LPO concert programme: 16 Mar 2022 - Richard Goode plays Mozart (cond. Jukka-Pekka Saraste)

2021/22 concert season at the Southbank Centre’s Royal Festival Hall

Concert programme

Principal Conductor Edward Gardner supported by Aud Jebsen Principal Guest Conductor Karina Canellakis Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG Artistic Director Elena Dubinets Chief Executive David Burke Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Wednesday 16 March 2022 | 7.30pm

Richard Goode plays Mozart Valentin Silvestrov Symphony No. 4, for brass instruments and strings (28’) Mozart Piano Concerto No. 25 in C major, K503 (30’) Interval (20’) Sibelius Symphony No. 1 in E minor, Op. 39 (38’) Jukka-Pekka Saraste conductor Richard Goode piano

The originally advertised conductor, David Zinman, has had to withdraw from this evening’s concert owing to ill health. We are very grateful to Jukka-Pekka Saraste for stepping in at short notice. Please also note the resulting change to the originally advertised programme.

The timings shown are not precise and are given only as a guide.

CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 3 4 6 7 8 11 12 13 14 16

Welcome LPO news On stage tonight London Philharmonic Orchestra Jukka-Pekka Saraste Richard Goode Programme notes Recommended recordings New on the LPO Label: Jessye Norman sings Strauss Next concerts Sound Futures donors Thank you LPO administration

London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Welcome to the Southbank Centre

LPO news LPO Junior Artists: Applications open for 2022/23

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We look forward to seeing you again soon.

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A few points to note for your comfort and enjoyment:

be from a background that is currently underrepresented in professional UK orchestras play an orchestral instrument at Grade 8 standard or above be aged 15–19 on 1 September 2022 be thinking of studying music beyond school

The deadline for applications is 5pm on Friday 22 April 2022. Visit lpo.org.uk/juniorartists to find out more.

Photography is not allowed in the auditorium.

Latecomers will only be admitted to the auditorium if there is a suitable break in the performance.

You can hear our talented 2021/22 LPO Junior Artists perform alongside LPO players and Foyle Future First musicians at a free pre-concert event on the Royal Festival Hall stage at 6.00pm on Wednesday 13 April.

Conducted by Gabriella Teychenné, the programme includes music by Delius, Bartók, Bizet, and a new commission by Geoffrey King.

Recording is not permitted in the auditorium without the prior consent of the Southbank Centre. The Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended.

Mobiles and watches should be switched off before the performance begins.

New on the LPO Label: Jessye Norman sings Strauss

Enjoyed tonight’s concert?

Help us to share the wonder of the LPO by making a donation today. Use the QR code to donate via the LPO website, or visit lpo.org.uk/donate. Thank you.

The latest release on our LPO Label is an album of works

by Richard Strauss featuring the late Jessye Norman.

Conducted by Klaus Tennstedt at the Royal Festival Hall in 1986, this live recording captured the extraordinary soprano in the prime of her career.

It features five of Strauss’s songs and the Dance of the Seven Veils and Closing Scene from Salome, as well as the orchestral suite Le bourgeois Gentilhomme.

The album is available now to stream or download, or to purchase on CD from all good retailers.

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

On stage tonight First Violins

Pieter Schoeman* Leader

Chair supported by Neil Westreich

Vesselin Gellev Sub-Leader Kate Oswin Chair supported by Friends of the Orchestra

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Yang Zhang

Chair supported by Eric Tomsett

Katalin Varnagy

Chair supported by Sonja Drexler

Gavin Davies Martin Höhmann

Chair supported by Chris Aldren

Rasa Zukauskaite Thomas Eisner Joseph Devalle Jamie Hutchinson Ronald Long Alice Hall Ruth Schulten

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Nynke Hijlkema Joseph Maher Nancy Elan Marie-Anne Mairesse Erzsébet Rácz Fiona Higham Chair supported by David & Yi Buckley

Sarah Thornett Kate Birchall Sioni Williams Emma Crossley Kate Cole

Violas

Flutes

David Quiggle Principal Richard Waters Co-Principal

Charlotte Ashton Guest Principal

Stewart McIlwham*

Chair supported by Caroline, Jamie & Zander Sharp

Ting-Ru Lai Benedetto Pollani Katharine Leek Laura Vallejo Alistair Scahill Stanislav Popov Martin Wray Joseph Fisher Raquel López Bolivar Julia Kornig

Piccolos

Stewart McIlwham* Principal

Charlotte Ashton

Oboes

Ian Hardwick* Principal Alice Munday

Clarinets

Cellos

Benjamin Mellefont Principal Thomas Watmough

Kristina Blaumane Principal

Chair supported by Roger Greenwood

Chair supported by Bianca & Stuart Roden

Leonardo Sesenna Pei-Jee Ng Co-Principal

Bassoons

Chair supported by The Candide Trust

Gareth Newman Principal Emma Harding

Francis Bucknall Laura Donoghue David Lale Gregory Walmsley Susanna Riddell Helen Thomas George Hoult

Horns

John Ryan* Principal James Pillai Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison

Double Basses

Kevin Rundell* Principal Sebastian Pennar

Trumpets

Paul Beniston* Principal Ruth Shaddock Kaitlin Wild

Co-Principal

Hugh Kluger George Peniston Tom Walley

Trombones

Mark Templeton* Principal Chair supported by William & Alex de Winton

David Whitehouse

Bass Trombone

Lyndon Meredith Principal

Timpani

Simon Carrington* Principal Chair supported by Victoria Robey OBE

Percussion

Andrew Barclay* Principal

Chair supported by Gill & Garf Collins

Keith Millar

Harp

Rachel Masters Principal * Holds a professorial appointment in London

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Dr Barry Grimaldi Sir Simon Robey

Chair supported by William & Alex de Winton

Lowri Morgan Charlotte Kerbegian Adam Wynter

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

© Mark Allan

London Philharmonic Orchestra

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years.

The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World.

It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download.

Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski; a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult; and works by Richard Strauss under Klaus Tennstedt, featuring soprano Jessye Norman.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur.

In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21.

Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential.

Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020.

From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

© Benjamin Ealovega

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance.

Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall.

As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer.

The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras.

Pieter’s chair in the LPO is generously supported by Neil Westreich.

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Jukka-Pekka Saraste conductor

experience to the next generation of conductors from all around the world. The second edition of the festival took place in the summer of 2021.

© Felix Broede

Jukka-Pekka Saraste’s guest engagements have led him to the major orchestras worldwide including the London Philharmonic Orchestra, Philharmonia Orchestra, Gewandhausorchester Leipzig, Munich Philharmonic, Sächsische Staatskapelle Dresden, Bavarian Radio Symphony Orchestra, Royal Concertgebouw Orchestra, Rotterdam Philharmonic Orchestra, Vienna Symphony, NHK Symphony Orchestra, Orchestre de Paris and the leading Scandinavian orchestras. In North America, he has conducted the Cleveland Orchestra, Boston Symphony, Chicago Symphony, San Francisco Symphony, Pittsburgh Symphony, Los Angeles Philharmonic, Detroit Symphony, New York Philharmonic and Orchestre Symphonique de Montréal.

Jukka-Pekka Saraste has established himself as one of the outstanding conductors of his generation, demonstrating remarkable musical depth and integrity.

Born in Heinola, Finland, he began his career as a violinist before training as a conductor with Jorma Panula at the Sibelius Academy. He maintains a strong connection to the works of Beethoven, Bruckner, Shostakovich, Stravinsky and Sibelius, and is internationally celebrated for his interpretations of Mahler.

In recent years, Jukka-Pekka Saraste has developed a strong profile in operatic repertoire. Following concert performances of Stravinsky’s Oedipus Rex, Schoenberg’s Erwartung and Bartók’s Bluebeard’s Castle, he conducted new productions of Mendelssohn’s Elijah in Vienna and Korngold’s Die tote Stadt at the Finnish National Opera. In the 2020/21 season, he conducted a new production of Aribert Reimann’s Lear at the Bayerische Staatsoper.

From 2010–19 Jukka-Pekka Saraste served as Chief Conductor of the WDR Sinfonieorchester in Cologne.

During his tenure the orchestra built a reputation both at home and abroad, touring Austria, Spain, the Baltics and Asia. The symphonic cycles of Sibelius, Brahms and Beethoven were exceptionally well-received. From 2006–13 Jukka-Pekka Saraste was Music Director and Chief Conductor of the Oslo Philharmonic Orchestra, and was subsequently appointed Conductor Laureate.

Earlier positions include the principal conductorships of the Scottish Chamber Orchestra, Toronto Symphony Orchestra and Finnish Radio Symphony Orchestra, where he is now Conductor Laureate. He also served as Principal Guest Conductor of the BBC Symphony Orchestra and Artistic Advisor of the Lahti Symphony Orchestra. He founded the Finnish Chamber Orchestra, where he remains Artistic Advisor.

Saraste’s extensive discography includes Sibelius’s Symphony No. 5, Pohjola’s Daughter and Lutosławski’s Concerto for Orchestra on the LPO’s own label (LPO0057), as well as the complete symphonies of Sibelius and Nielsen with the Finnish Radio Symphony Orchestra and several recordings with the Toronto Symphony Orchestra for Warner Finlandia. His CDs with the WDR Sinfonieorchester for Hänssler include Schoenberg’s Pelleas und Melisande, Stravinsky’s Le Rossignol and Brahms’s complete symphonies, as well as symphonies

by Mahler and Bruckner and a complete cycle of Beethoven’s symphonies.

Most recently, Jukka-Pekka Saraste is a founding member of the LEAD! Foundation, a mentorship programme for young conductors and soloists based in Finland. In 2020 it created the Fiskars Summer Festival, an international platform for both Finnish and international artists to pass on their knowledge and

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Richard Goode piano

Goode has performed as soloist with most of the major orchestras across the US and many across Europe; recent highlights have included debuts with the Oslo Philharmonic and the Deutsche Kammerphilharmonie, and returns to the New York Philharmonic and Los Angeles Philharmonic orchestras, the Orchestre National du Capitole de Toulouse and the Cleveland Orchestra.

© Steve Riskind

Richard Goode has made more than two dozen recordings over the years, ranging from solo and chamber works to Lieder and concertos. His latest recording, of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer, was released in 2009 to exceptional critical acclaim, described as ‘a landmark recording’ by The Financial Times and nominated for a Grammy award. His 1993 10-CD set of the complete Beethoven sonatas cycle, the first ever by an American-born pianist, was nominated for a Grammy and chosen for the Gramophone Good CD Guide, and was re-released in 2017. Other recording highlights include a series of Bach Partitas, a duo recording with Dawn Upshaw, and Mozart Piano Concertos with the Orpheus Chamber Orchestra.

Richard Goode has been hailed for music-making of tremendous emotional power, depth and expressiveness, and is recognised worldwide as one of today’s leading interpreters of classical and romantic music. An exclusive Nonesuch artist, Goode is a regular performer in major recital halls and festivals across Europe and the US, and performs as soloist with the world’s finest orchestras. In a recent season, The Daily Telegraph wrote: ‘There are brilliant young things among pianists, and there are wise old birds, who show their wisdom naturally in everything they do, without grandstanding or elaborate highlighting of details.

Richard Goode is one of the latter sort.’

A native of New York, Richard Goode studied with Nadia Reisenberg at the Mannes College of Music and with Rudolf Serkin at the Curtis Institute. His numerous prizes over the years include the Young Concert Artists Award, First Prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award. His first public performance of the complete cycle of Beethoven sonatas at New York’s 92Y in 1987/88 was hailed by The New York Times as ‘among the season’s most important and memorable events’ and was later performed with great success at the Southbank Centre’s Queen Elizabeth Hall in 1994 and 1995.

In recital, Goode performs each season at London’s Wigmore Hall and in major music centres across Europe, which in recent seasons have included Paris, Lyon, Verbier, Amsterdam, Budapest, Madrid and Stockholm, amongst others, and he has been a regular performer over the years at the Edinburgh International Festival, Kissinger Sommer and Pianos aux Jacobins in Toulouse. Recent highlights include his debut with the Berlin Radio Symphony Orchestra under Vladimir Jurowski and an appearance at the Sommets Musicaux de Gstaad Festival, as well as a recital tour across Italy and a UK festivals tour, finishing with a return to the Oxford Piano Festival in the summer of 2020.

Richard Goode is also a highly respected teacher and mentor of young musicians, and holds the position of International Chair of Piano Studies at London’s Guildhall School of Music & Drama, Visiting Professor at the Royal Academy of Music, and is on the faculty at Mannes College in New York. He frequently leads masterclasses at some of the world’s most prestigious institutions, including at the Manhattan School of Music, the Verbier Festival Academy, and in the public masterclass series at Wigmore Hall.

In the US, Goode performs in all the major cities and in 2019/20 appeared in recital at the Philadelphia Chamber Music Society, in New York at Tisch Center for the Arts, in Boston, San Francisco, Atlanta, Houston, and in Canada in Montreal and Toronto.

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Programme notes Valentin Silvestrov born 1937

Symphony No. 4 in one movement, for brass instruments and strings 1976

For the last few decades Valentin Silvestrov has been the leading figure in Ukrainian music, moving from controversial marginal status to a central position and, since the break-up of the Soviet Union, to increasing international recognition. Almost alone among major ex-Soviet composers of his generation, Silvestrov has kept his main base in his native land, where he had also studied and developed his highly individual musical language.

That generation, born in the 1930s, boasted some extraordinary talents. Yet it also carried heavy burdens.

In the 1960s and early 70s, when Shostakovich was composing his increasingly lugubrious late works, Alfred Schnittke and Sofia Gubaidulina in Russia, Arvo Pärt in Estonia, Giya Kancheli in Georgia and Valentin Silvestrov in Ukraine were all exploring previously forbidden stylistic directions, against the background of continuing suspicion and hostility on the part of the cultural apparat.

Particularly after Shostakovich’s death in 1975, in an atmosphere of greater tolerance combined with general institutional decay, it fell to those same composers to reintegrate the ethical aspirations of Soviet music with the formerly taboo trappings of Western modernism, which they did with an emphasis on overtly spiritual values in one form or other. As in the West, melody and consonant harmony were by now no longer disqualifications for ‘progressive’ status, and mixing past and present styles – commonly referred to as ‘polystylism’ – was becoming the norm rather than the exception. This produced a distinctive late-Soviet brand of musical post-modernism.

© ECM Music

In his student years from 1958–64 at Kiev Conservatoire, under the elder statesmen of Ukrainian music, Boris Lyatoshinsky and Levko Revutsky, Silvestrov absorbed the music of Webern, Scriabin and the new Polish school, whose influences he synthesized with a

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Programme notes Debussyian refinement of tone-colour. During the 1970s he increasingly added the idioms of 19th-century song to his palette, on the surface mirroring international trends towards the rehabilitation of romantic expressiveness. Except that in Silvestrov’s case, such consolingly familiar elements remain at a distance, registering as memory rather than reality, as objects of desire and longing rather than anything that can be owned and directly experienced. This is a world of experience treasured yet at the same time not fully possessable.

The music then passes through three further phases of gradual withdrawal, defined by tempo, texture and dynamics, respectively. The opening chords return, now agitated by closer proximity to the toccata idea.

This time they give way to an ecstatic violin solo, which rhapsodises over memories of the jagged quasi-toccata material and archaic-sounding chord progessions, all the while maintaining a sensation of controlled descent.

The brass now rematerialise, and with them the threatening vein of the toccata, released from its imprisonment in static reiterations.

Silvestrov himself strikingly dubbed his move away from edgy modernism towards the new euphony an ‘act of disarmament’. That terminology suggests a strand of cultural reflection in his creative personality, in particular concerning the nature of the symphony as a genre, within which he has composed nine numbered examples to date, as well as a number of concertante and vocal works with ‘symphony’ in the title. For Silvestrov, the Fourth Symphony of 1976 and the Fifth of 1980–82 are examples of symphonies composed, as it were, after the ‘death’ of the symphony. He even dubbed the latter a ‘post-symphony’. These works are dominated by the idea of cultural memory and by a longing for a beauty that used to be, or might have been, but is certainly no longer within reach. Both are cast as single-movement structures, and they unfold with the philosophical breadth of an Andrei Tarkovsky film scenario.

At its high-point, the Symphony’s opening chords are once again intoned, glowering and brass-dominated, after which the solo violin inaugurates another phase of upwards striving, the other strings now acting as a kind of echo chamber. The strings subside, to the same strains as those previously carried by the brass, giving the latter their cue to provoke renewed turbulence.

Now the music is caught up in violent upward surges, as though the waters depicted in the drowning scene in Berg’s Wozzeck are being lashed into a storm, out of which the brass loom, Neptune-like, from the waves, as if to take charge of the music’s destiny. A long, gloomy coda ensues, anchored to a rocking minor third that eventually dies away on a double bass harmonic.

Programme note © David Fanning

The Fourth Symphony, scored for strings and brass, is dedicated to the composer and harpsichordist Andrei Volkonsky, the pioneer of Soviet musical modernism in the Thaw years, who had emigrated to the West in 1973.

It opens with typically arresting chords – frozen, as it were, so as to allow other kinds of music to probe them and release their concealed melodies, initially in the form of downward-looping fragments. Out of the ensuing withdrawal into near-silence comes the ghost of a Prokofievian toccata-scherzo, curiously reminiscent of the doodling arpeggios of Philip Glass (whose mixedmedia opera Einstein on the Beach is an exact contemporary). The restless arpeggio writing here is marked agitato and clearly betokens anxiety. Above it a new melody, which had already shown signs of germinating in the opening section, struggles to be born.

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Programme notes Wolfgang Amadeus Mozart 1756–1791

Piano Concerto No. 25 in C major, K503 1786 Richard Goode piano 1 Allegro maestoso 2 Andante 3 Allegretto This is the last in the great series of piano concertos that Mozart composed in Vienna between 1784 and 1786, mostly for his own subscription concerts in Vienna; his remaining two piano concertos are one-offs from later years. Although the Concerto was probably begun in the winter of 1784/85, it was not completed, according to Mozart’s catalogue of his own works, until 4 December 1786. It was presumably performed at Mozart’s concert the following day, with the composer at the piano; he would have improvised the cadenza in the first movement, which explains why none has survived.

Tonight’s pianist, Richard Goode, plays his own cadenza this evening. As in all of Mozart’s Viennese concertos, the wind section plays a prominent part; and it is a substantial one, consisting of a flute and pairs of oboes, bassoons, horns and trumpets, with timpani.

trumpets; for the contrasting chromaticism (use of notes outside the standard major and minor scales) of many of its later ideas; and for some passages of closely worked counterpoint in the orchestra, and later also involving the soloist. This is part of the unusually intensive, ‘symphonic’ development of the main ideas of the movement, which provided more than a few hints for Beethoven in his piano concertos.

In the F major slow movement (scored without trumpets or drums), the woodwind instruments come more into the foreground; but it is still the soloist who dominates, with delicately decorative scales and arpeggios, and some striking wide leaps which suggest a kind of operatic super-soprano. The finale is a rondo, with an elegant main theme in gavotte time. The first of the three contrasting episodes is recapitulated as the third; the central one strikes out into different territory, with the woodwind gradually gathering to join the brilliant solo piano.

The work itself is equally substantial: in fact, it begins with the longest first movement in any of Mozart’s concertos. This initial Allegro maestoso (‘majestic’) is notable for the military nature of its orchestral opening, with sharply dotted (long–short) rhythms and prominent

Programme note © Anthony Burton

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

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London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Programme notes Jean Sibelius 1865–1957

Symphony No. 1 in E minor, Op. 39 1898–99

1 Andante ma non troppo – Allegro energico 2 Andante ma non troppo lento 3 Scherzo. Allegro 4 Finale (Quasi una fantasia). Andante – Allegro molto Before Finlandia, there had been Sibelius’s First Symphony. Plenty of disgruntled Finns heard the first performance of the Symphony in April 1899 as a rallying cry against Russian occupation. But is that really how the composer conceived the piece?

In that gesture is another key to what made Sibelius’s symphonic conception so different – his response to the capabilities of the orchestra. The Germanic approach to developing a symphony’s conversation was largely about the notes; it could be mapped-out on a piano before being literally distributed to orchestral instruments on paper.

Yes and no. Initially, it was planned as a ‘storytelling’ symphony, focusing on Finland’s history and geology.

But seven years after the success of Sibelius’s Kullervo, based on Finnish folklore, friends were urging the composer to think more symphonically. What Finland needed, they said, was a symphony that stood its ground without recourse to storytelling.

Sibelius, meanwhile, allowed the character of his instruments to dictate the form and progress of his music. He let orchestral conversations and colours move the music forward, not just harmonic and melodic building blocks. That might have led the critic Ernest Newman to write that ‘every page of [the First Symphony] breathes of another manner of thought, another way of living, another landscape and seascape.’

In his student days in Vienna and Berlin, Sibelius had learned how to continuously shape and sand his musical themes, like a sculptor might, until they were fit for purpose. In the First Symphony, we begin to hear Sibelius handling his material in that distinctive way.

Newman wasn’t alone. The Finnish musicologist James Hepokoski has described the First Symphony as a work in a ‘stubbornly separatist, regionally resonant musical idiom’. We hear that best in Sibelius’s finale. The organic treatment of themes continues, but in the end, the tension created by Sibelius’s strange combination of energy against stasis throws up a rousing, hymn-like tune. It has the distinct character and shape of the rune songs through which Finnish folklore was recounted.

The First Symphony’s misty opening on a lonesome clarinet, for example, doesn’t just prepare us for the energetic shock of the movement’s fast Allegro that follows; it infiltrates the work’s musical ideas fully. The shape of that clarinet theme can be traced in numerous fragments and melodies right up to the Symphony’s final notes. The last movement launches with a transfigured version of it on thrusting strings.

Programme note © Andrew Mellor

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Next LPO concerts at the Southbank Centre’s Royal Festival Hall Bryn Terfel sings Brahms

Visions and Utterances

Saturday 19 March 2022

Wednesday 30 March 2022

Mendelssohn Overture: A Midsummer Night’s Dream Brahms Four Serious Songs, Op. 121 Schoenberg Pelleas und Melisande

Four UK premieres: Missy Mazzoli River Rouge Transfiguration Rebecca Saunders to an utterance, for piano and orchestra Mason Bates Liquid Interface George Walker Sinfonia No. 5 (Visions)

Edward Gardner conductor Bryn Terfel bass-baritone Generously supported by Victoria Robey OBE

Movie Legends Friday 25 March 2022 Howard Shore The Lord of the Rings: The Fellowship of the Ring for Symphony Orchestra and Chorus Danny Elfman Percussion Concerto (world premiere) Danny Elfman Batman Suite Danny Elfman Alice in Wonderland Suite Ludwig Wicki conductor Colin Currie percussion Grace Davidson soprano London Philharmonic Choir

Edward Gardner conductor Nicolas Hodges piano With the support of Part of the Southbank Centre’s SoundState festival

A German Requiem Saturday 2 April 2022 L Boulanger Psalm 129 Messiaen Le tombeau resplendissant Brahms A German Requiem Edward Gardner conductor Christiane Karg soprano Roderick Williams baritone London Philharmonic Choir The Rodolfus Choir

Book online lpo.org.uk Ticket Office 020 7840 4242

London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Sound Futures donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign.

Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over.

For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix

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David Ross & Line Forestier (Canada) Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year.

Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle

Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael In memory of Mrs Rita Reay Sir Simon & Lady Robey OBE

Orchestra Circle

The Candide Trust William & Alex de Winton Aud Jebsen Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates

Anonymous donors Mrs Irina Andreeva In memory of Len & Edna Beech Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

Gold Patrons

An anonymous donor Chris Aldren David & Yi Buckley David Burke & Valerie Graham David & Elizabeth Challen

In memory of Allner Mavis Channing Sonja Drexler The Vernon Ellis Foundation Peter & Fiona Espenhahn Marie-Laure Favre-Gilly de Varennes de Beuill Mr Roger Greenwood Malcolm Herring John & Angela Kessler Dame Theresa Sackler Scott & Kathleen Simpson Eric Tomsett Andrew & Rosemary Tusa The Viney Family Guy & Utti Whittaker

Silver Patrons

Mrs A Beare The Rt Hon. The Lord Burns GCB Bruno De Kegel Jan & Leni Du Plessis Ulrike & Benno Engelmann Simon & Meg Freakley Pehr G Gyllenhammar The Jeniffer & Jonathan Harris Charitable Trust Catherine Høgel & Ben Mardle Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Sofiya Machulskaya Mrs Elizabeth Meshkvicheva The Metherell Family Andrew Neill Peter & Lucy Noble Marianne Parsons Tom & Phillis Sharpe Laurence Watt Grenville & Krysia Williams

Bronze Patrons

Anonymous donors Michael Allen Dr Manon Antoniazzi Julian & Annette Armstrong Roger & Clare Barron Mr Philip Bathard-Smith Sir Peter Bazalgette Mikhail Noskov & Vasilina Bindley Mr Bernard Bradbury Sally Bridgeland In memory of Julie Bromley Desmond & Ruth Cecil Mr John H Cook Howard & Veronika Covington John & Sam Dawson

Cameron & Kathryn Doley David Ellen Christopher Fraser OBE Virginia Gabbertas MBE David & Jane Gosman Mr Gavin Graham Mrs Dorothy Hambleton J Douglas Home The Jackman Family Mr & Mrs Ralph Kanza Jamie & Julia Korner Rose & Dudley Leigh Drs Frank & Gek Lim Nicholas & Felicity Lyons Geoff & Meg Mann Harriet & Michael Maunsell Marianne Parsons Dr Wiebke Pekrull Mr Gerald Pettit Mr Roger Phillimore Gillian Pole Mr Michael Posen Mr Christopher Querée Sir Bernard Rix Mr Robert Ross Priscylla Shaw Patrick & Belinda Snowball Charlotte Stevenson Mr Robert Swannell Joe Topley Tony & Hilary Vines Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Marina Vaizey Jenny Watson CBE Mr John Weekes Christopher Williams

Principal Supporters

Anonymous donors Dr R M Aickin Mr Mark Astaire Sir John Baker Tessa Bartley Mr Geoffrey Bateman Mrs Julia Beine Mr Anthony Boswood Dr Anthony Buckland Dr Carlos Carreno Mr Julien Chilcott-Monk Mr & Mrs Stewart Cohen David & Liz Conway Mr Alistair Corbett Andrew Davenport Mr Simon Douglas Mr B C Fairhall Mr Richard Fernyhough Mrs Janet Flynn Mrs Ash Frisby

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Jason George Mr Stephen Goldring Mr Daniel Goldstein Mr Milton Grundy Prof. Emeritus John Gruzelier Nerissa Guest & David Foreman Michael & Christine Henry Mark & Sarah Holford Ivan Hurry Per Jonsson Alexandra Jupin & John Bean Mr Ian Kapur Ms Kim J Koch Richard & Briony Linsell Paul & Brigitta Lock Mr Peter Mace Nicholas & Lindsay Merriman Andrew T Mills Simon & Fiona Mortimore Mrs Terry Neale John Nickson & Simon Rew Mr James Pickford Michael & Carolyn Portillo Mr David Russell Colin Senneck & the Hartley and District LPO Group Mr John Shinton Nigel Silby Mr Brian Smith Martin & Cheryl Southgate Mr & Mrs G Stein Dr Peter Stephenson Mr Ian Tegner Dr June Wakefield Howard & Sheelagh Watson Joanna Williams Roger Woodhouse Mr John Wright

Supporters

Anonymous donors Ralph & Elizabeth Aldwinckle Alexander & Rachel Antelme Julian & Annette Armstrong Lindsay Badenoch Mr Mark Bagshaw & Mr Ian Walker Mr John Barnard Mr John D Barnard Damaris, Richard & Friends Mr David Barrett Diana Barrett Mr Simon Baynham Harvey Bengen Nick & Rebecca Beresford Mr Paul Bland Mr Keith Bolderson Mr Andrew Botterill

Julian & Margaret Bowden & Mr Paul Michel Richard & Jo Brass Mr & Mrs Shaun Brown Mr Alan C Butler Lady Cecilia Cadbury Mrs Marilyn Casford Alison Clarke & Leo Pilkington J Clay Mr Joshua Coger Mr Martin Compton Mr Martin Connelly Mr Stephen Connock Miss Tessa Cowie Mr David Davies Mr Roderick Davies Mr David Devons Anthony & Jo Diamond Miss Sylvia Dowle Patricia Dreyfus Mr Andrew Dyke Mr Declan Eardly Mrs Maureen Erskine Mr Peter Faulk Mr Joe Field Ms Chrisine Louise Fluker Mr Kevin Fogarty Mr Richard France Mr Bernard Freudenthal Mrs Adele Friedland & Friends Will Gold Mrs Alison Goulter Mr Andrew Gunn Mr K Haines Mr Martin Hale Roger Hampson Mr Graham Hart Mr & Mrs Nevile Henderson The Jackman Family Martin Kettle Mr Justin Kitson Ms Yvonne Lock Mrs Sally Manning Belinda Miles Dr Joe Mooney Christopher & Diane Morcom Dame Jane Newell DBE Oliver & Josie Ogg Mr Stephen Olton Mari Payne Mr David Peters Nadya Powell Ms Caroline Priday Mr Richard Rolls Mr Richard Rowland Mr & Mrs Alan Senior Tom Sharpe Mr Kenneth Shaw Ruth Silvestre

London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

Thank you

Barry & Gillian Smith Mr David Southern Ms Mary Stacey Mr Simon Starr Mrs Margaret Thompson Philip & Katie Thonemann Mr Owen Toller Mrs Rose Tremain Ms Mary Stacey Ms Caroline Tate Mr Peter Thierfeldt Dr Ann Turrall Michael & Katie Urmston Dr June Wakefield Mr Dominic Wallis Mrs C Willaims Joanna Williams Mr Kevin Willmering Mr David Woodhead

Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

Thomas Beecham Group Members Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Corporate Donors

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Tutti Lazard Russo-British Chamber of Commerce Walpole

Trialist Allianz Musical Insurance Sciteb

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd OneWelbeck Steinway

In-kind Sponsor Google Inc

Trusts and Foundations

The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust

Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation The Marchus Trust Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Scops Arts Trust Serge Rachmaninoff Foundation Sir William Boreman’s Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation and all others who wish to remain anonymous.

The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

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Board of the American Friends of the LPO We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

LPO International Board of Governors Natasha Tsukanova Co-Chair Martin Höhmann Co-Chair Mrs Irina Andreeva (Russia) Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

London Philharmonic Orchestra • 16 March 2022 • Richard Goode plays Mozart

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Mark Vines* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Elena Dubinets Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank YolanDa Brown Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC Julian Simmonds

Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Finance

General Administration

Jean-Paul Ramotar Finance and IT Officer

Frances Slack Finance Director Dayse Guilherme Finance Manager

Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director

Concert Management

Rebecca Parslow Education and Community Project Manager

Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Scott Tucker Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Simon Owen-Johnstone Hon. Orthopaedic Surgeon

Laura Kitson Stephen O’Flaherty Stage Managers

Nick Jackman Campaigns and Projects Director Kirstin Peltonen Development Associate

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

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Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Felix Lo Orchestra and Auditions Manager

Ruth Haines (née Knight) Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Sarah Thomas Martin Sargeson Librarians

Freddie Jackson Assistant Stage Manager

Gavin Miller Sales and Ticketing Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Andrew Chenery Orchestra Personnel Manager

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk lpo.org.uk Cover photo James Wicks 2021/22 season identity JMG Studio Printer John Good Ltd