Congress Theatre, Eastbourne 2013/14 season Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
Congress Theatre, Eastbourne Sunday 13 October 2013 | 3.00pm
Bizet Excerpts from Carmen (17’) Chopin Piano Concerto No. 2 in F minor, Op. 21 (30’) Interval Tchaikovsky Symphony No. 4 in F minor, Op. 36 (44’)
Programme £2.50 Contents 2 Welcome LPO 2013/14 concerts 3 About the Orchestra 4 On stage today 5 Giancarlo Guerrero 6 Rustem Hayroudinoff 7 Programme notes 10 Tchaikovsky on the LPO Label 11 Supporters 12 LPO administration The timings shown are not precise and are given only as a guide.
Giancarlo Guerrero conductor Rustem Hayroudinoff piano
The Steinway concert piano chosen and hired by the London Philharmonic Orchestra for this performance is supplied and maintained by Steinway & Sons, London.
* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA IN ASSOCIATION WITH EASTBOURNE BOROUGH COUNCIL
Box Office: 01323 412000 eastbournetheatres.co.uk
Welcome to the Congress Theatre, Eastbourne Artistic Director Chris Jordan | General Manager Gavin Davis
Welcome to this afternoon’s performance by the London Philharmonic Orchestra. We hope you enjoy the concert and your visit here. As a courtesy to others, please ensure mobile phones and watch alarms are switched off during the performance. Thank you. We are delighted and proud to have the London Philharmonic Orchestra reside at the Congress Theatre for the 17th year. Thank you, our audience, for continuing to support the concert series. Without you, these concerts would not be possible. We welcome comments from our customers. Should you wish to contribute, please speak to the House Manager on duty, email firstname.lastname@example.org or write to Liz Woodall, Marketing Manager, Eastbourne Theatres, Compton Street, Eastbourne, East Sussex, BN21 4BP.
London Philharmonic Orchestra 2013/14 season at the Congress Theatre Pick up a copy of the season brochure as you leave this evening, call us on 020 7840 4242 to request a copy, or browse online at lpo.org.uk/eastbourne Sunday 10 November 2013 | 3.00pm
Sunday 9 March 2014 | 3.00pm
Dvořák Cello Concerto Rossini Overture, William Tell Mendelssohn Symphony No. 4 (Italian)
Dvořák Scherzo capriccioso Tchaikovsky Piano Concerto No. 1 Mahler Blumine Shostakovich Symphony No. 1
Daniele Rustioni conductor Leonard Elschenbroich cello
Ilyich Rivas conductor Simon Trpčeski piano
Sunday 12 January 2014 | 3.00pm Verdi Ballet Music (Ballabili) from Macbeth Dvořák Violin Concerto Tchaikovsky Symphony No. 1 (Winter Daydreams) Damian Iorio conductor Philippe Quint violin Sunday 23 February 2014 | 3.00pm
Sunday 27 April 2014 | 3.00pm Berlioz Roman Carnival Overture Saint-Saëns Violin Concerto No. 3 Ravel Le tombeau de Couperin Beethoven Symphony No. 6 (Pastoral) Timothy Redmond conductor Matthew Trusler violin
Berlioz Overture, Le Corsaire Rachmaninoff Rhapsody on a Theme of Paganini Brahms Symphony No. 2
Tickets £12–£28 plus £1 per ticket booking fee
Vasily Petrenko conductor Kirill Gerstein piano
Box Office 01323 412000 Book online at eastbournetheatres.co.uk
2 | London Philharmonic Orchestra
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London Philharmonic Orchestra
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, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the current Principal Conductor and Artistic Advisor, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.
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. 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 Orchestra is resident at Southbank Centre’s Royal The London Philharmonic Orchestra is committed to Festival Hall in London, where it gives around 40 inspiring the next generation through its BrightSparks concerts each season. 2013/14 highlights include a schools’ concerts and FUNharmonics family concerts; Britten centenary celebration with Vladimir Jurowski the Leverhulme including the War Requiem and Young Composers Peter Grimes; world premieres of James MacMillan’s Viola The LPO’s playing throughout was programme; and the Future Firsts Concerto and Górecki’s Fourth exceptional in its warmth, finesse Foyle orchestral training Symphony; French repertoire programme for with Yannick Nézet-Séguin; and detail. The Guardian outstanding young and a stellar array of soloists 23 January 2013, Royal Festival Hall: Webern, Schoenberg and Mahler players. Over recent including Evelyn Glennie, years, digital advances Mitsuko Uchida, Leif Ove and social media have enabled the Orchestra to reach Andsnes, Miloš Karadaglić, Renaud Capuçon, Leonidas even more people across the globe: all its recordings Kavakos, Julia Fischer, Emanuel Ax and Simon Trpčeski. are available to download from iTunes and, as well as Throughout the second half of 2013 the Orchestra a YouTube channel, iPhone app and regular podcast continues its year-long collaboration with Southbank series, the Orchestra has a lively presence on Facebook Centre in The Rest is Noise festival, exploring the and Twitter. influential works of the 20th century. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for 50 years. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. 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
London Philharmonic Orchestra | 3
On stage today
First Violins Vesselin Gellev Leader Chair supported by John & Angela Kessler
Ji-Hyun Lee Chair supported by Eric Tomsett
Katalin Varnagy Chair supported by Sonja Drexler
Martin Höhmann Geoffrey Lynn Chair supported by Caroline, Jamie & Zander Sharp
Yang Zhang Maeve Jenkinson Caroline Frenkel Kay Chappell Catherine van de Geest John Dickinson Francesca Smith Second Violins Takane Funatsu Guest Principal Joseph Maher Fiona Higham Nynke Hijlkema Harry Kerr Alison Strange Mila Mustakova Elizabeth Baldey Stephen Dinwoodie Dafydd Williams Violas Robert Duncan Principal Gregory Aronovich Katherine Leek Benedetto Pollani Emmanuella Reiter Daniel Cornford Isabel Pereira Sarah Malcolm
Cellos Francis Bucknall Principal David Lale Gregory Walmsley Elisabeth Wiklander Susanna Riddell Tom Roff Double Basses Kevin Rundell* Principal George Peniston Richard Lewis Kenneth Knussen Flutes Tom Hancox Guest Principal Joanna Marsh Piccolo Katie Bicknell Oboes Gareth Hulse Guest Principal Angela Tennick Cor Anglais Sue Böhling Principal Chair supported by Julian & Gill Simmonds
Clarinets Thomas Watmough Guest Principal Emily Meredith Bassoons Simon Estell Principal Stuart Russell
Horns Mark Vines Principal Martin Hobbs Nicholas Wolmark Gareth Mollison Dan Coghill Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann
Nicholas Betts Co-Principal Trombones Mark Templeton* Principal David Whitehouse Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Timpani Dominic Hackett Guest Principal Percussion Ignacio Molins Guest Principal Keith Millar Richard Horne James Bower Harp Lucy Haslar * Holds a professorial appointment in London
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Andrew Davenport • David & Victoria Graham Fuller • Moya Greene • Simon Robey • The Sharp Family
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Vesselin Gellev (Leader) Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammy-nominated Absolute Ensemble. He has performed as Guest Leader with orchestras including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra and Accademia Nazionale di Santa Cecilia, and in 2012 was invited to join the World Orchestra for Peace, founded by Sir Georg Solti. Vesselin studied at The Juilliard School, and joined the London Philharmonic Orchestra as Sub-Leader in 2007. His chair is supported by John and Angela Kessler.
Giancarlo Guerrero conductor
Giancarlo Guerrero is Music Director of the Nashville Symphony Orchestra and Principal Guest Conductor of The Cleveland Orchestra’s Miami Residency. Last year he led the Nashville Symphony to a Grammy win for the second consecutive year with a recording of American composer Joseph Schwantner’s Concerto for Percussion and Orchestra. His previous recording with the Orchestra, of Michael Daugherty’s Metropolis Symphony and Deus ex Machina, won three 2011 Grammy Awards, including Best Orchestral Performance. An advocate of contemporary music, Giancarlo has collaborated with and championed the works of many of America’s most respected composers including John Adams, John Corigliano, Osvaldo Golijov, Jennifer Higdon, Roberto Sierra and Richard Danielpour. His recording of Béla Fleck’s Banjo Concerto, again with the Nashville Symphony Orchestra, was released recently by Deutsche Gramophon, and recordings of music by Richard Danielpour and Roberto Sierra will be released later this year.
An advocate for young musicians and music education, Giancarlo Guerrero returns annually to Venezuela to conduct the Simón Bolívar Symphony Orchestra and to work with young musicians on the country’s lauded El Sistema programme. He is also a frequent guest conductor with the São Paulo Symphony Orchestra. Early in his career, Guerrero worked regularly with the Costa Rican Lyric Opera and in recent seasons has conducted new productions of Carmen, La bohème and Rigoletto. Future plans include productions at the Houston Grand Opera and Marseille Opera. In February 2008 he gave the Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival.
Today is Giancarlo Guerrero’s debut with the London Philharmonic Orchestra. In recent seasons he has appeared with many major North American orchestras including the symphony orchestras of Baltimore, Boston, Cincinnati, Cleveland, Dallas, Houston, Seattle, Toronto, Vancouver and Philadelphia, and the National Symphony Orchestra in Washington, DC. He has appeared at several major US summer festivals, including with the Los Angeles Philharmonic at the Hollywood Bowl and The Cleveland Orchestra at Blossom Music Festival. In Europe, he has worked with the BBC Symphony Orchestra and the Deutsches Symphonie-Orchester Berlin, and the Monte-Carlo, Strasbourg and Brussels Philharmonic orchestras. Forthcoming engagements include debuts with the Frankfurt Radio Symphony, Tonkünstler and Residentie orchestras, and the Orchestre National du Capitole de Toulouse, Orchestre National de France and Orchestre Philharmonique de Radio France.
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Rustem Hayroudinoff piano
© Daniela Lama
Described by the great Russian pianist Lazar Berman as ‘a serious artist and master, whose emergence in today’s atmosphere of pseudo-artistic and shallow music-making is especially valuable and welcome’, Rustem Hayroudinoff has performed to great critical acclaim in Japan, the USA, Canada, his native Russia and Europe. In the UK he has appeared at major concert venues including the Barbican, Cadogan Hall, Wigmore Hall, Southbank Centre’s Queen Elizabeth Hall and Leeds Town Hall. More recently he performed Beethoven’s ‘Emperor’ Concerto with the Czech Philharmonic Orchestra under the baton of Marin Alsop; toured the UK with the Czech National Symphony Orchestra performing Rachmaninoff’s Piano Concerto No. 3; and gave recitals at the American Shakespeare Center and St John’s Smith Square. Last year he appeared with the Soloists of the London Philharmonic Orchestra in their Chamber Contrasts series in London and Munich. Rustem Hayroudinoff has recorded for NAMI Records (Japan), Decca and Chandos. His recordings of Shostakovich’s Theatre Music and the Dvořák Piano Concerto with the BBC Philharmonic were greeted with universal acclaim, garnering praise such as ‘dazzling and … electrically compelling’ (Gramophone) and ‘utterly magical’ (Classic FM), and were selected as among the CDs of the Year by both BBC Music and Gramophone magazines. His CD of the complete Rachmaninoff Preludes was selected by Classic FM magazine as part of its ‘Essential Rachmaninoff Collection’ alongside the recordings of Arthur Rubinstein and André Previn, and the recording of the complete Études-Tableaux by Rachmaninoff was hailed as a ‘benchmark recording’ and chosen as Instrumental Choice of the Month by BBC Music magazine, as well as being nominated for the Best Instrumental CD of the Year award. It was also selected as the finest version of these pieces by BBC Radio 3’s ‘Building a Library’. Among the orchestras with whom Rustem Hayroudinoff has appeared are the Tokyo Symphony, Czech Philharmonic, Czech National Symphony, Osaka Century, 6 | London Philharmonic Orchestra
BBC Philharmonic and Bournemouth Symphony orchestras. Following his 2007 debut with the London Philharmonic Orchestra in Eastbourne, The Independent wrote: ‘The piano soloist was a sensationally gifted pianist from Russia, Rustem Hayroudinoff. What a performance this was, demonstrating the emotional range of this wonderful work, full of mercurial brilliance, impassioned melody and breathtaking virtuosity.’ Rustem’s performances have been broadcast on most major classical radio stations around the world. He appeared in the documentary ‘The Unknown Shostakovich’ alongside Vladimir Ashkenazy, Valery Gergiev and Maxim Shostakovich. Rustem Hayroudinoff studied with Lev Naumov at the Moscow Conservatory and with Christopher Elton at the Royal Academy of Music, where he is now one of the youngest Professors of Piano. Several of Rustem Hayroudinoff’s CDs will be on sale from the Congress Theatre merchandise kiosk before today’s concert and during the interval, along with a selection of the London Philharmonic Orchestra’s own-label orchestral CDs.
Speedread The heavy hand of Fate grasps at the outer edges of tonight’s concert: Bizet’s jagged ‘fate’ motif looms ominously in the ‘Prélude’ of Carmen, a work whose vivid depiction of the life and death of an ‘amoral’ heroine unconcerned at the consequences of her easy approach to love scandalised its first audiences; and Tchaikovsky’s Fourth Symphony – composed partly under Carmen’s influence – is dominated
Georges Bizet 1838–75
One of the most frequently performed of all operas, and certainly the most popular by a French composer, Carmen caused controversy both before and after its premiere at the Opéra-Comique in Paris in March 1875. During rehearsals, both orchestra and chorus found it more demanding than they were used to, while the theatre management had publicly expressed their misgivings about its subject matter and bold realism. Its story, after all, depicts a sexually promiscuous gypsy woman who at the end is murdered by the army corporal Don José, one of the lovers she has discarded. Many in its first audience were outraged, and after a run of 48 sparsely attended performances Paris did not see it again until 1883. By then, however, its intense dramatic urgency and perfectly crafted tunes had made it an international hit, winning the admiration of such powerful but diverse figures as Tchaikovsky, Saint-Saëns, Brahms and Wagner. Tragically, Bizet was not to know it: in June 1875, just three months after the premiere, he died of a heart attack.
by the sinister fanfares of his own distinctive ‘fate’ theme. For Tchaikovsky, the destructive power of Fate remained a lifelong obsession, but if Chopin’s Second Piano Concerto seems to carry less of a weighty message, its slow movement also has a personal angle, inspired as it was by thoughts of the composer’s first love.
Excerpts from Carmen 1 Les Toréadors 2 Prélude 3 Aragonaise 4 Intermezzo 5 Habanera 6 Danse bohème
Such is the strength of Bizet’s tune-writing that two orchestral suites drawn from the opera have long been part of the concert-hall repertory. Tonight we hear a selection from both, starting with its most famous number, the entry and song of the proud toreador Escamillo from Act 2. After that comes music from the opera’s Prélude, with the striking five-note ‘fate’ motif that will reappear at key moments in the opera, followed by the Aragonaise, the dancing entr’acte based on Spanish folk tunes that opens Act 4. The exquisite Intermezzo for flute and harp comes from the beginning of Act 3, and the Habanera from Carmen’s seductive first appearance in Act 1, where she sings ‘L’Amour est un oiseau rebelle’ (Love is a rebellious bird’); here Bizet believed he was again adapting a folk-tune original until he later discovered it to be a song by the Spanish composer Sebastián Iradier. The suite ends with the Danse bohème, a rousing gypsy dance from Act 2.
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Frédéric Chopin 1810–49
Chopin’s Second Piano Concerto is in fact his first; it is only because it was published after the concerto now known as No. 1 that the numberings became forever swapped round. In fact, both works were written within a year of each other and both were intended to serve the same purpose, that of providing the young Chopin, not long out of the Warsaw Conservatory, with material with which to further his career as a concert pianist. In August 1829 he had visited Vienna, where he had scored a success with two other works for piano and orchestra, Krakowiak and the Variations on Mozart’s ‘Là ci darem la mano’, and on returning to Poland he set about composing his first full-scale concerto, completing it early in 1830. After a private try-out at his father’s house in Warsaw at the beginning of March, the public premiere followed on 17 March at the National Theatre. Despite some audience complaints that Chopin played too quietly (something he would be accused of throughout his career), critical acclaim was high enough for the concert to be repeated only five days later. Chopin’s concertos are not in the mould of those by Mozart and Beethoven, in which soloist and orchestra engage in symphonic dialogue, and it would be inappropriate to judge them against such works. The object of the exercise for Chopin was to provide a vehicle for the display of his own virtuosity and musicianship, and for this reason the piano is unapologetically the dominant partner in an unequal relationship with the orchestra, in the same way as in concertos by other early 19th-century composerpianists such as John Field, Ignaz Moscheles and (especially admired by Chopin) Johann Nepomuk Hummel. The emphasis is thus almost wholly on
Piano Concerto No. 2 in F minor, Op. 21 Rustem Hayroudinoff piano 1 Maestoso 2 Larghetto 3 Allegro vivace
pianistic inventiveness, eloquence and sparkle, and in these the 20-year-old Chopin was already a master. The first movement is perhaps the most conventional of the three: opening with a long orchestral exposition, it follows the expected sonata-form contour in which a succession of themes is presented by the orchestra and then restated by the piano, with a few new ones added along the way. A central development section next visits several new keys and finally the principal themes are recapitulated. The piano writing here is brilliant, intricate and innovative – one reason, perhaps, why Chopin felt no need to include the traditional solo cadenza towards the end. The piano has even more fine right-hand tracery in the slow movement, a Larghetto whose dreamy poetry is interrupted by a stormy recitative-like outburst from the piano, its urgency heightened by underlying string tremolos which seem to gasp like shocked onlookers. Chopin later admitted to a friend that the movement had been inspired by feelings for a singer named Konstancja Gładkowska, his first love. The Concerto concludes with a finale with a distinct folk flavour, nowhere more so than in the mazurka-like episode accompanied by the violins playing with the wood of the bow. After a climax, a horn blast heralds the closing section, now in F major. The nationalist flavour of this movement gratified Chopin’s compatriots at a time when Poland was partitioned under foreign rule, but prompted a more chilling political response from Schumann, who characterised it as ‘guns buried in roses’.
Interval – 20 minutes A bell will be rung 3, 2 and 1 minute before the end of the interval.
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Pyotr Ilyich Tchaikovsky 1840–93
The years 1876 and 1877 were traumatic ones for Tchaikovsky. He was suffering increasingly from feelings of guilt over his homosexuality, and considerable mental torment from the fear of its discovery. As a result he underwent a personal crisis that eventually drove him not just to an ill-advised marriage to a young student (a disastrous affair which lasted only a few weeks in the summer of 1877), but also to nearmadness and a pitiable suicide attempt. Two orchestral works of this time clearly reflect Tchaikovsky’s disturbed state of mind. The first was the tone-poem Francesca da Rimini, composed in the autumn of 1876 and depicting the eternal damnation of Francesca and her lover Paolo, condemned in Dante’s Inferno to the second circle of Hell for their helpless but illicit passion. The second was the Fourth Symphony, composed the following year, which confronted another spectre that had been haunting Tchaikovsky: the destructive nature of Fate. The seeds may well have been sown by a performance of Carmen that the composer saw in Paris in early 1875, but they were undoubtedly brought to fruition by the harrowing events of the following two years. From these Tchaikovsky emerged with a stronger-than-ever conviction of the power of ‘the fateful force that prevents the impulse to happiness from achieving its goal ... which hangs over your head like the sword of Damocles’. Tchaikovsky wrote these words in a letter to his patroness, Nadezhda von Meck, to describe the stark motto theme that opens the Symphony. The letter goes on to outline for von Meck the feelings underlying the rest of the work, a useful guide to its comprehension even now, though only after it has been borne in mind that it was written after the music had been completed. Thus we learn that the oppressive waltz-tune that opens the fast section of the first movement signifies
Symphony No. 4 in F minor, Op. 36 1 2 3 4
Andante sostenuto – Moderato con anima Andantino in modo di canzona Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco
resignation in the face of Fate’s supremacy, and the lilting second theme (announced on clarinet) the desire to ‘turn away from reality and submerge oneself in daydreams’. But though the music strives for happiness, it is Fate that gains the upper hand, with the motto theme returning to dominate the later stages of the movement. For Tchaikovsky the slow movement – with its haunting oboe melody – evoked ‘the melancholy feeling which comes in the evening when, weary from your labour, you are sitting alone. You take a book, but it falls from your hand. A whole host of memories comes ... It’s both sad, yet somehow sweet to immerse yourself in the past.’ The ensuing Scherzo depicts less clearly defined emotions: Tchaikovsky refers vaguely to ‘capricious arabesques’, ‘drunken peasants’ and ‘a military procession’, but in truth a programme is irrelevant in this orchestral tourde-force in which three themes – for pizzicato strings, woodwind and brass respectively – are first alternated, then wittily combined. The Finale opens in a brilliant whirl of sounds which the sober Russian folk-tune ‘In the fields there stood a birch’ can only temporarily assuage. ‘If you find no reason for joy within yourself’, wrote Tchaikovsky, ‘go among the people. Observe how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings.’ In the midst of the celebrations, however, the Fate theme from the first movement breaks in with an effect so devastating that the movement is brought to a standstill. But this time it cannot win. ‘You have only yourself to blame; do not say that everything in the world is sad. There are simple but strong joys’. The Symphony concludes in a blaze of glory, and the composer, for the time being at least, turns his back on Fate. Programme notes © Lindsay Kemp
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Tchaikovsky on the LPO Label CD on sale today from the Congress Theatre Shop Tchaikovsky Symphony No. 4 in F minor Symphony No. 5 in E minor Vladimir Jurowski conductor
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‘An emotional rollercoaster through the depths of despair to a form of musical redemption, with the London Philharmonic Orchestra expertly guiding us through.’ Classic FM (Album of the Week) Also available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Available to download or stream online via iTunes, Spotify, Amazon and others.
‘Both are exceptional performances, superbly recorded with a breathtaking range of dynamics … In both works, the playing of the LPO is world class.’ The Guardian
Hear the Orchestra perform Tchaikovsky’s Symphony No. 1 at the Congress Theatre on Sunday 12 January 2014: see page 2 for details.
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Tabor Award for Promising Talent BBC Young Musician of the Year 2008 • Leader of National Youth Orchestra of Great Britain 2009 • Recent first class honours scholar graduate from RCM • Winner of ESO Young Soloist Competition 2013
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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 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
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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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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
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Sarah Thomas Librarian (maternity leave)
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FSC_57678 LPO 14 January 2011 15/09/2011 12:30 Page 1 Julia Boon
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12 | London Philharmonic Orchestra
Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Sarah Fletcher Development and Finance Officer Rebecca Fogg Development Assistant
Crowe Clark Whitehill LLP Auditors Dr Louise Miller Honorary Doctor London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 Email: firstname.lastname@example.org lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045.
Kath Trout Marketing Director
Photographs of Bizet, Chopin and Tchaikovsky courtesy of the Royal College of Music, London.
Mia Roberts Marketing Manager
Front cover photograph © Patrick Harrison.
Rachel Williams Publications Manager
Printed by Cantate.
Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Lily Oram Intern Digital Projects Alison Atkinson Digital Projects Manager