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

AM†

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 9 October 2010 | 7.30pm

NEEME JÄRVI conductor JANICE WATSON soprano SARA FULGONI mezzo soprano PETER AUTY tenor PETER ROSE bass LONDON PHILHARMONIC CHOIR

DVOŘÁK Te Deum

INTERVAL

†

CONTENTS 2 3 4 5 6 7 8 9 15 16 17 18 19 20

(19’)

DVOŘÁK Stabat Mater

PROGRAMME £3

List of Players Orchestra History Leader Neeme Järvi Janice Watson / Sara Fulgoni Peter Auty / Peter Rose London Philharmonic Choir Programme Notes Recordings Southbank Centre Supporters Philharmonic News Administration Future Concerts

The timings shown are not precise and are given only as a guide. (84’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Julia Rumley Chair supported by Mrs Steven Ward

Katalin Varnagy Catherine Craig Tina Gruenberg Martin Hรถhmann Chair supported by Richard Karl Goeltz

Robert Pool Sarah Streatfeild Yang Zhang Alain Petitclerc Galina Tanney Anna Croad Ishani Bhoola SECOND VIOLINS Clare Duckworth Principal Chair supported by Richard and Victoria Sharp

Jeongmin Kim Joseph Maher Nancy Elan Nynke Hijlkema Ashley Stevens Imogen Williamson Heather Badke Alison Strange Peter Graham Mila Mustakova Stephen Dinwoodie VIOLAS Rachel Roberts Guest Principal Katharine Leek Susanne Martens Benedetto Pollani

Laura Vallejo Michelle Bruil Isabel Pereira Martin Fenn Claudio Cavalletti Anthony Byrne Chair supported by John and Angela Kessler

CELLOS Francis Bucknall Principal Laura Donoghue Santiago Sabino Carvalho + Gregory Walmsley Sue Sutherley Tom Roff Pavlos Carvalho David Bucknall DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Kenneth Knussen Tom Walley Joe Melvin FLUTES Susan Thomas* Principal Stewart McIlwham* OBOES Ian Hardwick Principal Angela Tennick COR ANGLAIS Sue Bohling Principal Chair supported by Julian and Gill Simmonds

CLARINETS Robert Hill* Principal Nicholas Carpenter BASSOONS John Price Principal Gareth Newman* HORNS John Ryan Principal Estefania Beceiro Guest Principal Martin Hobbs Mark Vines Gareth Mollison

ORGAN Henry Parks

* Holds a professorial appointment in London +

Chevalier of the Brazilian Order of Rio Branco

TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

TROMBONES Mark Templeton* Principal David Whitehouse BASS TROMBONE Lyndon Meredith Principal TUBA Lee Tsarmaklis Principal TIMPANI Simon Carrington* Principal PERCUSSION Rachel Gledhill Principal Keith Millar Gillian McDonagh

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport David and Victoria Graham Fuller Caroline, Jamie and Zander Sharp Simon Yates and Kevin Roon

2 | London Philharmonic Orchestra

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LONDON PHILHARMONIC ORCHESTRA

Patrick Harrison

Seventy-eight years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor and, in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin its new Principal Guest Conductor from September 2008. The London Philharmonic Orchestra has been performing at Southbank Centre’s Royal Festival Hall since it opened in 1951, becoming Resident Orchestra in 1992. It plays there around 40 times each season with many of the world’s most sought after conductors and soloists. Concert highlights in 2010/11 include an exploration of Mahler’s symphonies and complete song cycles during the composer’s anniversary season; the premières of works by Matteo D’Amico, Magnus Lindberg and Brett Dean; a rare opportunity to hear Rossini’s opera Aureliano in Palmira in collaboration with long term partner Opera Rara; and works by the Orchestra’s new Composer in Residence, Julian Anderson. In addition to its London season and a series of concerts at Wigmore Hall, the Orchestra has flourishing

residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964. The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring continues to form a significant part of the Orchestra’s schedule and is supported by Aviva, the International Touring Partner of the London Philharmonic Orchestra. Tours in 2010/11 include visits to Finland, Germany, South Korea, Spain, France, Belgium and Luxembourg. Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East. The London Philharmonic Orchestra made its first recordings on 10 October 1932, just three days after its first public performance. It has recorded and broadcast

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LONDON PHILHARMONIC ORCHESTRA

PIETER SCHOEMAN

regularly ever since, and in 2005 established its own record label. The recordings on its own label are taken mainly from live concerts given with distinguished conductors over the years including the Orchestra’s Principal Conductors from Beecham and Boult, through Haitink, Solti and Tennstedt, to Masur and Jurowski. Recent additions to the catalogue have included acclaimed releases of Elgar’s Symphony No. 1 and Sea Pictures with Vernon Handley and Janet Baker; Mahler’s Symphony No. 2 conducted by Klaus Tennstedt; Brahms’s Symphonies Nos 1 and 2 conducted by Vladimir Jurowski; and Dvořák’s Requiem under the baton of Neeme Järvi. The Orchestra’s own-label CDs are also widely available to download. Visit www.lpo.org.uk/shop for the latest releases.

‘ … a simply tremendous performance of Mahler’s 3rd Symphony … Jurowski and his players plunged us into a winter of discontent so profoundly expectant that even the inveterate coughers were silenced.’ EDWARD SECKERSON, THE INDEPENDENT, 23 SEPTEMBER 2010

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts. To help maintain its high standards and diverse workload, the Orchestra is committed to the welfare of its musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Fund Healthy Orchestra Bronze Charter Mark. There are many ways to experience and stay in touch with the Orchestra’s activities: visit www.lpo.org.uk, subscribe to our podcast series, download our iPhone application and join us on Facebook and Twitter.

4 | London Philharmonic Orchestra

In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. He was appointed Leader in 2008. Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. In 1987 he was offered the Heifetz Chair of Music scholarship to study with 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 Schoeman has performed as a soloist and recitalist throughout the world in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, he has performed Arvo Pärt’s Double Concerto with Boris Garlitsky and Benjamin Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. Earlier this month he performed the Brahms Double Concerto with Kristina Blaumane. In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon and Baltimore as well as the BBC Symphony Orchestra. This season he has been invited to lead the Rotterdam Philharmonic Orchestra on several occasions. Pieter Schoeman has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television. He led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy. He teaches at Trinity College of Music, London.

Patrick Harrison

LEADER

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NEEME JÄRVI

Frederick Stucker

CONDUCTOR

The head of a musical dynasty, Maestro Neeme Järvi is one of today’s most respected conductors. He conducts many of the world’s most prominent orchestras and works alongside soloists of the highest calibre. A prolific recording artist, he has amassed a discography of over 440 recordings. Recent and future seasons include engagements with the Berlin Philharmonic Orchestra, Royal Concertgebouw Orchestra, Orchestre de Paris, Symphonieorchester des Bayerischen Rundfunks, Gewandhausorchester Leipzig, Orchestre de la Suisse Romande and the major orchestras of Scandinavia. In the US he is regularly invited to conduct the Chicago Symphony, Detroit Symphony and Philadelphia Orchestras. Operatic engagements have taken him to the Metropolitan Opera, Opéra de Paris (Bastille), San Francisco Opera and Téatro Colon in Buenos Aires. He has collaborated with soloists such as Janine Jansen, Hélène Grimaud, Evgeny Kissin, Lang Lang, Truls Mørk and Radu Lupu. This season, in addition to appearances with the orchestras above, Neeme Järvi conducts the Vienna Symphony Orchestra and Deutsches Symphonie Orchester Berlin and, further afield, the New Jersey Symphony Orchestra and National Symphony Orchestra, Washington. This month he will conduct a special concert with the Accademia Nazionale di Santa Cecilia for the Pope at the Vatican. Later in the year, he will tour with the Residentie Orkest to Vienna, Bratislava, Maribor, Zagreb and Villach, and with the Luzerner Sinfonieorchester to Turin, Paris and BadenBaden. 2010/11 also sees him making his annual appearances with the Royal Scottish National Orchestra and the Bergen Philharmonic Orchestra.

During his long and highly successful career he has held positions with orchestras all over the world. He is currently Chief Conductor of the Residentie Orkest in The Hague, The Netherlands, Principal Conductor of the Estonian National Symphony Orchestra, and Conductor Laureate and Artistic Advisor of the New Jersey Symphony Orchestra. He also holds the titles of Music Director Emeritus of the Detroit Symphony Orchestra, Principal Conductor Emeritus of the National Orchestra of Sweden – Gothenburg Symphony Orchestra, First Principal Guest Conductor of the Japan Philharmonic Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Highlights of an impressive discography include critically acclaimed complete symphony cycles of Prokofiev, Sibelius, Nielsen and Brahms. He has also championed less widely known composers such as Wilhelm Stenhammar, Hugo Alfvén and Niels Gade, and composers from his native Estonia including Rudolf Tobias, Eduard Tubin and Arvo Pärt. His most recent discs with Chandos are a Wagner/de Vlieger series with the Royal Scottish National Orchestra, a recording of Bruckner’s Symphony No. 5 with the Residentie Orkest and a disc of Johan Halvorsen’s orchestral works with the Bergen Philharmonic Orchestra. In 2009 he conducted a performance of Dvořák’s Requiem with the London Philharmonic Orchestra which was subsequently released on the Orchestra’s own label and chosen as Editor’s Choice in the January 2010 issue of Gramophone. Throughout his career, Neeme Järvi has been honoured with many international awards and accolades. In Estonia these include an honorary doctorate from the Music Academy of Estonia in Tallinn and the Order of the National Coat of Arms from the President of the Republic of Estonia, Mr. Lennart Meri. The Mayor of Tallinn presented him with the city’s first-ever ceremonial sash and coat of arms insignia, and he has been named one of the ‘Estonians of the Century’. Neeme Järvi holds an honorary doctorate of Humane Letters from Detroit’s Wayne State University and the University of Michigan, as well as honorary doctorates from the University of Aberdeen and the Royal Swedish Academy of Music. He has also received the Commander of the North Star Order from King Karl Gustav XVI of Sweden.

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JANICE WATSON

SARA FULGONI

SOPRANO

MEZZO SOPRANO

Janice Watson studied at the Guildhall School of Music and Drama and first came to prominence as winner of the Kathleen Ferrier memorial award. In opera her roles have included Pamina with the Paris Opera; Vitellia for the Flanders Opera; Strauss’s Daphne, Arabella and Salome at the Santa Fe Festival; Eva in Die Meistersinger von Nürnberg with the San Francisco Opera; Countess Almaviva at the Bavarian State Opera; Ellen Orford at the Vienna State Opera, Netherlands Opera and Royal Opera House, Covent Garden; Micaela at the Lyric Opera of Chicago; and Countess Almaviva and Liu at the Metropolitan Opera. She has been a regular guest with both English National Opera (most recently as the Marschallin and Madame Butterfly) and Welsh National Opera (most recently as Alice Ford). She returned to the Lyric Opera of Chicago for Jennifer in The Midsummer Marriage, made her debut with Opera Australia as Elisabeth in Tannhäuser and sang Katia Kabanova for the Royal Opera and at her debut at La Scala, Milan. She sang her first Leonora in Fidelio in Beijing and performed in A Streetcar Named Desire under André Previn and the London Symphony Orchestra.

A graduate of the Royal Northern College of Music, Sara Fulgoni is the recipient of numerous awards including second prize in the Kathleen Ferrier Awards in 1993. Her roles have included Carmen for English National Opera, Welsh National Opera and at the Beijing Music Festival; the title role in the world première of Tobias Picker’s Thérèse Raquin at Dallas Opera; Waltraute in Götterdämmerung with English National Opera; Judith in Bluebeard’s Castle with the Canadian Opera Company; Diana in La Calisto in Salzburg; Béatrice in Béatrice et Bénédict for the Netherlands Opera; Lola in Cavalleria rusticana with the Geneva Opera; and Penelope in Il ritorno d’Ulisse in patria with the Bayerische Staatsoper, the Royal Danish Opera in Copenhagen and the Geneva Opera. She sings regularly with Welsh National Opera, where her roles have included Béatrice, Orlofsky in Die Fledermaus and Kundry in Parsifal, and made her debut at the Royal Opera House as Federica in Luisa Miller. Recent highlights have included Baba the Turk in The Rake’s Progress in Rome, Sorceress in Dido and Aeneas at La Scala, the title role in The Rape of Lucretia for the Flanders Opera and Maddalena in Rigoletto at the Royal Opera House.

On the concert platform she has sung with the Boston Symphony under Norrington, San Francisco Symphony under Tilson Thomas, London Symphony under Colin Davis, Academy of St Martin in the Fields under Marriner, London Philharmonic under Haitink, and both the Chicago Symphony and Royal Concertgebouw under Chailly. Her many recordings include Orff’s Carmina Burana, Poulenc’s Gloria, Howells’ Missa Sabrinensis, and the roles of Ellen Orford (for which she received a Grammy Award), Helena in A Midsummer Night’s Dream and the title role in Jenůfa. Her current roles include Ellen Orford in Turin, Elsa for the Hamburg Opera and Katia in Oviedo.

6 | London Philharmonic Orchestra

A committed concert artist, Sara has sung Mahler’s Symphony No. 8 with the Royal Concertgebouw Orchestra and John Adams’ El Nino in concert with the Flanders Philharmonic Orchestra. In recital she has appeared at the Concertgebouw, Wigmore Hall, the Montreux-Vevey Festival and in the Châtelet’s MidisMusicaux series. Her recordings include Elijah, Verdi’s Oberto, Suor Angelica and Cherubini’s Mass in D minor. Future plans include the role of Brangäne in Tristan und Isolde for Grange Park Opera, Béatrice for Welsh National Opera and Schumann’s Faust Scenes at the Teatre del Liceu in Barcelona.

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PETER ROSE

TENOR

BASS

Robert Workman

PETER AUTY

Peter Auty is established as one of Britain’s leading tenors. He made his professional debut at Opera North in 1998/99 and returned in 2001/02 as Rodolfo in their much acclaimed production of La Bohème. He was a company principal of the Royal Opera, Covent Garden, from 1999 until 2002 where he covered several major roles and has returned as a guest to sing the roles of Malcolm in Macbeth and Edgardo in Lucia di Lammermoor. His other roles have included Nemorino in L’Elisir d’amore with Glyndebourne Festival Opera; Don José in Carmen for Glyndebourne on Tour; Italian Tenor in Der Rosenkavalier, Duke in Rigoletto and Turridu in Cavalleria rusticana for English National Opera; and Alfredo in La Traviata for Opera North. In Europe he has worked with several companies including Frankfurt Opera where he sang the role of Rodolfo and the Nationale Reisopera where he sang the roles of Alfredo and des Grieux in Manon. The 2009/10 season included the role of Gustavo in Un ballo in maschera with Nationale Reisopera; Cavaradossi in Tosca for Grange Park Opera; and Alvaro in La forza del destino for Opera Holland Park. He will be appearing as Don José for Opera North at the beginning of 2011. On the concert platform Peter Auty has worked with many of the UK’s leading orchestras. These have included the London Symphony Orchestra with Sir Colin Davis, the Orchestra of the Age of Enlightenment with Sir Mark Elder, and the London Philharmonic Orchestra with Neeme Järvi and Vladimir Jurowski. Appearances abroad have included concerts with the Iceland Symphony Orchestra conducted by Vladimir Ashkenazy and the Sydney Symphony Orchestra. Peter Auty made his recital debut in London in the 2009 Rosenblatt Recital Series.

Peter Rose made his operatic debut in 1986 with Glyndebourne Festival Opera in Hong Kong as Commendatore in Don Giovanni. Among the roles he has sung since are Bottom in Paris, Rome and Metropolitan Opera New York; Phillip in Cologne, Berlin and Hamburg; Basilio in San Francisco, Covent Garden and Metropolitan Opera; Dosifei in Khovanshchina in Hamburg; Osmin in Die Entführung aus dem Serail in Salzburg, Munich, Istanbul and Sydney; Rocco in Fidelio in Vienna and Bregenz; Claggart in Cologne, Vienna and Santa Fe; Ramfis at the Metropolitan Opera, Covent Garden and Deutsche Staatsoper Berlin; Walter in Luisa Miller in Amsterdam; Pope Pius IV in Palestrina in Munich; The Athlete in Lulu at Covent Garden; Ochs for Scottish Opera, Metropolitan Opera and Covent Garden; Boris Godunov for English National Opera; and Falstaff for Seattle Opera. Future plans include the roles of Mephistopheles in Gounod’s Faust in Hamburg; Osmin and Ochs for the Bayerische Staatsoper; Bottom for the Lyric Opera, Chicago and La Roche in Capriccio for the Paris Opera and Metropolitan Opera. Concert performances have included Beethoven’s Symphony No. 9 with Giulini and Barenboim; Mozart’s Requiem with Mehta and Jurowski; Mahler’s Symphony No. 8 with Tilson Thomas; La Damnation de Faust with the Chicago Symphony Orchestra and Solti; and Beethoven’s Missa Solemnis with the New York Philharmonic and Masur. Among his recordings are Le nozze di Figaro with Barenboim and the Berlin Philharmonic; Salome with the Vienna Philharmonic and von Dohnányi; The Barber of Seville, Tosca, Aida and The Bartered Bride for Chandos; The Dream of Gerontius with the CBSO and Oramo; L’Enfance du Christ with the London Symphony Orchestra and Sir Colin Davis; and A Midsummer Nights Dream on DVD.

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LONDON PHILHARMONIC CHOIR PATRON: HRH Princess Alexandra PRESIDENT: Sir Roger Norrington ARTISTIC DIRECTOR: Neville Creed

ACCOMPANIST: Iain Farrington CHAIRMAN: Mary Moore CHOIR MANAGER: Kevin Darnell

Sopranos Annette Argent, Tessa Bartley, Rebecca Brei, Olivia Carter, Paula Chessell, Katja Cleasby, Penny Coombes, Sally Cottam, Shelia Cox, Sarah Deane-Cutler, Alison Flood, Claudie Gheno, Rachel Gibbon, Jane Hanson, Francesca Harris, Sally Harrison, Carolyn Hayman, Elizabeth Hicks, Alexa Hills, Erin Hutchinson, Jenni Kilvert, Olivia Knibbs, Ilona Kratochvilova, Frances Lake, Charlotte Lawrence, Joanna Loxton, Marj McDaid, Sophie Mearing-Smith, Linda Park, Isobel Pyrke, Diana Richards, Victoria Smith, Claire Spencer, Tania Stanier, Caroline Taunt, Susan Thomas, Agnes Tisza, Jenny Torniainen, Nicola Ward, Fran Welch, Fran Wheare

Swire, Susi Underwood, Margaret de Valois Rowney, Jenny Watson, Erika Weingarth

Altos Joanna Arnold, Phye Bell, Susannah Bellingham, Michelle Brockbank, Isabelle Cheetham, Noel Chow, Liz Cole, Janik Dale, Margaret Driver, Moira Duckworth, Lynn Eaton, Carmel Edmonds, Regina Frank, Adrian Frost, Clare Galton, Kath Gilfoy, Pamela Hider, Sophy Holland, Marjana Jovanovic Morrison, Edith Judd, Andrea Lane, Lisa MacDonald, Laetitia Malan, Mary Moore, Rachel Murray, Elisabeth Nicol, Angela Pascoe, Helene Richards, Jenny Ryall, Carolyn Saunders, Tamara 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 throughout its history and made numerous recordings for CD, radio and television. Its Artistic Director is Neville Creed. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Last season’s highlights included performances of Mahler’s Symphony No. 2, Mendelssohn’s Elijah, Haydn’s Seven Last Words, Honegger’s Une Cantate de Noël, Poulenc’s Stabat Mater, Janáček’s The Eternal Gospel, Myaskovsky’s Symphony No. 6 and Liszt’s A Faust Symphony. This season, the Choir recently performed Mahler’s Symphony No. 3 and Bartók’s The Miraculous Mandarin. Future engagements include Fauré’s Requiem, Mahler’s Das klagende Lied, Holst’s The Planets and Elgar’s The Dream of Gerontius in early 2011. Recently released CDs with the London Philharmonic Orchestra include Dvořák’s Requiem conducted by Neeme Järvi and Brahms’s Ein deutsches Requiem with Yannick NézetSéguin.

8 | London Philharmonic Orchestra

Tenors David Aldred, Geir Andreassen, Tim Appleby, Chris Beynon, John Boyne, Keith Chaundy, Brian Coulstock, James Crawford, Kevin Darnell, Michael Delany, Dwayne Engh, Aloysius Fekete, Oliver Firth, Iain Handyside, Steven Hodges, Rob Home, Patrick Hughes, Andrew Martin, Kevin Rainey, Paul Thirer, Alex Thomas, Tony Wren Basses Jonathon Bird, Stephen Bonney, Gordon BukyWebster, Adam Bunzl, David Clark, Phillip Dangerfield, Marcus Daniels, Ian Frost, Paul Gittens, Nigel Grieve, Sam Hancock, Christopher Harvey, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Hugh Hudson, Martin Hudson, Aidan Jones, Steve Kirby, Robbie Li, John Luff, Anthony McDonald, John Morris, Ashley Morrison, William Parsons, Johan Pieters, Tony Piper, David Regan, Daniel Snowman, Peter Sollich, Peter Taylor, Edwin Tomlins, James Torniainen, James Wilson, Hin-Yan Wong, John Wood The Choir appears regularly at the BBC Proms at the Royal Albert Hall and performances have included Beethoven’s Symphony No. 9, Elgar’s The Dream of Gerontius, Rachmaninov’s The Bells and the UK premières of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir shared the stage with Daleks and other creatures at the Doctor Who Prom in 2008 and for a second time in 2010. The Choir also works with other leading orchestras, has visited many countries in Europe and travelled as far afield as Kuala Lumpur, Hong Kong and Perth, Australia. In 2007, the Choir celebrated its 60th anniversary and published a book – Hallelujah: An Informal History of the London Philharmonic Choir. The book is available from retail outlets here at the Southbank Centre and can be ordered through the Choir’s website. The London Philharmonic 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.

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PROGRAMME NOTES

CELEBRATION AND COMMEMORATION Antonín Dvořák was a man of strong and simple Catholic belief, who told his friend and mentor Brahms that he read the Bible every day. His last sacred composition was his setting of the Te Deum, the hymn of praise of the early church. It was written in 1892, shortly before his departure for the United States, in the expectation (not in fact fulfilled) that it would be included in a New York concert celebrating the 400th anniversary of Columbus’s ‘discovery’ of America. In accordance with the text and

Antonín DVOŘÁK

the intended occasion, it is extrovert and for the most part joyfully celebratory. Fifteen years earlier, his first major sacred work was the Stabat Mater, a setting of the mediaeval prayer to the bereaved mother of the crucified Christ. This was apparently a personal response to the deaths of his infant children, and it is predominantly elegiac and devout in feeling. The two works thus contrast sharply in purpose and tone. But they are united by Dvořák’s strong musical personality – though of the two it is the later, ‘American’ piece which is more obviously indebted in its idiom to his native Bohemia.

TE DEUM, OP. 103 (B.176) JANICE WATSON soprano PETER ROSE bass LONDON PHILHARMONIC CHOIR

1841-1904

In September 1892, Dvořák made his first crossing of the Atlantic to take up what was to be a three-year appointment as director of the National Conservatory of Music in New York. He spent the summer before his departure at his country cottage at Vysoká in southern Bohemia. There he received a request from Jeannette Thurber, the founder of the Conservatory, to compose a cantata called The American Flag for a concert in New York on 12 October, a focal point of the celebrations of the 400th anniversary of Columbus’s ‘discovery’ of America. But when the text of the cantata was slow to arrive, he decided as a precaution to start work on a setting of the Te Deum, the great Latin hymn of praise of the early church, which he felt would be appropriate to the occasion. He drafted it in a week at the end of June, and orchestrated it during the following month. In the event, the Te Deum was not included in the Columbus Day concert (and neither was The American Flag, which was completed only in January 1893). But Dvořák conducted the work a few days later, on 21 October, in his first major concert in New York. Surprisingly, it was not published until 1896, after the composer’s return to Europe.

Dvořák set the Te Deum for soprano and baritone soloists, four-part chorus and orchestra, dividing the text into four continuous sections corresponding roughly to the four movements of a symphony. The G major orchestral opening, with its persistent timpani triplets and short-breathed woodwind and string phrases, has something of the simplicity and directness of the Christmas pastorellas of rustic Bohemian tradition; but there is artifice here, too, in the canon between tenors and sopranos in the first choral entries. The dynamic level drops for the first time at ‘Sanctus, sanctus, sanctus’ – words which are immediately taken up by the solo soprano at the start of a slightly slower middle section, which is punctuated by woodwind interjections of a new version of the violin figure at the start of the work. There is a short, joyful reprise of the opening. The E flat major ‘slow movement’ takes the form of a recitative for the solo bass, heralded and accompanied by imposing brass fanfares, and a more lyrical aria, to which the chorus adds the prayer ‘Te ergo quaesumus’ as a refrain with a soaring violin descant. The B minor

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PROGRAMME NOTES

third movement echoes the symphonic scherzos of Bruckner in the way its choral phrases swing from key to key over a regular accompaniment. The finale begins in B major with the solo soprano’s solemn prayer ‘Dignare, Domine’, supported by the chorus’s pleas of ‘Miserere nostri, Domine’ – sung by the altos, and later the sopranos, to another version of the opening figure. This 1. Chorus (and soprano solo) Te Deum laudamus: Te Dominum confitemur. Te aeternum Patrem omnis terra veneratur. Tibi omnes angeli et caeli et universae potestates: Tibi cherubim et seraphim incessabli voce proclamant: Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra majestatis gloriae tuae. Te gloriosus apostolorum chorus. Te prophetarum laudabilis numerus, Te martyrum candidatus laudat exercitus. Te per orbem terrum sancta confitetur ecclesia. Patrem immensae majestatis; Venerandum verum et unicum Filium; Sanctum quoque paraclitum spiritum. 2. Bass solo and chorus Tu rex gloriae, Christe. Tu patris sempiternus, Tu Patris et Filius. Tu, ad liberandum suscepturus hominem, non horruisti virginis uterum. Tu, devicto mortis aculeo, a peruisti credentibus regna coelorum. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. Tu ad dexteram Dei sedes in gloria Patris. Judex crederis esse venturus. 3. Chorus Aeterna fac cum Sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine et benedic hereditati tuae. Et rege eos, et extole illos usque in aeternum. Per singulos dies benedicimus te; Et laudamus nomen tuum in saeculum. In saeculum saeculi.

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same transformation recurs in the orchestral accompaniment to the next section, in which the soloists combine for the first time, to the non-liturgical doxology ‘Benedicamus Patrem…’, prompting choral shouts of ‘Alleluja’. Finally the initial key of G major is restored, for a last jubilant orchestral reprise of the opening of the whole work.

We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee: the Father everlasting. To thee all Angels cry aloud: the Heavens and all the Powers therein. To thee Cherubin and Seraphin continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy Glory. The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The Holy Church throughout the world doth acknowledge thee; The Father of an infinite Majesty; Thine honourable, true, and only Son; Also the Holy Ghost, the Comforter.

Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. When thou tookest upon thee to deliver man, thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death, thou didst open the Kingdom of Heaven to all believers. We therefore pray thee, help thy servants, whom thou hast redeemed with thy precious blood. Thou sittest at the right hand of God, in the glory of the Father. We believe that thou shalt come to be our Judge.

Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people, and bless thine heritage. Govern them, and lift them up for ever. Day by day we magnify thee; And we worship thy Name, ever world without end.

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PROGRAMME NOTES

4. Soprano and bass solos and chorus Dignare, Domine die isto sine peccato nos custodire. Miserere nostri, Domine. Fiat misericordia tua, Domine super nos, quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum. Benedicamus Patrem, et Filium, cum Sancto Spiritu. Alleluja! Laudemus et superexaltemus eum in saecula.

Vouchsafe, O Lord, to keep us this day without sin. O Lord, have mercy upon us. O Lord, let thy mercy lighten upon us, as our trust is in thee. O Lord, in thee have I trusted; let me never be confounded. We Bless the Father, Son and Holy Ghost. Alleluja! We praise them and exalt them forever.

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

Antonín DVOŘÁK

STABAT MATER, OP. 58 (B.71)

1841-1904

JANICE WATSON soprano SARA FULGONI mezzo soprano PETER AUTY tenor PETER ROSE bass LONDON PHILHARMONIC CHOIR

Dvořák made a (now lost) setting of the Mass as a student exercise; but apart from that his first sacred work was his Stabat Mater, a setting of the mediaeval Latin prayer to the bereaved mother of the crucified Christ. It was drafted between February and May 1876, apparently as a delayed reaction to the death of the Dvořáks’ daughter Josefa the previous September, two days after her birth. Several other projects intervened before Dvořák got down to the task of orchestrating the work, in October and November 1877 – by which time the couple had also lost their second daughter, Růžena, who had died aged less than a year in August, and a month later their only son, the three-year-old Otakar.

some time to be heard. It was eventually performed, rather unseasonably, two days before Christmas 1880, by the opera company of the Czech Provisional Theatre in Prague. The following year it was issued by the German publisher Simrock (to whom Dvořák’s mentor Brahms had recommended the young Czech’s music). And, once in print, it became one of the works which made Dvořák’s name known internationally. It received its first British performance in London under the pioneering choral conductor Joseph Barnby in March 1883; and a year later Dvořák himself conducted it with great success in the Royal Albert Hall, on the first of his many visits to England.

Having been written out of personal impulse rather than to a commission, the Stabat Mater had to wait

The sequence Stabat Mater, of 13th-century Franciscan origin and long attributed to Jacopone da Todi (died

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PROGRAMME NOTES

1306), begins as a description of the Virgin Mary at the foot of the Cross, and turns into a prayer to her for her intercession. Dvořák set it in its entirety, several times grouping a number of its three-line stanzas together to form a substantial self-contained movement, and repeating passages of text freely to give each movement a strong formal outline. His scoring is for four soloists, four-part chorus and orchestra; the inclusion of a part for organ (originally harmonium) in the fourth movement suggests that he expected the instrument to be used elsewhere in the work to support the chorus. The musical language is highly personal, with the generous writing for the woodwind section which was a hallmark of Dvořák’s orchestration throughout his career. There is little of the nationalist emphasis which later made itself felt in his music, but equally there are none of the strict fugues which at the time were considered virtually obligatory in large-scale sacred works. The vocal lines seem to owe most to the operas of Verdi, many of which Dvořák had encountered as a young violist in the orchestra of the Provisional Theatre in Prague. The work begins with its longest movement, a setting of the first four stanzas of the poem for chorus and all four soloists, with an extended orchestral introduction and an overall A–B–A shape. In B minor, it begins with bare octave F sharps, perhaps symbolising the Cross itself (the German word for a sharp is ‘Kreuz’, ‘cross’), and continues with a sorrowing descending chromatic phrase which is to dominate the outer sections of the movement, usually associated with the opening words ‘Stabat mater dolorosa’. ‘Quis est homo’, in E minor, similarly gathers four stanzas into a substantial A–B–A structure, this time for the four soloists without the chorus; its outer sections are again dominated by the short, expressive phrase to which the opening words are set.

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The stanza in which description turns to prayer, ‘Eia, mater’, is set as a short, solemn chorus in C minor. The following movement, in B flat minor, alternates between the bass soloist’s ‘Fac ut ardeat cor meum’, declamatory and then lyrical, and the chorus’s devotional ‘Sancta mater’. ‘Tui nati’, in E flat major (the first major-key movement in the work), is set for chorus in a gently flowing 6/8 time, with a more agitated, and more contrapuntal, middle section. ‘Fac me vere’, in B major, after its Brahmsian introduction, is set for solo tenor and male chorus, in alternation and then in combination; the stanza ‘Juxta crucem’ appears twice as brief, urgent contrast. ‘Virgo, virginum praeclara’, in A major, is a predominantly quiet movement for chorus alone, for much of the time unaccompanied or discreetly supported by the orchestra. ‘Fac ut portem’, in D major, is a lyrical duet for soprano and tenor. ‘Inflammatus’, in D minor, is an alto solo, beginning with the Handelian colouring of oboes, bassoons and strings and with a trudging Handelian bass line. The setting of the final stanza reunites all four soloists with the chorus. It begins in B minor with the octave F sharps of the opening of the whole work, but turns decisively to D major at the first choral climax; in this key, the descending motive of the first movement reappears, now consoling rather than sorrowing, and is even incorporated into the fabric of the exuberant ‘Amen’, the work’s one episode of sustained contrapuntal texture. After a blazing chordal passage for unaccompanied chorus, the descending motive makes its last appearances in the D major coda, a final calm affirmation of Dvořák’s abiding faith.

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PROGRAMME NOTES

1. Chorus and Solo Quartet Stabat mater dolorosa Juxta crucem lacrymosa, Dum pendebat Filius. Cujus animam gementem Contristantem et dolentem Pertransivit gladius. O uam tristis et afflicta Fuit illa benedicta Mater Unigeniti; Quae moerebat et dolebat Et tremebat, cum videbat Nati poenas inclyti.

The sad mother was standing tearful beside the cross while her Son was hanging. Her grieving soul heavy with sadness and pain a sword pierced. O how unhappy and burdened with sorrow was that blessed mother of the only begotten One; Who mourned and suffered and trembled as she saw the agonies of her glorious Son.

2. Solo Quartet Quis est homo qui non fleret Christi matrem si videret In tanto supplicio? Quis non posset contristari Piam matrem contemplari Dolentem cum Filio? Pro peccatis suae gentis Vidit Jesum in tormentis Et flagellis subditum. Vicit suum dulcem natum Moriendo desolatum Dum emisit spiritum.

Who is the man who would not weep if he saw the mother of Christ in such affliction? Who could fail to feel compassion seeing the dear mother suffering with her Son? For the sins of His people she saw Jesus in torment and lashed by whips. She saw her dear Son dying in desolation as He gave up His soul.

3. Chorus Eia, mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam.

O mother, fount of love, make me feel the strength of thy grief that I may lament with thee.

4. Bass solo and Chorus Fac ut ardeat cor meum In amando Christum Deum Ut sibi complaceam. Sancta mater, istud agas, Crucifixi fige plagas Corde meo valide.

Make my heart blaze with love of Christ the Lord that I may be pleasing to Him. O holy mother, bring that to pass, plant the wounds of the Crucified One deep in my heart.

5. Chorus Tui nati vulnerati Tam dignati pro me pati Poenas mecum divide.

Of thy wounded Son who so greatly deigned to suffer for me share the pains with me.

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PROGRAMME NOTES

6. Tenor solo and Chorus Fac me vere tacum flere Crucifixo condolere Donec ego vixero. Juxta crucem tecum stare Te libenter sociare In planctu desidero.

Make me truly weep with thee and share the Crucified Oneâ€™s suffering as long as I shall live. To stand beside the cross with you and gladly to share your desolation is my desire.

7. Chorus Virgo, virginum praeclara, Mihi jam non sis amara Fac me tecum plangere.

Virgin, noblest of virgins, do not be cruel to me now, make me share thy desolation.

8. Soprano and Tenor Duet Fac ut portem Christi mortem, Passionis fac consortem, Et plagas recolere. Fac me plagis vulnerari, Cruce hac inebriari, Ob amorem Filii.

Make me bear the death of Christ, make me a companion of His passion, and feel His wounds again. Make me be wounded with His wounds and swoon beneath this cross for love of thy Son.

9. Mezzo soprano solo Inflammatus et accensus Per te, Virgo, sim defensus In die judicii. Fac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia.

When I am ablaze and consumed with fire O Virgin, let me be protected by you in the day of judgment. Let me be guarded by the cross, protected by the death of Christ and cherished by His grace.

10. Soloists and Chorus Quando corpus morietur, Fac ut animas donetur Paradisi gloria.

When the body shall die, may my soul be given the glory of Paradise.

Amen.

Hear every note

Hard of hearing? Visit the cloakroom for equipment to improve your concert experience.

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RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

LPO-0042 Neeme Järvi conducts Dvořák’s Requiem ‘Neeme Järvi leads a sturdy, evocative performance graced by gorgeous singing from the London Philharmonic Choir.’ JOSHUA KOSMAN, SAN FRANCISCO CHRONICLE, 7 MARCH 2010

LPO-0029 Kurt Masur conducts Schubert’s Unfinished Symphony and Janáček’s Glagolitic Mass ‘this awesomely muscular, vital account of Janáček’s Glagolitic (or Czech) Mass’ RICK JONES, TIMES KNOWLEDGE, 8 SEPTEMBER 2007

LPO-0045 Yannick Nézet-Séguin conducts Brahms’s German Requiem ‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording that I didn’t begrudge a single minute of the time spent to savour them.’ PETER QUANTRILL, GRAMOPHONE, AUGUST 2010

LPO-0048 Jesús López-Cobos conducts Verdi’s Requiem with Margaret Price, Livia Budai, Giuseppe Giacomini, Robert Lloyd and the London Philharmonic Choir ‘Jesús López-Cobos conducts a splendidly dramatic account of the score and the LPO Choir raise the roof.’ HUGH CANNING, THE SUNDAY TIMES, 5 SEPTEMBER 2010

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. CDs may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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SOUTHBANK CENTRE

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 the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

The Mozart Question Sunday 5 December 2010 | 3.30pm Royal Festival Hall An afternoon of music and storytelling, suitable for children aged 8 and over, based on Michael Morpurgo’s well-loved book which tells of one family’s experience of the holocaust and the incredible healing power of music. Vladimir Jurowski conductor Daniel Pioro violin Michael Morpurgo narrator Alison Reid narrator Simon Reade director Excerpts from: Beethoven Violin Concerto Vivaldi The Four Seasons Strauss The Blue Danube Bach Violin Sonata No. 1 Mozart Eine kleine Nachtmusik Running time 75 minutes. No interval. Tickets Under 16: £7 £9 Adult: £14 £18 For booking details see page 20. Dedicated by the Dorset Foundation in memory of the late Harry M. Weinrebe and supported by a syndicate of individual donors.

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If you wish to get in touch with us following your visit please contact Kenelm Roberts, our Head of Customer Relations, at Southbank Centre, Belvedere Road, London SE1 8XX or email customer@southbankcentre.co.uk or phone 020 7960 4250. We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended MOBILES, PAGERS AND WATCHES should be switched off before the performance begins

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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon

Guy & Utti Whittaker

Commander Vincent Evans Mr Daniel Goldstein Mrs Barbara Green Oliver Heaton 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 Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mrs Sonja Drexler Mr Charles Dumas David Ellen

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Marika Cobbold & Michael Patchett-Joyce Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe

Garf & Gill Collins Andrew Davenport David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Mr Richard Fernyhough Ken Follett Michael & Christine Henry Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Egil Oldeide Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged. Corporate Members Appleyard & Trew llp AREVA UK British American Business Brown Brothers Harriman Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Man Group plc Québec Government Office in London Corporate Donor Lombard Street Research In-kind Sponsors Google Inc Heineken The Langham London Lindt & Sprüngli Ltd Sela / Tilley’s Sweets Villa Maria

Trusts and Foundations Allianz Cultural Foundation The Andor Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The Dorset Foundation The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust The Foyle Foundation The Jonathan & Jeniffer Harris Trust The Idlewild Trust The Emmanuel Kaye Foundation Maurice Marks Charitable Trust The Michael Marks Charitable Trust Marsh Christian Trust UK Friends of the FelixMendelssohn-Bartholdy Foundation

The Mercers’ Company Adam Mickiewicz Institute Paul Morgan Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The R K Charitable Trust Serge Rachmaninoff Foundation The Rubin Foundation The Samuel Sebba Charitable Trust Sound Connections The Steel Charitable Trust The Bernard Sunley Charitable Foundation The Swan Trust John Thaw Foundation The Underwood Trust Garfield Weston Foundation Youth Music and others who wish to remain anonymous.

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PHILHARMONIC NEWS

The Bridge Project At a pre-concert event at 6pm on 13 October in the Royal Festival Hall over one hundred young violinists from the Bridge Project will come together with musicians from the London Philharmonic Orchestra, Royal College of Music and Foyle Future Firsts to perform an exciting repertoire of specially arranged pieces. Aged 5-7, the children made their debut with the London Philharmonic Orchestra at the Royal Festival Hall at a Schools Concert in June and return to showcase their fantastic violin playing.

will be part of the scheme up until 2012. She will be performing the Mendelssohn Violin Concerto at the Royal Festival Hall on 13 October. 2011 International Conductors’ Academy of the Allianz Cultural Foundation Another project that offers support to young musicians is the International Conductors’ Academy, which has been running since 2003. An annual initiative of the Allianz Cultural Foundation in partnership with the London Philharmonic Orchestra, Philharmonia Orchestra and Southbank Centre, it offers intensive mentoring and training with the Orchestras and their conductors to three gifted young conductors. Previous participants have included Gustavo Dudamel, who was appointed Music Director of the Los Angeles Symphony Orchestra in 2009, and more recently last year’s graduate, Anna-Maria Helsing, who has been appointed Artistic Director of the Oulu Symphony Orchestra. The three conductors selected to participate in the 2011 academy are Yordan Kamdzhalov from Bulgaria, Arturo Alvardo from Peru and Darrell Ang from Singapore.

Children from the Bridge Project playing with the London Philharmonic Orchestra at the Royal Festival Hall as part of a Schools Concert in June this year. The Bridge Project is the music education programme provided by London Music Masters, a registered charity which aims to open doors for young children who might not otherwise have the opportunity to engage in classical music. London Music Masters Awards The charity also administers the LMM Awards which are given every three years to three exceptional violinists between the ages of 18 and 28 and offers them generous financial and career support. Agata Szymczewska, the soloist in the evening concert on 13 October received one of these awards in 2009 and

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The participants will work with the London Philharmonic Orchestra and Philharmonia Orchestra under the tutelage of conductors including Vladimir Jurowski and Esa-Pekka Salonen. They will also attend the Orchestras’ rehearsals and concerts in London and on tour and will jointly conduct a subscription series concert with the Philharmonia Orchestra on 13 October 2011. ‘The quality of applicants this year has been extremely high, which is testament to the stature that the Allianz Conductors’ Academy has achieved over the years’, commented Tim Walker, Chief Executive and Artistic Director of the London Philharmonic Orchestra. ‘The many invaluable experiences these musicians will have, both on and off the podium, will assist them in their aspirations to become major artistic figures of the future. We are indebted to the Allianz Cultural Foundation for their vital support of such a deserving scheme.’

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ADMINISTRATION

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