Issuu

ISLE OF

y– December r a 20 u n

NOISES Landmark classics inspired by the British Isles 1689 – 2019

Concert programme

lpo.org.uk

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI Principal Conductor Designate EDWARD GARDNER Leader PIETER SCHOEMAN supported by Neil Westreich Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 2 October 2019 | 7.30pm

Elgar Violin Concerto in B minor, Op. 61 (45’) Interval (20’) R Strauss An Alpine Symphony, Op. 64 (51’)

Vladimir Jurowski conductor Nicola Benedetti violin

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

ISLE OF

NOISES Contents 2 Welcome 3 On stage tonight 4 About the Orchestra 5 Leader: Pieter Schoeman 6 Vladimir Jurowski 7 Nicola Benedetti 8 Programme notes 12 Recommended recordings Strauss on the LPO Label 13 Sound Futures donors 14 Supporters 16 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries, please ask a member of staff for assistance. Eating, drinking and shopping? Enjoy fresh seasonal food for breakfast and lunch, coffee, teas and evening drinks with riverside views at Concrete Cafe, Queen Elizabeth Hall, and Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our artistic and cultural programme, iconic buildings and central London location. Explore across the site with Foyles, EAT, Giraffe, Strada, wagamama, YO! Sushi, Le Pain Quotidien, Las Iguanas, ping pong, Spiritland, Honest Burger, Côte Brasserie, Skylon and Topolski. If you wish to get in touch with us following your visit, please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone us on 020 3879 9555, or email customer@southbankcentre.co.uk

elcome to tonight’s London Philharmonic Orchestra concert at Royal Festival Hall. As we continue our year-long festival of music from the British Isles, Isle of Noises, this evening we welcome soloist Nicola Benedetti – one of the most sought-after violinists of her generation – to perform Elgar’s Violin Concerto: a glimpse of the profoundly romantic heart behind Elgar’s veneer of Edwardian reserve. After the interval, conductor Vladimir Jurowski will be joined on stage by a colossal 123-strong orchestra – including heckelphone, wind machine and thunder machine, plus another 16 offstage brass players – for Richard Strauss’s vast hymn to nature, his Alpine Symphony, whose huge vistas and moments of stillness make it infinitely more than just a musical picture postcard. We hope you enjoy your evening and that you can join us at Royal Festival Hall again soon. For full details of this season’s London Philharmonic Orchestra concerts, pick up a 2019/20 LPO season brochure from the foyer racks this evening, visit lpo.org.uk/newseason, or call 020 7840 4200 to request a season brochure by post.

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 Autumn 2019 edition of our free LPO magazine, Tune In. Copies are available at the Welcome Desk in the Royal Festival Hall foyer, or phone the LPO office on 020 7840 4200 to receive one in the post. Also available digitally: issuu.com/londonphilharmonic

2 | London Philharmonic Orchestra

Introducing LPO Plus: our new loyalty scheme LPO Plus is the new online reward scheme from the London Philharmonic Orchestra. As a member of LPO Plus, you’ll be rewarded with points every time you book tickets or buy CDs online at lpo.org.uk. These points will be worth at least 10% of the order you’re making and can then be redeemed on future orders. For more details and to join LPO Plus, visit lpo.org.uk/lpoplus

On stage tonight

First Violins Pieter Schoeman* Leader Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Evin Blomberg Katalin Varnagy Chair supported by Sonja Drexler

Catherine Craig Thomas Eisner Chair supported by the Chiltern Friends of the LPO

Martin Höhmann Robert Pool Sarah Streatfeild Yang Zhang Chair supported by Eric Tomsett

Tina Gruenberg Rebecca Shorrock Amanda Smith Georgina Leo Lasma Taimina Eleanor Bartlett Nilufar Alimaksumova Jeff Moore Second Violins Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Helena Smart Kate Birchall Nancy Elan Fiona Higham Chair supported by David & Yi Buckley

Nynke Hijlkema Joseph Maher Marie-Anne Mairesse Ashley Stevens Kate Cole Mathilde Gheorgiu Helena Nicholls Sioni Williams Lyrit Milgram Alison Strange Caroline Sharp

Violas David Quiggle Principal Richard Waters Co-Principal Ting-Ru Lai Katharine Leek Susanne Martens Chair supported by Gill & Garf Collins

Benedetto Pollani Laura Vallejo Naomi Holt Daniel Cornford Martin Wray Joseph Fisher Sarah Malcolm Jennifer Coombes Jill Valentine Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Anthony Kondo Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Elisabeth Wiklander Sue Sutherley Susanna Riddell Tom Roff Helen Rathbone Double Basses Kevin Rundell* Principal Sebastian Pennar Co-Principal Hugh Kluger George Peniston Tom Walley Laura Murphy Joseph Cowie Samuel Rice Jakub Cywinski Kenneth Knussen

Flutes Juliette Bausor Principal Sue Thomas* Chair supported by Caroline, Jamie & Zander Sharp

Clare Childs Stewart McIlwham* Emilia Zakrzewska Imogen Royce Piccolos Stewart McIlwham* Principal Imogen Royce Oboes Ian Hardwick* Principal Alice Munday Amy Roberts Jennifer Brittlebank Imogen Davies Cor Anglais Sue Böhling* Principal Chair supported by Dr Barry Grimaldi

Gareth Newman Emma Harding Laura Vincent Contrabassoon Simon Estell* Principal Horns John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Duncan Fuller Elise Campbell James Pillai Jason Koczur Stephen Craigen Wagner Tubas Duncan Fuller Elise Campbell James Pillai Jason Koczur

Chair supported by Geoff & Meg Mann

E-flat Clarinets Thomas Watmough Principal Chair supported by Roger Greenwood

Elliot Gresty Bassoons Jonathan Davies Principal Chair supported by Sir Simon Robey

Tubas Lee Tsarmaklis* Principal George Ellis

Jeremy Cornes

Clarinets Benjamin Mellefont Principal

Bass Clarinet Paul Richards* Principal

Offstage Trombones David Whitehouse Andrew Connington

Chair supported by Victoria Robey OBE

Trumpets Paul Beniston* Principal Chair supported by Donors to the 2019 Gala Player Appeal

Emma Burgess James Maltby Paul Richards*

Offstage Trumpets Tony Cross Paul Bosworth

Timpani Simon Carrington* Principal

Heckelphone John Orford

Chair supported by Friends of the Orchestra

Oliver Johnson Alexander Willett Renée Kennedy Marcus Bates Richard Ashton Andrew Budden Flora Bain

Anne McAneney* David Hilton Simon Cox Ryan Linham Trombones Mark Templeton* Principal Chair supported by William & Alex de Winton

Tom Berry Bass Trombones Lyndon Meredith Principal Simon Minshall Offstage Horns Pip Eastop Adam Howcroft Andrew Littlemore Matthew Gunner Diana Sheach

Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Keith Millar Harps Rachel Masters Principal Lucy Haslar Organ Ian Tindale Celeste John Cuthbert Assistant Conductor Gabriella Teychenné * Holds a professorial appointment in London

The Orchestra also acknowledges the following chair supporter, whose player is not present this evening:

The Candide Trust

London Philharmonic Orchestra | 3

London Philharmonic Orchestra

Another example of Vladimir Jurowski’s imaginative programme planning ... The LPO was beautifully poised and utterly perfect. Alan Sanders, Seen and Heard International (LPO at Royal Festival Hall, 6 October 2018: Beethoven and Stravinsky)

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. 4 | London Philharmonic Orchestra

The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout the rest of 2019 we celebrate the music of Britain in our festival Isle of Noises, exploring music from and inspired by the British Isles, from Purcell to the present day. 2020 will see a new series entitled 2020 Vision, which features some of the most exciting works written since 2000, each combined in concert with pieces composed exactly 100 and 200 years earlier. The London Philharmonic Orchestra enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Every summer, the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sellout audiences worldwide.

Pieter Schoeman leader

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians. 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 youtube.com/londonphilharmonicorchestra instagram.com/londonphilharmonicorchestra

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

The London Philharmonic Orchestra has recorded 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, Beethoven’s Symphonies Nos. 3 & 5 under the late Kurt Masur, and a film music disc under Dirk Brossé.

Born in South Africa, Pieter made his solo debut aged 10 with the Cape Town Symphony Orchestra. Five years later he won the World Youth Concerto Competition in Michigan. Aged 17, he moved to the US to further his studies in Los Angeles and Dallas. In 1991 his talent was spotted by Pinchas Zukerman who, after several consultations, recommended that he move to New York to study with Sylvia Rosenberg. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. At the invitation of Yannick Nézet-Séguin he has been part of the ‘Yannick and Friends’ chamber group, performing at festivals in Dortmund and Rheingau. Pieter has performed several times as a soloist with the LPO, and his live recording of Britten’s Double Concerto with Alexander Zemtsov was released on the Orchestra’s own label to great critical acclaim. He has also recorded numerous violin solos for film and television, and led the LPO in its soundtrack recordings for The Lord of the Rings trilogy. In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. In April 2016 he was Guest Leader with the Leipzig Gewandhaus Orchestra for Kurt Masur’s memorial concert. He is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance in London. Pieter’s chair in the London Philharmonic Orchestra is supported by Neil Westreich.

London Philharmonic Orchestra | 5

Vladimir Jurowski Principal Conductor & Artistic Advisor

In Vladimir Jurowski we have a haven of hope. His programmes are always thoughtful, his mind connected to higher ideals and principles.

Classical Iconoclast, 10 November 2018 (LPO at Royal Festival Hall: Debussy, Lindberg, Stravinsky & Janáček)

One of today’s most sought-after conductors, acclaimed worldwide for his incisive musicianship and adventurous artistic commitment, Vladimir Jurowski was appointed Principal Conductor of the London Philharmonic Orchestra in 2007, following four seasons as Principal Guest Conductor. In September 2021, when his tenure concludes, he will become the Orchestra’s Conductor Emeritus in recognition of his transformative time with the LPO – over the last 12 years his creative energy and artistic rigour have been central to the Orchestra’s success. Vladimir Jurowski will take up the position of General Music Director of the Bayerische Staatsoper, Munich from the 2021/22 season. He is currently Chief Conductor and Artistic Director of the Berlin Radio Symphony Orchestra. In addition he holds the titles of Principal Artist of the Orchestra of the Age of Enlightenment, Artistic Director of the Russian State Academic Symphony Orchestra, and Artistic Director of the George Enescu International Festival, Bucharest. He has previously held the positions of First Kapellmeister of the Komische Oper Berlin (1997–2001), Principal Guest Conductor of the Teatro Comunale di Bologna (2000–03), Principal Guest Conductor of the Russian National Orchestra (2005–09), and Music Director of Glyndebourne Festival Opera (2001–13). Vladimir enjoys close relationships with the world’s most distinguished artistic institutions, collaborating with many of the world’s leading orchestras including the Chamber Orchestra of Europe, the Royal Concertgebouw Orchestra, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Cleveland and Philadelphia orchestras, the New York Philharmonic and the Chicago and Boston symphony orchestras, and

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has also conducted the Berlin and Vienna Philharmonic orchestras. He is a regular guest at the BBC Proms; the Musikfest Berlin; and the Dresden, Lucerne, SchleswigHolstein, Grafenegg and Rostropovich festivals. A committed operatic conductor, Vladimir’s recent highlights include Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, New York; Wozzeck at the Salzburg Festival; Moses und Aron at the Komische Oper Berlin; his acclaimed debut at the Bayerische Staatsoper with Prokofiev’s The Fiery Angel; and his first return to Glyndebourne as a guest conductor, in the world premiere production of Brett Dean’s Hamlet with the London Philharmonic Orchestra. Vladimir’s 2019/20 season brings a particular focus on opera: he opens the season with Die Frau ohne Schatten in Berlin and Bucharest with the Berlin Radio Symphony; continues his Wagner Ring Cycle with the London Philharmonic Orchestra in Siegfried (1 February 2020); and returns to the Royal Opera House Covent Garden to lead a new Claus Guth production of Jenůfa, and to the Komische Oper Berlin for Barrie Kosky’s new production of Henze’s The Bassarids. At the Staatsoper Berlin he will collaborate again with Claus Guth in a new production of Mussorgsky’s Khovanshchina, and in Moscow he conducts performances of Wustin’s Die verliebte Teufel at the Stanislavsky Theatre and Boris Godunov with the State Academic Symphony Orchestra. The London Philharmonic Orchestra has released a wide selection of Vladimir Jurowski’s live recordings with the Orchestra on its own label, including the complete symphonies of Brahms and Tchaikovsky; Mahler’s Symphonies Nos. 1, 2 & 4; and Rachmaninoff’s Symphony No. 3 and Symphonic Dances.

Nicola Benedetti violin

Her playing was refined and accurate in the stratospheric passages, balanced by a gutsy earthiness when called for and supreme virtuosity in the cadenza ... Jurowski and the LPO were completely in tune with Benedetti’s vision. Chris Garlick, Bachtrack, 25 September 2016 (Szymanowski Violin Concerto No. 1 with Jurowski and the LPO at Royal Festival Hall)

Nicola Benedetti is one of the most sought-after violinists of her generation. Her ability to captivate audiences and her wide appeal as an advocate for classical music have made her one of the most influential artists of today. This season Nicola makes her debut with the Vienna Symphony Orchestra and embarks on a tour of Asia with the Deutsches Symphonie-Orchester Berlin under Robin Ticciati. Following tonight’s performance of the Elgar Violin Concerto, next month she will again perform the work with the Orchestra and Jurowski at the Auditorio Nacional de Música in Madrid. Later in the autumn she and the Orchestra (again under Jurowski) will record the Concerto for Decca. This season Nicola also returns to the City of Birmingham Symphony Orchestra, the Scottish Chamber Orchestra and the Royal Stockholm Philharmonic, and embarks on a tour with the Royal Scottish National Orchestra and Thomas Søndergård. She performs Wynton Marsalis’s Violin Concerto with the San Francisco Symphony, the Gothenburg Symphony and the Orchestre de Paris, and reunites with Karina Canellakis, first with the RundfunkSinfonieorchester Berlin and later with the Los Angeles Philharmonic. She also joins Michael Tilson Thomas for concerts with the London Symphony Orchestra and the New World Symphony in Miami. Nicola has been appointed as the Melbourne Symphony Orchestra’s Artist in Residence for 2020, which will include a concerto performance under the baton of Andrew Davis, a European tour, and masterclasses. Nicola is also a devoted chamber musician and collaborates with cellist Leonard Elschenbroich and pianist Alexei Grynyuk, who reunite for a European tour in the spring of 2020.

Last season’s highlights include collaborations with the Royal Stockholm Philharmonic, BBC Symphony Orchestra, Chicago Symphony, Lucerne Symphony Orchestra, Orchestre National du Capitole de Toulouse, Seattle Symphony, Frankfurter Museumsorchester, Toscanini Orchestra and Philharmonia Orchestra. She also undertook tours with the San Francisco Symphony Youth Orchestra and the National Youth Orchestra of Great Britain, culminating at the BBC Proms. Nicola is a dedicated, passionate ambassador and leader in music education, committed to reaching young people and connecting with teachers, supporting their practice, highlighting their essential role in society and encouraging collaboration and mutual learning. This commitment was underlined in July 2018 when Nicola took over as President of the European String Teachers Association, and by establishing a charitable organisation: The Benedetti Foundation. Winner of Best Female Artist at both the 2012 and 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music). Her most recent recording features premiere recordings of works written especially for her by jazz musician Wynton Marsalis: the Violin Concerto in D and Fiddle Dance Suite for Solo Violin. Nicola was appointed a CBE in 2019, awarded the Queen’s Medal for Music in 2017 and an MBE in 2013. In addition she holds the positions of Vice President (National Children’s Orchestras), Big Sister (Sistema Scotland) and Patron (National Youth Orchestras of Scotland’s Junior Orchestra, Music in Secondary Schools Trust and Junior Conservatoire at the Royal Conservatoire of Scotland). Nicola plays the Gariel Stradivarius (1717), courtesy of Jonathan Moulds.

London Philharmonic Orchestra | 7

Programme notes

Speedread The music in tonight’s concert is by two of the last century’s great masters of the orchestra. Both are large works, placing great demands on the players and in the concerto, the soloist. In his Violin Concerto’s long opening tutti, Elgar sets out the main themes of the first movement before the solo violin enters. The development and recapitulation display Elgar’s mastery of his material and his understanding of the violin, his own instrument. In the Andante, subtle use of the woodwind and brass adds to the intimacy of the movement before the passionate middle gives way to a pianissimo ending. The finale begins with the violin leaping away before the principal march-like theme allows the soloist opportunities for virtuosic display. Elgar involves soloist and orchestra in

Edward Elgar

a long accompanied cadenza where the main themes of the Concerto are examined by the violinist. The full orchestra returns, and the Concerto ends brilliantly. Strauss, in his Alpine Symphony, gives us the musical story of a day’s climb in the Alps, beginning with a sunrise and ending as the sun sets. The work has no break. He uses an enormous orchestra with off-stage brass portraying a distant hunt, cowbells suggest grazing cattle and the various sections culminate in the arrival on the summit. This is followed by a storm, wind and thunder machines adding to Strauss’s vivid portrayal. The descent provides the opportunity for Strauss to display his mastery of counterpoint and, in ‘Vision’, to provide a moving, pantheistic, reflection on the experience before the climbers descend and night returns.

Violin Concerto in B minor, Op. 61 Nicola Benedetti violin

1857–1934

1 Allegro 2 Andante 3 Allegro molto

On 10 November 1910 Elgar conducted the premiere of his Violin Concerto in London’s Queen’s Hall. The soloist, and dedicatee of the Concerto, was the great Austrian virtuoso Fritz Kreisler (1875–1962). Dora Penny (the subject of Variation X from the Enigma Variations) recalled the occasion: ‘The place was simply packed. Kreisler came on looking white as a sheet – even for a player of his great experience it must have been a nervous moment – but he played superbly. E.E. was also, obviously, very strung up, but all went well and the ovation at the end was tremendous.’ Kreisler was unequivocal in his enthusiasm for the Concerto: ‘You have written an immortal work’, he told Elgar after spending some of the autumn of 1910 in the composer’s company.

Elgar had begun a violin concerto in the 1890s, but destroyed the sketches. It was after meeting Kreisler at the Leeds Festival in 1904 that he gave serious consideration to composing a concerto, and the following year Kreisler began to exert pressure through an interview in the Hereford Times: ‘If you want to know whom I consider to be the greatest living composer, I say without hesitation Elgar … I say this to please no one; it is my own conviction … I wish Elgar would write something for the violin. He could do so, and it would be certainly something effective’. However, The Kingdom (1906) and the First Symphony (1908) would come before Elgar settled down to the serious business of composing the Violin Concerto in the spring of 1909, while the Elgar family were staying near Rome. Back at

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which the music should go. Of course Elgar would lift him from the piano stool laughingly and say: “Na, na Fritz, this is how I want it played”.’ One of the inspirations behind the Concerto was Mrs Alice Stuart-Wortley, daughter of the painter Sir John Everett Millais. A close relationship had developed between the Elgars and the Stuart-Wortleys, and Elgar had nicknamed Alice ‘Windflower’ after the white anemone nemerosa, a flower that meant much to them. Elgar would refer in correspondence with this ‘other’ Alice to the themes in the Concerto as ‘Windflower’. At the head of the score, Elgar quotes, in Spanish, from the novel Gil Blas by the 17th-century French novelist Alain-René Lesage, the following: ‘Aqui está encerrada el alma de . . . . .’ (Herein is enshrined the soul of . . . . .’). The five dots, as Elgar made clear, stood for a woman’s name.

Yehudi Menuhin and Elgar on the steps of Abbey Road Studios before the 16-year-old violinist began recording the Concerto on 14 July 1932.

their home in Hereford, Lady (Alice) Elgar noted that her husband ‘was possessed with his music for the Violin Concerto’. Although he learnt the violin and for some time taught the instrument, Elgar was wise enough to seek advice about fingering and structure from W H (Billy) Reed, the leader of the London Symphony Orchestra. Kreisler, who attended the 1910 Gloucester Three Choirs Festival, met with Elgar and they went through the Concerto together before an invited audience. Reed, who was present, described the event as ‘a wonderful artistic experience’. Another witness wrote: ‘Kreisler stood, splendidly dignified as always, fiddle in hand. At one moment Kreisler would edge Elgar off the piano stool while he himself took the composer’s place, and, with a deprecatory remark: “Na, na, Edward”, and in an appeal to us the audience, would attempt to show the composer his idea of the right and proper manner in

The substantial opening tutti states the main themes of the movement before a single horn heralds the entrance of the violin, which emerges from the orchestral texture playing the second part of the first subject. Soloist and orchestra explore the material before the beguiling second subject follows, surely a statement of Elgar’s feelings for his ‘Windflower’. Elgar then develops the material, his mastery complete, as the soloist rhapsodises on the various themes. As the movement moves to the recapitulation, the intensity increases, the dialogue between the violin and orchestra becoming more complex before the final bars. In contrast, the Andante opens quietly in the key of B flat, the opening theme given to the orchestra. The violin introduces a new theme and, as the movement develops, the soloist is ‘enshrined’ in music of subtle nobility. It is also a world of great intimacy, the listener seeming to intrude, before the movement ends with soloist and orchestra communing together in a hushed reverie. Elgar once said of the ending of the Andante: ‘This is where two souls merge and melt into one another.’ In the third movement, the violin leaps away in rising passages before the orchestra states the principal theme (Vivace). Elgar moves from the virtuosic to the lyrical almost from bar to bar, but a change to Allegro (marked ‘nobilmente’) settles the music before arriving at the key of B major and a theme from the Andante. Then the soloist embarks on the most original part of the Concerto, the accompanied cadenza London Philharmonic Orchestra | 9

Programme notes continued

and its pizzicato tremolando. Elgar asks the stringed instruments of the orchestra ‘to be “thrummed” with the soft part of three or four fingers across the strings.’ Material from previous movements is considered by the violin and orchestra before a coda leads to the Concerto’s triumphant ending.

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

Richard Strauss

An Alpine Symphony, Op. 64

1864–1949

Nacht (Night) Sonnenaufgang (Sunrise) Der Anstieg (The ascent) Eintritt in den Wald (Entering the wood) Wanderung neben dem Bache (Wandering by the stream) Am Wasserfall (By the waterfall) Erscheinung (Apparition) Auf blumige Wiesen (In flowery meadows) Auf der Alm (On a mountain pasture) Durch Dickicht und Gestrüpp auf Irrwegen (Wrong turns through thicket and undergrowth) Auf dem Gletscher (On the glacier) Gefahrvolle Augenblicke (Perilous moments) Auf dem Gipfel (On the summit) Vision Nebel steigen auf (Mists rise) Die Sonne verdüstert sich allmählich (The sun is gradually obscured) Elegie (Elegy) Stille vor der Sturm (Calm before the storm) Gewitter und Sturm, Abstieg (Thunder and tempest, descent) Sonnenuntergang (Sunset) Ausklang (Waning tones) Nacht (Night)

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‘At last I have learnt to orchestrate’, Richard Strauss told the Berlin orchestra he was rehearsing before the first performance of his Alpine Symphony on 25 October 1915. This self-deprecating comment (from a master of the orchestra) is more than borne out by the originality of the scoring in this often subtle and surprising work. Following the ‘succès de scandale’ of his opera Salome, which was premiered in Dresden in December 1905, Strauss bought a villa in the Bavarian village of Garmisch with a view of the Alps and Germany’s highest mountain, the Zugspitze. However, the vividness of the orchestral writing in his Alpine Symphony can be traced back to a hiking experience in 1879, which the 15-year-old Strauss described in a letter to a friend: ‘Recently we made a great hiking party to the top of the Heimgarten, on which day we walked for twelve hours. At two in the morning we rode on a hand-cart to the village, which lies at the foot of the mountain. Then we climbed by the light of lanterns in pitch-dark night and arrived at the peak after a fivehour march’. He recorded getting lost, the wonderful views and getting caught in two storms before arriving in the village of Murnau on the Staffelsee, a place portrayed by Elgar in his Scenes from the Bavarian Highlands of 1895. Composed over four years between 1911 and 1915, An Alpine Symphony is a seamless work in 21 linked sections, scored for massive forces including quadruple woodwind, 16 horns, 4 tenor tubas, 2 bass tubas, harps, organ, glockenspiel, wind machine, thunder machine and cowbells. In his Alpine Symphony it is clear that Strauss was influenced by Nietzschean philosophy, notwithstanding the obvious tone-painting of the nature witnessed by the climbers. At one stage Strauss considered calling the work The Antichrist ‘because in it there is moral purification by means of one’s own strength, liberation through work, worship of glorious eternal nature’. We should be grateful that the agnostic Strauss did not pursue this thought, although the power of nature (rather than its beauty) begins to assert itself towards the end of the work.

The Symphony’s opening emerges on unison strings, before a motif for trombones and tuba heralds the gradual dawn. The sun strikes the mountains and the climbers begin their ascent. A hunting party is heard in the distance (twelve offstage horns, two trumpets

and two trombones) before the climbers enter a wood, cross alpine meadows and pass a waterfall – through which an apparition of an alpine fairy can be glimpsed – before the climbers walk into ‘flowering meadows’. Soon they are on the Alm, where cowbells swing from the necks of the grazing cattle. The climbers then become lost in undergrowth but eventually emerge on the glacier – the orchestral brass intoning the mountain motif – before the ‘perilous moments’ precede their arrival on the mountain peak. This is not the climax, as might have been expected, but an opportunity for reflection (the orchestra held in check) before a solo oboe supported by tremolando strings leads to the ‘Vision’ and the climax is achieved.

It is a long farewell to the sumptuousness of the postWagnerian orchestra, and its final sunset before the return of night is peculiarly apposite and affecting. Even Strauss must have known that the world after the war would be a leaner, less extravagant place. Michael Kennedy, in his biography of Richard Strauss.

Peace does not last and soon raindrops, thunder, lightning, howling wind and lashing rain make up one of the most terrifying storms in orchestral music before the sunset shines on the peaks once again. It is now that the music becomes less specific, in passages such as ‘Elegy’ and ‘Sunset’. Strauss turns the end into a moving reflection on the glory of nature before night enfolds the climbers and listeners once more. Although Strauss was to compose works such as Parergon zur Sinfonia Domestica (Supplement to the Domestic Symphony) in 1925, his Alpine Symphony was, in effect, his Abschied (farewell) to large orchestral works. Songs and operas would dominate the remainder of his compositional life, for the world would change irrevocably after 1918 and, instinctively, Strauss knew that works of this scale would no longer be wanted. It would take another 50 years for this extraordinary work to be recognised by audiences and performers prepared to read between the bar-lines. The critic Michael Kennedy was surely right when he suggested that London Philharmonic Orchestra | 11

Programme notes continued

the Alpine Symphony was Strauss’s tribute to Gustav Mahler when the former heard of his friend’s early death in 1911: ‘Purification through one’s own strength, emancipation through work, adoration of eternal glorious nature.’ Programme notes and explanatory surtitles © Andrew Neill

MORE STRAUSS THIS AUTUMN

ISLE OF

NOISES

Wednesday 6 November 2019 | 7.30pm Royal Festival Hall Elgar Froissart | Mozart Flute and Harp Concerto Alwyn Lyra Angelica | R Strauss Don Juan Lawrence Renes conductor Juliette Bausor flute | Xavier de Maistre harp London Philharmonic Orchestra

Recommended recordings of tonight’s works by Laurie Watt Elgar: Violin Concerto Nigel Kennedy | London Philharmonic Orchestra Vernon Handley (EMI) or Tasmin Little | Royal Scottish National Orchestra Andrew Davis (Chandos) or Yehudi Menuhin | London Symphony Orchestra Edward Elgar (Warner Classics: ‘Great English Chamber Orchestra Recordings of the Century’) R Strauss: An Alpine Symphony London Philharmonic Orchestra | Vladimir Jurowski (LPO Label LPO-0106: see below) or Bayerische Staatskapelle | Richard Strauss (Warner)

BOOK AT LPO.ORG.UK OR CALL 020 7840 4242

Jurowski conducts An Alpine Symphony on the LPO Label R Strauss Eine Alpensinfonie (An Alpine Symphony) Dance of the Seven Veils (from Salome) Die Frau ohne Schatten (Orchestral excerpts) Vladimir Jurowski conductor London Philharmonic Orchestra £10.99 (2 CDs) | LPO-0106

‘Jurowski’s Alpine Symphony is ideally paced and beautifully balanced.’ ***** BBC Music Magazine CDs available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via Spotify, Apple Music, Idagio and others.

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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 Querée 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

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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 An anonymous donor Sir Simon & Lady Robey OBE Orchestra Circle The Candide Trust Mr & Mrs Philip Kan Neil Westreich Principal Associates Richard Buxton In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Associates Steven M. Berzin Kay Bryan William & Alex de Winton Mrs Irina Gofman Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden In memory of Hazel Amy Smith Gold Patrons 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 Hamish & Sophie Forsyth Virginia Gabbertas MBE Mr Roger Greenwood The Jeniffer and Jonathan Harris Charitable Trust Geoff & Meg Mann Julian & Gill Simmonds Eric Tomsett The Viney Family Laurence Watt

Silver Patrons Ms Terri Borain Andrea d’Avack Georgy Djaparidze Ulrike & Benno Engelmann Peter & Fiona Espenhahn Rehmet Kassim-Lakha de Morixe John & Angela Kessler Jamie & Julia Korner The Metherell Family Denis & Yulia Nagy Mikhail Noskov & Vasilina Bindley Tom & Phillis Sharpe Andrew & Rosemary Tusa Guy & Utti Whittaker Grenville & Krysia Williams Bronze Patrons Anonymous donors Michael Allen Mr Mark Astaire Margot Astrachan Mr Geoffrey Bateman Mrs A Beare Dr Anthony Buckland Mr Alan C Butler Desmond & Ruth Cecil The Earl & Countess of Chichester Mr Michael Cole-Fontayn Mr John H Cook Howard & Veronika Covington Mrs Maria Danilova Guy Davies Bruno De Kegel Cameron & Kathryn Doley Jill Dyal David Ellen Ignor & Lyuba Galkin Mr Daniel Goldstein David & Jane Gosman Mr Gavin Graham Lord & Lady Hall Mrs Dorothy Hambleton Wim & Jackie Hautekiet-Clare Eugene & Allison Hayes

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Ms Elena Heinz Malcolm Herring Catherine Høgel & Ben Mardle J Douglas Home Rose & Dudley Leigh 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 HooftGraafland 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 Mr John Meloy Andrew T Mills Dr Karen Morton Maxim & Natalia Moskalev Mrs Jannifer Oxley Mr James Pickford Natalie Pray Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Barry & Gillian Smith Mr Bill Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Matthew Stephenson & Roman Aristarkhov Marina Vaizey Howard & Sheelagh Watson Supporters Anonymous donors Mr John D Barnard Mr Bernard Bradbury Mr Richard Brooman Mrs Alan Carrington Mr Julien Chilcott-Monk Alison Clarke & Leo Pilkington Mr Joshua Coger Mr Geoffrey A Collens Miss Tessa Cowie Lady Jane Cuckney OBE Mr David Devons Samuel Edge Manuel Fajardo & Clémence Humeau Mrs Janet Flynn Scott & Icy Frantz Christopher Fraser OBE

Will Gold Mr Peter Gray The Jackman Family Mr & Mrs Bon Jasperson Mr David MacFarlane Peter & Isabel Malkin Mr Frederic Marguerre Mr Mark Mishon Trevor Mulineaux Bill & Jane Nickerson Mr Stephen Olton Anju & Radhika Patel Mr David Peters Candace Procaccini Mr & Mrs Graham & Jean Pugh Mr David Russell Deb & Jay Shaw Ms Elizabeth Shaw Mr Kenneth Shaw Ms Natalie Spraggon & Mr David Thomson Mrs John E Stauffer Ronald & Davidde Strackbein Mr John Weekes Joanna Williams Hon. Benefactor Elliott Bernerd Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Kay Bryan (Australia) Marie-Laure Favre Gilly de Varennes de Bueil (France) Irina Gofman (Russia) Joyce Kan (China/Hong Kong) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) 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 Stephanie Yoshida Antony Phillipson Hon. Chairman Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Connecticut Gala Committee Bea Crumbine & Jill Dyal Co-Chairmen Rodica Brune Mandy DeFilippo Rachel Franco Nick Gutfreund Mary Hull Steve Magnuson Natalie Pray Victoria Robey OBE Lisa & Scot Weicker

Corporate Donors Barclays L Catterton Paul Hastings LLP Payne Hicks Beach Pictet Bank White & Case LLP LPO Corporate Circle Leader freuds Sunshine Principal Berenberg Carter-Ruck French Chamber of Commerce Tutti Ageas Lazard Russo-British Chamber of Commerce Walpole Preferred Partners After Digital Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway Villa Maria In-kind Sponsor Google Inc Trusts and Foundations The Bernarr Rainbow Trust The Boltini Trust Sir William Boreman’s Foundation Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust The Chalk Cliff Trust Cockayne – Grants for the Arts The D’Oyly Carte Charitable Trust Dunard Fund

Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Lawson Trust The Leverhulme Trust Andrew Lloyd Webber Foundation The London Community Foundation Lord & Lady Lurgan Trust Marsh Christian Trust Adam Mickiewicz Institute PRS For Music Foundation The Radcliffe Trust Rivers Foundation Romanian Cultural Institute RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The Steel Charitable Trust Spears-Stutz Charitable Trust The Thomas Deane Trust The Viney Family The Clarence Westbury Foundation Garfield Weston Foundation The Barbara Whatmore Charitable Trust The William Alwyn Foundation 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 Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Roger Barron David Buckley Bruno De Kegel Martin Höhmann* Al MacCuish Susanne Martens* Pei-Jee Ng* Andrew Tusa Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director Advisory Council Martin Höhmann Chairman Rob Adediran Christopher Aldren Dr Manon Antoniazzi Richard Brass 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 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 AM Laurence Watt Elizabeth Winter

General Administration Timothy Walker AM Chief Executive and Artistic Director

Education and Community Isabella Kernot Education and Community Director

David Burke General Manager and Finance Director

Talia Lash Education and Community Manager

Sarah Gee PA to the Chief Executive/ Office Administrator

Emily Moss Education and Community Project Manager

Finance Frances Slack Finance and Operations Manager

Hannah Tripp Education and Community Project Co-ordinator

Dayse Guilherme Finance Officer

Development Laura Willis Development Director

Concert Management Roanna Gibson Concerts Director

Vicky Moran Development Events Manager

Graham Wood Concerts and Recordings Manager Sophie Richardson Glyndebourne and Projects Manager (maternity leave) Fabio Sarlo Glyndebourne and Projects Manager (maternity cover) Grace Ko Tours Manager

Christina McNeill Corporate Relations Manager Rosie Morden Individual Giving Manager Anna Quillin Trusts and Foundations Manager Izzy Keig Development Assistant Lewis Hammond Development Assistant

Alison Jones Concerts and Recordings Co-ordinator

~ Nick Jackman Campaigns and Projects Director

Christina Perrin Concerts and Tours Assistant

Kirstin Peltonen Development Associate

Matthew Freeman Recordings Consultant Andrew Chenery Orchestra Personnel Manager Sarah Holmes Sarah Thomas Librarians Christopher Alderton Stage Manager Damian Davis Transport Manager Hannah Verkerk Orchestra Co-ordinator and Auditions Administrator Laura Kitson Assistant Transport & Stage Manager

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Marketing Kath Trout Marketing Director Mairi Warren Marketing Manager Megan Macarte Box Office Manager (Tel: 020 7840 4242) Rachel Williams Publications Manager Rachel Smith Website Manager Greg Felton Digital Creative Alexandra Lloyd Projects and Residencies Manager Georgie Gulliver Marketing Assistant

Public Relations Premier classical@premiercomms.com Tel: 020 7292 7355/ 020 7292 7335 Archives Philip Stuart Discographer Gillian Pole Recordings Archive Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor Mr Chris Aldren Honorary ENT Surgeon Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk The London Philharmonic Orchestra Limited is a registered charity No. 238045. Composer photographs courtesy of the Royal College of Music, London. Cover artwork Ross Shaw @JMG Studio Printer Cantate