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Concert programme lpo.org.uk

Our 2017 concerts are part of

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 Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Saturday 25 March 2017 | 7.30pm

R Strauss Tod und Verklärung (Death and Transfiguration), Op. 24 (24’) Interval (20’) Mozart Requiem, K626 (Süssmayr completion) (60’)

Nathalie Stutzmann conductor Kateryna Kasper soprano Sara Mingardo contralto Robin Tritschler tenor Leon Košavić baritone London Philharmonic Choir

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Orchestra news 3 On stage tonight 4 Belief and Beyond Belief 6 About the Orchestra 7 Leader: Pieter Schoeman 8 Nathalie Stutzmann 9 Kateryna Kasper Sara Mingardo 10 Robin Tritschler Leon Košavić 11 London Philharmonic Choir 12 Programme notes 14 Recommended recordings 15 Mozart Requiem: Text 19 Next concerts 20 LPO 2017/18 season 21 Sound Futures donors 22 Supporters 24 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 any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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Orchestra news

2017/18 LPO season The 2017/18 LPO season is now on sale! Browse and book online at lpo.org.uk or call 020 7840 4200 to request a season brochure by post. You can also book via the LPO Box Office by phone on 020 7840 4242.

Chamber music at Wigmore Hall next month On Saturday 22 April 2017 at 7.30pm, Principal players from within the Orchestra will present Schubert’s hugely popular ‘Trout’ Quintet alongside Brahms’s haunting Horn Trio in a one-off performance at Wigmore Hall. Tickets from £15: visit lpo.org.uk or call the LPO Ticket Office on 020 7840 4242.

2017 London Marathon: Support Team LPO! On Sunday 23 April 2017 a team from the wider LPO community will take part in the Virgin Money London Marathon in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will help to enable over 12,000 young people to attend one of our live schools concerts, many for the very first time. This Monday, 27 March at 7.30pm, we will be holding a Marathon fundraising event at the Virgin Money Lounge in London’s Haymarket featuring interesting insights from the Orchestra’s players (and runners!), music, wine and canapés. Tickets are priced at £30. To find out more or book tickets, visit virg.in/LPO If you can’t make the event but would like to find out more about our runners or make a donation, visit uk.virginmoneygiving.com/fund/LPOLondonMarathon

New on the LPO Label: Dvořák Recently released on the LPO Label (LPO-0095) is a disc of works by Dvořák: the Othello Overture and Symphonies Nos. 6 & 7. Conducted by Yannick NézetSéguin and recorded live in concert at Royal Festival Hall, the double CD is priced at £10.99 and is available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others.

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Ilyoung Chae Chair supported by the Candide Trust

Katalin Varnagy Chair supported by Sonja Drexler

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

Robert Pool Sarah Streatfeild Yang Zhang Tina Gruenberg Grace Lee Cassandra Hamilton Second Violins Helena Smart Guest Principal Tania Mazzetti Kate Birchall Nancy Elan Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Robin Wilson Emma Wragg Alison Strange John Dickinson

Violas Cyrille Mercier Principal Robert Duncan Gregory Aronovich Katharine Leek Susanne Martens Laura Vallejo Naomi Holt Isabel Pereira Alistair Scahill Miriam Eisele Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Santiago Carvalho† Chair co-supported by Molly & David Borthwick

David Lale Gregory Walmsley Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Sue Sutherley

Oboes Ian Hardwick* Principal Alice Munday

David Whitehouse Matthew Lewis

Chair supported by Dr Barry Grimaldi

Bass Trombone Lyndon Meredith Principal

Clarinets Thomas Watmough Principal Emily Meredith

Tuba Lee Tsarmaklis* Principal Timpani Simon Carrington* Principal

Bass Clarinet Paul Richards Principal

Percussion Andrew Barclay* Principal

Basset Horns Paul Richards Thomas Watmough

Chair supported by Andrew Davenport

Bassoons Jonathan Davies Principal Gareth Newman

Flutes Juliette Bausor Principal Sue Thomas*

Trumpets Paul Beniston* Principal Tom Osbourne Guest Principal Anne McAneney*

* Holds a professorial appointment in London

Chair supported by Laurence Watt

Martin Hobbs Duncan Fuller Gareth Mollison Adam Howcroft

Harps Sue Blair Guest Principal Lucy Haslar Organ Catherine Edwards

Contrabassoon Simon Estell* Principal Horns John Ryan* Principal

Stewart McIlwham*

Chair supported by William & Alex de Winton

Cor Anglais Sue Böhling* Principal

Double Basses Kevin Rundell* Principal Sebastian Pennar George Peniston Laurence Lovelle Damián Rubido González Tom Walley

Chair supported by Victoria Robey OBE

Trombones Mark Templeton* Principal

† Chevalier of the Brazilian Order of Rio Branco Meet our members: lpo.org.uk/players

Chair supported by Geoff & Meg Mann

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Yi Buckley • Friends of the Orchestra • Sir Simon Robey • Eric Tomsett

London Philharmonic Orchestra | 3

Belief and Beyond Belief An overview of 2017’s year-long festival, by Richard Bratby

Roman Catholic) it seems profoundly strange. But this is what Mozart thought, what he felt: what he believed. And his music speaks to us. There’s something irreducible there. As Theodor Adorno once put it, ‘When I hear great music, I believe that I know that what this music said cannot be untrue.’

n a glass case at Mozart’s birthplace in Salzburg is a little wax doll. Its eyes look demurely downwards, it wears a crown four times the size of its head and it’s clad in what looks like an embroidered ballgown. This is the Loreto-Kindl (Loreto Child): a replica of an ivory model of the infant Christ housed in Salzburg’s Loreto Church. Believed to have miraculous properties, it was (and is) an object of pilgrimage. The Mozart family revered it. When, in Paris in 1764, the eight-year old Wolfgang fell sick, his father Leopold sent money back to Salzburg for a Mass to be said at the shrine of the Child. What are we to think of that today? When we hear the procession that opens Mozart’s Requiem and find our emotions responding to those sighing woodwinds, are we somehow feeling and reacting to the same impulse that once prompted Mozart to kneel before a wax doll? It’s a curious thing, the Loreto Child, and oddly touching. To 21st-century minds (and particularly if you’re not

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Which is why music has a central role – arguably the central role – in Southbank Centre’s year-long 2017 festival Belief and Beyond Belief: a cross-artform investigation of the great questions surrounding our experiences of life, death, religion and spirituality, and the role of religious belief in all its forms in the 21st century. Music, after all, is capable of articulating feelings and ideas that lie beyond words. That gives it a unique scope when dealing with a subject this vast, and this intangible. Belief, says LPO Principal Conductor and Artistic Advisor Vladimir Jurowski, is ‘probably the most all-encompassing theme we could find.’ ‘We were looking for something that would concern all people in all times. And of course you can’t help but come to all those basic questions of life and death: why are we here, what is the purpose of human existence?’ These are questions that – while central to the world’s major religions – are also of urgent importance to those who don’t follow any one specific faith. ‘Spirituality, obviously, is not only about organised religion and faith. It’s about the intangible matters, the non-corporeal realm of human existence’ says Jurowski. ‘As the Dalai Lama put it recently, we can all exist without religion – but we cannot exist without spirituality.’ No question, though: Western classical music’s centuries-old relationship with organised JudeoChristian religion offers a magnificent starting point. Mozart’s Requiem forms part of the series [performed by the London Philharmonic Orchestra and Choir on 25 March], as does Tallis’s Spem in Alium [8 April] and Haydn’s life-affirming oratorio The Creation [4 February] – expressions of belief, grounded in the certainties of a pre-Darwin age. In each of these masterpieces, contemplation of the divine actually intensifies the music’s humanity. Belief certainly enriches the experience of hearing these works today, but few would argue that they have nothing meaningful to say to an atheist or agnostic.

Still, as Jurowski explains, ‘I didn’t want us to limit ourselves to one period of time, one epoch. Working with a modern orchestra is like having a time machine at your disposal. You’re free to move in time and space within the duration of one concert.’ It’ll be thought-provoking but also enormous fun to travel in one evening [28 January] from the divinely ordered exuberance of Jean-Féry Rebel’s Les élémens (1737) to Milhaud’s La Création du monde (1923) and John Adams’s Harmonielehre (1985) – works that don’t so much celebrate an established universal order, as grab what they can find to hand and try to throw together a new one. It’s hard to feel that Also sprach Zarathustra – Richard Strauss’s explicitly post-Christian orchestral romp through Nietzsche [10 February] – sees the death of God as anything but a liberation. Wagner’s Parsifal [28 April; Act III excerpts], however, can be an altogether more troubling experience, as well as a transcendent one. And then there are the works that, in the sunset years of Western civilisation’s spiritual consensus, erect massive ramparts against the abyss. Gustav Mahler – a Jewish convert to Catholicism, and the first great composer to undergo analysis with Sigmund Freud – throws gigantic forces and every last ounce of creative muscle into his Eighth Symphony [8 April]. But what of Bruckner’s Ninth [22 March], designed by an unshakably devout composer as a final act of homage and praise ‘to my beloved God’? As his health failed, Bruckner prayed daily to be allowed time and strength to finish the Symphony. Neither was granted. And during the 20th century, art and belief have both tended to throw open questions rather than assert answers. Confronted with atrocities such as that commemorated in Martinů’s Memorial to Lidice [25 January], the silence that Charles Ives called The Unanswered Question [11 February] may be the only appropriate response. Yet even in atheist dictatorships, composers continued to seek meaning. ‘Shostakovich was never a believer’ says Jurowski. ‘He was afraid of death. He was convinced that with the end of human existence the human spirit also ceases to exist’. Somehow, though, in his fifteenth (and final) symphony [22 February] ‘he finds space in there for very loving music […] You are exposed to someone who has a thing or two to teach us about life.’ Edison Denisov’s Second Symphony [also 22 February], written during its composer’s terminal cancer, is even more

uncompromising. ‘He finds no consolation at the end of his journey. It was obviously an act of defiance.’ In a godless world, the very act of asserting religious belief becomes a radical act. In 1966, Krzysztof Penderecki’s Bach-inspired St Luke Passion [4 March] outraged Western modernists almost as much as it offended the authorities in communist Poland. The composer made its significance explicit: ‘The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic experience of mankind in the middle of the 20th century’. Penderecki is as devoutly Roman Catholic as Mozart, but the St Luke Passion is designed for all listeners. Religion helps it tell its truths; but those truths are comprehensible even without belief. It’s why Jurowski has chosen to open Belief and Beyond Belief tonight not with a sacred work, but a semi-staged opera: a story of tyranny, freedom, courage and – supremely – human love: Beethoven’s Fidelio. ‘Fidelio celebrates what the German-Jewish philosopher Ernst Bloch called “The Principle of Hope” – one of the cornerstones of the human spiritual existence’, says Jurowski. ‘Hope is what makes us human, what gives life meaning; hope – when lived actively – has the power to change the world. Fidelio connects and mediates between the religious and humanist approach to life, and thus appears to me to be a perfect start for a celebration of spirituality and the human spirit.’ If there’s any one motto for this whole, intensely rich and complex journey into music and belief, ‘Hope’ would probably be it. ‘We’re not going to turn Southbank Centre into a place of worship’, says Jurowski. ‘We’re not going to turn the concert hall into a temple. We just want to look at all these different pieces of music by different composers, which are all concerned with the same questions’. In other words, to do what music lets us do more intensely than any other art form – explore different ways of simply being human. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Watch the interview with Vladimir and browse the full festival: lpo.org.uk/belief

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London Philharmonic Orchestra

Jurowski and the LPO, keyed up to a high level of concentration, delivered [John Adams’s Harmonielehre] with the shattering force of the Big Bang. Richard Fairman, Financial Times, 31 January 2017

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on 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 currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

6 | London Philharmonic Orchestra

years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. 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: last season included visits to Mexico,

Pieter Schoeman leader

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

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 through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular 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

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 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur.

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

London Philharmonic Orchestra | 7

Nathalie Stutzmann conductor

It’s easy to see why she’s met with such success. Stutzmann is spirited and engaged, and has a good feel for finding the right tempo.

St. Louis Post-Dispatch

Nathalie Stutzmann is considered one of the most outstanding musical personalities of our time, with parallel careers as both contralto and conductor. Her charismatic musicianship and the unique combination of rigour and fantasy that characterises her style have been recognised by her peers, audiences and critics alike. In 2015 she was announced as Associate Artist of the São Paulo State Symphony Orchestra. Beginning at the start of the 2016/17 season, the three-year collaboration is multi-dimensional, with a focus on conducting projects. Nathalie is also Associate Artist at the Orchestre National de Bordeaux for the 2016/17 season, and has recently been announced as Principal Guest Conductor of the RTÉ National Symphony Orchestra of Ireland, commencing in September 2017. Tonight is Nathalie Stutzmann’s conducting debut with the London Philharmonic Orchestra. As a guest conductor, her recent debut with The Philadelphia Orchestra led to critical acclaim and an immediate re-invitation. Other highlights among her guest conducting plans for this and future seasons include debuts with the Rotterdam Philharmonic, Oslo Philharmonic, Gothenburg Symphony, Spanish National and Minnesota orchestras, as well as return projects with the National Symphony Orchestra (Washington), the Konzerthaus Orchestra Berlin, the Royal Stockholm Philharmonic, Bergen Philharmonic and Royal Liverpool Philharmonic orchestras, and at Seiji Ozawa’s Matsumoto Festival. Following her 2014 success conducting L’elisir d’amore at the Opéra de Monte-Carlo, she has just returned with Tannhäuser.

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Previous seasons within Europe have included return guest conducting projects with the Royal Liverpool Philharmonic Orchestra (where she was Artist in Residence for the 2015/16 season), Swedish Chamber Orchestra and Orchestre de Chambre de Paris; and debuts with the Gävle Symphony, Bergen Philharmonic, Konzerthaus Berlin, and RTÉ National Symphony orchestras. In the USA, conducting work has included the Detroit Symphony, National Symphony Orchestra, and her recent debut with the St Louis Symphony. Nathalie Stutzmann studied conducting with the legendary Finnish teacher Jorma Panula, and was mentored by Seiji Ozawa and Sir Simon Rattle. She founded her own chamber orchestra, Orfeo 55, in 2009. The orchestra’s permanent home is at the Arsenal in Metz, France. She received the Chevalier de l’Ordre National du Mérite honour from the French State, and in spring 2015 was appointed an Officer of the prestigious Arts et Lettres in France. Nathalie Stutzmann has an exclusive contract with Warner Classics/Erato as both singer and conductor. Her most recent recording at the helm of Orfeo 55: Heroes from the Shadows, an album that brings unfairly overlooked roles in Handel’s operas firmly into the limelight, was released in 2014 to critical acclaim. Her next release, an album featuring Italian arias, is scheduled for autumn 2017. Other recent releases include Prima Donna for DG, featuring Vivaldi’s great contralto repertoire, and Une cantate imaginaire, a highly praised cornucopia of some of Bach’s most glorious vocal and orchestral music, both recorded with Orfeo 55.

Sara Mingardo

soprano

contralto

Ukrainian soprano Kateryna Kasper is a member of Oper Frankfurt. Her roles there include Sophie (Der Rosenkavalier), Susanna (The Marriage of Figaro), Gretel (Hänsel und Gretel), Antonida (Glinka’s A Life for the Tsar), Pamina (The Magic Flute) and Nannetta (Verdi’s Falstaff). She has appeared at the Edinburgh Festival and Los Angeles Opera (both as Belinda in Purcell’s Dido and Aeneas) and at the Bregenz Festival in Peter Eötvös’s Der goldene Drache. Kateryna Kasper also pursues an active performance schedule as a soloist in song, oratorio and concert, with performances at the Heidelberger Frühling, the Handel Festival Karlsruhe, the Telemann Festival Magdeburg and the Alte Oper Frankfurt. In 2013 she founded her own Baroque ensemble, ‘théâtre sans rideau’, based in Frankfurt. In 2014 Kateryna won the prestigious Mirjam Helin International Singing Competition in Helsinki. This was preceded by prizes at the 2010 International Vocal Competition in the Dutch city of ’s-Hertogenbosch and the 2011 Queen Sonja International Music Competition in Oslo. Kateryna Kasper studied in Donetsk (Ukraine) with Raisa Kolesnik, followed by studies in Nuremberg and Frankfurt with Edith Wiens and Hedwig Fassbender, where she was supported by a scholarship from the German Academic Exchange Service (DAAD).

Kateryna Kasper

A winner of the Premio Abbiati award (2009), Sara Mingardo is one of the few genuine contralto voices on the music scene today. She has collaborated with such conductors as Claudio Abbado, Ivor Bolton, Riccardo Chailly, MyungWhun Chung, Ottavio Dantone, Sir Colin Davis, Sir John Eliot Gardiner, Riccardo Muti, Trevor Pinnock, Christophe Rousset, Jordi Savall, Jeffrey Tate and Rinaldo Alessandrini. Her repertoire includes works by Gluck, Monteverdi, Handel, Vivaldi, Rossini, Verdi, Cavalli, Mozart, Donizetti, Schumann and Berlioz. Particularly active on the concert stage, she has a vast repertoire ranging from Pergolesi to Respighi, through Bach, Beethoven, Brahms, Dvořák and Mahler. Amongst her recent engagements are Handel’s Messiah under Nathalie Stutzmann with the Detroit Symphony Orchestra; Handel’s Il trionfo del tempo e del disinganno at the Teatro alla Scala under Diego Fasolis, in Aixen-Provence under Emmanuelle Haïm and on tour in Europe; Pergolesi’s Stabat Mater in Rome (Accademia Filarmonica) with Rinaldo Alessandrini, in Bilbao and in Madrid under Ottavio Dantone; Brahms’s Alto Rhapsody in Rome under Daniele Gatti and in Cagliari under Elio Boncompagni; Vivaldi’s Stabat Mater at the Musica Sacra Festival in Münster; Bach’s St John Passion with Musica Saeculorum in Essen and Aix-en-Provence; Mendelssohn’s Elijah under Daniele Gatti and then in Copenhagen; a solo recital at the Grand Théâtre de Genève; Il trionfo del tempo e del disinganno; Mahler’s Symphony No. 8 at the Lucerne Festival under Riccardo Chailly; and a revival of Monteverdi’s L’incoronazione di Poppea at La Scala and in New York with Rinaldo Alessandrini. Future plans include Vivaldi’s L’incoronazione di Dario in Turin under Dantone; Brahms’s Alto Rhapsody in Florence; the role of Penelope in Monteverdi’s Il ritorno d’Ulisse in patria at the Staatsoper Hamburg under Jean-Christophe Spinosi; Rossini’s Petite messe solennelle in Vienna; and Scarlatti’s Stabat Mater in Naples and on tour in Europe.

London Philharmonic Orchestra | 9

Robin Tritschler

Leon Košavić

tenor

baritone

Acclaimed for his ‘radiantly lyrical’ voice, Robin Tritschler has appeared in concert with the Orchestre National de Lyon, the orchestras of Danish Radio and Radio France; and the London Philharmonic, Rotterdam Philharmonic and Bournemouth Symphony orchestras, with Yannick Nézet-Séguin, Vladimir Jurowski, Yutaka Sado, Philippe Herreweghe and Kirill Karabits, and across the BBC as a New Generation Artist. He performed Handel’s Messiah before Pope Benedict XVI to celebrate the 80th Anniversary of the Vatican State.

Croatian baritone Leon Košavić graduated and attained his master’s degree from the Academy of Music in Zagreb, in the class of Maestro Giorgio Surian. He continued his vocal studies and his professional development with three great vocal maestros: Vitomir Marof, José van Dam and Giorgio Surian.

Roles for Welsh National Opera include Count Almaviva (The Barber of Seville), Nemorino (L’elisir d’amore), Narraboth (Salome), Ferrando (Così fan tutte), Don Ottavio (Don Giovanni) and Belmonte (Die Entführung aus dem Serail). He made his debut with the Royal Opera, Covent Garden in Wozzeck, and with Garsington Opera as Ferrando. Robin’s many appearances in contemporary opera include John Cage’s Europeras 1 & 2 and Louis Andriessen’s De Materie with the Ruhrtriennale Festival. A renowned recitalist, Robin performs regularly at Wigmore Hall, also appearing in Cologne, Amsterdam, Washington, and at the Aldeburgh, Aix-en-Provence and West Cork Chamber Music festivals. His growing discography includes critically acclaimed recordings of Britten’s Winter Words (Onyx) and World War One songs (Signum) with Malcolm Martineau; Poulenc: The Complete Songs with Graham Johnson (Hyperion); and a Britten and Schubert disc with Iain Burnside as part of the Wigmore Hall Live series. Recent highlights include appearances as part of the complete Schubert series at Wigmore Hall, Lysander (A Midsummer Night’s Dream) in Klagenfurt, and concerts at the BBC Proms with Sir Mark Elder and with Collegium Vocale. Concerts in 2016/17 include Beethoven’s Leonore in Munich with the Bayerische Rundfunk, Elijah on tour with Pygmalion and Raphaël Pichon, and Mendelssohn’s Symphony No. 2 with the NDR Hannover. Robin will also make his debut with the Teatro Colón, Buenos Aires, in Andriessen’s De Materie. 10 | London Philharmonic Orchestra

Leon enjoys an international career and is the recipient of numerous awards. He has appeared in performances with many orchestras including the Royal Liverpool Philharmonic and Bergen Philharmonic orchestras. He has performed at opera houses around the world including the Royal Opera House, Covent Garden (where he appears as Ping in Turandot this summer), Finnish National Opera and Stuttgart State Opera. Leon’s operatic repertoire includes roles such as Don Giovanni and Masetto (Don Giovanni), Figaro and Count Almaviva (The Marriage of Figaro), Figaro (The Barber of Seville), Orfeo (Orfeo ed Euridice), Papageno (The Magic Flute), Moralès (Carmen) and Dr Malatesta (Don Pasquale), among others. His symphonic and oratorio repertoire includes Bach’s St John Passion and St Matthew Passion, Haydn’s Stabat Mater, and Mozart’s Requiem and Mass in C minor.

London Philharmonic Choir Patron HRH Princess Alexandra | President Sir Mark Elder | Artistic Director Neville Creed Accompanist Jonathan Beatty | Chairman Ian Frost | Choir Manager Tessa Bartley

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors for almost 70 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. Highlights in recent years have included Mahler’s Symphony No. 2 under the Orchestra’s Principal Guest Conductor, Andrés Orozco-Estrada; Rachmaninoff’s The Bells with Vasily Petrenko; Taneyev’s St John of Damascus and Szymanowski’s Stabat Mater under the Orchestra’s Principal Conductor and Artistic Advisor, Vladimir Jurowski; Beethoven’s Missa Solemnis with the Choir’s President, Sir Mark Elder; and Haydn’s The Creation with Sir Roger Norrington. The Choir looks forward to celebrating its 70th anniversary on 8 April 2017, when Vladimir Jurowski will conduct Tallis’s Spem in alium and Mahler’s epic Symphony No. 8 with the London Philharmonic Orchestra at Royal Festival Hall. The Choir appears annually at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir has been engaged by the BBC for all the Doctor Who Proms and, in recent years, has given performances of works by Beethoven, Elgar, Howells, Liszt, Orff, Vaughan Williams, Verdi and Walton. A well-travelled choir, it has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir has appeared twice at the Touquet International Music Masters Festival, performing Beethoven’s Symphony No. 9 and Mozart’s Requiem. Last season it travelled to Brussels, performing Szymanowski’s Stabat Mater and Zemlinsky’s Psalm 23, Op. 14. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit lpc.org.uk

Sopranos Catherine Allum Annette Argent Chris Banks Tessa Bartley Hilary Bates Sarah Bindon Hannah Boyce Anisoara Brinzei Laura Buntine Michelle Bunyan Carole Cameron Charlotte Cantrell Olivia Carter Paula Chessell Jenna Clemence Danielle Craig Olivia Crawford Victoria Denard Jessica Dixon Lucy Doig Kathryn Flood Rachel Gibbon Jane Goddard Sofia Gonzalez Nicola Hands Jane Hanson Rebecca Harries Catherine Harris Sally Harrison Lucie Holcova Jenni Kilvert Elsa Korning Liz Lawrence Joy Lee Clare Lovett Katie Milton Harriet Murray Eloise Pederson Rosie Philpott Marie Power Genevieve Quierin Steph Rawlins Danielle ReeceGreenhalgh Priscilla Santhosham Rebecca Sheppard Julia Sigblad Tania Stanier Katie Stuffelbeam Rachel Topham Sarah van Staveren Jo Webster Charlotte Wielgut Rochelle Williams

Altos Jenny Adam Christine Allison Deirdre Ashton Phye Bell Sally Brien Andrei Caracoti Isabelle Cheetham Noel Chow Liz Cole Sara de la Serna Andrea Easey Carmel Edmonds Sarah Finkemeyer Henrietta Fisher Regina Frank Kathryn Gilfoy Bethea HansonJones Rebecca Herman Emily Hill Charlotte Kingston Andrea Lane Claire LawrenceSmales Ethel Livermore Lisa MacDonald Laetitia Malan Michelle Marple Malvina Maysuradze Jasna Meyer Sophie Morrison Annabeth MurphyThomas Rachel Murray Anna Read Sheila Rowland Carolyn Saunders Rima Sereikiene Susi Underwood Jenny Watson Emma Windle

Tenors David Aldred Geir Andreassen Chris Beynon Tom Dalglish Kevin Darnell Fred Fisher Robert Geary Alan Glover Peter Goves Iain Handyside David Hoare Stephen Hodges Patrick Hughes Tony Masters Kevin Rainey Jaka Škapin Owen Toller Claudio Tonini Martin Yates Basses Christopher Bacon Jonathan Bird Peter Blamire Filipe Caetano Geoffrey Clare Marcus Daniels Thomas Fayle Halldor Fosså Ian Frost Christopher Gadd Paul Gittens John Graham Joseph Harris Christopher Harvey Nicholas HennellFoley Mark Hillier David Hodgson Rylan Holey Yaron Hollander Jake Houghton Martin Hudson John Luff John G Morris John D Morris Ashley Morrison Luke Murphy William Parsons Johannes Pieters Jonathan Riley John Salmon Peter Sollich Alex Thomas Trevor Watson Jair Wuillhoud John Wood

London Philharmonic Orchestra | 11

Programme notes

Speedread Strauss was 25 when he completed Tod und Verklärung, the third in the sequence of outstandingly imaginative works in the genre in which he would become acknowledged as a master – the tone-poem. Its subject, a detailed depiction of the final moments of a dying man, may seem a surprising one for a young man, but its importance to him is suggested

Richard Strauss

by the fact that he quoted from it in later works. The 35-year-old Mozart was already dying when he wrote his Requiem, and to shape it he dug deep into the eclectic style of his maturity to deliver a personal message of unforgettable power and weight, making it at once one of the most chilling works of its kind and the most consoling.

Tod und Verklärung (Death and Transfiguration), Op. 24

1864–1949

Of the three genres for which Strauss is best known – tone-poem, song and opera – it was the first and second that preoccupied his earlier years as a composer, and the tone-poem in particular that spread his name as an important new voice in German music. The first work to which he applied the term – which he later described as a poetic idea acting simultaneously as a structural element – was the now rarely heard Macbeth, begun in 1886 and completed in 1888. By the end of the following year, however, he had completed two more tone-poems which have better stood the test of time: Don Juan and Tod und Verklärung (‘Death and Transfiguration’). Tod und Verklärung, which Strauss himself conducted for the first time at a concert in Eisenach in June 1890, is a typically bold depiction in music of the dying moments of an idealistic artist. Although on his own deathbed 60 years later Strauss remarked that ‘dying is just as I composed it in Tod und Verklärung’, he did not seem to have had himself in mind when he wrote the piece in 1888–89, just after Don Juan. But even if the original inspiration for the work is unknown – he himself had as yet had no close encounters with death –

12 | London Philharmonic Orchestra

it is clear that it did have some personal significance for him; he later quoted from it in the more transparently autobiographical tone-poem Ein Heldenleben (‘A Hero’s Life’) and at the question ‘Is this perhaps death?’ at the end of ‘Im Abendrot’ from the Four Last Songs. Tod und Verklärung is in sonata form with a slow introduction and a (significant) coda, and Strauss provided a detailed programme for it. At the beginning a sick man lies asleep, his faltering breathing represented by irregular rhythms on strings and timpani. A solo oboe leads off a section in which he is comforted by ‘agreeable dreams’ before a convulsive start to the main Allegro section of the work shows him wracked with pain and shivering with fear. Eventually the pains ease and a broad new theme is heard, characterised by an up-and-over octave leap; symbolic of the artist’s ideals, this is the theme Strauss re-used in those later works. In the central development section there are representations of the dying man’s memories of childhood, youthful exploits and a passionate love scene, while the idealism theme makes three differing

and widely separated statements. After a while the music subsides along with the memories and we are returned to the fitful palpitations of the opening. A final stab of pain climaxes in kindly gong-strokes to signal the moment of death, but out of this darkness the idealism theme rises to dominate the work’s radiant closing pages, reaching ever higher as the soul takes flight, ‘in order’, said Strauss, ‘to find gloriously achieved in everlasting space those things which could not be fulfilled here below’.

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

Wolfgang Amadeus Mozart 1756–91

Requiem aeternam Kyrie Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Domine Jesu Hostias Sanctus Benedictus Agnus Dei Lux aeterna The text begins on page 15.

Requiem, K626 Completed by Franz Xaver Süssmayr (1766–1803) and others Kateryna Kasper soprano Sara Mingardo contralto Robin Tritschler tenor Leon Košavić baritone London Philharmonic Choir

The last few months of Mozart’s life were astonishingly busy. Between August and November 1791 he premiered the operas La clemenza di Tito and The Magic Flute, produced a Clarinet Concerto for his friend Anton Stadler and composed a cantata for his masonic lodge. It is little wonder, then, that he was sluggish in his fulfilment of a commission received back in July for a Requiem Mass. The unusual circumstances of the commission may also have had something to do with it; apparently he had received it via a ‘messenger in black’ who refused to reveal the identity of the man who had sent him, only that he was a gentleman prepared to pay well for music to commemorate the loss of a loved one. Mozart did not begin the work until October, by which time he was already ill with what was probably an untimely concurrence of several long-suffered chronic conditions, all aggravated by exhaustion. On 20 November he took to his bed, and in the early hours of 5 December died, with the Requiem still unfinished.

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Programme notes continued

Much myth has grown up around these events, but the facts appear to be relatively simple. The messenger was an envoy from one Count Walsegg von Stuppach, a wealthy amateur who was in the habit of commissioning pieces of music, having them performed at his house, and jokingly maintaining that they were his own. After Mozart’s death, his widow Constanze needed money fast, and looked to her husband’s pupils to help her fulfil Walsegg’s order. In the end the bulk of the necessary completion work fell to one of them, Franz Süssmayr.

‘holds nothing terrifying for me’, there are many moments in his music when the opposite seems to be true, when the grave is glimpsed with evident fear and horror, and nowhere is this more the case than in the Requiem. But if there is a palpable sense of dread in movements such as the Dies irae or the Confutatis, there is consolation, too, in the Recordare and the Hostias. And in the opening Requiem aeternam with its sepulchral basset horns and bassoons and its noble soprano solo, heaven and the tomb are surely viewed in close proximity.

Mozart’s manuscript shows us that the only movement of the piece he himself composed in full (in the sense of writing it out in full score) was the Requiem aeternam. The other movements up to and including the Hostias were composed in outline, often just the vocal parts, with the more mechanical job of orchestration left for later. This task Süssmayr undertook (although some of it had already been begun by two other Mozart pupils), before going on to compose his own Sanctus, Benedictus and Agnus Dei, complete the Lacrimosa (of which Mozart had only written the first eight bars), and finally take the traditional course of recasting music from the opening as the concluding Lux aeterna.

The Requiem did eventually find its way to Walsegg, who had it performed in December 1793 amid no more than a half-hearted pretence that it was his work. In the meantime, parts of it had been heard only five days after Mozart’s death, at a memorial service organised by his friends at St Michael’s Parish Church in Vienna. He deserved nothing less.

It is a situation that has left some listeners admitting to a feeling of discomfort when listening to the Requiem. Süssmayr was a moderately talented composer, perhaps working in a hurry on a task which (ironically) he must have thought would bring him little notice. Yet Constanze recalled that Mozart left him a number of verbal instructions concerning the completion of the Requiem, perhaps even of how to proceed in the missing movements. How much of the work, then, is Mozart’s and how much his? We will never know, and the immediate result is that the piece has been treated to much editorial ‘revision’, ‘improvement’, ‘correction’ and even ‘recomposition’ down the years. Tonight’s performance makes use of Süssmayr’s original completion.

Recommended recordings

The truth is, of course, that Mozart’s Requiem has made its way in the world perfectly well for over 200 years in what is in considerable part Süssmayr’s completion, and that in any case it is its immediately recognisable Mozartian qualities that have enabled it to speak to listeners with such power and force. For all that the composer had once written to his father that death 14 | London Philharmonic Orchestra

Programme notes © Lindsay Kemp

Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. R Strauss: Tod und Verklärung Klaus Tennstedt | London Philharmonic Orchestra (Warner) or Herbert von Karajan | Berlin Philharmonic Orchestra (Deutsche Grammophon) Mozart: Requiem Dunedin Consort | John Butt (Linn Records) or Peter Schreier | Staatskapelle Dresden | Leipzig Radio Chorus (Phillips)

Mozart Requiem: Text

REQUIEM AETERNAM Chorus

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

Eternal rest grant them, O Lord; and let perpetual light shine upon them.

Soprano

Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

A hymn, O God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem.

Chorus

Exaudi orationem meam; ad te omnis caro veniet. Requiem aeternam etc.

Hear my prayer; all flesh shall come to Thee. Eternal rest, etc.

Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy, Christ, have mercy, Lord, have mercy.

Dies irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus, Quando Judex est venturus, Cuncta stricte discussurus! Dies irae etc.

Day of wrath, that day will dissolve the world in ashes, as David and the Sibyl prophesied. How great a terror there will be when the Judge shall come to try all things truly! The day of wrath etc.

KYRIE Chorus

DIES IRAE Chorus

TUBA MIRUM Bass

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

The trumpet, spreading wondrous sound through the tombs of every land, will gather all before the throne.

Tenor

Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

Death and nature shall be astonished when creation rises again to answer to the Judge.

Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur.

A book shall be brought forth containing everything for which the world shall be judged.

Contralto

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

And so, when the Judge sits whatever is hidden shall be revealed, nothing shall remain unavenged.

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Mozart Requiem: Text continued

Soprano

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

What shall I, wretch, say? Whom shall I ask to plead for me, when even the righteous aren’t safe?

Quartet

Cum vix justus sit securus?

When even the righteous aren’t safe?

REX TREMENDAE Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

O King of dread majesty, who freely saved the redeemed, save me, O fountain of goodness.

Quartet

Recordare, Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die.

Recall, merciful Jesus. That I was the reason for Thy journey: do not destroy me on that day.

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

Seeking me, Thou didst sit down weary, didst suffer the Cross to redeem me; let not such great pains have been in vain.

Juste Judex ultionis, Donum fac remissionis Ante diem rationis.

Just Judge of vengeance, give me the gift of redemption before the day of reckoning.

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

I groan as one accused, and my face blushes with guilt; spare a supplicant, O God.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.

Thou who didst absolve Mary Magdalene and heard the prayer of the thief, has given hope to me also.

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

My prayers are not worthy, but, in Thy goodness, show mercy, lest I burn in everlasting fire.

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

Grant me a place among the sheep, and separate me from the goats, setting me at Thy right hand.

Chorus

RECORDARE

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CONFUTATIS Chorus

Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

When the damned are confounded and consigned to fierce flames, call me with the blessed. Kneeling, a suppliant, I pray; my heart contrite as ashes: take Thou my ending into Thy care.

Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus: Pie Jesu Domine: Dona eis requiem. Amen.

That day is one of weeping when from the ashes will rise the guilty man, to be judged. Spare this one, O God, merciful Lord Jesus. Grant them rest. Amen

LACRIMOSA Chorus

DOMINEâ€ˆJESU Chorus

Domine Jesu Christi, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu; Iibera eas de ore leonis: ne absorbeat eas tartarus, ne cadant in obscurum;

O Lord Jesus Christ, King of Glory, deliver the souls of the faithful departed from the pains of hell and from the deep pit; deliver them from the mouth of the lion, that hell may not swallow them up, and they fall not into darkness;

Quartet

sed signifer sanctus Michael repraesentet eas in lucem sanctam;

but may the holy standard-bearer Michael bring them into the holy light;

Chorus

quam olim Abrahae promisisti et semini ejus.

which Thou didst promise of old to Abraham and his seed.

Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis quarum hodie memoriam facimus. Hostias et preces tibi, Domine, etc. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

We offer unto Thee, O Lord, sacrifices and prayers of praise: do Thou receive them on behalf of those souls whom we commemorate this day. We offer unto Thee, O Lord, etc. Grant them, O Lord, to pass from death to life. which Thou didst promise of old to Abraham and his seed.

HOSTIAS Chorus

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Mozart Requiem: Text continued

SANCTUS Sanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are full of Thy glory. Hosanna in the highest.

Quartet

Benedictus qui venit in nomine Domine.

Blessed is he that cometh in the name of the Lord.

Chorus

Hosanna in excelsis.

Hosanna in the highest.

Agnus Dei qui tollis peccata mundi: dona eis requiem. Agnus Dei qui tollis peccata mundi: dona eis requiem sempiternam.

O Lamb of God, that takest away the sins of the world; grant them rest. O Lamb of God, that takest away the sins of the world; grant them eternal rest.

Chorus BENEDICTUS

AGNUS DEI Chorus

LUX AETERNA Soprano

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Let everlasting light shine upon them, O Lord, with Thy saints for ever: for Thou art merciful.

Chorus

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis. Cum sanctis tuis in aeternum: quia pius es.

Let everlasting light shine upon them, O Lord, with Thy saints for ever: for Thou art merciful. Grant them eternal rest, O Lord, let everlasting light shine upon them, with Thy saints for ever: for Thou art merciful.

Beethoven’s Symphony No. 9 with the London Philharmonic Orchestra & Choir Saturday 6 May 2017 | 7.30pm | Royal Festival Hall Magnus Lindberg Two Episodes* Beethoven Symphony No. 9 (Choral)†

* Commissioned by BBC Radio 3, London Philharmonic Orchestra with the generous support of the Boltini Trust, Helsinki Festival and Casa da Música, Porto. † Generously supported by an anonymous donor.

18 | London Philharmonic Orchestra

Christoph Eschenbach conductor Susanna Hurrell soprano Justina Gringyte mezzo-soprano David Butt Philip tenor Jihoon Kim bass London Philharmonic Orchestra & Choir Book now at lpo.org.uk or call 020 7840 4242

Next concerts at Southbank Centre’s Royal Festival Hall saturday 8 April 2017 7.30pm SOLD OUT: returns only Tallis Spem in Alium Mahler Symphony No. 8 Vladimir Jurowski conductor Melanie Diener soprano Anne Schwanewilms soprano Sofia Fomina soprano* Sarah Connolly mezzo-soprano Patricia Bardon mezzo-soprano* Torsten Kerl tenor Matthias Goerne baritone Matthew Rose bass* London Philharmonic Choir Tiffin Boys’ Choir London Symphony Chorus Choir of Clare College, Cambridge *Please note changes of artists to originally advertised.

wednesday 26 April 2017 7.30pm Wagner Overture, The Flying Dutchman Wagner Die Walküre, Wotan’s Farewell and Magic Fire Music Bruckner Symphony No. 7 (Nowak edition) Marek Janowski conductor Egils Silins bass-baritone

friday 28 April 2017 7.30pm Bach (arr. Schoenberg) Prelude & Fugue in E flat major, BWV552 (St Anne) Hindemith Suite, Nobilissima Visione Wagner (arr. Stokowski) Parsifal, Act III (excerpts) R Strauss Four Last Songs John Mauceri conductor Angel Blue soprano

Concert supported by an anonymous donor.

Book now lpo.org.uk 020 7840 4242

BE M OV E D 2017/18 Concert Season at Southbank Centre’s Royal Festival Hall

HIGHLIGHTS INCLUDE Belief and Beyond Belief – the continuation of our year-long festival with Southbank Centre exploring what it means to be human in the 21st century

Changing Faces: Stravinsky’s Journey – we explore the life and music of Igor Stravinsky as he reacted to the 20th century’s upheavals and innovations

Soloists including Diana Damrau, Daniil Trifonov, Anne-Sophie Mutter, Patricia Kopatchinskaja, Julia Fischer, Leif Ove Andsnes and Gil Shaham

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

A Gala performance of Wagner’s Das Rheingold in celebration of Vladimir Jurowski’s 10th season as Principal Conductor

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

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 21

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 An anonymous donor Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Elena Lileeva & Dr Adrian Pabst The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker

Bronze Patrons An anonymous donor Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Richard Buxton Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mr & Mrs Andrew Neill Noel Otley JP and Mrs Rachel Davies Mrs Rosemarie Pardington

22 | London Philharmonic Orchestra

Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Derek B Gray Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins

Per Jonsson Mr Frank Krikhaar Mr Gerald Levin Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Randall & Maria Moore Dr Karen Morton Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Mr Christopher Stewart Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family

Mrs Svetlana Kashinskaya Niels Kroninger Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr David Russell Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE 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: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee

David Oxenstierna Natalie Pray Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

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Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager