Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM
BRIGHTON DOME, CONCERT HALL Saturday 23 February 2013 | 7.30pm
marin alsop conductor garrick ohlsson piano
copland Fanfare for the Common Man (3’)
CONTENTS PROGRAMME £3 2 Welcome CONTENTS 3 Marin Alsop Welcome 2 Garrick 4 Ohlsson 3 About the the Orchestra Orchestra 5 About 4 Tonight’s performers 6 On stage tonight 5 Programme Stanisław Skrowaczewski 7 notes 6 Garrick Ohlsson 11 Supporters 7 LPO Programme notes 12 administration 10 Orchestra news 11 Supporters The timings shown are not precise 12 LPO administration and are given only as a guide. The timings shown are not precise and are given only as a guide.
joan tower Fanfare for the Uncommon Woman, No. 1 (3’) copland Piano Concerto (16’) gershwin Rhapsody in Blue (15’) Interval dvoŘÁk Symphony No. 9 in E minor, Op. 95 (From the New World) (40’)
* supported by the Tsukanov Family Foundation and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA WITH ASSISTANCE FROM BRIGHTON DOME
Ticket Office: 01273 709709 brightondome.org
Welcome to Brighton Dome Chief Executive Andrew Comben
Next London Philharmonic Orchestra concert at Brighton Dome
We hope you enjoy the performance and your visit to Brighton Dome. For your comfort and safety, please note the following:
Saturday 16 March 2013 | 7.30pm
LATECOMERS may not be admitted until a suitable break in the performance. Some performances may contain no suitable breaks. SMOKING Brighton Dome is a no-smoking venue.
Beethoven Symphony No. 5 Schumann Cello Concerto Elgar Enigma Variations David Parry conductor Narek Hakhnazaryan cello
INTERVAL DRINKS may be ordered in advance at the bar to avoid queues. PHOTOGRAPHY is not allowed in the auditorium. RECORDING is not allowed in the auditorium. David Parry and Narek Hakhnazaryan
MOBILES, PAGERS AND WATCHES should be switched off before entering the auditorium. Thank you for your co-operation.
The concert at Brighton Dome on 23 February 2013 is presented by the London Philharmonic Orchestra with assistance from Brighton Dome.
‘Hakhnazaryan technically has it all: fabulous bow technique, beautiful vibrato, mastery of ponticello and every other cello device, and ability to play super-fast, brilliantly. But what really distinguishes his playing is its effect on the listener. There is an immediate connection between his cello playing and those lucky enough to be in the audience. It’s that personal connection, that passion and musical charisma, that not only wins competitions, but people’s hearts as well.’ The Boston Musical Intelligencer, October 2012 Tickets £10–£32.50 Box Office 01273 709709 Book online at brightondome.org
Brighton Dome gratefully acknowledges the support of Arts Council England and Brighton & Hove City Council. Brighton Dome is managed by Brighton Dome and Festival Ltd which also runs the annual three-week Brighton Festival in May. brightonfestival.org
2 | London Philharmonic Orchestra
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© Grant Leighton
Marin Alsop is an inspiring and powerful voice on the international music scene, a Music Director of vision and distinction who passionately believes that music has the power to change lives. She is recognised across the world for her innovative approach to programming and for her deep commitment to education and the development of audiences of all ages. Her success as Music Director of the Baltimore Symphony Orchestra was recognised when, in 2009, her tenure was extended to 2015. Alsop took up the post of Principal Conductor of the São Paulo Symphony Orchestra at the start of the 2012 season, steering the orchestra in its artistic and creative programming, recording ventures and its education and outreach activities. In August 2012 she led the orchestra on a European tour, with acclaimed performances at the BBC Proms in London and at the Concertgebouw’s Robeco Summer Concerts in Amsterdam. Since 1992, Marin Alsop has been Music Director of California’s Cabrillo Festival of Contemporary Music, where she has built a devoted audience for new music. Building an orchestra is one of Alsop’s great gifts, and she retains strong links with her previous orchestras – the Bournemouth Symphony Orchestra (Principal Conductor 2002–08; now Conductor Emeritus) and the Colorado Symphony Orchestra (Music Director 1993–2005; now Music Director Laureate). Marin Alsop has guest conducted the great orchestras of the world including the Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, La Scala Philharmonic, Orchestre de Paris and Bavarian Radio Symphony Orchestra. In Europe, she regularly returns to the Frankfurt Radio Symphony, Royal Stockholm Philharmonic and the Czech Philharmonic orchestras. Alsop has a close relationship with both the London Philharmonic and London Symphony orchestras, appearing with both orchestras most seasons, as well as with the Orchestra of the Age of Englightenment. She is also Artist in Residence at the Southbank Centre in London.
Highlights of 2012/13 include Marin Alsop’s Viennese debut with the Vienna Symphony Orchestra at the Musikverein; a performance of the Brahms Requiem with the MDR Symphony Orchestra at the Leipzig Gewandhaus; and her debut with Orchestre National de France in Paris. Since taking up her position in Baltimore in 2007, Marin Alsop has spearheaded educational initiatives that reach more than 60,000 school and pre-school students. In 2008 she launched ‘OrchKids’, which provides music education, instruments and mentorship to the city’s neediest young people, and in 2010 the BSO Academy, where local non-professional musicians work for a week with members of the orchestra. In 2008 Marin Alsop became a Fellow of the American Academy of Arts & Sciences and, in the following year, was chosen as Musical America’s Conductor of the Year. She is the recipient of numerous awards and is the only conductor to receive the prestigious MacArthur Fellowship, given to US residents in recognition of exceptional creative work. She was inducted into the American Classical Music Hall of Fame in 2010 and was the only classical musician to be included in The Guardian’s ‘Top 100 Women’, celebrating the centenary of International Women’s Day in 2011. In October 2012 Alsop was presented with Honorary Membership (HonRAM) of the Royal Academy of Music, London. Alsop’s extensive discography on Naxos includes a notable set of Brahms symphonies with the London Philharmonic Orchestra, and a highly praised Dvořák series with the Baltimore Symphony. The first disc of her Prokofiev symphonic cycle with the São Paulo Symphony Orchestra was Orchestral Choice in BBC Music Magazine. Other award-winning recordings include Bernstein’s Mass (Editor’s Choice, Gramophone Awards 2010) and Jennifer Higdon’s Percussion Concerto with Colin Currie on the LPO Label (LPO-0035, Grammy Award 2010). Born in New York City, Marin Alsop attended Yale University and The Juilliard School. Her conducting career was launched when, in 1989, she was a prize-winner at the Leopold Stokowski International Conducting Competition and in the same year was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center, where she was a pupil of Leonard Bernstein.
London Philharmonic Orchestra | 3
© Paul Body
Since his triumph as winner of the 1970 International Chopin Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although he has long been regarded as one of the world’s leading exponents of the music of Chopin, Ohlsson commands an enormous repertoire, ranging across the entire piano literature. A student of the late Claudio Arrau, Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. His concerto repertoire alone is unusually wide and eclectic – ranging from Haydn and Mozart to works of the 21st century – and to date he has at his command more than 80 concertos. The 2012/13 season began with performances of Busoni’s Piano Concerto with the European Union Youth Orchestra and Gianandrea Noseda, including at the Edinburgh International Festival. Ohlsson appeared with the London Philharmonic Orchestra earlier this season, followed by a month-long tour of Australia where he recorded, in performance, both Brahms Piano Concertos. At the beginning of 2013 Ohlsson gave a performance of Rachmaninoff’s Piano Concerto No. 3 with the Chicago Symphony Orchestra and Sir Mark Elder. Tonight’s concert will be followed by a Kennedy Center appearance with the Iceland Symphony Orchestra as part of the venue’s Nordic Festival, and a US tour with the Swedish Chamber Orchestra. Garrick Ohlsson returns to New York later in the spring as soloist with the Boston Symphony Orchestra at Carnegie Hall, conducted by Rafael Frühbeck de Burgos. Other US appearances include return visits to the orchestras of Minnesota, Dallas, Philadelphia, Cincinnati and Baltimore. In acknowledgement of the bicentenary of Liszt’s birth, the 2011/12 season included recitals of the composer’s works in cities including Chicago, Hong Kong, London and New York, where he also visited Carnegie Hall with the Atlanta Symphony Orchestra and Lincoln Center with 4 | London Philharmonic Orchestra
the New York Philharmonic. Tours in Europe and Asia included concerts in the UK, France, Italy, Taiwan, Hong Kong and Japan. During the 2010/11 season Garrick Ohlsson presented a series of all-Chopin recitals in Seattle, Berkeley and La Jolla, culminating at Lincoln Center. In conjunction with that project, a documentary, The Art of Chopin, featuring Garrick Ohlsson and co-produced by Polish, French, British and Chinese television stations, was released in autumn 2010. Garrick Ohlsson is an avid chamber musician, and has collaborated with the Cleveland, Emerson, Takács and Tokyo string quartets. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, Garrick Ohlsson can be heard on labels including Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Virgin Classics and Bridge Records, where his ten-disc set of the complete Beethoven sonatas has garnered considerable critical praise, including a GRAMMY® for Volume 3. His recording of Rachmaninoff’s Piano Concerto No. 3 with the Atlanta Symphony Orchestra and Robert Spano was released in 2011. In 2008, Hyperion re-released his 16-disc set of the complete works of Chopin, and recently released a disc of all the Brahms Piano Variations and Granados’s Goyescas. Born in New York State, Garrick Ohlsson began his piano studies at the age of eight. He attended the Westchester Conservatory of Music and at 13 entered The Juilliard School. His musical development has been influenced by a succession of distinguished teachers, most notably Claudio Arrau, Olga Barabini, Tom Lishman, Sascha Gorodnitzki, Rosina Lhévinne and Irma Wolpe. Although he won First Prizes at the 1966 Busoni Competition in Italy and the 1968 Montreal Piano Competition, it was his 1970 triumph at the International Chopin Piano Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation. Since then he has made nearly a dozen tours of Poland, where he retains immense personal popularity.
London Philharmonic Orchestra
The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.
The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt; a disc of orchestral works by Mark-Anthony Turnage; and the world premiere of the late Ravi Shankar’s First Symphony conducted by David Murphy. 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.
The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 The London Philharmonic concerts there each Orchestra maintains an season. 2012/13 The LPO were on exceptional form, energetic programme of highlights include activities for young people three concerts and the performance had a real and local communities. with Vladimir edge-of-your-seat excitement. The Guardian Highlights include the Jurowski based (29 September 2012, Royal Festival Hall: Rachmaninoff, Shchedrin, Denisov & Miaskovsky) Deutsche Bank BrightSparks around the theme Series; the Leverhulme of War and Peace Young Composers project; and the Foyle Future Firsts in collaboration with the Russian National Orchestra; orchestral training programme for outstanding young Kurt Weill’s The Threepenny Opera, also conducted by players. Over recent years, developments in technology Jurowski; 20th-century American works with Marin and social networks have enabled the Orchestra to Alsop; Haydn and Strauss with Yannick Nézet-Séguin; reach even more people worldwide: all its recordings and the UK premiere of Carl Vine’s Second Piano are available to download from iTunes and, as well Concerto with pianist Piers Lane under Vassily Sinaisky. as a YouTube channel, news blog, iPhone app and Throughout 2013 the Orchestra is collaborating with regular podcasts, the Orchestra has a lively presence on Southbank Centre on The Rest Is Noise festival, based Facebook and Twitter. on Alex Ross’s book of the same name and charting the 20th century’s key musical works and historical events. Find out more and get involved! The Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around lpo.org.uk the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency facebook.com/londonphilharmonicorchestra accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra twitter.com/LPOrchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria. London Philharmonic Orchestra | 5
On stage tonight
First Violins Abigail Young Guest Leader Ilyoung Chae Chair supported by Moya Greene
Catherine Craig Tom Eisner Robert Pool Sarah Streatfeild Yang Zhang Grace Lee Rebecca Shorrock Galina Tanney Madeleine Easton Robert Yeomans Katie Littlemore Francesca Smith Second Violins Alison Kelly Guest Principal Joseph Maher Fiona Higham Marie-Anne Mairesse Nancy Elan Emma Wragg Chloé Boireau Gavin Davies Dean Williamson Stephen Stewart Mila Mustakova Elizabeth Baldey Violas Helen Kamminga Guest Principal Robert Duncan Gregory Aronovich Benedetto Pollani Laura Vallejo
Michelle Bruil Daniel Cornford Isabel Pereira Martin Fenn Miriam Eisele Cellos Timothy Gill Guest Principal Francis Bucknall Laura Donoghue Gregory Walmsley Santiago Carvalho† Susanna Riddell Tom Roff Sibylle Hentschel Double Basses Tim Gibbs Principal Laurence Lovelle George Peniston Kenneth Knussen Helen Rowlands Tom Walley Catherine Ricketts Margarida Castro Flutes Wissam Boustany Guest Principal Sue Thomas Chair supported by the Sharp Family
Piccolo Stewart McIlwham* Principal Oboes Ian Hardwick Principal Angela Tennick
Cor Anglais Gill Callow
Trombones Mark Templeton* Principal David Whitehouse
Clarinets Robert Hill* Principal Emily Meredith
Bass Trombone Lyndon Meredith Principal
Bass Clarinet Paul Richards Principal
Contrabass Trombone Lyndon Meredith
E-flat Clarinet Tom Watmough
Tuba Lee Tsarmaklis* Principal
Saxophones Martin Robertson Christian Forshaw Paul Nathaniel
Timpani Christopher Thomas Guest Principal
Bassoons Gareth Newman* Principal Emma Harding Contrabassoon Simon Estell Principal Horns John Ryan* Principal David Pyatt Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann
Nicholas Betts Co-Principal Daniel Newell
Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport
Keith Millar Olly Yates Sacha Johnson Eddy Hackett Harp Rachel Masters* Principal Celeste Catherine Edwards Banjo James Ellis
* Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco
The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Sonja Drexler David & Victoria Graham Fuller John & Angela Kessler Caroline, Jamie & Zander Sharp Julian & Gill Simmonds
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From the New World This concert on an American theme begins with two fanfares for brass and percussion: Aaron Copland’s famous wartime Fanfare for the Common Man, and Joan Tower’s first Fanfare for the Uncommon Woman, a response to the Copland that is dedicated to tonight’s conductor. These preface two works for piano and orchestra from the heady period in the 1920s when the classics met jazz: Copland’s twomovement Concerto, written by its idealistic young composer to show how jazz rhythms and colours
could help create a distinctive American musical language; and George Gershwin’s single-movement Rhapsody in Blue, in which an aspiring songwriter displayed his ability to work on a broader canvas. Last comes the popular symphony called ‘From the New World’ that Dvořák composed while he was teaching in New York in the early 1890s, to demonstrate how a national musical style could be created from the idioms, not yet of jazz, but of spirituals and American popular songs.
Fanfare for the Common Man
Aaron Copland was the composer who more than any other created an ‘American sound’ in orchestral music, bright, hard-edged and with a suggestion of wide open spaces. He wrote his well-known Fanfare for the Common Man in 1942, as one of a series of ten patriotic fanfares commissioned by the Cincinnati Symphony Orchestra from ten American composers for its wartime 1942/43 season. He later incorporated it into the finale of his Third Symphony. Scored for an orchestral brass section and percussion, the piece triumphantly achieves its composer’s aim to write ‘a traditional fanfare, direct and powerful, yet with a contemporary sound’.
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Fanfare for the Uncommon Woman, No. 1
Joan Tower, one of the leading American composers of the present day, is probably best known for her Fanfare for the Uncommon Woman – the first in what later became a series of five pieces with the same title. It was composed in 1986 in response to a commission from the Houston Symphony, as part of its ‘Fanfare Project’ celebrating the 150th anniversary of the state of Texas. Not only is the title a variation on the title of Copland’s Fanfare, but the scoring is similarly for orchestral brass
and percussion. The piece begins like the Copland with arresting percussive attacks, but immediately opens out into intensive development of small motifs, without any loss of rhetorical effect. The composer originally gave the Fanfare a dedication ‘to women who take risks and are adventurous’, but later dedicated it personally to tonight’s conductor, Marin Alsop.
Piano Concerto Garrick Ohlsson piano 1 Andante sostenuo – 2 Molto moderato (molto rubato) – Allegro assai
Aaron Copland composed his only Piano Concerto in 1926, and took the solo part in the first performance in Boston in January 1927, with his long-time champion Serge Koussevitzky conducting the Boston Symphony Orchestra. The work reflects Copland’s ambition, forged while he had been studying in Europe a few years earlier, to create a national style through the use of elements of jazz. As he later recalled, the period of the twenties was ‘definitely coloured by the notion that Americans needed a kind of music that they could recognise as their own. The jazz came by way of wanting to write this more immediately recognisable American music.’ Unlike Gershwin’s Rhapsody in Blue (which had had its famous premiere while Copland was still away), the Concerto is not simply in jazz idioms,
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but uses jazz styles, clichés and colours to enliven the composer’s rapidly evolving personal style. So, for example, syncopated rhythms are combined with Copland’s Stravinskyan changing metres to produce rhythmic textures of some complexity. Copland identified ‘two dominant jazz moods: the “blues” and the snappy number’: and it is this dualism that moulds the Concerto’s highly original twomovement form. After a challenging introduction, foreshadowing some of the work’s main thematic ideas, the first movement is a predominantly gentle slow blues; its principal melody is given increasingly full canonic treatment, culminating in a complex and sonorous passage for almost the full forces. After a
brief transition, the second movement begins with a piano solo requiring some molto rubato playing (for which Copland’s own recording sets the grotesque tone). The pace then quickens towards the main part of the movement, an exuberant ‘snappy number’. This begins as if in sonata form, with the piano’s syncopated scalewise figure as the first subject, a parodistic tune initiated by the saxophone as the second,
and a development section beginning calmly and incorporating a central piano cadenza. But where the recapitulation ought to be there is instead an expansive return to themes from the introduction to the first movement; after which the two main ideas of the second movement are brought back, in reverse order, in a brilliant coda.
Rhapsody in Blue, for piano and orchestra Garrick Ohlsson piano
George Gershwin began his career in Tin Pan Alley, as a composer of popular songs and musicals, before making his mark in the realms of concert music and opera. The beginning of this shift is marked by his Rhapsody in Blue. This was one of a number of pieces of ‘symphonic jazz’ requested from various composers by the white band-leader Paul Whiteman, for a New York concert in February 1924 called ‘An Experiment in Modern Music’. Gershwin wrote the Rhapsody in about three weeks, enlisting the help of Whiteman’s arranger Ferde Grofé to score it for the band. The first performance, with the composer playing the solo part (including a cadenza he had not yet written down), was a triumphant success with the star-studded audience. The piece was soon repeated in various cities by Gershwin and the Whiteman band. Later, to give it greater circulation, Grofé also made versions accompanied by theatre orchestra and by full symphony orchestra – though he retained the saxophone section and the banjo of the original.
The Rhapsody in Blue is a single-movement work in the tradition of pieces such as Liszt’s Hungarian Fantasy, with a brilliant solo part including several extended cadenzas. Right from the famous trill and glissando of the opening clarinet solo, it is permeated by the instrumental colouring of jazz, together with its melodic and harmonic inflections, and above all its syncopated rhythms. There is also what might well be a full-blown Broadway show tune in the slower interlude towards the end. But it is the way in which Gershwin treats his material, not in a suite-like succession of episodes but in a continuous process of organic development, transition and transformation, that gives the Rhapsody the depth and complexity of a serious concert work.
Interval An announcement will be made a few minutes before the end of the interval.
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Antonín Dvořák 1841–1904
The Czech composer Antonín Dvořák composed the last of his nine symphonies between December 1892 and May 1893, while he was living in New York as artistic director of the National Conservatory of Music. This was, for its time, an idealistic institution: it encouraged women and black students, offered free tuition to talented but poor applicants, and aimed specifically to foster a ‘new American school of music’. Dvořák seems to have designed his Symphony as a demonstration of how this ambition might be achieved: although it does not quote American folk melodies, it imitates the melodic patterns of African-American spirituals, which had been sung to him by one of the Conservatory students, and of the songs of Stephen Foster; and its two central movements were reportedly suggested by scenes of a forest funeral and a wedding dance in Longfellow’s epic poem Hiawatha, set among Native Americans. These American connections, well publicised in advance, must have contributed to the enthusiasm with which the audience at Carnegie Hall in New York greeted the first performance in December 1893: Dvořák wrote to his publisher that ‘the people clapped so much I had to thank them from the box like a king!’
Symphony No. 9 in E minor, Op. 95 (From the New World) 1 Adagio – Allegro molto 2 Largo 3 Molto vivace 4 Allegro con fuoco
movement, the celebrated D-flat major Largo, opens with a solemn sequence of wind chords setting the scene for the unforgettable melody on the cor anglais. The middle section, based on two contrasting but related ideas, is followed by a transition, surely evoking a forest dawn, in which the first theme of the first Allegro reappears. The same theme is recalled twice in the next movement, in the linking passage between the scherzo and the Schubertian trio section, and in the coda. It is in the finale, however, that the Symphony’s thematic threads are tied most closely together. The first theme of the movement is derived from the two melodies of the middle section of the Largo; the three-note scale figure that unites them is heard at its simplest at the start of the central development section. The development also refers back to the first theme of the first movement once more, to the melody of the Largo, and to the main motif of the scherzo; and the introductory chord-sequence of the Largo makes a thrilling reappearance towards the end of the work. Programme notes by Anthony Burton © 2013
Since then, the ‘New World’ has been one of the most popular of all symphonies – thanks chiefly to its distinctive atmosphere and its abundance of memorable tunes. These are deployed within a structure that has some unusual features, including a thoroughgoing attempt to create cyclic links between the movements. The first Allegro has a dramatic slow introduction anticipating its striding main melody, and an unorthodox recapitulation in which the second and third main themes are brought back in remote keys (both led off by the second flute, treated, in Dvořák’s usual manner, as a low-register specialist). The slow
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We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors: Thomas Beecham Group The Tsukanov Family Foundation Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett Guy & Utti Whittaker Manon Williams Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas
David Ellen Commander Vincent Evans Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry
Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Andrew T Mills John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Professor John Studd Mr Peter Tausig Mrs Kazue Turner Mr Laurie Watt Des & Maggie Whitelock Christopher Williams Bill Yoe Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE
The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Destination Québec – UK Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd Villa Maria
In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations BBC Performing Arts Fund The Boltini Trust Sir William Boreman’s Foundation The Boshier-Hinton Foundation Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund Embassy of Spain, Office for Cultural and Scientific Affairs The Equitable Charitable Trust Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation
The Idlewild Trust The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous
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Board of Directors
Victoria Sharp Chairman Stewart McIlwham* President Gareth Newman* Vice-President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Sir Philip Thomas Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams
Timothy Walker AM Chief Executive and Artistic Director
Andrew Chenery Orchestra Personnel Manager
Philip Stuart Discographer
Sarah Thomas Librarian (maternity leave)
Gillian Pole Recordings Archive
Sarah Holmes Librarian (maternity cover)
Advisory Council Victoria Sharp Chairman Richard Brass Sir Alan Collins Jonathan Dawson Christopher Fraser OBE Clive Marks OBE FCA Stewart McIlwham Lord Sharman of Redlynch OBE Timothy Walker AM American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Honorary Chairman Noel Kilkenny Honorary Director Victoria Sharp Honorary Director Richard Gee, Esq Of Counsel Robert Kuchner, CPA
Alison Atkinson Digital Projects Manager Finance David Burke General Manager and Finance Director
Michael Pattison Stage Manager
Matthew Freeman Recordings Consultant
Mia Roberts Marketing Manager
Education & Community
Rachel Williams Publications Manager
Charles Russell Solicitors
Crowe Clark Whitehill LLP Julia Boon Auditors Assistant Orchestra Personnel David Greenslade Manager FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Ken Graham Trucking Concert Management Instrument Transportation London Philharmonic Roanna Gibson Development Orchestra Concerts Director 89 Albert Embankment (maternity leave) Nick Jackman London SE1 7TP Development Director Ruth Sansom Tel: 020 7840 4200 Artistic Administrator / Acting Fax: 020 7840 4201 Helen Searl Head of Concerts Department Box Office: 020 7840 4242 Corporate Relations Manager lpo.org.uk Graham Wood Katherine Hattersley Concerts and Recordings Charitable Giving Manager The London Philharmonic Manager Orchestra Limited is a Melissa Van Emden registered charity No. 238045. Barbara Palczynski Events Manager Glyndebourne and Projects Photograph of Copland © Laura Luckhurst Administrator Roman Freulich. Photograph Corporate Relations and Jenny Chadwick of Joan Tower © Bernie Events Officer Tours and Engagements Mindich. Photograph of Sarah Fletcher Manager Gershwin © ClassicStock/ Development and Finance Alamy. Photograph of Dvořák Alison Jones Officer courtesy of the Royal College Concerts Co-ordinator of Music, London. Marketing Jo Orr Front cover photograph PA to the Chief Executive / Kath Trout © Patrick Harrison. Concerts Assistant Marketing Director
Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer
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Samantha Kendall Box Office Manager (Tel: 020 7840 4242) Libby Northcote-Green Marketing Co-ordinator Isobel King Intern Albion Media Public Relations (Tel: 020 3077 4930)
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