London Philharmonic Orchestra 22 & 23 Feb 2019 concert programme

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2018/19 Concert Season

AT Southbank Centre’s Royal Festival Hall

concert programme

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Beethoven Piano Concerto Cycle Juanjo Mena conductor Javier Perianes piano

Friday 22 February 2019 | 7.30pm Beethoven Piano Concerto No. 2 in B flat major, Op. 19 (28’) Piano Concerto No. 3 in C minor, Op. 37 (34’) Interval (20’) Piano Concerto No. 4 in G major, Op. 58 (34’) Saturday 23 February 2019 | 7.30pm Beethoven Piano Concerto No. 1 in C major, Op. 15 (37’) Interval (20’) Piano Concerto No. 5 in E flat major, Op. 73 (Emperor) (38’)

Javier Perianes’s Beethoven Piano Concerto Cycle is generously supported by an anonymous donor.

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome

LPO 2019/20 season 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Juanjo Mena 7 Javier Perianes 8 Friday 22 February:

Programme notes 12 Saturday 23 February:

Programme notes 14 Recommended recordings 15 LPO Player Appeal 2018/19 16 Next concerts 17 Sound Futures donors 18 Supporters 20 LPO administration

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 a member of staff for assistance.

Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location.

Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski.

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 us on 020 3879 9555, or email customer@southbankcentre.co.uk

Orchestra news

LPO 2019/20 season Details of next season’s concerts are now online at lpo.org.uk/newseason. General booking opens on Wednesday 27 February online and via the LPO Box Office. To take advantage of priority booking (open now), become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Ellie Franklin on 020 7840 4225 or visit lpo.org.uk/friends.

Highlights of the new season include:

2020 Vision A new strand of concerts featuring some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier.

Beethoven 250th anniversary We will perform Beethoven’s first six symphonies alongside rarer gems including his Cantata on the Death of Emperor Joseph II.

Wagner Ring Cycle: Siegfried

We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment:

We reach the third instalment of our Ring Cycle conducted by Vladimir Jurowski, described by The Guardian as ‘simply outstanding’.

PHOTOGRAPHY is not allowed in the auditorium.

Isle of Noises continues

LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance.

We continue our exploration of landmark classics inspired by the British Isles, including the music of Walton, Vaughan Williams, Britten and Foulds, alongside a celebration of British cinema.

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 AND WATCHES should be switched off before the performance begins.

Out now The Spring 2019 edition of Tune In, our free LPO magazine. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post.

Also available digitally: issuu.com/londonphilharmonic

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Celebrated artists We welcome an array of fine artists including Anne-Sophie Mutter, Igor Levit, Antonio Pappano, Susanna Mälkki, Edward Gardner, Diana Damrau, Sheku Kanneh- Mason, Nicola Benedetti and Anoushka Shankar.

Choral masterpieces We’ll be joined by the London Philharmonic Choir for Verdi’s Requiem and Janáček’s Glagolitic Mass under Edward Gardner; Mahler’s Symphony No. 2 (Resurrection) under Vladimir Jurowski; Elgar’s The Apostles under Mark Elder; Walton’s Belshazzar’s Feast under Marin Alsop; and Fauré’s Requiem under Bertrand de Billy.

Browse the full season at lpo.org.uk/newseason

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Molly Cockburn Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Robert Pool Sarah Streatfeild Tina Gruenberg Rebecca Shorrock Georgina Leo Jamie Hutchinson Thomas Eisner Rasa Zukauskaite Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Csilla Pogรกny Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Kate Cole Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Benedetto Pollani Stanislav Popov Daniel Cornford

Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Double Basses Kevin Rundell* Principal Hugh Kluger George Peniston Jamie Kenny Flutes Katie Bedford Guest Principal Stewart McIlwham*

Horns John Ryan* Principal

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert:

Chair supported by Laurence Watt

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

The Candide Trust Andrew Davenport William & Alex de Winton Dr Barry Grimaldi Sir Simon Robey Victoria Robey OBE Caroline, Jamie & Zander Sharp Eric Tomsett

Timpani Simon Carrington* Principal * Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Oboes Alice Munday Principal Chair supported by Friends of the Orchestra

Amy Roberts Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Paul Richards* Bassoons Jonathan Davies Principal Gareth Newman

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

The London Philharmonic’s closing concert took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, rising to every challenge.

Classicalsource.com (LPO at Royal Festival Hall, 2 May 2018: Panufnik, Penderecki & Prokofiev)

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of people every year through activities for families, schools and local communities.

The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is the Orchestra’s current Principal Conductor and Artistic Advisor, and in 2017 we celebrated the tenth anniversary of this extraordinary partnership. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in 2015.

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2018 our series

4 | London Philharmonic Orchestra

Changing Faces: Stravinsky’s Journey charted the life and music of one of the 20th century’s most influential composers, and in 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring a range of British and British-inspired music from Purcell to the present day.

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 over 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 part of the Orchestra’s life: highlights of the 2018/19 season include a major tour of Asia including South Korea, Taiwan and China, as well as performances in Belgium, France, Germany, The Netherlands, Spain, Greece, Switzerland and the USA.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. In 2017/18 we celebrated the 30th anniversary of our Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the LPO Young Composers programme; the Foyle Future Firsts orchestral training programme; and the LPO Junior Artists scheme for talented young musicians from communities and backgrounds currently underrepresented in professional UK orchestras.

The Orchestra’s work at the forefront of digital engagement and social media has enabled it to reach even more people worldwide: as well as a YouTube channel and regular podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. © Benjamin Ealovega

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent additions include a Poulenc disc conducted by Yannick Nézet-Séguin, Tchaikovsky’s Symphonies Nos. 2 & 3 under Vladimir Jurowski, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra.

Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg.

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 appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau.

Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO 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. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London.

Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

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Juanjo Mena conductor

Mena loves to put a singing quality into phrases, to find little bends and breaths within a tempo, to make as big an effort for delicious pianissimos as for thunderous explosions.

© Michal Novak

The Baltimore Sun

One of Spain’s most distinguished international conductors, Juanjo Mena is Principal Conductor of the Cincinnati May Festival and Associate Conductor of the Spanish National Orchestra. He has previously been Chief Conductor of the BBC Philharmonic, Artistic Director of the Bilbao Symphony Orchestra, Chief Guest Conductor of the Orchestra del Teatro Carlo Felice in Genoa, and Principal Guest Conductor of the Bergen Philharmonic Orchestra.

Juanjo Mena has worked with many prestigious orchestras such as the London Philharmonic Orchestra, Berlin Philharmonic, Oslo Philharmonic, Rotterdam Philharmonic, Danish National Symphony Orchestra, Orchestre National de France, Orchestra Filarmonica della Scala, Milan, Bavarian Radio Orchestra, Dresden Philharmonic and Swedish Radio Symphony Orchestra, as well as all the major orchestras in Spain. He has also conducted most of the leading orchestras in North America, including the Chicago, Boston, Baltimore, Cincinnati, Montreal and Toronto symphony orchestras; the New York and Los Angeles Philharmonic orchestras; The Cleveland Orchestra; the National Symphony Orchestra, Washington; the Minnesota Orchestra; and The Philadelphia Orchestra.

A guest of international festivals, he has appeared at the Stars of White Nights Festival in St Petersburg, the Hollywood Bowl, Grant Park (Chicago), Tanglewood, and La Folle Journée (Nantes). He has led the BBC Philharmonic on tours of Europe and Asia, including performances in Cologne, Munich, Vienna, Madrid, Beijing and Seoul, and annual concerts at the BBC Proms in London.

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Juanjo Mena’s operatic work includes The Flying Dutchman, Salome, Elektra, Ariadne auf Naxos, Duke Bluebeard’s Castle, Fidelio and Erwartung, and productions including Eugene Onegin in Genoa, The Marriage of Figaro in Lausanne and Billy Budd in Bilbao.

He has made several recordings with the BBC Philharmonic, including recent releases of Ginastera’s orchestral works to mark the composer’s centenary; two discs of works by Manuel de Falla, one of which was a BBC Music Magazine Recording of the Month; a Gabriel Pierné release, which was a Gramophone Editor’s Choice; and works by Albéniz, Montsalvatge, Weber and Turina, which have received excellent reviews from the specialist music press. He has also recorded Messiaen’s Turangalîla Symphony for Hyperion with the Bergen Philharmonic Orchestra, an interpretation said to ‘utterly redefine the terms under which past/current/future Turangalîlas need to be judged’. (Gramophone, October 2012).

Last week Juanjo Mena and pianist Javier Perianes embarked on a week-long tour of Spain with the London Philharmonic Orchestra, performing works

by Beethoven and Mozart in Zaragoza, Barcelona, Valencia, Alicante and Madrid. Other highlights of Mena’s 2018/19 season include his debuts with the Tonhalle-Orchester Zürich, the Bamberg Symphony and the Konzerthausorchester Berlin, and return visits to the Boston Symphony Orchestra and the Minnesota Orchestra.

Javier Perianes piano

His demeanour and technique … radiate calm, yet the precision and speed of his fingerwork can be quite shattering.

Seldom, if ever, have I encountered such a combination of evident modesty and utter brilliance.

© Igor Studio

The Sunday Times

The international career of Spanish pianist Javier Perianes has led him to perform in the most prestigious concert halls, with the world’s top orchestras, collaborating with conductors such as Daniel Barenboim, Charles Dutoit, Lorin Maazel, Zubin Mehta, Gustavo Dudamel, Sakari Oramo, Yuri Temirkanov, Rafael Frübeck de Burgos, Vladimir Jurowski and Daniel Harding, and appearing at festivals such as the BBC Proms, Mainly Mozart, Lucerne, La Roque d’Anthéron, Grafenegg, San Sebastián, Granada and Ravinia.

He was awarded the National Music Prize in 2012 by the Ministry of Culture of Spain, and the International Classical Music Awards (ICMA) Artist of the Year 2019.

As well as his return to the London Philharmonic Orchestra for a Beethoven Cycle with Juanjo Mena over two consecutive evenings at Royal Festival Hall and on tour in Spain, this season Javier Perianes will also perform Beethoven in Australia and New Zealand, as well as touring the United States with the Orpheus Chamber Orchestra, culminating with a return to Carnegie Hall in New York.

In addition to Mozart and Beethoven, this season Perianes performs works by Ravel, Saint-Saëns, Grieg, Falla and Bartók, with orchestras such as the Gewandhausorchester Leipzig with Marin Alsop, the Toronto Symphony with Han-Na Chang, the Orchestre de Paris and Bergen Philharmonic with Klaus Mäkelä, the St. Louis Symphony with Gustavo Gimeno, the San Francisco Symphony with Pablo Heras-Casado, the Milwaukee Symphony with Matthias Pintscher, the Konzerthausorchester Berlin with Antonio Méndez, the Gävle Symphony with Jaime Martín, the Tampere Philharmonic with Santtu-Matias Rouvali, the BBC Scottish Symphony Orchestra with Thomas Dausgaard,

and the Czech Philharmonic with Louis Langrée in a return to the Prague Spring Festival. In recital he undertakes an extensive European tour taking in London, Paris, Frankfurt, Oslo, Lisbon, Istanbul, Essen, Barcelona and Madrid, with a programme comprising works by Chopin, Debussy and Falla.

Perianes is also a keen chamber musician: last season saw collaborations with violist Tabea Zimmermann at the Auditorio Nacional de Música in Madrid and the Beethoven-Haus in Bonn, and with the Quiroga Quartet on a tour of Italy, Belgium and the Netherlands, as well as recording Debussy’s Sonata for Cello and Piano in his first collaboration with cellist Jean-Guihen Queyras.

Recording exclusively for Harmonia Mundi, Perianes has developed a diverse discography ranging from Beethoven, Mendelssohn, Schubert, Grieg, Chopin, Debussy, Ravel and Bartók to Blasco de Nebra, Mompou, Falla, Granados and Turina. His recording of Grieg’s Piano Concerto and Lyric Pieces was described as ‘​a new benchmark’ by Classica, which awarded it a ​‘Choc’; it was also Editor’s Choice in Gramophone magazine.

His ​‘elegant survey’ and ‘​brilliant performance’ (The New York Times) of Mendelssohn’s Songs without Words also won him the ‘​Choc’ by Classica and an inclusion in Gramophone’s ​Top 10 Mendelssohn Recordings. His recording of Falla’s Nights in the Gardens of Spain and selected solo works also received Classica’s ​ ‘Choc’ and Gramophone’s Editor’s Choice, in addition to a Latin Grammy nomination. His latest albums include Schubert’s sonatas D960 and D664, described as ‘a true lyric gift’ (Gramophone), and Bartók’s Piano Concerto No. 3 with the Munich Philharmonic and Pablo HerasCasado.

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Programme notes Friday 22 February

Friday 22 February 2019 | 7.30pm Ludwig van Beethoven (1770–1827) Piano Concerto No. 2 in B flat major, Op. 19 (28’) Piano Concerto No. 3 in C minor, Op. 37 (34’) Interval (20’) Piano Concerto No. 4 in G major, Op. 58 (34’) Juanjo Mena conductor Javier Perianes piano

A great pianist as well as a great composer, Beethoven produced one of the most fascinating, varied and personal statements of the art of the piano concerto in the sequence of five he wrote between the early 1790s and 1812. Javier Perianes’s cycle with the LPO kicks off with Beethoven’s firstcomposed concerto (don’t be fooled by its number!), a delicate but cheerful piece, full of assured good manners and playful wit. Beethoven described the Third Concerto as being ‘on a new and higher level’, and there is no doubting that it is a work that combines Mozartian elegance with Beethovenian muscularity and fire. Few piano concertos, however, can rival the sublime poetry of Beethoven’s Fourth, a tribute to the power of lyricism; nowhere is the triumph of musical grace more graphically portrayed than in its middle movement, in which the piano calmly ‘tames’ the orchestra through sheer melodic eloquence.

Ludwig van Beethoven Piano Concerto No. 2 in B flat major, Op. 19 1 Allegro con brio 2 Adagio 3 Rondo: Molto allegro

Eleven years after Mozart’s move to Vienna, and nearly a year after his death there in 1791, the 21-year-old Beethoven arrived to absorb the atmosphere of what was arguably the musical capital of the world and to study with the world’s most famous composer – ‘to receive the spirit of Mozart from the hands of Haydn’ as a friend back in Bonn put it. But it was as a virtuoso pianist in private salons that he first made his name, mostly with improvisations so daring that one fellow performer had to concede that ‘he is no man, he’s a devil; he’ll play me and all of us to death’.

When it came to formal composition Beethoven was more circumspect, however, and it was only in 1795 that he chose to make his first public appearance in a work of his own. This was a piano concerto performed at the Burgtheater on 29 March and ‘received with unanimous applause’, and although we do not know

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which concerto this was, it is usually assumed to have been the one now known as ‘No. 2’, composed before ‘No. 1’ but eventually published after it.

As it happens, not even this concerto was Beethoven’s first – the piano part survives for a concerto in E flat from 1784 – but with evidence suggesting that it was begun in the late 1780s, when its composer was still in Bonn, ‘No. 2’ is certainly among the earliest of his works to be heard in concert halls today. Whatever the truth, we do know that both No. 1 and No. 2 were performed in Prague in 1798, and that somewhere along the line a number of revisions were made – a sure sign of an ongoing performance history. For No. 2 these revisions included the replacement of the original Adagio and Rondo with the movements we have now, and evidently the state of both concertos remained fluid for quite

a while; Beethoven did not even make a fair copy of the piano part of No. 2 until he prepared it for publication in 1801.

Concerto No. 2 uses a relatively small orchestra – no clarinets, trumpets or drums – but Beethoven quickly shows that, like Mozart, he can create a cheerily martial atmosphere without them. In fact, the fanfare figures of the opening bars pop up throughout the first movement, imparting much of its flavour as well as providing a driving developmental force. So too, though, does the brief, winding violin phrase that answers that fanfare’s first statement; the movement’s second important theme – split between the violins and arriving after an unexpected key-shift to D flat major – is directly derived from it, as is the piano’s nonchalant first entry, though here the relationship is subtle enough to make it seem like a new theme. Beethoven must have liked the

effect of that key-shift, too, for he re-creates it several times in the subsequent course of the movement.

The Adagio is broad and serene and, like many of Beethoven’s early slow movements, encrusted with elaborate piano figuration. There is a broodingly emotional quality here, and the climax of the movement comes in a brief, drooping recitative-like passage for the soloist, marked to be played ‘con gran espressione’.

The finale, as in all of Beethoven’s concertos, is a Rondo, here with four statements of the main theme separated by contrasting episodes. The movement’s character is established by the playful rhythmic catch of the main theme, and there are some knowing hints at the fashionable, percussive ‘Turkish’ style along the way.

Mozart may have been the model, but the spirit here is pure youthful Beethoven.

Ludwig van Beethoven Piano Concerto No. 3 in C minor, Op. 37 1 Allegro con brio 2 Largo 3 Rondo: Allegro

By the time Beethoven’s first two piano concertos were published in 1801, the composer had long been at work on their successor, a piece which, he claimed, was at ‘a new and higher level’. Indeed, his intention had been to perform it at a benefit concert at the Burgtheater in April 1800, but in the event it was not ready and one of the earlier concertos was substituted. It was not until 5 April 1803 that the Third was finally premiered, at a concert in the Theater an der Wien which also included the first performances of the Second Symphony and the oratorio Christ on the Mount of Olives.

It was a moderate success. Critics had little to say about the new Concerto other than that Beethoven’s playing was rather disappointing. Yet even those familiar with the work’s predecessors would surely have noticed that Beethoven’s pride in it was justified. This is a more sophisticated, original and weighty piece than the first two concertos, one that reflects the changes that were occurring in the composer’s style as he moved from

early-period promise and brilliance to middle-period mastery and increasing individuality.

Beethoven’s musical personality is stamped all over the Third Piano Concerto, most unmistakably in its choice of key. Almost from the beginning of his composing career, Beethoven had turned to C minor to express some of his stormiest sentiments, and by the time of this Concerto he had already written several passionate works in that key. Ironically, the inspiration for this most recognisable of Beethovenian emotional colourings was probably Mozart, whose C minor Piano Concerto (No. 24) provides clear anticipations of Beethoven’s C minor mood. A work Beethoven is known to have admired, it also appears to have provided some formal pointers.

That model is acknowledged in the opening bars where, as in the Mozart, a quiet theme is stated by the strings in unison. This is the start of what turns out to be an unusually long orchestral exposition, but

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Programme notes Friday 22 February continued

after an assertive entry it is the soloist who delineates the movement’s formal scheme, as climactic trills and precipitous downward scales noisily signal the respective arrivals of the central development section (characterised by meltingly flowing piano octaves and a deliciously exotic G minor statement of the opening theme), the vital return to the opening theme in the home key, and the tumultuous preparation for the solo cadenza. Normally in a concerto of this date, the soloist would not play after the cadenza, but leave it to the orchestra to wrap up the first movement; Beethoven, taking his lead again from Mozart, brings it back to be the prompter of an atmospheric coda.

The slow movement contains what is perhaps the most dramatically effective moment in the whole Concerto, and it comes in the very opening piano chord.

Beethoven was always an adventurous explorer of keyrelationships, but to pitch this meditative Largo in E major, thereby instantly sending the music into

a distant and rarefied realm, is a coup de théâtre which will touch even those who think they know nothing of keys and harmonies. The music itself has a summerafternoon drowsiness and warmth which puts one in mind of the ‘Pastoral’ Symphony, its loving nature epitomised by the central section’s piano arpeggios, caressingly accompanying a drawn-out dialogue between flute and bassoon.

The work ends with a Rondo, joyfully returning us to C minor, though not without a few diversions, including an episode resembling a Mozart wind serenade, a short fugal section, and another typically necktingling Beethovenian key-shift as the main theme briefly re-acquaints us with the world of E major. Finally, with the end in sight and the listener thinking there can be no more surprises, a grand piano flourish heralds a switch to C major, and a cheekily altered-rhythm version of the theme to finish.

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

Ludwig van Beethoven Piano Concerto No. 4 in G major, Op. 58 1 Allegro moderato 2 Andante con moto – 3 Rondo: Vivace

The Fourth Piano Concerto was composed during a particularly rich phase in Beethoven’s life. Begun in 1804, it was completed two years later and thus dates from the same time as the Fifth Symphony, the Violin Concerto and the three ‘Razumovsky’ string quartets.

It was premiered, with the composer as soloist, at a concert in Vienna on 22 December 1808.

marked contrast to the Symphony’s terse concentration, and puts it much more in line with the Violin Concerto and Razumovskys. This relaxed demeanour was a new facet of Beethoven’s style, one that came with the added confidence and mastery of his so-called ‘middle period’, and in its way it is no less typical or radical than his more familiar stormy side.

Beethoven often worked at more than one composition at a time, so it is interesting to see the first movements of both the Fourth Piano Concerto and the Fifth Symphony being dominated by the same four-note rhythmic motif (short–short–short–long). No-one, however, would claim that the two works are similar in personality; the broad lyrical cast of the Concerto is in

Without doubt the boldest stroke in the whole Concerto is also one of the utmost gentleness. Normally at this time, a concerto would begin with a long passage for the orchestra, but here it is the piano that begins the piece on its own, with a touchingly quiet and simple chordal theme. For any audience expecting a grand extrovert opening, or at the very least a sturdy one,

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it is a heartstopping moment, and though the orchestra subsequently takes over and presents the remaining themes in the normal way, it is too late to pretend that nothing unusual has happened. Several new themes are heard, but the opening continues to haunt the music, and it is no surprise that when the piano finally re-enters, it is with material derived from it. No less characteristic of the movement is the way in which, when the music does seem to be getting worked up, the tension is soon diffused; not even the climactic fortissimo return of the main theme, in massive chords batted between the pianist’s hands, can maintain its bombast for long.

The second movement is another departure from convention, being a dramatic interlude of operatic directness and power. Beethoven liked to think of his instrumental music in narrative terms, and although we do not know what inspired this movement, the comparison of it by an early biographer to Orpheus taming the Furies is convincing. Certainly there is

some kind of confrontation occurring here between the stern unison denouncements of the orchestral strings and the sweetly harmonised, emollient responses of the piano. Having won the argument, the piano draws itself to full height in a brief but disquieting show of strength, before the movement comes to a wary close.

Beethoven now makes another radical gesture, moving stealthily and smoothly into the finale without a break.

As usual it is a Rondo, its returning theme being a tidy, fanfare-like tune which prompts the introduction for the first time in the work of trumpets and drums.

After the high concentration of the slow movement, the mood here is expansive again: the piano’s suavely soaring second theme is subjected to elaborate contrapuntal treatment from the orchestra; the main theme appears in a ravishing smoothed-over version for the violas; and there is space for a spot of cat-andmouse between the cadenza and the accelerated, headlong finish.

Programme notes Š Lindsay Kemp

a No.3 bussy

Javier Perianes Chopin Nocturnes and his Piano Sonata No.3 clear the way for evocative works by Debussy and de Falla.

Tue 16 Apr, Queen Elizabeth Hall

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Programme notes Saturday 23 February

Saturday 23 February 2019 | 7.30pm Ludwig van Beethoven (1770–1827) Piano Concerto No. 1 in C major, Op. 15 (37’) Interval (20’) Piano Concerto No. 5 in E flat major, Op. 73 (Emperor) (38’) Juanjo Mena conductor Javier Perianes piano

A great pianist as well as a great composer, Beethoven produced one of the most fascinating, varied and personal statements of the art of the piano concerto in the sequence of five he wrote between the early 1790s and 1812. Javier Perianes’s cycle with the LPO continues with the concerto known as No. 1 (though actually the second to be composed), a work which, while showing the influence of Mozart has plenty about it that is recognisable as Beethoven, not least a bold, young man’s energy and a brilliance and expansiveness in the piano-writing which is already that of a new age. Equally characteristic, though in a different way, is the ‘Emperor’ Concerto, grandly heroic and full of dynamic pianistic gestures in its outer movements, yet with a central movement of hushed, awe-inspiring serenity.

Ludwig van Beethoven Piano Concerto No. 1 in C major, Op. 15 1 Allegro con brio 2 Largo 3 Rondo: Allegro

Eleven years after Mozart’s move to Vienna, and nearly a year after his death there in 1791, the 21-year-old Beethoven arrived to absorb the atmosphere of what was arguably the musical capital of the world and to study with the world’s most famous composer – ‘to receive the spirit of Mozart from the hands of Haydn’ as a friend back in Bonn put it. But it was as a virtuoso pianist in private salons that he first made his name, mostly with improvisations so daring that one fellow performer had to concede that ‘he is no man, he’s a devil; he’ll play me and all of us to death’.

When it came to formal composition Beethoven was more circumspect, however, and it was only in 1795 that he chose to make his first public appearance in a work of his own. This was a piano concerto performed at the Burgtheater on 29 March and ‘received with unanimous applause’. We do not know for sure which of the two concertos completed that year and now known as ‘No. 1’ and ‘No. 2’, this was. Although it is often assumed to have been No. 2, begun in Bonn at least five years earlier but eventually published after No. 1, the 12 | London Philharmonic Orchestra

fact that Beethoven described the one he performed as ‘entirely new’ leaves open the possibility that it could after all have been No. 1.

Despite his recent studies with Haydn, it was to Mozart that Beethoven owed the greatest debt in his early piano concertos. Mozart it was who had provided the genre with its formal and expressive model during the 1780s, and whom Beethoven revered above all others, and the earlier composer’s influence is readily apparent in the formal and textural clarity of Concerto No. 2. No. 1 has also often been classified as ‘Mozartian’, but as a more frequently performed work it has usually been viewed in the context of Beethoven’s later concertos. Compared to No. 2, or indeed to any Mozart concerto, it shows its author’s hand in countless ways. For this is a piece which, with the brightness and confidence of youth, takes the congenially militaristic trumpet-and-drum world of Mozart’s C major concertos, and with brash dynamism and exuberantly robust piano-writing admits the air of a new and more assertive age.

The first movement begins quietly but soon gets into a vigorous stride, so that by the time the piano enters, the best way for it to make an impression is by momentarily occupying itself with a totally new theme. A formal nicety occurs in the opening orchestral section, when the strings’ lovingly shaped second theme is three times curtailed, allowing the woodwind to cloud the music and lead it away to a new key. This is typical Beethoven, surprising or even shocking his audiences, but how much more pleasing the effect then becomes when this same theme later reappears in the woodwind, this time in its full, untroubled form.

The central Largo is a broadly expressive and formally unambitious construction, whose warmth and sense of well-being, as in many of Beethoven’s early slow movements, come as much from its harmonies and resourcefully varied textures (there is a telling role for solo clarinet) as from its melodic distinction. The Concerto then ends with a sparkling Rondo that mixes high-spirited diversions and a few incursions of the percussive ‘Turkish’ style with a witty main theme that delights in trickery; every time you think it has finished, there is a little bit more.

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

Ludwig van Beethoven Piano Concerto No. 5 in E flat major, Op. 73 (Emperor) 1 Allegro 2 Adagio un poco mosso – 3 Rondo: Allegro

One has to wonder whether the organisers of the concert at which Beethoven’s Fifth Piano Concerto received its Viennese premiere in February 1812 – the actual premiere having taken place in Leipzig the previous November – provided the ideal audience.

A contemporary report of the combined concert and art exhibition mounted by the Society of Noble Ladies for Charity tells us that ‘the pictures offer a glorious treat; a new pianoforte concerto by Beethoven failed’.

And it is true that, while it was later to become as familiar a piano concerto as any, in its early years the ‘Emperor’ struggled for popularity. Perhaps its leonine strength and symphonic sweep were simply too much for everyone, not just the Noble Ladies. Cast in the same key as the ‘heroic’ Third Symphony, it breathes much the same majestically confident air, though in a manner one might describe as more macho. Composed in the first few months of 1809, with war brewing between Austria and France, this is Beethoven in what may have seemed overbearingly optimistic mood.

The Concerto is certainly not reticent about declaring itself. The first movement opens with extravagant flourishes from the piano punctuated with stoic orchestral chords, leading us with an unerring sense of direction towards the sturdy first theme. This marchlike tune presents two important thematic referencepoints in the shape of a tight melodic twist (technically known as a ‘turn’) and a tiny figure of just two notes (long and short) which Beethoven refers to constantly in the course of the movement. The latter ushers in the chromatic scale with which the piano re-enters, and the same sequence of events later serves to introduce the development section. Here the turn dominates, dreamily passed around the woodwind, but the twonote figure emerges ever more strongly, eventually firing off a stormy tirade of piano octaves. The air quickly clears, however, and reappearances of the turn lead back to a recapitulation of the opening material.

Towards the end of the movement Beethoven makes his most radical formal move. In the early 19th century

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Programme notes Saturday 23 February continued

it was still customary at this point in a concerto for the soloist to improvise a solo passage (or cadenza), but in this work Beethoven for the first time includes one that is not only fully written-out, but involves the orchestra as well. It was an innovation that many subsequent composers, perhaps glad of the extra measure of control, would follow.

The second and third movements together take less time to play than the first. The Adagio, in distant B major, opens with a serene, hymn-like tune from the strings, which the piano answers with a theme of its own before itself taking up the opening one in ornamented form. This in turn leads to an orchestral reprise of the same theme, now with greater participation from the winds and with piano decoration.

At the end, the music dissolves, then eerily drops down a semitone as the piano toys idly with some quiet, thickly scored chords. In a flash, these are then transformed and revealed to be the main theme of the bouncy Rondo finale, which has followed without a break. Physical joins between movements were a trend in Beethoven’s music at this time, but so too were thematic ones. At one point in this finale, with the main theme firmly established, the strings gently put forward the ‘experimental’ version from the end of the slow movement, as if mocking the piano’s earlier tentativeness. The movement approaches its close, however, with piano and timpani in stealthy cahoots before, with a final flurry, the end is upon us.

The Concerto’s nickname was not chosen by Beethoven, and, given the composer’s angry reaction to Napoleon’s self-appointment as Emperor in 1804, it may seem more than usually inappropriate. Yet there is an aptness to it if we take the music’s grandly heroic stance as a picture of what, perhaps, an emperor ought to be. Beethoven once remarked that if he had understood the arts of war as well as he had those of music, he could have defeated Napoleon. Who, listening to this Concerto, could doubt that?

Programme notes © Lindsay Kemp

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A note on cadenzas In the concertos of Haydn, Mozart and their contemporaries which served as Beethoven’s models, it was customary for the soloist to improvise a lengthy solo passage, or cadenza, towards the end of the first movement, and sometimes in the finale as well. This was the case for Beethoven’s first four concertos, but he was eventually persuaded (sometimes several years after the event) to commit some suitable cadenzas to paper. Javier Perianes performs these cadenzas in these two concerts.

Recommended recordings of tonight’s works

by Laurie Watt Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer.

Beethoven: Complete Piano Concerto Cycle Alfred Brendel | London Philharmonic Orchestra Bernard Haitink (Decca) or Michael Roll | Royal Philharmonic Orchestra Howard Shelley (RPO Stereo)

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Thank you

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Artistic Director’s Circle An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich The Tsukanov Family Dr James Huang Zheng (of Kingdom Music Education Group) Principal Associates Gabor Beyer, through BTO Management Consulting AG In memory of Ann Marguerite Collins Mr & Mrs Makharinsky Associates Steven M. Berzin Richard Buxton Kay Bryan William & Alex de Winton Mrs Irina Gofman Countess Dominique Loredan George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons David & Yi Buckley John Burgess In memory of Allner Mavis Channing Garf & Gill Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Rehmet Kassim-Lakha de Morixe

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron Richard Brass David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport William de Winton Cameron Doley Edward Dolman Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds Barry Smith Martin Southgate Andrew Swarbrick Sir John Tooley Chris Viney Timothy Walker AM Laurence Watt Elizabeth Winter

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20 | London Philharmonic Orchestra

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