LPO Debut Sounds programme: 4 July 2016

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Tonight’s programme Royal College of Music New Perspectives Timothy Lines conductor Oliver Knussen Two Organa (6’) Julian Anderson Alhambra Fantasy (15’) Pierre Boulez Dérive 1 (8’) Magnus Lindberg Corrente (11’)

INTERVAL 20’ LPO Foyle Future Firsts Members of the London Philharmonic Orchestra Magnus Lindberg conductor Katarzyna Krzewińska beneath the surface Hunter Coblentz Cello & Orchestra Michael Cryne Prometheus Bound Lisa Illean Rose Robert Peate Violin Concerto

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Debut Sounds Debut Sounds is an annual celebration of the London Philharmonic Orchestra’s young talent programmes: LPO Young Composers and Foyle Future Firsts. Over the past year, members of both programmes have been supported by the Orchestra and its Education & Community Department to explore new ideas, develop skills and work closely with the Orchestra’s musicians. This special event gives us the opportunity to hear the culmination of this work by some of the most exciting young musicians in classical music.

Tonight we will hear music by the five composers participating in the 2015/16 scheme. Under the guidance of LPO Composer in Residence, Magnus Lindberg, each composer has written a new work for chamber orchestra – comprising members of the LPO and the Foyle Future Firsts programme – and, this year for the first time, an LPO soloist. Tonight we are also delighted to host the Royal College of Music’s New Perspectives ensemble. They will open the concert with a celebration of 20th-century music, including Corrente from our own Magnus Lindberg.

Visit lpo.org.uk/youngcomposers to find out more about tonight’s composers and their work.

The 2015/16 Foyle Future Firsts Development Programme is generously funded by The Foyle Foundation with additional support from Help Musicians UK, The Barbara Whatmore Charitable Trust and The Lord and Lady Lurgan Trust. The LPO Young Composers programme is organised in collaboration with the Adam Mickiewicz Institute as part of the Polska Music Programme and is generously supported

by Cockayne – Grants for the Arts, Help Musicians UK, RVW Trust, The London Community Foundation and The Stanley Picker Trust.

RCM New Perspectives

© Chris Christodoulou

Diego Masson, Timothy Lines and Nicholas Collon. The group is becoming established outside College and recent engagements include performances at Southbank Centre for its festival The Rest Is Noise.

The Royal College of Music New Perspectives ensemble was formed to specialise in the performance of contemporary music. The group plays a diverse range of repertoire each term. Recent performances include Elliot Carter’s Triple Duo (summer 2015) and Gaudibert’s Gong (UK premiere, summer 2014). RCM student composers also regularly showcase their works with the ensemble. New Perspectives has been directed by a number of established musicians both from the College and outside, including

Founded in 1882, the Royal College of Music moved to its present site on Prince Consort Road in 1894. Illustrious alumni include Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, Dame Joan Sutherland, Sir Thomas Allen, Sir Colin Davis, John Wilson, Alina Ibragimova, Gerald Finley and Sarah Connolly. In addition to its 750 full-time students, the College engages dynamically with a wider and more diverse community of children and adults through a dedicated range of creative activities delivered by RCM Sparks’ education and participation projects, the RCM Junior Department programme and the Creative Careers Centre. A further development is the growing schedule of live-streamed concerts and masterclasses, which can be viewed at rcm.ac.uk.

First Violin Leon Keuffer

Oboe Rebecca Watt

Second Violin Laura Seoane Veiga

Cor Anglais Molly Broadley

Viola Tilly Chester

Clarinets William Knight Greg Hearle

Cello Juliette Giovacchini

Double Bass Nina Harries Flute Daniel Scott Alto Flute Rocco Smith Piccolo Daniel Scott

Bassoon Maddy Millar Horns Elizabeth Tocknell Jacob Bagby

Percussion Kizzy Brooks Alun McNeil-Watson Keyboard Joao Araujo (Knussen/Anderson/ Boulez) Miklos Vespremi (Knussen/Lindberg) Harp Isabel Harries List correct at time of going to print.

Trumpet Antoine Sarkar Trombone Greg Huff

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Timothy Lines

JOSEPH HOROVITZ AT 90

conductor, RCM New Perspectives

1.05pm | Tuesday 29 November Royal College of Music, London SW7 2BS clarinet section leader at the City of Birmingham Symphony Orchestra, a position he held until January 2006, when he left to focus on his freelance career. He plays on original instruments with the English Baroque Soloists, the Orchestre Révolutionnaire et Romantique and the Orchestra of the Age of Enlightenment, and is also frequently engaged to record film music and pop music tracks.

Timothy studied at the Royal College of Music with Michael Collins and now enjoys a wide-ranging career as a clarinettist. He has played with all the major symphony orchestras in London as well as with chamber groups including London Sinfonietta and the Nash Ensemble.

From 1999 to 2003 he was Principal Clarinet of the London Symphony Orchestra, and was also Chairman of the orchestra during his last year there.

In September 2004 he was appointed 4

Much in demand as a teacher, Timothy is Professor of Clarinet at both the RCM and the Royal Academy of Music. He received his FRCM from HRH The Prince of Wales at the Royal College of Music’s annual President’s Visit in March 2016.

Joseph Horovitz conductor Vasara Quartet RCM musicians Join us to celebrate the life and music of Royal College of Music composition professor Joseph Horovitz with a programme of some of his finest chamber works, including his Fantasia on a Theme of Couperin and Oboe Sonatina op 3.

Tickets: Free but required Box Office: 020 7591 4314 www.rcm.ac.uk/events

LPO Foyle Future Firsts

© Benjamin Ealogeva

Now in its 12th year, our unique programme has gone from strength to strength. Members are supported and nurtured to the highest standards and we are proud to see current and past Foyle Future Firsts taking professional engagements with the London Philharmonic Orchestra and other world-class ensembles.

The 15 members of the Foyle Future Firsts programme are gifted and talented instrumentalists who aspire to be professional orchestral musicians.

We seek to bridge their transition between college and the professional platform, developing talented players to form the base for future orchestral appointments with the London Philharmonic Orchestra and other orchestras and ensembles around the world.

Members of the Foyle Future Firsts programme benefit from individual lessons and mentoring from London Philharmonic Orchestra Principals, mock auditions, and the opportunity to play in full orchestral rehearsals throughout the year. They also take part in high-profile and unique chamber performances, and work alongside London Philharmonic Orchestra musicians on education and community projects. lpo.org.uk/futurefirsts

First Violins Vesselin Gellev Leader Martin Höhmann Marie Schreer* Second Violins Harry Kerr† Alix Lagasse* Violas Susanne Martens Ralitsa Naydenova* Cellos Elisabeth Wiklander Chair supported by Drs Oliver & Asha Foster

Jane Lindsay* Double Basses Sebastian Pennar Iván Rubido Gonzáles* Flutes Stewart McIlwham Bronte Hudnott* Alto Flute Bronte Hudnott*

Piccolo Stewart McIlwham Oboes Ian Hardwick Amy Roberts* Cor Anglais Amy Roberts* Clarinets Thomas Watmough Som Howie* Bass Clarinet Som Howie* Bassoons Laura Vincent† Gareth Humphreys* Contrabassoon Laura Vincent† Horns Mark Vines Daniel Curzon*

Trumpets Paul Beniston Matt Rainsford* Trombones Mark Templeton Chair supported by William & Alex de Winton

David Whitehouse Bass Trombone David Whitehouse Tuba Elliot Launn* Percussion Henry Baldwin Chair supported by Jon Claydon

Jude Carlton* Harp Anne Denholm* Piano/Celeste Lucía Sánchez de Haro* * 2015/16 Foyle Future First † Guest

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LPO Young Composers 2015/16 recently selected for Sound and Music’s Portfolio scheme, writing Slipstream for all-Australian orchestra Ruthless Jabiru, to be premiered at the Tempting Failure festival in London this July.

Michael Cryne (born 1981) lives and works in London and is currently pursuing doctoral study in composition under the supervision of Mark Bowden and Helen Grime at Royal Holloway, University of London, having previously studied composition at the Guildhall School of Music & Drama. Last year Michael participated in the London Symphony Orchestra’s Panufnik Composers Scheme, writing the short orchestral work Fire Whirls. He was also

Lisa Illean (born 1983) is an Australian composer of acoustic and electronic music, living in the UK. Her music has been described as ‘exquisitely quiet shadows shaded with microtunings’ (Sydney Morning Herald) and ‘a compelling exercise in stillness and quietude’ (The Australian). Works range from pieces for orchestra to those commissioned for new, prepared or adapted instruments, and sound works conceived for unique spaces.

© Benjamin Ealogeva

Music in Composition with distinction from the Royal College of Music.

Earlier in his career Michael worked as a freelance music director in the theatre, including several productions for the Royal Shakespeare Company.

His work is often inspired by natural forms or shapes, allowing the aesthetic direction and structure of a piece to be determined by a naturally occurring phenomenon or man-made structure.

His output so far includes solo, chamber, orchestral and electroacoustic works.

L–R: Robert Peate, Michael Cryne, Lisa Illean, Katarzyna Krzewińska, Hunter Coblentz Hunter Coblentz (born 1988) is a Canadian composer living in London.

He is currently Composer in Residence at Handel House. Forthcoming premieres include a Cheltenham Music Festival commission for the Fidelio Trio and a work for the London Handel Festival.

In 2015 Hunter received a Royal Philharmonic Society Composition Prize, a SOCAN Young Canadian Composer Award, and special prizes for best free composition and best orchestral work at the 2015 Antonín Dvořák Composition Competition finals in Prague (Second Prize overall). He holds a Master of 6

Lisa has recently worked with the BBC, Sydney and Melbourne symphony orchestras, Octandre Ensemble and Explorensemble, among others. She has held residencies with The Arts Centre, Melbourne; the Museum of Anthropology, Vancouver; and at Church Walk, Aldeburgh. Her music has been featured in Melbourne’s Metropolis New Music Festival and broadcast on BBC Radio 3, ABC National Radio, 3 MBS and Resonance FM. Katarzyna Krzewińska (born 1991) recently completed a Masters in Composition at the Karol Lipiński Academy of Music in Wrocław, Poland.

In 2013 she graduated from the Academy of Music in Kraków. Her compositions have been performed at international scientific conferences, festivals and various concerts in Poland and abroad.

During her studies Kasia participated in a number of composition workshops and masterclasses with Krzysztof Penderecki, Agata Zubel, Paweł Mykietyn, Marta Ptaszyńska, Carola Bauckholt and Caspar Johannes

Magnus Lindberg conductor | LPO Composer in Residence

Finnish conductor Magnus Lindberg became the London Philharmonic Orchestra’s Composer in Residence at the beginning of the 2014/15 season.

Walter. In 2014 she wrote the music for Magdalena Celniaszek’s play Chagall.

In her compositions Kasia uses acoustic instruments, voice and live electronics. She is interested in different types of musical narration, extended instrumental techniques and playing with perceptions of time.

Lindberg was born in Helsinki in 1958.

Following piano studies, he entered the Sibelius Academy where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. His compositional breakthrough came with two large-scale works, Action–Situation–Signification (1982) and Kraft (1983–85), which were linked with his founding with Salonen of the experimental Toimii Ensemble.

Robert Peate (born 1987) is currently a PhD student at the Royal Academy of Music, supervised by Simon Bainbridge, and continues his research into writing for consorts of instruments and non-professional players. Based in Herefordshire, he teaches piano and composition on a freelance basis and has also led composition projects in schools.

Lindberg was Composer in Residence of the New York Philharmonic from 2009–12, with new works including EXPO premiered to launch Alan Gilbert’s tenure as Music Director, Al Largo for orchestra, Souvenir for ensemble, and Piano Concerto No. 2 premiered by Yefim Bronfman.

Recent commissions include a series of fanfares for the 800th anniversary of the Magna Carta (performed at last year’s Windsor Festival); choral music for the Choir of Sidney Sussex College, Cambridge; a new work for cello and piano for the 2017 Presteigne Festival; and a new Theme and Variations for the Aurora Trio.

Highlights of the London Philharmonic Orchestra 2014/15 season included the world premiere of Accused with soprano soloist Barbara Hannigan, and the UK premiere of his Second Piano Concerto

given by Yefim Bronfman. The 2015/16 season has included a performance of his Violin Concerto No. 1 by Christian Tetzlaff and the world premiere of his Second Violin Concerto performed by Frank Peter Zimmermann, as well as a performance of Gran Duo and tonight’s performance of Corrente.

On 24 July 2016 the Orchestra under Vladimir Jurowski will give the world premiere of Lindberg’s Two Episodes at the BBC Proms, paired with Beethoven’s Symphony No. 9. Next season with the LPO will see the UK premiere of his Cello Concerto on 22 March 2017 by Anssi Karttunen, and on 6 May a further performance of Two Episodes at Royal Festival Hall. Lindberg also plays an active role in the Orchestra’s education activities, mentoring the participants on the LPO Young Composers scheme.

Lindberg’s music has been recorded on the Deutsche Grammophon, Sony, Ondine, Da Capo and Finlandia labels.

He is published by Boosey & Hawkes.

Reprinted by kind permission of Boosey & Hawkes

© Hanya Chlala

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Programme notes first half Oliver Knussen Two Organa (6’)

Oliver Knussen (born 1952) Two Organa (1995)

Julian Anderson Alhambra Fantasy (15’)

These two short pieces approach the same idea in quite different ways. The 12th-century organa of the Notre Dame School (e.g. Pérotin) employed plainchant tones as the slow foundation for rapid, ecstatic, dancelike melismata. In June 1994 I used this technique to write a very short piece for a Dutch ‘music box’ project in which 32 composers wrote for a two-octave musical box using only white notes.

I dedicated the resulting Notre Dame des Jouets to Sir Peter Maxwell Davies on his 60th birthday and orchestrated it in February 1995.

Pierre Boulez Dérive 1 (8’) Magnus Lindberg Corrente (11’) INTERVAL 20’ Katarzyna Krzewińska beneath the surface Hunter Coblentz Cello & Orchestra Michael Cryne Prometheus Bound Lisa Illean Rose Robert Peate Violin Concerto

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The second Organum, dedicated to Reinbert de Leeuw, brings the same technique into a less ‘innocent’ world, employing the total chromatic in elaborate polyrhythmic layers. It should be listened to with half an ear on the foreground activity (which is partly defined by specific musical identities) and the other half on the extremely slow cantus firmus that defines its scale and resonances. The second Organum

was first performed by the Schoenberg Ensemble under Reinbert de Leeuw at its 20th anniversary concert in Utrecht in September 1994.

Oliver Knussen

music, however, and I would rather leave listeners to form their own images from the turbulent contrasts evident in the music. Alhambra Fantasy is dedicated to the memory of French composer Gérard Grisey.

Julian Anderson

Julian Anderson (born 1967) Alhambra Fantasy (2000) Alhambra Fantasy is scored for 16 players and was commissioned by the London Sinfonietta with funds provided by the Arts Council of England. It is a celebration of the art and architecture of the Alhambra Palace in Granada, Spain.

I am concerned with the splendour of the Palace itself, as well as its place in the landscape and its relevance to the complex history of this ‘Moorish’ region of Spain. The two large parts of the work, sharply contrasted, relate to two different facets of the Alhambra: the building of the Palace itself in the rough and energetic first part, which is dominated by sounds of hammering and banging on all manner of percussion; and the more lyrical second part, which connects songs evoking the landscape of the Vega. This is not programme

Pierre Boulez (1925–2016) Dérive 1 (1984) For Répons, the first work he created at IRCAM, his computer music studio in Paris, Boulez created a set of six chords drawing on the musical notes in the surname of the Swiss patron and conductor Paul Sacher: E flat (‘Es’ in German), A, C, B (again to be read in German, as H), E and D (to be understood Frenchwise this time, as ré).

These provided material also for a short tribute he composed in 1984 to mark the 80th birthday of his friend and supporter William Glock, former head of music at the BBC. The scoring is for what was already by then a standard lineup formed by adding a percussionist to the instrumental quintet required for Schoenberg’s Pierrot Lunaire:

Recent CD release on the LPO Label: Orchestral works by Julian Anderson flautist, clarinettist, violinist, cellist and pianist. Besides suggesting how the piece is a spin-off from a larger project and from its basic cipher, the title has connotations of being offshore; what we hear is a meandering flow of drifting derivatives.

Paul Griffiths

Magnus Lindberg (born 1958) Corrente (1992) Lindberg composed Corrente in 1991–92, in response to a commission from the Swedish Literary Society in Finland; it was first performed in Helsinki in February 1992 by the Avanti!

Chamber Orchestra, conducted by Sakari Oramo. The scoring is for four woodwind, four brass, percussion, piano and harp, and five strings.

Lindberg subsequently lengthened the work and rescored it for orchestra as Corrente II, and also made further versions for different chamber ensembles under the titles of Decorrente and Ricorrente. These reworkings hint at its importance in his

output, as the work in which, to quote the Finnish writer and administrator Risto Nieminen, he ‘abandons the articulation of music via instrumental gestures, and turns towards continuums’ – in other words, towards a purposeful harmonic plan at a deep level, supporting a brilliant surface of shifting ostinato patterns. The title of the work is the Italian for ‘flowing’, and these two elements do indeed give the work a sense of continuous flow through different tempi and constantly varied colouring.

But Corrente is also the name of a Baroque dance form, the Italian version of the courante; and there is an allusion to the Baroque period in a fleeting reference to the solemn March that Henry Purcell wrote for the funeral of Queen Mary in 1695. This is never repeated, but it continues to cast its shadow; and at the end a celebratory episode of Stravinskyan dancing syncopations gives way to a final sequence of strong, sombre chords.

‘Anderson is a composer of ringing, bell-like harmonies and subtly shifting orchestral colour. There’s a naive glow about his music, a pearly new-dawn iridescence, as if the world has returned to a state of primal innocence’.

The Telegraph

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Anthony Burton

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Programme notes second half Michael Cryne (born 1981) Prometheus Bound

Katarzyna Krzewińska (born 1991) beneath the surface

Hunter Coblentz (born 1988) Cello & Orchestra

Henry Baldwin percussion

Elisabeth Wiklander cello

Mark Templeton trombone

Chair supported by Jon Claydon

Chair supported by Drs Oliver & Asha Foster

Chair supported by William & Alex de Winton

In writing this work my concern was not to explore a type of concertante virtuosity. I think of this piece as a stream of varying degrees of tension; tension found within elasticating fabrics of pitch that consume the soloist within the larger ensemble and that periodically attenuate, both in their harmonic and instrumental construction, lifting the soloist to a kind of surface.

Prometheus Bound takes its title from the Ancient Greek drama commonly attributed to Aeschylus (c.524–c.456 BC). Prometheus was a titan who defied Zeus by stealing fire and thwarting Zeus’s plans to destroy the human race. He was subsequently punished by being chained to a rocky mountain.

Jude Carlton percussion* beneath the surface is about bringing out the expression and musical energy contained in sound. The composition is based on an idea introduced by the solo instruments that gradually evolves over the whole piece, builds suspense and finally leads to the culmination and long-awaited relief.

The inspiration for the whole theme of creating and resolving tensions came from the phenomenon of dormant volcanoes. However, my image of a volcano transformed into the more general idea of an energy hidden somewhere deep inside, and finally emerging. KK * 2015/16 Foyle Future First

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I chose the cello as my first instrument at a very young age, perhaps wishing to follow in the footsteps of my father. Composing this piece on his instrument, now in my possession, was a special experience for me. HC

Most of the harmonic material has been created from a combination of Scriabin’s ‘Prometheus’ or ‘mystic’ chord – pitches C, F # , B b , E, A and D – and the scale from which it can be derived, known commonly as the overtone or acoustic scale. Almost all of the trombone’s material is constructed from this scale (including transpositions onto each of the pitches of the Prometheus chord).

The broad structure of the drama is used to help shape the piece – various interlocutors: Oceanids, the Titan Oceanus, Io, and finally Hermes, interact with Prometheus.

Rather than being programmatic, the piece instead is constructed around the idea of protagonist (trombone) and interlocutors (the ensemble) interacting. The character of each interaction is determined by the interlocutor. Hermes, for example, is hostile and aggressive, and the music reflects this; chromatic manipulations of the Prometheus chord create a substantial degree of harmonic instability, whereas the Oceanids are much more sympathetic to Prometheus’s plight, and the harmonic ‘flavour’ of the overtone scale becomes much clearer. MC

Date for your diary Lisa Illean (born 1983) Rose

Robert Peate (born 1987) Violin Concerto

Wednesday 26 October 2016 6.00–6.45pm | Royal Festival Hall

Thomas Watmough clarinet

Vesselin Gellev violin

Foyle Future Firsts Free pre-concert performance

Over the recent Scottish winter, I got great joy from walking in the morning’s low, raking light – a glow illuminating the still-waking world obliquely, and throwing the austere Georgian facades into relief. The way the light acted upon these surfaces was very beautiful, highlighting minutiae and casting incisions of deep shadow.

I later learned that this phenomenon underpins a process in fields like art conservation, where raking light is used to reveal the textural details of a surface, and inconsistencies such as small distortions, tears and creases.

Rose arose out of contemplating this image and idea, as I speculated about what it might sound like if melodic fragments were analogously lit. As a piece of music, Rose unfolds gradually in cycles of simple lines and remnants of melody, through which subtle disparities can be perceived and felt.

The uniform quietude of the work allows space for this surface to glow, darken and breathe. LI

All the material for this Concerto is derived from the first two bars, in which a basic gesture that rises up before almost immediately being pulled back down informs all the important thematic material, as well as the general character and shape of the piece. The relationship between soloist and orchestra can in some ways be seen as a typical competition, but while I was writing the piece it felt more like an individual finding their way through the masses: responding, asserting, integrating, etc., rather than a straightforward fight for glory (though conflict has its place in the piece).

The first performance by our new 2016/17 Foyle Future Firsts, conducted by Osmo Vänskä, including a rarely heard octet arrangement of Sibelius’s En Saga.

Free entry (no ticket required).

Various extra-musical ideas helped to characterise the music, and I attached different titles and quotes to it as I went along. Eventually, however, I stripped all these away and hope that the music stands its ground as a moreor-less abstract work. RP Osmo Vänskä © Greg Helgeson

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Welcome to this performance at the Royal College of Music. Please turn off your mobile phone to avoid any disturbance to the performers. Photographs may only be taken during applause following a performance, unless otherwise notified. Private filming, sound recording and commercial photography are not permitted without prior written permission.

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Latecomers will not be allowed into the auditorium until a suitable break in the programme. In the interests of safety, sitting or standing on the steps, gangways or floors in any part of the auditorium is strictly prohibited. Your co-operation is appreciated.

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The right is reserved to substitute artists and to vary the programme if necessary.

The London Philharmonic Orchestra is a registered charity No. 238045.

London Philharmonic Orchestra, 89 Albert Embankment, London SE1 7TP. lpo.org.uk