LPO Programme notes 21oct09: Beethoven and Mendelssohn

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Principal Conductor VLADIMIR JUROWSKI Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader PIETER SCHOEMAN Composer in Residence MARK-ANTHONY TURNAGE Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER

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TREVOR PINNOCK conductor MARIA JOÃO PIRES piano

LISZT (orchestrated by John Adams) The Black Gondola (9’)

PROGRAMME £3 CONTENTS 2 List of Players 3 Orchestra History 4 Leader 5 Trevor Pinnock 6 Maria João Pires 7 Programme notes 10 Recordings 11 LPO Contemporaries / Southbank Centre 13 Supporters 14 Philharmonic News 15 Administration 16 Future Concerts

(34’) The timings shown are not precise and are given only as a guide.

INTERVAL MENDELSSOHN Symphony 3 in A minor (Scottish)

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SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Wednesday 21 October 2009 | 7.30 pm

BEETHOVEN Piano Concerto 3 in C minor

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(43’)

supported by Macquarie Group

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

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LONDON PHILHARMONIC ORCHESTRA

FIRST VIOLINS Pieter Schoeman* Leader Dunja Lavrova Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Geoffrey Lynn Robert Pool Florence Schoeman Sarah Streatfeild Peter Nall Alain Petitclerc Rebecca Shorrock Galina Tanney SECOND VIOLINS Jeongmin Kim Principal Joseph Maher Kate Birchall Chair supported by David and Victoria Graham Fuller

Nynke Hijlkema Marie-Anne Mairesse Ashley Stevens Andrew Thurgood Sioni Williams Stephen Stewart Mila Mustakova Elizabeth Baldey Steve Dinwoodie

VIOLAS Alexander Zemtsov* Principal Isabel Perreira Anthony Byrne Chair supported by John and Angela Kessler

Susanne Martens Benedetto Pollani Emmanuella Reiter Laura Vallejo Sarah Malcolm Martin Fenn Karin Norlen CELLOS Susanne Beer Principal Francis Bucknall Jonathan Ayling Sue Sutherley Susanna Riddell Pavlos Carvalho William Routledge Tae-Mi Song DOUBLE BASSES Kevin Rundell* Principal Laurence Lovelle George Peniston Richard Lewis David Johnson Helen Rowlands

FLUTES Karen Jones Guest Principal Stewart McIlwham* OBOES Ian Hardwick Principal Angela Tennick COR ANGLAIS Victoria Walpole

TRUMPETS Paul Beniston* Principal Anne McAneney* Chair supported by Geoff and Meg Mann

TIMPANI Simon Carrington* Principal HARP Rachel Masters* Principal

CLARINETS Robert Hill* Principal Nicholas Carpenter BASS CLARINET Paul Richards Principal BASSOONS John Price Principal Gareth Newman* HORNS John Ryan Principal Martin Hobbs Adrian Uren Anthony Chidell * Holds a professorial appointment in London

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Richard Karl Goeltz Richard and Victoria Sharp Julian and Gill Simmonds Mrs Steven Ward Simon Yates and Kevin Roon

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LONDON PHILHARMONIC ORCHESTRA

© Richard Cannon

Seventy-seven years after Sir Thomas Beecham founded the London Philharmonic Orchestra, it is recognised today as one of the finest orchestras on the international stage. Following Beecham’s influential founding tenure the Orchestra’s Principal Conductorship has been passed from one illustrious musician to another, amongst them Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. This impressive tradition continued in September 2007 when Vladimir Jurowski became the Orchestra’s Principal Conductor, and in a further exciting move, the Orchestra appointed Yannick Nézet-Séguin, its new Principal Guest Conductor from September 2008.

Orchestra’s Composer in Residence, Mark-Anthony Turnage. Imaginative programming and a commitment to new music are at the heart of the Orchestra’s activity, with regular commissions and world première performances.

In addition to its London season, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. It is unique in combining these concert activities with esteemed opera performances each summer at Glyndebourne Festival Opera where it has been the Resident Symphony Orchestra since 1964.

The London Philharmonic Orchestra has been performing The London Philharmonic Orchestra performs to enthusiastic audiences all round the world. In 1956 it at Southbank Centre’s Royal Festival Hall since it opened became the first British orchestra to appear in Soviet in 1951, becoming Resident Orchestra in 1992. It plays Russia and in 1973 made the first ever visit to China by a there around 40 times each season with many of the Western orchestra. Touring continues to form a world’s most sought after conductors and soloists. significant part of the Orchestra’s schedule, with regular Concert highlights in 2009/10 include Between Two appearances in North America, Europe and the Far East, Worlds – an exploration of the music and times of Alfred often headlining at major festivals. Tours in 2009/10 Schnittke; a Sibelius symphony cycle with Osmo Vänskä in January/February 2010; a performance of Mendelssohn’s Elijah conducted by Kurt Masur and ‘The LPO rose to the occasion with some very fine dedicated to the 20th Anniversary of playing: eloquent solo work combined with fullthe Fall of the Berlin Wall; and new textured passages of often sumptuous beauty.’ works by Rautavaara, Górecki, Philip BARRY MILLINGTON, EVENING STANDARD, 4 SEPTEMBER 2009 Glass, Ravi Shankar and the

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LONDON PHILHARMONIC ORCHESTRA

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PIETER SCHOEMAN LEADER

include visits to Germany, Australia, France, China, the Canaries and the USA. Having long been embraced by the recording, broadcasting and film industries, the London Philharmonic Orchestra broadcasts regularly on domestic and international television and radio. It also works extensively with the Hollywood and UK film industries, recording soundtracks for blockbuster motion pictures including the Oscar-winning score for The Lord of the Rings trilogy and scores for Lawrence of Arabia, The Mission, Philadelphia and East is East.

The Orchestra also enjoys strong relationships with the major record labels and in 2005 began reaching out to new global audiences through the release of live, studio and archive recordings on its own CD label. Recent additions to the catalogue have included acclaimed releases of Shostakovich’s monumental Tenth Symphony under Bernard Haitink; a disc of contemporary works by composers Thomas Adès, James MacMillan and Jennifer Higdon conducted by Marin Alsop; Rachmaninoff’s Symphony 3 along with Bax’s Tintagel conducted by Osmo Vänskä; a CD of early Britten works conducted by Vladimir Jurowski; and Mahler’s Symphony 6 under the baton of Klaus Tennstedt. The Orchestra’s own-label releases are available to download by work or individual track from its website: www.lpo.org.uk/shop.

The Orchestra reaches thousands of Londoners through its rich programme of community and school-based activity in Lambeth, Lewisham and Southwark, which includes the offshoot ensembles Renga and The Band, its Foyle Future Firsts apprenticeship scheme for outstanding young instrumentalists, and regular family and schools concerts.

In 2002, Pieter Schoeman joined the London Philharmonic Orchestra as Co-Leader. In 2008 he was appointed Leader.

Born in South Africa, he made his solo debut with the Cape Town Symphony Orchestra at the age of ten. He studied with Jack de Wet in South Africa, winning numerous competitions, including the 1984 World Youth Concerto Competition in America. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Edouard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman who recommended that he move to New York to study with Sylvia Rosenberg.

In 1994 he became her teaching assistant at Indiana University, Bloomington.

Pieter Schoeman has performed as a soloist and recitalist throughout the world 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 Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London's prestigious Wigmore Hall.

As a soloist with the London Philharmonic Orchestra, he has performed Arvo Pärt's Double Concerto and Benjamin Britten's Double Concerto, which was recorded for the Orchestra’s own record label. Most recently he also played concertos with the Wiener Concertverein and Orchestre Philharmonique de Nice.

In 1995 Pieter Schoeman became Co-Leader of the Orchestre Philharmonique de Nice. During his tenure there he performed frequently as Guest Leader with the symphony orchestras of Barcelona, Bordeaux, Lyon, Baltimore and the London Philharmonic Orchestra.

A frequent guest of the BBC Symphony Orchestra in To help maintain its high standards and diverse workload, London, Pieter Schoeman returned in October 2006 to lead that orchestra on a three week tour of Seoul, Beijing, the Orchestra is committed to the welfare of its Shanghai, Singapore and Kuala Lumpur. musicians and in December 2007 received the Association of British Orchestras/Musicians Benevolent Pieter Schoeman has recorded numerous violin solos Fund Healthy Orchestra Bronze Charter Mark. with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, the BBC and for American film and There are many ways to experience and stay in touch television. He led the Orchestra in its soundtrack with the Orchestra’s activities: visit www.lpo.org.uk, recordings for The Lord of the Rings trilogy. He teaches at subscribe to our podcast series and join us on Trinity College of Music in London.

Facebook.

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TREVOR PINNOCK CONDUCTOR

Trevor Pinnock is known worldwide as a harpsichordist and conductor who pioneered performance on historical instruments with his own orchestra, The English Concert, which he founded in 1972 and led for the next thirty years. He now divides his time between conducting, solo, chamber music and educational projects.

This season Trevor Pinnock conducts the London Philharmonic Orchestra, Chicago Symphony Orchestra, Deutsche Kammerphilharmonie Bremen, National Arts Centre Orchestra Ottawa and Scottish Chamber Orchestra. He continues his relationship with the Leipzig Gewandhausorchester with whom he will be joined by Maria João Pires to record Beethoven Piano Concertos for Deutsche Grammophon.

As a harpsichordist Pinnock gives solo recitals in Italy, Spain and the UK including the Wigmore Hall, London.

His Wigmore Live 2009 CD will be released in February and features works by Purcell, Handel and Haydn. He

has chamber music tours in Japan and Europe with flautist Emmanuel Pahud and cellist Jonathan Manson.

Their recording of Bach Flute Sonatas was released by EMI in October 2008 and recently won an Echo Klassik award.

Other chamber concerts this season include the programme Handel's Garden – musical seeds and cuttings with Friends and soprano Lucy Crowe in Germany, Austria and the Wigmore Hall, London.

In 2006 Pinnock founded the European Brandenburg Ensemble to celebrate his 60th birthday. Their recording of Bach’s Brandenburg Concertos on the Avie label was awarded a 2008 Gramophone prize.

In educational initiatives Pinnock continues his work with the Royal Academy of Music, London and gives masterclasses and performances with the University Mozarteum Salzburg and the Hong Kong Academy of Performing Arts.

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MARIA JOÃO PIRES

© Felix Broede/DG

PIANO

Maria João Pires was born on 23 July 1944 in Lisbon.

She gave her first public performance in 1948. In Portugal she studied with Campos Coelho and Francine Benoit, later continuing her studies in Germany with Rosl Schmid and Karl Engel.

Pires recorded with the Erato label for 15 years and subsequently, for the last 20 years, with Deutsche Grammophon. Her latest Chopin CD was released earlier this year.

Since 1970 Maria João Pires has dedicated herself to reflecting on the influence of art on life, community and education, and in trying to develop new ways of

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implementing pedagogic theories within society. She has researched new forms of communication that respect the development of the individual, as opposed to the destructive and materialistic logic of globalisation. In the last ten years she has held many workshops with students from all round the world. The most recent was held at the Karma Ling Institute in France, and in 2010 it is intended that she takes her philosophy and teaching to Sergipe in Brazil.

In 2005 she formed an experimental theatre, dance and music group, Art Impressions, and together they have produced two projects – ‘Transmissions’, and in 2007 ‘Schubertiade’.

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PROGRAMME NOTES

SPEEDREAD Sometimes it takes only a moment of clarity for a work of art to be born. For all its final polish, Mendelssohn’s Scottish Symphony first entered its composer’s head during a visit to the ruins of Holyrood Palace in Edinburgh, with its ghostly memories of Mary Queen of Scots; and Liszt found the inspiration for one of his strangest and most emotionally direct piano pieces (heard tonight in John Adams’s orchestration) in a

Franz LISZT

morbid vision of a Venetian gondola carrying away the body of his admired contemporary, Richard Wagner. In tonight’s concert these impressioned compositions are separated by Beethoven’s Third Piano Concerto, in which the composer at once acknowledged his Mozartian inheritance and found for the first time his true voice in the genre.

THE BLACK GONDOLA

1811-1886 orch. JOHN ADAMS (born 1947)

Adams’s orchestration of the second of two related piano pieces by Liszt entitled La lugubre gondola dates from 1989, midway between the two hugely successful operas Nixon in China and The Death of Klinghoffer. The original came from late in Liszt’s life, and was inspired, the composer said, by a premonition that had come to him while staying with Wagner in Venice at the end of 1882, in which his fellow composer had died and was being borne away in a black gondola. The piece is exceptionally bleak and spare, a world away from the flamboyant virtuoso creations of Liszt’s earlier years; mixing long unaccompanied lines with rocking chordal passages of great tragic weight, its ambivalent tonality and bitter beauty seem as much a foresight of the textures of the late Romantic avant-garde as of Wagner’s death. Yet Wagner did die a few weeks later, and perhaps it was the intensity of this whole

experience that led Liszt to revise and extend the work in 1885 to make the version which is more often heard now, and is the subject of Adams’s orchestration.

Adams has said that ‘the chiaroscuro of the phrasing and the swelling and receding of the long, sinuous themes seemed to call out for an orchestral treatment’, and indeed Liszt’s piece does seem to find new expressive contours in his hands. And despite Adams’s feeling that his orchestration ‘probably owes more to Wagner than Liszt’ (understandable given the music’s constant reminders of Tristan und Isolde), he also somehow manages to implant in what is already a remarkably prescient work suggestions of the soundworlds of two other late Romantic heavyweights: Mahler and Sibelius.

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PROGRAMME NOTES

Ludwig van BEETHOVEN

PIANO CONCERTO 3 IN C MINOR MARIA JOÃO PIRES piano Allegro con brio | Largo | Rondo: Allegro

1770-1827 By the time Beethoven published his first two, distinctly Mozartian piano concertos in 1801, he had long been at work on their successor, a piece he claimed was at ‘a new and higher level’. Yet it was not until April 1803 that he premièred it, at a concert in Vienna which also included the first performances of the Second Symphony and the oratorio Christ on the Mount of Olives. The concert was a moderate success, but even those critics who observed only that Beethoven’s playing was rather disappointing must have noticed that the concerto was a more sophisticated, original and weighty piece than its predecessors. Indeed, it is a work which clearly reflects the changes occurring in the composer’s style as he moved from early-period promise and brilliance to middle-period mastery and increasing individuality.

Beethoven’s musical personality is stamped all over the Third Piano Concerto, most unmistakably in its choice of key. Almost from the beginning of his composing career, Beethoven had turned to C minor to express some of his stormiest sentiments, and by the time of this concerto he had already written several powerful and heroic works in that key, including the famous Pathétique Piano Sonata. Ironically, the inspiration for this most recognisable of Beethovenian emotional colourings was probably Mozart, whose C minor Fantasy and Sonata for solo piano (K475/457) and Piano Concerto 24, K491, provide clear anticipations of Beethoven’s C minor mood. Mozart’s concerto, a work Beethoven is known to have admired, also appears to have provided some formal pointers.

That model is acknowledged in the opening bars, where, as in the Mozart, a quiet theme is stated by the strings in unison. This is the start of what turns out to be an unusually long orchestral exposition, but after an assertive entry it is the soloist who delineates the

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movement’s formal scheme, as climactic trills and precipitous downward scales noisily signal the respective arrivals of the central development section (characterised by meltingly flowing piano octaves and a deliciously exotic G minor statement of the opening theme), the vital return to the opening theme in the home key, and the tumultuous preparation for the solo cadenza. Normally in a concerto of this date, the soloist would not play after the cadenza, leaving it instead to the orchestra to wrap up the first movement; Beethoven, taking his lead again from Mozart, brings it back to be the prompter of an atmospheric coda.

The slow movement contains what is perhaps the most dramatically effective moment in the whole Concerto, and it comes in the very opening piano chord.

Beethoven was always an adventurous explorer of keyrelationships, but to pitch this meditative Largo in E major, thereby sending the music in a moment into a distant and rarefied realm is a coup de théâtre which will touch even those who think they know nothing of keys and harmonies. The music itself has a summerafternoon drowsiness and warmth which puts one in mind of the Pastoral Symphony, its loving nature epitomised by the central section’s piano arpeggios, caressingly accompanying a drawn-out dialogue between flute and bassoon.

The work ends with a Rondo, joyfully returning us to C minor, though not without a few diversions, including an episode resembling a Mozart wind serenade, a short fugue, and another typically toe-warming Beethovenian key-shift as the main theme briefly re-acquaints us with the world of E major. Finally, with the end in sight and the listener thinking there can be no more surprises, a grand piano flourish heralds a switch to C major, and a cheekily altered-rhythm version of the theme to finish.

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PROGRAMME NOTES

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

Felix MENDELSSOHN

SYMPHONY 3 IN A MINOR (SCOTTISH) Andante con moto – Allegro un poco agitato – Assai animato – Andante come prima | Vivace non troppo – | Adagio – | Allegro vivacissimo – Allegro maestoso assai

1809-1847 There is little disputing that Mendelssohn was among the most classically-minded composers of the Romantic era. Yet although he never relinquished his concern for formal clarity and balance, he was not afraid to push at the envelope, and, within certain limits, be innovative; indeed, his instrumental compositions are those of a man constantly questing for new solutions to problems inherent in existing forms. At the same time he was not immune to the kinds of extra-musical stimuli that affected his more overtly Romantic colleagues; brought up in a cultured family environment, from an early age he drew musical inspiration from Shakespeare and Goethe, and from landscape, legend and history.

Perhaps few among his works accommodate the competing compositional interests of formal logic and evocative pictorialism more comfortably than the Scottish Symphony.

Its inspiration lies in one of the great obsessions of the early Romantic imagination: the grey mists and mountains of Scotland. Mendelssohn himself had read the novels of Sir Walter Scott, and would also have known the ancient bardic poems of ‘Ossian’ (actually eighteenth-century fakes), so it is not hard to guess the kind of scene he was looking for when he arrived in Scotland for a holiday in July 1829. He found it too. After

visiting the ruined royal palace of Holyrood, in Edinburgh, he wrote to his family: ‘In the deepening twilight we went today to the palace where Queen Mary lived and loved… The nearby chapel is now roofless, overgrown with grass and ivy, and at the broken altar Mary was crowned Queen of Scotland.

Everything is broken and decayed, and the bright sky shines in. I believe that today I have found the beginning of my Scottish Symphony.’

Few symphonies have their moment of inspiration so precisely recorded, yet having sketched the opening bars Mendelssohn set this one aside, and it was left to the Hebrides Overture, completed in 1832, to stand as his most immediate response to the Scottish experience. By then he had fallen under another picturesque influence, caused by a visit to Italy which, he said, made it ‘impossible to return to my misty Scottish mood’; another symphony, the Italian (No. 4) now occupied him, and it was not until 1842 that he finally completed the Scottish. Mendelssohn conducted the première in Leipzig in March of the following year, and brought it to London three months later. In 1844 it was published with a dedication to another Scotland-lover – Queen Victoria.

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PROGRAMME NOTES

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RECORDINGS ON THE LONDON PHILHARMONIC ORCHESTRA’S OWN RECORD LABEL

The Symphony opens with a lengthy slow introduction in which the Holyrood theme conjures a gloomy and romantic mood, and it is largely on a restlessly lilting transformation of this that the subsequent main body of the movement is based – indeed, several of the themes which occur in later movements are related to this opening theme. Throughout the first movement stormy episodes (reminders of rough seas and bad weather no doubt) mingle with calmer passages, but despite the opportunities presented by a robust central development section, it is in the long coda that the tempest really breaks. The movement ends, however, with an atmospheric return to the music of the introduction.

Mendelssohn indicated that the four movements of the Scottish should be played without a break, and thus it is that the second creeps in almost before you can notice it. Effectively a scherzo (though untypically in duplerather than triple-time), it is also the most overtly ‘Scottish’ music of the whole symphony. Yet, while it is clearly suggestive of folk merriment, there are also reminders here of that magical and unique elf-world which Mendelssohn had already explored in the Midsummer Night’s Dream overture and numerous other works besides. The movement is brief, however, and soon we find ourselves in the Adagio, a yearningly beautiful movement in which a wistful song-melody is several times beset by passages of Schubertian menace before ultimately winning through, relatively unscathed.

Mendelssohn gave the finale an additional performance indication of Allegro guerriero – fast and warlike – and if it does not seem to be exactly battle music, we can suppose that it reflects memories of another sight that impressed him, that of Highlanders in resplendent costume. The movement is full of ingeniously contrasted and combined themes, but the composer chooses to end not with a grand swirling climax, but rather, having slowed the music down, with a final, warmly comforting transformation of the ‘Holyrood’ theme. Thus, for all the work’s conscious Scottish-isms, is formal coherence effortlessly maintained.

Programme notes © Lindsay Kemp

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LPO-0011 Eduard van Beinum conducts Arnold, Mahler, Beethoven, Brahms and Elgar ‘The immediacy of the performances is electrifying.

You’ll search hard to find a fresher approach to Mahler’s Songs of a Wayfarer, or the precision Beinum gets from Beethoven’s Leonore No 1 and Brahms’s Haydn Variations.’

KENNETH WALTON, THE SCOTSMAN, 16 JANUARY 2006

LPO-0026 Klaus Tennstedt conducts Beethoven’s Symphony 9 with Lucia Popp, Ann Murray, Anthony Rolfe Johnson, René Pape and the London Philharmonic Choir ‘The other jewel is Tennstedt’s Beethoven: Ninth Symphony ... showcasing the LPO’s intuitive relationship with its late lamented German chief.’

ANDREW CLARK, FINANCIAL TIMES, 27 OCTOBER 2007

The recordings may be downloaded in high quality MP3 format from www.lpo.org.uk/shop. They may also be purchased from all good retail outlets or through the London Philharmonic Orchestra: telephone 020 7840 4242 (Mon-Fri 10am-5pm) or visit the website www.lpo.org.uk

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LPO Contemporaries

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WELCOME TO SOUTHBANK CENTRE

We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.

The London Philharmonic Orchestra is delighted to announce that on Saturday 24 October 2009 it will launch its new LPO Contemporaries membership programme for the next generation of arts supporters.

Created for London’s dynamic young professionals, LPO Contemporaries will provide an opportunity for culturally inquisitive people in their 20s and 30s to belong to an exclusive group with the London Philharmonic Orchestra at its heart.

A specially selected LPO Contemporaries subscription series will be complemented by bespoke events hosted by the Orchestra and its cultural partners across London. Performances, exhibitions and talks, combined with coffees, cocktails and dinners will offer LPO Contemporaries a relaxed environment to mingle with musicians, artists, and other like-minded professional Londoners.

LPO Contemporaries will be launched at the Orchestra’s concert on 24 October at Southbank Centre’s Royal Festival Hall, featuring the Orchestra’s Principal Guest Conductor Yannick Nézet-Séguin and British percussion soloist Colin Currie. Guests will enjoy excellent seats for the concert, a private drinks reception and post concert party, as well as the chance to meet the soloist and conductor on the evening.

Eating, drinking and shopping? Southbank Centre shops and restaurants include: MDC music and movies, Foyles, EAT, Giraffe, Strada, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffé Vergnano 1882, Skylon and Feng Sushi, as well as cafes, restaurants and shops inside the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery.

If you wish to get in touch with us following your visit please contact our Head of Customer Relations at Southbank Centre, Belvedere Road, London SE1 8XX, by phone on 020 7960 4250 or by email at customer@southbankcentre.co.uk We look forward to seeing you again soon.

A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre.

Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended MOBILES, PAGERS AND WATCHES should be switched off before the performance begins

To receive an invitation to the launch event or to become a member, contact Anna Gover by telephone on 020 7840 4225 or email anna.gover@lpo.org.uk For more information visit www.lpo.org.uk/lpocontemporaries

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Leonidas Kavakos: An Artist in Focus Greek violinist Leonidas Kavakos, world renowned for his virtuosity and musicianship, performs in four concerts specially created for Southbank Centre with: Wednesday 25 November 2009

Sunday 29 November 2009

LONDON PHILHARMONIC ORCHESTRA Vladimir Jurowski conductor

NICHOLAS ANGELICH piano

Webern, Lindberg, Berg, Schnittke Saturday 28 November 2009

CAMERATA SALZBURG* Lutosławski, Bach, Mozart

Bach, Schumann, Bartók, Enescu Tuesday 1 December 2009 String and piano trios featuring: Antoine Tamestit viola Gautier Capuçon cello Nikolai Lugansky piano Rodion Shchedrin, Schnittke, Tchaikovsky

Tickets www.southbankcentre.co.uk/kavakos *Camerata Salzburg appear as part of Shell Classic International

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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 Mr & Mrs Richard & Victoria Sharp Julian & Gill Simmonds Mrs Steven Ward Simon Yates & Kevin Roon Garf & Gill Collins David & Victoria Graham Fuller Richard Karl Goeltz John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Eric Tomsett Guy & Utti Whittaker Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berril Desmond & Ruth Cecil Mr John H Cook Andrew Davenport Mrs Sonja Drexler Mr Charles Dumas David Ellen Commander Vincent Evans

Mr Daniel Goldstein Mrs Barbara Green Mr Ray Harsant Oliver Heaton Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Edgecombe Mr Richard Fernyhough Ken Follett Michael & Christine Henry

Mr Glenn Hurstfield Mr R K Jeha Mr & Mrs Maurice Lambert Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh Ms Sarah Needham Mr & Mrs Egil Oldeide Edmund Pirouet Mr Michael Posen Mr Peter Tausig Mrs Kazue Turner Lady Marina Vaizey Mr D Whitelock Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged.

Corporate Members Gold Deloitte & Touche Silver British American Business Man Group plc Bronze Appleyard & Trew llp Charles Russell Destination Québec – UK Diagonal Consulting Lazard Leventis Overseas Québec Government Office in London Corporate Donors Lombard Street Research Redpoint Energy Limited In-kind Sponsors Heineken Lindt & Sprüngli Ltd Sela Sweets Ltd

The United Grand Lodge of England Villa Maria Education Partners Lambeth City Learning Centre London Borough of Lambeth Southwark EiC Trusts and Foundations Adam Mickiewicz Institute Allianz Cultural Foundation The Bernard Sunley Charitable Foundation Borletti-Buitoni Trust The Candide Charitable Trust The John S Cohen Foundation The Coutts Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund The Emmanuel Kaye Foundation The Equitable Charitable Trust The Eranda Foundation The Ernest Cook Trust The Fenton Arts Trust

The Foyle Foundation Garfield Weston Foundation The Henry Smith Charity The Idlewild Trust John Lyon’s Charity John Thaw Foundation The Jonathan & Jeniffer Harris Trust The Sir Jules Thorn Charitable Trust Lord Ashdown Charitable Settlement Marsh Christian Trust Maurice Marks Charitable Trust Maxwell Morrison Charitable Trust The Michael Marks Charitable Trust Musicians Benevolent Fund Paul Morgan Charitable Trust The R K Charitable Trust Ruth Berkowitz Charitable Trust The Samuel Sebba Charitable Trust Sergei Rachmaninoff Foundation Stansfield Trust The Underwood Trust and others who wish to remain anonymous.

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Isobel Timms

PHILHARMONIC NEWS

Foyle Future Firsts 2009/10 The London Philharmonic Orchestra is delighted to introduce its new Foyle Future Firsts who were selected last month for the 2009/10 season.

Foyle Future Firsts is the London Philharmonic Orchestra’s training programme for outstanding young musicians about to embark on a professional music career. Now in its sixth year, the programme selects the very best young orchestral musicians from around the UK, giving them the opportunity to work closely with the London Philharmonic Orchestra and a range of international conductors and soloists for a full year.

The Foyle Future Firsts benefit from individual lessons and mentoring from London Philharmonic Orchestra principals, training seminars on audition technique and workshop skills, opportunities to join the Orchestra in rehearsal, work with the Orchestra’s Education and Community Department, and the chance to perform together at Southbank Centre. Their Queen Elizabeth Hall concert this season takes place on Friday 14 May 2010 at 7.30 in a programme conducted by Clement Power which includes works by Ravel, Stravinsky and Richard Strauss.

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The group came together for the first time at one of the rehearsals for our Mahler 2 performances last month.

Pictured at the Henry Wood Hall are: (back row, left to right) – Joanna Stark bassoon, Andrei Simion cello, Artem Kotov violin, Damián Rubido González double bass, Will Oinn oboe, Andy White trombone, Carl Woodcroft tuba, James Burke clarinet, and (front row, left to right) – Michele Gamba piano, Laura Pou flute, Sarah Cresswell percussion, Jennifer Edwards viola, Tiffany Stirling horn and Lisa Obert violin. Missing from the photograph were Lucy Leleu trumpet and Stephanie Beck harp.

For more details and to find out how music graduates and post graduate students can apply to join the scheme next season, visit the website www.lpo.org.uk/education/futurefirsts.html The Orchestra is grateful to The Foyle Foundation, principal funder of this scheme, and to the following organisations for their additional support: Coutts Charitable Trust, The D’Oyly Carte Charitable Trust, The Eranda Foundation, The Fenton Arts Trust and Musicians Benevolent Fund.

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ADMINISTRATION

BOARD OF DIRECTORS

GENERAL ADMINISTRATION

Martin Höhmann Chairman Stewart McIlwham Vice-Chairman Sue Bohling Simon Carrington Lord Currie* Jonathan Dawson* Anne McAneney George Peniston Sir Bernard Rix* Kevin Rundell Sir Philip Thomas Sir John Tooley* The Rt Hon. Lord Wakeham DL* Timothy Walker AM †

Timothy Walker AM † Chief Executive and Artistic Director

*Non-Executive Directors

THE LONDON PHILHARMONIC TRUST Pehr Gyllenhammar Chairman Desmond Cecil CMG Sir George Christie CH Richard Karl Goeltz Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann Angela Kessler Clive Marks OBE FCA Victoria Sharp Julian Simmonds Dr John Viney Timothy Walker AM † Laurence Watt Simon Yates AMERICAN FRIENDS OF THE LONDON PHILHARMONIC ORCHESTRA, INC. We are very grateful to the Board of the American Friends of the London Philharmonic Orchestra for its support of the Orchestra’s activities in the USA. PROFESSIONAL SERVICES Charles Russell Solicitors Deloitte & Touche Auditors Dr Louise Miller Honorary Doctor

Alison Atkinson Digital Projects Manager Julius Hendriksen Assistant to the Chief Executive and Artistic Director FINANCE David Burke Finance Director David Greenslade Finance and IT Manager Joshua Foong Finance Officer

EDUCATION AND COMMUNITY PROGRAMME

ARCHIVES Edmund Pirouet Consultant

Matthew Todd Education and Community Director

Philip Stuart Discographer

Anne Newman Education Officer

Gillian Pole Recordings Archive

Isobel Timms Community Officer

INTERN

Alec Haylor Education and Community Assistant

Christina Hickman Marketing

Richard Mallett Education and Community Producer

LONDON PHILHARMONIC ORCHESTRA 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242

DEVELOPMENT

CONCERT MANAGEMENT

Emma O’Connell Development Director

Ruth Sansom Artistic Administrator

Phoebe Rouse Corporate Relations Manager

Graham Wood Concerts, Recordings and Glyndebourne Manager

Sarah Tattersall Corporate Relations and Events Manager

Alison Jones Concerts Co-ordinator

Anna Gover Charitable Giving Officer

Hattie Garrard Tours and Engagements Manager

Melissa Van Emden Corporate Relations and Events Officer

Camilla Begg Concerts and Tours Assistant

MARKETING

Matthew Freeman Recordings Consultant ORCHESTRA PERSONNEL Andrew Chenery Orchestra Personnel Manager Sarah Thomas Librarian

Kath Trout Marketing Director Janine Howlett Marketing Manager Brighton, Eastbourne, Community & Education

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

Photographs of Liszt, Beethoven and Mendelssohn courtesy of the Royal College of Music, London.

Photograph on the front cover

by Benjamin Ealovega.

Programmes printed by Cantate.

Frances Cook Publications Manager

Michael Pattison Stage Manager

Samantha Kendall Box Office Administrator (Tel: 020 7840 4242)

Hannah Tucker Assistant Orchestra Personnel Manager

Heather Barstow Marketing Co-ordinator

Ken Graham Trucking Instrument Transportation (Tel: 01737 373305)

www.lpo.org.uk Visit the website for full details of London Philharmonic Orchestra activities.

Valerie Barber Press Consultant (Tel: 020 7586 8560) †Supported by Macquarie Group

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FUTURE CONCERTS AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL

Saturday 24 October 2009 | 7.30pm Rautavaara Incantations (world première) Bruckner Symphony 8

Christoph Eschenbach and Petra Lang

Yannick Nézet-Séguin conductor Colin Currie percussion 6.15pm | Royal Festival Hall FREE Pre-Concert Event Colin Currie demonstrates sections of Rautavaara’s Incantations.

Wednesday 4 November 2009 | 7.30pm Wagner Overture, Tannhäuser Wagner Wesendonk-Lieder Bruckner Symphony 6 Christoph Eschenbach conductor Petra Lang mezzo soprano

Yannick NézetSéguin and Colin Currie

Wednesday 28 October 2009 | 7.30pm Scriabin Rêverie Scriabin Piano Concerto Wagner (arr. de Vlieger) The Ring, an Orchestral Adventure Neeme Järvi conductor Yevgeny Sudbin piano 6.15pm | Royal Festival Hall FREE Pre-Concert Event Musicologist John Deathridge introduces the elements of Wagner’s Ring Cycle that appear in this evening’s performance.

Yutaka Sado and Denis Matsuev

JTI Friday Series | Friday 6 November 2009 | 7.30pm Verdi Overture, La forza del destino Tchaikovsky Piano Concerto 1 Dvo˘rák Symphony 9 (From the New World) Yutaka Sado conductor Denis Matsuev piano

TO BOOK Tickets £9-£38 / Premium seats £55 Neeme Järvi and Yevgeny Sudbin

JTI Friday Series | Friday 30 October 2009 | 7.30pm Prokofiev Classical Symphony Rachmaninoff Piano Concerto 2 Tchaikovsky Symphony 4 Alexander Vedernikov conductor Piers Lane piano

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London Philharmonic Orchestra Ticket Office 020 7840 4242 | www.lpo.org.uk Mon-Fri 10am-5pm; no booking fee Southbank Centre Ticket Office | 0844 847 9920 www.southbankcentre.co.uk/lpo Daily, 9am-8pm. £2.50 telephone / £1.45 online booking fees; no fee for Southbank Centre members