with movement, solemn’) is dominated by passages of fierce full-orchestra counterpoint, including the opening theme. The contrasting second subject is an airy string melody including an elegant trill and turn, accompanied by violas off the beat. The closing statement is allocated, as in the first movement, to woodwind (and horns) answered by strings. The development section falls into three phases: the first building up from the closing theme, by way of chorale prelude textures over tramping quavers in the bass, to a fierce fortissimo; the second growing out of the second subject and ending in a thicket of trills; the third a strenuous contrapuntal discussion of a handful of motifs, leading to a transition joined by a timpani roll on a low G. The first two themes return in short order, the second of them in C major – which opens the way to a ringing C major coda.
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Programme notes by Anthony Burton © 2012
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London Philharmonic Orchestra 2012/13 Eastbourne Appeal The London Philharmonic Orchestra is extremely proud of its longstanding relationship with Eastbourne. The Orchestra has performed in the town regularly since the 1930s and this year is celebrating its 17th season of concerts at the Congress Theatre. From the Orchestra’s inaugural performance 80 years ago this season, we have continued to support the talent of young musicians – beginning with the then 16-year-old Yehudi Menuhin and continuing to this day in Eastbourne’s 2012/13 season. Already this season, Dimitri Mayboroda wowed audiences with Rachmaninoff’s Rhapsody on a Theme of Paganini; Jamie Walton playfully characterised Saint-Saëns’s Cello Concerto No. 2; and tonight Alexandra Silocea will charm the audience with Mozart’s sweetly melodious Piano Concerto No. 17 in G. To come, the young Polish violinist Jarosław Nadrzycki will weave a musical web around the audience with Bruch’s intricate Violin Concerto No. 1 on 17 March 2013, and we welcome BBC Young Musician of the Year 2004 finalist Benjamin Grosvenor on 19 May 2013 conducted by former Assistant Conductor to the Orchestra, Nicholas Collon. The Orchestra is proud to continue its exciting programme at the Congress Theatre and we are immensely grateful for the support Eastbourne audiences have shown over the years. Generous donations from audience members like you have helped us to raise nearly £2,500 so far this season, helping to secure the Orchestra’s continued presence in Eastbourne for years to come and providing extraordinary opportunities for exceptional young musicians. Please support this year’s Appeal and donate by contacting Sarah Fletcher at the Orchestra’s office on 020 7840 4225 or firstname.lastname@example.org. Thank you for your support.
10 | London Philharmonic Orchestra
We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors:
Guy & Utti Whittaker Manon Williams
David Ellen Commander Vincent Evans Mr Daniel Goldstein 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 Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland
Ken Follett Pauline & Peter Halliday Michael & Christine Henry Mr 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 John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Des & Maggie Whitelock Bill Yoe
Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas
Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough
Hon. Benefactor Elliott Bernerd
Thomas Beecham Group The Tsukanov Family 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
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 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 Education Partner Boeing 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 Addleshaw Goddard Charitable Trust Angus Allnatt Charitable Foundation BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust The Eranda Foundation 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 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 | 11
Board of Directors
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
Gillian Pole Recordings Archive
Michael Pattison Stage Manager
Finance David Burke General Manager and Finance Director
Julia Boon Assistant Orchestra Personnel Manager
Advisory Council Jonathan Dawson Clive Marks OBE FCA Lord Sharman of Redlynch OBE Victoria Sharp 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
Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors
Ken Graham Trucking David Greenslade Instrument Transportation FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Development Concert Management Roanna Gibson Concerts Director (maternity leave) Ruth Sansom Artistic Administrator / Acting Head of Concerts Department Graham Wood Concerts and Recordings Manager Barbara Palczynski Glyndebourne and Projects Administrator Jenny Chadwick Tours and Engagements Manager Alison Jones Concerts Co-ordinator Jo Orr PA to the Chief Executive / Concerts Assistant
Nick Jackman Development Director Helen Searl Corporate Relations Manager Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Sarah Fletcher Development and Finance Officer Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager
Matthew Freeman Recordings Consultant
Rachel Williams Publications Manager
Education & Community
Samantha Kendall Box Office Manager (Tel: 020 7840 4242)
Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer
12 | London Philharmonic Orchestra
Libby Northcote-Green Marketing Co-ordinator Claire Lampon Intern Albion Media Public Relations (Tel: 020 3077 4930)
London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photographs of Brahms, Mozart and Bruckner courtesy of the Royal College of Music, London. Front cover photograph © Patrick Harrison. Printed by Cantate.