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Concert programme 2013/14 season Part of Southbank Centreâ€™s

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9/6/2013 12:14:31 PM

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

Celebrating the centenary of Benjamin Britten in 2013

Programme £3 Contents

Southbank Centre’s Royal Festival Hall Saturday 12 October 2013 | 7.30pm

Britten War Requiem (77’)

Vladimir Jurowski conductor Tatiana Monogarova soprano Ian Bostridge tenor Matthias Goerne baritone Neville Creed conductor (chamber orchestra) London Philharmonic Choir Trinity Boys Choir There will be no interval during this performance.

Free pre-concert performance 6.00–6.45pm | Royal Festival Hall Musicians from the Royal College of Music perform Britten’s Les illuminations and Variations on a Theme of Frank Bridge. All welcome, no ticket required.

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

2 Welcome 3 Tonight’s work in context 4 About the Orchestra 6 On stage tonight 7 Vladimir Jurowski 8 Tatiana Monogarova Ian Bostridge 9 Matthias Goerne Trinity Boys Choir 10 London Philharmonic Choir 11 Neville Creed Leader 12 Programme note 15 Text 22 Britten on the LPO Label 23 Next concerts 24 Orchestra news 25 Catalyst: Double Your Donation 27 Supporters 28 LPO administration The timing shown is not precise and is 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 work in context

1910 1913 Benjamin Britten born in Lowestoft, Suffolk 1914 Outbreak of World War I 1916 Albert Einstein published his Theory of General Relativity

1920

1918 End of World War I 1920 Beginning of Prohibition in the USA 1922 Creation of the Soviet Union (USSR) British Broadcasting Corporation founded 1928 Alexander Fleming discovered penicillin

1930

1929 Wall Street Crash 1930 Britten began studying at the Royal College of Music in London 1932 London Philharmonic Orchestra founded by Sir Thomas Beecham Britten’s first published work, Three Two-part Songs based on poems of Walter de la Mare, published by Oxford University Press

1940

1939 Outbreak of World War II. Britten and Peter Pears travelled to North America, where they remained for the duration of the war. 1942 Britten and Pears returned to England and registered as Conscientious Objectors

1950

1945 End of World War II 1947 Britten and Pears moved to Crag House in Aldeburgh, Suffolk 1949 Orwell’s Nineteen Eighty-Four published 1953 Coronation of Queen Elizabeth II Death of Joseph Stalin 1955 Vietnam War began 1956 Suez Crisis

1960

1960 Alfred Hitchcock’s film Psycho released 1962 Premiere of Britten’s War Requiem in Coventry Cathedral 1963 John F. Kennedy assassinated in Dallas, Texas 1967 Homosexuality decriminalised in the UK

1970

1969 Neil Armstrong became the first man on the Moon. Stonewall riots in New York 1971 Decimalisation of currency in the UK

1975 Microsoft founded by Bill Gates and Paul Allen 1976 Benjamin Britten died of heart failure in Aldeburgh, Suffolk

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

‘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 its present-day position as one of the most dynamic and forward-looking orchestras in the UK. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own successful CD label, and enhances the lives of thousands of people every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the greatest names in the conducting world, including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor. Julian Anderson is the Orchestra’s current Composer in Residence.

4 | London Philharmonic Orchestra

The Orchestra is based at Southbank Centre’s Royal Festival Hall in London, where it has performed since 1951 and been Resident Orchestra since 1992. It gives around 40 concerts there each season with many of the world’s top conductors and soloists. 2013/14 highlights include a Britten centenary celebration with Vladimir Jurowski; world premieres of James MacMillan’s Viola Concerto and Górecki’s Fourth Symphony; French repertoire with Yannick Nézet-Séguin including Poulenc, Dutilleux, Berlioz, and Saint-Saëns’s ‘Organ’ Symphony; and two concerts of epic film scores. We welcome soloists including Evelyn Glennie, Mitsuko Uchida, Leif Ove Andsnes, Miloš Karadaglić, Renaud Capuçon, Emanuel Ax, Leonidas Kavakos, Julia Fischer and Simon Trpčeski, and a distinguished line-up of conductors including Christoph Eschenbach, Osmo Vänskä, Vasily Petrenko, Jukka-Pekka Saraste and Stanisław Skrowaczewski. Throughout the second half of 2013 the Orchestra continues its year-long collaboration with Southbank Centre in The Rest Is Noise festival, exploring the influential works of the 20th century.

Last summer the Orchestra was invited to take part in The Queen’s Diamond Jubilee Pageant on the River Thames, as well as being chosen to record all the world’s national anthems for the London 2012 Olympics. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians and audiences through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; fusion ensemble The Band; the Leverhulme Young Composers project; and the Foyle Future Firsts orchestral training programme for outstanding young players. Over recent years, digital advances and social media have enabled the Orchestra to reach even more people across the globe: all its recordings are available to download from iTunes and, as well as a YouTube channel, iPhone app and regular podcast series, the Orchestra has a lively presence on Facebook and Twitter. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large and vital part of the Orchestra’s life: highlights of the 2013/14 season include visits to the USA, Romania, Austria, Germany, Slovenia, Belgium, France and Spain.

Find out more and get involved! lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from Lawrence of Arabia, The Mission and East is East to Hugo, The Lord of the Rings trilogy 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 over 70 releases available on CD and to download. Recent additions include Mahler’s Symphony No. 1 and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Vaughan Williams’s Symphonies Nos. 5 & 7 with Bernard Haitink; and Mahler’s Das Lied von der Erde with Yannick NézetSéguin, Sarah Connolly and Toby Spence.

London Philharmonic Orchestra | 5

On stage tonight

Chamber orchestra Pieter Schoeman* Leader Winona Fifield violin Cyrille Mercier viola Kristina Blaumane cello Kevin Rundell* double bass Paul Edmund-Davies flute/piccolo Ian Hardwick oboe/cor anglais Robert Hill* clarinet Catherine Larsen-Maguire bassoon John Ryan* horn Marney O’Sullivan timpani/percussion Rachel Masters* harp Chair supported by Friends of the Orchestra

First Violins Vesselin Gellev Leader Chair supported by John & Angela Kessler

Ilyoung Chae Chair supported by Moya Greene

Ji-Hyun Lee Chair supported by Eric Tomsett

Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp

Robert Pool Yang Zhang Grace Lee Rebecca Shorrock Alina Petrenko Galina Tanney Caroline Frenkel Second Violins Jeongmin Kim Principal Joseph Maher

Kate Birchall Chair supported by David & Victoria Graham Fuller

Fiona Higham Ashley Stevens Nancy Elan Ksenia Berezina Eugene Lee Harry Kerr Imogen Williamson Stephen Stewart Sheila Law Violas Robert Duncan Principal Gregory Aronovich Katherine Leek Benedetto Pollani Laura Vallejo Susanne Martens Daniel Cornford Isabel Pereira Miranda Davis Isabel Pereira Cellos Francis Bucknall Principal Laura Donoghue Santiago Carvalho† David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Helen Rathbone Tae-Mi Song Double Basses Tim Gibbs Principal Laurence Lovelle George Peniston Helen Rowlands Tom Walley Margarida Castro Kenneth Knussen Jeremy Watt

Flutes Sue Thomas Principal Chair supported by the Sharp Family

Joanna Marsh Stewart McIlwham* Piccolo Stewart McIlwham* Principal

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

Nicholas Betts Co-Principal Tom Rainer Trombones Mark Templeton* Principal David Whitehouse

Oboes John Roberts Guest Principal Timothy Watts

Bass Trombone Lyndon Meredith Principal

Cor Anglais Sue Böhling Principal

Tuba Lee Tsarmaklis* Principal

Chair supported by Julian & Gill Simmonds

Clarinets Nicholas Carpenter* Principal Katie Lockhart Paul Richards E-flat Clarinet Katie Lockhart Bass Clarinet Paul Richards Principal Bassoons Gareth Newman* Principal Stuart Russell Contrabassoon Simon Estell Principal Horns Mark Vines Principal Martin Hobbs Gareth Mollison Duncan Fuller Stephen Nicholls Tony Chidell

Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Ignacio Molins Sarah Mason Richard Horne James Bower Piano Catherine Edwards Organ Henry Parkes Chamber Organ Clíodna Shanahan Assistant Conductor Michael Young * Holds a professorial appointment in London * Chevalier of the Brazilian Order of Rio Branco

The London Philharmonic Orchestra also acknowledges the following chair supporter whose player is not present at this concert: Simon Robey

6 | London Philharmonic Orchestra

Vladimir Jurowski

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 was appointed Principal Guest Conductor of the London Philharmonic Orchestra in 2003, 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); Principal Guest Conductor of the Russian National Orchestra (2005–09); and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir Jurowski has appeared on the podium with many leading orchestras in Europe and North America including the Berlin and Vienna Philharmonic orchestras, the Royal Concertgebouw Orchestra, The Philadelphia Orchestra, the Boston and Chicago symphony orchestras, the Tonhalle-Orchester Zürich, the Gewandhausorchester Leipzig, and the Staatskapelle Dresden. Highlights of the 2013/14 season and beyond include his debuts with the New York Philharmonic, NHK Symphony (Tokyo) and San Francisco Symphony orchestras; tours with the Chamber Orchestra of Europe and the Mahler Chamber Orchestra; and return visits to the Chicago Symphony, Berlin Radio Symphony, Cleveland and Philadelphia orchestras, and the Accademia Nazionale di Santa Cecilia.

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, Ariadne auf Naxos and Peter Eötvös’s Love and Other Demons at Glyndebourne Festival Opera. This autumn he returns to the Metropolitan Opera for Die Frau ohne Schatten, and future engagements include 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’étoile 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 Symphonies Nos. 1 and 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 CD releases of La Cenerentola, Tristan und Isolde and Prokofiev’s Betrothal in a Monastery, and DVD releases of his performances of La Cenerentola, Gianni Schicchi, Die Fledermaus, Die Meistersinger von Nürnberg, Don Giovanni and Rachmaninoff’s The Miserly Knight. Other DVD releases include Hansel and Gretel from the Metropolitan Opera; 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 Foundation and one anonymous donor.

London Philharmonic Orchestra | 7

Ian Bostridge

soprano

tenor

Tatiana Monogarova made her international debut creating the role of Margarita in Sergei Slonimsky’s opera The Master and Margarita with the Moscow Forum Theatre on tour in Germany under Michail Jurowski. She has also appeared as Tatiana (Tchaikovsky’s Eugene Onegin), Lisa (Tchaikovsky’s The Queen of Spades) and Fevronia ( Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh) at the Bolshoi Theatre in Moscow.

Ian Bostridge’s international career includes the world’s major concert halls and the Edinburgh, Munich, Vienna, Aldeburgh, Salzburg and Schubertiade festivals, as well as artistic residencies at the Vienna Konzerthaus, New York’s Carnegie Hall, the Amsterdam Concertgebouw, the Philharmonie in Luxembourg, the Laeiszhalle in Hamburg, and London’s Barbican and Wigmore Hall.

This season she makes her house debut at Cape Town Opera as Cio-Cio San in Puccini’s Madame Butterfly; at the Grand Theatre in Warsaw singing the title role in Iolanta under Valery Gergiev; and at the Opernhaus Zürich as Lisa in a new Robert Carsen production of The Queen of Spades under Jiří Bělohlávek. She will also appear in concert with The Philadelphia Orchestra in Rachmaninoff’s The Bells. Tatiana Monogarova made her role debut of Cio-Cio San at Opéra de Dijon, and that of Rusalka in a highly acclaimed appearance at the Semperoper Dresden. She made her Glyndebourne debut as Donna Anna in Mozart’s Don Giovanni, a role she has also performed at Cologne Opera. She has sung her signature role of Tatiana in Eugene Onegin in a production by Dimitri Tcherniakov at the Bolshoi Theatre as well as at the Staatsoper Hamburg, Cincinnati Opera, Teatro Real and Vienna State Opera. She has appeared as Lisa in The Queen of Spades at the Théâtre Royal de la Monnaie, Bayerische Staatsoper, Oper Graz, Welsh National Opera and Houston Grand Opera. She has also perfomed in concert at the BBC Proms and with the Bavarian Radio Symphony, Atlanta Symphony and Hong Kong Philharmonic orchestras. In future seasons she will make her debut at Washington National Opera, Oper Frankfurt and l’Opéra national du Rhin in Strasbourg.

8 | London Philharmonic Orchestra

Tatiana Monogarova

In opera he has performed with the Royal Opera, Vienna State Opera, Bavarian State Opera and English National Opera, notably as Aschenbach in Britten’s Death in Venice, which was also seen in Brussels, Amsterdam and Luxembourg. His wide discography has won major awards in the UK, Germany, France, North America and Japan. In concert he works with the world’s great orchestras and conductors: notable recent engagements have included Stravinsky’s Oedipus Rex with Angelika Kirchschlager and H.K. Gruber in Vienna, and the world premiere of Henze’s Opfergang with the Accademia Nazionale di Santa Cecilia under Antonio Pappano. Ian Bostridge has a major presence worldwide as part of the 2013 Britten Centenary celebrations, with appearances at the Aix-en-Provence, Brighton, Aldeburgh and Salzburg festivals; and residencies in Hamburg, Cologne, New York, Moscow and at London’s Barbican and Birmingham’s Symphony Hall. He performs at the Berlin Philharmonie on Britten’s birth date, 22 November, and makes appearances with the Warsaw Philharmonic Orchestra under Roberto Abbado, the Accademia Nazionale di Santa Cecilia under Antonio Pappano, and the Amsterdam Concertgebouw Orchestra under Andris Nelsons. In 2001 Ian Bostridge was elected an Honorary Fellow of Corpus Christi College, Oxford, and in 2003 he was made an Honorary Doctor of Music by the University of St Andrews. He was created a CBE in the 2004 New Year Honours.

Matthias Goerne

Trinity Boys Choir

baritone

David Swinson director

Matthias Goerne is one of the most internationally soughtafter vocalists, and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Among his musical partners are conductors of the first rank, as well as many eminent pianists.

Trinity Boys Choir was founded almost 50 years ago, and has been directed by David Swinson since 2001.

Since his opera debut at the Salzburg Festival in 1997 as Papageno, Matthias Goerne has appeared on the world’s principal opera stages including the Royal Opera House, Covent Garden; Teatro Real, Madrid; Paris National Opera; Vienna State Opera; and the Metropolitan Opera, New York. His carefully chosen roles range from Wolfram (Tannhäuser), Amfortas (Parsifal), Kurwenal (Tristan und Isolde) and Orest (Elektra) to the title roles in Alban Berg’s Wozzeck, Bartók’s Bluebeard’s Castle, Hindemith’s Mathis der Maler and Aribert Reimann’s Lear.

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 recently appeared at the Krakow Film Festival and at Amsterdam’s Concertgebouw.

Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards. He is currently recording an 11-CD series of selected Schubert songs (‘The Goerne/Schubert Edition’) for Harmonia Mundi. From 2001–05 Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001 he was appointed an Honorary Member of the Royal Academy of Music in London. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig, and with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Highlights of recent seasons included a tour with the Vienna Philharmonic; appearances at the Saito Kinen Festival in Japan and at the Teatro Real in Madrid; song recitals with Christoph Eschenbach and Leif Ove Andsnes in Paris, Vienna and New York; and concerts with the Orchestre de Paris, Berlin Philharmonic and San Francisco Symphony. Highlights in 2013/14 include song recitals at London’s Wigmore Hall and New York’s Carnegie Hall, and several appearances at the Vienna State Opera in the roles of Amfortas, Kurwenal and Wozzeck.

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.

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: Graham Bass, Harry Cookson, Gabriel Crozier, Sebastian Davies, Luke Dugan, Tom Foreman, William Gardner, Daniel Gilbert, Robert Good, Benedict Hill, Sebastian Hill, Theo Lally, Quentin-Zach Martins, Findlay Maule, Samuel McGregor, Fintan O’Connor, Joshua Parks, Samuel Richardson, Jérémie de Rijk, Robert Sharrock, Andrew Sinclair-Knopp, Igor Sterner, Daniel Williams, Dominic Williams

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. Concerts with the LPO last season included Rachmaninoff’s The Bells, Haydn’s Nelson Mass, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem, Elgar’s The Dream of Gerontius, Weill’s The Threepenny Opera, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana and Tippett’s A Child of Our Time. Forthcoming concerts include 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 under Vladimir Jurowski; Beethoven’s Missa Solemnis with Christoph Eschenbach; and Dvořák’s Requiem with Neeme Järvi. 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. 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 in June 2012 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

10 | London Philharmonic Orchestra

Sopranos Catherine Allum, Annette Argent, Lisa Bartley, Mary Bateman, Laura Buntine, Millie Carden, Olivia Carter, Gemma Chance, Paula Chessell, Alana Louise Clark, Emily Clarke, Sally Cottam, Sheila Cox, Emma Craven, Sarah Elizabeth Deane-Cutler, Victoria Denard, Lucy Doig, Sally Donegani, Philippa Drinkwater, Rachel Gibbon, Emma Hancox, Jane Hanson, Sally Jennifer Harrison, Johanna Hartmann, Carolyn Hayman, Laura Hunt, Georgina Kaim, Mai Kikkawa, Jenni Kilvert, Judith Kistner, Olivia Knibbs, Junelle Kwon, Fran Levin, Clare Lovett, Rosalind Mann, Janey Maxwell, Marj McDaid, Katie Milton, Megan Oldmeadow, Linda Park, Alexia Prakas, Alice Pugh, Kathryn Quinton, Danielle Reece-Greenhalgh, Stacy Sauppe, Rebecca Schendel, Tania Stanier, Rachael Elizabeth Stokes, Amy Stroud, Louisa Sullivan, Tracey Szwagrzak, Susan Thomas, Katy Thomson, Isobel Timms, Jenny Torniainen, Rachel Ward, Susan Watts, Charlotte Wielgut Altos Deirdre Ashton, Phye Bell, Sally Brien, Andrei Caracoti, Lara Carim, Isabelle Cheetham, Noel Chow, Yvonne Cohen, Liz Cole, Janik Dale, Margaret de Valois Rowney, Fiona Duffy-Farrell, Elisa Dunbar, Andrea Easey, Lynn Eaton, Carmel Edmonds, Kathryn Gilfoy, Henrietta Hammonds, Marjana Jovanovic Morrison, Charlotte Kingston, Lisa MacDonald, Michelle Marple, Mary Moore, Sophie Morrison, Rachel Murray, Sheila Rowland, Jenny Ryall, Katie Saunders, Muriel Swijghuisen Reigersberg, Mayuko Tanno, Erica Tomlinson, Catherine Travers, Curzon Tussaud, Susi Underwood, Libby Vannet, Jenny Watson, Suzanne Weaver Tenors Scott Addison, David Aldred, Geir Andreassen, Nick Arratoon, Chris Beynon, Tom Cameron, Lorne Cuthbert, Kevin Darnell, Michael Delany, Fred Fisher, Colin Fleming, Robert Geary, Iain Handyside, Stephen Hodges, Rob Home, Patrick Hughes, Hyun Jin Jeong, Andrew Mackie, Tony Masters, Philip Padfield, Sam Roots, Paul Williams-Burton, Travis Winstanley, Tony Wren, William Yates Basses John Bandy, Jonathon Bird, Damion Box, Gordon Buky-Webster, Adam Bunzl, Geoff Clare, Bill Cumber, Phillip Dangerfield, Marcus Daniels, Paul Fincham, Benjamin Fingerhut, Ian Frost, Christopher Gadd, Paul Gittens, John Graham, Nigel Grieve, Mark Hillier, Stephen Hines, David Hodgson, Rylan Holey, Yaron Hollander, Martin Hudson, Aidan Jones, Steve Kirby, Anthony McDonald, Richard Miller, John D Morris, John G Morris, Ashley Morrison, Will Parsons, Johan Pieters, Dominic Raeside, John Salmon, Ed Smith, Daniel Snowman, Peter Sollich, Peter Taylor, Alex Thomas, James Torniainen, Matthew Ward, Hin-Yan Wong, John Wood

Neville Creed

Pieter Schoeman

conductor (chamber orchestra)

leader

He has conducted numerous choirs and orchestras, holding appointments as Conductor of the Guildford Philharmonic Choir and Chorus Director of the Bournemouth Symphony Chorus. In 1994 he was appointed Chorus Director of the London Philharmonic Choir and in 2002 he became its first Artistic Director. In preparing choirs for performances with most of the world’s finest conductors, as well as conducting his own concerts, he has gained an extensive choral repertoire. Neville Creed has made many recordings including David Fanshawe’s African Sanctus with the Bournemouth Symphony Chorus, and Britten’s War Requiem with the London Philharmonic Orchestra and Choir under Kurt Masur on the LPO Label (LPO–0010). Awards have included Gramophone Choral Recording of the Year and a Grammy Award for his work with the Bournemouth Symphony Chorus. Neville Creed has toured extensively with various choirs and orchestras, visiting most European countries as well as the USA, Brazil, Australia and Malaysia. He recently appeared at the Hong Kong Arts Festival conducting the London Philharmonic Choir in a programme of British choral music. He has won prizes in the Trento International Choral Conducting Competition and the Leeds Competition for Orchestral Conducting. Teaching posts have included Director of Choral Music at Tiffin School in Kingston upon Thames and his present position as Director of Cultural Activities at St Edward’s, Oxford. He also continues to run his own chamber choir and works as a freelance conductor.

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

Neville Creed began conducting while he was a Choral Scholar studying music at Trinity College, Cambridge. He was also awarded a scholarship to study conducting at the Guildhall School of Music & Drama in London, where he won the Ricordi Conducting Prize.

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 and BBC Philharmonic orchestras. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance. London Philharmonic Orchestra | 11

Programme note

Introduction No work embodies Benjamin Britten’s passionate pacifist convictions more movingly than his War Requiem, composed to mark the consecration of the new Coventry Cathedral in 1962 – the old cathedral had been destroyed by German bombs in 1940. The text of the Latin Mass for the Dead, sung by the chorus, is brilliantly interspersed with poems by the greatest of the First World War poets, Wilfred Owen, sung by tenor and baritone soloists. The result is a kind of dialogue between ancient expressions of faith and Owen’s often despairing awareness of the horror of war. Sometimes the poems present an ironic, bitter critique of the seeming certainties expressed in the prayers and hymns of the Requiem. But at other times – and especially in the last two movements – Owen’s words and those of the liturgy seem to edge closer, offering at least a glimmer of redemptive hope. This extraordinarily telling composite text is set to some of Britten’s most memorable, directly expressive music: from the terrifying brass fanfares and desolate soprano solo of the Dies irae to the dazzling trumpets and ecstatically chanting chorus of the Sanctus; from the frozen despair of the Owen setting ‘Strange Meeting’ to the massed expression of yearning for redemption and peace in the final In paradisum.

Benjamin Britten (1913–76) War Requiem (1962) Vladimir Jurowski conductor Tatiana Monogarova soprano Ian Bostridge tenor Matthias Goerne baritone Neville Creed conductor (chamber orchestra) London Philharmonic Choir Trinity Boys Choir 1 Requiem aeternam 2 Dies irae 3 Offertorium 4 Sanctus 5 Agnus Dei 6 Libera me The text begins on page 15.

12 | London Philharmonic Orchestra

Great music is rarely written to great texts. But Benjamin Britten’s War Requiem is a towering exception. Not only does it offer some of his most moving, directly accessible music: the fusion of the words of the Latin Mass for the Dead with the poetry of the First World War poet Wilfred Owen is in itself an achievement of genius. The idea came to Britten when he was asked to provide a work for the consecration of the new Coventry Cathedral in 1962 – the old cathedral had been almost entirely destroyed during the Luftwaffe air raids of 1940. Britten saw this as an opportunity to express his passionately held pacifist convictions with new force. He had often dwelt on religious themes in his works; indeed one of his earliest major orchestral works was the Sinfonia da Requiem (coincidentally written in the year of the Coventry bombing), whose three movements

take their titles from sections of the Requiem Mass. But in the War Requiem Wilfred Owen’s poems act as an emotional counterweight to the Requiem text: sometimes offering an ironic, bitter commentary on it, at other times seeming to edge closer to the notion of religious consolation.

orchestra return, but then comes a dramatic reversal: in the midst of the tolling, warning bell chimes, tenor and chamber orchestra surge in with Owen’s coruscating ‘What passing bells for these who die as cattle?’ Finally it is left to chorus and bells to intone the words of the Kyrie – ‘Lord have mercy’ – in a numbed pianissimo.

Britten also found a simple but highly effective way of stressing the difference between the worlds of the liturgy and Owen’s poems. Chorus and soprano soloist, supported by a large orchestra, sing only the words of the Mass – as in the great, intensely dramatic Requiem by Verdi (echoed more than once in the course of Britten’s setting). Owen’s poetry however is sung by two male soloists, tenor and baritone, accompanied almost exclusively by a chamber orchestra of 12 players. Apart from these – as though in yet another world – is a boys’ choir, accompanied by organ or harmonium. Boys voices usually stand for innocence and purity in Britten’s music, and in the War Requiem they mostly sing the words of the ancient hymns that punctuate the text of the Mass – in other words their music tends to have a more objective, even detached quality. The personal, anguished pleas for deliverance from death and judgement are left to the soprano and the chorus. However this contrast only serves to emphasise the urgency of the expression in the choral-orchestral and solo-chamber sections of the work. Ultimately, the interplay of these three kinds of music forms a ringing endorsement of the lines from Owen that Britten placed on the title page of the score:

Other composers have used brass fanfares in settings of the central Dies irae (‘Day of wrath’) – not surprisingly in a text that features prominently the ‘Last Trumpet’ heralding the Day of Judgement. But the quiet solo brass figures that open Britten’s Dies irae are unmistakably distant martial bugles. As chorus and orchestra begin the long build-up, to a strangely jerky seven-beats-in-a-bar rhythm, the brass fanfares get louder and closer, eventually reaching an apocalyptic climax. As this quietens down, the chamber orchestra enters again, and the baritone offers a very different take on the fanfares: ‘Bugles sang, saddening the evening air’. An icy soprano solo then tells how every last human crime is recorded in the Book of Judgement. Tenor and baritone burst in with a piece of music-halllike bravado: ‘Out there, we’ve walked quite friendly up to Death’. A beautiful fugue for women’s voices begs Christ (God as a suffering human being) for mercy, but the baritone’s response is Owen’s terrifying depiction of the blasphemy inherent in war: ‘Great gun towering toward Heaven, about to curse’. Soprano and chorus sing of the grief of humanity confronted with its own sinfulness (Lacrimosa dies illa). Then comes Owen’s desperate lament for a slaughtered comrade: ‘Move him into the sun’. Once again, chorus and bells end the movement in a numbed pianissimo: ‘Merciful Lord Jesus, grant them rest’.

‘My subject is War, and the pity of War. The poetry is in the pity … All a poet can do today is warn.’ The first movement, Requiem aeternam (‘Eternal rest’) presents these three different worlds in telling sequence. To the accompaniment of a sombre, dragging figure from the orchestra, chorus chant the basic prayer of the Requiem Mass (‘Lord, grant them eternal rest’) against slowly tolling bells. This builds to a huge climax, in which the bells (playing the classic ‘uneasy’ interval of the tritone) begin to sound more like alarm bells – lament becomes warning. As the climax fades, the boys voices enter to the words ‘Te decet hymnus’ (‘It is seemly to praise you, O Lord’). There is something chilling about the cool detachment of this hymn after the pained intensity of the previous music. Chorus and

There is agitation in the boys’ prayer at the beginning of the Offertorium, with its terrifying image of Hell as a ravening lion’s mouth. Then an almost jaunty choralorchestral fugue lays claim to God’s ancient promise to Abraham, father of the Jewish nation. Baritone, tenor and chamber orchestra continue with a retelling of the Biblical story of Abraham and his son Isaac; but Owen’s poem ends with a horrific reversal: Abraham ignores the Angel’s offer of a substitute sacrifice (soloists in parallel thirds against radiant C-major chords) and slays his son, ‘And half the seed of Europe, one by one’. Owen thus anticipates the central horror of the Second World War – a point not lost on Britten. The eeriness of the following boys’ hymn, with its talk of ‘sacrifices and prayers of London Philharmonic Orchestra | 13

Programme note continued

praise’ underlines this deeply uncomfortable irony, as does the final muted recapitulation of the choralorchestral ‘promise’ fugue. In the Roman rite, the Sanctus is the point at which the priest elevates the host and invokes God’s presence in the consecrated bread and wine. The soprano sings these pivotal words to a hail of bell-sounds; then a huge crescendo, the chorus chanting freely, leads to a splendid climax topped with blazing trumpet calls. But again comes dramatic reversal, as the baritone sings one of Owen’s most despairing poems: life will not renew the soldiers’ corpses, suffering will go unhealed, inhuman crimes unatoned. There is a glimmer of redemptive hope in the Agnus Dei (‘Lamb of God’). Tenor and chamber orchestra, chorus and full orchestra, unite musically for the first time in the War Requiem as Owen’s poetry and the words of the Mass mirror one another. By the roadside stands a mutilated crucifix. Patriotism and institutional religion may mock the crucified Christ, but the soldiers ‘who love the greater love / Lay down their life; they do not hate.’ At the end, for the only time in the work, the tenor sings a line from the Requiem liturgy: ‘grant us peace’. But the most telling juxtaposition of rite and poetry occurs in the final Libera me (‘Deliver me, O Lord, from eternal death’). The anguished chromatic choral writing builds to another huge climax, with the clearest echoes yet of Verdi’s famous Requiem. Then comes Owen’s greatest poem, left incomplete at his death only days before the end of the war. Here two dead ex-combatants meet in a bleak but unspecified underworld. Significantly, Britten removed the lines from Owen’s poem that make it clear that this ‘Strange Meeting’ is happening in Hell – there has to be at least a possibility of redemption. And as the tenor and bass repeat the words ‘Let us sleep now …’ boys’ choir, chorus and orchestra join the soloists and chamber orchestra in the final In paradisum, ‘May Angels lead you to paradise’, now clearly a prayer for the souls of Owen’s two soldiers, and for millions like them. Then chorus and bells quietly intone the final prayer: ‘Rest in peace. Amen.’ Programme note © Stephen Johnson

14 | London Philharmonic Orchestra

The War Requiem and the LPO The world premiere of Britten’s War Requiem at Coventry Cathedral in May 1962 was given by the City of Birmingham Symphony Orchestra. The London Philharmonic Orchestra first performed the work two years later, when John Pritchard conducted performances at Royal Festival Hall and Leeds Triennial Festival in April 1964. The Orchestra performed the work once again at Royal Festival Hall on 2 May 1976 under Bernard Haitink, in a concert celebrating the Hall’s 25th anniversary. Most recently, the Orchestra performed the War Requiem on 8 May 2005 under then-Principal Conductor and renowned peace activist Kurt Masur, in a concert at Royal Festival Hall marking the 60th anniversary of the end of World War II in Europe. This performance, featuring the London Philharmonic Choir, was released on CD on the LPO Label (LPO-0010 – see page 22 for more details).

New for 2013/14 – LPO mini film guides This season we’ve produced a series of short films introducing the pieces we’re performing. We’ve picked one work from each concert and created a bite-sized introduction to the music and its historical background. Watch our Education & Community Director Patrick Bailey introduce Britten’s War Requiem: lpo.org.uk/explore/videos.html

Britten: War Requiem text

Requiem aeternam

Chorus Requiem aeternam dona eis, Domine et lux perpetua luceat eis.

Grant them eternal rest, Lord, and let perpetual light shine upon them.

Boys Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet.

A hymn becometh Thee, O God, in Sion, and a vow shall be paid to Thee in Jerusalem. Hear my prayer, to Thee all flesh shall come.

Tenor solo What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs – The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. Chorus Kyrie eleison. Christe eleison. Kyrie eleison.

Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us

Dies irae

Chorus Dies irae, dies illa Solvet saeclum in favilla Teste David cum Sibylla.

Day of wrath, that day Shall dissolve the world in ashes As David and the Sibyl testify.

Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus.

How much trembling there will be When the Judge has come To weigh all things strictly.

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Text continued

Tuba mirum spargens sonum Per sepulchra regionum Coget omnes ante thronum.

The trumpet scattering its wondrous sound Through the graves of every land Will drive all before the throne.

Mors stupebit et natura Cum resurget creatura Judicanti responsura.

Death and nature will be astounded When creation rises again To answer the Judge.

Baritone solo Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear. Voices of boys were by the riverside, Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept Soprano solo and chorus Liber scriptus proferetur In quo totum continetur Unde mundus judicetur.

A book of writings shall be brought Containing everything For which the world will be judged.

Judex ergo cum sedebit, Quidquid latet apparebit, Nil inultum remanebit.

Therefore when the Judge sits, Whatever is hidden will appear, Nothing will go unavenged.

Quid sum miser tunc dicturus, Quem patronum rogaturus Cum vix justus sit securus?

What shall I, wretch that I am, say then, Whose patronage shall I ask When the righteous are hardly safe?

Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis.

King of dread majesty, Who freely savest the redeemed, Save me, fount of pity.

Tenor and baritone solos Out there we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland – Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath – Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorused when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. 16 | London Philharmonic Orchestra

We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death â€“ for Life; not men â€“ for flags. Chorus Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas illa die.

Remember, merciful Jesus, That I am the cause of Thy journey, Let me not be lost on that day.

Quaerens me sedisti lassus, Redemisti crucem passus, Tantus labor non sit cassus.

Seeking me Thou didst weary Thyself, To redeem me didst suffer on the cross, Let not such travail be in vain.

Juste judex ultionis, Donum fac remissionis Ante diem rationis.

Just Judge of vengeance, Grant me the gift of remission Before the day of reckoning.

Ingemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus.

I groan as one guilty, My countenance blushes with guilt, Spare the suppliant, O God.

Qui Mariam absolvisti Et latronem exaudisti Mihi quoque spem dedisti.

Thou who didst absolve Mary And listen to the robber Hast given me hope also.

Preces meae non sunt dignae, Sed tu, bonus fac benigne, Ne perenni cremer igne.

My prayers are unworthy, But Thou, good Lord, have mercy, Lest I burn in everlasting fire.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Allow me a place among the sheep, And from the goats divide me, Setting me upon Thy right hand.

Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis.

When the wicked are confounded And consigned to the bitter flames, Call me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis

I pray, a kneeling suppliant, My heart contrite as ashes, Take into Thy care my end.

Baritone solo Be slowly lifted up, thou long black arm, Great gun towering towards Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul! Please turn the page quietly London Philharmonic Orchestra | 17

Text continued

Chorus and soprano solo Dies irae …

Day of wrath …

Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus.

Sorrowful that day When rising from the ashes Sinful man goes to be judged. Therefore spare him, O God.

Tenor solo Move him into the sun, Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know Think how it wakes the seeds, Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved – still warm – too hard to stir? Was it for this the clay grew tall? O what made fatuous sunbeams toil To break earth’s sleep at all? Chorus Pie Jesu Domine, Dona eis requiem. Amen.

Merciful Lord Jesus, Grant them rest. Amen.

Offertorium

Boys Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit. Deliver them from the lion’s mouth, that hell may not swallow them, and they may not fall into darkness.

Chorus Sed signifer sanctus Michael repraesentet eas in lucem sanctam; Quam olim Abrahae promisisti et semini ejus.

But let the holy standard-bearer Michael bring them into the holy light; Which Thou didst promise of old to Abram and his seed.

Baritone and tenor solos So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, 18 | London Philharmonic Orchestra

Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretched forth the knife to slay his son. When lo! an angel called him out of Heaven, Saying, Lay not thy hand upon the lad. Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son – And half the seed of Europe, one by one. Boys Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam.

We offer Thee, Lord, sacrifice of prayers and praise. Receive them for those souls whom this day we commemorate. Make them, Lord, to pass from death to life.

Chorus Quam olim Abrahae …

Which Thou didst promise…

Sanctus

Soprano solo and chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis. Baritone solo After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze West long retreat is blown, Shall life renew these bodies? Of a truth, All death will He annul, all tears assuage? – Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so; ‘My head hangs weighed with snow’. And when I hearken to the Earth, she saith: ‘My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried’.

Holy, holy holy, Lord God of Hosts. Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest.

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Text continued

Agnusâ€ˆDei

Tenor solo One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him. Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Lamb of God, who takest away the sins of the world, grant them rest.

Tenor solo Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christâ€™s denied. Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem.

Lamb of God, who takest away the sins of the world, grant them rest.

Tenor solo The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate. Chorus Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

Tenor solo Dona nobis pacem

Grant us peace.

Liberaâ€ˆme

Soprano solo and chorus Libera me, Domine, de morte aeterna in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego et timeo dum discussio venerit atque ventura ira, quando coeli movendi sunt et terra. Dies irae, dies illa calamitatis et miseriae, dies magna et amara valde.

20 | London Philharmonic Orchestra

Deliver me, Lord, from eternal death on that dreadful day, when the heavens and earth shall be moved, and Thou shalt come to judge the world by fire. I am seized with trembling and fear when I reflect on the trial and wrath to come, when the heavens and earth shall be moved. Day of wrath, that day of calamity and misery, a great and exceeding bitter day.

Tenor solo It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites where titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. ‘Strange friend’, I said, ‘here is no cause to mourn.’ Baritone solo ‘None’, said the other, ‘save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world. For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled, Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells. Even from wells we sunk too deep for war, Even the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.’ Tenor and baritone Let us sleep now

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Text continued

Boys, soprano solo and chorus In paradisum deducant te Angeli; in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Requiescant in pace. Amen.

May the Angels lead you into paradise; and Martyrs welcome your coming, and lead you into Jerusalem, the heavenly city. May the choir of Angels welcome you, and where Lazarus is poor no longer, there may you have eternal rest. Grant them eternal rest, Lord, and let perpetual light shine upon them. May they rest in peace. Amen.

Britten on the LPO Label

War Requiem Kurt Masur conductor Christine Brewer soprano Anthony Dean Griffey tenor Gerald Finley baritone London Philharmonic Choir Tiffin Boys’ Choir LPO-0010 | £14.99 (2CD set)

Double Concerto; Variations on a Theme of Frank Bridge; Les Illuminations Vladimir Jurowski conductor Sally Matthews soprano Pieter Schoeman violin Alexander Zemtsov viola LPO-0037 | £9.99 (1CD)

Britten: Our Hunting Fathers Elgar: Introduction and Allegro; Enigma Variations Bernard Haitink conductor Heather Harper soprano LPO-0002 | £9.99 (1CD)

Over 70 LPO Label recordings available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242), all good CD outlets and the Royal Festival Hall shop. Also available to download or stream online via iTunes, Spotify, Amazon and others.

lpo.org.uk/recordings

22 | London Philharmonic Orchestra

Next LPO concerts at Royal Festival Hall

Wednesday 23 October 2013 | 7.30pm

Saturday 2 November 2013 | 7.30pm

Poulenc Piano Concerto Prokofiev Symphony No. 7 Poulenc Stabat mater

Messiaen Des canyons aux étoiles

Yannick Nézet-Séguin conductor Alexandre Tharaud piano Kate Royal soprano London Philharmonic Choir Free pre-concert event 6.15–6.45pm | Royal Festival Hall Dr Caroline Potter from Kingston University looks at the life and works of Francis Poulenc.

Saturday 26 October 2013 | 7.30pm Dutilleux Tout un monde lointain Shostakovich Symphony No. 13 (Babi Yar)

Christoph Eschenbach conductor Tzimon Barto piano John Ryan horn Andrew Barclay & Erika Öhman percussion Free pre-concert event 6.00pm – 6.45pm | Royal Festival Hall Colour and Eternity – the music of Olivier Messiaen Exploring the rich sound world of Olivier Messiaen, this talk delves into his musical language, where birdsong, faith and colour collide to produce one of the most original musical voices in the 20th century. A new piano miniature inspired by Des canyons aux étoiles will also be performed. This talk forms part of the Royal Philharmonic Society Bicentenary Celebrations, 1813–2013.

Yannick Nézet-Séguin conductor Jean-Guihen Queyras cello Mikhail Petrenko bass Gentlemen of the London Philharmonic Choir

Sunday 3 November 2013 | 12.00pm FUNharmonics Family Concert

Chris Jarvis presenter Timothy Redmond conductor

Wednesday 30 October 2013 | 7.30pm Ligeti Lontano Lutosławski Cello Concerto* Schnittke Symphony No. 1

Britten The Young Person’s Guide to the Orchestra

Tickets £5–£18 Free pre- and post-concert events around the Royal Festival Hall building: for details visit www.lpo.org.uk/education/funharmonics-activities.html

Michail Jurowski conductor Johannes Moser cello * Generously supported by the Adam Mickiewicz Institute as part of the Polska Music programme – Centenary of Witold Lutosławski 2013.

Tickets £9–£39 (premium seats £65) unless stated London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday–Friday 10.00am–5.00pm lpo.org.uk

Southbank Centre Ticket Office 0844 847 9920 Daily 9.00am–8.00pm southbankcentre.co.uk

Transaction fees: £1.75 online, £2.75 telephone

Transaction fees: £1.75 online, £2.75 telephone No transaction fee for bookings made in person

London Philharmonic Orchestra | 23

Orchestra news

Win a signed copy of The Rest Is Noise

NOISE and Student Pulse

We’re offering audience members the chance to win a signed copy of Alex Ross’s The Rest Is Noise, the book that inspired 2013’s year-long festival of 20th-century music. Just send us a short (20–40 word) review of an autumn 2013 LPO concert and we will select a winner at random to receive a copy of this seminal book, signed by the author himself. To enter, simply email admin@lpo.org.uk with The Rest Is Noise audience review in the subject line and include your full name, date of the concert attended and a short review of your concert experience. Submissions close midnight on 31 October. We look forward to hearing from you! Why not share your mini-review on Twitter too? Find us at @LPOrchestra

Are you a full-time student? If so, you’re eligible for £4 best available seats to selected LPO concerts, plus an occasional free post-concert drink courtesy of the Orchestra’s Principal Beer Sponsor, Heineken. Join us for a free drink after the concert on Wednesday 23 October at our first NOISE bar of the season. For just £4 you can sit in the best available seats to hear Yannick Nézet-Séguin conduct Poulenc’s heart-rending Stabat mater and Prokofiev’s Seventh Symphony, followed by a free beer courtesy of Heineken! The LPO is also a part of Student Pulse, a London-wide scheme bringing together all the top London orchestras and letting students know when student tickets are available for their concerts. Visit lpo.org.uk/noise to find out more.

New LPO website

New CD: Yannick Nézet-Séguin conducts Mahler’s Das Lied von der Erde

We’ve just launched a brand new website, designed to work alongside our new ticketing software system. As well as refreshing the look of the website and making it much more user-friendly and easier to navigate, we’ve introduced some new features to help you make the most of your visit: • • • • • •

Choose your own seats when booking online Let your friends know what you’ve booked via Facebook and Twitter Download free programme notes in advance Listen to clips of the music before you book Get to know the artists and the music through videos and podcasts Browse and shop with your smartphone or tablet on our mobile site

We hope you enjoy exploring the new site. If you have any feedback or suggestions, we’d love to hear from you: email admin@lpo.org.uk Visit the new site: lpo.org.uk

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This month’s release on the LPO CD Label is Mahler’s Das Lied von der Erde, conducted by Yannick NézetSéguin with soloists Sarah Connolly and Toby Spence (LPO–0073). It was recorded live in concert at Royal Festival Hall on 19 February 2011. ‘Great singing, so in tune

with the watercolour images and their deeper truths. So many shades, such fine detailing ... Glorious.’ The Independent The CD is priced £9.99 and is available now from lpo.org.uk/shop, the LPO Ticket Office (020 7840 4242), the Royal Festival Hall shop, and all good CD retailers. Alternatively you can download it from iTunes or stream via Spotify.

Catalyst: Double Your Donation

The London Philharmonic Orchestra is building its first ever endowment fund, which will support the most exciting artistic collaborations with its partner venues here in London and around the country. Thanks to a generous grant pledge from Arts Council England’s Catalyst programme, the Orchestra is able to double the value of all gifts from new donors up to a maximum value of £1 million. Any additional gifts from existing generous donors will also be matched. By the end of the campaign we aim to have created an endowment with a value of £2 million which will help us work with partners to provide a funding injection for activities across the many areas of the Orchestra’s work, including: • More visionary artistic projects like The Rest Is Noise at Southbank Centre • Educational and outreach activities for young Londoners like this year’s Noye’s Fludde performance project • Increased touring to venues around the UK that might not otherwise have access to great orchestral music To give, call Development Director Nick Jackman on 020 7840 4211, email support@lpo.org.uk or visit www.lpo.org.uk/support/double-your-donation.html

Catalyst Endowment Donors Masur Circle

Pritchard Donors

Emmanuel & Barrie Roman The Sharp Family The Underwood Trust

Anonymous Lady Jane Berrill Linda Blackstone Michael Blackstone Jan Bonduelle Richard Brass Britten-Pears Foundation Lady June Chichester Lindka Cierach Mr Alistair Corbett Mark Damazer David Dennis Bill & Lisa Dodd Mr David Edgecombe David Ellen Mr Daniel Goldstein Ffion Hague Rebecca Halford Harrison Michael & Christine Henry Honeymead Arts Trust John Hunter Ivan Hurry Tanya Kornilova Howard & Marilyn Levene Mr Gerald Levin

Welser-Möst Circle John Ireland Charitable Trust Tennstedt Circle Simon Robey Solti Patrons Anonymous Suzanne Goodman The Rothschild Foundation Haitink Patrons Moya Greene Lady Roslyn Marion Lyons Diana and Allan Morgenthau Charitable Trust Sir Bernard Rix The Tsukanov Family Foundation Manon Williams

Geoff & Meg Mann Ulrike Mansel Marsh Christian Trust John Montgomery Rosemary Morgan John Owen Edmund Pirouet Mr Michael Posen John Priestland Ruth Rattenbury Tim Slorick Howard Snell Stanley Stecker Lady Marina Vaizey Helen Walker Laurence Watt Des & Maggie Whitelock Victoria Yanakova Mr Anthony Yolland

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Britten

Albert Herring Saturday 23 NovemBer | 7.00pM BeNjamiN BritteN’S BrighteSt, BreezieSt aNd wittieSt oPera

Britten’s comic opera follows the fortunes of Albert Herring, put forward to be ‘King of May’ because the local girls have all disgraced themselves. Join the BBC Symphony Orchestra, conductor Steuart Bedford and a fabulous cast, including Christine Brewer as Lady Billows, Roderick Williams as Mr Gedge and Andrew Staples in the title role, for this semi-staged performance in Britten’s centenary year.

Tickets £40–£12 (per transaction booking fees apply)

Part of Barbican Britten, 6–24 November 2013 barbican.org.uk for full details

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peter pears in the Glyndebourne festival production of Benjamin Britten’s Albert Herring, July 1947.

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 Simon Robey 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 & John Antoniazzi Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook 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 Mrs Alan Carrington Mr & Mrs Stewart Cohen Mr Alistair Corbett William and Alex de Winton Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry Malcolm Herring 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 Carol Colburn Grigor CBE Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members

Trusts and Foundations

Silver: AREVA UK British American Business Carter Ruck Thomas Eggar LLP

Ambache Charitable Trust Ruth Berkowitz Charitable Trust The Boltini Trust Borletti-Buitoni Trust Britten-Pears Foundation The Candide Trust The Ernest Cook Trust The Coutts Charitable Trust The D’Oyly Carte Charitable Trust 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 The Hobson Charity The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust Marsh Christian Trust Mayor’s Fund for Young Musicians

Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Leventis Overseas Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Sipsmith Steinway Villa Maria In-kind Sponsors Google Inc Sela / Tilley’s Sweets

Adam Mickiewicz Institute The Peter Minet Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund The Ann and Frederick O’Brien Charitable Trust PRS for Music Foundation The R K Charitable Trust Serge Rachmaninoff Foundation The Samuel Sebba Charitable Trust The David Solomons Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust Sir Siegmund Warburg’s Voluntary Settlement Garfield Weston Foundation Youth Music and others who wish to remain anonymous

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Administration

Board of Directors Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Richard Brass Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams * Player-Director Advisory Council Victoria Sharp Chairman Christopher Aldren Richard Brass Sir Alan Collins KCVO CMG Lord David Curry Andrew Davenport Jonathan Dawson Christopher Fraser OBE Lord Hall of Birkenhead CBE Clive Marks OBE FCA Stewart McIlwham Baroness Shackleton Lord Sharman of Redlynch OBE Martin Southgate Sir Philip Thomas Chris Viney Timothy Walker AM Elizabeth Winter American Friends of the London Philharmonic Orchestra, Inc. Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Hon. Chairman Noel Kilkenny Hon. Director Victoria Sharp Hon. Director

Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP

Orchestra Personnel

Public Relations

Andrew Chenery Orchestra Personnel Manager

Albion Media (Tel: 020 3077 4930)

Chief Executive

Sarah Thomas Librarian (maternity leave)