2019/20 concert season at Southbank Centre’s Royal Festival Hall
2004 2002 1904 2003 1902 1804 1903 2009 1802 2006 1803 1909 2001 1906 1809 2007 2010 1806 20081901 1907 2010 1801 1908 1807 2010 1808
Concert programme
Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER supported by Mrs Christina Lang Assael Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER CBE AM Chief Executive Designate DAVID BURKE
Southbank Centre’s Royal Festival Hall Saturday 22 February 2020 | 7.30pm
Jörg Widmann Lied for Orchestra (25’) Ravel Shéhérazade (19’) Interval (20’) Beethoven Symphony No. 3 in E flat major, Op. 55 (Eroica) (47’)
Dima Slobodeniouk conductor Christine Rice mezzo-soprano
The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
Contents 2 Welcome LPO 2020/21 season 3 On stage tonight 4 About the Orchestra 5 Leader: Kevin Lin 6 2020 Vision at a glance 8 Dima Slobodeniouk 9 Christine Rice 10 Programme notes 13 Shéhérazade: Texts and translations 15 Programme notes continued 16 Recommended recordings 17 Sound Futures donors 18 Supporters 20 LPO administration
WELCOME
2020/21 SEASON NOW ONLINE
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, Pret, 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 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 AND WATCHES should be switched off before the performance begins.
Out now The Spring 2020 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk, Level 2, Royal Festival Hall, 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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Details of next season’s concerts are now online at lpo.org.uk/newseason. General booking opens at 10am on Tuesday 3 March online and via the LPO Ticket Office. To take advantage of priority booking, from Tuesday 25 February, become a Friend of the London Philharmonic Orchestra for as little as £60 a year. Call Izzy Keig on 020 7840 4225 or visit lpo.org.uk/friends. Highlights of the new season include:
2020 Vision We continue with our acclaimed 2020 Vision project, during which we present works composed and premiered since 2000 that we believe will stand the test of time, and that deserve to be heard again. Each of these pieces is combined in concert with works composed exactly 100 and 200 years earlier, and we mark the end of 2020 Vision with the world premiere of James MacMillan’s Christmas Oratorio (see pages 6–7).
Beethoven’s 250th anniversary As part of the year-long celebrations, we continue our Beethoven Symphony Cycle with performances of the composer’s final three symphonies alongside a rare performance of the Choral Fantasy.
Wagner’s Ring Cycle We present our most ambitious project yet, with two complete Wagner Ring Cycles conducted by Principal Conductor and Artistic Advisor Vladimir Jurowski alongside a stellar cast of Wagnerians including Torsten Kerl, Burkhard Fritz, Matthew Rose and Lise Lindstrom. With Jurowski in his final year as Principal Conductor, this will be an event to remember for years to come.
Celebrated artists We welcome Brett Dean as our new Composer in Residence, and will perform a number of his works across the season. We are also delighted to present an array of guest artists of the highest calibre throughout the season. Alongside our Principal Conductor Designate, Edward Gardner, guest conductors include Zubin Mehta, Karina Canellakis, Christoph Eschenbach, Alondra de la Parra and Klaus Mäkelä, and soloists include, among others, Anoushka Shankar, Vikingur Ólafsson, Mark Padmore, Sophie Bevan and Miloš Karadaglić. Browse the full season at lpo.org.uk/newseason
ON STAGE TONIGHT First Violins Kevin Lin Leader Chair supported by The Candide Trust
Vesselin Gellev Sub-Leader Lasma Taimina Minn Majoe Katalin Varnagy Chair supported by Sonja Drexler
Catherine Craig Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett
Tina Gruenberg Amanda Smith Rebecca Shorrock Georgina Leo Caroline Sharp Non Peters Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan
Alexandra Lomeiko Katrina Lee Nancy Elan Fiona Higham Chair supported by David & Yi Buckley
Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Helena Nicholls Sioni Williams Mathilde Gheorghiu
Violas David Quiggle Principal Richard Waters Co-Principal Robert Duncan Ting-Ru Lai Katharine Leek Susanne Martens Chair supported by Gill & Garf Collins
Laura Vallejo Daniel Cornford Martin Wray Sam Burstin Cellos Pei-Jee Ng Principal Ilia Laporev Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal George Peniston Laura Murphy Charlotte Kerbegian Laurence Lovelle Flutes Juliette Bausor Principal Hannah Grayson Stewart McIlwham* Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick* Principal Alice Munday
Cor Anglais Sue Bรถhling* Principal
Tuba Lee Tsarmaklis* Principal
Chair supported by Dr Barry Grimaldi
Timpani Simon Carrington* Principal
Clarinets Benjamin Mellefont Principal
Chair supported by Victoria Robey OBE
Chair supported by Friends of the Orchestra
Thomas Watmough Chair supported by Roger Greenwood
Percussion Andrew Barclay* Principal
Paul Richards*
Chair supported by Andrew Davenport
Bassoons Jonathan Davies Principal
Henry Baldwin Co-Principal Keith Millar
Chair supported by Sir Simon Robey
Gareth Newman Simon Estell*
Harps Rachel Masters Principal Lucy Haslar
Contrabassoon Simon Estell* Principal
Celeste Ian Tindale
Horns John Ryan* Principal Nicholas Mooney Guest Principal Martin Hobbs Alexander Willett Gareth Mollison
Accordian Ian Watson * Holds a professorial appointment in London Meet our members: lpo.org.uk/players
Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal
James Fountain* Principal Anne McAneney* Trombones David Whitehouse Principal Andrew Connington Bass Trombone Lyndon Meredith Principal
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: The Chiltern Friends of the LPO William & Alex de Winton Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Neil Westreich
London Philharmonic Orchestra | 3
LONDON PHILHARMONIC ORCHESTRA
The LPO all-Russian Prom was one of the rarest programmes of the season, sumptuously persuasive about Glazunov’s theme-park Fifth (has the orchestra ever sounded more top-league?) The Arts Desk: ‘Best of 2019’ (BBC Proms 2019: Vladimir Jurowski conducts Rimsky-Korsakov, Rachmaninoff & Glazunov)
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 concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own 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, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In 2017 Vladimir Jurowski celebrated his tenth anniversary as the Orchestra’s Principal Conductor. Edward Gardner is currently Principal Conductor Designate, and will take up the position when Jurowski’s tenure concludes in September 2021. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around
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40 concerts each season. This year’s focus is our 2020 Vision series, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. Outside London, the Orchestra has flourishing residencies in Brighton, Eastbourne and at Saffron Hall in Essex, 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 recent seasons have included 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.
KEVIN LIN leader
The London Philharmonic Orchestra has recorded many blockbuster film scores, 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 Mahler’s Symphony No. 4 conducted by Vladimir Jurowski, Mozart chamber works with LPO Principal players, and Ravi Shankar’s only opera, Sukanya. 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. We recently 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. Our dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide: all its recordings are available to download and stream and, as well as a YouTube channel and podcast series, the Orchestra has a lively presence on social media. lpo.org.uk facebook.com/londonphilharmonicorchestra twitter.com/LPOrchestra
Kevin Lin joined the London Philharmonic Orchestra as Co-Leader in August 2017. Originally from New York, Kevin has received international recognition for his musicianship and ‘soulful’ playing (The Arts Desk). He has performed as a soloist and recitalist in the UK, Taiwan, South Korea and Canada, in addition to numerous performances in the USA. He was previously Guest Concertmaster of the Pittsburgh Symphony and Houston Symphony, and in 2015 was invited to lead the Aspen Philharmonic Orchestra at the Aspen Music Festival and School. He has also served as Concertmaster at The Colburn School and The Curtis Institute of Music. An avid chamber musician, Kevin’s recent collaborations include performances with the Tokyo and Ebène quartets, Edgar Meyer, Cho-Liang Lin, Orion Weiss and Andrew Bain. In recent years he has received prizes from the Irving M. Klein International Competition and the Schmidbauer International Competition, and competed in the George Enescu International Violin Competition and the Menuhin International Violin Competition. Kevin spent his early years studying with Patinka Kopec in New York, before going on to study with Robert Lipsett at The Colburn School in Los Angeles, where he received his Bachelor of Music degree. He then continued his studies at The Curtis Institute in Philadelphia as a Mark E. Rubenstein Fellowship recipient, under the pedagogy of Aaron Rosand.
youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra
Kevin’s chair in the London Philharmonic Orchestra is generously supported by The Candide Trust.
London Philharmonic Orchestra | 5
in collaboration with
Tonight’s concert is part of our year-long 2020 Vision series, exploring the journey of music with pioneering works that have defined the sound of the 21st century, alongside music written exactly 100 and 200 years before.
NEW CENTURY, NEW SOUNDS
SATURDAY 8 FEBRUARY 2020
Beethoven Symphony No. 1 Eötvös Snatches of a Conversation Scriabin Symphony No. 2 Vladimir Jurowski conductor Marco Blaauw trumpet Omar Ebrahim speaker Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2002
THREE ADVENTURES
WEDNESDAY 19 FEBRUARY 2020
Beethoven Symphony No. 2 Knussen Violin Concerto Sibelius Symphony No. 2 Vasily Petrenko conductor Leila Josefowicz violin Generously supported by Victoria Robey OBE.
2003
FANTASY AND REVOLUTION
SATURDAY 22 FEBRUARY 2020
Jörg Widmann Lied for Orchestra Ravel Shéhérazade Beethoven Symphony No. 3 (Eroica) Dima Slobodeniouk conductor Christine Rice mezzo-soprano 6 | London Philharmonic Orchestra
BEETHOVEN’S FIFTH SATURDAY 28 MARCH 2020
Sibelius Symphony No. 3 Dutilleux Le temps l’horloge Beethoven Symphony No. 5
lpo.org.uk/2020vision
2001
2007
2004
NEW VISIONS
WEDNESDAY 26 FEBRUARY 2020
Elgar In the South Spohr Violin Concerto No. 2 Webern Im Sommerwind Rautavaara Book of Visions Osmo Vänskä conductor Sergej Krylov violin
2005
POETRY & BELIEF FRIDAY 28 FEBRUARY 2020
Beethoven Piano Concerto No. 4 Krzysztof Penderecki Chaconne in memory of John Paul II Enescu Symphony No. 1 Osmo Vänskä conductor Jeremy Denk piano Generously supported by the Adam Mickiewicz Institute and the Romanian Cultural Institute.
2006
THE NEW BACCHUS
WEDNESDAY 25 MARCH 2020
Beethoven Symphony No. 4 Kaija Saariaho Notes on Light Scriabin Symphony No. 4 (The Poem of Ecstasy) Omer Meir Wellber conductor Johannes Moser cello
Edward Gardner conductor Sally Matthews soprano Generously supported by Mrs Aline Foriel-Destezet.
2008
LANDSCAPE AND MEMORY
WEDNESDAY 1 APRIL 2020
Ives The Unanswered Question Thomas Adès In Seven Days Beethoven Symphony No. 6 (Pastoral) Vladimir Jurowski conductor Nicolas Hodges piano
2009
THE EVEREST OF PIANO CONCERTOS WEDNESDAY 8 APRIL 2020
Méhul Symphony No. 1 Ryan Wigglesworth Augenlieder* Rachmaninoff Piano Concerto No. 3 Vladimir Jurowski conductor Sophie Bevan soprano Nikolai Lugansky piano *Supported by Resonate. Resonate is a PRS Foundation initiative in partnership with the Association of British Orchestras, BBC Radio 3 and Boltini Trust.
2010
2014
WEDNESDAY 22 APRIL 2020
WEDNESDAY 21 OCTOBER 2020
CROSSING CULTURES
A PADMORE CYCLE
John Corigliano Stomp Philip Glass Double Concerto for violin and cello Shankar Symphony
Schubert Symphony No. 2 Thomas Larcher A Padmore Cycle Nielsen Symphony No. 4 (The Inextinguishable)
Karen Kamensek conductor Daniel Hope violin Alban Gerhardt cello Anoushka Shankar sitar
Thierry Fischer conductor Mark Padmore tenor
Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2011
STORMING THE HEAVENS
WEDNESDAY 30 SEPTEMBER 2020
Julian Anderson The Discovery of Heaven Nielsen Violin Concerto Beethoven Symphony No. 7 John Storgårds conductor Simone Lamsma violin
2012
ABSOLUTE JEST
SATURDAY 3 OCTOBER 2020
John Adams Absolute Jest Bartók Four Orchestral Pieces Beethoven Symphony No. 8 Karina Canellakis conductor Heath Quartet
2013
RITES OF RENEWAL
WEDNESDAY 7 OCTOBER 2020
Schubert Symphony No. 1 Magnus Lindberg Cello Concerto No. 2 (UK premiere) Stravinsky The Rite of Spring Jukka-Pekka Saraste conductor Anssi Karttunen cello
2015
THE MIDNIGHT SUN
WEDNESDAY 11 NOVEMBER 2020
Schubert Symphony No. 3 Krzysztof Penderecki Concertino for Trumpet and Orchestra Lotta Wennäkoski Verdigris (London premiere) Sibelius Symphony No. 5 Hannu Lintu conductor Gábor Boldoczki trumpet
2016
SONG OF THE NIGHT
WEDNESDAY 25 NOVEMBER 2020
Prokofiev Symphony No. 1 (Classical) Schubert Symphony No. 5 Magnus Lindberg Two Episodes Szymanowski Symphony No. 3 (The Song of the Night) Thomas Søndergård conductor Michael Weinius tenor London Philharmonic Choir
2017
GAVRYLYUK PLAYS PROKOFIEV
SATURDAY 28 NOVEMBER 2020
Ravel Le tombeau de Couperin Schubert Symphony No. 6 Anna Thorvaldsdottir Metacosmos Prokofiev Piano Concerto No. 3 Thomas Søndergård conductor Alexander Gavrylyuk piano
2018
JUROWSKI CONDUCTS ENESCU
WEDNESDAY 2 DECEMBER 2020
J S Bach Orchestral Suite No. 1 Elena Kats-Chernin Piano Concerto No. 3 (European premiere) Enescu Symphony No. 3* Vladimir Jurowski conductor Tamara-Anna Cislowska piano London Philharmonic Choir Trinity Boys Choir *Generously supported by the Romanian Cultural Institute.
2019
ALL THE WORLD’S A STAGE
SATURDAY 5 DECEMBER 2020
J S Bach Brandenburg Concerto No. 5 Brett Dean The Players, for accordion and orchestra (UK premiere) Stravinsky Pulcinella (complete) Vladimir Jurowski conductor Pieter Schoeman violin Juliette Bausor flute Catherine Edwards harpsichord James Crabb accordion Angharad Lyddon soprano Sam Furness tenor David Soar bass Generously supported by Cockayne Grants for the Arts and The London Community Foundation.
2020
CHRISTMAS ORATORIO
SATURDAY 12 DECEMBER 2020
James MacMillan Christmas Oratorio (world premiere) Vladimir Jurowski conductor Mary Bevan soprano Christopher Maltman baritone London Philharmonic Choir Commissioned by the London Philharmonic Orchestra, NTR Zaterdagmatinee, Radio 4’s concert series in The Concertgebouw Amsterdam, Melbourne Symphony Orchestra and New York Philharmonic Orchestra.
London Philharmonic Orchestra | 7
DIMA SLOBODENIOUK conductor
Slobodeniouk’s calm, clean direction helped hold the sprawling symphony tightly together, ensuring that even the softest, slowest-moving passages had a compelling edge. © Marco Borggreve
Baltimore Sun (Shostakovich’s Symphony No. 11 with the Baltimore Symphony Orchestra, March 2013)
Lauded for his deeply informed and intelligent artistic leadership, Dima Slobodeniouk has held the position of Music Director of the Orquesta Sinfónica de Galicia since 2013, which he combines with his more recent positions as Principal Conductor of the Lahti Symphony Orchestra and Artistic Director of the Sibelius Festival, following his appointment in 2016. Linking his native Russian roots with the cultural influence of his later homeland Finland, he draws on the powerful musical heritage of these two countries. Last season he gave his debut with the Royal Concertgebouw Orchestra, including a tour to Copenhagen, Gothenburg and Tallinn. He works with orchestras such as the Berlin Philharmonic, Gewandhausorchester Leipzig, Symphonieorchester des Bayerischen Rundfunks, Radio Sinfonieorchester Berlin, ORF Radio-Symphonieorchester Wien, London Symphony Orchestra, Finnish Radio Symphony, Sydney Symphony, Rotterdam Philharmonic, and Chicago, Houston and Baltimore symphony orchestras. In 2016 he conducted the London Philharmonic Orchestra in two concerts including Tchaikovsky’s Symphony No. 4 in Brighton and Eastbourne. Summer 2019 saw Slobodeniouk return to the Tanglewood Music Festival with the Boston Symphony Orchestra and Yefim Bronfman, before he gave his debut in the orchestra’s main series in Boston in October. Further highlights this season are debuts with the NHK Symphony Orchestra, the Seoul Philharmonic Orchestra, the Tonhalle-Orchester Zurich with Simon Trpčeski, the Vienna Symphony, the San Francisco Symphony with Sergey Khachatryan, and the Cleveland Orchestra. He returns to the Netherlands Radio Philharmonic Orchestra and the Houston Symphony with Kirill
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Gerstein. He opened the Orquesta Sinfónica de Galicia’s 2019/20 season with Stravinsky’s Symphony of Psalms; appearances on tour together this season include the Centro Nacional de Difusión Musical Madrid with Isabelle Faust as soloist. With the Lahti Symphony he looks forward to celebrating the 20th anniversary of the Sibelius Festival with soloists including Karita Mattila. Other soloists with whom he works include Leif Ove Andsnes, Joshua Bell, Khatia Buniatishvili, Vilde Frang, Håkan Hardenberger, Johannes Moser, Truls Mørk, Baiba Skride, Yuja Wang and Frank Peter Zimmermann. Slobodeniouk’s discography was recently extended by recordings of works by Stravinsky with Ilya Gringolts and the Orquesta Sinfónica de Galicia (BIS), and works by Kalevi Aho with the Lahti Symphony Orchestra (BIS), the latter receiving a 2018 BBC Music Magazine Award. He has previously recorded works by Lotta Wennäkoski with the Finnish Radio Symphony Orchestra (Ondine), and works by Sebastian Fagerlund with the Gothenburg Symphony Orchestra (BIS). Moscow-born Dima Slobodeniouk studied violin at the Moscow Central Music School under Zinaida Gilels and Jevgenia Chugajev, and at the Middle Finland Conservatory, as well as at the Sibelius Academy under Olga Parhomenko. His conducting studies continued with Atso Almila under the guidance of Leif Segerstam and Jorma Panula at the Sibelius Academy; he also studied under Ilya Musin and Esa-Pekka Salonen. Striving to inspire young musicians of the future, he has worked with students at the Verbier Festival Academy over recent years, and has also established a conducting initiative with the Orquesta Sinfónica de Galicia, providing an opportunity for students to work on the podium with a professional orchestra.
CHRISTINE RICE mezzo-soprano
A lyrical mezzo of balanced contrasts, modulations and beautiful expression.
© Patricia Taylor
Opera Magazine (Ruggiero in Handel’s Alcina at Teatro Real, Madrid, October 2015)
Christine Rice studied at the Royal Northern College of Music. At the Royal Opera House, Covent Garden, her many roles have included the title roles in Carmen and The Rape of Lucretia, Judith (Bluebeard’s Castle), Giulietta (The Tales of Hoffman), Concepción (L’heure espagnole), Maddalena (Rigoletto), and two world premieres: Ariadne in Harrison Birtwistle’s The Minotaur, and Miranda in Thomas Adès’s The Tempest. For English National Opera she has sung Donna Elvira (Don Giovanni), Arsace (Partenope), Nero (Agrippina), Zenobia (Radamisto), Marguerite (The Damnation of Faust), Nicklausse (The Tales of Hoffmann) and Dorabella (Così fan tutte). Other roles include her debut as Béatrice (Béatrice et Bénédict) at the Opéra Comique in Paris; Diana/Destino (La Calisto) for the Grand Théâtre de Genève; and Almaltea in Rossini’s Mosè in Egitto for Welsh National Opera and Teatro di San Carlo. She has also appeared at the Deutsche Oper Berlin, the Bayerische Staatsoper Munich, the Teatro Real Madrid, the Seattle Opera, the Opéra national de Bordeaux, Frankfurt Opera and Glyndebourne Festival Opera. She made her debut at the Metropolitan Opera, New York as Hansel, and returned as Giulietta (The Tales of Hoffman – also for Dutch National Opera) and Blanca (Adès’s The Exterminating Angel).
York Metropolitan Opera Orchestra at Carnegie Hall. She sang Annio in La clemenza di Tito at the Edinburgh Festival under Charles Mackerras, which was recorded for Deutsche Grammophon. Other recordings include English song recitals with Iain Burnside and an EMI recital disc with Roger Vignoles. Recent and future engagements include Bach’s St John Passion with the Orchestra of the Age of Enlightenment and Simon Rattle; Bersi (Andrea Chénier) at the Royal Opera House, Covent Garden; Marguerite (La damnation de Faust) with the City of Birmingham Symphony Orchestra and Edward Gardner; Juno/Ino (Semele) with the Shanghai Symphony Orchestra; Federica (Luisa Miller) at English National Opera; Beethoven’s Missa Solemnis with the BBC Symphony Orchestra; Mendelssohn’s Elijah with the Orchestre de Paris and Daniel Harding; Marchesa (Verdi’s Un giorno di regno) at Garsington Opera; and further returns to Covent Garden. Please note change of artist from originally advertised.
Christine’s concert appearances include Verdi’s Requiem with The Philadelphia Orchestra under Yannick Nézet-Séguin at New York’s Carnegie Hall, Wagner’s Das Rheingold under Simon Rattle, Handel’s Messiah with the Handel and Haydn Society under Harry Christophers, Bach’s St Matthew Passion at the SaintDenis Festival with John Nelson, and the world premiere of John Harbison’s Closer to My Own Life with the New
London Philharmonic Orchestra | 9
PROGRAMME NOTES 2003: FANTASY AND REVOLUTION Few compositions have been as influential in the development of Western classical music as Beethoven’s ‘Eroica’ Symphony, which in 1803 not only opened up new formal horizons for a still-young genre, but also launched the idea that a symphony could convey an important and far-reaching extramusical message. 200 years later, Jörg Widmann’s Lied for Orchestra, like many of his works, is
2003 ‘Schubert’s music brings tears to the eyes without questioning the soul: the music invades us completely without us even noticing. We cry without knowing why; because our lives are not as the music promises us they will be’. Thus wrote Theodor Adorno.
Jörg Widmann was immediately clear about his task when he was commissioned by the Bamberg Symphony Orchestra to write a piece on the theme of Schubert: the work should be centred on melody. ‘Schubert is a melodic genius’, said Widmann; nothing pleased Schubert more than experimenting with melodies, deriving new and wonderful ways of manipulating ideas. To Schubert a melody should not just be beautiful but should draw the listener in with immense intensity. It was with this in mind that Widmann’s original idea was conceived: this was to be a piece in one movement that should allow the orchestra to become one voice in which all the instruments sing, creating a type of continous melody. He wanted to create a work without the safety net of traditional form, as if one were stripping a Schubert song of its accompaniment.
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a modern-day response, an imaginary dialogue with the underlying emotionalism of the great Classical masters, in this case Schubert in particular. In between these two pieces comes Shéhérazade, one of the most heady yet typically controlled creations to have come from that ravishing musical orchestral colourist and lover of the exotic, Maurice Ravel.
Jörg Widmann (born 1973) Lied for Orchestra Commissioned by the Bamberg Symphony Orchestra, who gave the premiere, conducted by Jonathan Nott, in Bamberg, Germany, on 10 December 2003.
As the compositional process progressed, Widmann’s original ideas underwent certain changes. For example, rather than keeping strictly to the idea of the orchestra singing with one voice, he in fact changed this: in places the orchestra divides, with the main melodic material at fff, and a barely-audible pppp harmonic foundation. Widmann concentrated on certain aspects of Schubert’s compositional style: the characteristic ideas of ‘searching’, travelling harmonically and frequently being ‘lost’ yet still ‘continuing’. Instead of incorporating specific Schubert works, he chose instead to hint at some: Schubert’s String Quartet and the Octet, for example. The resulting orchestral piece captures Schubert’s soundworld and emotional atmosphere through his compositional technique, while unquestionably bearing its composer’s own stamp. Programme note by Torsten Blaich. English translation by Lindsay Chalmers-Gerbracht.
Composer Profile: Jörg Widmann Jörg Widmann was born in Munich in 1973. He studied clarinet at the Hochschule für Musik in Munich and later at the Juilliard School in New York. He began to take composition lessons with Kay Westermann aged 11, and subsequently continued his studies with Wilfried Hiller and Hans Werner Henze, and later Heiner Goebbels and Wolfgang Rihm in Karlsruhe. From 2001–15 Widmann was Professor of Clarinet at the Freiburg Staatliche Hochschule für Musik, where he also took up the post of Professor of Composition in 2009. Since 2017 he has held a chair at the Barenboim-Said-Academy in Berlin.
He is also Principal Conductor of the Irish Chamber Orchestra. Widmann’s great passion as a clarinettist is chamber music and he regularly performs with partners such as Daniel Barenboim, Tabea Zimmermann, Heinz Holliger, András Schiff, Kim Kashkashian and Hélène Grimaud. He has also achieved great success as a soloist in orchestral concerts in Germany and abroad. Several works have been dedicated to Widmann by fellow composers including Wolfgang Rihm, Aribert Reimann and Heinz Holliger. Widmann’s output includes a cycle of five string quartets, which form the core of his oeuvre; works for large orchestra; concertos for violin, viola, flute and piano; several music-theatre projects; the song-cycle Das heisse Herz; and the large-scale oratorio ARCHE.
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PROGRAMME NOTES CONTINUED
1903
Maurice Ravel (1875–1937) Shéhérazade Christine Rice mezzo-soprano 1 Asie 2 La flûte enchantée 3 L’Indifférent
The texts and translations begin on the opposite page.
When asked later in life which of his works best captured the freshness of his youth, Ravel’s immediate answer was Shéhérazade: ‘it’s full of things that I am ashamed to have written. But there is something in this composition that I have never found again.’ He had composed it in 1903, having, in his words, ‘yielded to the profound fascination that the East has always held for me since my childhood’ (he had already abandoned a project for an opera of the same name, based on episodes from A Thousand and One Nights). At the age of 28, however, and still eking out an unsatisfying studentship at the Paris Conservatoire, he was clearly also susceptible to influences closer to home, for Shéhérazade owes a clear debt to the sensuous soundworld of Debussy, whose opera Pelléas et Mélisande had been premiered in Paris the year before. In his setting of these three prose-poems by Tristan Klingsor (the improbably Wagnerian nom de plume of his friend Léon Leclère), Ravel employs a free, speech-related vocal style similar to Debussy’s – although, typically, his melody is slightly less diaphanous and his orchestral support more solid. But this is still superbly delicate and sensitive word-setting. Ravel had asked Klingsor to read the poems to him before he began the composition, and
Klingsor himself later remarked that ‘for Ravel, setting a poem meant transforming it into expressive recitative, to exalt the inflections of speech to the state of song, to exploit all the possibilities of the words, but never to subjugate them’. The first song depicts the poet’s longing for the visual delights of the East – for Persia, India, China. There he will witness great beauty and great horror – ‘paupers and queens’, ‘roses and blood’ and ‘men dying of love or hate’ – before returning home to tell artful tales of the things he has seen. In the second song a slave-girl listens to her lover playing on a flute while her master sleeps, each note brushing her like a kiss – yet at the end, the flute seems almost cruelly distant. A similar mood of mystery pervades the final song, in which an androgynous stranger, hips lightly swaying, remains unmoved by an admirer’s invitations to stop and drink. Shéhérazade was one of Ravel’s earliest critical successes, a work that signalled his arrival and remains today among his most spellbinding creations. Whatever it was that this meticulous composer was ‘ashamed of writing’ is surely lost in the mists of time.
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12 | London Philharmonic Orchestra
SHÉHÉRAZADE TEXTS 1 Asie
Asia
Asie, Asie, Asie, Vieux pays merveilleux des contes de nourrice Où dort la fantaisie comme une impératrice, En sa forêt tout emplie de mystère. Asie, je voudrais m’en aller avec la goëlette Qui se berce ce soir dans le port Mystérieuse et solitaire, Et qui déploie enfin ses voiles violettes Comme un immense oiseau de nuit dans le ciel d’or. Je voudrais m’en aller vers des îles de fleurs, En écoutant chanter la mer perverse Sur un vieux rythme ensorceleur. Je voudrais voir Damas et les villes de Perse Avec les minarets légers dans l’air. Je voudrais voir de beaux turbans de soie Sur des visages noirs aux dents claires; Je voudrais voir des yeux sombres d’amour Et des prunelles brillantes de joie En des peaux jaunes comme des oranges; Je voudrais voir des vêtements de velours Et des habits à longues franges. Je voudrais voir des calumets entre des bouches Tout entourées de barbe blanche; Je voudrais voir d’âpres marchands aux regards louches, Et des cadis, et des vizirs Qui du seul mouvement de leur doigt qui se penche Accordent vie ou mort au gré de leur désir.
Asia, Asia, Asia, Old marvellous land from childhood tales Where fantasy sleeps like an empress In her forest filled with mystery. Asia, I wish to go away with the boat Cradled this evening in the port Mysterious and solitary And that finally deploys her violet sails Like an enormous night-bird in the golden sky. I wish to go away, toward the isles of flowers, Listening to the perverse sea sing Over an old, bewitching rhythm. I wish to see Damascus and the cities of Persia, With their light minarets in the air; I wish to see beautiful silk turbans On dark faces with bright teeth; I wish to see eyes dark with love And pupils shining with joy In skin yellowed like oranges; I wish to see velvet robes And clothes with long fringes. I wish to see pipes in mouths Surrounded by white beards; I wish to see harsh merchants with cross-eyed gazes, And judges, and viziers Who with a single movement of their crooked finger Grants life, or death, according to their desire.
Je voudrais voir la Perse, et l’Inde, et puis la Chine, Les mandarins ventrus sous les ombrelles, Et les princesses aux mains fines, Et les lettrés qui se querellent Sur la poésie et sur la beauté; Je voudrais m’attarder au palais enchanté Et comme un voyageur étranger Contempler à loisir des paysages peints Sur des étoffes en des cadres de sapin, Avec un personnage au milieu d’un verger; Je voudrais voir des assassins souriants Du bourreau qui coupe un cou d’innocent Avec son grand sabre courbé d’Orient. Je voudrais voir des pauvres et des reines; Je voudrais voir des roses et du sang; Je voudrais voir mourir d’amour ou bien de haine.
I wish to see Persia, and India, and then China, The pot-bellied mandarins under their umbrellas, And the princesses with dainty hands, And the literary men who quarrel Over poetry and over beauty; I wish to linger in the enchanted palace, And like a foreign traveller Contemplate at leisure painted countrysides, On fabrics in fir frames, With a person standing in the middle of an orchard; I wish to see smiling assassins, The executioner who cuts an innocent neck With his great curved Oriental blade. I wish to see paupers and queens; I wish to see roses and blood; I wish to see death caused by love or even by hate.
Please turn the page quietly. London Philharmonic Orchestra | 13
SHÉHÉRAZADE TEXTS CONTINUED Et puis m’en revenir plus tard Narrer mon aventure aux curieux de rêves En élevant comme Sindbad ma vieille tasse arabe De temps en temps jusqu’à mes lèvres Pour interrompre le conte avec art ...
And then returning, later Tell my story to the dreaming and curious Raising, like Sinbad, my old Arab cup From time to time to my lips To interrupt my tale with art ...
2 La flûte enchantée
The enchanted flute
L’ombre est douce et mon maître dort Coiffé d’un bonnet conique de soie Et son long nez jaune en sa barbe blanche. Mais moi, je suis éveillée encore Et j’écoute au dehors Une chanson de flûte où s’épanche Tour à tour la tristesse ou la joie. Un air tour à tour langoureux ou frivole Que mon amoureux chéri joue, Et quand je m’approche de la croisée Il me semble que chaque note s’envole De la flûte vers ma joue Comme un mystérieux baiser.
The shade is sweet and my master sleeps, Wearing a conical silk bonnet, With his long yellow nose in his white beard. But I, I waken again And hear outside The song of a flute pour forth By turns sadness and joy. A song by turns languorous and frivolous Which my dear lover plays, And when I approach by the window It seems to me that each note steals away From the flute toward my cheek Like a mysterious kiss.
3 L’indifférent
The indifferent one
Tes yeux sont doux comme ceux d’une fille, Jeune étranger, Et la courbe fine De ton beau visage de duvet ombragé Est plus séduisante encore de ligne. Ta lèvre chante sur le pas de ma porte Une langue inconnue et charmante Comme une musique fausse ... Entre! Et que mon vin te réconforte ... Mais non, tu passes Et de mon seuil je te vois t’éloigner Me faisant un dernier geste avec grâce, Et la hanche légèrement ployée Par ta démarche féminine et lasse ...
Your eyes are soft, like those of a girl, Young stranger, And the fine curve Of your handsome face with shadowed down Is more seductive still. Your lip sings, on the step of my door, A tongue unknown and charming Like dissonant music ... Enter! And let my wine comfort you ... But no, you pass by And from my door I watch you depart, Making a last graceful gesture to me, Your hip lightly bent In your feminine and weary gait ...
Tristan Klingsor (born Arthur Justin Léon Leclère) (1847–1966)
English translations © Ahmed E. Ismail 2005.
14 | London Philharmonic Orchestra
PROGRAMME NOTES CONTINUED
1803 Only a year separates the completion of Beethoven’s Second Symphony from that of his Third, yet in that time the composer made an enormous leap forward that left his contemporaries gasping in his wake. It was not just that the ‘Eroica’ (‘Heroic’) expanded the physical size of the symphony to hitherto unknown dimensions; it also imbued the genre with a new and gigantic message, turning it into an artistic and philosophical statement that transcended any of its previously accepted functions. For here Beethoven used the symphony to express nothing less than his abiding faith in mankind’s capacity for greatness.
The figure with whom he most associated greatness when he wrote the work in 1803 was Napoleon. At that time Napoleon seemed to embody the republican ideals of many of Europe’s intellectuals, but when he crowned himself Emperor in 1804 Beethoven angrily deleted his name from the title-page of the score, where he had been cited as dedicatee. Yet heroism – personal and idealistic – did not lose its significance for the composer. His own claim to artistic heroic status could hardly be doubted after his emergence from the near-suicidal despair of 1802 with creativity unimpaired, and the spiritual rebirth this represented is outlined in the four movements of the ‘Eroica’: the first a titanic struggle; the second a tragic funeral march; the third a joyous renewal of life; and the last a confident and triumphant affirmation of the power of Man. It was with this realisation of the extra-musical autobiographical potential of the symphony that Beethoven was to set the ideological tone for the next hundred years of symphonic writing. As in the Second Symphony, Beethoven’s expansion of the genre’s dimensions here makes use of the conventional building blocks, but in the ‘Eroica’ the
Ludwig van Beethoven (1770–1827) Symphony No. 3 in E flat major, Op. 55 (Eroica) 1 2 3 4
Allegro con brio Marcia funebre: Adagio assai Scherzo and Trio: Allegro vivace Finale: Allegro molto
familiar is made to sound impressively different. The opening chords are almost startlingly terse, while in its smooth spaciousness the main theme is like no main theme ever written before. The central development section is a long and brutal battle, but leads to a return to the main theme that is hushed and mysterious. After all this, the movement’s long, gently developmental coda is nothing less than a structural necessity. The second movement – the funeral march – makes large-scale use of what is basically a simple design. Three immensely slow, grief-stricken outer sections frame a vainly hopeful major-key ‘trio’, a solemn double fugue and a cataclysmic orchestral upheaval. There is another long coda, at the end of which, in one of the Symphony’s most radical gestures, the music literally disintegrates, seemingly incapable of consolation. But all is not lost. The Scherzo now steals in almost imperceptibly on the woodwind and strings, to be joined eventually by the full orchestra. The Trio does not do much to calm the celebrations, though it is less frantic, and the repeat of the first section is no mere formal nicety but a winding-up of the euphoria, with the orchestra at one point almost falling over itself with glee. The Finale is one movement in which Beethoven did create a new formal design – a unique combination of variation form, passacaglia and rondo. After a noisy orchestral opening, the movement’s early progress from stark bass-line to dance-like tune is borrowed from an earlier set of piano variations on a theme from Beethoven’s music for the ballet The Creatures of Prometheus. The theme itself does not appear until the third variation, where it is played by the oboe, but by then the music has already begun to acquire an unstoppable feel. Eventually a slower variation brings the movement a dignity more befitting the
London Philharmonic Orchestra | 15
PROGRAMME NOTES CONTINUED work’s heroic subject, before a return of the orchestral introduction sweeps the music into a joyful coda. The story of the Prometheus ballet had concerned a figure who creates two beings with the aid of fire stolen from the gods and then instructs them in human arts and passions. As a representation of the creative artist’s role as educator and civilising influence, it could hardly have failed to appeal to Beethoven; by making such direct reference to it, how better could he have concluded this masterly symphonic self-portrait? Programme notes © Lindsay Kemp
Recommended recordings of tonight’s works by Laurie Watt Ravel: Shéhérazade Renée Fleming | Orchestre Philharmonique de Radio France | Alan Gilbert (Decca) or Régine Crespin | L’Orchestre de la Suisse Romande | Ernest Ansermet (Decca) or Janet Baker | Philharmonia Orchestra John Barbirolli (Warner Classics) Beethoven: Symphony No. 3 (Eroica) London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0096: see below) or London Philharmonic Orchestra | Kurt Masur (LPO Label LPO-0112: see below)
Beethoven’s ‘Eroica’ Symphony on the LPO Label ‘An explosive start ... and the kind of narrowbore brass sound that in recent years has reborn the London Philharmonic as the city’s premier Beethoven orchestra.’ Gramophone, April 2017
Beethoven Symphony No. 3 (Eroica) Overture, Fidelio
Beethoven Symphony No. 3 (Eroica) Symphony No. 5
Vladimir Jurowski conductor London Philharmonic Orchestra
Kurt Masur conductor London Philharmonic Orchestra
LPO-0096 | £9.99
LPO-0112 | £9.99
CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Primephonic, Spotify, Apple Music, Idagio and others.
16 | London Philharmonic Orchestra
SOUND FUTURES DONORS We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust
The Rothschild Foundation Tom & Phillis Sharpe The Viney Family
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THANK YOU We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.
Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Mrs Christina Lang Assael Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates An anonymous donor Steven M. Berzin Kay Bryan William & Alex de Winton Hamish & Sophie Forsyth Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons An anonymous donor David & Yi Buckley In memory of Allner Mavis Channing The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport Sonja Drexler Mrs Gillian Fane Marie-Laure Favre-Gilly de Varennes de Beuill Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Francis & Marie-France Minkoff Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt
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Elena Lileeva & Adrian Pabst Drs Frank & Gek Lim Mrs Elizabeth Meshkvicheva Maxim & Natalia Moskalev Mr & Mrs Andrew Neill Peter & Lucy Noble Linda & Tim O’Neill Jacopo Pessina Mr Alex Petrov Mr Roger Phillimore Mr Michael Posen Mr Alex Smedley Ms Nadia Stasyuk Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Ms Jenny Watson CBE Christopher Williams Mr Anthony Yolland Principal Supporters Anonymous donors Ralph & Elizabeth Aldwinckle Helen Brocklebank Mr Philip Bathard-Smith Ms Phyllia Chen Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett In honour of Bea Crumbine Mr Jonathan Davies Mr Richard Fernyhough Mr Michael Fox Mr Stephen Goldring Mr Milton Grundy Mr Ian Haslegrave Michael & Christine Henry Lady Hill Mrs Maureen Hooft-Graafland Jamilya Jakisheva Per Jonsson Vadim Levin Lady Leonora, Countess of Lichfield Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr Peter Mace Michael & Patricia MclarenTurner Alice P. Melly
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Thomas Beecham Group Members David & Yi Buckley The Candide Trust The Chiltern Friends of the LPO Gill & Garf Collins Andrew Davenport William & Alex de Winton Donors to the 2019 Gala Player Appeal Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Natasha Tsukanova Neil Westreich Guy & Utti Whittaker We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Simon Freakley Chairman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP
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London Philharmonic Orchestra | 19
ADMINISTRATION Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Gareth Newman* Vice-President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Tanya Joseph Al MacCuish Susanne Martens* Stewart McIlwham* Pei-Jee Ng* Andrew Tusa Timothy Walker CBE AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass Helen Brocklebank 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 Marianna Hay Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Jamie Njoku-Goodwin 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 CBE AM Laurence Watt Elizabeth Winter
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20 | London Philharmonic Orchestra
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